DOCSLIB.ORG

Applied Ethics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Applied Ethics Applied Ethics Perspectives from Asia and Beyond Edited by Kohji Ishihara and Shunzo Majima Center for Applied Ethics and Philosophy Hokkaido University Sapporo, Japan Copyright ֊ 2008 by Authors Published by Center for Applied Ethics and Philosophy Hokkaido University N10 W7, Kita-ku Sapporo 060-0810 Japan Editors Kohji Ishihara and Shunzo Majima Editorial Board Takahiko Nitta, Teruo Utsunomiya, Nobuo Kurata and Takehide Kashiwaba All Rights Reserved Printed in Japan ISBN: 978-4-9904046-0-4 Copyright ֊ 2008 by Authors Published by Center for Applied Ethics and Philosophy Hokkaido University N10 W7, Kita-ku Sapporo 060-0810 Japan Editors Kohji Ishihara and Shunzo Majima Editorial Board Takahiko Nitta, Teruo Utsunomiya, Nobuo Kurata and Takehide Kashiwaba All Rights Reserved Printed in Japan ISBN: 978-4-9904046-0-4 Preface This anthology is the final summation of the International Applied Ethics Conference “Applied Ethics: The Second International Conference in Sapporo” held at Hokkaido University on November 22-25, 2007. This conference was held by the Center for Applied Ethics and Philosophy (CEAP) and its Graduate Program in Applied Ethics (GPAE), Graduate School of Letters, Hokkaido University. The purpose of this anthology is to collect the works of applied ethics written from different perspectives. Some essays promote Japanese perspectives, others are written from other perspectives of different countries, and yet others take analytical approaches in the fields of applied ethics. Accordingly, this anthology is divided into three parts. Part I consists of essays written primarily from Japanese perspectives. Part II presents essays written primarily from Asian and Western perspectives, and those drawn on cases from Asian and other countries. Part III is a selection of essays that focuses on various fields of applied ethics. It is our hope that this anthology will be considered to be part of the achievement that has been greatly supported by the new generation of applied ethics scholars, who are striving to deliver their original ideas and arguments to Asia and beyond. It is also our hope that this anthology contributes to further development of research in applied ethics in Japan, Asia and around the world. June 2008 Kohji Ishihara and Shunzo Majima Preface This anthology is the final summation of the International Applied Ethics Conference “Applied Ethics: The Second International Conference in Sapporo” held at Hokkaido University on November 22-25, 2007. This conference was held by the Center for Applied Ethics and Philosophy (CEAP) and its Graduate Program in Applied Ethics (GPAE), Graduate School of Letters, Hokkaido University. The purpose of this anthology is to collect the works of applied ethics written from different perspectives. Some essays promote Japanese perspectives, others are written from other perspectives of different countries, and yet others take analytical approaches in the fields of applied ethics. Accordingly, this anthology is divided into three parts. Part I consists of essays written primarily from Japanese perspectives. Part II presents essays written primarily from Asian and Western perspectives, and those drawn on cases from Asian and other countries. Part III is a selection of essays that focuses on various fields of applied ethics. It is our hope that this anthology will be considered to be part of the achievement that has been greatly supported by the new generation of applied ethics scholars, who are striving to deliver their original ideas and arguments to Asia and beyond. It is also our hope that this anthology contributes to further development of research in applied ethics in Japan, Asia and around the world. June 2008 Kohji Ishihara and Shunzo Majima VI VII Contributors (Asterisks indicate editors.) Acknowledgments Maria Dolores HERVAS ARMERO is a PhD Candidate at the Graduate School of Laws, Department of Earlier versions of some of the material in this book appeared in the Proceedings for the Second Philosophy of Law and Department of International Law, University of Valencia, Spain. She is also a International Applied Ethics Conference, edited by Kohji Ishihara and Shunzo Majima (Sapporo, Center visiting researcher at the Graduate School of Letters, Hokkaido University. She is a legal practitioner and for Applied Ethics and Philosophy, Hokkaido University, 2007). All papers contributed to this book were works as a member of the Bioethics Section in the Bar Association of Valencia. reviewed by two reviewers from the editorial board and its editors. We are grateful to our colleagues at the Center for Applied Ethics and Philosophy, Hokkaido University; Takahiko Nitta, Teruo Utsunomiya, Wan-ling CHOU is a PhD student of the Department of Philosophy of National Central University, Nobuo Kurata and Takehide Kashiwaba, who painstakingly assisted us with our editorial work. We also Taiwan, ROC. She has assisted in research projects such as the ELSI of stem cell research, Taiwan would like to thank Arata Matsuki of I-Word, who kindly gave us practical advice and suggestions for Biobank Project and others. Her main research interests are bioethics, ethics of science and technology publication of this book. Above all, we wish to thank the contributors to this book and the participants of including genetic and neuroethics. Her publications include ‘Liberalism and Confucianism on Genetic the Second International Applied Ethics Conference. Without their help and support, this anthology could Justice’ and others. not be published. Tamami FUKUSHI, PhD, is Researcher at the Research Institute of Science and Technology for Society (RISTEX), Japan Science and Technology Agency (JST). She was a neurophysiologist in human/non-human primates’ motor control research field, and started neuroethics research in 2005. She is an international editorial board member of the academic Journal Neuroethics published by Springer. Saku HARA, PhD, studied German literature and philosophy of science in Japan and Germany. In 2006 he received a PhD on the subject: Rational Animals – A Neurophilosophical Theory of Rational Agency. He is now engaged in the “Neuroliteracy Project” as program researcher at University of Tokyo. *Kohji Ishihara, PhD, is Associate Professor at the Department of History and Philosophy of Science, Graduate School of Arts and Sciences, University of Tokyo. His research fields are philosophy and ethics of technology and phenomenology. He is currently engaged in the Global COE program "international philosophical education and research center on co-existence" run by University of Tokyo Center for Philosophy (UTCP). He was Associate Professor at the Graduate School of Letters, Hokkaido University (until March 2008). Hidekazu KANEMITSU is Assistant Professor at Kanazawa Institute of Technology (KIT) and Researcher at the Applied Ethics Center for Engineering and Science (ACES). At KIT, he takes charge of Science and Engineering Ethics Education. He received a B.A. in philosophy and M.A. in philosophy from Hokkaido University, Japan. Gladius KULOTHUNGAN is Senior Lecturer at the Centre for Institutional Studies, the University of East London, United Kingdom. He researches and teaches Social Entrepreneurship and works with third and public sector organisations on organisational development issues. His research interests include responses to global injustice and normative theories of institutions. Masatoshi KURIYAMA is a PhD student of Graduate School of letters, Hokkaido University. He studies ancient philosophy, especially of Aristotle. His research interest also covers media ethics, and he is now working on objective reporting in journalism. Shui Chuen LEE is Professor and Director of The Graduate Institute of Philosophy of National Central University, Taiwan ROC. He is chief PI of the various projects of the National Project of Human Genome Medicine since 1998 and has been working on ethical issues related to the Human Genome Project. He is the founder and editor of The Newsletter of Applied Ethics (1997, in Chinese) and a founding member and president (2006-2008) of the Taiwan Bioethics Association. He has published three books Philosophical Explorations of Contemporary Neo-Confucianism (1993), Hume (1993) and Confucian Bioethics (1999) I II Contributors (Asterisks indicate editors.) Acknowledgements Maria Dolores HERVAS ARMERO is a PhD Candidate at the Graduate School of Laws, Department of Earlier versions of some of the material in this book appeared in the Proceedings for the Second Philosophy of Law and Department of International Law, University of Valencia, Spain. She is also a International Applied Ethics Conference, edited by Kohji Ishihara and Shunzo Majima (Sapporo, Center visiting researcher at the Graduate School of Letters, Hokkaido University. She is a legal practitioner and for Applied Ethics and Philosophy, Hokkaido University, 2007). All papers contributed to this book were works as a member of the Bioethics Section in the Bar Association of Valencia. reviewed by two reviewers from the editorial board and its editors. We are grateful to our colleagues at the Center for Applied Ethics and Philosophy, Hokkaido University; Takahiko Nitta, Teruo Utsunomiya, Wan-ling CHOU is a PhD student of the Department of Philosophy of National Central University, Nobuo Kurata and Takehide Kashiwaba, who painstakingly assisted us with our editorial work. We also Taiwan, ROC. She has assisted in research projects such as the ELSI of stem cell research, Taiwan would like to thank Arata Matsuki
Load more

Recommended publications
  • Contextualizing Disaster
    Contextualizing Disaster This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. Catastrophes in Context Series Editors: Gregory V. Button, former faculty member of University of Michigan at Ann Arbor Mark Schuller, Northern Illinois University / Université d’État d’Haïti Anthony Oliver-Smith, University of Florida Volume ͩ Contextualizing Disaster Edited by Gregory V. Button and Mark Schuller This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. Contextualizing Disaster Edited by GREGORY V. BUTTON and MARK SCHULLER berghahn N E W Y O R K • O X F O R D www.berghahnbooks.com This open access edition has been made available under a CC BY-NC-ND 4.0 license, thanks to the support of Knowledge Unlatched. First published in 2016 by Berghahn Books www.berghahnbooks.com ©2016 Gregory V. Button and Mark Schuller Open access ebook edition published in 2019 All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system now known or to be invented, without written permission of the publisher. Library of Congress Cataloging-in-Publication Data Names: Button, Gregory, editor. | Schuller, Mark, 1973– editor. Title: Contextualizing disaster / edited by Gregory V. Button and Mark Schuller. Description: New York : Berghahn Books, [2016] | Series: Catastrophes in context ; v.
    [Show full text]
  • 100 Ans De Cinéma Japonais Cinéma Ans De 100 Programmation
    100 ANS DE CINÉMA JAPONAIS CINÉMA ANS DE 100 PROGRAMMATION 100 ANS DE CINÉMA JAPONAIS (2E PARTIE) UNE HISTOIRE INSOLITE DU CINÉMA JAPONAIS RÉTROSPECTIVE 23 JANVIER – 17 FÉVRIER Dans le cadre de Japonismes 2018 Avec le soutien de l’Alliance Renault-Nissan-Mitsubishi Pistol Opera 79 Matango PERLES RARES DU JAPON Une histoire insolite du cinéma japonais, suite… Plus d’une trentaine de titres rares de l’immense production nippone (du cinéma de studio aux productions indépendantes), de la fin des années 1940 jusqu’aux années 2000. L’évènement « Japonismes 2018 », non content de marquer d’une pierre blanche plus de 100 ans de cinéma japonais, à sa manière mettra aussi à l’honneur un siècle de cinéphilie française ; depuis les années 1910, quand Louis Delluc ne cachait pas son émotion devant la modernité du jeu de Sessue Hayakawa dans le Forfaiture de Cecil B. DeMille, la production du Soleil levant est devenue le fantasme inta- rissable d’un certain public qui, déjà au XIXe siècle, s’extasiait devant le nouveau vocabulaire plastique que proposaient les estampes orientales. PETITE HISTOIRE D’UNE PERCEPTION FRANÇAISE Il a fallu attendre les années 1920 pour que cette production commence à s’expor- ter épisodiquement. Si l’on excepte quelques pantomimes filmées anonymement, c’est pour la première fois en mars 1926 qu’est présenté au public un film japo- nais dans le mythique Studio des Ursulines, vieux théâtre de quartier reconverti depuis peu en salle d’art et d’essai. Musume (Ai no Himitsu) de Frank Tokunaga fut donc projeté entre un court métrage de René Clair et un autre de Louis Feuillade lors d’une de ces matinées réservées aux membres.
    [Show full text]
  • JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021)
    H-Japan JAPAN CUTS: Festival of New Japanese Film (August 20 - September 2, 2021) Discussion published by Joel Neville Anderson on Friday, August 13, 2021 Dear H-Japan subscribers, The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the hybrid 15th edition of the festival, slated for August 20 - September 2, 2021: https://www.japansociety.org/arts-and-culture/films/japan-cuts-festival-of-new-japanese-film Films will again be available to rent via video streaming (across the U.S., with some titles accessible worldwide), in addition to select in-person screenings at Japan Society in NYC following health and safety policies. Expanding the festival’s reach beyond New York, the lineup includes 27 features and 12 short films. The exclusive selection will be supplemented with recorded introductions from filmmakers and live video discussions via social media channels to maintain the festival’s sense of community and dedication to intercultural communication. The Centerpiece Presentation is WIFE OF A SPY (dir. Kiyoshi Kurosawa), awarding the 2021 CUT ABOVE Award for Outstanding Achievement in Film to Yu Aoi. Along with the Feature Slate, Classics, Documentary Focus, Experimental Spotlight, and Shorts Showcase, the second edition of the Next Generation section highlighting independently produced narrative feature films by emerging directors will be juried by film scholar Kyoko Hirano; Brian Hu, Artistic Director of Pacific Arts Movement; and Japanese film subtitler and translator Don Brown, awarding the Obayashi Prize. Please browse the entire dynamic lineup on the website, listed below by program section: FEATURE SLATE - Aristocrats (dir.
    [Show full text]
  • Print 2021.1.5 Updated
    BIOGRAPHY Ryo Kase Ryo Kase was born on November 9, 1974 in Kanagawa, Japan. Shortly after birth his family moved to Washington, United States, where he spent most of his childhood. Kase began his acting career in 2000 and gained his first starring role in Kazuyoshi Kumakiri’s Antenna (2004). He then went on to work with several internationally renowned Japanese film directors, including Takashi Kitano, Hirokazu Koreeda and Kiyoshi Kurosawa. His first appearance in an International film was Clint Eastwood’s Letters from Iwo Jima (2006). He continued to appear in several high-profile international films including Gus Van Sant’s Restless (2011), Abbas Kiarostami’s Like Someone in Love (2012), Hong Sang-soo’s Hill of Freedom (2014), Martin Scorsese’s Silence (2017) and Bel canto (2018). He is a recipient of multiple awards, including a nomination for Japan Academy Award, Blue Ribbon Award, Hochi Film Award and Asian Film Award. 5.January.2021 FILMOGRAPHY <MOVIE> 2020 MINAMATA Andrew Levitas The Works and Days C.W. Winter, Anders Edström (of Tayoko Shiojiri in the Shiotani Basin) 2019 TO THE ENDS OF THE EARTH Kiyoshi Kurosawa 2018 Bel Canto Dir. Paul Weitz LYING TO MOM (aka The Suzuki Family’s Lie.) Dir. Katsumi Nojiri Mori, The Artist’s Habitat Dir. Shuichi Okita 2017 Moonlight Shimo Ochiai Dir. Tasuku Emoto March comes in like a lion Dir. Keishi Otomo SILENCE Dir. Martin Scorsese 2016 Azumi Haruko wa Yukue Fumei Dir. Daigo Matsui 2015 FOUJITA Dir. Kohei Oguri Our Little Sister Dir. Hirokazu Koreeda 2014 Hill of Freedom Dir. Hong Sang-Soo My Hawaiian Discovery Dir.
    [Show full text]
  • The Bombay the Terrorist Ti Koun .
    644 CHAPTER 26 Beyond the Industrialized West 26.1 0 The Bandit Queen: Phoolan 26.1 1 Bombay's vision of a united India: as the parents are reunited with their Devi protects her wounded lover. children, hands drop weapons and stretch out in friendship. critical cinema. "In India, there is no salvation outside Yet local audiences remained loyal to the national the commercial cinema." 1 Also pursuing this path was product-which was now incorporating more sexuality Mani Rathnam, a Tamil filmmakerwho found great suc­ along with MTV dance styles (e.g., Trimurti, 1995). Juras­ cess with Nayakan ("Hero," 1986), an adaptation of The sic Park was unable to trump another 1994 release, the Godfather. Rathnam's Bombay (1994) denounces the traditional romantic comedy-drama Hum Aapke Hain bloody religious strife of the early 1990s. A Hindu jour­ Koun ... ! ("Who Am I to You? "). Filled with sparkling nalist marries a Muslim woman, and the couple and their studio-shot dance numbers (Color Plate 26.5), it became children are thrust into the middle of anti-Muslim riot­ the most popular filmof the decade. Even after restric­ ing. Bombay neighborhoods are spectacularly re-created tions were lifted, American imports claimed no more than in a Madras studio, riot scenes are shot and edited for 10 percent of the box office. In a country where nearly visceral force, hand-held cameras race through the half the population earned only a dollar a day, admission streets, and children watch as people trapped in cars are to a local filmran only about fifty cents while Hollywood burned alive.
    [Show full text]
  • The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema
    The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema by Alexander McAulay Submitted in partial fulfillment of the requirements for a Doctor of Philosophy Faculty of Media and Communication Bournemouth University May 2017 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 2 Alexander McAulay The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema Abstract This PhD investigates the writing of a feature film screenplay for mainstream Japanese-language cinema by a British screenwriter. As a long-term resident of Japan with production credits in Japanese cinema, I have for many years been interested in how to write stories set in Japan that will appeal to domestic and international audiences. The study examines the challenges I face as a Western screenwriter writing a screenplay for Japanese cinema, and how those challenges inform my creative practice, bringing into being a screenplay that is intended to enhance screenwriting craft in mainstream Japanese cinema and provide new knowledge to transnational cinema and screenwriting research. The critical commentary that accompanies the screenplay takes a dialogic approach in practice-led research to explore how various issues emerge for the Western screenwriter in Japanese cinema. These problems are examined with regard to relevant theory, and contextualised in considerations of various films in Japanese-language cinema written by non-Japanese screenwriters. One salient issue is the application of the Hollywood ‘universal’ model of screenwriting to stories about Japan.
    [Show full text]
  • Jurnal Kajian Jepang Vol. 2, No.1, April 2018
    ISSN : 2598-6201 Vol. 2 No. 1, April 2018 Vol. 2 No. 1, April 2018 Vol. 2 No. 1, April 2018 ISSN 2598-6201 JURNAL KAJIAN JEPANG Diterbitkan oleh: Pusat Studi Jepang Universitas Indonesia Vol. 2 No. 1, April 2018 ISSN: 2598-6201 JURNAL KAJIAN JEPANG ©PSJ UI, 2018 Editor-in-Chief : Diah Madubrangti Managing Editor : Rouli Esther Pasaribu Editorial Board : Ohgata Satomi (Kyushu International University) Kano Hiroyoshi (The University of Tokyo) I Ketut Surajaya (Universitas Indonesia) Bachtiar Alam (Universitas Indonesia) Bambang Wibawarta (Universitas Indonesia) Hamzon Situmorang (Universitas Sumatera Utara) Nadia Yovani (Universitas Indonesia) Shobichatul Aminah (Universitas Gadjah Mada) Editors : Lea Santiar Himawan Pratama Susy Aisyah Nataliwati Mega Alif Marintan Published by : Pusat Studi Jepang (Center for Japanese Studies) Universitas Indonesia Kampus UI Depok, INDONESIA 16424 Telephone/ Fax : (021) 786-3547 / (021) 786-3548 FOREWORD (KATA SAMBUTAN) Salam sejahtera bagi kita semua! Puji syukur kami sampaikan kepada Allah SWT atas kemudahan yang diberikan kepada Pusat Studi Jepang UI dalam menerbitkan Jurnal Kajian Jepang Vol. 2, No.1. Penerbitan ini adalah yang kedua setelah edisi pertama yang terbit pada bulan Oktober 2017. Jurnal Kajian Jepang edisi kali ini terdiri dari lima artikel ilmiah studi Jepang dari disiplin ilmu yang berbeda. Dari ilmu susastra hingga ilmu sosial. Sehubungan dengan “Peringatan 60 Tahun Hubungan Diplomatik Indonesia – Jepang” pada tahun 2018 ini, kami berharap jurnal ini dapat berkontribusi dalam meningkatkan pemahaman kultural di antara kedua negara. Kami juga berharap penerbitan jurnal ini dapat memacu minat para praktisi studi Jepang untuk menghasilkan karya ilmiah. Oleh karena itu, kami menunggu kontribusi dari para praktisi studi Jepang baik di Indonesia maupun di luar Indonesia dalam mengirimkan artikel ilmiah kepada Jurnal Kajian Jepang.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Performing Recovery: Music and Disaster Relief in Post-3.11 Japan Permalink https://escholarship.org/uc/item/9jm4z24b Author Kaneko, Nana Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Performing Recovery: Music and Disaster Relief in Post-3.11 Japan A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Nana Kaneko June 2017 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Margherita Long Dr. René T.A. Lysloff Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Nana Kaneko 2017 The Dissertation of Nana Kaneko is approved: Committee Chairperson University of California, Riverside Acknowledgements It took an enormous crew of supporters to make my research possible. What follows is just a brief recognition of those who have generously contributed to this journey. Infinite gratitude goes to my advisor, Deborah Wong, who believed in me throughout my six years as a graduate student at UCR. Thank you for constantly challenging me to take my work to the next level, and for enthusiastically guiding me and getting me to the completion of this project. I hope this dissertation is at least a small reflection of the ways in which you have shaped me as a scholar, thinker, and researcher. To my committee members: Mimi Long, René Lysloff, Jonathan Ritter, and Christina Schwenkel, I had the privilege of taking seminars with each of you that inspired me deeply and prepared me to embark on my fieldwork and research.
    [Show full text]
  • Corporate Registry Registrar's Periodical Template
    Service Alberta ____________________ Corporate Registry ____________________ Registrar’s Periodical REGISTRAR’S PERIODICAL, JULY 14, 2018 SERVICE ALBERTA Corporate Registrations, Incorporations, and Continuations (Business Corporations Act, Cemetery Companies Act, Companies Act, Cooperatives Act, Credit Union Act, Loan and Trust Corporations Act, Religious Societies’ Land Act, Rural Utilities Act, Societies Act, Partnership Act) 10490474 CANADA LTD. Federal Corporation 10815209 CANADA LTD. Federal Corporation Registered 2018 JUN 06 Registered Address: 1025 Registered 2018 JUN 01 Registered Address: 102-122 FONDA COURT SE, CALGARY ALBERTA, T2A MILLENNIUM DRIVE, FORT MCMURRAY 5S1. No: 2121238261. ALBERTA, T9K 2S8. No: 2121226381. 10530638 CANADA INC. Federal Corporation 1149197 B.C. LTD. Other Prov/Territory Corps Registered 2018 JUN 12 Registered Address: 478 Registered 2018 JUN 12 Registered Address: 132 MARINA DR, CHESTERMERE ALBERTA, T1X1W4. SHAWMEADOWS RD SW, CALGARY ALBERTA, No: 2121248088. T2Y1B3. No: 2121247825. 10668249 CANADA INC. Federal Corporation 1167231 B.C. LTD. Other Prov/Territory Corps Registered 2018 JUN 11 Registered Address: 7334 Registered 2018 JUN 13 Registered Address: #300, HUNTERTOWN CRES NW, CALGARY ALBERTA, 10335 - 172 STREET, EDMONTON ALBERTA, T2K 4K2. No: 2121245480. T5S1K9. No: 2121250928. 10742244 CANADA INC. Federal Corporation 1167874 B.C. LTD. Other Prov/Territory Corps Registered 2018 JUN 15 Registered Address: SUITE Registered 2018 JUN 14 Registered Address: 102, 2400, 525 - 8 AVENUE SW, CALGARY ALBERTA, 10126-97 AVENUE, GRANDE PRAIRIE ALBERTA, T2P 1G1. No: 2121256602. T8V7X6. No: 2121253922. 10776459 CANADA CORPORATION Federal 2018 WORLD JUNIOR A CHALLENGE LAKELAND Corporation Registered 2018 JUN 05 Registered SOCIETY Alberta Society Incorporated 2018 MAR 01 Address: 71 PANTEGO CLOSE NW, CALGARY Registered Address: 4313 50 AVE, BONNYVILLE ALBERTA, T3K 0K1.
    [Show full text]
  • Anime/Games/J-Pop/J-Rock/Vocaloid
    Anime/Games/J-Pop/J-Rock/Vocaloid Deutsch Alice Im Wunderland Opening Anne mit den roten Haaren Opening Attack On Titans So Ist Es Immer Beyblade Opening Biene Maja Opening Catpain Harlock Opening Card Captor Sakura Ending Chibi Maruko-Chan Opening Cutie Honey Opening Detektiv Conan OP 7 - Die Zeit steht still Detektiv Conan OP 8 - Ich Kann Nichts Dagegen Tun Detektiv Conan Opening 1 - 100 Jahre Geh'n Vorbei Detektiv Conan Opening 2 - Laufe Durch Die Zeit Detektiv Conan Opening 3 - Mit Aller Kraft Detektiv Conan Opening 4 - Mein Geheimnis Detektiv Conan Opening 5 - Die Liebe Kann Nicht Warten Die Tollen Fussball-Stars (Tsubasa) Opening Digimon Adventure Opening - Leb' Deinen Traum Digimon Adventure Opening - Leb' Deinen Traum (Instrumental) Digimon Adventure Wir Werden Siegen (Instrumental) Digimon Adventure 02 Opening - Ich Werde Da Sein Digimon Adventure 02 Opening - Ich Werde Da Sein (Insttrumental) Digimon Frontier Die Hyper Spirit Digitation (Instrumental) Digimon Frontier Opening - Wenn das Feuer In Dir Brennt Digimon Frontier Opening - Wenn das Feuer In Dir Brennt (Instrumental) (Lange Version) Digimon Frontier Wenn Du Willst (Instrumental) Digimon Tamers Eine Vision (Instrumental) Digimon Tamers Ending - Neuer Morgen Digimon Tamers Neuer Morgen (Instrumental) Digimon Tamers Opening - Der Grösste Träumer Digimon Tamers Opening - Der Grösste Träumer (Instrumental) Digimon Tamers Regenbogen Digimon Tamers Regenbogen (Instrumental) Digimon Tamers Sei Frei (Instrumental) Digimon Tamers Spiel Dein Spiel (Instrumental) DoReMi Ending Doremi
    [Show full text]
  • Japanese Cinema Goes Global
    Japanese Cinema Goes Global Filmworkers’ Journeys Yoshiharu Tezuka Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong www.hkupress.org © Hong Kong University Press 2012 ISBN 978-988-8083-32-9 (Hardback) ISBN 978-988-8083-33-6 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Goodrich Int’l Printing Co., Ltd. in Hong Kong, China Contents Preface vii Acknowledgements xi Note on Romanization of Asian Names and Scripts xiii Introduction 1 Chapter One: Japanese National Identity and “Banal” 9 Cosmopolitalization The Crisis of National Identity 9 The Formation of Different Types of Cosmopolitan Subjectivity 13 Chapter Two: Internationalization of Japanese Cinema — 25 How Japan Was Different from the West and above Asia before Globalization The Occupation, Japanese National Cinema and Industry 29 A New Set of Lies — Post-war National Subjectivity 35 Legitimizing Cosmopolitanism and Self-Orientalism 40 Technology and Japan’s Oriental-Orientalism in Asia 51 The Golden Age of the Hong Kong-Japanese Cinematic Interchange 60 The Emergence of Resistance Cosmopolitanism 67 Chapter Three: Globalization of Film Finance — The Actually
    [Show full text]
  • Kanji Instruction at a Japanese Supplementary School in the U.S
    KANJI INSTRUCTION AT A JAPANESE SUPPLEMENTARY SCHOOL IN THE U.S. A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN EAST ASIAN LANGUAGES AND LITERATURES (JAPANESE) MAY 2008 By Yukiko R. Yamaguchi Thesis Committee: K.imi Kondo-Brown, Chairperson Kyoko Hijirida JohnHaig lfJl We certify that we have read this thesis and that, in our opinion. it is satisfactory in scope and quality as a thesis for the degree of Master ofArts in East Asian Languages and Literatures (Japanese). (ii) © Copyright 2008 by Yukiko R. Yamaguchi (iii) ACKNOWLEDGEMENTS Many people have supported me in countless ways in making this project a reality. Without their patience, guidance, and help, this study could never have been completed. First, I would like to thank my thesis committee chairperson, Professor Kimi KondO-Brown, for her generosity, constructive feedback, encouragement, and continuous support. Without her help, I could not have earned this degree. Also, I would like to express my appreciation to my other thesis committee members, Dr. John Haig and Dr. Kyoko Hijirida. Their valuable feedback and suggestions added great value to my work. In addition, I would like to express my gratitude to the principal, teachers, and staff at the target school. They generously permitted me to conduct this study and kindly welcomed me to their school. I am especially thankful to the three participants who allowed me to observe their classes and openly shared their experiences and perceptions. I learned a lot from them about what it means to be a teacher.
    [Show full text]