Divorce and the Romance of Independence in Contemporary Japan

Total Page:16

File Type:pdf, Size:1020Kb

Divorce and the Romance of Independence in Contemporary Japan Intimate Disconnections Intimate Disconnections Divorce and the Romance of Independence in Contemporary Japan allison alexy The University of Chicago Press Chicago and London This book is freely available in an open access digital edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Michigan. Learn more at the TOME website: openmonographs.org. This work is being made available under the Creative Commons Attribution-Non- Commercial-No Derivatives 4.0 International License (CC BY-NC-ND 4.0). To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/ The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2020 by The University of Chicago All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. For more information, contact the University of Chicago Press, 1427 E. 60th St., Chicago, IL 60637. Published 2020 Printed in the United States of America 29 28 27 26 25 24 23 22 21 20 1 2 3 4 5 ISBN-13 : 978- 0- 226- 69965- 3 (cloth) ISBN-13 : 978- 0- 226- 70095- 3 (paper) ISBN-13 : 978- 0- 226- 70100- 4 (e- book) DOI: https://doi.org/10.7208/chicago/9780226701004.001.0001 Library of Congress Cataloging-in-Publication Data Names: Alexy, Allison, author. Title: Intimate disconnections : divorce and the romance of independence in contemporary Japan / Allison Alexy. Description: Chicago : University of Chicago Press, 2020. | Includes bibliographical references and index. Identifiers: lccn 2019045142 | isbn 9780226699653 (cloth) | isbn 9780226700953 (paperback) | isbn 9780226701004 (ebook) Subjects: lcsh: Divorce—Japan. | Marriage—Japan. Classification: lcc hq937.a549 2020 | ddc 306.89—dc23 LC record available at https://lccn.loc.gov/2019045142 ♾ This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). For my mother, Alice Gorham Contents A Note on Names ix Introduction: Anxiety and Freedom 1 part i The Beginning of the End 1 Japan’s Intimate Political Economy 35 2 Two Tips to Avoid Divorce 60 part ii Legal Dissolutions 3 Constructing Mutuality 85 4 Families Together and Apart 108 part iii Living as an X 5 The Costs of Divorce 135 6 Bonds of Disconnection 155 Conclusion: Endings and New Beginnings 177 Acknowledgments 183 Appendix A: Profile Summaries 187 Appendix B: All Quotes in Original Japanese 191 Notes 199 Bibliography 215 Index 241 A Note on Names All names and identifying details included in this book have been made pseudonymous and have been written in the Japanese order with family names first. In the Japanese language, there are many degrees of familiarity demonstrated by the name you use for someone. Adding - sama to a name, for example, demonstrates your belief that the other person deserves a lot of respect. To a lesser degree, adding -san is often the polite thing to do and is a respectful way to refer to people with whom you have a professional rela- tionship. Usually, - san is added to a person’s family name. Although calling someone Tanaka- san could be glossed as Mr. Tanaka, Mrs. Tanaka, or Ms. Ta- naka, it does not seem nearly as distancing in Japanese as it does in English, and instead just sounds polite. In more intimate relationships, names often get truncated— Makiko becoming Maki or Ma, for example— and gendered suffixes can be added. Thus if I am very close friends with a woman named Tanaka Makiko, I might call her Maki- chan or Ma- chan, whereas a stranger would use Tanaka- san or maybe Tanaka- sama. Following these conventions, although I have changed all names in the book, I represent different kinds of names as a way giving the reader a sense of relationships. Each name is a negotiation that demonstrates the quality of our relationship, and I have maintained these variations in the pseudonyms I am using. Thus, I refer to some people using -san, some by first names, some by nicknames. There is nothing systematic, but the complexity reflects the reality of our relationships. Many people referred to me as Ally, Ally-chan, or Ally- san, which conveniently capture the sounds of both my first and last names. introduction Anxiety and Freedom In February 2006, I stepped into an elevator with a middle-aged Japanese man. I had never met him before and we had no connection but, presumably noticing that I did not look Japanese, he struck up a conversation by politely asking why I was in Tokyo. When I explained I was researching divorce and contemporary family change, he responded with a bit of nervous laughter and then said, “All the men I know are scared. We’re all scared.” With little prompt- ing from me, this man volunteered his fear of divorce or, more specifically, his anxiety that his wife would divorce him against his will. He shared these very personal worries even before he introduced himself. Yamaguchi- san’s will- ingness to discuss these fears with a stranger was matched by his assuredness that he wasn’t the only one feeling anxious. As scared as Yamaguchi-san was of getting divorced, he was sure other men were in similar positions because divorce was a threat hanging over many of them. As we walked to the nearest train station, he elaborated on his reasons for worrying that his wife might leave him, including their separate hobbies and friend groups, as well as his career that kept him frequently out of their home. Those reasons were no less real for being so common, but divorce was also in the air. A recent legal change stood to provide divorcing wives more financial stability than ever granted before. This seismic shift had made Yamaguchi-san, and other married men like him, suddenly more anxious that their wives would abandon them. At the same time, other people felt distinctly different emotions in imagin- ing divorce. A middle- aged woman, Nagako- san giggled as she told me about her plans to divorce her husband. She was gleeful at the thought. As a house- wife in her midfifties who had supported her husband’s career for more than twenty years, Nagako- san embodied stereotypes of gendered labor division in Japanese postwar society. She started narrating a litany of her husband’s 2 introduction serious faults a few minutes after I met her. She had been unhappy in the mar- riage for years but finding email evidence that he had been having a long- term affair was the final straw— or almost the final straw. At our first meeting, in a support group organized around family issues, Nagako-san had not yet made legal moves to divorce her husband but was visibly enjoying her plans to do so. In contrast to Yamaguchi-san, for whom divorce portended only looming solitude, Nagako- san veritably exploded with joy imagining all the possibili- ties divorce could manifest for her. As she described it, divorce symbolized a vital step toward freedom and happiness. Although divorce has been legal in Japan for centuries, and the divorce rate has risen unsteadily throughout the postwar period, early in the twenty- first century divorce in Japan rapidly became a newly visible and viable op- tion in ways it had never been before. People who had never before thought seriously about divorce were fantasizing about leaving their spouses. Some moved past fantasizing to explicit planning and took concrete steps to end marriages. Others were anxious they might get suddenly abandoned. Such fears and fantasies were reflected in popular media, which were awash in dis- course about divorce. Television dramas that centered around divorce gar- nered surprisingly high ratings especially with older viewers, and newspapers and weekly magazines published “how to” guides about requesting divorces or navigating the legal process, as well as “how not to” advice about improv- ing a marriage (Saitō 2005). Daily talk shows offered quizzes to measure mari- tal strength and often tailored answers by gender and age, suggesting certain actions, for instance, that older men might take to improve their marriages. Guidebooks gave generalized advice, such as in Divorce Makes Some People Happy but Others Miserable and Definitely No Regrets: The Easy Guide to Di­ vorce (Yanagihara and Ōtsuka 2013; Okano 2001). But publishers also targeted smaller segments of readership with advice books titled Parents and Children after Divorce, My Husband is a Stranger, and The Best Divorce Strategies for Men (Himuro 2005; Okano 2008; Tsuyuki 2010). The government and local municipalities published new websites advising men and, especially, women about their legal rights after divorce. People who sought therapeutic counsel- ing found many more options than had been available ten or twenty years before, and anyone interested could now easily find on- or offline counseling sessions, support groups, or therapists. With all of this activity, divorce had become a more viable option in mainstream consciousness, and many people were thinking, planning, worrying, and fantasizing about it. Although it was slightly unusual for Yamaguchi- san to strike up a conversation about divorce with a stranger in an elevator, that kind of spontaneous attention to the topic was not as extreme as it might seem, given that debating the risks and hopes anxiety and freedom 3 surrounding divorce had become a mainstay of popular, private, and govern- mental discourse. This book examines divorce as a moment of personal and familial transi- tion, situated within a broader context in which previous norms, social con- tracts, and implicit guarantees are no longer secure but might nonetheless re- main attractive to some people.
Recommended publications
  • 新国立劇場バレエ団 the National Ballet of Japan
    公益財団法人 新国立劇場運営財団 01|公演の記録 003 Record of Performances 02|研修事業 096 Young Artists Training Programme 03|普及活動及び観客サービス活動の実施 104 Outreach and Customer Service 04|劇場施設の芸術団体等への提供 108 Theatre Rental to Performing Arts Group 05|現代舞台芸術に関する調査研究、 資料の収集及び活用 110 Research and Study of the Contemporary Performing Arts, Collection and Use of Materials 06|国際交流事業 113 International Affairs 07|民間からの支援協力 114 Financial Support from Private Sector 08|決算 120 Statement of Accounts 09|施設の概要 124 Facilities 10|組織・役員名簿 125 Organization and Executives List 平成29年度=平成29年4月〜平成30年3月(Fiscal 2017 = April 2017 - March 2018) CHAPTER 01|公演の記録 Record of Performances 公益財団法人 新国立劇場運営財団 OZAKI Motoki 理事長 尾﨑元規 President ❶ 公演概況 Outline of Productions New National Theatre Foundation 公演回数 ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ 279 Performances 1997.10-2018.3 5,542 新国立劇場は、オペラ、バレエ、ダンス、演劇という現代舞台 As Japan’s only National Theatre dedicated to producing 芸術のためのわが国唯一の国立劇場として、優れた舞台芸術の contemporary Performing Arts of Opera, Ballet, Dance and Drama, 創造、振興、普及に努め、日本の文化向上に寄与し、心豊かで活 the New National Theatre Tokyo creates, develops and promotes high quality performances, in order to elevate the standard of 力ある社会の持続的な発展に貢献することを使命としていま culture in Japan and to play a part in the continuous development ‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥‥ す。平成29年度は開場20周年ということで、2017/2018シー of an emotionally generous and vibrant society. With much 公演数 33 ズン全体を20周年記念公演とするなど、各部門ともに充実し appreciation, Fiscal Year 2017 turned out to be a fruitful year in Productions た公演成果を収めることができました。 all its genres; presenting all productions in 2017/2018 Season to 1997.10-2018.3 669 新国立劇場では三つの運営基本方針を掲げています。その commemorate our 20th Anniversary. There are three principles as to how we run our theatre. The 一つ目は、「世界水準の舞台をつくる」ことです。本年度におけ first is “To Create World-Class Performances”. As with Opera るオペラ部門では、『ニーベルングの指環』の『ジークフリート』 productions this year, by presenting “Siegfried” and “Twilight of the 『神々の黄昏』が上演され、飯守監督の指揮のもと、素晴らしい Gods” under the baton of the Artistic Director IIMORI completed 出来栄えで4部作が締めくくられました。また、もう一つの新 ‘The Ring Cycle’ and won critical acclaim.
    [Show full text]
  • ©Copyright 2012 Sachi Schmidt-Hori
    1 ©Copyright 2012 Sachi Schmidt-Hori 2 Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Paul S. Atkins, Chair Davinder L. Bhowmik Tani E. Barlow Kyoko Tokuno Program Authorized to Offer Degree: Department of Asian Languages and Literature 3 University of Washington Abstract Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori Chair of the Supervisory Committee: Associate Professor Paul S. Atkins Asian Languages and Literature This study is an attempt to elucidate the complex interrelationship between gender, sexuality, desire, and power by examining how premodern Japanese texts represent the gender-based ideals of women and men at the peak and margins of the social hierarchy. To do so, it will survey a wide range of premodern texts and contrast the literary depictions of two female groups (imperial priestesses and courtesans), two male groups (elite warriors and outlaws), and two groups of Buddhist priests (elite and “corrupt” monks). In my view, each of the pairs signifies hyperfemininities, hypermasculinities, and hypersexualities of elite and outcast classes, respectively. The ultimate goal of 4 this study is to contribute to the current body of research in classical Japanese literature by offering new readings of some of the well-known texts featuring the above-mentioned six groups. My interpretations of the previously studied texts will be based on an argument that, in a cultural/literary context wherein defiance merges with sexual attractiveness and/or sexual freedom, one’s outcast status transforms into a source of significant power.
    [Show full text]
  • Our Little Sister a Film by Hirokazu Kore-Eda
    Presents Our Little Sister A film by Hirokazu Kore-eda (126 min., Japan, 2015) Language: Japanese Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia 1 OUR LITTLE SISTER Starring Sachi Koda HARUKA AYASE Yoshino Koda MASAMI NAGASAWA Chika Koda KAHO Suzu Asano SUZU HIROSE Filmmakers Directed/Written/Edited by HIROKAZU KORE-EDA Original Graphic Novel by AKIMI YOSHIDA “Umimachi Diary” Published by Shogakukan Inc. Chief Executive Producers TAKASHI ISHIHARA SHINICHIRO TSUDUKI MINAMI ICHIKAWA TOM YODA Executive Producers YASUSHI OGAWA MAKOTO OMURA TAICHI UEDA SATOMI ODAKE Producers KAORU MATSUZAKI HIJIRI TAGUCHI Associate Producer MEGUMI NISHIHARA Director of Photography MIKIYA TAKIMOTO Music YOKO KANNO Sound YUTAKA TSURUMAKI Production Designer KEIKO MITSUMATSU Lighting NORIKIYO FUJII SYNOPSIS “Our Little Sister”, directed by internationally acclaimed director Hirozaku Kore-eda, is adapted from Yoshida Akimi’s best-selling graphic novel “Umimachi Diary”. Three twenty-something sisters – Sachi, Yoshino and Chika – live together in a large old house in the seaside town of Kamakura. When they learn of their estranged father’s death, they decide to travel to the countryside for his funeral. There they meet their shy teenage half-sister Suzu for the first time and, bonding quickly, invite her to live with them. Suzu eagerly agrees, and begins a new life with her older sisters. Amidst the many and varied colors of Kamakura’s four seasons, the four sisters cause each other emotional anguish, and support each other through life’s trials, developing a very special bond in the process.
    [Show full text]
  • Signs of Being •• a Chamoru Spiritual Journey
    SIGNS OF BEING •• A CHAMORU SPIRITUAL JOURNEY PLAN 8 PAPER Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in Pacific Islands Studies in the Graduate School of the University of Hawai'i By Cecilia C. T. Perez, B.A. ****** University of Hawai'j 1997 Master Degree Committee: Approved by Dr. Robert C. Kiste, Chair Dr. Karen M. Peacock Dr. Geoffrey M. White SIGNS OF BEING -- A CHAMORU SPIRITUAL JOURNEY PLAN B PAPER Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in Pacific Islands Studies in the Graduate School of the University of Hawai'i By Cecilia C. T. Perez, B.A. ** * •• * University of Hawai'i 1997 Master Degree Committee: Approved by Dr. Robert C. Kiste, Chair Dr. Karen M. Peacock Dr. Geoffrey M. White Contents Preface Situating I Manii.amoru in a Pacific Seascape iv Introduction Situating Myself in the Chamoru Mindscape vi Hinasso Reflection 1 Look At It This Way 2 As I Tum the Pages 4 Chamoru Renaissance 9 Cut Green With Envy 11 Bare-Breasted Woman 13 Finakmata Awakening 16 Kafe Mulinu 17 Strange Surroundings 21 Signs of Being -- A Chamoru Spiritual Journey 24 I Fina'pos Familiar Surroundings 28 Saint Turtle 29 The Road Home 35 View of Tumon Bay 42 Invisible Ceremony 47 Lala'chok Taking Root 50 Bokongngo' 51 Sky Cathedral 61 Seeing Through the Rain 65 I Sinedda Finding Voice 80 Steadfast Woman 81 Gi Na'an I SAina 84 Inside Out 87 Preface Situating I Manii.amoru in the Pacific Seascape The indigenous people of the Chamoru archipelago in the Northwest Pacific are known in their language as I Manii.amoru, those who are Chamoru.
    [Show full text]
  • 2015 WORLD CINEMA Duke of York’S the Brighton Film Festival 13-29 Nov 2015 OPENING NIGHT Fri 13 Nov / 8:30Pm
    The Brighton Film Festival ADVENTURES IN 13-29 NOV 2015 WORLD CINEMA www.cine-city.co.uk Duke OF YORK’S The Brighton Film Festival 13-29 Nov 2015 OPENING NIGHT FRI 13 NOV / 8:30PM DIR: TODD Haynes. ADVENTURES IN WITH: Cate BLanchett, ROOney MARA, KYLE CHANDLER. WORLD CINEMA UK / USA 2015. 118 MINS. A stirring and stunningly realised adaptation of Patricia Highsmith’s TH novel The Price of Salt, set in Welcome TO THE 13 EDITION OF CINECITY 1950s’ New York. Therese (Rooney Mara) is an aspiring photographer, working in a Manhattan department CINECITY presents the very best store where she first encounters (15) in world cinema with a global mix of Appropriately for our 13th edition, a strong coming-of- Ben Wheatley’s High Rise – both based on acclaimed Carol (Cate Blanchett), an alluring age theme runs right through this year’s selection with novels and with long and complicated paths to the older woman whose marriage is premieres and previews, treasures many titles featuring a young protagonist at their heart, screen - we have produced an updated version of ‘Not breaking down. There is an Carol from the archive, artists’ cinema, navigating their way in the world. Showing at this Cinema’, our programme of unrealised immediate connection between a showcase of films made in this British Cinema, which will be available at venues them but as their connection city and a programme of talks and Highlighted by the screenings of throughout the festival. deepens, a spiralling emotional The Forbidden Room, Hitchcock / intensity has seismic and far-reaching education events.
    [Show full text]
  • UNA PELÍCULA DE Kore-EDA Hirokazu
    UMIMACHI DIARY FUJI TELEVISION NETWORK INC., SHOGAKUKAN INC., TOHO CO., LTD. Y GAGA CORPORATION presenta “OUR LITTLE SISTER” UNA pelÍCULA DE KORE-EDA HIROKAZU CON AYASE HARUKA NAGASAWA MasamI KAHO HIROSE SUZU MÚsica KANNO YOKO director de fotografÍA TAKIMOTO MIKIya iluMinaciÓN FUJII NORIKIYO sonido TSURUMAKI YUTAKA diseÑO de producciÓN MITSUMATSU KEIKO producida por FILM, INC. productores ejecutivos jefes ISHIHARA TaKashI TSUDUKI SHINICHIRO ICHIKAWA MINAMI Tom YODA productores ejecutivos OGAWA YasUSHI OMURA MAKOTO UEDA TaICHI ODAKE SATOMI productor asociado NISHIHARA MEGUMI productores MATSUZAKI KaoRU TAGUCHI HIJIRI Basada en la novela grÁfica original "UMIMACHI DIARY" de AKIMI YOSHIda puBlicada por ShogaKUKan INC. escrita, editada Y dirigida por KORE-EDA HIROKAZU ©2015 AKIMI YOSHIDA, SHOGAKUKAN / FUJI TELEVISION NETWORK INC. / SHOGAKUKAN INC. / TOHO CO., LTD. / GAGA CORPORATION www.golem.es/distribucion #NuestraHermanaPequeña UNA PELÍCULA DE KORE-eda HIROKAZU La nueva película del aclamado y premiado director Kore-eda Hirokazu es una adaptación de Umima- chi Diary (de Akimi Yoshida), una novela gráfica considerada como una auténtica obra maestra. La his- toria transcurre en la ciudad de Kamakura y cuenta con gran realismo los vínculos que unen a cuatro hermanas y sus relaciones con sus vecinos. Fue galardonada con el Premio a la Excelencia en el 11º Festival de Artes Mediáticas de Japón y con el Gran Premio del Cómic 2013. El elenco cuenta con Haruka Ayase, Masami Nagasawa y Kaho como las hermanas mayores, y Suzu Hirose encarna a la recién conocida hermana pequeña. El director de fotografía Mikiya Takimoto, conocido por sus anuncios publicitarios, vuelve a unirse a Kore-eda después de la película DE taL PADRE, taL HIJO.
    [Show full text]
  • FILM “DAL VERO” in ITALIA TRATTI Da FUMETTI 1938-2020 a Cura Di
    FILM “DAL VERO” IN ITALIA TRATTI da FUMETTI 1938-2020 a cura di Loris Cantarelli Limitandoci ai lungometraggi prodotti e/o doppiati in italiano (escludendo i documentari ma non gli apocrifi, e inserendo anche quelli in animazione mista al vero, così come quelli trasmessi soltanto in tv), di ogni film tratto da opere a fumetti riportiamo titolo, eventuale titolo originale, Paesi e anno di uscita, durata (con minutaggio esteso in caso di più versioni), regista, se prodotti per tv o home video, più una valutazione sintetica (da 1 a 5 stelle): buona visione! 30 giorni di buio (30 Days of Night, USA 2007, 113 min) David Slade ⋆⋆ 30 giorni di buio II (30 Days Of Night: Dark Days, USA 2010, 93 min) Ben Ketai ⋆⋆ 300 (USA 2007, 118 min) Zack Snyder ⋆⋆⋆ 300 - L’alba di un impero (300: Rise of an Empire, USA 2014, 102 min) Noam Murro ⋆⋆⋆ 5 è il numero perfetto (Italia 2019, 100 min) Igort [Igor Tuveri] ⋆⋆⋆ Accident Man (UK 2018, 105 min) Jesse V. Johnson ⋆⋆ Aquaman (USA 2018, 143 min) James Wan ⋆⋆ Adèle e l’enigma del faraone (Les Aventures Extraordinaires d’Adèle Blanc-Sec, Francia 2010, 107 min) Luc Besson ⋆⋆ Adrenalina blu - La leggenda di Michel Vaillant (Michel Vaillant, Francia 2003, 104 min) Louis-Pascal Couvelaire ⋆⋆ Ah! Che maschietta! (Tillie the Toiler, USA 1927, 70 min) Hobart Henley ⋆⋆ A History of Violence (USA/Canada/Germania 2005, 96 min) David Cronenberg ⋆⋆ All’Ovest di Sacramento (Le Juge, Francia/Italia 1971, 92 min) Jean Girault &Federico Chentrens ⋆⋆ Alita - Angelo della battaglia (Alita: Battle Angel, USA 2019, 122 min) Robert
    [Show full text]
  • Kore-Eda Festi Val Festi Val Festi Val Festi Val Festi Val
    Hello! My name is Noel Anderson, and this is my portfolio. 123456789 800-555-1111 [email protected] no e Contents Julia: Love, Joy and Butter 4 art&play Branding 9 Emma Cover and Layout 16 Animal Crossing Fishing Guide 21 Tove: Beyond The Moomins 24 Isle of Dogs Album 28 Kore-eda Film Festival 33 Written Sample 41 Process 42 no e 01 Julia: Love Joy and Butter An illustrated history booklet for the Museum of History & Discovery, depicting the life of chef and TV personality Julia Child. The typefac- es and pastel colors were chosen to invoke vintage menus and book layouts of the time period, while the vivid colors and sketched style bring a sense of modernity. no e noel anderson - 05 noelnoel andersonanderson -- 0610 noelnoel andersonanderson -- 0710 noelnoel andersonanderson -- 0810 02 Art&play Branding Branding and exhibit design for a childrens musuem exhibit created by the MOMA, Museum of Modern Art. The exhibit aims to teach chil- dren about the visuals and history of fine art movements and artists, while emphasizing digital interac- tivity and hands-on play. The art- work the kids create in the exhibit is displayed in the main room and can be printed to take home. no e noel anderson - 10 Kids are given a QR code tag when they enter the exhibit, which is scanned everytime they create an artpiece. This is to store their work under an account and to retrieve later if they wish to take some home. noel anderson - 11 noel anderson - 10 Check-In & Main Gallery noel anderson - 13 Impressionist Exhibit The room is designed to look like Monet’s Giverny garden.
    [Show full text]
  • Only Shinran Will Not Betray Us
    Only Shinran Will Not Betray Us: Takeuchi Ryō’on (1891-1967), the Ōtani-ha Administration, and Burakumin Jessica L. Main Faculty of Religious Studies McGill University, Montreal April 2012 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jessica L. Main, 2012 Table of contents Table of contents i Abstract iii Résumé v Acknowledgements vii A note on usage and conventions x Introduction: Buddhist ethics and buraku discrimination 1 Shin Buddhism and burakumin 2 The story of a burakumin, “Satoru Kawada” 5 Institutional ethics and conflict within the Ōtani-ha sect 15 Buddhist ethics and socially engaged Buddhism 26 Dissertation outline: reading Shin Buddhist ethics in modern history 40 PART I Causing discrimination: Shin Buddhism’s historical responsibility 47 1 Theories of buraku discrimination and the role of Buddhism 47 The study of burakumin in English language scholarship 49 Buddhism as source of discriminatory beliefs: 67 Shin Buddhist preachers deploying discriminatory beliefs 70 2 Shin Buddhism, devotion, and separating the pure from the polluted 81 Shin Buddhism in a nutshell 84 Purity, pollution, and devotion 99 Historical discrimination in Shin Buddhism 107 PART II Curing discrimination: Shin Buddhism’s revolutionary potential 125 3 Buddhism and human rights: egalitarian doctrine and charitable work 125 Shimaji Mokurai’s “The Theory of Human Rights” 126 Contemporary arguments for Buddhism and human rights 135 Ahistorical arguments about “Buddhism” and “human
    [Show full text]
  • Our Little Sister a Film by Kore-Eda Hirokazu Our Little Sister
    OUR LITTLE SISTER A FILM BY KORE-EDA HIROKAZU OUR LITTLE SISTER 128 mN - JAPON - 1.85-5.1 - 2014 FUJI TELEVISION NETWORK INC., SHOGAKUKAN INC., TOHO CO., LTD. AND GAGA CORPORATION PRESENT OUR LITTLE SISTER (UMimachi Diary) a film by Kore-eda Hirokazu starring AYASE HARUKA, NAGASAWA MASAMI, KAHO, HIROSE SUZU 128 mN - JAPON - 1.85-5.1 - 2014 ©2O15 AKIMI YOSHIDA, SHOGAKUKAN / FUJI TELEVISION NETWORK INC. / SHOGAKUKAN INC. / TOHO CO., LTD. / GAGA CORPORATION INTRODUCTION Award-winning internationally acclaimed director Kore-eda Hirokazu delivers a new film adapted from Yoshida Akimi’s best-selling graphic novel masterpiece “Umimachi Diary”. Set in the town of Kamakura, the book portrays with a great sense of realism the bonds interwoven between four sisters, as well as painful yet kindhearted relationships with people living in the town. It received the Excellence Award at the 11 th Japan Media Arts Festival, and the Cartoon Grand Prize 2013. Ayase Haruka plays the eldest, Nagasawa Masami plays the second-born, Kaho plays the third-born, and Hirose Suzu the youngest. Takimoto Mikiya, who has worked at the forefront of TV commercials and commercial photography, works as director of photography. Impressed by his talent, Kore-eda gave Takimoto his first cinematography job on “ Like Father, Like Son ”, and the two have collaborated once again on “ Our Little Sister ”. Important aspects that could not be expressed through dialogue - the pulse, breath and emotional subtleties of the four sisters - were represented musically by celebrated composer Kanno Yoko. The summer ocean sparkling with sunlight, radiant autumn foliage, a tunnel of gorgeous yet impermanent cherry blossom trees, hydrangeas damp from the rainy season, brilliant fireworks heralding the arrival of another summer… Amidst the many and varied colors of Kamakura’s four seasons, four sisters cause each other emotional anguish, but in the process develop a very special bond.
    [Show full text]
  • ZHAO Wei ZHAO WEI Is One of the Most Influential Chinese Actresses in the World. She Is the Only Person Who Has Won Best Actress
    ZHAO Wei ZHAO WEI is one of the most influential Chinese actresses in the world. She is the only person who has won Best Actress, Most Popular Actress and Best Singer awards from fi lm, TV and music industries. She has 15 Best Actress awards for her roles in films, 9 Best Actress awards for her roles in TV shows, and the total sales of her albums reached 9,000,000. Zhao has more fan websites than any other female celebrity in China. Zhao became an Asian superstar overnight in 1998-1999 for starring as Xiaoyanzi in the TV series My Fair Princess. Her film Shaolin Soccer (2001) was the highest-grossing Chinese film in France and Italy. Her film So Close (2002) ranked top in Chinese DVD sales in France and her TV series Romance in the Rain was the most popular Chinese TV drama in France. Zhao’s 2004 fi lm Jade Goddess of Mercy was well received at the Berlin Film Festival and earned her the Most Popular Award from the Verona Film Festival in Italy. She won Best Actress for her performance in A Time To Love (2005) from the Shanghai International Film Festival. Zhao has appeared in high-profile films like Red Cliff (2008) and Painted Skin (2008) and is acknowledged by many directors from Hong Kong and abroad. In 2009, she played Mulan in Mulan: Rise of a Warrior and became the first actress from China to star in a female-driven fi lm that grossed over $10 million at the box office. In 2006, People Magazine selected Zhao as one of the “100 Most Beautiful People.” In 2013, Zhao’s directing debut So Young grossed over $116 million with a $5 million budget, making her the highest-grossing female director in China.
    [Show full text]
  • Copyright by Shaohua Guo 2012
    Copyright by Shaohua Guo 2012 The Dissertation Committee for Shaohua Guo Certifies that this is the approved version of the following dissertation: THE EYES OF THE INTERNET: EMERGING TRENDS IN CONTEMPORARY CHINESE CULTURE Committee: Sung-Sheng Yvonne Chang, Supervisor Janet Staiger Madhavi Mallapragada Huaiyin Li Kirsten Cather THE EYES OF THE INTERNET: EMERGING TRENDS IN CONTEMPORARY CHINESE CULTURE by Shaohua Guo, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2012 Dedication To my grandparents, Guo Yimin and Zhang Huijun with love Acknowledgements During the outbreak of Severe Acute Respiratory Syndrome (SARS) in China in 2003, I, like many students in Beijing, was completely segregated from the outside world and confined on college campus for a couple of months. All activities on university campuses were called off. Students were assigned to designated dining halls, and were required to go to these places at scheduled times, to avoid all possible contagion of the disease. Surfing the Web, for the first time, became a legitimate “full-time job” for students. As was later acknowledged in the Chinese media, SARS cultivated a special emotional attachment to the Internet for a large number of the Chinese people, and I was one of them. Nine years later, my emotional ties to the Chinese Internet were fully developed into a dissertation, for which I am deeply indebted to my advisor Dr. Sung- Sheng Yvonne Chang.
    [Show full text]