EARLY MODERN JAPAN 2008 the Early Modern Warrior: Three
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Introduction to the Warrior Ethos ■ 113
8420010_VE1_p110-119 8/15/08 12:03 PM Page 110 Section 1 INTRODUCTION TO Values and Ethics Track Values THE WARRIOR ETHOS Key Points 1 The Warrior Ethos Defined 2 The Soldier’s Creed 3 The Four Tenets of the Warrior Ethos e Every organization has an internal culture and ethos. A true Warrior Ethos must underpin the Army’s enduring traditions and values. It must drive a personal commitment to excellence and ethical mission accomplishment to make our Soldiers different from all others in the world. This ethos must be a fundamental characteristic of the U.S. Army as Soldiers imbued with an ethically grounded Warrior Ethos who clearly symbolize the Army’s unwavering commitment to the nation we serve. The Army has always embraced this ethos but the demands of Transformation will require a renewed effort to ensure all Soldiers truly understand and embody this Warrior Ethos. GEN Eric K. Shinseki 8420010_VE1_p110-119 8/15/08 12:03 PM Page 111 Introduction to the Warrior Ethos ■ 111 Introduction Every Soldier must know the Soldier’s Creed and live the Warrior Ethos. As a Cadet and future officer, you must embody high professional standards and reflect American values. The Warrior Ethos demands a commitment on the part of all Soldiers to stand prepared and confident to accomplish their assigned tasks and face all challenges, including enemy resistance—anytime, anywhere. This is not a simple or easy task. First, you must understand how the building blocks of the Warrior Ethos (see Figure 1.1) form a set of professional beliefs and attitudes that shape the American Soldier. -
Law of Armed Conflict
Lesson 1 THE LAW OF ARMED CONFLICT Basic knowledge International Committee of the Red Cross Unit for Relations with Armed and Security Forces 19 Avenue de la Paix 1202 Geneva, Switzerland T +41 22 734 60 01 F +41 22 733 20 57 E-mail: [email protected] www.icrc.org Original: English – June 2002 INTRODUCTION TO THE LAW OF ARMED CONFLICT BASIC KNOWLEDGE LESSON 1 [ Slide 2] AIM [ Slide 3] The aim of this lesson is to introduce the topic to the class, covering the following main points: 1. Background: setting the scene. 2. The need for compliance. 3. How the law evolved and its main components. 4. When does the law apply? 5. The basic principles of the law. INTRODUCTION TO THE LAW OF ARMED CONFLICT 1. BACKGROUND: SETTING THE SCENE Today we begin a series of lectures on the law of armed conflict, which is also known as the law of war, international humanitarian law, or simply IHL. To begin, I’d like to take a guess at what you’re thinking right now. Some of you are probably thinking that this is an ideal opportunity to catch up on some well-earned rest. “Thank goodness I’m not on the assault course or on manoeuvres. This is absolutely marvellous. I can switch off and let this instructor ramble on for 45 minutes. I know all about the Geneva Conventions anyway – the law is part of my culture and our military traditions. I really don't need to listen to all this legal ‘mumbo jumbo’.” The more sceptical and cynical among you might well be thinking along the lines of a very famous orator of ancient Rome – Cicero. -
JSSUS Tosho Article For
Overview and Development of Tsuba made by Japanese Swordsmiths By David Stiles Introduction I will introduce new Japanese language terms with an English, non-italicized explanation followed by the standard italicized Romaji and Kanji if possible. The italicized Japanese terms are not punctuated or pluralized like normal English words. To begin, I would like to introduce the topic of my essay: the handguards of Japanese swords referred to as tsuba (鍔) made by professional Swordsmiths, Tôshô (刀匠 ), or their apprentices. In part one of the essay I will present a historical background to the early swordsmith handguards Ko-Tôshô tsuba (古刀匠鍔 ) as well as characteristics that define them as a group. In part two of the essay I will present Tôshô tsuba (刀匠鍔 ) and the characteristics that define them as a group. There is an important caveat that must be stated in regards to this article. The reference material used for this introduction to Tôshô tsuba were written in English or were translated at some point from Japanese to English and are of a secondary nature. New historical or contemporary primary references were not translated and used for the basis of the article. Historical Background of Ko-Tôshô Tsuba The earliest Tôshô tsuba are referred to in Japanese as Ko- Tôshô ( 古刀匠 ) and date from the Genpei War ( Genpei kassen 源平合戦 ) (1180–1185) to middle Muromachi Period ( 室町時代 ) (1400- 1500). The Genpei War was the legendary conflict between the Taira ( 平氏 ) and Minamoto ( 源氏 ) clans during the late Heian Period ( 平安時代 ) (794-1185). There are references in historical documents of the Genpei War to the hand guards and blade collars made by professional swordsmiths or their apprentices. -
The King As Warrior in Samuel-Kings
THE KING AS WARRIOR IN SAMUEL-KINGS by SAM MEIER The Ohio State University, Columbus, Ohio 43210 It is becoming increasingly complex to speak of the Deuteronomistic (Dtr) historians, the boundaries of their works, and the theological and historical issues of significance to them. Noth's assertion that the Dtr His tory was penned by a single historian using written sources is no longer widely accepted despite continued attempts to perceive a broad unity to the work. 1 The fracturing of the work's unity has multiplied the number of ancient Israelites who now bear the epithet Dtr with a distinguishing numeral (DtrL Dtr2) or letter (DtrH, DtrP, DtrN).2 Large blocks of mate i:ial within the history still lack a consensus as to origin: the narratives associated with David's rise to kingship, for example, are explained by a variety of source analyses. 3 Even the context and date of the succession history is suspect, with some even affirming that it is both post-Dtr and antimonarchic (Van Seters 1983, pp. 277-291). It is evident that considerable work remains to be done in identifying with confidence the varied trajectories of the Dtr work(s) (cf. Ackroyd, 1985, 301-305). The problem is further compounded by the numerous sources, whose content may (or may not) be related to the primary and changing interests of the Dtr historians. In a work of such broad scope encompassing diverse sociological, political and religious ideologies, identifying what is I. McKenzie (1991) presents with sensitive nuancing the most recent apologetic for Noth's basic thesis with appropriate modifications. -
Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L
SWORD OF THE SAMURAI Computer Game MICROPROSE SOFTWARE INC. 180 Lakefront Drive, Hunt Valley, MD 2 1030 (410) 771-I 151 All rights reserved Copyright 0 I989 by MicroProse Software, inc. This bk may not be reproduced in whole or in part by any means without permission, except the quotation of brief passages for reviews. PRINTING HISTORY First printing 1989 Printing: 9 8 7 6 5 4 3 2 1 Sword of the Samurai is MicroProse Software’s trademark for its computer game of feudal Japan. SWORD OF THE SAMURAI Game Design/Project Leader Manual Text LAWRENCE SCHICK LAWRENCE SCHICK Artistic Director with SANDY PETERSEN MICHAEL HAIRE Manual Editor Lead Programmer JEFFERY L. BRIGGS JIM SYNOSKI Print Media Director Role-Playing Program IRIS IDOKOCI JIM SYNOSKI Full-Page Illustrations with SID MEIER RONNIE ORDANZA and MARCELL CIOLA Melee Program Spot Illustrations JOHN KENNEDY OSCAR RATTI* Battle Program Layout DAVID McKlBBlN MICHAEL HAIRE and MURRAY TAYLOR with DAN CHANG Paper Map Graphics Duel Program MARCELL CIOLA SID MEIER MURRAY TAYLOR and MICHAEL REIS Music and Sound Quality Assurance KEN LAGACE and JIM McCONKEY ALAN ROIREAU, CHRIS TAORMINO, Music by JEFFERY L. BRIGGS and RUSS COONEY Computer Graphics Packaging Design MICHAEL HAIRE MARK CIOLA and JOHN EMORY with JACKIE ROSS Type Fonts by BARBARA BENTS *(from Secrets of the Samurai by Oscar Ratti and Adele Westbrook; used by permission of the publisher, the Charles E. Tuttle Company, Inc.) CONTENTS INTRODUCTION THE LIFE OF A SAMURAI General Overview: Another Time, Another Culture 3 Quickstart: On the -
Kanazawa Citizen’S Art Center Contemporary Art, Kanazawa
❖21st Century Museum of ❖The Kanazawa Citizen’s Art Center Contemporary Art, Kanazawa The Kanazawa Citizen’s Art Center is used as a The museum exhibits experimental place for art activities for residents centering contemporary artworks that visitors can touch on the special features of the red brick or sit on. It includes zones where visitors can warehouses that used to be spinning mills. enter for free. Both adults and children can experience an exciting time in the museum. Address: 1-1 Daiwa-machi Contact: Tel. 265-8300 Address: 1-2-1 Hirosaka Open: 24 hours a day and 365 days a year Contact: Tel. 220-2800 乙丸町 北安江町 浅 野 Open: 10 am to 6 pm (closes at 8 pm on Fridays and Saturdays) 北 陸 Admission fee: The fee varies with the special exhibition. 鉄 鳴和 川 道 Closed: Mondays and Dec. 29 to Jan. 3. Visitors can enter the 浅 野 JR北陸本線 free zone from 9 am to 10 pm everyday including Mondays. 川 駅 線 西5 駅西本町1 浅野本町 0m 道 159 路 広岡1 応化橋 Yamanoue Utatsuyama 二口町 Moriyama-kita Hikoso Ohashi Kanazawa Station Bridge ● Ishikawa Ongakudo Higashi-betsuin Temple ● Hikoso-machi Nakabashi Hon-machi 2 Higashi Chaya-gai District Kanazawa Yasue Higashiyama ● Kanazawa Rokumai Gold-Leaf Museum ● Utatsuyama Craft Workshop Musashi Asanogawa Ohashi Meitetsu ● Bakuro-machi A City of Rich, ● Bridge M’za Omi-cho Market Hashiba-cho Umenohashi Sanja Bridge Vibrant Culture 大豆田橋 Kamitsutsumi-cho The Kanazawa Tenjinbashi Citizen’s Art Center Ote-machi Bridge 大豆田大橋 ● 卯 Minami-cho 辰 入江 ト Kanazawa Castle Park ン Oyama Shrine ネ ● ル Saigawa River Motoguruma Kenrokuen-shita Naga-machi Buke -
Ishikawa Sample Itineraries
ITINERARIES 2 days & 1 night Essential Kanazawa Kanazawa is a must for lovers of Japanese culture, history and architecture. Much of ancient samurai houses and geisha districts have been beautifully preserved because the area has escaped major natural disasters and war damage. TRIP HIGHLIGHTS ‒ A visit to Kenrokuen Garden, Japan’s most iconic landscape gardens. ‒ Head to the Nagamachi Samurai District for an insight Kanazawa into samurai life. ‒ Stroll through the picturesque, well-preserved Higashi- Chaya geisha district. ITINERARY Day Activities Stay Kanazawa Day 1 Visit Oyama Jinja Shrine, Kanazawa Noh Musuem, D.T. Suzuki Museum and Kanazawa 21st Century Museum of Contemporary Art, Kanazawa. Kanazawa Day 2 Visit Namagachi Samurai District, Omicho Market, Kenrokuen Garden, Kanazawa Castle Park, Higashi Chaya District. View on Google Map Day 1 11:00 Arrive at Kanazawa Station and drop off luggage at hotel. 15 minutes 1 14:00 Oyama Jinja Shrine [尾山神社] A Shinto shrine dedicated to Maeda Toshiie, the founder of the Kaga domain (present-day Ishikawa and around), and his wife. The shrine’s three-storied shinmon gate was designed to blend Japanese and Chinese architectural styles with Wester touches such as stained glass. 10 minutes 2 14:30 Kanazawa Noh Museum[金沢能楽美術館] Noh (a major from of classic Japanese musical drama) has been promoted among people in Ishikawa since Edo period. Immerse yourself in the world of Noh by trying on masks and costumes and playing musical instruments. 10 minutes 3 15:10 D.T. Suzuki Museum [鈴木大拙館] This museum is dedicated to the life and ideas of Daisetz Suzuki, a prominent Buddhist philosopher who was born in Kanazawa and popularized Zen in the West. -
Growing up Manly Male Samurai Childhood in Late Edo-Era Tosa
2 Growing Up Manly Male Samurai Childhood in Late Edo-Era Tosa Luke S. Roberts “Previously young samurai of the household still wore the round forelock hairstyles of children until around age fourteen or fifteen, and none of them walked around wearing two swords. Instead, they wore just one short sword when they left the house. It was proper for all of them to start wearing two swords when they trimmed corners into their forelocks and sewed up the open underarms of their kimonos in a ‘half-adulthood’ ceremony showing they would soon take on the appearance and duties of an adult. But in recent years, little boys aged five or six with their hair still up in toddler-like buns cannot go out of the house for even a minute without wearing two swords. Their parents and elder brothers say that of course it is a sign of being born into a warrior house, that they are born into precocious excellence and should wear two swords like adults.” — Tosa samurai Minoura Yukinao, writing in 1803 at age seventy-eight The warrior-bureaucrats known as samurai constituted the ruling class in the Edo period (1600–1868) and filled the highest levels of both government and military. The head of each samurai household was a male who held a particular rank and received a specified fief or stipend in his lord’s household. This position conferred on him a house and its property, a guaranteed annual income, and high social and legal status that set him above the villagers, townspeople, and other common- ers who made up over 95 percent of the population. -
Our Lives Marked by War: Reflections on J. Glenn Gray's the Warriors
Our Lives Marked By War: Reflections on J. Glenn Gray’s The Warriors John Nagl September 5, 2013 John Nagl, a retired Lieutenant Colonel in the U.S. Army, is Headmaster at The Haverford School in Haverford, Pennsylvania. He is the author of Knife Fights: A Memoir of Modern War and a member of the Juniata College Board of Trustees. am going to talk to you tonight a little bit about this book, The Warriors: Reflections on Men in I Battle.1 It was written by a philosophy professor who studied Martin Heidegger, and I’m guessing none of you have studied Heidegger yet. There are philosophy professors in the room, so I won’t get in trouble by telling you to continue in that tradition. Heidegger is tough going. What I’m going to try do for you tonight is put in context some of what J. Glenn Gray talked about in ways that will make sense to you and connect with your life a little bit. And I’m going to do a lot of that by telling some of my stories. First, let’s talk about this very interesting man, Jesse Glenn Gray. It’s the centenary of his birth. He is no longer here, but he was an interesting guy. He graduated from this fine institution you have just become a part of and he did pretty well, magna cum laude, which means “with great honors.” That is pretty good. I am sure all of you — because you came to watch this on a Sunday night — don’t have much by way of a social life, so you, too, are likely to be magna cum laude. -
The Warrior and the State in Precolonial Africa Comparative Perspectives
The Warrior and the State in Precolonial Africa Comparative Perspectives G. N. UZOIGWE The University of Michigan, Ann Arbor, U.S.A. Introduction PREPARING this chapter was at once intimidating and challenging -in- timidating because I have no models to draw from; and challenging because it needed to be done. More significantly, it needed to be done by an Africanist historian. For the days, alas, are gone when such subjects were comfortably left to the nutty anthropologists while historians in their lonely and crusty arro- gance, exuded effortless superiority in dusty libraries and archives in a vain attempt to discover the &dquo;truth&dquo; about the past. &dquo;Hard history,&dquo; difficult enough as it is, is a much more straightforward and simpler affair than the &dquo;new history&dquo;. As our mentors were taught so did they teach us. The result is that most histori- ans of our generation are not properly equipped with the disciplines of anthro- pology and sociology as well as the other relevant social sciences which are crucial to African historical reconstruction. For a good Africanist, in whatever field, must be a jack-of-all-trades and master of one. The truth is perhaps that few of us are really master of anything at all - whatever we may claim. It is possible that I am really describing myself and no one else. Whatever is the case, I must begin this chapter with an apology relative to whatever weaknesses it may have. At a recent international conference on the military in Africa held in Accra, Ghana,’ a pet idea of mine received unsolicited support, namely, that a military interpretation of African history ought, at least, to be as rewarding as the economic or any other interpretation for that matter. -
Displaying Authority: Guns, Political Legitimacy, and Martial Pageantry in Tokugawa Japan, 1600-1868
DISPLAYING AUTHORITY: GUNS, POLITICAL LEGITIMACY, AND MARTIAL PAGEANTRY IN TOKUGAWA JAPAN, 1600-1868. Daniele Lauro A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History Chapel Hill 2012 Approved by: Dr. Morgan Pitelka Dr. William M. Fletcher Dr. Wayne Lee © 2012 Daniele Lauro ALL RIGHTS RESERVED ii ABSTRACT DANIELE LAURO: Displaying authority: guns, political legitimacy, and martial pageantry in Tokugawa Japan, 1600-1868. (Under the direction of Morgan Pitelka) From the end of the sixteenth century on, firearms in Japan are increasingly found in contexts other than the battlefield. A perusal of the Records of the Tokugawa Family (Tokugawa Jikki) - the military clan that ruled Japan from 1603 to 1868 - reveals, for instance, that guns were often involved in ritual practices performed by the warrior elite, such as weddings, funerals, hunting parades, and celebrations of the New Year. Moreover, it was common for both the shogun and the domainal lords (daimyô) to display firearms and other weapons during public audiences and military parades. By considering different ritual practices that involved the display of military power such as daimyo processions to Edo, shogunal pilgrimages to Nikko, military reviews, large-scale hunts and other pageants, this paper argues that during the Tokugawa period guns were often used by the warrior elite as tools to shore up authority, legitimize the political order, and reinforce ideals of warrior identity. iii TABLE OF CONTENTS Introduction……………………………………………………………………………..1 Chapter I. Local authority on the move: daimyo processions (daimyô gyôretsu) and the system of alternate attendance (sankin kôtai)……………………………….11 II. -
Japanese Other Easily
CO VER STORY Tsukai-ban They have an important job that many do not know of. In any army, communication is very important. Different groups far away must be able to send messages to each JAPANESE other easily. This group of WARRIORS warriors were the messengers of the battlefield. By Tasha Lim For work, they had to wear a special type of uniform. A tsukai-ban could When we hear ‘warriors be identified by his uniform of Japan’, we immediately known as ‘horo’, usually made think of ‘samurais’ and ‘ninjas’. with beautiful colours. If not, But, did you know that there he had to wear a uniform were other warriors that called a ‘sashimono’ which resided in early Japan as had small flags. well? Here are 6 other types of warriors that existed then: These messengers were very good horsemen. They would carry a message and give it to the correct person in a short time. They sometimes had to fight robbers or ninjas sent to steal the messages. 1 CO VER STORY A warrior wearing the horo (red), a garment used as a defense against arrows. Sashimono poles were attached to the backs of the chest armor. 2 CO VER STORY Ashigaru They may not be famous for their fighting skills but the ashigaru was strong when many were needed. These were your usual foot soldiers that would make up most of the army. They were usually normal people who worked as soldiers for war. Usually, the Ashigaru fought with spears, swords and bows. Later in the 16th century, gunpowder guns became a part of their weapons.