Yokai 妖怪 Female
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Game Play Mechanics in Old Monster Yarns Sugoroku
LEAPING MONSTERS AND REALMS OF PLAY: GAME PLAY MECHANICS IN OLD MONSTER YARNS SUGOROKU by FAITH KATHERINE KRESKEY A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2012 THESIS APPROVAL PAGE Student: Faith Katherine Kreskey Title: Leaping Monsters and Realms of Play: Game Play Mechanics in Old Monster Yarns Sugoroku This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Professor Akiko Walley Chairperson Professor Glynne Walley Member Professor Charles Lachman Member and Kimberly Andrews Espy Vice President for Research and Innovation Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2012 ii © 2012 Faith Katherine Kreskey iii THESIS ABSTRACT Faith Katherine Kreskey Master of Arts Department of the History of Art and Architecture December 2012 Title: Leaping Monsters and Realms of Play: Game Play Mechanics in Old Monster Yarns Sugoroku Taking Utagawa Yoshikazu’s woodblock printed game board Monster Yarns as my case study, I will analyze how existing imagery and game play work together to create an interesting and engaging game. I will analyze the visual aspect of this work in great detail, discussing how the work is created from complex and disparate parts. I will then present a mechanical analysis of game play and player interaction with the print to fully address how this work functions as a game. -
Supernatural Elements in No Drama Setsuico
SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed. -
Tres Cuentos En El Inicio Del Intercambio España - Japón
MONOGRÁFICO Mirai. Estudios Japoneses ISSN-e: 2531-145X https://dx.doi.org/10.5209/mira.63248 Tres cuentos en el inicio del intercambio España - Japón. Kayoko Takagi Takanashi1 Recibido: 15 de febrero de 2019 / Aceptado: 15 de abril de 2019 Resumen. Juan Valera, uno de los escritores más destacados de la literatura española del siglo XIX, tradujo y publicó dos cuentos japoneses en 1887: El Pescadorcito Urashima (浦島太郎) y El espejo de Matsuyama (松山鏡), dos cuentos sobradamente conocidos en Japón. Si Urashima Tarō tiene su antecedente ya en Nihonshoki, Matsuyama kagami es de origen budista y pasó a Japón convirtién- dose en un cuento popular de la región de Echigo (actual prefectura de Niigata). Del último, existen versiones en el teatro noh, kyōgen, y rakugo. Por otro lado, el cuento del Ratón Pérez del que ningún niño español podría ser ignorante, se publicó en 1911 en España y se tradujo al japonés en 1953 por la editorial Iwanami. El desfase temporal que separa estas publicaciones indica varios factores históricos que atravesaron los dos países durante este período. Aunque se trata de un campo poco reconocido hasta ahora, hemos de admitir el hecho de que el poder de comunicación de la literatura infantil es altamente significativo cuando hablamos de la cognición temprana de imágenes del mundo. Este trabajo estudiará los elementos que han inspirado a Valera para realizar la traducción de dichos cuentos al español al igual que el caso del cuento español en el terreno japonés. Al mismo tiempo observaremos la recepción y la valoración de estas publicaciones en ambos países. -
Theorizing in Unfamiliar Contexts: New Directions in Translation Studies
Theorizing in Unfamiliar Contexts: New Directions in Translation Studies James Luke Hadley Submitted for the Degree of Doctor of Philosophy University of East Anglia School of Language and Communication Studies April 2014 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution.” 1 ABSTRACT This thesis attempts to offer a reconceptualization of translation analysis. It argues that there is a growing interest in examining translations produced outside the discipline‟s historical field of focus. However, the tools of analysis employed may not have sufficient flexibility to examine translation if it is conceived more broadly. Advocating the use of abductive logic, the thesis infers translators‟ probable understandings of their own actions, and compares these with the reasoning provided by contemporary theories. It finds that it may not be possible to rely on common theories to analyse the work of translators who conceptualize their actions in radically different ways from that traditionally found in translation literature. The thesis exemplifies this issue through the dual examination of Geoffrey Chaucer‟s use of translation in the Canterbury Tales and that of Japanese storytellers in classical Kamigata rakugo. It compares the findings of the discipline‟s most pervasive theories with those gained through an abductive analysis of the same texts, finding that the results produced by the theories are invariably problematic. -
Yōkai Als Helden Der Populärkultur Am Beispiel Der Manga, 1978-2012“
MASTERARBEIT Titel der Masterarbeit „Yōkai als Helden der Populärkultur am Beispiel der Manga, 1978-2012“ Verfasser Stefan Fiala, Bakk. phil. angestrebter akademischer Grad Master of Arts (MA) Wien, 2013 Studienkennzahl lt. Studienblatt: A 066 843 Studienrichtung lt. Studienblatt: Masterstudium Japanologie UG2002 Betreuer: Mag. Dr. Bernhard Scheid 3 Inhaltsverzeichnis 1 Einleitung................................................................................................................................. 5 1.1 Forschungsstand ............................................................................................................... 6 1.2 Forschungsfrage und Hypothese ...................................................................................... 8 1.3 Definition und Methode ................................................................................................. 10 1.3.1 Analyse ................................................................................................................... 14 1.4 Auswahl der Manga ....................................................................................................... 16 2 Eine kurze Geschichte der yōkai ........................................................................................... 18 2.1 Die Definition von yōkai ................................................................................................ 18 2.2 Die ersten yōkai-Sammlungen ....................................................................................... 21 2.3 Toriyama Sekien -
Monsters in the Usagi Yojimbo Rpg
USAGI YOJIMBO TM MONSTERS! An Usagi Yojimbo Role Playing Game Sourcebook This book contains material written for use with CREDITS the Usagi Yojimbo Author: Jared Smith Roleplaying Game Additional Material: Jason P. Prince and Mark and other Fuzion- Arsenault powered products. Cover Art: Stan Sakai This book also Cover Coloring: Tom Luth contains additional Cover Design: Mark Arsenault material written for Interior Illustrations: Stan Sakai use with the Editor: Mark Arsenault D20 System Editorial Contributions: Geoff Berman and Jason and FUDGE. P. Prince Layout: Mark Arsenault Author’s Dedication: For my brother Jason and the adventures we’ve shared. Copyright 2000 by Gold Rush Games. All rights reserved under International Copyright Convention. Gold Rush Games is a division of Gold Rush Entertainment, Inc. Usagi Yojimbo and all characters and their likenesses are trademarks owned by and/or copyright by Usagi Studios. Used under license; all rights reserved. Instant Fuzion and Fuzion are trademarks of The FUZION Labs Group. Used under license; all rights reserved. All situations, incidents and persons portrayed within are fictional and any similarity without satiric intent to individuals living or dead is strictly coincidental. “D20 System” and the “D20 System” Trademark logo are Trademarks owned by Wizards of the Coast and are used with permission. The use of the D20 System Trademark and other copyrights and trademarks owned by Wizards of the Coast is done according to the terms of the D20 System Trademark License Agreement version 1.0. A copy of this License can be found at www.wizards.com. Published and distributed by Gold Rush Games, PO Box 2531, Elk Grove, CA 95759-2531; (916) 684-9443 (Tel/Fax); [email protected]. -
Asiatic Society of Japan
http://e-asia.uoregon.edu TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London INTRODUCTION. Subject and Structure .---The Heike Monogatari, one of the masterpieces of Japanese literature, and also one of the main sources of the history of the Gempei period, is a poetic narrative of the fall of the Heike from the position of supremacy it had gained under Taira Kiyomori to almost complete destruction. The Heike, like the Genji, was a warrior clan, but had quickly lost its hardy simplicity under the influence of life in the Capital, and identified itself almost entirely with the effeminate Fujiwara Courtiers whose power it had usurped, so that the struggle between it and the Genji was really more one between courtiers and soldiers, between literary officials and military leaders. Historically this period stands between the Heian era of soft elegance and the Kamakura age of undiluted militarism. The Heike were largely a clan of emasculated Bushi, and their leader Kiyomori, though he obtained his supremacy by force of arms, assumed the role of Court Noble and strove to rule the country by the same device of making himself grandfather to the Emperor as the Fujiwara family had previously done. -
YOKAI. BIBLIOGRAFIA Esta Palabra Japonesa Se Pérez Riobó, Andrés Y Chiyo Chida
YOKAI. BIBLIOGRAFIA Esta palabra japonesa se Pérez Riobó, Andrés y Chiyo Chida. Yokai, monstruos y fan- tasmas de Japón. Editorial Satori. Colección Mitología ISBN: puede traducir como: 978-84-940164-1-7 Monstruos, espíritus, Folleto NonNonBa, Club de lectura de Comic de la Biblioteca Publica del Estado en Ciudad Real, sesión: 8 de Enero del demonios o apariciones. 2014. Hearn, L. (2005). Kwaidan: Stories and Studies of Strange Son criaturas en la cultura Things, Tuttle Publishing. japonesa que van desde el Tyler, R. (2002). Japanese Tales (Pantheon Fairy Tale & Folklo- malévolo oni (ogro) al re Library), Random House, ISBN 978-0-3757-1451-1. Yoda, H. and Alt, M. (2012). Yokai Attack!, TIttle Publishing, travieso kitsune (zorro) o la ISBN 978-4-8053-1219-3. mujer pálida Yuki-onna. Mizuki, Shigeru. "Graphic World of Japanese Phantoms". 講 談社 Algunos tienen partes , 1985. ISBN 978-4-06-202381-8 (4-06-202381-4) https://es.pinterest.com/pin/524669425311314466/ animales, partes humanas, https://nippon.fr/archives/4457 o partes de los dos. http://goinjapanesque.com/19753/ Son más poderosos que los seres humanos, y tienden a actuar con arrogancia sobre los mortales. Los Yōkai tienen valores diferentes de los seres humanos, y cuando estos entran en conflicto pueden conducir a la enemistad. Son generalmente invulnerables al ataque humano, pero pueden ser derrotados por monjes budistas con la bendición de Buda, conocidos como Onmyōji. Los yōkai simplemente evitan a los seres humanos, generalmente habitan en áreas aisladas lejos de viviendas humanas. Otros deciden vivir cerca de asentamientos humanos conviviendo en buena armonía. -
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. -
Translation As 'Bakemono'
International Journal of Languages, Literature and Linguistics, Vol. 3, No. 3, September 2017 Translation as ‘Bakemono’: Shapeshifters of the Meiji Era (1868-1912) Daniel J. Wyatt and is left standing dumbfounded in a cemetery on the Abstract—Bakemono ( 化け物) or obake ( お化け) are outskirts of town as the woman transforms into a fox and runs Japanese terms for a class of yōkai: preternatural creatures of off (Takeishi 2016, 136-44) [1]. indigenous folklore. In English they might be referred to as The form of the fox taken by the woman, and the form that apparitions, phantoms, goblins, monsters, or ghosts. In the bakemono assume when they are exposed is referred to as literal sense, bakemono are things that change, referring to a their ‘shōtai’ (正体) or ‘true form’; however, the true form of state of transformation or shapeshifting. Japan’s period of ‘bunmei kaika’ (civilization and enlightenment) in the Meiji era the bakemono is not always known. Another example from (1868-1912) signifies the stigmatization of supernatural the Konjaku monogatari-shū tells of an unknown assailant shapeshifters and concurrent burgeoning of bakemono of a that frequents the Jijūden Palace (仁寿殿) every night: “a literal kind: translation. Following the Meiji Restoration of certain mono (lit. ‘thing’) comes at midnight to steal oil from 1868, translation of foreign literature became tantamount to the dissemination of modern thought and propelling the new the (palace) lamps” (shinya nakagoro nani mono ka ga governments’ efforts towards the creation of a modern state. yattekite, ōmiakashi wo nusumidashite; 真夜なかごろ何もの Meiji translated literature reveals the various cultural systems かがやってきて、 御燈油をぬすみだして) (Takeishi 2016, 41) through which new knowledge was processed and transitioned during this period, resulting in translations which—like the [2]. -
JPT 4502 Fall 2018 Japanese Folklore
JPT 4502 Fall 2018 Japanese Folklore Section 009H 105 MAT Class No 18181 H, N T 4th period 10:40–11:30 am R 4th-5th periods, 10:40-11:30; 11:45-12:35 pm Website: http://elearning.ufl.edu Canvas Instructor: Ann Wehmeyer Office: 320 Pugh Office Hours: Monday 7th period (1:55-2:45); Tuesday 5th and 6th periods (11:45– 1:40), and by appointment Email: [email protected] Telephone: 352-273-2961 Course Description and Objectives: Japan has a rich tradition of myths, folktales and ghost stories. In this course, we will examine a wide selection of tales, including ancient myths, Buddhist-themed tales, and traditional folktales. We will also study the various manifestations of supernatural yōkai 妖怪 figures from folklore such as ghosts, shape-shifters, and demons in a variety of media, including woodblock prints, anime, and film. In addition, we will examine the ways in which social practice, spiritual beliefs, and political strategies have been linked to folklore in Japan. Upon successful completion of this course, you should be able to: Identify key figures from folklore, and their characteristic features and behaviors, and explain why nearly all supernatural creatures have complex natures; Explain the roles played by certain animals in Japanese culture, and the changing attributes people have ascribed to them; Interpret the folk motifs in visual media, such as Japanese prints and anime; Interpret folktales from the perspectives of religious beliefs, social practice, and political ideology; Recognize similarities and differences between Japanese and European folktales with similar themes; Explain the symbolic meaning of social practices related to the relationship between the dead and the living; Understand the ways in which folklore has been strategically adapted to new contexts such as environmentalism and tourism promotion in the process of folklorism and town revitalization. -
Legendary Creatures of Nihon Bakemono-Sho (Goblin Warrior
Legendary Creatures of Nihon Die Roll Hunger/Reason for that hunger creatures for food. They especially love human flesh Bakemono-sho (Goblin Warrior) 01-45 Food. The Gaki died of hunger and will cook humans in their enormous cook-pots. Bakemono-sho are small, humanoid goblins. Their or is condemned by its bad Profession:Barbarian skin is warty and almost the same color as humans. karma for gluttony in life. STR: 7, DEX: 2, INT: 1, KI: 3. They are usually unkempt and uncouth. They are 46-95 Money. The Gaki was a miser in AGI: 4, CFT: 3, FTG: 8, KNW: 2, PCP: 4, slow-witted and easily confused and persuaded. life and remains so in death. PRS: 6, STG: 3, SPD: 9, STL: 5, TGH: 10. Bakemono-sho are found in groups of 10-20 96-00 Life/Ki. The Gaki is working off the Armor: light armor (thick skin & furs) individuals, though lesser numbers are not karmic burden for taking life. Weapons: Two-handed Club. uncommon. When in larger numbers they like to bully Spells: Oni are immune to magic and spells. humans, but will flee if it appears that there are Gaki will attempt to steal food, money or even KI enough humans or others to offer a fair fight. from any characters they meet. They do so by rolling Tatsu (Large, scaled dragon-like creature) Profession: Fighter against their Persuasion skill (+3 if they retain the The Tatsu ranges from 7 to 50 feet long. It is one of (Bakemono-sho do not get Double Trouble).