Ninjutsu No Gu
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Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts
EATING AFTER THE TRIPLE DISASTER: NEW MEANINGS OF FOOD IN THREE POST-3.11 TEXTS by ROSALEY GAI B.A., The University of Chicago, June 2016 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2020 © Rosaley Gai, 2020 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the thesis entitled: Eating After the Triple Disaster: New Meanings of Food in Three Post-3.11 Texts submitted by Rosaley Gai in partial fulfillment of the requirements for the degree of Master of Arts in Asian Studies Examining Committee: Sharalyn Orbaugh, Professor, Asian Studies, UBC Supervisor Christina Yi, Associate Professor, Asian Studies, UBC Supervisory Committee Member Ayaka Yoshimizu, Assistant Professor of Teaching, Asian Studies, UBC Supervisory Committee Member ii ABstract Known colloquially as “3.11,” the triple disaster that struck Japan’s northeastern region of Tōhoku on March 11, 2011 comprised of both natural (the magnitude 9.0 earthquake and resultant tsunami) and humanmade (the nuclear meltdown at the Tokyo Electric Power Company’s Fukushima Daiichi nuclear power plant incurred due to post-earthquake damage) disasters. In the days, weeks, months, and years that followed, there was an outpouring of media reacting to and reflecting on the great loss of life and resulting nuclear contamination of the nearby land and sea of the region. Thematically, food plays a large role in many post-3.11 narratives, both through the damage and recovery of local food systems after the natural disasters and the radiation contamination that to this day stigmatizes regionally grown food. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Downloaded from Brill.Com09/26/2021 05:59:11PM Via Free Access 356 Notes
Notes For complete author names, titles, and publication data for works cited here in short form, see the Works Cited list at the back of the book. Introduction 1. It is problematic to use the term “emperor” to describe the monarch throughout most of Japanese history. As Joan R. Piggott reminds us in The Emergence of Japanese Kingship, “The term empire is strongly associated with a martial political formation founded on conquest” (8). For most of Japanese history, Japanese monarchs did not preside over empires. The monarchs of Imperial Japan (1890–1945)did rule over an empire that came to include numerous overseas possessions, however. In the case of Hirohito (r. 1926–89), he ascended to the throne as the sovereign of an empire, and thus the term “emperor” is an appropriate title for him for the period from 1926 to 1945. Strictly speaking, the term “emperor” does not describe Japan’s monarch since 1945, for Japan no longer has an empire and the monarch does not even remain sovereign. In the end, however, I decided to use the term “emperor” (as well as terms such as “monarch”) for the postwar period in part because it seemed confusing to switch back and forth between “emperor” for the prewar period and, say, “king” for the postwar period, and also because it served to highlight one of the most important transwar continuities regarding the Japanese throne: Hirohito, who ascended to the throne with the mindset of a sovereign emperor, remained on the throne even as the Japanese empire collapsed and the politico-legal system defining his position underwent sweeping reform. -
Download a PDF Version of the Official
“To Open Minds, To Educate Intelligence, To Inform Decisions” The International Academic Forum provides new perspectives to the thought-leaders and decision-makers of today and tomorrow by offering constructive environments for dialogue and interchange at the intersections of nation, culture, and discipline. Headquartered in Nagoya, Japan, and registered as a Non-Profit Organization 一般社( 団法人) , IAFOR is an independent think tank committed to the deeper understanding of contemporary geo-political transformation, particularly in the Asia Pacific Region. INTERNATIONAL INTERCULTURAL INTERDISCIPLINARY iafor The Executive Council of the International Advisory Board Mr Mitsumasa Aoyama Professor June Henton Professor Baden Offord Director, The Yufuku Gallery, Tokyo, Japan Dean, College of Human Sciences, Auburn University, Professor of Cultural Studies and Human Rights & Co- USA Director of the Centre for Peace and Social Justice Southern Cross University, Australia Lord Charles Bruce Professor Michael Hudson Lord Lieutenant of Fife President of The Institute for the Study of Long-Term Professor Frank S. Ravitch Chairman of the Patrons of the National Galleries of Economic Trends (ISLET) Professor of Law & Walter H. Stowers Chair in Law Scotland Distinguished Research Professor of Economics, The and Religion, Michigan State University College of Law Trustee of the Historic Scotland Foundation, UK University of Missouri, Kansas City Professor Richard Roth Professor Donald E. Hall Professor Koichi Iwabuchi Senior Associate Dean, Medill School of Journalism, Herbert J. and Ann L. Siegel Dean Professor of Media and Cultural Studies & Director of Northwestern University, Qatar Lehigh University, USA the Monash Asia Institute, Monash University, Australia Former Jackson Distinguished Professor of English Professor Monty P. -
A Very Interesting Shinshinto Tanto with an Unusual Tsukuri Komi
Real-Life Kantei of swords #12: A very interesting Shinshinto tanto with an unusual tsukuri komi F. A. B. Coutinho and W. B. Tanner Introduction In previous articles on this series (Coutinho (2010) and Tanner (2017)) we commented how difficult it is to kantei swords with a tsukuri komi or shape that is unusual. As explained before, the purpose of the kantei is: 1) Identify when the sword was made. If a date or era can be identified then kantei is almost done, particularly if a sword is very old. In the majority of those cases this is the most you can accomplish. 2) Identify to what school the maker belonged. When the shinsa organizations in Japan can not do this they will add to the certificate the term kuni fumei (province unknown). 3) Identify the sword smith who made the sword. If the sword is signed this is possible. If it is not then one can only make an attribution. To carry out the first step one uses the process referred to as SPET (Shape, Pattern, Edge and Tang). However if the tsukuri komi is unusual we may have trouble with the first step. Fortunately, this sword is signed, which gives us a starting place to begin our analysis. However, signed swords may be a blessing or a problem, since we don´t know if the signature genuine or false? Even if genuine, the shape may not be consistent with the works of the smith, which creates suspicion on the authenticity of the sword. The tsukuri komi or shape The sword to be examined is a short and unusually thick hira zukuri tanto. -
Style and Meaning Anthropology’S Engagement with Art Has a Complex and Uneven History
NICHOLAS THOMAS THOMAS NICHOLAS & CLARK ALISON style and meaning Anthropology’s engagement with art has a complex and uneven history. While style and material culture, ‘decorative art’, and art styles were of major significance for ( founding figures such as Alfred Haddon and Franz Boas, art became marginal as the EDS meaning discipline turned towards social analysis in the 1920s. This book addresses a major ) moment of renewal in the anthropology of art in the 1960s and 1970s. British Essays on the anthropologist Anthony Forge (1929-1991), trained in Cambridge, undertook fieldwork among the Abelam of Papua New Guinea in the late 1950s and 1960s, anthropology of art and wrote influentially, especially about issues of style and meaning in art. His powerful, question-raising arguments addressed basic issues, asking why so much art was produced in some regions, and why was it so socially important? style ANTHONY FORGE meaning Fifty years later, art has renewed global significance, and anthropologists are again considering both its local expressions among Indigenous peoples and its new global circulation. In this context, Forge’s arguments have renewed relevance: they help and edited by scholars and students understand the genealogies of current debates, and remind us of fundamental questions that remain unanswered. ALISON CLARK & NICHOLAS THOMAS This volume brings together Forge’s most important writings on the anthropology anthropology of art Essays on the of art, published over a thirty year period, together with six assessments of his legacy, including extended reappraisals of Sepik ethnography, by distinguished anthropologists from Australia, Germany, Switzerland and the United Kingdom Anthony Forge was born in London in 1929. -
Bujinkan Budō Taijutsu
BujinkanBujinkan BudōBudō TaijutsuTaijutsu 武神館武神館 武道 武道 体術 体術 Eine Einführung in Geschichte und Struktur dieses japanischen Kampfkunstsystems - Print-Version - Quelle: www.bujinkan-deutschland.de 雲 虎 戸 隠 倒 隠 流 流 流 玉 義 玉 虎 鑑 心 流 流 流 高 神 九 木 伝 鬼 揚 不 神 心 動 伝 流 流 流 Symbolerläuterung und Schreibweise Symbolerläuterung und Schreibweise eine schwarze Erdkugel bedeutet externer Hyperlink / Quellen im Internet. ein schwarzer Pfeil bedeutet interner Hyperlink / Quelle innerhalb des Textes. Der Buchstabe „I“ kennzeichnet einen Hinweis. Namen werden im Text in der für den entsprechenden Kulturkreis üblichen Schreibweise aufgeführt. Daher werden japanische Namen in der Reihenfolge Nachname, Vorname geschrieben, westliche Namen jedoch in der Reihenfolge Vorname, Nachname. Liebe Budōfreunde. Aufgrund der zahlreichen Rückmeldungen mit der Bitte den Text zum Ausdrucken freizugeben, haben wir uns ent- schlossen diesem Wunsch nicht nur nachzukommen, sondern haben auch die Gelegenheit genutzt kleinere Anpassungen vorzunehmen. Der Text „Bujinkan Budō Taijutsu - Eine Einführung in Geschichte und Struktur die- ses japanischen Kampfkunstsystems“ liegt somit nun in zwei Varianten vor, um den verschiedenen Voraussetzungen der Medien gerecht zu werden. Online - Version Dieser Text ist auf das Lesen am PC ausgelegt. Er enthält sowohl interne als auch externe Links und ist nicht ausdruckbar. Eine bestehende Verbindung zum Internet ist für den vollen Funktionsumfang notwendig. Print - Version Bei diesem Text wurden die, in der Online - Version vorhandenen, Links ins Internet mit Endnoten (gekennzeichnet durch römische Ziffern) versehen, welche den Hyper- link in Textform wiedergeben. Interne Verweise wurden zusätzlich mit den Seitenzahlen versehen. Grafiken und Layout wurden für das Drucken optimiert. -
HAPKIDO International Training Seminar (ITS 2019) Entrevista a Ricardo Gress
HAPKIDO International Training Seminar (ITS 2019) Entrevista a Ricardo Gress Okuden Karate: La Grulla Blanca ⁄⁄⁄ Supaku ⁄⁄⁄ Kenzo Futaki ⁄⁄⁄ Costumbres y tradiciones de Japón Revista bimestral de artes marciales sumario www.elbudoka.es 3 Hapkido: International Training Dirección, redacción, Seminar (ITS 2019) administración y publicidad: [Por José Luis Rueda] 39 Entrevista a Jaume Rossell (instructor de Artes Marciales) [Por Iván Gambín] EDITORIAL ALAS 7 C/ Villarroel, 124 Entrevista al G.M. Geoff J. Booth 08011 Barcelona [Por José Luis Rueda] Telf y Fax: 93 453 75 06 48 [email protected] Kobuki: El ingente arsenal de pequeñas armas japonesa www.editorial-alas.com 12 [Por Luis Nogueira Serrano] Entrevista Ricardo Gress Dirección: José Sala Comas [Por El Budoka 2.0] Redacción: Jordi Sala F. 54 Administración: R. González Kenzo Futaki y la respiración Diseño: Víctor Périz 19 abdomina www.behance.net/victorxiz Okuden Karate: La enigmática [Por John Maki Evans] tradición de la Grulla Blanca La dirección no se responsabiliza [Por Sergio Hernández Beltrán] de las opiniones de sus colaboradores, ni 60 siquiera las comparte. Supaku, entrenando la salud La publicidad insertada en [Por Marc Boillat de 29 “El Budoka 2.0” es responsabilidad Los grados en las artes marciales: Corgemont Sartorio] Fantasías para unos, realidades Única y exclusiva de los anunciantes. para otros… No se devuelven originales [Por Pau-Ramon] remitidos espontáneamente, 64 ni se mantiene correspondencia ¿Por qué el aikidoka aprende a sobre los mismos. gestionar sus emociones 35 [Por J. Santos Nalda Albiac] Depósito Legal: B-42328-2010 Costumbres y tradiciones de Japón: ISSN: 2014-0053 Shazai – Pedir disculpas en Japón Nº 50 / Septiembre - Octubre 2019 [Por José Antonio Martínez- Oliva Puerta] Hapkido El Budoka 2.0 | nº 50 (Sep-Oct 19) 3 En el plano mental, Hapkido ayuda a ordenar pensamientos y a ser efectivo; aprende a aprender y a ser Hapkido sencillamente honesto; nos aporta calma y nos enseña estrategia. -
Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854)
Artifacts of Diplomacy: Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854) CHANG-SU HOUCHINS SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY • NUMBER 37 SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through trie years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Smithsonian Contributions to the Marine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Folklife Studies Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the world of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the world. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where the manuscripts are given substantive review. -
Anglo Arms Catalogue
PRODUCT GUIDE classic hunting and archery products thoughtfully designed to the highest level of excellence 2 WWW.ANGLOARMS.COM WWW.ANGLOARMS.COM 4 Crossbows 50lb-150lb Draw 24 Knife Sets 6 Jaguar Crossbows 26 Machetes 7 Panther Crossbows 28 Survival Knives 8 Legend Crossbow 29 Movie Style Knives archery products 9 Crossbow Accessories 31 Sword Sets 10 Recurve & Compound Archery Bows 31 Single Swords 12 Archery Accessories & Slingshots 32 Hand Made Swords 13 Throwing Knives 33 Shooting Luggage 14 Folding Non-Lock Knives 34 Shooting Accessories 15 Lock Knives 35 Targets & Traps 20 Fixed Blade Knives 38 Pellets & Gas WWW.ANGLOARMS.COM WWW.ANGLOARMS.COM 3 CROSSBOWS 50LB-80LB DRAW 50lb ‘Gecko’ Pistol Crossbow 80lb ‘Scorpion’ Pistol Crossbow Aluminium Entry level 80lb, pistol crossbow with aluminium body, includes 5 x Entry level, 50lb, pistol crossbow, includes 5 x (recommended) 6.5” (recommended) 6.5” aluminium bolts. With fibreglass limb and plastic bolts. With metal limb and plastic barrel. aluminium barrel. Draw Weight: 50lb Length: 12.8 inches Width: 16.5 inches Ft/s: 150 Draw Weight: 80lb Length: 17 inches Width: 16.5 inches Ft/s: 160 Weight: 0.88lb Weight: 1.62lb Code: CB-GECKO-5OLB-PL RRP £14.95 Code: CB-SCORPION-80LB-ALU RRP £24.95 50lb Aluminium ‘Komodo’ Crossbow A 50lb pistol crossbow with aluminium body, includes 5 x (recommended) 6.5” plastic bolts. Draw Weight: 50lb Length: 12.8 inches Width: 16.5 inches Ft/s: 150 Weight: 1.43lb Code: CB-KOMODO-50LB-ALU RRP £19.95 80lb ‘Scorpion’ Pistol Crossbow Plastic Entry level, 80lb pistol crossbow with plastic body, includes 5 x (recommended) 6.5” plastic bolts. -
Martial Arts of the Middle Age
IQP JLS-0072 Martial Arts of the Middle Age Interactive Qualifying Project Report Submitted to the Faculty of the Worcester Polytechnic Institute, Worcester, MA in partial fulfillment of the requirements for graduation by Andrew Aveyard ___________________ Jason Cardwell ___________________ Brad Davison ___________________ Daniel Haggerty ___________________ May 6, 2014 _______________________________ Professor Jeffrey L. Forgeng, Advisor 1 Table of Contents Table of Contents .......................................................................................................................................... 1 Abstract ......................................................................................................................................................... 4 Introduction .................................................................................................................................................. 5 History of European Martial Arts ................................................................................................................ 10 Medieval Time Period ............................................................................................................................. 10 Environment of the Medieval Age ...................................................................................................... 10 Knightly Combat .................................................................................................................................. 12 Masters and their Manuscripts -
Nippon: Land of the Rising Sun Arms & Armour on Arms And
NIPPON: LAND OF THE RISING SUN ARMS & ARMOUR Written and Illustrated by Andrew R Fawcett for www.criticalhit.co.uk ON ARMS AND ARMOUR Armour worn in Nippon is completely different to that worn in the Old World. It is, on the whole, lighter and is heavily leather-based. Armour is restricted to the armouries of a clan and its usage depends upon the rank of the clansman; commoners do not wear armour other than, maybe, leather. Any rank of bushi (warrior) can wear armour although the high-ranking members of the clan will inevitably wear the more elaborate pieces. Furthermore, not every warrior in a clan is armed and armoured to the teeth, as some clans are richer or poorer than others and may not even have the necessary expertise in the making of some armour and weapons. The warriors of a clan are equipped according to what the clan has available or what they are left by their fathers; the latter case is the most common. Generally speaking, armour and weapons are usually owned by the family and handed down from father to son (such weapons and armour have pride of place in a bushi's house where an entire room is given over to them). Trade also does happen: a warrior may buy items from the clan's artisans but he should be wary of purchasing things which are inappropriate to his rank, i.e. a low-ranking bushi is not permitted to use a longbow. A warrior might trade with another warrior if he can afford it or he might even kill him for what he wears or carries.