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Old Japan Redux 3
Old Japan Redux 3 Edited by X. Jie YANG February 2017 The cover painting is a section from 弱竹物語, National Diet Library. Old Japan Redux 3 Edited by X. Jie YANG, February 2017 Content Poem and Stories The Origins of Japan ……………………………………………… April Grace Petrascu 2 Journal of an Unnamed Samurai ………………………………… Myles Kristalovich 5 Holdout at Yoshino ……………………………………………………… Zachary Adrian 8 Memoirs of Ieyasu ……………………………………………………………… Selena Yu 12 Sword Tales ………………………………………………………………… Adam Cohen 15 Comics Creation of Japan …………………………………………………………… Karla Montilla 19 Yoshitsune & Benkei ………………………………………………………… Alicia Phan 34 The Story of Ashikaga Couple, others …………………… Qianhua Chen, Rui Yan 44 This is a collection of poem, stories and manga comics from the final reports submitted to Japanese Civilization, fall 2016. Please enjoy the young creativity and imagination! P a g e | 2 The Origins of Japan The Mythical History April Grace Petrascu At the beginning Izanagi and Izanami descended The universe was chaos Upon these islands The heavens and earth And began to wander them Just existed side by side Separately, the first time Like a yolk inside an egg When they met again, When heaven rose up Izanami called to him: The kami began to form “How lovely to see Four pairs of beings A man such as yourself here!” After two of genesis The first-time speech was ever used. Creating the shape of earth The male god, upset Izanagi, male That the first use of the tongue Izanami, the female Was used carelessly, Kami divided He once again circled the land By their gender, the only In an attempt to cool down Kami pair to be split so Once they met again, Both of these two gods Izanagi called to her: Emerged from heaven wanting “How lovely to see To build their own thing A woman like yourself here!” Upon the surface of earth The first time their love was matched. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
The Shôkyû Version of the Kitano Tenjin Engi Emaki: a Brief Introduction to Its Content and Function
Eras Edition 11, November 2009 – http://www.arts.monash.edu.au/publications/eras The Shôkyû version of the Kitano Tenjin engi emaki: A brief introduction to its content and function Sara L. Sumpter (University of Pittsburgh) Abstract: This article examines the political and social atmosphere surrounding the production of the thirteenth-century hand scroll Kitano Tenjin engi emaki (Illustrated Legends of the Kitano Shrine), which depicts the life, death and posthumous revenge of the ninth-century courtier Sugawara no Michizane. The article combines an analysis of the content and religious iconography of the scroll, a study of early Japanese beliefs in angry spirits of the dead, and a narration of the actual life of Michizane in an attempt to produce a sketch of the rituals and superstitions of Heian and early Kamakura period Japanese society, and to suggest possible functions of the hand scroll that complement them. The hand scroll sets collectively known as the Kitano Tenjin engi emaki (Illustrated Legends of the Kitano Shrine) each tell the story of the life and death of the ninth- century courtier and poet, Sugawara no Michizane (845–903), and of the posthumous revenge undertaken by his vengeful spirit (onryô). According to the scrolls, Michizane was falsely accused of treason by rivals at the Heian court who were jealous of his astronomical rise to power. He was exiled to Dazaifu on the island of Kyushu in 901 and died there two years later in despair. His spirit persisted in seeking retribution against his enemies and in reclaiming his position and honours. He is said to have stalked his numerous rivals in the form of the thunder god (raijin) before ultimately revealing to a frightened court, through a series of intermediaries, the means of his pacification: deification and worship at the Kitano Shrine in Kyoto.1 Today the Kitano Tenjin engi emaki (hereafter referred to as the Tenjin scrolls) number more than thirty extant examples, ranging in date from the early thirteenth century to the nineteenth century. -
Martial Arts, Yoga and Their Religions
Amanda Buys’ Spiritual Covering This is a product by Kanaan Ministries, a non-profit ministry under the covering of: River of Life Family Church, Vanderbijlpark Pastor Edward Gibbens (Contact: Sharmain Joubert Personal Assistant to Pastors Edward and Dalene Gibbens) River of Life Family Church Vanderbijlpark South Africa Tel: +27 16 9823022 Fax: +27 16 9822566 Email: [email protected] There is no copyright on this material. However, no part may be reproduced and/or presented for personal gain. All rights to this material are reserved to further the Kingdom of our Lord Jesus Christ ONLY. For further information or to place an order, please contact us at: P.O. Box 15253 27 John Vorster Avenue Panorama Plattekloof Ext. 1 7506 Panorama 7500 Cape Town Cape Town South Africa South Africa Tel: (+27) (21) 930 7577 Chapter 1 Fax: 086 681 9458 E-mail: [email protected] Website: www.kanaanministries.org Office hours: Monday to Friday, 9 am to 3 pm. Kanaan in Europe - Basel: Larwin and Silvia Nickelson Oikos International Church Reinacherstrasse 3 CH-4142 Münchenstein Basel, Switzerland Co-ordinator: Lydia Wenger Office hours: Monday, Tuesday and Thursday from 8 – 12. Telephone: +41(0)61 332 15 40 Email: [email protected] Website: www.kanaanministries.org 2 CONTENTS INTRODUCTION 4 PART A: Inner Core 13 Brief Description 14 I. Soft Internal 15 II. Hard External 17 PART B: Religions of Martial Arts Introduction 26 I. Relgious Roots 28 II. Branches 30 III. Yin and Yang 47 IV. WU WEI and Nothingness 51 V. Chi – The ‘vital energy’ 52 VI. -
Style and Meaning Anthropology’S Engagement with Art Has a Complex and Uneven History
NICHOLAS THOMAS THOMAS NICHOLAS & CLARK ALISON style and meaning Anthropology’s engagement with art has a complex and uneven history. While style and material culture, ‘decorative art’, and art styles were of major significance for ( founding figures such as Alfred Haddon and Franz Boas, art became marginal as the EDS meaning discipline turned towards social analysis in the 1920s. This book addresses a major ) moment of renewal in the anthropology of art in the 1960s and 1970s. British Essays on the anthropologist Anthony Forge (1929-1991), trained in Cambridge, undertook fieldwork among the Abelam of Papua New Guinea in the late 1950s and 1960s, anthropology of art and wrote influentially, especially about issues of style and meaning in art. His powerful, question-raising arguments addressed basic issues, asking why so much art was produced in some regions, and why was it so socially important? style ANTHONY FORGE meaning Fifty years later, art has renewed global significance, and anthropologists are again considering both its local expressions among Indigenous peoples and its new global circulation. In this context, Forge’s arguments have renewed relevance: they help and edited by scholars and students understand the genealogies of current debates, and remind us of fundamental questions that remain unanswered. ALISON CLARK & NICHOLAS THOMAS This volume brings together Forge’s most important writings on the anthropology anthropology of art Essays on the of art, published over a thirty year period, together with six assessments of his legacy, including extended reappraisals of Sepik ethnography, by distinguished anthropologists from Australia, Germany, Switzerland and the United Kingdom Anthony Forge was born in London in 1929. -
Bujinkan Budō Taijutsu
BujinkanBujinkan BudōBudō TaijutsuTaijutsu 武神館武神館 武道 武道 体術 体術 Eine Einführung in Geschichte und Struktur dieses japanischen Kampfkunstsystems - Print-Version - Quelle: www.bujinkan-deutschland.de 雲 虎 戸 隠 倒 隠 流 流 流 玉 義 玉 虎 鑑 心 流 流 流 高 神 九 木 伝 鬼 揚 不 神 心 動 伝 流 流 流 Symbolerläuterung und Schreibweise Symbolerläuterung und Schreibweise eine schwarze Erdkugel bedeutet externer Hyperlink / Quellen im Internet. ein schwarzer Pfeil bedeutet interner Hyperlink / Quelle innerhalb des Textes. Der Buchstabe „I“ kennzeichnet einen Hinweis. Namen werden im Text in der für den entsprechenden Kulturkreis üblichen Schreibweise aufgeführt. Daher werden japanische Namen in der Reihenfolge Nachname, Vorname geschrieben, westliche Namen jedoch in der Reihenfolge Vorname, Nachname. Liebe Budōfreunde. Aufgrund der zahlreichen Rückmeldungen mit der Bitte den Text zum Ausdrucken freizugeben, haben wir uns ent- schlossen diesem Wunsch nicht nur nachzukommen, sondern haben auch die Gelegenheit genutzt kleinere Anpassungen vorzunehmen. Der Text „Bujinkan Budō Taijutsu - Eine Einführung in Geschichte und Struktur die- ses japanischen Kampfkunstsystems“ liegt somit nun in zwei Varianten vor, um den verschiedenen Voraussetzungen der Medien gerecht zu werden. Online - Version Dieser Text ist auf das Lesen am PC ausgelegt. Er enthält sowohl interne als auch externe Links und ist nicht ausdruckbar. Eine bestehende Verbindung zum Internet ist für den vollen Funktionsumfang notwendig. Print - Version Bei diesem Text wurden die, in der Online - Version vorhandenen, Links ins Internet mit Endnoten (gekennzeichnet durch römische Ziffern) versehen, welche den Hyper- link in Textform wiedergeben. Interne Verweise wurden zusätzlich mit den Seitenzahlen versehen. Grafiken und Layout wurden für das Drucken optimiert. -
Japanese Folk Tale
The Yanagita Kunio Guide to the Japanese Folk Tale Copublished with Asian Folklore Studies YANAGITA KUNIO (1875 -1962) The Yanagita Kunio Guide to the Japanese Folk Tale Translated and Edited by FANNY HAGIN MAYER INDIANA UNIVERSITY PRESS Bloomington This volume is a translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai. Tokyo: Nihon Hoso Shuppan Kyokai, 1948. This book has been produced from camera-ready copy provided by ASIAN FOLKLORE STUDIES, Nanzan University, Nagoya, japan. © All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Nihon mukashibanashi meii. English. The Yanagita Kunio guide to the japanese folk tale. "Translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai." T.p. verso. "This book has been produced from camera-ready copy provided by Asian Folklore Studies, Nanzan University, Nagoya,japan."-T.p. verso. Bibliography: p. Includes index. 1. Tales-japan-History and criticism. I. Yanagita, Kunio, 1875-1962. II. Mayer, Fanny Hagin, 1899- III. Nihon Hoso Kyokai. IV. Title. GR340.N52213 1986 398.2'0952 85-45291 ISBN 0-253-36812-X 2 3 4 5 90 89 88 87 86 Contents Preface vii Translator's Notes xiv Acknowledgements xvii About Folk Tales by Yanagita Kunio xix PART ONE Folk Tales in Complete Form Chapter 1. -
Anglo Arms Catalogue
PRODUCT GUIDE classic hunting and archery products thoughtfully designed to the highest level of excellence 2 WWW.ANGLOARMS.COM WWW.ANGLOARMS.COM 4 Crossbows 50lb-150lb Draw 24 Knife Sets 6 Jaguar Crossbows 26 Machetes 7 Panther Crossbows 28 Survival Knives 8 Legend Crossbow 29 Movie Style Knives archery products 9 Crossbow Accessories 31 Sword Sets 10 Recurve & Compound Archery Bows 31 Single Swords 12 Archery Accessories & Slingshots 32 Hand Made Swords 13 Throwing Knives 33 Shooting Luggage 14 Folding Non-Lock Knives 34 Shooting Accessories 15 Lock Knives 35 Targets & Traps 20 Fixed Blade Knives 38 Pellets & Gas WWW.ANGLOARMS.COM WWW.ANGLOARMS.COM 3 CROSSBOWS 50LB-80LB DRAW 50lb ‘Gecko’ Pistol Crossbow 80lb ‘Scorpion’ Pistol Crossbow Aluminium Entry level 80lb, pistol crossbow with aluminium body, includes 5 x Entry level, 50lb, pistol crossbow, includes 5 x (recommended) 6.5” (recommended) 6.5” aluminium bolts. With fibreglass limb and plastic bolts. With metal limb and plastic barrel. aluminium barrel. Draw Weight: 50lb Length: 12.8 inches Width: 16.5 inches Ft/s: 150 Draw Weight: 80lb Length: 17 inches Width: 16.5 inches Ft/s: 160 Weight: 0.88lb Weight: 1.62lb Code: CB-GECKO-5OLB-PL RRP £14.95 Code: CB-SCORPION-80LB-ALU RRP £24.95 50lb Aluminium ‘Komodo’ Crossbow A 50lb pistol crossbow with aluminium body, includes 5 x (recommended) 6.5” plastic bolts. Draw Weight: 50lb Length: 12.8 inches Width: 16.5 inches Ft/s: 150 Weight: 1.43lb Code: CB-KOMODO-50LB-ALU RRP £19.95 80lb ‘Scorpion’ Pistol Crossbow Plastic Entry level, 80lb pistol crossbow with plastic body, includes 5 x (recommended) 6.5” plastic bolts. -
Ninjutsu No Gu
Ninjutsu no Gu Note de l'auteur Lorsqu'on m'a fait découvrir L5A, on m'avais dit qu'il s'agissait d'un monde fantastique inspiré du Japon féodal, avec ses samurai et ses ninja, et toute sa mythologie. Or, je me suis rapidement rendu compte que bien que les Samurai étaient décrits en profondeur et que Rokugan avait sa propre mythologie, les ninja se retrouvaient fort peu détaillés. Certes, on retrouve certaines écoles de ninja dans certains clans majeurs (le plus populaire à ce niveau étant le clan des Scorpions) et au service de l'Ombre Rampante. Toutefois, je n'étais pas satisfait par ces possibilités car je les trouvais à la fois trop restreintes et trop différentes de ma vision d'un ninja. Je ne prétends pas avoir une meilleure vision que AEG de ce qu'est un véritable ninja, mais je me trouvais en droit de créer, pour moi-même et pour de potentiels intéressés, une liste d'ajouts et d'alternatives, afin de satisfaire ma vision du ninja. Les éléments qu'il me semblait manquer aux ninja de AEG étaient les suivants : les villages cachés de ninja, indépendants à l'autorité des clans (exemple : Iga et Koga, au Japon); l'existence d'écoles génériques de ninja, pour les clans ne disposant pas déjà de leur propre école; certains outils du métier d'assassin et d'espion, qu'il s'agisse de compétences ou d'objets; un aspect mythique et religieux du ninjutsu, sans l'influence des préjugés et stéréotypes colportés par le cinéma, à partir des années 60. -
August 26, 2015 to ALL TRANSPORTATION SERVICE
August 26, 2015 TO ALL TRANSPORTATION SERVICE PROVIDERS APPROVED TO PARTICIPATE IN THE CENTRALIZED HOUSEHOLD GOODS TRAFFIC MANAGEMENT PROGRAM: This Request for Offers (RFO) transmits the issuance of the 2015-2016 Filing Cycle Special Instructions for the filing of rate offers in the General Service Administration’s (GSA’s) Centralized Household Goods Traffic Management Program (CHAMP) specific to the Filing Cycle for the period November 1, 2015 through October 31, 2016. This RFO and Special Instructions are in accordance with the Household Goods Tender of Service (HTOS). Transportation Service Providers (TSPs) who are approved to participate in CHAMP and have agreed to abide by the terms of the HTOS, supplements thereto and reissues thereof, are eligible to file rate offers in accordance with this RFO and these Special Instructions. While we strongly encourage TSPs to read the entire RFO and Special Instructions, we’ve highlighted below the major changes new to this RFO and Special Instructions and others that have been carried over from previous RFOs that need to be highlighted again. These, along with other major changes to the RFO and Special Instructions, have also been highlighted in “red” within the documents themselves. Due Date: Rate offers must be submitted in accordance with this RFO and Special Instructions by the Initial Filing due date of 10:00 PM Central Standard Time, October 5, 2015 and/or the Supplemental Filing due date of 10:00 PM Central Standard Time, March 14, 2016. Rate offers received after these dates and/or not submitted in accordance with this RFO and Special Instructions will not be accepted. -
Encyclopedia of Shinto Chronological Supplement
Encyclopedia of Shinto Chronological Supplement 『神道事典』巻末年表、英語版 Institute for Japanese Culture and Classics Kokugakuin University 2016 Preface This book is a translation of the chronology that appended Shinto jiten, which was compiled and edited by the Institute for Japanese Culture and Classics, Kokugakuin University. That volume was first published in 1994, with a revised compact edition published in 1999. The main text of Shinto jiten is translated into English and publicly available in its entirety at the Kokugakuin University website as "The Encyclopedia of Shinto" (EOS). This English edition of the chronology is based on the one that appeared in the revised version of the Jiten. It is already available online, but it is also being published in book form in hopes of facilitating its use. The original Japanese-language chronology was produced by Inoue Nobutaka and Namiki Kazuko. The English translation was prepared by Carl Freire, with assistance from Kobori Keiko. Translation and publication of the chronology was carried out as part of the "Digital Museum Operation and Development for Educational Purposes" project of the Institute for Japanese Culture and Classics, Organization for the Advancement of Research and Development, Kokugakuin University. I hope it helps to advance the pursuit of Shinto research throughout the world. Inoue Nobutaka Project Director January 2016 ***** Translated from the Japanese original Shinto jiten, shukusatsuban. (General Editor: Inoue Nobutaka; Tokyo: Kōbundō, 1999) English Version Copyright (c) 2016 Institute for Japanese Culture and Classics, Kokugakuin University. All rights reserved. Published by the Institute for Japanese Culture and Classics, Kokugakuin University, 4-10-28 Higashi, Shibuya-ku, Tokyo, Japan. -
Truth, Rumours, and the Decision-Making of the Shimazu Warrior Family in 16 Th Century Japan
Running the Domain: Truth, Rumours, and the Decision-Making of the Shimazu Warrior Family in 16 th Century Japan by Vincent Chan A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2020 Doctoral Committee: Professor Hitomi Tonomura, Chair Assistant Professor Erin L. Brightwell Associate Professor Christian de Pee Associate Professor Hussein Anwar Fancy Vincent Chan [email protected] ORCID iD: 0000-0001-9001-1667 © Vincent Chan 2020 ACKNOWLEDGMENTS I wish to thank my advisor Dr. Hitomi Tonomura for her support and guidance as I pursued this project. I would not have been able to complete this dissertation without her help and patience throughout the past several years. I owe a large part of my intellectual and academic development to Dr. Tonomura’s tutelage, and I cannot overstate how thankful I am for her support. I also want to thank Dr. Christian de Pee for expanding my knowledge and understanding beyond the bounds of my immediate interests of Japanese history. My gratitude extends to Dr. Erin Brightwell and Dr. Hussein Fancy, members of my dissertation committee, for providing me with invaluable advice on improving and refining my dissertation. I owe Dr. Pär Cassel, Dr. Vic Lieberman, and Dr. Brian Porter-Sz űcs a huge thank you for teaching me a lot about pedagogy and helping me truly understand what it means to be a professor. Beyond all the support I was lucky enough to receive from the professors at the University of Michigan, I am indebted to Dr.