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Yokohama Dance Collection EX 2015 Competition Winners Decided!
Yokohama Dance Collection EX 2015 Competition Winners Decided! Yokohama Dance Collection EX, which aims to nurture young choreographers, marks its 20th anniversary its main program, Competition I & Competition II were held from 5th February to 8th February at Yokohama Red Brick Warehouse No.1, and winners have been chosen. CompetitionⅠ 10 Finalists from 4 countries / 90 Entrants from 9 countries Prize Name of Winner / Work Age (as of 31th July, 2014) / Birthplace Jury Prize Mikiko KAWAMURA The French Embassy Prize 24 / Tokyo, Japan “Inner Mommy” for Young Choreographer (Supported by:Air France) Haruka KAJIMOTO MASDANZA Prize 31 / Ehime, Japan “then and after that” Sibiu International Ikumi KUROSU / Naoto KATORI Theater Festival Prize 26 / Saitama, Japan “RE:DIVISION” Touchpoint Art Foundation Prize Kaho KOGURE Encouragement Prize 24 / Saitama, Japan “Far Eriche” Ai TOHTOUMI Encouragement Prize 29 / Tokyo, Japan “Daytime soliloguy” Razel Ann Aguda MITCHAO Encouragement Prize 24 / Bacolod, Philippines “LA ELLE S’EN VA (there she goes)” 《Jury》 Shinji ONO (Producer, Aoyama Theatre/ Aoyama Round Theatre) Hiroko SHINDO (Dance Critics) Keizo MAEDA (Producer, Tokyo Metropolitan Theatre) Fumio HAMANO (Senior Editor, Shinshokan Dance Magazine) Ko MUROBUSHI (Dancer, Choreographer) Juliette de Charmony (Director, Institut français du Japon – Yokohama) Véronique Denis-Laroque (in charge of performing arts at Embassy of France/ Institut français du Japon) Yuval Pick (Director, Centre Chorégraphique National de Rillieux-la-Pape) 1 Competition Ⅱ(New -
Fanning the Flames: Fandoms and Consumer Culture in Contemporary Japan
FANNING THE FLAMES Fans and Consumer Culture in Contemporary Japan Edited by William W. Kelly Fanning the Flames SUNY series in Japan in Transition Jerry Eades and Takeo Funabiki, editors Fanning the Flames Fans and Consumer Culture in Contemporary Japan EDITED BY WILLIAM W. K ELLY STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging-in-Publication Data Fanning the f lames : fans and consumer culture in contemporary Japan / edited by William W. Kelly. p. cm. — (SUNY series in Japan in transition) Includes bibliographical references and index. ISBN 0-7914-6031-2 (alk. paper) — ISBN 0-7914-6032-0 (pbk. : alk.paper) 1. Popular culture—Japan—History—20th century. I. Kelly, William W. II. Series. DS822.5b. F36 2004 306'.0952'09049—dc22 2004041740 10987654321 Contents List of Illustrations vii Acknowledgments ix Introduction: Locating the Fans 1 William W. Kelly 1 B-Boys and B-Girls: Rap Fandom and Consumer Culture in Japan 17 Ian Condry 2 Letters from the Heart: Negotiating Fan–Star Relationships in Japanese Popular Music 41 Christine R. -
Article for Czech Music Quarterly
czech music | profi le by Petr Ferenc The world of fragments according to the OPENING PERFORMANCE ORCHESTRA “The World is just an endless multitude of fragments: some already present and some not yet born,” says the Prague-based ensemble Opening Performance Orchestra, which operate with certainty on the fi elds of digital noise music and avant-garde music of the 20th century. In recent years, the ensemble has also secured its position internationally. This article by Petr Ferenc considers the various aspects of the ensemble based on the author’s personal experiences and an extensive e-mail interview. In their music, a distinctive compositional approach “Our group’s members are linked by a friendship meets awareness of their own identity, with that started in the mid ‘80s. A feeling of togetherness the addition of patience and a distaste for ad hoc and solidarity is important. Even as we participate “side projects”, fl ippant levity, and improvisation. in more and more public activities, we still put All their enterprises are carefully thought out to on a number of private events and rituals – for the last detail, precisely defi ned, and executed with example, our yearly celebration of spring, which gravity and belief in the result. If the consensus is we fi rst organised in 2005, a year before OPO was imperfect, the project is postponed. CDs are only born. Later, the Spring Series recording series became published once the situation and form are perfect, a tangible result of these events, along with the fi eld including the graphic design and booklet texts. -
Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colebrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
“PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan. -
Murakami Goes to the Movies - from the Current - the Criterion Collection
5/27/2016 Gods and Monsters: Murakami Goes to the Movies - From the Current - The Criterion Collection What’s Happening on Hulu Timothy Brock on Restoring Charlie Chaplin’s Sound By Hillary Weston Repertory Pick: Mitchum in Minnesota The Inspiring Work of the Ghetto Film School The Screenplayer By Sam Wasson Gods and Monsters: Murakami Goes to the Movies By Glen Helfand https://www.criterion.com/current/posts/3827-gods-and-monsters-murakami-goes-to-the-movies 1/7 5/27/2016 Gods and Monsters: Murakami Goes to the Movies - From the Current - The Criterion Collection In contemporary art, the feature film is a pinnacle form. It offers abundant possibilities to tell stories, address themes in a nuanced, durational manner, create carefully art-directed universes, and reach audiences much larger and more diverse than those at any gallery or museum. So for Takashi Murakami, an artist known for his ambitious multimedia practice, international scope, and brand-name recognition, feature film was inevitable. Since the 1990s, his work has grown to encompass a staggering range of media—from large-scale painting and sculpture to Louis Vuitton bags—taking on the vast subject of the Japanese pop psyche on a global stage. It’s clear why an artist of Murakami’s stature would attempt the medium of film, but there was no guarantee that his gallery reputation would translate to success in cinema. The scale of a film requires a collaborative component—the cast and crew—that doesn’t jibe with the traditional idea of the artist alone in the studio creating a thoughtful masterpiece. -
Japanese Jazz Series
PRESS RELEASE FROM THE JAPAN INFORMATION & CULTURE CENTER, EMBASSY OF JAPAN Japanese Jazz Series at Blues Alley Media Contact: Publicity Coordinator, Japan Information & Culture Center, Embassy of Japan Phone: 202-238-6900, Email: [email protected] April 15 - 20 | Shows at 8PM and 10PM | Blues Alley Admission: Ticketing through Blues Alley Not long after the United States gave birth to Jazz, Japan fell in love with its soulful sound. The Japanese Jazz Series, now in its 4th year, has become a highly anticipated musical celebration during the National Cherry Blossom Festival. Contemporary Japanese and American Jazz artists celebrate their countries’ common culture in music. This year, Japanese Jazz greats will perform at Washington DC’s Blues Alley with Tiger Ohkoshi, the legendary saxophonist, as a special guest. I. Pictures Tiger Ohkoshi (Trumpet) Mao Sone (Trumpet) Erena Terakubo (Saxophone) Ami Nakazono (Saxophone) Senri Oe (Piano) II. Further Information For location information, please visit www.bluesalley.com The Japan Information & Culture Center (JICC), Embassy of Japan in Washington DC is the region’s #1 authoritative resource for Japan-related information and culture, a gift sponsored by the people of Japan since 1981. As part of the Embassy of Japan’s public outreach program, the JICC is deeply committed to enriching the relationship between the people of Japan and the United States through an active, vibrant cultural and informational exchange. For more information, please visit http://www.us.emb-japan.go.jp/jicc. # # # Japan Information & Culture Center, Embassy of Japan 1150 18th Street, NW, Washington, DC 20036 | Tel: (202)-238-6900 | Fax: (202)-822-6524 www.us.emb-japan.go.jp/jicc/ . -
AY 2021 Spring Semester Courses Offered at Other Graduate Schools
AY 2021 Spring Semester Courses offered at other graduate schools Graduate School of Political Science spring semester Thur. 6 TheoriesonNewsReportingB SAWA,Yasuomi Japanese Semester Day/Period Course Title Instructor Language OKUYAMA, spring semester Mon. 2 Risk Management MURAYAMA, Japanese Toshihiro Takehiko SEGAWA, Shiro spring semester Mon. 3 FormalPoliticalTheoryI KURIZAKI,Shuhei Japanese/ spring semester Fri. 2 Political Propaganda KISHI, Toshimitsu Japanese English spring semester Fri. 3 Politics in East Asian Countries TANG, Liang Japanese spring semester Mon. 3 Qualitative Comparative Analysis HINO, Airo Japanese Fri. 4 NIIKAWA, Sho spring semester Introduction ofEconomicsfor Journalists TANAKA, Hidetomi Japanese Fri. 4 spring semester Mon. 3 Democratization JOU, Willy English spring semester Study of Visual Journalism TANIKAWA, Takeshi Japanese Fri. 5 spring semester Mon. 3 Journalism and Public Affairs SEGAWA, Shiro Japanese spring semester History of Modern Japanese Political Thought UMEMORI, Naoyuki English Fri. 5 spring semester Mon. 4 TheoryofGovernanceSystem KATAYAMA, Japanese spring semester Advertising UTADA, Akihiro Japanese Yoshihiro spring semester Fri. 5 ContemporaryJournalism[F] OTA,Masakatsu Japanese Mon. 4 spring semester Labour Economics FUKUSHIMA, Japanese spring semester Fri. 5 Bioethics FUJII, Tatsuo Japanese Yoshihiko Fri. 6 spring semester Mon. 5 Applied Theory of Fiscal and Financial System SHIMIZU, Osamu Japanese spring semester NPO/NGOTheory NODA,Masato Japanese Sat. 1 spring semester Mon. 6 International Political Economy SEDDON, Jack English spring semester IntellectualPropertyLaw KUWABARA,Shun Japanese spring semester Mon. 6 ContemporaryJournalism GREIMEL,KarlHans English spring semester Sat. 3 LocalAutonomyAdvancedCourse KATAYAMA, Japanese Yoshihiro Mon. 6 spring semester Public Policy in Perspectives of Economics FUKUSHIMA, Japanese spring semester Sat. 3-4 Health Policy(Tsubono) TSUBONO, Japanese Yoshihiko Yoshitaka Mon. -
Applied Electromagnetics September 15-17, 2000 Ohrid, Macedonia
MK0500027 3rd Japanese-Bulgarian-Macedonian Joint Seminar on Applied Electromagnetics September 15-17, 2000 Ohrid, Macedonia APPLIED ELECTROMAGNETICS Edited by H. Yamashita, I. Marinova, V. Cingoski APPLIED ELECTROMAGNETICS Proceedings of the 3rd Japanese-Bulgarian-Macedonian Joint Seminar on Applied Electromagnetics, September 15-17, 2000, Ohrid Publisher : JBM'2K Editor: D-r Vlatko Cingoski Electric Power Company of Macedonia Technical editor: Marija Stefkova Electric Power Company of Macedonia Printed by: Forumprint Cover: Aleksandar Jankovic All rights reserved. This book, or parts thereof, may not be reproduced in enyform or by any means, electronic or mechanical, including photocopying or eny information storage and the retrieval system now known or to be invented, without written permission from the Publisher. CIP - Cataloging - in Publication Data National University library "St. Kliment Ohridski", Skopje- Macedonia 537(063) 621.3(063) Applied Electromagnetics Japanese-Bulgarian-Macedonian Joint Seminar on Applied Electromagnetics - JBM'2K. (3; 2000; Ohrid, Macedonia) ( Third ) 3-rd Japanese-Bulgarian-Macedonian Joint Seminar on Applied Electromagnetics, September 15-17, 2000 Ohrid, Macedonia Editor D-r Vlatko Cingoski - Skopje ; Seminar, 2002 - 210 pages; p. 24 cm Includes bibliographical references and index ISBN 9989-57-094-9 Applied Electromagnetics a) Electromagnetics - Seminars COBISS-ID 47212810 MK0500028 3-D Finite Element Analysis of Claw-Poled Stepping Motor Yoshihiro KAWASE, Tadashi YAMAGUCHIand YasunariMIZUNO Department of Information Science, Gifu University, 1-1 Yanagido, Gifu, 501-1193, Japan Yoshikazu KOIKE Applied Mechatronics Devices Laboratory, SEIKO EPSON, Co., Ltd., 3-3-5 owa, Suwa-shi, Nagano, 392-8502, Japan Abstract. Stepping motors are widely used for various electric instruments. It is necessary for the optimum design to analyze the magnetic field accurately. -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・W・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号(言語・文学編) of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas. -
Expert Voices on Japan Security, Economic, Social, and Foreign Policy Recommendations
Expert Voices on Japan Security, Economic, Social, and Foreign Policy Recommendations U.S.-Japan Network for the Future Cohort IV Expert Voices on Japan Security, Economic, Social, and Foreign Policy Recommendations U.S.-Japan Network for the Future Cohort IV Arthur Alexander, Editor www.mansfieldfdn.org The Maureen and Mike Mansfield Foundation, Washington, D.C. ©2018 by The Maureen and Mike Mansfield Foundation All rights reserved. Published in the United States of America Library of Congress Control Number: 2018942756 The views expressed in this publication are solely those of the authors and do not necessarily reflect the views of the Maureen and Mike Mansfield Foundation or its funders. Contributors Amy Catalinac, Assistant Professor, New York University Yulia Frumer, Assistant Professor, Johns Hopkins University Robert Hoppens, Associate Professor, University of Texas Rio Grande Valley Nori Katagiri, Assistant Professor, Saint Louis University Adam P. Liff, Assistant Professor, Indiana University Ko Maeda, Associate Professor, University of North Texas Reo Matsuzaki, Assistant Professor, Trinity College Matthew Poggi Michael Orlando Sharpe, Associate Professor, City University of New York Jolyon Thomas, Assistant Professor, University of Pennsylvania Kristin Vekasi, Assistant Professor, University of Maine Joshua W. Walker, Managing Director for Japan and Head of Global Strategic Initiatives, Office of the President, Eurasia Group U.S.-Japan Network for the Future Advisory Committee Dr. Susan J. Pharr, Edwin O. Reischauer Professor -
Whitehouse, Merzbow, Maurizio Bianchi, the Haters, Hanatarash, the Gerogerigege, Massona, Prurient, John Wiese…
As Loud as Possible As Loud as Possible Concert de Hanatarash, Toritsu Kasei Loft, Tokyo, 1985 (Photos : Gin Satoh) Concert de Hanatarash, Toritsu Kasei Loft, Tokyo, 1985 (Photos : Gin Satoh) Whitehouse, Merzbow, Maurizio Bianchi, The Haters, Hanatarash, The Gerogerigege, Massona, Prurient, John Wiese… Un parcours parmi les grandes figures du harsh noise, au sein de l’internationale du bruit sale de ses origines à nos jours. AS LOUD AS 48 POSSi- 49 bLe. Whitehouse, Merzbow, Maurizio Bianchi, The Haters, Hanatarash, The Gerogerigege, Massona, Prurient, John Wiese… A tour among the major figures in harsh noise, within dirty Noise International—from its inception to the present day. Fenêtre ouverte. Le bruit, c’est ce son fronde, indompta- juste une main pour sculpter, une intention pour guider, Mais comment la musique a-t-elle osé muter en ça ? ble, discordant, une puanteur dans l’oreille, comme l’a écrit à peine une idée pour le conceptualiser. Il n’est pas une Objectivement, si on regarde la tête du harsh noise, son Ambrose Bierce dans son Devil’s Dictionary, ce que tout musique bruyante mais une musique-bruit taillée, pas un nom, il faut tout de même se pencher un peu en arrière, le oppose et tout interdit à la musique. Le bruit sévère, le bruit genre, encore moins un mélange, car s’il est né d’amonts XXe siècle brouhaha, pour comprendre cette « birth-death dur, le harsh noise, c’est, pire encore, le chaos volontaire, la lisibles dans l’histoire de la musique, dans l’histoire du XXe experience », si l’on m’autorise à citer le titre d’un disque de crasse en liberté, même pas la musique de son-bruits rêvée siècle, il n’a dans sa pratique et sa nature d’autre horizon Whitehouse, le premier de surcroît.