3,483 research outputs found
Noh Creation of Shakespeare
No full textThis article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore
A CONVERGENCE OF YEATS AND NOH DRAMA : AT THE HAWKS WELL AND YORO
No full textIn 1916,W. B. Yeats wrote, At the Hawk's Well, his first play in six years. He was able to do this after being exposed to the Noh theater through his friend Ezra Pound. Richard Taylor stated that the source for this play came from one of the Noh plays Yeats would have had access to, Yoro. In fact, the source for At the Hawk's Well had been found much earlier in Morris's medieval dramas, The Well at the World's End and The Water of the Wondrous Isles. It was not necessary for Yeats to have borrowed from the Noh, nor do we have proof that he actually read the play in question.departmental bulletin pape
Costume art in the Noh theater community
No full textThe article examines costumes in the context of the Noh theater community. The author proposes an understanding of these costumes as part of theatrical practice, as well as a means of sociocultural self-identification, and analyzes representative samples; the most typical motifs, compositional schemes, design approaches are determined. The article also focuses on accessories that make up the ensemble, both for the stage (mask, fan) and off-stage (netsuke, fan, obidome)
PCS/W-CDMA dual-band MMIC power amplifier with a newly proposed linearizing bias circuit
No full textA personal communications service/wide-band code division multiple access (PCS/W-CDMA) dual-band monolithic microwave integrated circuit (MMIC) power amplifier with a single-chip MMIC and a single-path output matching network is demonstrated by adopting a newly proposed on-chip linearizer. The linearizer is composed of the base-emitter diode of an active bias transistor and a capacitor to provide an RF short at the base node of the active bias transistor. The linearizer enhances the linearity of the power amplifier effectively for both PCS and W-CDMA bands with no additional dc power consumption, and has negligible insertion power loss with almost no increase in die area. It improves the input 1-dB gain compression point by 18.5 (20) dB and phase distortion by 6.1degrees (12.42degrees) at an output power of 28 (28) dBm for the PCS (W-CDMA) band while keeping the base bias voltage of the power amplifier as designed. A PCS and W-CDMA dual-band InGaP heterojunction bipolar transistor MMIC power amplifier with single input and output and no switch for band selection is embodied by implementing the linearizer and by designing the amplifier to. have broad-band characteristics. The dual-band power amplifier exhibits an output power of 30 (28.5) dBm, power-added efficiency of 39.5% (36%), and adjacent channel power ratio of -46 (-50) dBc at the output power of 28 (28) dBm under 3.4-V operation voltage for PCS (W-CDMA) applications.by the Ministry of Science and Technology of Korea and Korea Institute of S&T Evaluation and Planning
On Mishima Yukio's Modern Noh Play “Yuya“
No full textpdfLike some other modern Noh plays by Mishima，“Yuya” (1959) may be evaluated as an attempt“at a kind of poetic drama” 1) and “at a marriage between the drama of ideas and the poetic drama.“ 2) It is also important to note that it was an adaptation of a typical Noh play of yūgen-gentle splendour and graceful and subtle beauty.
The Kabuki dance play “Yuya”， which Mishima wrote in 1955 for Nakamura Utaemon, helps us to see how he interpreted the original Noh. We may also note there that “the flower” the main theme of the play, was successfully represented and the feelings of the play skilfully created.
Some vulgar elements were introduced into his modern Noh play, but it was still “the flower“ that the author intended to create by “modernizing”the purple passages of the original. The heroine’s words and action, replacing music, dancing and stage-setting of the classical plays, are there to show the movement of her mind and emotion. When the critical climax arrives, however, she is required to act almost like a classical Noh actor in the “iguse”sc ene, characteristically paradoxical feature that the least movement is the most powerful expression. It is not an easy play to perform.conference pape
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The Noh Plays of William Butler Yeats: Accomplishment in Failure
No full textThis paper is a study of the effect of W. B. Yeats's contact with Japanese Noh drama on his work. The immediately discernible effect on his work can be seen, of course, in his adaptation of Noh dramatic form to his Four Plays for Dancers and The Death of Cuchulain. It is the thesis of this paper, then, that, despite many handicaps, Yeats's aesthetic background was not only sufficient to discover what suggestion did lie in the limited information available to him concerning Noh, but also sufficient for him to intuit much of what wasn't suggested
INFRARED SPECTROSCOPY OF HNO AND NOH SUSPENDED IN SOLID PARAHYDROGEN
No full textAuthor Institution: Department of Chemistry, University of Wyoming, Laramie, WY 82071-3838The only report in the literature on the infrared spectroscopy of the parent oxynitrene NOH was performed using Ar matrix isolation spectroscopy at 10 K.\textbf{38}, 108-110 (1999).} In this previous study, the NOH is synthesized by co-deposition of NO/Ar and a H/Ar mixture that is passed through a microwave discharge to create H-atoms. The H-atoms recombine with NO in the Ar matrix to produce mostly HNO, but some NOH is produced as well. In this work we irradiate NO doped parahydrogen solids at 2 K using 193 nm radiation which is known to generate H-atoms as by-products.\textbf{29}, 740-743 (2003).} After the photolysis laser is stopped, we detect growth of HNO and NOH presumably due to reactions of H-atoms with NO analogous to the previous Ar matrix study. The higher energy NOH isomer is predicted by high-level calculations to be in a triplet ground electronic state.\textbf{136}, 164303 (2012).} Interestingly, the infrared absorptions of NOH for the two observed vibrational modes (bend and OH stretch) display fine structure; an intense central peak with smaller peaks spaced symmetrically to both lower and higher wavenumbers. Further, the spacing between the peaks is the same for both vibrational modes. We believe this fine structure reflects the zero-field splitting of the triplet ground state of NOH (magnetic dipole-dipole interaction) and our most current results and analysis will be presented
Exploring Emptiness: An Investigation of MA and MU in My Sonic Composition Practice
No full textThe commentary investigates Japanese aesthetics of space, silence and emptiness - ma and mu - that informed my compositional practice during the research period 2012 - 2015. The portfolio comprises text compositions and sound installations in which forms of micro events and sustained events are employed. Throughout, the emphasis is on my personal engagement with, and manifestation of emptiness that concerns a particular model of listening and perception.
Chapter 1 discusses six primary research areas: ma and mu, material, text, form, listening and perception. Firstly, I introduce ma and mu by examining noh culture and Zeami's teaching of senu hima (where there is no-action) in the context of my personal approaches to music. The following subjects are then used to contextualise my PhD practice by means of examples from various composers and visual artists. Here, these particular and enigmatic concepts are explored through Japanese art as well as Western contemporary works by Alvin Lucier, Eliane Radigue and those of the Wandelweiser collective.
Part 2 provides contextual commentaries on selected compositions from the portfolio that mostly articulate my aesthetics in relation to the topics covered in Chapter 1. koso koso addresses my methodologies to investigate the essence of senu hima, followed by treow that discusses my approach to materials and the importance of space. I move on to grade two and grade two extended in order to examine text scores, and then, look into Espèces d'espaces 03 and 04 as examples of musical forms that I employ.
Finally, listening and perception are investigated through the compositions gnome and con.de.structuring. Throughout, I describe how my works explore emptiness as a result of my particular emphasis on listening over composing
An intelligent power amplifier MMIC using a new adaptive bias control circuit for W-CDMA applications
No full textA high-linearity and high-efficiency MMIC power amplifier is proposed that adopts a new on-chip adaptive bias control circuit, which simultaneously improves efficiency at the low output power level and linearity at the high output power level. The adaptive bias control circuit detects the input power level and supplies a low quiescent current of 16 mA at the low output power level and an increased current up to 90 mA according to the increased power level adaptively. The intelligent W-CDMA power amplifier using the adaptive bias circuit exhibits an improvement of average power usage efficiency of more than 1.93 times, and an adjacent channel leakage ratio by 4 dB at the output power of 28.3 dBm.by the Ministry of Science and Technology of Korea and KISTEP
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