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Slap Magazine Issue 90 (April 2019)
Issue 90 Apr2019 FREE SLAP Supporting Local Arts & Performers WORCESTER’S NEW INDEPENDENT ITALIAN RESTAURANT Traditional Italian food, cooked the Italian way! We create all dishes in our kitchen, using only the finest quality fresh ingredients. f. t. i. SUGO at The Lamb & Flag SUGO at Friar St 30 The Tything 19-21 Friar Street, Worcester Worcester WR1 1JL WR1 2NA 01905 729415 01905 612211 [email protected] [email protected] Spring is here as we turn our thoughts to the season ahead, and what a summer it will surely be with all the music and arts events in the pipeline. We again look forward to a few of the local music festivals such as Mello, where Severn Sounds again have a stage focusing on the young talent around the area; Kidderminster, Hereford, Worcester Colleges and Christopher Whitehead, Pershore and Tewkesbury High Schools are all represented, which bodes well for the future of our local music scene. We Apr 2019 bring news of other festivals such as Upton Jazz and Under the Hill festival near Evesham. Poetry lovers are also catered for In this issue, as we SLAP MAGAZINE highlight a vibrant spoken word scene, with articles on the Unit 3a, Lowesmoor Wharf, upcoming Cheltenham Poetry Festival and the Evesham Festival of Words, as well as all the other regular local Worcester WR1 2RS events.. Telephone: 01905 26660 There’s plenty for art fans in these pages too. If you haven’t [email protected] been to see the Matisse exhibition at Worcester Museum EDITORIAL yet, then I suggest you pop along before it ends later in the Mark Hogan - Editor month. -
O-Iwa's Curse
O-Iwa’s Curse Apparitions and their After-Effects in the Yotsuya kaidan Saitō Takashi 齋藤 喬 Nanzan Institute for Religion & Culture In traditional Japanese theater, ghosts appear in the shadowlands between the visible and the invisible. They often try to approach those who harmed or abused them in life to seek revenge with the aid of supernatural powers. In such scenes, the dead are visible as a sign of impending doom only to those who are the target of their revenge. An examination of the Yotsuya kaidan, one of the most famous ghost stories in all of Japanese literature, is a case in point. The story is set in the Edo period, where the protagonist, O-Iwa, is reputed to have put a curse on those around her with catastrophic results. Her legend spread with such effect that she was later immortalized in a Shinto shrine bearing her name. In a word, so powerful and awe-inspiring was her curse that she not only came to be venerated as a Shinto deity but was even memorialized in a Buddhist temple. There is no doubt that a real historical person lay behind the story, but the details of her life have long since been swallowed up in the mists of literary and artistic imagination. In this article, I will focus on the rakugo (oral performance) version of the tale (translated into English by James S. de Benneville in 1917) and attempt to lay out the logic of O-Iwa’s apparitions from the viewpoint of the narrative. ho is O-Iwa? This is the name of the lady of Tamiya house, which appeared in the official documents of Tokugawa Shogunate. -
Animals and Morality Tales in Hayashi Razan's Kaidan Zensho
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses March 2015 The Unnatural World: Animals and Morality Tales in Hayashi Razan's Kaidan Zensho Eric Fischbach University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Chinese Studies Commons, Japanese Studies Commons, and the Translation Studies Commons Recommended Citation Fischbach, Eric, "The Unnatural World: Animals and Morality Tales in Hayashi Razan's Kaidan Zensho" (2015). Masters Theses. 146. https://doi.org/10.7275/6499369 https://scholarworks.umass.edu/masters_theses_2/146 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE UNNATURAL WORLD: ANIMALS AND MORALITY TALES IN HAYASHI RAZAN’S KAIDAN ZENSHO A Thesis Presented by ERIC D. FISCHBACH Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS February 2015 Asian Languages and Literatures - Japanese © Copyright by Eric D. Fischbach 2015 All Rights Reserved THE UNNATURAL WORLD: ANIMALS AND MORALITY TALES IN HAYASHI RAZAN’S KAIDAN ZENSHO A Thesis Presented by ERIC D. FISCHBACH Approved as to style and content by: __________________________________________ Amanda C. Seaman, Chair __________________________________________ Stephen Miller, Member ________________________________________ Stephen Miller, Program Head Asian Languages and Literatures ________________________________________ William Moebius, Department Head Languages, Literatures, and Cultures ACKNOWLEDGMENTS I would like to thank all my professors that helped me grow during my tenure as a graduate student here at UMass. -
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 -
The Old Pewter at the Fleece Inn at Bretforton
THE OLD PEWTER AT THE FLEECE INN AT BRETFORTON After the first two photos (from the Pewter Society notice of a Summer meeting in June 2017) and the Wikipedia copied detail there follows the information Jan Gadd had in his papers without an article being written – or the information being assembled in some order for publication - (as far as known). Thus, this article is here to inform collectors of an unusual display of old pewter in at a charming location and to bring to light research by Jan Gadd in 1999. FROM WIKIPEDIA The Fleece Inn is a public house in Bretforton, in the Vale of Evesham, Worcestershire, England: the half-timbered building, over six hundred years old, has been a pub since 1848, and is now owned by the National Trust. The inn was extensively damaged by fire on 27 February 2004, and after repairs and rebuilding were completed the Fleece officially reopened on 18 June 2005. The pub holds an annual asparagus festival asparagus and auction while there are three Morris sides based at the pub: Pebworth, Belle d'Vain and Asum Gras. There is a regular folk night plus concerts and weddings in the medieval barn. Owned by the National Trust, The Fleece Inn was originally built in the early 15th century as a longhouse (an early type of farmhouse accommodating both livestock and humans) by a prosperous yeoman farmer called Byrd. It later became a pub, which was rebuilt in the 17th century and remained in the Byrd family until 1977, when Lola Taplin bequeathed it to the National Trust. -
England Summer 2018
England Summer 2018 Bob and Molly As is usual on our extended visits to England, we spend our time in our Nephew’s flat in Ilkley and essentially spend our days in much the same way as we do when we are in Mason. In addition, we take advantage of the many excellent restaurants and enjoy the change of pace that a small town provides. Molly reverts to her “England-style”, and shops almost every day; walking down into the town, getting provisions sufficient for a day or two and then takes advantage of the hourly bus service to get back up the steep hill to the apartment. Bob usually goes for a walk or, weather per- mitting, a bike ride—both very enjoyable forms of exer- cise in some beautiful countryside. We also spend a lot of time with family and friends. Consequently, our routine doesn’t demand much cover- age in our journal and the daily “diary” is used merely as a reminder of the events—many of which are repeated day after day. We do, however, spend some time that we feel merits a little more coverage and it is that which com- prises the bulk of our journal. This summer was no ex- ception and, in fact, included several “adventures” that we cover here and that might provide readers with some- thing of interest. In fact, this six weeks seemed to fly by and we felt that we had packed a lot into our stay. So, while the daily diary is included as an Appendix for our records, the bulk of the journal deals with those more “out of the ordinary” events. -
The Monster-Child in Japanese Horror Film of the Lost Decade, Jessica
The Asian Conference on Film and Documentary 2013 Official Conference Proceedings Osaka, Japan “Our Fear Has Taken on a Life of its Own”: The Monster-Child in Japanese Horror Film of The Lost Decade, Jessica Balanzategui University of Melbourne, Australia 0168 The Asian Conference on Film and Documentary 2013 Official Conference Proceedings 2013 Abstract The monstrous child of Japanese horror film has become perhaps the most transnationally recognisable and influential horror trope of the past decade following the release of “Ring” (Hideo Nakata, 1999), Japan’s most commercially successful horror film. Through an analysis of “Ring”, “The Grudge” (Takashi Shimizu, 2002), “Dark Water” (Nakata, 2002), and “One Missed Call” (Takashi Miike, 2003), I argue that the monstrous children central to J-horror film of the millenial transition function as anomalies within the symbolic framework of Japan’s national identity. These films were released in the aftermath of the collapse of Japan’s bubble economy in the early 1990s — a period known in Japan as ‘The Lost Decade’— and also at the liminal juncture represented by the turn of the millennium. At this cultural moment when the unity of national meaning seems to waver, the monstrous child embodies the threat of symbolic collapse. In alignment with Noël Carroll’s definition of the monster, these children are categorically interstitial and formless: Sadako, Toshio, Mitsuko and Mimiko invoke the wholesale destruction of the boundaries which separate victim/villain, past/present and corporeal/spectral. Through their disturbance to ontological categories, these children function as monstrous incarnations of the Lacanian gaze. As opposed to allowing the viewer a sense of illusory mastery, the J- horror monster-child figures a disruption to the spectator’s sense of power over the films’ diegetic worlds. -
The Undead Subject of Lost Decade Japanese Horror Cinema a Thesis
The Undead Subject of Lost Decade Japanese Horror Cinema A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Jordan G. Parrish August 2017 © 2017 Jordan G. Parrish. All Rights Reserved. 2 This thesis titled The Undead Subject of Lost Decade Japanese Horror Cinema by JORDAN G. PARRISH has been approved for the Film Division and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract PARRISH, JORDAN G., M.A., August 2017, Film Studies The Undead Subject of Lost Decade Japanese Horror Cinema Director of Thesis: Ofer Eliaz This thesis argues that Japanese Horror films released around the turn of the twenty- first century define a new mode of subjectivity: “undead subjectivity.” Exploring the implications of this concept, this study locates the undead subject’s origins within a Japanese recession, decimated social conditions, and a period outside of historical progression known as the “Lost Decade.” It suggests that the form and content of “J- Horror” films reveal a problematic visual structure haunting the nation in relation to the gaze of a structural father figure. In doing so, this thesis purports that these films interrogate psychoanalytic concepts such as the gaze, the big Other, and the death drive. This study posits themes, philosophies, and formal elements within J-Horror films that place the undead subject within a worldly depiction of the afterlife, the films repeatedly ending on an image of an emptied-out Japan invisible to the big Other’s gaze. -
Kurosawa Kiyoshi Profile Prepared by Richard Suchenski Articles Translated by Kendall Heitzman Profile
Kurosawa Kiyoshi Profile prepared by Richard Suchenski Articles translated by Kendall Heitzman Profile Born in Kobe in 1955, Kurosawa Kiyoshi became interested in filmmaking as an elementary school student after he saw films by Italian horror filmmakers Mario Bava and Gorgio Ferroni. He formed a filmmaking club in high school and made his first Super 8mm short film, Rokkô, in 1973. Kurosawa continued making short 8mm films as a student at Rikkyô University, where he began to attend classes on cinema taught by Hasumi Shigehiko, the most important film critic and theorist of his era. Hasumi’s auteurist approach and deep admiration for American cinema of the 1950s deeply influenced a generation of Rikkyô students that, in addition to Kurosawa, included Suo Masayuki, Shiota Akihiko, Aoyama Shinji, and Shinozaki Makoto. While still a student, Kurosawa won a prize for his film Student Days at the Pia Film Festival in 1978. After presenting Vertigo College at Pia in 1980, he worked on Hasegawa Kazuhiko’s The Man Who Stole the Sun (1979) and Sômai Shinji’s Sailor Uniforms and Machine Guns (1981). Kurosawa was invited to join the Directors Company, an alternative to the major studios that offered creative freedom to young directors such as Hasegawa and Sômai. Under their auspices, he made his feature film debut with the pink film, The Kandagawa Wars, in 1983. Kurosawa next attempted to work directly for a major studio by directing a Nikkatsu Roman Porno entitled Seminar of Shyness, but the studio rejected the film, claiming that it lacked the requisite love interest. The film was eventually purchased from Nikkatsu and released as The Do-Re-Mi-Fa Girl in 1985, but the incident gave him a reputation as an idiosyncratic character and made securing funding for other studio projects difficult. -
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]. -
The Kaidan Dansu, a Stairway in Historical Shadow Final Report
Japan Foundation David Jackson Fellowship Project Title: The kaidan dansu, a stairway in historical shadow Final report The cabinetry of Japan known as tansu has within its multiplicity of designs something truly unique: a hybrid that is both staircase and cupboard. It is invariably known as the hakodan, hako kaidan, also the kaidan-dansu, literally box stair and stair chest or step-chest. Its history has been obscured by myth and anecdote as no other tansu that I know of, both its origins and uses. In September of 2007 I was awarded a Japan Foundation grant to research hako kaidan. The following essay is the product of this research. My goals included finding texts on tansu which I had been unable to access in the United States. Another was to see hako kaidan in their original architectural context and finally to find out who made these cabinets and how they began. My methodology included book searches at the National Diet Library, traveling to various cities and visiting museums and historical districts. I also spoke with architects and when possible craftsmen, and antique dealers. Many people helped along the way and I thank them at the end of this essay, but I remind the reader any mistakes or omissions are wholly my own. History Wooden stairs of various designs have been in Japan for over a thousand years. The earliest forms dating to the Yayoi period (300BC-300AD) were cut from tree trunks, notched as it were and inclined for use to reach raised floor granaries. The Geku (outer) Shinto shrine complex at Ise still exhibits such forms as testament to their beginnings1. -
Orchard Inn - Best in the South West Bath Ales
No. 111 Autumn 2016 PINTS WEST St Austell buys Orchard Inn - Best in the South West Bath Ales Kebab and Calculator transformed Contents Page 16 BADRAG (rare ales group) Ten years of Page 20 Bath & Borders pub news Page 22 Bath Winter Ales Festival Page 41 Beer in Prague Cheddar Ales are celebrating 10 years Page 12 Bristol Pubs Group brewing with a beer festival to be held on the INTS WES brewery site, located at Winchester Farm in Page 46 CAMRA diaries & contacts P T Cheddar (Draycott Road, BS27 3RP). Page 45 CAMRA membership form Cheddar Ales The multi-award-winning magazine of the Bristol & The event is running over a single day Page 44 CAMRA young(ish) members heddar Ales was set up by Jem Ham in 2006 after having brewed for Butcombe Brewery for 15 – Saturday 10th September – and split into District Branch of CAMRA, the Campaign for Real Page 25 Crossword years. He patiently waited until a unit became available in Cheddar and once in, he shipped a two halves, the first a family-friendly session Ale, plus the Bath & Borders Branch 20-barrel brew kit over from Ireland. Brewing began in October 2006, and Cheddar Ales had their from noon to 6pm, the second an adults-only Page 37 Good Beer Guide 2017 C evening session between 7pm and midnight. launch party in November 2006. Just four days later, Jem’s son Oscar was born, five weeks earlier than Brought to you entirely by unpaid volunteers Page 38 Letters expected. As well as a great range of beers, there Page 29 Orchard: cider pub of the year Jem’s early aim was to establish a limited number of beers of recognisable and consistent quality in will be live music both sessions, and food Ten thousand copies of Pints West are distributed free offerings including a cake stall, hog roast to hundreds of pubs in and around the cities of Bristol Page 9 Pub crawl by train local pubs and clubs.