scholarly journals Exposition, Societal Responsitivity and the Aesthetics of Impermanence: Temporal Findings from the 1970 World Exhibition

2021 ◽  
Author(s):  
◽  
Tane Jachob Moleta
Keyword(s):  
Japanese Society ◽  
Critical Research ◽  
Architectural Discourse ◽  
Sensory Experiences ◽  
International Expositions ◽  
World Fairs ◽  
The World ◽  
Unexplored Area ◽  
Architecture And Design ◽  
World Exposition

<p>The architecture of the world expositions maintains an historically unique position within the built environment. Raised specifically for the hosting of these temporary events, the architecture and design of the exposition grounds have been viewed in this thesis as a means to present the aspirations of a country. Expositions were also physical manifestations of the development of new tools, materials, techniques, or aesthetics, ushering in notions of change and progress. However, exhibition architecture can similarly be interpreted as a vehicle responding to the changing pressures within a society.  Both historical and contemporary reports locate the world expositions as highly anticipated for education, communication, enjoyment and even competition. Parallel to this, the international expositions have existed as an area of well resourced critical research. With over 150 years of exposition, the historical, political, social, urban and architectural aspects of these events have been increasingly explored as locations to identify and define avantgarde and progressive explorations in the moderation of space. In contrast to this, the world exposition of 1970 exists as a comparatively unexplored area of`study in the West. Expo’70, located in Osaka, Japan, was poorly received and heavily criticised in Western media sources. Academics, architects and critics slated the event as bizarre, ridiculous, and excessive, and one source even noted that Expo’70 had “brought about the end of the world fairs”. While perhaps some of these comments can be attributed to remoteness, and vastly unknown sensory experiences that many non-Japanese visitors would be exposed too, a difficulty in accessing first hand accounts from the Japanese themselves may also account for a lack of understanding within Western architectural discourse.  However, Expo’70 was, and still is, an important phenomenon in its native land. A search using Japanese language through any Japanese university library will return a vast collection of titles covering areas such as social science, politics, technology, and architecture. In response to these findings, this thesis locates the importance of the event to the Japanese as a whole. I propose that Expo’70 manifested a number of qualities or conditions that the Japanese society could locate within their existing aesthetic vocabularies, which are discussed and displayed in this thesis through both drawing and text. Within this context the drawn material operates an important strategy as both a mechanism of display and a means to explore the shifting and transitory spatial qualities that are discussed within the text. Rather than a turning point, the thesis argues that, Expo’70 existed as a form of vantage for Japanese society to observe the unfolding changes within their society, both material and immaterial.</p>

scholarly journals Exposition, Societal Responsitivity and the Aesthetics of Impermanence: Temporal Findings from the 1970 World Exhibition

2021 ◽  
Author(s):  
◽  
Tane Jachob Moleta
Keyword(s):  
Japanese Society ◽  
Critical Research ◽  
Architectural Discourse ◽  
Sensory Experiences ◽  
International Expositions ◽  
World Fairs ◽  
The World ◽  
Unexplored Area ◽  
Architecture And Design ◽  
World Exposition

<p>The architecture of the world expositions maintains an historically unique position within the built environment. Raised specifically for the hosting of these temporary events, the architecture and design of the exposition grounds have been viewed in this thesis as a means to present the aspirations of a country. Expositions were also physical manifestations of the development of new tools, materials, techniques, or aesthetics, ushering in notions of change and progress. However, exhibition architecture can similarly be interpreted as a vehicle responding to the changing pressures within a society.  Both historical and contemporary reports locate the world expositions as highly anticipated for education, communication, enjoyment and even competition. Parallel to this, the international expositions have existed as an area of well resourced critical research. With over 150 years of exposition, the historical, political, social, urban and architectural aspects of these events have been increasingly explored as locations to identify and define avantgarde and progressive explorations in the moderation of space. In contrast to this, the world exposition of 1970 exists as a comparatively unexplored area of`study in the West. Expo’70, located in Osaka, Japan, was poorly received and heavily criticised in Western media sources. Academics, architects and critics slated the event as bizarre, ridiculous, and excessive, and one source even noted that Expo’70 had “brought about the end of the world fairs”. While perhaps some of these comments can be attributed to remoteness, and vastly unknown sensory experiences that many non-Japanese visitors would be exposed too, a difficulty in accessing first hand accounts from the Japanese themselves may also account for a lack of understanding within Western architectural discourse.  However, Expo’70 was, and still is, an important phenomenon in its native land. A search using Japanese language through any Japanese university library will return a vast collection of titles covering areas such as social science, politics, technology, and architecture. In response to these findings, this thesis locates the importance of the event to the Japanese as a whole. I propose that Expo’70 manifested a number of qualities or conditions that the Japanese society could locate within their existing aesthetic vocabularies, which are discussed and displayed in this thesis through both drawing and text. Within this context the drawn material operates an important strategy as both a mechanism of display and a means to explore the shifting and transitory spatial qualities that are discussed within the text. Rather than a turning point, the thesis argues that, Expo’70 existed as a form of vantage for Japanese society to observe the unfolding changes within their society, both material and immaterial.</p>

scholarly journals ”CINEMA IMPÉRIO”: a projeção colonial do Estado Novo português nos filmes das exposições entre guerras mundiais

2016 ◽  
Vol 13 (22) ◽  
pp. 126-151
Author(s):  
MARIA DO CARMO PIá‡ARRA
Keyword(s):  
Twentieth Century ◽  
Film Analysis ◽  
Colonial Power ◽  
Comprehensive Investigation ◽  
Documentary Sources ◽  
Long Duration ◽  
International Expositions ◽  
The World ◽  
Postdoctoral Research ◽  
World Exposition

 Este artigo analisa como é que Portugal ”imaginou” as ex-colónias através do cinema focando a produção de filmes feitos quer para projecção de Portugal como potência colonial nas exposições internacionais entreguerras quer para fixação das grandes exposições nacionais de afirmação e legitimação do regime ditatorial do Estado Novo português. A análise da instrumentalização do cinema pela propaganda colonial ocidental só agora começa a ser feita, mas se comprova a necessidade de uma investigação abrangente para melhor compreensão do uso propagandista do cinema, pela ditadura portuguesa, para promover a polá­tica colonial. Na investigação pós-doutoral em curso, intitulada ””˜Cinema Império”™. Portugal, França e Inglaterra, representações do império no cinema”, analiso as representações cinematográficas coloniais na longa duração. Neste artigo, porém, analiso especificamente a produção portuguesa de filmes para participação (e sobre as) nas grandes exposições coloniais nacionais ”“ Colonial, do Porto, e Exposição do Mundo Português, em Lisboa ”“ e internacionais ”“ Sevilha, Antuérpia e Paris ”“ entre 1930 e 1940. Que filmes foram feitos, por quem e para quem? Com que propósitos? Que representações propuseram? ”“ são estas as questões que abordo, através da análise fá­lmica e de algumas fontes documentais que ainda não tinham sido referenciadas.Palavras chave: Cinema colonial. Exposições internacionais. Propaganda colonial. Estado Novo.”EMPIRE CINEMA”:  the colonial projection of the Portuguese ”˜Estado Novo”™ in the films of the exhibitions between the World WarsAbstract:  This article analyses how Portugal ”imagined” its former colonies through the cinema focusing on a production of films made for the projection of Portugal as a colonial power in the international expositions between the Twentieth Century World Wars or for the registration of the great national exhibitions of affirmation and legitimation of the Estado Novo dictatorial regime. The analysis of the uses of cinema by Western colonial propaganda has begun to be made only recently. There are few studies on how the cinema has represented the former colonies. They confirm the need for a comprehensive investigation for a better understanding of the propagandist use of cinema, especially by the Portuguese dictatorship, to promote colonial politics. In my ongoing postdoctoral research, entitled ””™Empire Cinema”™. Portugal, France, and England, representations of the empire in the cinema”, I analyse the colonial cinematographic representations in the ”long-duration”. In this article, however, I specifically analyse the Portuguese production of films for projection in (and also the films produced about) the great national expositions ”“ the Colonial Exposition, at Porto, and the ”Portuguese World” Exposition, in Lisbon - and international expositions - Seville, Antwerp and Paris - between 1930 and 1940. What movies were made, by whom and for what audiences? For what purposes? What colonial representations did they propose? - these are the questions I address, through film analysis and some documentary sources that have not yet been referenced.Keywords:  Colonial cinema. International expositions. Colonial propaganda. Estado Novo.  "CINEMA IMPERIO": la proyección colonial del ”˜Estado Novo”™ portugués en las pelá­culas de las exposiciones entre guerras mondialesResumen:  Este artá­culo analiza como Portugal ”imaginó” las ex-colonias a través del cine, haciendo foco en la producción de pelá­culas realizadas tanto para proyección de Portugal en cuanto potencia colonial en las exposiciones internacionales de entreguerras como para las grandes exposiciones nacionales de afirmación y legitimación del régimen dictatorial del Nuevo Estado portugués. El análisis de la instrumentalización del cine por la propaganda colonial occidental es reciente, pero se comprueba la necesidad de una investigación más abarcadora para una mejor comprensión del uso propagandista del cinema por la dictadura portuguesa, con el fin de promover la polá­tica colonial. En la investigación postdoctoral en curso, titulada ”Cinema Imperio. Portugal, Francia e Inglaterra representaciones del imperio en el cine”, analizo en la larga duración (Braudel) las representaciones cinematográficas coloniales. En este artá­culo, sin embargo, me centraré especá­ficamente en la producción de pelá­culas para (y sobre) participación en las grandes exposiciones coloniales nacionales ”“ Colonial, do Porto y ”˜Exposição do Mundo Português”™, en Lisboa ”“ e internacionales Sevilla, Antuérpia y Pará­s ”“ entre 1930 y 1940. ¿Qué largometrajes fueron hechos, por qué y para quién? ¿Con qué propósitos? ¿Qué representaciones proponen? Son estas las cuestiones que abordo, a través del análisis fá­lmico y de algunas fuentes documentales que hasta hoy no habá­an sido referenciadas.Palabras clave: Cine colonial. Exposiciones coloniales. Propaganda. Nuevo Estado.

scholarly journals IDENTITETSKI ASPEKTI KULTUROLOŠKOG SUVERENITETA U MODERNIZACIJI DALEKOG ISTOKA

2021 ◽  
Vol 18 (49) ◽  
pp. 193-203
Author(s):  
Ljubica Vasić ◽  
Keyword(s):  
Collective Identity ◽  
Japanese Society ◽  
Developed Countries ◽  
Modern Technology ◽  
Cultural Tradition ◽  
The World ◽  
Western Imperialism ◽  
Other World

The mixture of modern and classical, the combination of tradition and the process of industrializa- tion, all left their trace in every segment of the Japanese society. Despite the power of modern technology and its tendency to completely annul certain customs, Japan has remained faithful to its tradition, hence other highly developed countries in the world could learn a lot from Japan in that regard. This paper discusses, among other things, Japan’s response to Western imperialism and points out the fact that his- torical experience proves that Japan would always successfully overcome difficulties and thus become an example to other world countries of how conflicts and challenges of highly advanced, technological societies could be overcome without desecrating the cultural tradition and refuting the collective identity.

The Mechanics of Failure and the Secrets of Success

2019 ◽  
pp. 111-153
Author(s):  
Justin Yifu Lin ◽  
Célestin Monga
Keyword(s):  
Standard Model ◽  
Low Income ◽  
Structural Adjustment ◽  
Growth Strategies ◽  
Critical Research ◽  
Low Income Country ◽  
Extreme Dependence ◽  
The Standard Model ◽  
Policy Frameworks ◽  
The World

This chapter analyzes the mechanics of failure and the secrets of economic success. Cesar Luis Menotti's strategy's main ingredients could serve as a metaphor for the basic argument in the chapter: any low-income country can achieve sustained and inclusive growth if it properly identifies its endowment structure and uses its most competitive factors to exploit its comparative advantage. The chapter starts with a presentation of the standard model of stabilization and structural adjustment, which has come to dominate development thinking and policy across the world and has survived several decades of critical research. It then explores reasons why the model has endured despite criticism from across the ideological spectrum, especially in the 1980s and 1990s. It also offers an analysis of why traditional policy frameworks derived from the standard model often do not yield results, and it stresses the need to focus growth strategies on coordination and externalities. The chapter ends with a discussion of one of the main side effects of the standard model and its growth prescriptions: the extreme dependence on foreign aid by many low-income economies, especially those in Africa.

Growing up in Japan

2020 ◽  
pp. 176-199
Author(s):  
Gracia Liu-Farrer
Keyword(s):  
Social Environment ◽  
Japanese Society ◽  
Immigrant Children ◽  
Growing Up ◽  
Changing Environments ◽  
The World ◽  
Institutional Contexts ◽  
Identity Choice ◽  
Immigrants In Japan

This chapter studies immigrant children's diverse strategies to make sense of their subjectivities and establish their relationships with Japanese society. In particular, it examines how changing environments, especially the different institutional contexts they go through in the course of their growing up, contribute to the shaping of their identities. Born to foreign parents, immigrant children in Japan are surrounded by a complex cultural and social environment and have to continually adjust their relationships to such contexts and modify their subjectivities in the course of doing so. Because nationality is a powerful identification, they also have to negotiate their own identity between Japan—the place where they live and are acculturated to but at times rejected by—and the country or countries where their parents are from and where their passports say they are from. This process of encounters and negotiations enhances their awareness of the limits and freedom of being immigrants in Japan. In the end, among a group of them, a cosmopolitan self emerges as a response to the limited repertoire of identity choice. In other words, many immigrant children, unwilling to resign to either nationality, choose to become citizens of the world.

European Itinerant Opera and Operetta Companies Touring in the Near and Middle East

2019 ◽  
pp. 318-334
Author(s):  
Avra Xepapadako
Keyword(s):  
Near East ◽  
World History ◽  
Musical Theatre ◽  
Theatre Companies ◽  
The World ◽  
History Of ◽  
South Eastern Europe ◽  
Unexplored Area ◽  
The 19Th Century ◽  
Shed Light

Τ‎his chapter focuses on the activity of musical theatre companies touring in south-eastern Europe, the Near East, the Caucasus and Central Asia during the 19th and early 20th centuries. It investigates cultural transfer and amalgamation between the metropolitan culture of the West and the Orient in the domain of opera and operetta. Greece, in particular, functioned as a cultural crossroads between East and West. From 1840 onwards, Italian opera companies began to tour in Greece and its new theatres, and even further towards the Near East; they were followed, from 1870 onwards, by French operetta and vaudeville companies. In the last decades of the 19th century, these French artists expanded their itineraries towards the East, beyond familiar geographical boundaries, tracing their own small odysseys on the map. The chapter charts and presents these traces, attempting to shed light on an unexplored area of the world history of music and theatre.

scholarly journals KEBIJAKAN PENGKARYAAN KEMBALI PEKERJA SENIOR JEPANG PASCA PENSIUN (SUDUT PANDANG PERUSAHAAN MANUFAKTUR)

IZUMI ◽  
2016 ◽  
Vol 4 (2) ◽  
pp. 32
Author(s):  
Dewi Saraswati Sakariah
Keyword(s):  
Economic Growth ◽  
Japanese Society ◽  
Economic Recession ◽  
Social Changes ◽  
Manufacturing Companies ◽  
Employment Sector ◽  
The People ◽  
The World ◽  
The Government ◽  
Society Today

This study discusses about the phenomenon of the re-employed senior workers after retirement in Japan’s manufacturing companies. Japan is a country with the fastest aging population in the world that has many problems in itspopulation demographic.Meanwhile, the government launched intensifying efforts to make Japan rises from its economic recession since the 1990s.One of the efforts is call on each of the people who is still able to work to contribute to the employment sector in order to achieve economic growth strategy.One of the encouraged groups isthe post-retirementsenior workers in Japan’s manufacturing companies.The call on was well received while a number of companies were adopting this system with several different reasonsnamely life expectancy increases, the government calls to the people, the needs of the company's senior workers for productivity and skill transfering, the salary and the company's view of the young workers. This research will be interpreted by sosial changes perspective in society from Anthony Giidens. This study concludes that the phenomenon of the re-employed senior workers after retirement is the result of social changes that has occurred in Japanese society today.

Sign in / Sign up

Export Citation Format

Share Document