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Ötsuchi 大槌 the Sea Invaded Ötsuchi the Same Date and Hour As It Did 30 Km to the North, in Kuwagasaki (P
Main points Ötsuchi 大槌 The sea invaded Ötsuchi the same date and hour as it did 30 km to the north, in Kuwagasaki (p. 43, 72). Sanriku ö-tsunami The flooding damaged paddies, two houses, and two salt- Sanriku great tsunamis evaporation kilns (p. 60). This damage, though small, was reported to Edo, perhaps to help justify financial dekishisha seirei relief from the Tokugawa shogunate (p. 61). drowned-persons’ souls An earthquake historian included this flooding in an earthquake catalog issued in 1943 (p. 62). The flooding in 1700 probably stopped short of Ötsuchi’s kuyötö A tsunami memorial, main Edo-period street. The 1751 Chile tsunami monument for prayer for victims in 1896 and reportedly crossed this street, but the 1960 Chile tsunami 1933, stands in the cemetery of Köganji did not (p. 64). Temple, Ötsuchi. Because of puzzling regional subsidence, places covered by the 1700 tsunami in Ötsuchi may now stand a meter Other tsunamis lower, relative to the sea, than they did in 1700 (p. 65). Tsunamis generated off northeast Honshu devastated Ötsuchi in 1611, 1896, and 1933. Deaths from the 1611 waves totaled about 800 in Ötsuchi and vicinity. In the town of Ötsuchi Morioka-han alone, the 1896 and 1933 tsunamis took 600 and 61 lives, Sanriku coast respectively. An inscription on the back of a memorial stone, 0 100 km above, further states that the town lost more than 600 houses to each of these latter tsunamis. Edo Lesser near-source tsunamis reached heights of several Tanabe meters in Ötsuchi in 1677, 1793, 1856, and 1968. -
Art Projects in Japan a Society That Co-Creates with Art
An Overview of Art Projects in Japan A Society That Co-Creates with Art Written by Sumiko Kumakura and The Art Project Research Group Translated by Art Translators Collective Table of Contents Introduction 2 What are Art Projects?: History and Relationship to Local Areas 3 by Sumiko Kumakura and Yūichirō Nagatsu What are “Art Projects”? The Prehistory of Art Projects Regional Art Projects Column 1 An Overview of Large-Scale Art Festivals in Japan Case Studies from Japan’s Art Projects: Their History and Present State, 1990-2012 13 by The Art Project Research Group 1 Universities and Art Projects: Hands-On Learning and Hubs for Local Communities 2 Alternative Spaces and Art Projects: New Developments in Realizing Sustainable Support Systems 3 Museums and Art Projects: Community Projects Initiated by Museums 4 Urban Renewal and Art Projects: Building Social Capital 5 Art Project Staff: The Different Faces of Local Participants 6 Art Projects and Society: Social Inclusion and Art 7 Companies and Art Projects: Why Companies Support Art Projects 8 Artists and Art Projects: The Good and Bad of Large-Scale Art Festivals Held in Depopulated Regions 9 Trends After the 3.11 Earthquake: Art Projects Confronting Affected Areas of the Tōhoku Region Thinking about the Aesthetic and Social Value of Art Projects 28 by Sumiko Kumakura Departure from a Normative Definition of the Artwork Trends and Cultural Background of Art Project Research in Japan Local People as Evaluators of Art Projects Column 2 Case Studies of Co-Creative Projects 1: Jun Kitazawa’s -
The Sexual Life of Japan : Being an Exhaustive Study of the Nightless City Or the "History of the Yoshiwara Yūkwaku"
Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924012541797 Cornell University Library HQ 247.T6D27 1905 *erng an exhau The sexual life of Japan 3 1924 012 541 797 THE SEXUAL LIFE OF JAPAN THE SEXUAL LIFE OF JAPAN BEING AN EXHAUSTIVE STUDY OF THE NIGHTLESS CITY 1^ ^ m Or the "HISTORY of THE YOSHIWARA YUKWAKU " By J, E. DE BECKER "virtuous men hiive siitd, both in poetry and ulasslo works, that houses of debauch, for women of pleasure and for atreet- walkers, are the worm- eaten spots of cities and towns. But these are necessary evils, and If they be forcibly abolished, men of un- righteous principles will become like ravelled thread." 73rd section of the " Legacy of Ityasu," (the first 'I'okugawa ShOgun) DSitl) Niimrraiia SUuatratiuna Privately Printed . Contents PAGE History of the Yosliiwara Yukwaku 1 Nilion-dzutsumi ( 7%e Dyke of Japan) 15 Mi-kaeri Yanagi [Oazing back WUlow-tree) 16 Yosliiwara Jiuja ( Yoahiwara Shrine) 17 The "Aisome-zakura " {Chen-y-tree of First Meeting) 18 The " Koma-tsunagi-matsu " {Colt tethering Pine-tree) 18 The " Ryojin no Ido " {Traveller's Well) 18 Governmeut Edict-board and Regulations at the Omen (Great Gate) . 18 The Present Omon 19 »Of the Reasons why going to the Yosliiwara was called " Oho ve Yukn " ". 21 Classes of Brothels 21 Hikite-jaya (" Introducing Tea-houses"') 28 The Ju-hachi-ken-jaya (^Eighteen Tea-houses) 41 The " Amigasa-jaya -
Pull-Out Map of Kanazawa Kanazawa’S Museums / Art Venues Contd
Pull-Out Map Of Kanazawa Kanazawa’s Museums / Art Venues contd... D5 HONDA MUSEUM -(Honda Zouhinkan). (all bus routes referenced from JR Kanazawa Station unless noted) Displays the Honda family collection. The first Lord Honda was secretary to the ruling Maeda clan and his family heirlooms include some truly fascinating stuff ranging from instruments of war to candy boxes and sake cups. Fee: 500-yen Open: 9:00-16:30 TEL: (076) 261-0500 / 3-1 Dewa- machi. Bus: (Get off at Kencho-mae) Bus #: 10-11-12-15-25-33-50-53-70-71-73-75-80-84-85-90. Places Of Interest In Kanazawa D5 NAKAMURA MEMORIAL MUSEUM -(Nakamura Kinen Bijutsukan) Smaller museum whose highlight is an intricate display of tea ceremony tools and utensils. Ticket includes tea and sweets in the tearoom. Fee: 300-yen Open: 9:00-16:30 (closed Thurs.) TEL: (076) 221-0751 / 3-2-29 Honda-machi. Map Ref. Bus: (Get off at Honda-machi). Bus #: 18-19-91 D6 KENROKU-EN GARDEN One of Japan’s Three Sublime Gardens dating back to the 17th Century. The best times to visit: before 11 AM and after 3 PM – avoid the throng. Enjoy the serene ponds and old-world teahouses. Don’t miss the sprawling Seison Kaku Villa within the castle grounds, (a separate th -- KANAZAWA CITIZEN’S ART CENTRE – (Geijutsu Mura) Not on map but an excellent facility for modern and classical art work exhibitions, regular fee must be paid). This is an opulent, original home beautifully built in1863 by the 13 Lord Maeda for his mother.The soothing tsukushi garden here live drama and music performances. -
Full Download
VOLUME 1: BORDERS 2018 Published by National Institute of Japanese Literature Tokyo EDITORIAL BOARD Chief Editor IMANISHI Yūichirō Professor Emeritus of the National Institute of Japanese 今西祐一郎 Literature; Representative Researcher Editors KOBAYASHI Kenji Professor at the National Institute of Japanese Literature 小林 健二 SAITō Maori Professor at the National Institute of Japanese Literature 齋藤真麻理 UNNO Keisuke Associate Professor at the National Institute of Japanese 海野 圭介 Literature KOIDA Tomoko Associate Professor at the National Institute of Japanese 恋田 知子 Literature Didier DAVIN Associate Professor at the National Institute of Japanese ディディエ・ダヴァン Literature Kristopher REEVES Associate Professor at the National Institute of Japanese クリストファー・リーブズ Literature ADVISORY BOARD Jean-Noël ROBERT Professor at Collège de France ジャン=ノエル・ロベール X. Jie YANG Professor at University of Calgary 楊 暁捷 SHIMAZAKI Satoko Associate Professor at University of Southern California 嶋崎 聡子 Michael WATSON Professor at Meiji Gakuin University マイケル・ワトソン ARAKI Hiroshi Professor at International Research Center for Japanese 荒木 浩 Studies Center for Collaborative Research on Pre-modern Texts, National Institute of Japanese Literature (NIJL) National Institutes for the Humanities 10-3 Midori-chō, Tachikawa City, Tokyo 190-0014, Japan Telephone: 81-50-5533-2900 Fax: 81-42-526-8883 e-mail: [email protected] Website: https//www.nijl.ac.jp Copyright 2018 by National Institute of Japanese Literature, all rights reserved. PRINTED IN JAPAN KOMIYAMA PRINTING CO., TOKYO CONTENTS -
Japan's Friendship Ties Program
Japan’s Friendship Ties Program (USA/Canada) KAKEHASHI Project The Winners of Japanese Speech Contest (USA) Japanese Language Communication (Canada) Program Report 1. Program Overview Under the “KAKEHASHI Project” of Japan’s Friendship Ties Program, 9 participants from the U.S. and 9 participants from Canada visited Japan from January 9 to January 16, 2018 to participate in the program aimed at promoting their understanding of Japan with regard to Japanese politics, economy, society, culture, history, and foreign policy. Through lectures by ministries, observation of historical sites, Japanese cultural experience, and opinion exchanges at various institutions, the participants enjoyed a wide range of opportunities to improve their understanding of Japan and shared their individual interests and experiences through social media. Based on their findings and learning in Japan, participants made a presentation in the final session and reported on the action plans to be taken after returning to their home country. 【Participating Countries and Numbers of Participants】 United States of America: 9 participants Canada: 9 participants 【Prefectures Visited】 Tokyo, Ehime 2. Program Schedule January 09 (Tue) Arrival January 10 (Wed) 【Orientation】 【Lecture】North American Affairs Bureau, Ministry of Foreign Affairs 【Observation】Asakusa January 11 (Thu) 【Observation】Fukagawa Edo Museum 【Lecture】About Japan’s animation Move to Ehime January 12 (Fri) 【Courtesy Call】Ehime Prefectural Government 【School Exchange】Matsuyama University 【Observation】Dogo-onsen district January 13 (Sat) 【Observation】Ishite-ji Temple, Matsuyama Castle with Matsuyama University students 1 【Homestay】 January 14 (Sun) 【Farewell Party with Host Family】 【Workshop】 January 15 (Mon) Move to Tokyo 【Courtesy Call】Mr. Yasutoshi Nishimura, Deputy Chief Cabinet Secretary 【Reporting Session】 January 16 (Tue) 【Observation】Meiji Jingu Shrine, Harajuku Departure 3. -
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). -
Shikoku Access Map Matsuyama City & Tobe Town Area
Yoshikawa Interchange Hiroshima Airport Okayama Airport Okayama Kobe Suita Sanyo Expressway Kurashiki Junction Interchange Miki Junction Junction Junction Shikoku Himeji Tarumi Junction Itami Airport Hiroshima Nishiseto-Onomichi Sanyo Shinkansen Okayama Hinase Port Shin-Kobe Shin- Okayama Interchange Himeji Port Osaka Hiroshima Port Kure Port Port Obe Kobe Shinko Pier Uno Port Shodoshima Kaido Shimanami Port Tonosho Rural Experience Content Access Let's go Seto Ohashi Fukuda Port all the way for Port an exclusive (the Great Seto Bridge) Kusakabe Port Akashi Taka Ikeda Port experience! matsu Ohashi Shikoku, the journey with in. Port Sakate Port Matsubara Takamatsu Map Tadotsu Junction Imabari Kagawa Sakaide Takamatsu Prefecture Kansai International Imabari Junction Chuo Airport Matsuyama Sightseeing Port Iyosaijyo Interchange Interchange Niihama Awajishima Beppu Beppu Port Matsuyama Takamatsu Airport 11 11 Matsuyama Kawanoe Junction Saganoseki Port Tokushima Wakayama Oita Airport Matsuyama Iyo Komatsu Kawanoe Higashi Prefecture Naruto Interchange Misaki Interchange Junction Ikawa Ikeda Interchange Usuki Yawata Junction Wakimachi Wakayama Usuki Port Interchange hama Interchange Naruto Port Port Ozu Interchange Ehime Tokushima Prefecture Awa-Ikeda Tokushima Airport Saiki Yawatahama Port 33 32 Tokushima Port Saiki Port Uwajima Kochi 195 Interchange Hiwasa What Fun! Tsushima Iwamatsu Kubokawa Kochi Gomen Interchange Kochi Prefecture 56 Wakai Kanoura ■Legend Kochi Ryoma Shimantocho-Chuo 55 Airport Sukumo Interchange JR lines Sukumo Port Nakamura -
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. -
Cambridge University Press 978-1-108-48194-6 — Japan's Castles Oleg Benesch , Ran Zwigenberg Index More Information
Cambridge University Press 978-1-108-48194-6 — Japan's Castles Oleg Benesch , Ran Zwigenberg Index More Information Index 10th Division, 101, 117, 123, 174 Aichi Prefecture, 77, 83, 86, 90, 124, 149, 10th Infantry Brigade, 72 171, 179, 304, 327 10th Infantry Regiment, 101, 108, 323 Aizu, Battle of, 28 11th Infantry Regiment, 173 Aizu-Wakamatsu, 37, 38, 53, 74, 92, 108, 12th Division, 104 161, 163, 167, 268, 270, 276, 277, 12th Infantry Regiment, 71 278, 279, 281, 282, 296, 299, 300, 14th Infantry Regiment, 104, 108, 223 307, 313, 317, 327 15th Division, 125 Aizu-Wakamatsu Castle, 9, 28, 38, 62, 75, 17th Infantry Regiment, 109 77, 81, 277, 282, 286, 290, 311 18th Infantry Regiment, 124, 324 Akamatsu Miyokichi, 64 19th Infantry Regiment, 35 Akasaka Detached Palace, 33, 194, 1st Cavalry Division (US Army), 189, 190 195, 204 1st Infantry Regiment, 110 Akashi Castle, 52, 69, 78 22nd Infantry Regiment, 72, 123 Akechi Mitsuhide, 93 23rd Infantry Regiment, 124 Alnwick Castle, 52 29th Infantry Regiment, 161 Alsace, 58, 309 2nd Division, 35, 117, 324 Amakasu Masahiko, 110 2nd General Army, 2 Amakusa Shirō , 163 33rd Division, 199 Amanuma Shun’ichi, 151 39th Infantry Regiment, 101 American Civil War, 26, 105 3rd Cavalry Regiment, 125 anarchists, 110 3rd Division, 102, 108, 125 Ansei Purge, 56 3rd Infantry Battalion, 101 anti-military feeling, 121, 126, 133 47th Infantry Regiment, 104 Aoba Castle (Sendai), 35, 117, 124, 224 4th Division, 77, 108, 111, 112, 114, 121, Aomori, 30, 34 129, 131, 133–136, 166, 180, 324, Aoyama family, 159 325, 326 Arakawa -
Watanabe, Tokyo, E
Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-711-574759 fax +49-711-574784 Hiroshi Watanabe The Architecture of Tokyo 348 pp. with 330 ill., 161,5 x 222 mm, soft-cover, English ISBN 3-930698-93-5 Euro 36.00, sfr 62.00, £ 24.00, US $ 42.00, $A 68.00 The Tokyo region is the most populous metropolitan area in the world and a place of extraordinary vitality. The political, economic and cultural centre of Japan, Tokyo also exerts an enormous inter- national influence. In fact the region has been pivotal to the nation’s affairs for centuries. Its sheer size, its concentration of resources and institutions and its long history have produced buildings of many different types from many different eras. Distributors This is the first guide to introduce in one volume the architec- ture of the Tokyo region, encompassing Tokyo proper and adja- Brockhaus Commission cent prefectures, in all its remarkable variety. The buildings are pre- Kreidlerstraße 9 sented chronologically and grouped into six periods: the medieval D-70806 Kornwestheim period (1185–1600), the Edo period (1600–1868), the Meiji period Germany (1868–1912), the Taisho and early Showa period (1912–1945), the tel. +49-7154-1327-33 postwar reconstruction period (1945–1970) and the contemporary fax +49-7154-1327-13 period (1970 until today). This comprehensive coverage permits [email protected] those interested in Japanese architecture or culture to focus on a particular era or to examine buildings within a larger temporal Buchzentrum AG framework. A concise discussion of the history of the region and Industriestraße Ost 10 the architecture of Japan develops a context within which the indi- CH-4614 Hägendorf vidual works may be viewed. -
Japanese Spatial Culture, Nature and Architecture
PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories.