Yokai Mysteries
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Confronting Racism and Sexism
TheWomen's Movement in the United States: Confronting Racism and Sexism Leslie R.Wolfe At the risk of seeming ridiculous, let me say that thc true revolution ary is guided by great feelings of love che Guevara Preface: A Personal Note This chapter presents some verbal snapshots of the U.S. women's movement in the context of gender and race relations. This has been central to my work and life since 1972-when I flrst went to work at the National Welfare Rights Organization and then to the U.S. Commission on Civil Rights; and today it is in full flower in the work of the Center for Women Policy Studies. In all of these years, I have shared with many other feminists the mission to speak out about racism-plus-sexism as having a unique quality of oppression for women of color. We have talked about the importance of "doing our homework" about other sisters' origins, cul- tures, and histories. We have encouraged white feminists to be outspo- ken against racism and not to leave that task solely to women of color. We have insisted on our responsibility to root out the vestiges of racism in ourselves, in our organizations, and in our feminist theory and policy priorities. And we have talked to women of color as well about multiethnic visions of feminism and the importance of doing the hard work to break down racial. ethnic, and cultural barriers both to sisterhood and to the institutional change that will foreshadow an egal- itarian future. 231 232 Counvy Pottroits fheWomen's Movement in the United Stotes 255 Setting the Stager Defining premises Our Central sex. -
O Insólito E a Literatura Infanto-Juvenil
O Insólito e a Literatura Infanto-Juvenil Anais do IX Painel Refl exões Sobre o Insólito na Narrativa Ficcional III Encontro Nacional O Insólito como Questão na Narrativa Ficcional Simpósios NÓSdoiNSÓlito Insólito Ficcional Flavio García Regina Michelli Marcello Pinto (Organizadores) Anais do IX Painel III Encontro Nacional O INSÓLITO E A LITERATURA SIMPÓSIOS 2011 O Insólito e a Literatura Infanto-Juvenil Anais do III Encontro Nacional O Insólito como Questão na Narrativa Ficcional Simpósios Instituto de Letras da Uerj - 19 a 20 de Abril de 2011 Coordenação Geral: Flavio García - Coordenação Adjunta: Flavio García - Regina Silva Michelli - [email protected] Marcello Pinto de Oliveira- [email protected] Parcerias: Apoios: CEH CENTRO DE EDUCAÇÃO E HUMANIDADES Realização: Articulações com grupos de pesquisa Estudos Literários: Literatura, outras linguagens, outros discursos. Estudos da Linguagem: discurso e interação. Semiótica, Leitura e produção de textos - Seleprot. Crítica Textual e Edição de Textos Copyright @2011 Flavio García/Regina Michelli /Marcello Pinto Publicações Dialogarts - www.dialogarts.uerj.br Coordenador do projeto: Darcília Simões - [email protected] Co-coordenador do projeto: Flavio García - Coordenador de divulgação: Cláudio Cezar Henriques – [email protected] Darcília Simões - [email protected] Organizadores : Flavio García - Regina Michelli - [email protected] Marcello Pinto - [email protected] Projeto de capa: Carlos Henrique Braga Brandão - [email protected] Marcos da Rocha Vieira - [email protected] Diagramação: Elisabete Estumano Freire - [email protected] Daniel Patricio - [email protected] [email protected] Revisão : Flavio García - Logotipo Dialogarts: Gisela Abad - [email protected] O teor dos textos publicados neste volume, quanto ao conteúdo e à forma, é de inteira e exclusiva responsabilidade de seus autores. -
Kamigawa by Gaunlet AKA Waddle Proofread By
Kamigawa By Gaunlet AKA Waddle Proofread By The world of Kamigawa, positioned far from any other world known to the Walkers, is governed by the interplay between the mortals and the kami, minor gods or spirits of the world. However, when a child of the supreme kami, O-Kagachi, was stolen away, the physical and spiritual worlds gird for war against each other. The Kakuriyo, sometimes called the Reikai, is the spirit world where the kami dwell; its other half is that of the Utsushiyo where mortals live. Together they form a great sphere that makes the whole of the world. You have come at a troubling time, dear Jumper. The war with the spirit realm has begun. In a world of mysticism and honor, the war is brewing. Spirits launch attacks against humans as, in the shadows, a terror lurks just beyond sight. This world is filled with mysteries and it’s depths have yet to be properly understood. So many things are coming to light and old grudges are being settled wholesale and into this world you have entered. Take this 1000 CP to aid in your journey in this place. Age and Gender matter little here. Age: 1d8+20 Free Choice on Gender. Location Roll 1d8 or pay 100 CP for a free choice of location. 1. Towabara — A massive plain, the name means "eternal field". Within the Towabara is the Araba, the "ruined land", a blasted place filled with craters from kami attacks. Eiganjo Castle is in the center of the Araba. It is the fortification of daimyo Takeshi Konda and his samurai. -
Bloodlust Corsairs
BLOODLUST CORSAIRS A Complete Variant Adventure Path for by Ron Lundeen Introduction Bloodlust Corsairs I like pirates, but I like werewolves more. The Pathfinder Adventure Card Game has a simple mechanic for lycanthropes (werewolves and Adventure Path such): if there’s a Blessing of the Gods atop Return to the pirate’s life as the legendary Bloodlust Corsairs! the blessings discard pile, the moon is right Old salts tell of a crew of bold privateers whose reckless greed for them to assume animal form and become earned them a dire curse—the curse of lycanthropy! much more murderous. This mimics the fact Weresharks prowl the Shackles, completely given over to the that lycanthropes in their moon-induced murder and evil in their blood. But the doomed adventurers hybrid form are powerful and dangerous. But called the Bloodlust Corsairs refused to lycanthropes classically lose control—and their succumb to their curse. Instead, they very humanity—if they succumb to the sought the impossible—the means to seductive strength of their animal side. While reverse their lycanthropy and strike back playing through the standard Skull and against the most fearsome wereshark in Shackles card game, I kind of wanted to play a the Shackles, Horrus Riptooth. Did the lycanthrope pirate, and a wereshark pirate Bloodlust Corsairs succeed at throwing seems the most awesome kind. I could have off their curse and defeating Riptooth? invented a character, but I’m more of a story- Find out for yourself, as you live the making guy than a character-making guy. So I legend of the Bloodlust Corsairs! thought, “what if I could make everybody wereshark pirates?” REQUIRED FOR PLAY The story of the Bloodlust Corsairs was born then, and from that point it was a long The Bloodlust Corsairs adventure path period of designing adventures and develop- requires the Pathfinder Adventure Card ing the lycanthropy mechanic. -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
And the Visual Representation of the Korean Dokkaebi Abstract the Oni and the Dokkaebi Are Mythological Characters in Japan and Korea
theme 2 strand 1 memory design histories: tradition, transgression and transformations Mikyung Bak [email protected] Blucher Design Proceedings author(s) Dezembro de 2014, Número 5, Volume 1 Kyoto University www.proceedings.blucher.com.br/evento/icdhs2014 The Folktale “Hokpuri Yongkam” and the Visual Representation of the Korean Dokkaebi abstract The Oni and the Dokkaebi are mythological characters in Japan and Korea. The question of the originality of the Dokkaebi has been raised because, although the Oni and the Dokkaebi are certainly different in many respects, the image of the Dokkaebi today is described as being identical to that of Oni. A prime example cited is an illustration for the folk story “Hokpuri Yongkam” [The Old Man with a Lump] in school textbooks during the colonial period (1910–1945). Almost all scholars insist that this illustration is evidence of an affection for Japanese colonial unification ideology and that the image thus has to be corrected urgently. Moreover, some of them also insist that the folktale itself is Japanese. In this paper, I want to show another possibility for the origin of this folktale and its visual representation of the Dokkaebi. keywords Dokkaebi, Oni, representation, visualization, colonial period Introduction The current visualization of the Dokkaebi has one or two horns and a long tooth, wears tiger-skin pants and carries a magic stick. While there are variations on this appearance, the horns and tiger-skin pants fundamentally symbolize the Oni, as well (Yanagida, 1951) and are used in many designs of Oni-based characters. The Dokkaebi is a beloved symbolic icon of Korean culture, showing up in animation, comics, soap operas, and movies. -
The Chiba University International Collaborative Research
The Chiba University International Collaborative Research 2012 CONTENTS Faculty of Letters…..……………………………………………………………………………………….…………. 1 Faculty of Education ……………………………………………………………………………………………….… 1 Graduate School of Science …………………………………………………………………………………………… 7 Graduate School of Medicine …………………………………………………………………………………..……. 38 Center for Forensic Mental Health ………………………………………………………………..…………..…… 50 Graduate School of Pharmaceutical Sciences ………………………………………………………………… … 53 School of Nursing ……………………………………………………………………………………………………… 62 Graduate School of Engineering …………………………………………………………………………………… 65 Graduate School of Advanced Integration Science ……………………………………………………………… 70 Graduate School of Horticulture …………………………………………………………………………………… 82 Center for Environmental Remote Sensing ……………………………………………………………………… 105 Medical Mycology Research Center (MMRC)…………………………………. .…………………………………. 119 Institute of Media and Information Technology .………………………………….……………………………… 120 Center for Frontier Science ………………………………………………………………………………………… 121 Marine Biosystems Research Center ………………………………………………………………………..……… 124 Center for Environment, Health and Filed Sciences ..……………………………………………….……..…… 125 Shanghai Jiao Tong University and Chiba University International Cooperative Research Center (SJTU-CU ICRC) …………………………………………………………………………………………..……..…… 128 The subject of this survey is specified as “International Collaborative Research”. It refers to an international research carried out jointly on a departmental, laboratory or personal level, and introduces works, -
Download The
reviews | 453 Japan Noriko T. Reider, Seven Demon Stories from Medieval Japan Boulder, CO: Utah State University Press, 2016. xiii + 312 pages. 22 illustrations, notes, bibliography, index. Paperback, $33.95, ISBN: 978-1-60732-489-8. The term otogi-zoshi (“companion tales”) refers to a genre of more than 400 illustrated stories composed between the fifteenth and early-seventeenth centuries. The term otogi- zoshi was first employed by an eighteenth-century publisher and is suggestive of “nurs- ery rhymes” suitable for children and their care-givers, an association that was perpet- uated by literary historians for much of the twentieth century. Nevertheless, the genre is now achieving wide recognition as a vibrant part of the literature of medieval Japan. Noriko Reider’s Seven Demon Stories from Medieval Japan offers us a nuanced and informative exploration of this particular literary-historical landscape. Each chapter focuses on a single text, telling the tale of a character’s encounter with a demon (oni). The first two stories examine the adventures of the famous warrior Minamoto Yor- imitsu and his band of retainers, as they brave (with no small amount of divine in- tervention) the mountain lair of the “Drunken Demon” Shuten Dōji and track the venomous Earth Spider (tsuchigumo). The third and fourth stories describe the ad- ventures of clever scholars: Minister Kibi (whose historic diplomatic mission to China is fictionalized into a series of trials in which Kibi outwits his Chinese adversaries) and Lord Haseo (whose wager with a game-playing oni leads to a lesson in the dangers of lust). The third pair of stories touch on the adventures of female protagonists: the Weaving Maiden who goes off in search of her demon-husband Amewakahiko (a story that combines an etiology of the Star Festival—celebrating the yearly joining of the stars Vega and Altair—with a reflection on the marriage politics of the day) and the Blossom Princess (a “Cinderella story,” in which an abused step-daughter gains magi- cal assistance from a mountain hag and finds love). -
Knowledge 3 Teacher Guide Grade 1 Different Lands, Similar Stories Grade 1 Knowledge 3 Different Lands, Similar Stories
¬CKLA FLORIDA Knowledge 3 Teacher Guide Grade 1 Different Lands, Similar Stories Grade 1 Knowledge 3 Different Lands, Similar Stories Teacher Guide ISBN 978-1-68391-612-3 © 2015 The Core Knowledge Foundation and its licensors www.coreknowledge.org © 2021 Amplify Education, Inc. and its licensors www.amplify.com All Rights Reserved. Core Knowledge Language Arts and CKLA are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. References herein should not be regarded as affecting the validity of said trademarks and trade names. Printed in the USA 01 BR 2020 Grade 1 | Knowledge 3 Contents DIFFERENT LANDS, SIMILAR STORIES Introduction 1 Lesson 1 Cinderella 6 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • Core Connections/Domain • Purpose for Listening • Vocabulary Instructional Activity: Introduction Instructions • “Cinderella” • Where Are We? • Somebody Wanted But So Then • Comprehension Questions • Word Work: Worthy Lesson 2 The Girl with the Red Slippers 22 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • What Have We Already Learned? • Purpose for Listening • Drawing the Read-Aloud • Where Are We? • “The Girl with the Red Slippers” • Comprehension Questions • Word Work: Cautiously Lesson 3 Billy Beg 36 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • What Have We Already Learned? • Purpose for Listening • -
Issun Boshi: One-Inch
IIssunssun BBoshi:oshi: OOne-Inchne-Inch BBoyoy 6 Lesson Objectives Core Content Objectives Students will: Explain that f ctional stories come from the author’s imagination Identify folktales as a type of f ction Explain that stories have a beginning, middle, and end Describe the characters, plot, and setting of “Issun Boshi: One- Inch Boy” Explain that people from different lands tell similar stories Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Demonstrate understanding of the central message or lesson in “Issun Boshi: One-Inch Boy” (RL.1.2) Recount and identify the lesson in folktales from diverse cultures, such as “Issun Boshi: One-Inch Boy” (RL.1.2) Orally compare and contrast similar stories from different cultures, such as “Tom Thumb,” “Thumbelina,” and “Issun Boshi: One-Inch Boy” (RL.1.9) Draw and describe one of the scenes from “Issun Boshi: One- Inch Boy” (W.1.2) Describe characters, settings, and events as depicted in drawings of one of the scenes from “Issun Boshi: One-Inch Boy” (SL.1.4) Different Lands, Similar Stories 6 | Issun Boshi: One-Inch Boy 79 © 2013 Core Knowledge Foundation Add suff cient detail to a drawing of a scene from “Issun Boshi: One-Inch Boy” (SL.1.5) Prior to listening to “Issun Boshi: One-Inch Boy,” identify orally what they know and have learned about folktales, “Tom Thumb” and “Thumbelina” Core Vocabulary astonished, adj. -
Amanita Muscaria) and The
FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida JAPANESE USE OF BENI-TENGU-DAKE (AMANITA MUSCARIA) AND THE EFFICACY OF TRADITIONAL DETOXIFICATION METHODS A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in BIOLOGY by Allan Grady Phipps 2000 To: Dean Arthur W. Herriott College of Arts and Sciences This thesis, written by Allan Grady Phipps, and entitled Japanese use of Beni-tengu-take (Amanita muscaria) and the efficacy of traditional detoxification methods, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Kelsey R. Downum David N. Kuhn Bradley C. Bennett, Major Professor Date of Defense: March 23, 2000 The thesis of Allan Grady Phipps is approved. Dean Arthur W. Herriott College of Arts and Sciences Dean Richard L. Campbell Division of Graduate Studies Florida International University, 2000 ii DEDICATION To my parents... iii ACKNOWLEDGMENTS I thank the people of Sanada Town, Japan for their hospitality, friendliness, and invaluable assistance in the field. In particular, I am indebted to the Yamazaki family for generously providing me transportation, food, and lodging in Japan. I also must thank Mr. Shiozawa, Mr. Horiuchi, Mrs. Ookubo, and Mr. Satou for their assistance. Residents of Sanada Town recognized the efficacy of Amanita muscaria detoxification. My research owes everything to this original discovery. In addition, I would like to thank several organizations for their assistance. Sigma Chemical Company provided standards. The Tropical Biology Program at Florida International University (FIU) assisted me with preliminary travel expenses and laboratory equipment. -
Türkçe-Japonca Sözlük
Japonca Türkçe - Türkçe-Japonca Sözlük www.kitapsevenler.com Merhabalar %XUD\D<NOHGL÷LPL]H-kitaplar *|UPHHQJHOOLOHULQRNX\DELOHFH÷LIRUPDWODUGDKD]ÕUODQPÕúWÕU Buradaki E-.LWDSODUÕYHGDKDSHNoRNNRQXGDNL.LWDSODUÕELOKDVVDJ|UPHHQJHOOL DUNDGDúODUÕQLVWLIDGHVLQHVXQX\RUX] %HQGHELUJ|UPHHQJHOOLRODUDNNLWDSRNXPD\ÕVHYL\RUXP (NUDQRNX\XFXSURJUDPNRQXúDQ%UDLOOH1RW6SHDNFLKD]ÕNDEDUWPDHNUDQYHEHQ]HUL \DUGÕPFÕDUDoODU VD\HVLQGHEXNLWDSODUÕRNX\DELOL\RUX]%LOJLQLQSD\ODúÕOGÕNoDSHNLúHFH÷LQHLQDQÕ\RUXP Siteye yüklenen e-NLWDSODUDúD÷ÕGDDGÕJHoHQNDQXQDLVWLQDGHQWP NLWDSVHYHUDUNDGDúODULoLQKD]ÕUODQPÕúWÕU $PDFÕPÕ]\D\ÕQHYOHULQH]DUDUYHUPHN\DGDHVHUOHUGHQPHQIDDWWHPLQHWPHNGH÷LOGLUHOEHWWH Bu e-kitaplar normal kitapODUÕQ\HULQLWXWPD\DFD÷ÕQGDQNLWDSODUÕEH÷HQLSWHHQJHOOLROPD\DQ okurlar, NLWDSKDNNÕQGDILNLUVDKLELROGXNODUÕQGDLQGLUGLNOHULNLWDSWDDGÕJHoHQ \D\ÕQHYLVDKDIODUNWSKDQHYHNLWDSoÕODUGDQLOJLOLNLWDEÕWHPLQHGHELOLUOHU Bu site tamamen ücretsizdir YHVLWHQLQLoHUL÷LQGHVXQXOPXúRODQNLWDSODU KLoELUPDGGLoÕNDUJ|]HWLOPHNVL]LQWPNLWDSGRVWODUÕQÕQLVWLIDGHVLQHVXQXOPXúWXU Bu e-NLWDSODUNDQXQHQKLoELUúHNLOGHWLFDULDPDoODNXOODQÕODPD]YHNXOODQGÕUÕODPD] %LOJL3D\ODúPDNODdR÷DOÕU <DúDU087/8 øOJLOL.DQXQ6D\ÕOÕ.DQXQXQDOWÕQFÕ%|OP-dHúLWOL+NPOHUE|OPQGH\HUDODQ "EK MADDE 11. -'HUVNLWDSODUÕGDKLODOHQLOHúPLúYH\D\D\ÕPODQPÕú\D]ÕOÕLOLP YHHGHEL\DWHVHUOHULQLQHQJHOOLOHULoLQUHWLOPLúELUQVKDVÕ\RNVDKLoELUWLFDUvDPDo güdülmekVL]LQELUHQJHOOLQLQNXOODQÕPÕLoLQNHQGLVLYH\DoQF ELUNLúLWHNQVKDRODUDN\DGDHQJHOOLOHUH\|QHOLNKL]PHWYHUHQH÷LWLPNXUXPXYDNÕIYH\D GHUQHNJLELNXUXOXúODUWDUDIÕQGDQLKWL\DoNDGDUNDVHW&'EUDLOO DOIDEHVLYHEHQ]HULIRUPDWODUGDoR÷DOWÕOPDVÕYH\D|GQoYHULOPHVLEX.DQXQGD|QJ|UOHQ