94 research outputs found

    Automatic generation of Chinese calligraphic writings with style imitation

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    A parametric representation of stroke shapes is derived by adopting style imitation, a shape-generation-based process, to compactly represent the shapes of single strokes for the automatic generation of Chinese calligraphic writings. An image-processing-based approach is employed to derive the distance between the two strokes. The concept of stroke context is introduced to determine the shape of a stroke to be produced and the distance between two strokes is defined as the shortest distance between two points. An important difference between personal handwriting and a script generated from a font system is that a human writer writes a certain stroke or character differently each time, while a font system generates the same output. The shape-based criterion used in this study makes direct use of areas, which is more reliable than using shape contours because stroke contour details vary greatly.published_or_final_versio

    Glass as ink: seeking spontaneity from the casting process

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    This practice-based research addresses internal form in cast glass. That is, ink- like imagery, which is wholly contained within clear, colourless glass. For the purposes of this project, ‘ink’ refers to liquid ink as is used in Chinese brush painting and calligraphy rather than to ink applications such as those used in print media. The aim is not to use ink itself. Rather, it is to emulate ink, rendered inside glass, while exploring the material similarities between the two media, including their liquid properties and their ability to be worked opaque or translucent. The project examines the interface between control and chance; where the artistic process ends and the unique properties of glass take over and are governed by heat, time and gravity. It also addresses the transformation of two- dimensional line drawing and ink wash into the third dimension. My research question is how the kiln and furnace casting processes can best be exploited to render the fluid, gestural and expressionistic immediacy of brush and ink painting, three-dimensionally, in solid glass. Following 14 years of studying and making art in Korea (1997‒2003) and China (2003‒2010), I have developed an affinity for brush and ink painting and, more specifically, for Chinese Grass script calligraphy and traditional landscape. This project aims to explore various methods of capturing apparent gesture and spontaneity in cast glass, in the form of ‘ink’ abstractions that evoke these styles of Chinese painting. My methodology includes identifying and isolating the elements that characterise Chinese brushwork in calligraphy and landscape painting, which are intimately linked fine art forms in China. Studio tests include manipulating different types of glass to create a dynamic, rhythmic, assured and graceful ink aesthetic, interpreted in the third dimension. I use flameworked inclusions to explore ink-like line and experiment with glass powders to evoke different intensities of ink wash. All tests are recorded in detail and are used to anticipate and loosely control glass movement. My research into Chinese brushwork characteristics is used to identify a framework within which the studio work sits. The variety, order and combination of techniques used to create the work constitute original knowledge in the field of cast glass. My method for reinterpreting the characteristics of Chinese painting, including line quality, ink wash, composition and balance, embedded three-dimensionally within the framework of cast glass, also contributes new knowledge. Based on systematic research and analysis, the terms ‘casting’, ‘moulds’, ‘spontaneity’ and the ‘third dimension’ are examined and defined anew

    Second language acquisition of Japanese orthography

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    Written Stƫpa, Painted Sƫtra: Relationships of Text and Image in the Construction of Meaning in the Japanese Jeweled-Stƫpa Mandalas

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    This dissertation contextualizes the twelfth- and thirteenth-centuries Japanese jeweled-stupa mandalas as some of the most striking examples from the early medieval period of innovative elaborations on sutra transcription. The project proceeds from a methodology grounded in visual analysis and religious studies. I begin with basic questions of semiotic inquiry about the prominence and privileging of sacred text in the form of the central dharma reliquary, a characteristic distinguishing the mandalas from nearly all other paintings made before them. I seek to understand the reasons behind the privileging of scripture on the picture plane and the inventive manipulation of the sutra text into the form of a stupa, both novel choices in the context of their early medieval Japanese production. At their root, the jeweled-stupa mandalas are an elaborate sutra transcription project revealing anxieties about death and power expressed through the belief that devotion to sutra can save souls, cure illnesses, grant tremendous authority, and much more. After investigating the continental origins of the mandalas and the culture of sutra transcription during the eleventh through thirteenth centuries and conducting an analysis into the particular histories and formal qualities, the project approaches the mandalas using a three-part collaborative analysis. The first part examines visual, textual, and archaeological evidence from the eleventh through thirteenth centuries, which testifies to the understandings and capabilities of text as well as the power of sacred word expressed repeatedly and profoundly in early medieval Japan. This exploration of sutra text lays the critical basis for the second part's investigation into the notion of body underpinning the innovative construction of the mandalas. The indivisibility of sutra, stupa, dharma, relic, and body in the paintings visually manifests the conflated nature of these seemingly independent concepts in religious practice and doctrine. Combining the first two parts facilitates a reading of the mandalas through what I call a salvific matrix of text and body. The third part concludes the dissertation by returning to an explicit discussion of semiotics, further exploring the construction of meaning in the mandalas through their imbrication of text and image

    Dialogues with the written world(s): Plurilingual TEAL pedagogy and content learning of Japanese young learners in multilingual landscapes

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    This ethnographic study aims to describe the literacy development of young Japanese children learning English at an international school in Tokyo (Japan). The research participants, who were recruited from Kindergarten to 4th grade (5 to 10 years old), also participated in summer programs in British Columbia (Canada) for periods ranging from 2 weeks to 2 months. The school adopts a Content and Language Integrated Learning (CLIL) approach (Coyle, Hood & Marsh, 2010), within a Hundred Languages of Children of Reggio Emilia educational approach (Edwards, Gandini & Forman, 1998) and Miyazakian dialogic pedagogy (Miyazaki, 2013). The school also adopts a plurilingual approach to teaching (Lau & Van Viegen, 2020) and used linguistic landscapes as a pedagogical tool (Dagenais, Moore, Sabatier, Lamarre & Armand, 2009) to promote children’s English and content learning through a series of critical inquiries. Methodological tools include classroom ethnography (Heath & Heath, 1983; Frank, Dixon & Green, 1999; Egan-Robertson & Bloome, 1998), Action Research (Wallace, 1998), as well as visual (Pink, 2009) and walking ethnography (Ingold & Vergunst, 2008) to explore the linguistic landscapes with the participants. The analyses are anchored within the theoretical concepts interconnecting plurilingualism (Marshall & Moore, 2018), multiliteracies (Cope & Kalantzis, 2009, New London Group, 1996) and language learning in an asset-oriented perspective on education that views language competence as holistic and plurilingual and intercultural awareness conducive to critical thinking (Coste, Moore & Zarate, 2009). The purpose of the thesis is to build upon the current discussion on plurilingual pedagogies, curriculum design and language instruction for K-12 children, in the context of English teaching and learning in elementary schools in Japan. It has wider implications for teacher education in English as an Additional Language (TEAL) situations

    Japan’s Book Donation to the University of Louvain

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    Companion to the exhibition “Japan’s Book Donation to the University of Louvain”, KU Leuven University Library, 28 October 2022 - 15 January 2023 With more than 3,000 titles in almost 14,000 volumes, the 1920s Japanese book donation to the University of Leuven/Louvain constitutes an invaluable time capsule of Japan’s pre-modern culture in all its diversity and richness. A century on, the time is right to take a new look at its contents, as well as its history and the political, social and cultural context surrounding the donation. To commemorate its centenary, the Katholieke Universiteit Leuven (KU Leuven) and the UniversitĂ© catholique de Louvain (UCLouvain) have joined forces to set up a special exhibition under the title “Japan’s Book Donation to the University of Louvain. Japanese Cultural Identity and Modernity in the 1920s” (October 2022–January 2023), at the University Library of KU Leuven. The present book has been compiled for the occasion of the exhibition, to serve as a durable guide to the magnificent book donation and its historical background, and as a reference for further research in the future. In five essays by historians of politics, media, culture, and arts of Japan, it offers a richly illustrated overview of the history of the donation and its wider historical context, providing illuminating insights into the vibrant 1920s in Japan, its politics, society, and popular culture. The reader is further invited to explore a sample of 65 remarkable and rare items from the donation, which were carefully selected for inclusion in the exhibition and are provided here with a detailed description. Moreover, the reader is introduced to 41 representative items, including visually captivating commercial and political posters related to Japan’s modernity in the 1920s, which represent mass culture, progress, and tensions, and highlight both imperial ambitions and a willingness to contribute to international cooperation
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