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Seminar on Japanese Swords 7 February 2005
Tsurugi-Bashi Kendo Kai University of Cambridge Kendo Society Seminar on Japanese swords 7 February 2005 Revised proceedings Proceedings editor: Nicholas Taylor Copyright c Tsurugi Bashi 2005 http://www.cam.ac.uk/societies/kendo/ Table of Contents Preface FrankStajano....................................... ...............3 A visit to a sword polisher's workshop FrankStajano....................................... ...............4 The parts of the Japanese sword NeilHubbard........................................ ..............7 Katana and Kendo: Background and Reigi HyoWonKim.......................................... ...........9 Functional differences between European medieval and Japa- nese swords SabineBuchholz...................................... ............11 Manufacture of Japanese swords RichardBoothroyd..................................... ...........13 Zen and the Way of the Sword KristiinaJokinen................................... ...............15 Metallurgy and the Japanese Sword NicholasTaylor..................................... ..............17 2 Preface On a sunny morning in December 2004 I happened to pass by the British Museum and my attention was caught by an elegant black poster featuring a beautiful Japanese sword blade. I immediately went in and was delighted at the chance to admire a won- derful exhibition of the Museum’s magnificent collection of about a hundred Japanese blades, all recently restored in Japan. Once back in Cambridge, I set out to organize a visit to the exhibition for members of our kendo dojo, Tsurugi-Bashi. Although, as one might expect, many of our kendoka have an interest in Japanese swords, none of us is really knowledgeable, let alone an expert or collector. We therefore needed some preparation and guidance in order fully to appreciate the visit. In the spirit of encouraging people to find out more about the subject, I there- fore requested that members wishing to join the guided tour carry out a little research about some aspect of the Japanese sword, write it up as a short essay and present it to the others. -
Japan Studies Review
JAPAN STUDIES REVIEW Volume Seven 2003 Interdisciplinary Studies of Modern Japan Steven Heine Editor John A. Tucker Book Review Editor Editorial Board Yumiko Hulvey, University of Florida John Maraldo, University of North Florida Mark Ravina, Emory University Ann Weymeyer, University of Florida Brian Woodall, Georgia Institute of Technology Copy and Production Shoshanah Del Greco Jessica Reyes JAPAN STUDIES REVIEW VOLUME SEVEN 2003 A Publication of the Southern Japan Seminar and Florida International University CONTENTS Editor’s Introduction i Re: Subscriptions, Submissions and Comments iii ARTICLES The Fifty-Year War: Rashomon, After Life, and Japanese Film Narratives of Remembering Mike Sugimoto 1 The Tanka Poetry of Yosano Akiko: Transformation of Tradition Through the Female Voice Harriet D. Grissom 21 Civil Servant or Obedient Servant? Ideal(ized) Officials in 16th Century Japan Ronald K. Frank 33 The Farce of the “Great Russian Salvation Tour”: The Legacy of Aum Shinrikyo in Mother Russia Daniel A. Metraux 47 Anime and Historical Inversion in Miyazaki Hayao’s Princess Mononoke John A. Tucker 65 BOOK REVIEWS Being Modern in Japan: Culture and Society from the 1910s to 1930s By Elise K. Tipton and John Clark Reviewed by Scott P. O’Bryan 103 A Bilingual Guide to the Japanese Economy By NHK International Reviewed by Kiyoshi Kawahito 106 Religious Violence in Contemporary Japan: The Case of Aum Shinrikyo By Ian Reader Reviewed by Daniel A. Metraux 108 Toyota-shiki Saikyono Keiei: Naze Toyota wa Kawaritsuzukeru no ka (The Toyota Style of Strongest Management: Why Toyota Keeps Changing) By Shibata, Masaharu and Hideharu Kaneda Reviewed by Kinko Ito 112 Neither Monk nor Layman: Clerical Marriage in Modern Japanese Buddhism By Richard M. -
Archaeological Journal Japanese Sword Blades
This article was downloaded by: [Northwestern University] On: 29 January 2015, At: 18:47 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Archaeological Journal Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/raij20 Japanese Sword Blades Alfred Dobree Published online: 17 Jul 2014. To cite this article: Alfred Dobree (1905) Japanese Sword Blades, Archaeological Journal, 62:1, 1-18, DOI: 10.1080/00665983.1905.10852983 To link to this article: http://dx.doi.org/10.1080/00665983.1905.10852983 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. -
Reinventing the Sword
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Reinventing the sword: a cultural comparison of the development of the sword in response to the advent of firearms in Spain and Japan Charles Edward Ethridge Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Ethridge, Charles Edward, "Reinventing the sword: a cultural comparison of the development of the sword in response to the advent of firearms in Spain and Japan" (2007). LSU Master's Theses. 3729. https://digitalcommons.lsu.edu/gradschool_theses/3729 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. REINVENTING THE SWORD: A CULTURAL COMPARISON OF THE DEVELOPMENT OF THE SWORD IN RESPONSE TO THE ADVENT OF FIREARMS IN SPAIN AND JAPAN A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Charles E. Ethridge B.A., Louisiana State University, 1999 December 2007 Acknowledgments I would like to express my gratitude to my supervisor, Dr. Fredrikke Scollard, whose expertise, understanding, and patience added considerably to my graduate experience. I appreciate her knowledge of Eastern cultures and her drive to promote true ‘cross-cultural’ research. -
TSUBA. the Mark of the Knights of Japan the Tsuba Collection at the Bilbao Fine Arts Museum
TSUBA. The Mark of the Knights of Japan The Tsuba Collection at the Bilbao Fine Arts Museum Fernando García Gutiérrez, S.J. This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Text published in: B’07 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 3, 2008, pp. 101-159. Sponsored by: 2 Japanese knights and their world husei, as the Japanese Middle Ages are known, occurred between the 12th and the 16th centuries, covering the Kamakura (1185-1333) and Muromachi (1333-1573) periods. Part of the historiography C stresses the fact that the mediaeval age, which coincides with the development of the feudal sys- tem, lasted longer, and postpones the beginning of the Modern Age to the 17th century. According to this view, the term mediaeval would also apply to the Momoyama period (1573-1615), and would be defined as the late feudal period. -
Volume XI Number 2 CONTENTS Fall 2003
Volume XI Number 2 CONTENTS Fall 2003 From the Editors' Desk 編纂者から 1 EMJ Renewals, Call for Proposals, EMJNet at the AAS 2004 (with abstracts of presentations) Articles 論文 Collaboration In Haikai: Chōmu, Buson, Issa Collaboration In Haikai: Chōmu, Buson, Issa: An Introduction Cheryl Crowley 3 Collaboration in the "Back to Bashō" Movement: The Susuki Mitsu Sequence of Buson's Yahantei School Cheryl Crowley 5 Collaboration of Buson and Kitō in Their Cultural Production Toshiko Yokota 15 The Evening Banter of Two Tanu-ki: Reading the Tobi Hiyoro Sequence Scot Hislop 22 Collaborating with the Ancients: Issues of Collaboration and Canonization in the Illustrated Biography of Master Bashō Scott A. Lineberger 32 Editors Philip C. Brown Ohio State University Lawrence Marceau University of Delaware Editorial Board Sumie Jones Indiana University Ronald Toby University of Illinois For subscription information, please see end page. The editors welcome preliminary inquiries about manuscripts for publication in Early Modern Japan. Please send queries to Philip Brown, Early Modern Japan, Department of History, 230 West 17th Avenue, Colmbus, OH 43210 USA or, via e-mail to [email protected]. All scholarly articles are sent to referees for review. Books for review and inquiries regarding book reviews should be sent to Law- rence Marceau, Review Editor, Early Modern Japan, Foreign Languages & Lit- eratures, Smith Hall 326, University of Deleware, Newark, DE 19716-2550. E-mail correspondence may be sent to [email protected]. Subscribers wishing to review books are encouraged to specify their interests on the subscriber information form at the end of this volume. The Early Modern Japan Network maintains a web site at http://emjnet.history.ohio-state.edu/. -
Swords and Daggers
Swords and Daggers Swords are weapons formed by a blade (the part intended for striking) and a hilt (from which the sword is held) [Fig. 1]. While there have been swords made of wood and stone, the more predominant and effective examples have been made of some sort of metal. Bronze was used in ancient times, followed by iron and then steel. Daggers are a more primitive, much smaller weapon which share many features with the sword. As a general rule, knives have a single edge. Blade The sword’s blade can be divided between the forte (third of the blade closer to the hilt) and the foible (third of the blade closer to the tip). This refers to how much strength the wielder can put into each area of the blade when used as a lever. The part of the blade that becomes narrow and goes into the grip is called the tang [Fig. 2]. The point of balance [Fig. 3] is the sword’s center of gravity, often found on the blade very close to the hilt, and influences the handling of the weapon. The center of percussion [Fig. 3] is the area of the blade that produces the least amount of vibration when striking a target, and thus is the ideal place with which to strike. The cross-section of the blade [Fig. 4] is the shape it has when cut at the guard. The fullers, incorrectly called blood grooves in modern times, were used to reduce the weight of the blade and give it structural strength. -
Iron, Steel and Swords Script - Page 1 Looks Do Count, As the Fashion Industry Knows
11.6 Japanese Swords 11.6.1 The Myth and the History of the Japanese Sword The Myth I started this enterprise because I wanted to know more about a few things concerning iron, steel and swords. I'm a materials scientist after all, and I should know a bit more than just the essentials about iron and steel, even so my speciality are semiconductors. Somehow the project went out of control. By now I have written around 370 modules, far more than anticipated. Now I'm about to write the last modules about sword making. I'm now getting to the ultra-famous Japanese Sword! The climax is near! You know what? I'm bored And I'm fascinated I'm bored because the making of a Japanese sword just doesn't contain much new stuff. Pretty much everything of basic metallurgical interest connected to the making of Japanese swords has been covered before. Note that I'm not saying that a Japanese sword isn't a supreme weapon or a major piece of art. I also have no problem asserting that it counts among the best swords a smith can make with bloomery-made iron and steel. I do state, however, that the same can be said for a well-made Iranian wootz shamshir with a kirk nardaban pattern, a Roman pattern welded sword, a Frankish all-steel sword and many other swords. In other words: when considering Japanese swords, art appreciation is often more important than metallurgy. I'm fascinated for a number of reasons. Most prominent, perhaps, because the "Japanese" look at "their" swords primarily as pieces of art and not weapons, indeed. -
The Socio-Historical Evolution of Japanese Swordsmanship and Its Correlation with Cultural Nationalism
The Cultural Politics of Proprietorship: The Socio-historical Evolution of Japanese Swordsmanship and its Correlation with Cultural Nationalism Alexander C. Bennett Ph.D. Dissertation (Senior Supervisor – Dr. Kenneth Henshall) University of Canterbury School of Languages, Cultures and Linguistics (JAPA) 2012 i ii COPYRIGHT Alexander C. Bennett 2012 iii iv Acknowledgements Although I started writing this thesis six years ago, I have been involved in kendō itself for over two decades. Guidance from the many wonderful teachers and friends I have met on this journey provided me with the knowledge to undertake the project. There are far too many people to name here, but I would like to especially thank the following people and organisations for their assistance and support. First, Professor Kenneth Henshall has been an incredibly patient supervisor, and has always given me wonderful advice enabling me to overcome many hurdles along the way. I feel greatly honoured to have had such an illustrious scholar as him for my supervisor. Professor Edwina Palmer was also involved at the start of my studies, but has since taken up a position outside the University of Canterbury. Her comments were invaluable in the completion of my earlier chapters. I am also indebted to Dr. Chigusa Kimura-Steven, and the other staff members in the School of Languages, Cultures and Linguistics (Japanese) at the University of Canterbury. I would also like to thank the Nippon Budokan and the All Japan Kendo Federation for their on-going support and willingness to provide me with many of the documents quoted in this thesis. I have also had considerable help from Professor Uozumi Takashi at the International Budo University, Professor Nakajima Takeshi of Kokushikan University, and numerous tantalising conversations about the state of kendō today with Professor Sakudō Masao and Professor Kanzaki Hiroshi at the Osaka University for Sport and Health Science. -
Kendo Training Handbook
Kendo Training Handbook By Matt Jackson, Tsurugi Bashi Kendo Kai (剣橋剣道会), Cambridge University Kendo Society Article retrieved from: http://suffolkkendo.co.uk/KendoTrainingHandbook(rev5).pdf Page 1 of 52 Kendo Training Handbook EDITION 1 Rev 5 December 2011 By Matt Jackson Kendo is a traditional Japanese martial art, as well as Athletic sport. How you think of and practice it will change and develop over the time to practice the art. This guide is a summary of my understandings, and so, as a disclaimer, I can- not guarantee that these are thoughts of everyone, including myself in future times. Over the years I have practiced Kendo, I have learned and been taught many ideas, in many ways. I have, from the advice I have received and ideas taught to me, compiled my notes, and have selected those ideas I found most useful myself, and that was a common idea among many Sensei. To avoid changing ideas beyond those of Kendo, I have set the basic standard as that de- scribed in the All Japan Kendo Federation manuals. Where differences appear in teaching ideas, I have commented in Italics to give some guidance. I set the basic elements needed for practice to master basic Kendo and teach the skills needed to face an opponent, these being the Kihon-dosa as described by the All Japan Kendo Federation. They are as follows: 1) Shisei (Posture) 2) Kamae (stance or posture) and Metsuke (use of eyes) 3) Kamae-kata (the way of drawing the bokutō/shinai) and Osame-kata (the way of putting away bokutō/shinai) 4) Ashi-sabaki (footwork) 5) Suburi (Swinging -
The Intangible Warrior Culture of Japan: Bodily Practices, Mental Attitudes, and Values of the Two-Sworded Men from the Fifteenth to the Twenty-First Centuries
The Intangible Warrior Culture of Japan: Bodily Practices, Mental Attitudes, and Values of the Two-sworded Men from the Fifteenth to the Twenty-first Centuries. Anatoliy Anshin Ph.D. Dissertation UNSW@ADFA 2009 ACKNOWLEDGEMENTS This thesis would not have seen the light without the help of more people than I can name individually. I am particularly grateful to Professor Stewart Lone, UNSW@ADFA, and Professor Sandra Wilson, Murdoch University, for their guidance and support while supervising my Ph.D. project. All of their comments and remarks helped enormously in making this a better thesis. A number of people in Japan contributed significantly to producing this work. I am indebted to Ōtake Risuke, master teacher of Tenshinshō-den Katori Shintō-ryū, and Kondō Katsuyuki, director of the Main Line Daitō-ryū Aikijūjutsu, for granting interviews and sharing a wealth of valuable material during my research. I thank Professor Shima Yoshitaka, Waseda University, for his generous help and advice. I would like to express my infinite thankfulness to my wife, Yoo Sun Young, for her devotion and patience during the years it took to complete this work. As for the contribution of my mother, Margarita Anshina, no words shall convey the depth of my gratitude to her. 1 CONTENTS Acknowledgements…………..…………………………………………………….……1 Contents…………………………..……………………………………………………...2 List of Illustrations……………………………………………………………………….5 Conventions……………………………………………………………………………...6 List of Author’s Publications…………………………………………………………….8 INTRODUCTION……………………………………………………………………….9 -
NBTHK SWORD JOURNAL ISSUE NUMBER 754 November, 2019 Meito Kansho: Examination of Important Swords
NBTHK SWORD JOURNAL ISSUE NUMBER 754 November, 2019 Meito Kansho: Examination of Important Swords Type: Tachi Mei: Aoi-mon Yasutsugu Nyudo Nanban-tetsu wo motte Bushu Edo ni oite kore wo tsukuru Hinomisaki Sengu (shrine transfer) hono on-tachi Kanei 17 (1640) 8 gatsu jitsu Owner: Hinomisaki shrine Izumo City Bunka-densho Kan (Museum of Cultural Traditions), Kitaku Hokan (Long term deposited item) Length: 2 shaku 7 sun (81.8 cm) Sori: 9 bu 9 rin (3. 0 cm) Motohaba: 1 sun 4 rin (3.15 cm) Sakihaba: 6 bu 8 rin (2. 05 cm) Motokasane: 2 bu 3 rin (0.7 cm) Sakikasane: 1 bu 5 rin (0.45 cm) Kissaki length: 9 bu 6 rin (2. 9 cm) Nakago length: 8 sun 3 bu 8 rin (25.4 cm) Nakago sori: 7 rin (0.2 cm) . Commentary This is a shinogi-zukuri tachi with an ihorimune. It is slightly wide, and the widths at the moto and the saki are different. It is thick and long, and has a large sori, is koshizori and there is a chu-kissaki. The jigane shows itame hada mixed with mokume hada, and the entire ji is well forged, and the hada is visible. There are ji-nie, and chikei. The hamon is primarily ko-gunome, and vertical variations in the hamon are not prominent. Some areas of the hamon are a suguha style. There are frequent ashi, nioiguchi type ko-nie, around the monouchi area of the hamon there are some hotsure, and the entire nioiguchi is somewhat worn down. The boshi on the omote is straight and the tip is komaru.