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Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work. -
The Making of an American Shinto Community
THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 -
The Culture of Japanese Fascism Asia-Pacific: Culture, Politics, and Society &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ the Culture of Japanese Fascism
THE CULTURE OF JAPANESE FASCISM ASIA-PACIFIC: CULTURE, POLITICS, AND SOCIETY &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ THE CULTURE OF JAPANESE FASCISM &EJUFECZ "MBO5BOTNBO DUKE UNIVERSITY PRESS DURHAM AND LONDON 2009 © 2009 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ♾ Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging- in-Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Columbia University, which provided funds toward the production of this book. CONTENTS MARILYN IVY Foreword: Fascism, Yet? vii ALAN TANSMAN Introduction: The Culture of Japanese Fascism 1 Part I: Theories of Japanese Fascism KEVIN M. DOAK Fascism Seen and Unseen: Fascism as a Problem in Cultural Representation 31 RICHARD TORRANCE The People’s Library: The Spirit of Prose Literature versus Fascism 56 HARRY HAROOTUNIAN Constitutive Ambiguities: The Persistence of Modernism and Fascism in Japan’s Modern History 80 Part II: Fascism and Daily Life KIM BRANDT The Beauty of Labor: Imagining Factory Girls in Japan’s New Order 115 NORIKO ASO Mediating the Masses: Yanagi Sōetsu and Fascism 138 AARON SkABELUND Fascism’s Furry Friends: Dogs, National Identity, and Purity of Blood in 1930s Japan 155 Part III: Exhibiting Fascism AARON GEROW Narrating the Nation-ality of a Cinema: The Case of Japanese Prewar Film 185 MICHAEL BASKETT All Beautiful Fascists?: Axis Film Culture in Imperial Japan 212 AkIKO TAKENAKA Architecture for Mass-Mobilization: The Chūreitō Memorial Construction Movement, 1939–1945 235 JONATHAN M. -
Marr, Kathryn Masters Thesis.Pdf (4.212Mb)
MIRRORS OF MODERNITY, REPOSITORIES OF TRADITION: CONCEPTIONS OF JAPANESE FEMININE BEAUTY FROM THE SEVENTEENTH TO THE EARLY TWENTIETH CENTURY A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Japanese at the University of Canterbury by Kathryn Rebecca Marr University of Canterbury 2015 Table of Contents Acknowledgements ·········································································· 1 Abstract ························································································· 2 Notes to the Text ·············································································· 3 List of Images·················································································· 4 Introduction ···················································································· 10 Literature Review ······································································ 13 Chapter One Tokugawa Period Conceptions of Japanese Feminine Beauty ························· 18 Eyes ······················································································ 20 Eyebrows ················································································ 23 Nose ······················································································ 26 Mouth ···················································································· 28 Skin ······················································································· 34 Physique ················································································· -
In the Suburbs of Tokyo
English The Best Things to do in the Suburbs of Tokyo Travel back in time - Nature, Anime, Town, Castle, Temple and Shrine Kawagoe & Chichibu History, Food A Boundless Outdoor Paradise with Abundant Nature -- Hanno Discover Endless Possibilities -- Tokorozawa Head to Mountains and Hills on the Seibu Line Discover and Experience Sayama Tea "Only in Japan" Experiences Await Inside Amazing Theme Parks Experience the Spirituality of Japan’s Shrines and Temples Edo-Tokyo Open Air Architectural Museum SEIBU_EN_2020.indd 1 2020/12/03 11:07 Get around the Seibu Line with the All-you-can-ride Pass With the SEIBU 1Day Pass and other discount tickets, issued by Seibu Railway, you can hop on and off the SEIBU Line as often as you want to experience rich Japanese culture and visit sightseeing gems hidden in the suburbs. The Seibu Lines connect directly to the sacred and traditional places of Kawagoe and Chichibu, where you can enjoy the charm of the Edo period to the fullest. These tickets are the best partner for foreign tourists visiting Japan! Ticket Information Price and Type MOOMINVALLEY PARK Ticket & Travel Pass 3,700 yen SEIBU SEIBU * Only valid for the boarding date. Includes a SEIBU 1Day Pass, 1Day Pass 1Day Pass + Nagatoro ZKLFKDOORZVXQOLPLWHGULGHVRQDOO6(Ζ%85DLOZD\OLQHV H[FHSW 1,000 yen 1,500 yen IRUWKH7DPDJDZD/LQH DEXVWLFNHWWRPHWV¦IURP+DQQď 6WDWLRQRU+LJDVKL+DQQď6WDWLRQDQGDSDUNDGPLVVLRQWLFNHW * Some attractions in the park are charged separately. * SEIBU 2Day Pass and SEIBU 2Day Pass + Nagatoro tickets are also available. * Tickets are only valid on the day of use. Valid on the SEIBU KAWAGOE PASS Seibu Line or the Seibu Line + Chichibu Railway Line 700 yen within the stated area including free use between 1RJDPL6WDWLRQDQG0LWVXPLQHJXFKL6WDWLRQb 7LFNHWV * Tickets are valid for only one day of use for are not valid for the Tamagawa Line) arrival or departure from Seibu-Shinjuku Station, * Additional limited express charge is required. -
Attention of Photography and Videography in the Precincts of Kasugataisha Shrine Regarding Photography & Videography In
Attention of Photography and Videography in the Precincts of Kasugataisha Shrine Regarding photography & videography in the precincts of Kasugataisha Shrine, your kind respects and suitable actions for the sacred place are highly appreciated. In the precincts including Kasugataisha Museum, Man-yo Botanical Garden, Mt. Mikasa, Tobihino Field, and Negi-michi Pathway, the following actions are prohibited. PROHIBITED ACTS 1. Photography, videography and any other acts that could interfere Shinto rituals and services, or disturb other visitors to the shrine. These include use of a tripod, a monopod, a selfie stick, a stepladder, and a piece of lighting equipment. 2. Photography and videography for advertising and commercial purposes without the prior permission of the shrine regardless of application of a model. 3. Photography, videography and any other acts that could violate the dignity of the shrine. These include dressing up in outrageous and revealing clothes, disguise costume(cosplay) or wearing excessive makeup, even if it is for personal use. 4. Photography & videography for wedding in wedding-dress or kimono, Japanese traditional clothes, even if it is for personal use. The exception is the couples who have held the wedding ceremony at Kasugataisha Shrine. 5. Flying an unmanned drone and taking photos or videos from it in the precincts of Kasugataisha Shrine, especially during Shinto rituals and services such as Kasuga Wakamiya On-matsuri Festival including the route of Owatarishiki Parade. 6. Surveying or interviewing the visitors to the shrine without the prior permission of the shrine. 7. Taking photos and videos of shrine staff including Shinto priests and priestesses, Miko, interviewing without the prior permission of the shrine as well. -
Temples and Shrines in Yamanashi
Temples and Shrines in Yamanashi In Yamanashi, there are a number of historical and picturesque Buddhist temples and Shinto shrines, including beautiful traditional monasteries and gardens with flowers blooming from season to season. Why not visit Shinto shrines and temples that can be called the spiritual home of the Japanese people. 青龍山 瑞泉寺 甲府市中央3-7-17 ☎055(233)7285 永泰寺 Eitai-ji Temple Wooden Buddha Statue Enshrined at Eitai-ji Temple in Furuseki, Kofu City, this wooden statue is notable for the beauty of 金櫻神社 its figure and the elegant lines of its clothing. Kanazakura-jinja Shrine This prefecture designated Cover photo Ukon-no-Sakura, the golden cherry blossom tree cultural asset is only available for public viewing once a year 甲斐善光寺 The golden cherry blossom tree at Kanazakura-jinja — during the annual "Flower Shrine near Yamanashi’s major scenic spot, Shosenkyo, Festival" on April 8. Kai-Zenko-ji Temple produces gold-tinged flowers. It is said that you will be This is the Sanmon temple gate. Zenkoji Temple in Kofu City is a large blessed with luck and money throughout your life if you building that was moved from Nagano to Yamanashi by Takeda Shingen, pray while this tree is in bloom. the great commander of the Sengoku Period, to avoid it being damaged by the war. The large, vermilion lacquered Sanmon gate and Kondo, the 2 inner temple, are majestic. 3 The Legend of the Lake: Was the Kofu Basin a Lake? Yamanashi is surrounded on all sides by high mountains, including Mt. Fuji and Mt. Yatsugatake. The Kofu Basin is said to have been flooded in ancient times. -
Ema: Display Practices of Edo Period Votive Paintings
EMA: DISPLAY PRACTICES OF EDO PERIOD VOTIVE PAINTINGS A DISSERTATION SUBMITTED TO THE DEPARTMENT OF ART AND ART HISTORY AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Hilary Katherine Snow July 2010 © 2010 by Hilary Katherine Snow. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/rd900xq7448 Includes supplemental files: 1. (Snow_Figures.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Melinda Takeuchi, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Bissera Pentcheva I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Richard Vinograd I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karen Wigen Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. -
COX-DISSERTATION-2018.Pdf (5.765Mb)
Copyright Copyright by Benjamin Davis Cox 2018 Signature Page The Dissertation Committee for Benjamin Davis Cox certifies that this is the approved version of the following dissertation: Gods Without Faces Childhood, Religion, and Imagination in Contemporary Japan Committee: ____________________________________ John W. Traphagan, Supervisor ____________________________________ A. Azfar Moin ____________________________________ Oliver Freiberger ____________________________________ Kirsten Cather Title Page Gods Without Faces Childhood, Religion, and Imagination in Contemporary Japan by Benjamin Davis Cox Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2018 Dedication For my mother, who tirelessly read all of my blasphemies, but corrected only my grammar. BB&tt. Acknowledgments Fulbright, CHLA This research was made possible by the Fulbright-Hays Doctoral Dissertation Fellowship, a Hannah Beiter Graduate Student Research Grant from the Children’s Literature Association, and a grant from the Mitsubishi Heavy Industries Endowment in the College of Liberal Arts, University of Texas at Austin. I would additionally like to thank Waseda University for sponsoring my research visa, and in particular Glenda Roberts for helping secure my affiliation. Thank you to the members of my committee—John Traphagan, Azfar Moin, Oliver Freiberger, and Kirsten Cather—for their years of support and intellectual engagement, and to my ‘grand-advisor’ Keith Brown, whose lifetime of work in Mizusawa opened many doors to me that would otherwise have remained firmly but politely shut. I am deeply indebted to the people of Mizusawa for their warmth, kindness, and forbearance. -
(Red Suit of Armor), 309. Ake No Tamagaki 朱の
INDEX A Azuchi 安土 (also Azuchiyama 安土山; castle), Aizen Myōō 愛染明王 (Wisdom King), 164/fn. 19, 28, 130, 130/fn. 289, 144–147, 225, 250, 386, 205. 291, 291/fn. 805, 295, 303, 303/fn. 832. akazonae 赤備え (red suit of armor), 309. Azuchi nikki 安土日記 (Diary of Azuchi), 145/fn. 331. ake no tamagaki 朱の玉垣 (“cinnabar fence”), Azuma kagami 吾妻鏡 (The Mirror of the East), 174/fn. 416. 218/fn. 577. Amaterasu Ōmikami天照大御神 (deity), 190, 214, fn. 551, 217. B Amida 阿弥陀 (Buddha), 121, 124, 125, 160/fn. basabasa ni naru バサバサニ成る (“to be cha- 377, 183–184, 186, 205/fn. 510, 227/fn. 614, otic,” “to degenerate”), 310/fn. 859. 330/fn. 896. basara 婆娑羅, 波佐羅 (extravagance), 180/fn. Amida kyō 阿弥陀経 (Scripture on Amida), 183/ 438, 310–314, 317, 318. fn. 453. Basara Taishō 伐折羅大将 (Thunderbold Gen- Arima Harunobu 有馬晴信 (also Protasio; 1567– eral, one of the jūni shinshō 十二神将, Twelve 1612), 56/fn. 139. Heavenly Generals), 310/fn. 859. armor (tōsei gusoku ), 131/fn. 291, 312–313; pl. bengara 弁柄 (red pigment), 174/fn. 415. 16. bettō 別当 (shrine/temple steward), 206, 225/fn. armor surcoat (jinbaori 陣羽織), 131/ fn. 291, 606, 345. 312; pl. 15. bird-like being, see karyōbinga. ashigaru 足軽 (foot soldiers), 258, 258/fn. 717. biwa ita 琵琶板 (board fillings), 94/fn. 193. Ashikaga Mochiuji 足利持氏 (1398–1439), 219/ Black Tortoise (genbu 玄武, also “black warrior;” fn. 581. one of the Four Divine Creatures), 108/fn. 224. Ashikaga Takauji 足利尊氏 (1305–1358), 130, Blue-Green Dragon (qinglong 青龍; one of the 130/fn. -
Let's Take a Stroll Around Koishikawa and Zoshigaya !
Opening Information Place of ISHIKAWA Takuboku’s Main Hall of Gokoku-ji Temple Death [Open] All Year (except special events [Open] All Year or activities at the main hall) [Hours] All Day ※The principal image is unveiled on [Fee] Free the 18th of each months Tokyo Heritage Week [Hours] All Day Memorial to Ishikawa Takuboku [Fee] Free Monument and Gallery [Open] All Year (except the Year-End Former McCaleb Residence Let’s take a stroll around and New Year and the exceptional (Old Missionary House, Zoshigaya ) closing period) [Open] All Year (except Mondays, Koishikawa and Zoshigaya ! [Hours] 9:00~17:00 Sunday of the 3rd week and the [Fee] Free Year-End and New Year. If a holiday A rolling land of Koishikawa and Zoshigaya area is formed by falls on them, the following day) midsize and small rivers pouring into Kanda-gawa River and plateau. Koishikawa area is known for temples associated with the Tokugawa Koishikawa Botanical Garden [Hours] 9:00~16:30 [Open] All Year (except Mondays and [Fee] Free Shogunate, and temple towns were developed around such temples, territories and roadside of “Kasuga-dori Street” and “Otowa-dori the Year-End and New Year. If a Street”. Tokugawa Tsunayoshi, the fifth shogun, specially had a close holiday falls on Monday, closed on Avenue of Zelkova Trees at connection to the area. Zoshigaya Kishimojin Temple was worshipped Tuesday. If there are consecutive Kishimojin Daimon by a wide range of believers and thrived in the Edo period. [Open] All Year holidays, the day after the last holiday This route introduces the historic sites such as Gokoku-ji Temple will be closed) [Hours] All Day and Zoshigaya Kishimojin Temple that allow us to experience the [Hours] 9:00~16:30 (Enter by 16:00) [Fee] Free atmosphere of the Edo period, as well as the Former McCaleb [Fee] General ¥400 (a group more than Residence and Jiyu Gakuen Myonichikan built in the Meiji and the 20 pers ¥300), Elementary school & Jr Ginkgo of Zoshigaya Kishimojin Taisho era. -
The Intangible Warrior Culture of Japan: Bodily Practices, Mental Attitudes, and Values of the Two-Sworded Men from the Fifteenth to the Twenty-First Centuries
The Intangible Warrior Culture of Japan: Bodily Practices, Mental Attitudes, and Values of the Two-sworded Men from the Fifteenth to the Twenty-first Centuries. Anatoliy Anshin Ph.D. Dissertation UNSW@ADFA 2009 ACKNOWLEDGEMENTS This thesis would not have seen the light without the help of more people than I can name individually. I am particularly grateful to Professor Stewart Lone, UNSW@ADFA, and Professor Sandra Wilson, Murdoch University, for their guidance and support while supervising my Ph.D. project. All of their comments and remarks helped enormously in making this a better thesis. A number of people in Japan contributed significantly to producing this work. I am indebted to Ōtake Risuke, master teacher of Tenshinshō-den Katori Shintō-ryū, and Kondō Katsuyuki, director of the Main Line Daitō-ryū Aikijūjutsu, for granting interviews and sharing a wealth of valuable material during my research. I thank Professor Shima Yoshitaka, Waseda University, for his generous help and advice. I would like to express my infinite thankfulness to my wife, Yoo Sun Young, for her devotion and patience during the years it took to complete this work. As for the contribution of my mother, Margarita Anshina, no words shall convey the depth of my gratitude to her. 1 CONTENTS Acknowledgements…………..…………………………………………………….……1 Contents…………………………..……………………………………………………...2 List of Illustrations……………………………………………………………………….5 Conventions……………………………………………………………………………...6 List of Author’s Publications…………………………………………………………….8 INTRODUCTION……………………………………………………………………….9