the Strikers
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Title Call # Category
Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine -
A Thesis Entitled Yoshimoto Taka'aki, Communal Illusion, and The
A Thesis entitled Yoshimoto Taka’aki, Communal Illusion, and the Japanese New Left by Manuel Yang Submitted as partial fulfillment for requirements for The Master of Arts Degree in History ________________________ Adviser: Dr. William D. Hoover ________________________ Adviser: Dr. Peter Linebaugh ________________________ Dr. Alfred Cave ________________________ Graduate School The University of Toledo (July 2005) ACKNOWLEDGMENTS It is customary in a note of acknowledgments to make the usual mea culpa concerning the impossibility of enumerating all the people to whom the author has incurred a debt in writing his or her work, but, in my case, this is far truer than I can ever say. This note is, therefore, a necessarily abbreviated one and I ask for a small jubilee, cancellation of all debts, from those that I fail to mention here due to lack of space and invidiously ungrateful forgetfulness. Prof. Peter Linebaugh, sage of the trans-Atlantic commons, who, as peerless mentor and comrade, kept me on the straight and narrow with infinite "grandmotherly kindness" when my temptation was always to break the keisaku and wander off into apostate digressions; conversations with him never failed to recharge the fiery voltage of necessity and desire of historical imagination in my thinking. The generously patient and supportive free rein that Prof. William D. Hoover, the co-chair of my thesis committee, gave me in exploring subjects and interests of my liking at my own preferred pace were nothing short of an ideal that all academic apprentices would find exceedingly enviable; his meticulous comments have time and again mercifully saved me from committing a number of elementary factual and stylistic errors. -
Berkeley Art Museum·Pacific Film Archive W Inte R 2 0 18 – 19
WINTER 2018–19 BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE 100 YEARS OF COLLECTING JAPANESE ART ARTHUR JAFA MASAKO MIKI HANS HOFMANN FRITZ LANG & GERMAN EXPRESSIONISM INGMAR BERGMAN JIŘÍ TRNKA MIA HANSEN-LØVE JIA ZHANGKE JAMES IVORY JAPANESE FILM CLASSICS DOCUMENTARY VOICES OUT OF THE VAULT IN FOCUS: WRITING FOR CINEMA 1 / 2 / 3 / 4 CALENDAR DEC 9/SUN 21/FRI JAN 2:00 A Midsummer Night’s Dream 4:00 The Price of Everything P. 15 Introduction by Jan Pinkava 7:00 Fanny and Alexander BERGMAN P. 15 1/SAT TRNKA P. 12 3/THU 7:00 Full: Home Again—Tapestry 1:00 Making a Performance 1:15 Exhibition Highlights Tour P. 6 4:30 The Cabinet of Dr. Caligari P. 5 WORKSHOP P. 6 Reimagined Judith Rosenberg on piano 4–7 Five Tables of the Sea P. 4 5:30 The Good Soldier Švejk TRNKA P. 12 LANG & EXPRESSIONISM P. 16 22/SAT Free First Thursday: Galleries Free All Day 7:30 Persona BERGMAN P. 14 7:00 The Price of Everything P. 15 6:00 The Firemen’s Ball P. 29 5/SAT 2/SUN 12/WED 8:00 The Apartment P. 19 6:00 Future Landscapes WORKSHOP P. 6 12:30 Scenes from a 6:00 Arthur Jafa & Stephen Best 23/SUN Marriage BERGMAN P. 14 CONVERSATION P. 6 9/WED 2:00 Boom for Real: The Late Teenage 2:00 Guided Tour: Old Masters P. 6 7:00 Ugetsu JAPANESE CLASSICS P. 20 Years of Jean-Michel Basquiat P. 15 12:15 Exhibition Highlights Tour P. -
A Japanese View of “The Other World” Reflected in the Movie “Departures
13. A Japanese view of the Other World reflected in the movie “Okuribito (Departures)” Keiko Tanita Introduction Religion is the field of human activities most closely related to the issue of death. Japan is considered to be a Buddhist country where 96 million people support Buddhism with more than 75 thousands temples and 300 thousands Buddha images, according to the Cultural Affaires Agency in 2009. Even those who have no particular faith at home would say they are Buddhist when asked during their stay in other countries where religion is an important issue. Certainly, a great part of our cultural tradition is that of Buddhism, which was introduced into Japan in mid-6th century. Since then, Buddhism spread first among the aristocrats, then down to the common people in 13th century, and in the process it developed a synthesis of the traditions of the native Shintoism. Shintoism is a religion of the ancient nature and ancestor worship, not exactly the same as the present-day Shintoism which was institutionalized in the late 19th century in the course of modernization of Japan. Presently, we have many Buddhist rituals especially related to death and dying; funeral, death anniversaries, equinoctial services, the Bon Festival similar to Christian All Souls Day, etc. and most of them are originally of Japanese origin. Needless to say, Japanese Buddhism is not same as that first born in India, since it is natural for all religions to be influenced by the cultures specific to the countries/regions where they develop. Japanese Buddhism, which came from India through the Northern route of Tibet and China developed into what is called Mahayana Buddhism which is quite different from the conservative Theravada traditions found in Thai, Burmese, and Sri Lankan Buddhism, which spread through the Southern route. -
Masaki Kobayashi: HARAKIRI (1962, 133M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
October 8, 2019 (XXXIX: 7) Masaki Kobayashi: HARAKIRI (1962, 133m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Masaki Kobayashi WRITING Shinobu Hashimoto wrote the screenplay from a novel by Yasuhiko Takiguchi. PRODUCER Tatsuo Hosoya MUSIC Tôru Takemitsu CINEMATOGRAPHY Yoshio Miyajima EDITING Hisashi Sagara The film was the winter of the Jury Special Prize and nominated for the Palm d’Or at the 1963 Cannes Film Festival. CAST Tatsuya Nakadai...Tsugumo Hanshirō (1979), Tokyo Trial* (Documentary) (1983), and Rentarō Mikuni...Saitō Kageyu Shokutaku no nai ie* (1985). He also wrote the screenplays Akira Ishihama...Chijiiwa Motome for A Broken Drum (1949) and The Yotsuda Phantom Shima Iwashita...Tsugumo Miho (1949). Tetsurō Tamba...Omodaka Hikokuro *Also wrote Ichiro Nakatani...Yazaki Hayato Masao Mishima...Inaba Tango SHINOBU HASHIMOTO (b. April 18, 1918 in Hyogo Kei Satō...Fukushima Masakatsu Prefecture, Japan—d. July 19, 2018 (age 100) in Tokyo, Yoshio Inaba...Chijiiwa Jinai Japan) was a Japanese screenwriter (71 credits). A frequent Yoshiro Aoki...Kawabe Umenosuke collaborator of Akira Kurosawa, he wrote the scripts for such internationally acclaimed films as Rashomon (1950) MASAKI KOBAYASHI (b. February 14, 1916 in and Seven Samurai (1954). These are some of the other Hokkaido, Japan—d. October 4, 1996 (age 80) in Tokyo, films he wrote for: Ikiru (1952), -
Studio Ghibli Feature Films and Japanese Artistic Tradition
Studio Ghibli Feature Films and Japanese Artistic Tradition Roslyn McDonald June 2004 Summary. The animated feature films of Studio Ghibli are contemporary works of art which also incorporate Japanese artistic and cultural traditions. Human’s relationship with nature and the gods of nature (kami), continuity and change, the bitter-sweet awareness of the transience of beauty, life and love (mono no aware) and the struggle between and accommodation of old and new, good and bad are recurring themes in Japanese art and literature. This essay examines how these artistic traditions are expressed through stories, themes, characters and imagery in four of Studio Ghibli films: Tombstone for Fireflies directed by Isao Takahata and My Neighbour Totoro, Princess Mononoke and Spirited Away directed by Hayao Miyazaki. Note: As a Western, non-Japanese speaker, I cannot hope to identify all the traditional artistic and literary influences and allusions in the films. There is not scope in this essay to discuss comprehensively even those I have identified. Nor have I attempted to demonstrate the reflexive processes by which contemporary Japanese animation and the films of Studio Ghibli are both influenced by other countries’ art and literature, particularly film, and in turn influence those. Introduction All art is a product of both its history and its time. Napier (2001) has described anime as “a richly fascinating contemporary Japanese art form that both harks back to traditional Japanese culture and moves forward to the cutting edge of art and media”. Japanese artistic evolution has been driven by internal factors and by the appropriation and adaptation of outside influences initially primarily from China and then later Europe. -
Rodicafrenţiu
RODICA FRENŢIU YUKIO MISHIMA: THYMOS BETWEEN AESTHETICS AND IDEOLOGICAL FANATICISM Rodica Frenţiu Asian Studies Department, Japanese Language Program, School of Letters, Babeş- Bolyai University, Cluj, Romania. Email: [email protected] Abstract: This study attempts to explore the possible motivations, both obvious and problematic, behind the ritual suicide (seppuku) committed by the Japanese writer in the name of the Emperor at the Eastern Headquarters of Japan’s Self-Defense Forces in 1970. History does not seem to be a coherent or intelligible process, as man’s struggle for nourishment is most often replaced by thymos, the desire for others to recognize his value or the value system of the ideals or noble purposes he is ready to sacrifice for, ignoring the basic instinct of self-conservation. Yukio Mishima was extremely pessimistic about pragmatic and materialistic contemporary Japan. History brought along increasing consumerism, thus disturbing the harmony of traditional Japanese spirituality. The technological ability to improve human existence seemed to alter inevitably the moral evolution of contemporary Japanese. Against this background of ruling “costs” and “benefits”, the Japanese writer seems to believe that it is only the thymotic man, the “man of anger”, who can fight for the recognition and salvation of the Japanese soul (yamato damashii). Believed for centuries to be the true art of dying, Yukio Mishima’s seppuku turned from a “beautiful” gesture into one of protest and accusation: the Japanese society had begun the transition -
Blouinlecoeurdel'homme Version Finale
Le cœur de l’homme Au fil de la littérature japonaise Journal de relectures 2017-2020 Édition à substituer à la précédente 14 mai 2021 Claude R. Blouin * Première édition ISBN 13-978-2-9807563-9-9 PDF Éd. Claude R. Blouin Tous droits réservés 2021 1 Présentation Cet essai se penche sur une centaine de fictions japonaises (romans et nouvelles). D’abord témoignage, il tente, à partir de mes relectures, de donner une idée des éléments de base de l’intrigue de chacune des œuvres et de ce qui, à travers celle-ci, se joue de sens, m’interpelle. Devant des écrivains de cultures inconnues, j’entends souvent lecteurs et spectateurs exprimer un sentiment d’exclusion. Je retrouve ce sentiment face aux écrivains décédés, même de notre culture, mais dont une réputation de grandeur contribue à développer chez le même genre de lecteurs et de lectrices l’impression de n’avoir pas ce qu’il faut pour entrer en contact avec leurs œuvres. Sentiment fondé, s’il s’agit d’en expliquer à autrui toutes les ramifications et les imbrications pour le lecteur autochtone. Mais non valide pour quiconque consent à s’exposer lui- même au non familier, et accorde du prix à sa propre perception. En ce cas, en effet, c’est la lecture de tels ouvrages qui contribuent à l’instruction dont on s’estime privé. Mon objet premier en rendant ces notes publiques est d’essayer d’animer la curiosité du lecteur vorace et généraliste, pas spécifiquement fou de culture japonaise, mais d’abord quêteur des voix et des rythmes que donne à entendre l’humanité. -
Bungei Shunjū in the Early Years and the Emergence
THE EARLY YEARS OF BUNGEI SHUNJŪ AND THE EMERGENCE OF A MIDDLEBROW LITERATURE DISSERTATION Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Minggang Li, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Richard Torrance, Adviser Professor William J. Tyler _____________________________ Adviser Professor Kirk Denton East Asian Languages and Literatures Graduate Program ABSTRACT This dissertation examines the complex relationship that existed between mass media and literature in pre-war Japan, a topic that is largely neglected by students of both literary and journalist studies. The object of this examination is Bungei shunjū (Literary Times), a literary magazine that played an important role in the formation of various cultural aspects of middle-class bourgeois life of pre-war Japan. This study treats the magazine as an organic unification of editorial strategies, creative and critical writings, readers’ contribution, and commercial management, and examines the process by which it interacted with literary schools, mainstream and marginal ideologies, its existing and potential readership, and the social environment at large. In so doing, this study reveals how the magazine collaborated with the construction of the myth of the “ideal middle-class reader” in the discourses on literature, modernity, and nation in Japan before and during the war. This study reads closely, as primary sources, the texts that were published in the issues of Bungei shunjū in the 1920s and 1930s. It then contrasts these texts with ii other texts published by the magazine’s peers and rivals. -
Introduction: Girls' Aesthetics
Notes Introduction: Girls’ Aesthetics 1. In Japanese names, family names come before given names. I follow this order in this book, except for individuals who publish their writings in English. 2. To be precise, it started as shō nen-ai manga. The differences between shō nen-ai manga and BL manga are detailed in Chapter 2. 3. Adult males were granted suffrage in 1925. 4. The postwar constitution of Japan declares eternal renunciation of war, and the Self-Defense Forces are supposed to only defend the Japanese land and people in cases of foreign attack. However, their status is ambivalent, demonstrated in their involvement in the Gulf and Iraq Wars, for exam- ple. For more discussions on the Self-Defense Forces, see Chapter 3. 5. I translated all of the Japanese titles except those that were previously translated into English. 6. See Driscoll’s book Girls: Feminine Adolescence in Popular Culture and Cultural Theory (2002). 7. The term “lesbian” started to be used in Japan in the 1950s. At this early stage, it was pronounced “resubian,” not “rezubian” like it is now. This is because, as Akaeda Kanako reports based on her extensive archival research, the term was initially introduced in relation to French culture and the terms lesbien and lesbienne (2014: 138–42). 8. For more details, see Miyadai Shinji’s Choice of Girls in School Uniform: After Ten Years (Seifuku shō jo tachi no sentaku, After 10 Years) (2006) and Sharon Kinsella’s Schoolgirls, Money and Rebellion in Japan (2014). In the 1990s, the mass media started to report widely that female high-school students were involved in prostitution or other forms of sex business with middle-aged men as their clients, but these forms of sex business in fact emerged earlier, in the 1980s. -
A Tanizaki Feast
A Tanizaki Feast Michigan Monograph Series in Japanese Studies Number 24 Center for Japanese Studies, The University of Michigan A Tanizaki Feast The International Symposium in Venice Edited by Adriana Boscaro and Anthony Hood Chambers Center for Japanese Studies The University of Michigan Ann Arbor, Michigan, 1998 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. 1998 The Regents of the University of Michigan Published by the Center for Japanese Studies, The University of Michigan, 202 S. Thayer St., Ann Arbor, MI 48104-1608 Distributed by The University of Michigan Press, 839 Greene St. / P.O. Box 1104, Ann Arbor, MI 48106-1104 Library of Congress Cataloging in Publication Data A Tanizaki feast: the international symposium in venice / edited by Adriana Boscaro and Anthony Hood Chambers. xi, 191 p. 23.5 cm. — (Michigan monograph series in Japanese studies ; no. 24) Includes index. ISBN 0-939512-90-4 (cloth : alk. paper) 1. Tanizaki, Jun'ichir5, 1886—1965—Criticism and interpreta- tion—Congress. I. Boscaro, Adriana. II. Chambers, Anthony H. (Anthony Hood). III. Series. PL839.A7Z7964 1998 895.6'344—dc21 98-39890 CIP Jacket design: Seiko Semones This publication meets the ANSI/NISO Standards for Permanence of Paper for Publications and Documents in Libraries and Archives (Z39.48-1992). Published in the United States of America ISBN 978-0-939512-90-4 (hardcover) ISBN 978-0-472-03838-1 (paper) ISBN 978-0-472-12816-7 (ebook) ISBN 978-0-472-90216-3 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ Contents Preface vii The Colors of Shadows 1 Maria Teresa Orsi The West as Other 15 Paul McCarthy Prefacing "Sorrows of a Heretic" 21 Ken K. -
Geographies of Suicide and the Representation of Self-Sacrifice in Japanese Popular Culture and Media
Megan Rose O'Kane 40082809 Geographies of Suicide and the Representation of Self-Sacrifice in Japanese Popular Culture and Media 27/04/16 Word Count: 13,142 1 This dissertation has been submitted towards the degree of BSc Honours in Geography at Queen's University Belfast. I certify that all material in this dissertation is my own, except where explicitly identified. 2 Abstract Japan's suicide rate is the highest in the developed world. Despite being a nation famous for its economic prosperity, Japan has a multitude of issues relating to social development. Patrick Smith (1997) writes about 'the samurai who carries a briefcase', a visual metaphor which effectively conveys the cultural schizophrenia plaguing the mentalities of modern Japanese society. The convergence of deep- rooted traditional Japanese philosophies with the modern capitalist mindset has resulted in a very unique and convoluted moral code among the contemporary Japanese population. Unlike Western society, suicide carries no social stigma and at times is even celebrated; a mindset inherited from generations of honourable self- sacrifice instilled by the samurai code. This research paper explores two famous pieces of Japanese popular media, and assesses the ways in which representations of suicide are produced and consumed. By focussing on the identification of geographies of suicide, spatially and temporally specific Japanese social maladies, and the sensationalisation of suicide in the media, this paper provides a comprehensive insight into the social realities reflected in these fictional works. 3 Acknowledgements I could not have completed my dissertation without the emotional support from my family and friends. I would like to single out my mother for all her proof-reading and constant support, I cannot thank her enough.