The Impact of Ashigaru on Sengoku Jidai1 Austin Clark
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East-West Film Journal, Volume 3, No. 2
EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9). -
Honor and Violence: Perspectives on the Akō Incident
Honor and Violence: Perspectives on the Akō Incident Megan McClory April 4, 2018 A senior thesis, submitted to the East Asian Studies Department of Brandeis University, in partial fulfillment of the Bachelor of Arts degree. Table of Contents Introduction………………………………………………………………………………………1 Law and Morality………………………………………………………………………………...4 Kenka Ryouseibai…………………………………………………………………………5 House Codes……………………………………………………………………………....8 Loyalty as Propaganda…………………………………...………………………………..9 Filial Piety………………………………………………………………………………13 Evolution into Legend……………………………………………………………………………15 Dissemination……………………………………………………………………………15 Audience…………………………………………………………………………………18 Akō as an Example………………………………………………………………………19 Modern Day……………………………………………………………………………...20 Sengaku-ji………………………………………………………………………………. 22 Chūshingura as a Genre………………………………………………………………… 25 Ukiyo-e………………………………………………………………………………...…25 Appeal and Extension to Non-Samurai………………………………..…………………………28 Gihei the Merchant………………………………………………………………………28 Injustice…..………………………………………………………………………………35 Amae …………………………………………………………………………………….38 Collective Honor…………………………………………………………………………41 Women in Chūshingura………………………………………………………………….44 Conclusion……………………………………………………………………………….47 List of Names and Characters Adapted from David Bell Chushingura and the Floating World: The Representation of Kanadehon Chushingura in Ukiyo-e Prints Enya Hangan A young provincial noble and Lord of the castle of Hoki under the shogun Ashikaga Takauji. Asano Takuminokami Naganori, Lord of Akō in the province of Harima. -
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.). -
THERE IS SOMETHING YOU CAN DO Northern Japan Earthquake Relief Fund Relief • Recovery • Rebuild
THERE IS SOMETHING YOU CAN DO Northern Japan Earthquake Relief Fund Relief • Recovery • Rebuild On March 11, 2011, the JCCCNC established the Northern Japan This grassroots relief effort is an action Earthquake Relief Fund to aid the victims and survivors of the campaign. Schools have hosted bake sales Great Eastern Japan Earthquake and Tsunami. Our relief fund is a and car washes, children have sold their community-based, volunteer, citizen-to-citizen effort to help turn toys, parents have hosted birthday parties hopelessness into hope. for their children asking guests to donate to the relief fund instead of buying presents. Many The Northern Japan Earthquake Relief Fund has become the largest of the contributions have come from ordinary people wanting to Japanese American community-based relief fund in the United States get involved and make a difference. Our hope is that one by one with close to 8,000 donors contributing close to $2,229,865.00 to we can all make a difference, helping us all to realize that we are date. Ordinary citizens, non-profit organizations, schools, businesses truly citizens of the world. and professional organizations are coordinating over 80 fundraising events and over 400 volunteers have supported various events and One dollar, one act of humanity at a time, we are making come to our office on a daily basis to help administer the fund. a difference in the lives of so many. MESSAGE FRO M THE EXECUTIVE DIRECTOR JAPAN RELIEF Discovering the True Meaning of a JCCCNC’s Northern Japan Earthquake Relief Events Community Center in the Midst of Tragedy San Francisco Giants On Friday, March 11, we were set to go out with our spring newsletter, with the cover On March 16, the San Francisco Giants announced their commitment th to support the people of Japan as they recover and rebuild by making story “Opening its Doors,” featuring this year’s 25 Anniversary of the JCCCNC. -
JSSUS Tosho Article For
Overview and Development of Tsuba made by Japanese Swordsmiths By David Stiles Introduction I will introduce new Japanese language terms with an English, non-italicized explanation followed by the standard italicized Romaji and Kanji if possible. The italicized Japanese terms are not punctuated or pluralized like normal English words. To begin, I would like to introduce the topic of my essay: the handguards of Japanese swords referred to as tsuba (鍔) made by professional Swordsmiths, Tôshô (刀匠 ), or their apprentices. In part one of the essay I will present a historical background to the early swordsmith handguards Ko-Tôshô tsuba (古刀匠鍔 ) as well as characteristics that define them as a group. In part two of the essay I will present Tôshô tsuba (刀匠鍔 ) and the characteristics that define them as a group. There is an important caveat that must be stated in regards to this article. The reference material used for this introduction to Tôshô tsuba were written in English or were translated at some point from Japanese to English and are of a secondary nature. New historical or contemporary primary references were not translated and used for the basis of the article. Historical Background of Ko-Tôshô Tsuba The earliest Tôshô tsuba are referred to in Japanese as Ko- Tôshô ( 古刀匠 ) and date from the Genpei War ( Genpei kassen 源平合戦 ) (1180–1185) to middle Muromachi Period ( 室町時代 ) (1400- 1500). The Genpei War was the legendary conflict between the Taira ( 平氏 ) and Minamoto ( 源氏 ) clans during the late Heian Period ( 平安時代 ) (794-1185). There are references in historical documents of the Genpei War to the hand guards and blade collars made by professional swordsmiths or their apprentices. -
[Articles] a Reconsideration of the Transmission of the Katana Swords Known As “Honsaku Chōgi” and “Yamanba-Giri” HARA Fumihiko ( 1 )
Kinko Sōsho Bulletin of The Tokugawa Reimeikai Foundation Kinko Sōsho 47 Contents March 2020 [Articles] A Reconsideration of the Transmission of the Katana Swords Known as “Honsaku Chōgi” and “Yamanba-giri” HARA Fumihiko ( 1 ) On the Subjects of the Portrait of Honda Heihachirō Folding Screen YOSHIKAWA Miho ( 35 ) Folding Screens with Birds and Flowers of the Four Seasons by Kanō Tan’yū KATO Shohei ( 57 ) The Illustrated Handscroll of True View of the Tsukiji Estate with Plants, Insects and Fish ANDŌ Kaori ( 85 ) [Introduction of Historical Material] Research Notes on “Sokui-no-ki” (II) NAMIKI Masashi ( 111 ) Kinko Sōsho 46 Contents March 2019 [Articles] Identifying Who Commissioned the Tokugawa Art Museum Collection’s Hōkoku Festival Screens KURODA Hideo ( 1 ) On the development of the Kanō Tsunenobu style: including an introduction to the Yoshino Screens (Tokugawa Art Museum Collection) USUDA Daisuke ( 23 ) A Study of the German Salt-Glazed Stoneware Water Jar in the Tokugawa Art Museum — From the viewpoint of “Oranda” ware as Daimyō properties NAGAHISA Tomoko ( 41 ) The Wartime Evacuation of the Tokugawa Art Museum Collection KŌYAMA-HAYASHI Rie ( 59 ) Kinko Sōsho 45 Contents March 2018 [Articles] Thoughts on the Illustrated Tale of Haizumi (Haizumi monogatari emaki) YOTSUTSUJI Hideki ( 1 ) History of the Katana Sword, signed “Muramasa,” and the Legend of the Muramasa Curse HARA Fumihiko ( 27 ) The Marriage of Shunkyōin Sachigimi and the Chrysanthemum-Stem Furnishings YOSHIKAWA Miho ( 59 ) “Items Connected to Hereditary Property” of -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
International Camellia Journal 2010 No
AN OFFICIAL PUBLICATION OF 2010 I NTERNATIONAL CAMELLIA JOURNAL 2010 JOURNAL CAMELLIA NTERNATIONAL INTERNATIONAL CAMELLIA SOCIETY INTERNATIONAL NUMBER ISSN 0159-656X INTERNATIONAL CAMELLIA JOURNAL 国际山茶杂志 国際 ツノヾキ会誌 JOURNAL INTERNATIONAL DU CAMELLIA REVISTA INTERNAZIONALE DELLA CAMELIA REVISTA INTERNACIONAL DE LA CAMELIA INTERNATIONALE KAMELIENZEITSCHRIFT INTERNATIONAL CAMELLIA TIJDSCHRIFT Main Photo: Katsuhiko Mizuno. Inset: �hi���������eo Matsu�oto ‘Jikkô’(literally meaning ‘the sunlight’) is a 300 year old camellia just inside the entrance to the garden of Reikanji Temple in Kyoto City. It is thought to be the original plant of this variety and was cherished by the retired Emperor Gomizuno’o (1596-1680) and designated as a natural treasure by Kyoto City. See page 104 for Kentaro Nakamura’s paper that includes information about experiments for the propagation of this historic camellia. FRONT COVER PICTURE ‘Goshiki-yae-chiri-tsubaki’ was seen on several occasions on visits during the 2010 International Camellia Society Congress in Japan. The name means, literally “Five colours, double, petals scattering”. The five colours are all seen on one tree, with branches bearing white, deep pink, pale pink, striped pink on a white background, and striped with white on a pink background, making a glorious display. The most striking trees are ancient, estimated to be 400 – 500 years old. Its history is not clear, but there is a legend that the plant of the same cultivar at Jizoin Temple in camellia japonica camellia seeds filtered camellia oil Kyoto was brought in from Korea during the war between Japan and Korea in 1593. This unique cultivar the pride of the people of Kyoto and Nara. -
Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the -
Samurai Life in Medieval Japan
http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period. -
Shizuoka Prefecture
Japan Credit 26 February 2019 Japanese report: 25 February 2019 (DSCR3183) Shizuoka Prefecture Why Shizuoka became one of Japan's leading prefectures for manufacturing Credit Memorandum JCRE443 Tokugawa Ieyasu retired to Sunpu Castle in Shizuoka Prefecture after yielding FICC Research Dept. power to his son in 1605. The prefecture, known for its mild climate and scenic beauty, is one of Japan's leading prefectures in terms of manufacturing. Its favorable location, between Tokyo area and Nagoya area, the early completion of the Tomei Expressway, and abundant water resources have contributed to the Senior Credit Analyst development of manufacturing in the prefecture. Kouji Hamada (81) 3 5555-8791 The prefecture is also the birthplace of Japan's motorcycle industry, the [email protected] top-ranking one in Japan for seven straight years in terms of the total value of output of pharmaceuticals and medical equipment, and Japan's leading one in terms of pulp and paper production. Daiwa Securities Co. Ltd. Tokugawa Ieyasu yielded The Edo era, which lasted 265 years (1603-1868), started when Tokugawa Ieyasu was power to his son after appointed shogun (generalissimo) and established the Tokugawa Shogunate in Edo two years (current Tokyo) in 1603. However, just two years later, in 1605, he named his son Hidetada to the shogunate. Ieyasu took control after winning the Battle of Sekigahara in 1600, after the leader Toyotomi Hideyoshi died, but members of the Toyotomi clan remained in Osaka. Ieyasu's early retirement was apparently a declaration that he did not intend to return power to the Toyotomi clan. -
Tokugawa Ieyasu, Shogun
Tokugawa Ieyasu, Shogun 徳川家康 Tokugawa Ieyasu, Shogun Constructed and resided at Hamamatsu Castle for 17 years in order to build up his military prowess into his adulthood. Bronze statue of Tokugawa Ieyasu in his youth 1542 (Tenbun 11) Born in Okazaki, Aichi Prefecture (Until age 1) 1547 (Tenbun 16) Got kidnapped on the way taken to Sunpu as a hostage and sold to Oda Nobuhide. (At age 6) 1549 (Tenbun 18) Hirotada, his father, was assassinated. Taken to Sunpu as a hostage of Imagawa Yoshimoto. (At age 8) 1557 (Koji 3) Marries Lady Tsukiyama and changes his name to Motoyasu. (At age 16) 1559 (Eiroku 2) Returns to Okazaki to pay a visit to the family grave. Nobuyasu, his first son, is born. (At age 18) 1560 (Eiroku 3) Oda Nobunaga defeats Imagawa Yoshimoto in Okehazama. (At age 19) 1563 (Eiroku 6) Engagement of Nobuyasu, Ieyasu’s eldest son, with Tokuhime, the daughter of Nobunaga. Changes his name to Ieyasu. Suppresses rebellious groups of peasants and religious believers who opposed the feudal ruling. (At age 22) 1570 (Genki 1) Moves from Okazaki 天龍村to Hamamatsu and defeats the Asakura clan at the Battle of Anegawa. (At age 29) 152 1571 (Genki 2) Shingen invades Enshu and attacks several castles. (At age 30) 豊根村 川根本町 1572 (Genki 3) Defeated at the Battle of Mikatagahara. (At age 31) 東栄町 152 362 Takeda Shingen’s151 Path to the Totoumi Province Invasion The Raid of the Battlefield Saigagake After the fall of the Imagawa, Totoumi Province 犬居城 武田本隊 (別説) Saigagake Stone Monument 山県昌景隊天竜区 became a battlefield between Ieyasu and Takeda of Yamagata Takeda Main 堀之内の城山Force (another theoried the Kai Province.