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学術論文

application/pdf, In Tochio, Nagaoka City, Niigata Prefecture, silk fabrics have been woven for a long time. From sericulture, thread making, dyeing, and weaving were done at home to cover the clothes worn by the family. This study is a record of a very beautiful cloth called Tochio Tsumugi.

Session IV : Textile Design in Global Context, The Jacquard machine is an innovative automatic weaving device traditionally controlled by punching cards. It was invented by Joseph Jacquard and first exhibited at the Paris Exposition in 1801. The machine quickly became popular, mainly around Lyon, France. In Japan, the first Jacquard loom was brought from Lyon to Nishijin by Tsuneshichi Sakura and others in 1873. Since then, the Jacquard loom for Kimono has evolved in its unique way. Before the introduction of the Jacquard loom, there was already a difference between the European-style draw-loom and the Japanese sorabiki-bata. Therefore, the Jacquard system was adopted carefully in Japan and developed independently. To compare machines and textile designs, we will review patents and utility models related to Jacquard looms, many of which are from the Meiji era (1868 - 1912), to clarify how the European-style Jacquard looms were adapted to fit the Japanese style. The structure, mechanism, and design methods of the punch card of the Japanese Jacquard differ significantly from the European-style Jacquard looms that are currently widely used in Japan and abroad. In recent years, the computerization of Jacquard looms has progressed, and the punching cards of Japanese and European-style Jacquard looms have been converted into computer data. This allows for an easy comparison of the machine structures and design methods between the two. By comparing the Japanese and European-style Jacquard looms, we would like to clarify the reasons why the previous generation of engineers further developed the Japanese Jacquard loom and lead it to the development of new fabrics that utilize the strengths of both Japanese, and European-style Jacquard looms.

Session IV : Textile Design in Global Context, In 1940, Kobayashi Takako, newly graduated from the Japan Women’s College, began recording her and her family’s clothing life in an extraordinary way. She collected every piece of fabric she found around her, cut it to approximately 4 by 8 cm, stuck each on a postcard-sized piece of paper, and added a commentary. The cards finally totaled 216. The fabric pieces had been part of Kobayashi’s kimono and dress; her mother’s, grandmother’s, father’s, and housekeeper’s kimonos; their bed clothes; and other such things. What makes the collection unique and valuable is Kobayashi’s commentaries, in which she wrote of the origin and life of the fabrics: when and where the family members had procured them; who and how they created the kimonos and dresses from them; and who and how they remade these garments into nightclothes, a doll’s dress, and cushion covers. Her father, an office worker, had been a professional serviceman in the navy and her mother was a middle school teacher. Her family, evidently of the middle class and intelligentsia, lived in Yokosuka, a naval port city near Tokyo, and in her student days Kobayashi lived in a dormitory in Tokyo. Therefore, based on her collection, we can precisely characterize the clothing life of a middle-class family in a 1930’s Japanese naval port city and the capital. Kobayashi’s conception could be traced to her graduation thesis, which was itself extraordinary and valuable. She recorded everything that was in her house, by text and drawings, on the suggestion of the renowned architect and sociologist, Kon Wajiro, who then taught at Japan Women’s College. Through the fabric collection, however, Kobayashi directly sampled people’s fashion practice and experience, in contrast to Kon’s approach to the appearance of contemporary fashion.

Muromachi merchants in Kyoto have managed the kimono textile wholesale business for hundreds of years. The Nishimura family, one of the most enduring Muromachi merchants, started their business in the mid-16th century as hōe-shō (textile suppliers for Buddhist priests’ silk vestments) and stayed in business into the 21st century. Their long-standing family business was represented by a shop curtain, noren, where a family crest was imprinted.The environmental changes and technological developments after the Meiji Restoration (1868) brought an increasing number of consumers and an influx of competitions in the industry. While the traditional shop style turned into a company in the early 20th century, the Nishimura family led the industry by keeping the traditional business styles that prioritized good relationships among its shop owners, employees, and society.In this paper, two Nishimura family businesses, Chiji and Chikichi, in the first half of the 20th century are reviewed based on stories privately written by their business successors and Kyoto Chamber of Commerce archives.

本作品ノートは、絞り染と型絵染を併用して制作した着物作品«藤»の制作工程について述べたものである。 この 2 技法を併用する場合、その多くで絞り染は地色を染め分けるために用いられている事に疑問を感じた。 絞り染の歴史から文様表現技法として主流だった鹿の子絞りが江戸幕府による倹約令で禁止されたために、文様染めから地色の染め分けに特化していったのではないかと考えた。また絞り染に比べて文様を多色にたやすく染められる糊防染技術が発達したことも理由だと考えられる。 «藤»では、絞り染にもデザインとしての役割を与え、2 技法で重ね染める面白さを探る作品制作を目的とした。, 作品ノート, Works Note

In December 1871, the Iwakura Mission was sent by the Meiji government to the US and Europe. One of the aims of the mission was the observation of foreign practices and technologies. If Japan wanted to suppress the Unequal Treaties and be considered a “first rank nation”, it had to adopt the “civilized” manners and rules of North America and Europe (Nish, 1998). Five Japanese girls, aged six to sixteen accompanied the Mission to be educated in the US for a ten-year period. Their presence didn’t go unnoticed by the American Press, and the articles reporting on their stay provided an opportunity to bring up broader themes on Japanese women and Japan. The five girls were the first women to officially represent Japan in the US. Identified by the American media as “Japanese Princesses”, their reception was confronted with the American image and understanding of Japan. This article analyses the representations of the five girls, and of Japanese women in general, in the San Francisco Chronicle and the Chicago Tribune during the two months that the Iwakura Mission travelled eastward from San Francisco to Washington, via Chicago. I identify and analyse the recurring tropes: the girls’ social position, the craze they created among the Americans, their beauty, the exoticism of their kimono, the education they will receive in America. The newspapers’ representation of the girls are full of inaccuracies and mistakes, myths and exoticism. Nonetheless, the representations are overwhelmingly positive and the girls – as well as the whole of the Mission’s members – are warmly welcomed by the American press.

The dress is an integral part of a profession. The research focuses on the dress codes of school teachers in Japan. Japan has relaxed the dress norms of school teachers over the years from a traditional/formal dress to a casual dress. We intended to examine if this change has a significant effect on the self-perceived job performance among school teachers in Japan with the purpose of seeking recommendations for many Asian countries like Sri Lanka in which traditional dress norms applied to teachers have not changed much or at all. A combined qualitative and quantitative study was conducted with three chosen prefectural schools in the Saga city, Japan. The qualitative study was a thematic analysis based on in-depth interviews with five selected school teachers. The quantitative study (n=30) was a descriptive cross-sectional study. A culturally validated, self-administered questionnaire was used to collect data on socio- demographic characteristics and dress code from the study sample. Self-perceived comfort level and effect of the dress code on performing their jobs were assessed on a set of given scenarios related to their profession. The responses were recorded on a five-point Likert scale. The subjects aged from 26 to 61 years old (mean =44±8 years). Wilcoxon Signed- Rank test indicated that the self-reported mean comfort score for casual dress of 25.75 is significantly higher than that of Kimono (mean score =10.77, p=.000). Most respondents believed that their job performance could be affected by the way they dress. According to the in-depth interviews, it was revealed that, compared to the traditional Kimono, the casual dress is convenient and comfortable for the duties they perform. Thus, the study reveals that Japan sets an example for the countries that are more concerned about embodying cultural symbols in the appearance of teachers rather than their convenience and efficiency: Japan has been successful in relaxing dress norms while sustaining the quality of education and cultural values.

Japan has four distinct seasons each year, called Haru (spring), Natsu (summer), Aki (fall), and Fuyu (winter). Each season has a different natural state, has a different color, and a different atmosphere. For example, in autumn (aki), many leaves turn yellow or red, so this is a characteristic of autumn. This distinctive characteristic is embodied in a song entitled "Momiji". This study aims to analyze the meaning of the Momiji song lyrics and the hermeneutic reading of the Momiji song lyrics. Momiji song lyric data is taken from http://www.worldfolksong.com. This study uses an interpretive qualitative method. This research concludes that the cultural meaning that appears in these lyrics can be seen in the words "Susumoyou and Nishiki". Susumoyou is a pattern found on a kimono that has a plain top, so the pattern is seen as beautiful. Nishiki is silk fabrics that are woven beautifully using colorful threads.

Instagram shouwcases many pictures posted by many people every day. The purpose of this paper is to analyze characteristics of posted pictures regarding Kyoto sightseeing on Instagram. In particular, I used “Instagrammable” (Insuta-Bae) posted pictures and analyzed their characteristics. Furthermore, I analyzed the spots of Instagrammable and the posted pictures wearing a kimono which is one of the features of Kyoto sightseeing and one of Instagrammable. My mainty survey technique had two methods; checking posted pictures on Instagram and a questionnaire survey through Instagram’s direct-Message opinion. As a result, Instagrammable spots in Kyoto were colorful and famous spots accompanied by hashtags. At Instagrammable spots in famous sightseeing places, most posts were pictures of scenery alone. I also found that the pictures wearing a kimono had an effect on many people, and seeing those pictures of SNS triggered the desire to sightseeing wearing a kimono., 論文

The Victoria and Albert Museum’s ‘Kimono: Kyoto to Catwalk’ was an example of the very best kind of museum exhibition, bringing together a fabulous selection of objects and using them to tell a fas...

This article investigates the relationship between Europe and Japan at the end of the nineteenth century through the influence of the clothing from both countries. Paintings and portraits from that era are analysed. A typical European clothing piece of that period, the bustle, is proof that little by little the traditional Japanese kimono began to enter the fashion of England and France. In addition, the article also investigates how the Japanese kimono became a luxury item in Europe; however, it was used as a gown-style clothing for the home, losing its original function. At the same time, some kimono and furisode were trimmed and re-sewn as decorative parts of European bustles. The dresses that have survived to this day, most of them preserved in museums, are compared with the European paintings of that period to show how painters portrayed these changes in fashion and modified the use of Japanese garments through their interpretations in Europe.

桃山から江戸時代の女性が実際に着ていた小袖を，屛風に張り付けて保存した小袖屛風コレクションが国立民俗歴史博物館に数多く所蔵されている。本コレクションは美術品としての価値だけでなく，近世の染織や服飾の技術あるいは技能を知る上で重要な情報源となる貴重な資料である。さらに，他に類をみない小袖屛風の特異な形態は，近世の素材を活用した近代の造形としての側面を有していることから，屛風作成の動機や経緯だけでなく，造形の詳細を明らかにすることも望まれている。そこで，本報告では小袖屛風研究の一環として，小袖屛風を高精細カメラで撮影した画像から模様を検出する画像処理を提案し，得られた解析結果を報告する。本報告では，はじめに小袖屛風を概説し，小袖屛風から模様を検出することが画像処理として難しい技術課題であることを示す。その課題に対し，「小袖屛風を撮影した画像の中で出現頻度が低い部分」が模様であるとの処理方針を立て，模様を検出する画像処理を提案した。本方針に従い提案した画像処理を使い，小袖の模様やシミ，あるいは屛風の金箔の重なりや着物掛けの模様などが検出できたことを示す。特に，小袖の背景が金箔地であるか金砂子地であるかを，本画像処理で容易に区別ができたことを示す。小袖屛風102隻を撮影した画像に，提案した画像処理を使い区別したところ，全枚数の約85%が金箔であることが確認できた。さらに，少数派の金砂子地の小袖屛風では，本画像処理により金砂子地の劣化状態も確認できること，小袖屛風の金砂子地を数値化することで，時間的な経年劣化にともなう変化を客観的なデータとして記録できることも示している。, Kosode Byobu is not only artistic work, but also important historical source of dyeing and clothing technology. However, pattern detection from the Kosode Byobu by image processing has technically difficult problems. One of them is impossible to make universal definition for a pattern. For the problem, we introduce one assumption that patterns would be less number of co-occurrence pixels than background area. A pattern detection method for Kosode Byobu images is proposed based on the above assumption in this report. The experimental results show that a lots of patterns, spots on small stain and background gold leaf patterns of Kimono are detected by the method.There is two type of gold background that is gold leaf or gold sand for Kimono in Kosode Byobu. The background type can be easily distinguished by the proposed method. The method was applied to 102 images of Kosode Byobu, and it became clear that 85 percent of them were gold leaf background. The method was able to check the deterioration of the gold sand, too. Changes due to aging of Kosode Byobu can be recorded as objective data by digitizing the background of gold sand by the method.

This article maps the way second-hand kimono pass between different regimes of value as they move out of people’s homes and into second-hand shops. Joining recent calls for a greater anthropological focus on the processes of divestment and disposal, the author highlights how kimono move from the inalienable space of the domestic sphere and into the alienable domain of retail, and considers how their materiality – worn fabrics, dated aesthetics and musty smell – is an active agent in the transformation of value. When initially purchased, the symbolic and economic values of kimono are congruent. But with the passage of time and the deterioration of materials and fraying of kinship bonds, the value of kimono as treasured family possessions is diminished. Yet the very materiality that caused their loss of economic and symbolic value, their undesirable smells, colours and designs can cause them to enter a new regime of value as vintage fashion supported by fashion magazines. By rethinking Arjun Appadurai’s regimes of value with a greater focus on material properties and qualities, this article aims to link cycles of divestment and consumption practices with the generation, loss and re-creation of value.

This article investigates a fashion trend during the first half of the 2010’s for a garment that looked little like the indigenous kimono, was often designed and manufactured in centers other than Japan and was largely intended for consumption outside of Japan, but none-the-less was marketed as kimono. Rather than reflecting on the ways in which this trend could be viewed as another example of cultural appropriation in the fashion industry or demonstrative of the fashion industry’s attempt to maximize profit by flooding the market with endless variations of these garments that resonate rather tired Orientalized stereotypes, this article examines how the ways in which the kimono has been transformed as it moves through time and across borders resonate with this trend and seeks to better understand the political, social, cultural and economic drivers behind such transformations. It also brings to light new developments in this garment’s cultural meanings.

Fenomena acara televisi anime serta buku komik yang berasal dari jepang memberikan ruang bagi perkembangan budaya popular Jepang di Bali. Seni berbusana dalam budaya popular Jepang seperti Harajuku Style (yang terdiri dari Lolita, Visual Kei, Ganguro dan costum player) telah menggeser busana tradisional Jepang seperti kimono dan Yukata. Seorang costum player mengagumi karakter anime, manga atau cosplayer tertentu dan mencoba menghadirkan sosok karakter tersebut dalam beberpa pagelaran budaya Jepang yang dilaksanakan di kota Denpasar dan Kecamatan Badung. Adapun tujuan dari penelitian ini adalah untuk mengetahui panggung depan (front stage) dan panggung belakang (back stage) dari pada costum player tersebut. Penelitian ini merupakan penelitian kualitatif, dengan menggunakan teknik pengumpulan data berupa observasi, wawancara dan teknik dokumentasi. Dalam Hasil penelitian terungkap bahwa dalam perspektif dramaturgi yang menerangkan tentang keberadaan panggung dalam kehidupan manusia memberikan penjelasan bahwa antara panggung panggung depan (front stage) dan panggung belakang (back stage) seorang cosplayer merupakan dua sisi yang berbeda, bahkan bertolak belakang, namun tidak jarang memiliki kesamaan karakter. Penyajian gaya busana para custom player sangat beragam (disesuaikan dengan tokoh) serta penuh dengan kreatifitas sehingga selalu menjadi pusat perhatian dalam pagelaran budaya Jepang yang dilakukan di The Japan Pagelaran of Udayana (D’JaFU), CLAS: H Bali Sakura Matsuri.

It is no longer news that people of African descent were enslaved to the new world via: Caribbean, America and Europe for more than four hundred years. Rastafari movement has always engaged in the history of memory especially to reminiscence about slave experiences. Bob Marley songs are replete with such freedom chants. For example, Marley’s Redemption song and Buffalo Soldier are strong lyrics about the horrors of slavery. The cultural linkage between the Igbo of Southeastern Nigeria and Haiti in the Caribbean is examined, especially the nexus between Trans-Atlantic Slave Trade and the Haitian support to the Biafran struggle during the Nigerian Civil War 1967-1970 re-echoes the African slave narratives as Kimono recorded in his song.

The article addresses several issues concerning a Japanese fan and the kimonos found in the collection of Ivan Skušek from Slovene Ethnographic Museum. They belonged to Ivan Skušek’s Japanese wife Marija Tsuneko Skušek, and were after her death donated to the museum together with other objects from the Skušek collection. With analysing these items and researching the life of Marija Tsuneko Skušek the article discusses the roles these objects had in transmitting Japanese culture to Slovene audience with a focus on the Japanese dances as one way of transmission. During her life in Ljubljana, Marija Skušek in one way adopted to the Slovene society very quickly, but on the other hand she presented Japanese culture and her identity in several lectures along with Japanese songs, dances and a tea ceremony. With researching the roles and values of these object in the museum collection, the article also discusses the importance of understanding not only the physical appearance of the items and their life, but also the wider background of items and collection, focusing also on the owner of these items in the relation to the collector. It is also important to stress how these objects transformed from daily objects of use to rarefied art after they were handed over to the museum, and within this process their value also changed. Članek obravnava več vprašanj, ki se nanašajo na japonsko pahljačo in kimone iz zbirke Ivana Skuška v Slovenskem etnografskem muzeju. Pripadali so ženi Ivana Skuška, Mariji Tsuneko Skušek, in so bili po njeni smrti predani muzeju skupaj s celotno zbirko Ivana Skuška. Članek z analizo teh predmetov in raziskovanjem življenja Marije Tsuneko Skušek razpravlja o vlogi, ki so jo imeli ti predmeti pri posredovanju japonske kulture slovenskemu občinstvu, s poudarkom na japonskih plesih kot enem od načinov prenosa. Marija Skušek je bila v Ljubljani zelo hitro sprejeta v slovensko družbo, hkrati je tudi pogosto predstavljala japonsko kulturo, in sicer z izvajanjem predavanj ter japonskih pesmi, plesov in čajnega obreda. Z raziskovanjem vlog in vrednosti teh predmetov v muzejski zbirki članek razpravlja tudi o pomenu razumevanja ne samo fizičnega videza predmetov in njihovega življenja, temveč tudi širšega ozadja predmetov in zbirke, pri čemer se osredotoča na lastnico teh predmetov v odnosu do ustvarjalca zbirke. Pomembno je poudariti, kako so se ti predmeti po predaji muzeju iz vsakdanjih uporabnih predmetov spremenili v redko umetnost, s čimer se je spremenila tudi njihova vrednost.

The paper analyzes how the concept of presence is put into play in connection to disappearance, contemporary popular media technology and objects in the 2014 production of Vocaloid Opera Aoi, composed by Hiroshi Tamawari. In the traditional noh theatre version of the famous story, the character Aoi does not appear “in person,” she is represented by a kimono. In the 2014 production the modified story is performed with bunraku puppets and sung by a Vocaloid singer, a software. By analyzing this, I elaborate on the connection between the recent studies on object dramaturgy and the questions of nonhuman (Bennett, Eckersall), and the nonreflective position rooted in animism from the fan base of pop culture that attributes personality and emotions to their respective robot/android/software idol. I examine the latest performative events in contemporary Japanese theatre that involve both human and non-human actors/agents (animals, objects, androids, vocaloids): the corporeality of the organic and inorganic Other, focusing on how the presence of the organic and non-organic nonhuman appears within the interplays of representation, how it relates to the layers of empathy, responsibility and consent, in the frame of contemporary Japanese popular culture.

A spin-off event building on the global focus on the 2020 Tokyo Olympic Games was the production of 213 kimonos as part of Imagine One World’s Kimono Project. Problematically, the kimono produced for Ireland features both the word Guinness and the associated harp symbol. This serves to reinforce and legitimise links between alcohol, sport, culture, and Irish identity. As an artistic work, rather than paid advertising or sponsorship, the Kimono would probably not be covered by alcohol advertising control legislation in most countries. National alcohol control advocacy groups should develop materials and linkages with national arts and cultural representative groups to ensure their health message is widely heard. yes

Darba tēma ir „Tradicionālais apģērbs Japānā: Vēsture un mūsdienu interpretācija”. Tēma ir izvēlēta tāpēc, ka apģērbs ir jebkuras kultūras ļoti būtiska sastāvdaļa, kas atspoguļo gan konkrētas tautas vēsturisko attīstību vispārīgi, gan liecina par vērtībām, ieražām un ikdienas dzīvesveidu, kultūru un filozofiju. Ir būtiski mūsdienās šīs vēstures liecības apzināt un saglabāt, kā arī analizēt no dažādiem skatpunktiem. Kimono aktualitāte pēdējā gadsimta gaitā ir mazinājusies un to vairs nenēsā kā ikdienas apģērbu, bet mūsdienās tas vēl joprojām īpaši populārs ir svētku un svarīgu notikumu laikā. Autores darba novitāte ir saistīta ar praktisko izpēti par šīs tautastērpa ietekmi mūsdienu Japāņu apģērba modē, kādi ir vērojami elementi no kimono attīstības gaitas, kāds ir modes ekspertu viedoklis šajā jautājumā. Darba mērķi jeb uzdevumi: 1.Raksturot kimono vēsturisko attīstību pa nosacītiem posmiem. 2.Analizēt kultūras ietekmi uz Japāņu nacionālo apģērbu. 3.Apkopot praktiskajā pētījumā iegūtos datus, izdarīt secinājumus. Secināms, ka kopumā japāņu mode ir ļoti mainījusies un attīstījusies. Lai arī kimono izcelsme ir cieši saistīta ar kultūru, reliģiju un senām japāņu tradīcijām, mūsdienu laikmets ir ieviesis izmaiņas gan auduma izvēlē, gan krāsās un detaļu salikumos. No iepriekš aktuāliem aspektiem mūsdienu kimono aktuāli ir audums – kas joprojām bieži ir zīds, lai gan ir tendences pāriet uz citiem audumiem, īpaši kokvilnu. Ir atšķirības sieviešu un vīriešu kimono. Mūsdienās var nopirkt arī unisex veida kimono, kas tiek ieteikti dažādām garīgām praksēm. Eksperti uzskata, ka mūsdienās kimono garums vairs nav tik aktuāls. Darba struktūra ir sadalīta 3 nodaļās – divas analītiskas daļas ar vēsturiskās informācijas aprakstu apkopotā veidā, sasaisti ar kultūru, politiku un reliģiju., The theme of the work is “Traditional clothing in Japan: History and contemporary interpretation”. The theme has been chosen because clothing is a very important part of any culture, reflecting both the historical development of a particular nation in general and the values, customs and everyday life, culture and philosophy. It is important today to identify and preserve the evidence of this history, as well as to analyze it from different points of view. The topicality of the kimono has diminished over the last century and is no longer worn as a casual wear, but today it is still especially popular during holidays and important events. The novelty of the author's work is related to a practical study of the impact of this national costume in modern Japanese clothing fashion, what are the elements of the development of kimono, what is the opinion of fashion experts on this issue. Aims or tasks of the work: 1. To characterize the historical development of kimonos in conditional stages. 2. To analyze the influence of culture on Japanese national clothing. 3. Summarize the data obtained in the practical research, make conclusions. It can be concluded that, in general, Japanese fashion has changed and developed a lot. Although the origin of the kimono is closely linked to culture, religion and ancient Japanese traditions, the modern age has introduced changes in the choice of fabric, as well as in the colors and combinations of details. From the previously relevant aspects of modern kimono topical is the fabric - which is still often silk, although there is a tendency to switch to other fabrics, especially cotton. There are differences between women's and men's kimonos. Nowadays, you can also buy unisex type kimonos, which are recommended for various mental practices. Experts believe that the length of the kimono is less relevant today. The structure of the work is divided into 3 chapters - two analytical parts with a description of historical information in an aggregated form, links with culture, politics and religion.

Dissertação de mestrado em Tradução e Comunicação Multilíngue, A presente dissertação foi elaborada no âmbito do projeto final do Mestrado em Tradução e Comunicação Multilingue da Universidade do Minho, para o qual se realizou a tradução, para português de um excerto da obra Kimono No Jiten - Dentō Wo Shiri, Imayō Ni Kiru (A enciclopédia do quimono – Conhecer a tradição, vestir ao estilo moderno) por Ōkubo Nobuko, sobre o quimono, o traje tradicional japonês que é vestido em inúmeras ocasiões hoje em dia, e ainda é visto como um objeto de moda. Tendo uma forte conexão histórica e cultural com o seu país de origem, o quimono proporciona um entendimento sobre a cultura e sociedade japonesa. Esta investigação está dividida em duas partes: a primeira sendo a análise da tradução de um texto de conteúdo cultural exclusivo da língua de origem, o japonês, e a segunda que visa a difusão do tema da tradução para os leitores portugueses. Este trabalho tem, portanto, como base a tradução realizada, sem a qual a análise dos problemas mais comuns da tradução japonês-português não teria sido possível. A partir destes problemas encontrados durante o percurso da tradução, e da busca das suas respetivas soluções que procuram aproximar o quimono e a cultura japonesa que lhe é adjacente, dos leitores portugueses, torna-se possível compreender as diferenças entre as línguas de trabalho e a distância entre as suas culturas, sociedades e costumes. A segunda parte sintetiza a informação principal extraída da tradução e da pesquisa efetuada sobre o quimono, tema do livro do qual foram selecionados excertos para traduzir. Nesta parte não só é apresentado o conteúdo básico sobre este tipo de vestuário, com também são disponibilizadas instruções sobre como o vestir. Aqui, procura-se dar a conhecer o quimono aos leitores luso falantes, e também possibilitar e facilitar a aquisição e o vestir do quimono em Portugal, onde este não é produzido., This thesis was elaborated in the framework of the final project for the Master in Translation and Multilingual Communication at University of Minho. For this project, part of a Japanese book, Kimono No Jiten - Dentō Wo Shiri, Imayō Ni Kiru (Kimono encyclopedia – To know the tradition and wear in the modern style) by Ōkubo Nobuko about the kimono, the Japanese traditional costume that is worn on countless occasions nowadays and also seen as a fashion object was translated to Portuguese. Having a strong historical and cultural connection with its country of origin, the kimono provides an understanding of Japanese culture and society. This investigation is divided into two parts: the first being the analysis of the translation of a text with a cultural content exclusive to the source language, Japanese, and the second which aims to disseminate the topic of this translation to Portuguese readers. This work is, therefore, based on the translation, without which the analysis of the most common problems of the Japanese Portuguese translation would not have been possible. Through the problems encountered during the course of the translation, and from the search for their respective solutions that seek to bring the kimono and the Japanese culture close to Portuguese readers, it becomes possible to understand the differences between the languages of work and the distance between their cultures, societies and manners. The second part summarizes the main information extracted from the translation and the research carried out on the theme of the book that was used as translation material, the kimono. In this part, we provide not only the basic content about this type of clothing is presented, but also instructions on how to dress it. Here, the aim is to make the kimono known to Portuguese-speaking readers, and also to enable and facilitate the acquisition and act of dressing the kimono in Portugal, it is not produced., 本稿は、ミーニョ大学修士課程『翻訳と多言語コミュニケーション』修了課題として執筆したものである。この課題では、現在もなお、流行りの衣装としてだけではなく、実に様々な場面で登場する日本の伝統的な衣装である着物について、大久保信子氏が着物について著した『着物の事典・伝統を知り、今様に着る』の一部を抜粋して、ポルトガル語に翻訳している。着物は、その本拠地である日本と歴史的・文化的に強いつながりを有することに鑑みれば、日本の文化や社会に関する一つの理解を提供するものである。 本調査研究は2つに分かれている。第1部は、もともとの言語である日本語での、もっぱら文化的内容についてのテキストの翻訳分析であり、第2部は、ポルトガルの読み手に翻訳という主題を広く理解してもらうことを目的としている。 それゆえ本稿は、実際に筆者がおこなった翻訳を基にしているが、それがなければ、日本語・ポルトガル語翻訳において最も共通して見られる問題の分析は叶わなかった。翻訳の過程で遭遇した問題と、それらに対して、着物とそれに伴う日本文化をポルトガルの読み手が身近に感じられるような対処法を探求することから発して、専門的な場面での両言語の違いとその文化、社会、習慣の間に存在する隔たりを理解することが可能になる。 第2部では、翻訳から抜き出した主な情報と、部分的に翻訳の対象とした書籍のテーマである着物に関する調査研究の要約である。この箇所では、この種の衣装に関する基本的な内容の紹介にとどまらず、その着付け方法についての説明も示してある。ここでは、ポルトガル読み手の読者に着物について伝えることのみならず、ポルトガルでは仕立てられていない着物を手にし、身につけることを可能にし、また容易にすることをめざしている。

Constantly decreasing costs of high-throughput profiling on many molecular levels generate vast amounts of multi-omics data. Studying one biomedical question on two or more omic levels provides deeper insights into underlying molecular processes or disease pathophysiology. For the majority of multi-omics data projects, the data analysis is performed level-wise, followed by a combined interpretation of results. Hence the full potential of integrated data analysis is not leveraged yet, presumably due to the complexity of the data and the lacking toolsets. We propose a versatile approach, to perform a multi-level fully integrated analysis: The Knowledge guIded Multi-Omics Network inference approach, KiMONo (https://github.com/cellmapslab/kimono). KiMONo performs network inference by using statistical models for combining omics measurements coupled to a powerful knowledge-guided strategy exploiting prior information from existing biological sources. Within the resulting multimodal network, nodes represent features of all input types e.g. variants and genes while edges refer to knowledge-supported and statistically derived associations. In a comprehensive evaluation, we show that our method is robust to noise and exemplify the general applicability to the full spectrum of multi-omics data, demonstrating that KiMONo is a powerful approach towards leveraging the full potential of data sets for detecting biomarker candidates.

Lipstick is much more than a make-up product that colors the lips; it is a powerful tool of seduction that has been used since ancient Mesopotamia and Egypt. Lipstick on His Collar celebrates a sense of powerful femininity through the imagery of lipstick. The textile design explores the theme of camouflage through both the social camouflage of wanting to be accepted by society and the visual blending of colors. Block printing and silk painting techniques were used for surface designs. The garment is designed to fall between the constraints of lingerie and ready-to-wear. The patterns were created primarily using Optitex PDS. The detailed trims pull from the past, while the flirty silhouette and pattern are more youthful and modern. This vintage/modern dichotomy is also reflected across the two garments; the floor length kimono is rooted in the past with modernization in the silhouette while the romper is fresh with vintage-y details.

The Boro Kimono is designed to showcase the concept of zero waste fashion, encompassing the elements of historical Japanese Boro mending and is elevated with unique transformable elements. The cohesiveness of this design is conveyed through the use of 100% recycled denim and cotton materials throughout the entirety of this garment. The patchwork denim outer jacket and patchwork cotton lining bring together the traditional Japanese influences and techniques, while the addition of elements such as silver safety pins and grommets add a level of modernity and innovation to the design. Sustainable fashion and Boro mending centralize around the concept of repurposing old materials while bringing a new garment to life containing history and intricate craftsmanship, and this denim kimono showcases all of these elements.

Using post-postmodern theories of altermodernism and performatism, a framework for creating a garment that transcends cultural codes and discards traditional categories such as sex and gender is developed. A jacket design using this framework is created.

Despite efforts of law enforcement, tech companies and other stakeholders, the illegal online trade in wildlife products continues to increase. A particular problem in tackling this online illicit trade is the misdescription of item materials, making the search for internationally CITES regulated materials, such as elephant ivory, challenging. We investigated the issue of misrepresentation of materials in item descriptions by studying the trade in netsuke, carved objects, attached to the cord of the kimono, originally from 17th century Japan, that are often made of elephant ivory. The study, conducted on the online marketplace, eBay, in the United Kingdom, shows that elephant ivory is still sold in spite of eBay’s policy on ivory. While the netsuke trade is small, elephant ivory was most frequently described as cow bone. Our results also indicated that, among the items identified as elephant ivory, only a small fraction were actually detected and removed by eBay. To discourage the sale of ivory items, eBay should increase its efforts to implement its policy banning the trade in ivory. Further, eBay could consider additional restrictions on the range of words that can be used by the vendors in all of the item listing fields.

Tema je ovog diplomskog rada japanska povijest, tradicija, kultura i običaji koji su, unatoč otvaranju prema suvremenim trendovima, zadržali izvorne elemente i poslužili kao inspiracija za kolekciju. Između tradicionalnih vrijednosti i običaja Japanaca prepoznatljivih i u njihovom odijevanju koje uključuje stroge linije, geometričnost i formu, japanska povijest obiluje elementima prikrivene seksualnosti, fetišizma i dekadencije koja je u novije vrijeme sve prepoznatljivija i otvorenija u ponašanju i odijevanju Japanaca., The topic of this thesis involves Japanese history, tradition, culture and customs that have kept their original elements and served as an inspiration for the collection despite becoming open to contemporary trends. Among traditional Japanese values and traditions recognizable in their clothing that includes strict lines, geometricity and form, Japanese history includes abundant elements of hidden sexuality, fetishism and decadence, which has recently become more recognizable and open in the behaviour and clothing of the Japanese.

Resumen Dado el creciente interés por la cultura japonesa en la Argentina, en el presente ensayo se intenta analizar el vínculo entre los conceptos de instante, vacío, ambigüedad y vulnerabilidad, para relacionarlos con el diseño, el arte, la estética, la filosofía Zen y la naturaleza. El kimono, la puerta característica denominada shōji, sus marcos de madera y papel washi, la poesía Haiku, el blanco y las sombras, son algunos de los ejemplos que se abordan para explicarlo. Resulta esencial además, comprender que también el lenguaje japonés, está indisolublemente ligado al diseño y a su filosofía. Para un japonés hablar y escuchar es un verdadero arte. Es por ello que el escrito aborda la cuestión a partir, no solo de los textos de Kenya Hara, Junichirō Tanizaki y de Jorge Luis Borges, sino que además incluye -necesariamente- un diálogo entre la autora del presente artículo y la filósofa nipona Mami Goda, residente en la Argentina desde hace casi una década. Abstract Given the growing interest in Japanese culture in Argentina, this essay attempts to analyze the link between the concepts of moment, emptiness, ambiguity and vulnerability, to relate them to design, art, aesthetics, Zen philosophy and nature. The kimono, the characteristic door called shōji, its wooden frames and washi paper, Haiku poetry, white and shadows, are some of the examples that are addressed to explain it. It is also essential to understand that Japanese language is also inextricably linked to design and its philosophy. In Japanese culture, speaking and listening is a true art and the reason why this paper addresses the issue from not only the texts of Kenya Hara, Junichirō Tanizaki and Jorge Luis Borges, but also includes -necessarily- a dialogue between the author of this article and the Japanese philosopher Mami Goda, resident in Argentina for almost a decade. Resumo Dado o crescente interesse pela cultura japonesa na Argentina, no presente ensaio tenta analisar a ligação entre os conceitos de instante, vazio, ambiguidade e vulnerabilidade, relacionálos com design, arte, estética, filosofia zen e natureza. O quimono, a porta característica chamada shōji, seus quadros de madeira e papel washi, a poesia Haiku, branco e sombras, são alguns dos exemplos que são abordamse para explicálo. Também é essencial entender que a linguagem japonês está intrinsecamente ligado ao design e à sua filosofia. Para um japonês falar e Ouvir é uma verdadeira arte. É por isso que o resumo aborda a questão não apenas dos textos do Quênia Hara, Junichirō Tanizaki e Jorge Luis Borges, mas também inclui -necessariamente- um diálogo entre o autor deste artigo e o filósofo nipona Mami Goda, residente na Argentina há quase uma década.

Ecological and sustainable ideas have inherently been present in kimono culture within the Japanese lifestyle (Okazaki, 2015). The individual households still have large quantities of high-quality sit kimonos: these have sold at second-hand shops (Valk, 2018). Today, old kimonos and obi sashes are used to reinvent stylish garments and accessaries (Assmann, 2008), which idea is called up cycling. The purpose of this study is to examine the kimono epicycle practice in the young generation in Japan. UNESCO's sustainable development is used as a theoretical framework. The participants were 155 college students in a national women's university in Japan. One of the findings showed that students were less likely to epicycle kimonos than western garments. The results imply that various students encounter technical challenges remaking into garments. Nevertheless, upcycling kimonos could become the next leading sustainable development among Japanese people since they characteristically have a recycle-oriented culture.