Kyushu Grand Tour 2019
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18 Japan Tour Packages
J A P A N 18 Packages / Page 1 of 2 6D 5N Wonderful Central Hokkaido Tour 6D 5N Beautiful East Hokkaido Tour • D1: Arrival in Chitose – Furano • D1: Arrival in Chitose – Tokachigawa (D) • D2: Furano – Biei – Asahikawa (B, L, D) Tokachigawa Onsen Furano Ice Cream Factory, Farm Tomita, Shikisai-no-oka, Shirogane Blue Pond • D2: Tokachigawa – Ikeda – Akan Mashu National Park (B, L, D) • D3: Asahikawa – Otaru (B) Ikeda Wine Castle, Lake Mashu, Lake Kussharo, Onsen in Lake Akan Otokoyama Sake Brewing Museum, Asahiyama Zoo, Asahikawa Ramen Village • D3: Akan Mashu National Park – Abashiri – Shiretoko (B, L, D) • D4: Otaru – Niseko – Lake Toya – Noboribetsu (B, L, D) Abashiri Prison Museum, Mount Tento – view Okhotsk Sea, Okhotsk Otaru Canal, Sakaimachi Street, Otaru Music Box Museum, Kitachi Glass Shop, Ryu-hyo Museum, Shiretoko Goko Lakes (UNESCO) LeTao Confectionery, Niseko Milk Kobo, Niseko Cheese Factory, Lake Toya, • D4: Shiretoko – Kitami – Sounkyo (B, L, D) Noboribetsu Onsen Kitakitsune Farm, Ginga-no-taki and Ryusei-no-taki, Kurodake Ropeway • D5: Noboribetsu – Chitose (B, L) – view Daisetsuzan Mountain Range and Sounkyo Gorge Noboribetsu Jigokudani , Enmado Temple, Noboribetsu Date Jidai Village • D5: Sounkyo – Sapporo (B, L, D) • D6: Departure from Chitose (B) Shiroi Koibito Park (White Lover Chocolate), Odori Park, Sapporo TV Tower, Sapporo Clock Tower, Tanukikoji Shopping Street 6D 5N Delightful South Hokkaido Tour • D6: Sapporo – Departure from Chitose (B) • D1: Arrival in Chitose – Tomakomai • D2: Tomakomai – Noboribetsu (B, D) 6D 5N Extraordinary Shikoku Island Tour Sea Station Plat Seaport Market, Northern Horse Park, Lake • D1: Arrival in Osaka – Naruto – Takamatsu Utonai, Noboribetsu Onsen Naruto Whirlpools, Japanese Sweet-making Experience, Takamatsu Shopping St. -
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. -
The Reliquaries of Hyrule: a Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time
Press Start The Reliquaries of Hyrule The Reliquaries of Hyrule: A Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time Jared Hansen University of Oregon Abstract This study is a semiotic and iconographic analysis of the sacred architecture in The Legend of Zelda: Ocarina of Time (Nintendo, 1998). Through an analysis of the visual elements of the game, the researcher found evidence of visual metaphors that coded three temples as sacred spaces. This coding of the temples is accomplished through the symbolism of progression that matches the design of shrines and cathedrals, drawing on iconography and other symbolism associated with Shinto, Buddhist, and Christian sacred architecture. Such indications of sacred spaces highlight the ways in which these virtual environments are designed to symbolize the progression of the player from secular to sacred, much like the player’s progression from zero to hero. By using the architecture and symbolism of the three aforementioned belief systems, Ocarina of Time signifies these temples as reliquaries—that is, sacred places that house reverential items as part of the apotheosis of the player. Keywords Art history; The Legend of Zelda; sacred space; symbolism; temple. Press Start 2021 | Volume 7 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Hansen The Reliquaries of Hyrule Introduction The video game experiences that I remember and treasure most are the feelings I have within the virtual environments. -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Japan North-To-South 16 Days.Pdf
Geo 1 Geo-Japan North-to-South 16 days Japan, where hills and mountains occupy more than 70% of the country, is one of the world‘s leading volcanic powers. Hokkaido:Akan Mashu National Park,which has two caldera terrains of Lake Kussharo and Lake Akan, is one of the largest national parks in Japan. You can visit former industrial remains like sulfur mining trace while climbing an active volcano where smoke rises. On the south side of Hokkaido, discover and experience the Toya-Usu UNESCO Geopark which is called a Living Volcano Museum. Touhoku:The Sanriku Geopark is Japan’s largest geopark, stretching some 220 km along the Pacific Coast of Aomori, Iwate and Miyagi Prefectures. From the pristine waters of Jodogahama Beach (literally ‘Paradise Beach’) to the mysterious hues of Ryusendo Limestone Cave’s underground lakes, the Sanriku Geopark is a breathtakingly beautiful world of blue! Oshima-Fuji-Hakone area: Experience life on a volcano-island at Oshima, then the culture born in the UNESCO Hakone Geopark in the foothills of that most iconic volcano Mt. Fuji. Kyusyu:Finish your journey in Kyushu with a visit to Aso Geopark, home to Japan’s largest active volcano. The Aso volcano is a beast that hasn’t only given birth to the dynamic caldera landscape of the Aso area, but also shaped much of Kyushu as we know it. Explore the flourishing nature and culture of Aso, vowen together by the overwhelming presence of Japan’s largest active volcano. 共同・協業販路開拓支援事業 1 Geo 1 Geo-Japan North-to-South 16 days Itinerary at a glance Day 1 Group meets at Memanbetsu -
Description of Fences
Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Description of Fences フェンスの説明 / Description des obstacles Fence 1 – The Great Wave off Kanagawa. Hokusai. Author: (Katsushika Hokusai) Original Title: (Kanagawa-oki nami ura) Year: 1829 – 1832 Base/stand: Colour-engraved upon a wooden block. Japanese ukiyo-e master. The Great Wave is the most recognized piece by Japanese painter Katsushika Hokusai, who specializes in ukiyo-e. Published between 1830 and 1833 during the Edo period, it forms part of the collection “Thirty-six views of Mount Fuji”, even though Mount Fuji is the smallest element. The wave references the relentless force of nature, the sea, and the importance this event has in Japan’s economy and its cultural development, given the country is formed by 4 islands. EQUO JUMPTEAM----------FNL-0002RR--_03B 1 Report Created SAT 7 AUG 2021 16 :45 Page 1/7 Equestrian Park Equestrian 馬事公苑 馬術 / Sports équestres Parc Equestre Jumping Team 障害馬術団体 / Saut d'obstacles par équipes SAT 7 AUG 2021 Jump-Off) ジャンプオフ / Barrage Fence 4 – Mascot of the Tokyo 2020 Olympics Japanese illustrator Ryo Taniguchi. Manga and gamer references are seen, in representation of the Japanese contemporary visual culture and with a character design inspired by the Tokyo 2020 Olympic Games’ Logo. The pair of futuristic characters combine tradition and innovation. The name of the Olympics mascot, Miraitowa, fuses the Japanese words for future and eternity. Someity, the Paralympics mascot, is derived from Somei-yoshino, a type of cherry blossom, cherry blossom variety "Someiyoshino" and is a play on words with the English phrase “So mighty”. -
Representations of Pleasure and Worship in Sankei Mandara Talia J
Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). -
University of Nevada, Reno American Shinto Community of Practice
University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice. -
2019 Autumn JAPAN
2019 Autumn JAPAN Eikando Zenrin-ji Temple P.10 ▶ Buffet P.23 ▶ Biei Blue Pond - Autumn Leaf Season P. 6 ▶ Kuju Flower Park P.13 ▶ Kegon Falls P.22 ▶ Hitachi Seaside Park P. 4 ▶ Maple Tree Tunnel 写真提供:叡山電車 P.10 ▶ Dinner (image) P.23▶ 鶴ヶ城(麟閣) Shirakawago 写真提供:岐阜県白川村役場 P. 8・9 ▶ 写真提供:(公財)福島県観光物産交流協会 P. 7 ▶ Sunrise Tours Product Categories Information Regarding All Tours Regarding Deadlines for Reservations Bus Company Please refer to “RSV. UNTIL” on each tour page. This will be the last day of application when the tour is decided Bus company used will be one of the following. to be as scheduled. If the deadline falls during Dec. 27th to Jan. 4th, the deadline will become Dec. 26th. P12 - 13 Kyushu Sanko Bus Co. Ltd., Sanko Bus Co. Ltd., Nishitetsu Kanko Bus Terms of Tour Conduction Co. Ltd., Fukuoka Nishitetsu Taxi Co. Ltd. Tours will not be conducted if the minimum number of participants indicated for each tour is not reached by a set date. The minimum P8 - 9, 24 must be reached 4 days prior to departure for one-day tours, and 20 days prior to departure for tours including accommodation. Meitetsu Kanko Bus Co. Ltd., Gifu Bus Co. Ltd., Meihan Kintetsu Bus Symbols Co. Ltd., or Shachi Bus Co. Ltd., P3 - 5, 8, 10 - 11, 14 - 17, 20 Place of Departure Fuji Kyuko Kanko Co. Ltd., Fuji Express Co. Ltd., KM Kanko Bus Co. From Tokyo Ltd., Hato Bus Co. Ltd., Tokyo Yasaka Sightseeing Bus Co. Ltd., Heisei Enterprise Co. Ltd., Amore Kotsu Ltd., Tokyo Bus Co. -
Rites of Blind Biwa Players
ASIA 2017; 71(2): 567–583 Saida Khalmirzaeva* Rites of Blind Biwa Players DOI 10.1515/asia-2017-0034 Abstract: Not much is known about the past activities of blind biwa players from Kyushu. During the twentieth century a number of researchers and folklorists, such as Tanabe Hisao, Kimura Yūshō,KimuraRirō,Nomura(Ga) Machiko, Narita Mamoru, Hyōdō Hiromi and Hugh de Ferranti, collected data on blind biwa players in various regions of Kyushu, made recordings of their performances and conducted detailed research on the history and nature of their tradition. However, despite these efforts to document and publicize the tradition of blind biwa players and its representatives and their repertory, it ended around the end of the twentieth century. The most extensively docu- mented individual was Yamashika Yoshiyuki 山鹿良之 (1901–1996), one of the last representatives of the tradition of blind biwa players, who was known among researchers and folklorists for his skill in performing and an abundant repertory that included rites and a great many tales. Yamashika was born in 1901 in a farmer family in Ōhara of Tamana District, the present-day Kobaru of Nankan, Kumamoto Prefecture. Yamashika lost the sight in his left eye at the age of four. At the age of twenty-two Yamashika apprenticed with a biwa player named Ezaki Shotarō 江崎初太郎 from Amakusa. From his teacher Yamashika learned such tales as Miyako Gassen Chikushi Kudari 都合戦筑紫 下り, Kikuchi Kuzure 菊池くづれ, Kugami Gassen くがみ合戦, Owari Sōdō 尾張 騒動, Sumidagawa 隅田川 and Mochi Gassen 餅合戦. After three years Yamashika returned home. He was not capable of doing much farm work because his eyesight had deteriorated further by then. -
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. -
Q-❾Aso/Kumamoto Scenic Roads
Travel Guide of Scenic Byway Kyushu Q-❾ Aso/Kumamoto Scenic Roads Cities of Aso and Kumamoto; Towns of Kikuyou, Ozu, Minamioguni, Oguni and Takamori; Villages of Ubuyama, MinamiAaso and Nishihara (Kumamoto Prefecture) ---Aso Volcano and Caldera, Higo- Kaido Road, and Kumamoto Castle Town- Roughly speaking, the scenic areas in the Aso/Kumamoto route Yamanami Highway is the prefecture road 11 built as a tourist are located along Bungo Kaido that cross Kyushu, and are divided road in 1964, and the part of it is a scenic route (blue thick line in by seven zones, (1) to (7), as shown in the map. the map). However, this area is adjacent to and connected to the In other words, during the Edo period, Kumamoto Castle was built in Kumamoto City. After that, the 124km long Bungo Kaido, which connects to Oita City, was constructed. In the heyday, there were seven post towns along the Kaido via Aso City and Taketa City, but the heritage and historic sites of that time still remain. The area of Kumamoto Prefecture in Aso-Kuju National Park, which includes Mt. Aso and mountains of outer rim (Gairinzan) is the Scenic Highway area. [ Main Route] The main roads in this landscape area are Bungo- kaido Road, National Road 57, and Yamanami Highway. Among them, Bungo Kaido is a historic road, and while inheriting it, National Road 57 has been established. Therefore, they are the relationships between the old and new routes, which are partly overlapping or parallel. (1) Kurokawa Spa which is one of the most popular nationwide.