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Cultural Anthropology Through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-Based Sentiment
Cultural Anthropology through the Lens of Wikipedia: Historical Leader Networks, Gender Bias, and News-based Sentiment Peter A. Gloor, Joao Marcos, Patrick M. de Boer, Hauke Fuehres, Wei Lo, Keiichi Nemoto [email protected] MIT Center for Collective Intelligence Abstract In this paper we study the differences in historical World View between Western and Eastern cultures, represented through the English, the Chinese, Japanese, and German Wikipedia. In particular, we analyze the historical networks of the World’s leaders since the beginning of written history, comparing them in the different Wikipedias and assessing cultural chauvinism. We also identify the most influential female leaders of all times in the English, German, Spanish, and Portuguese Wikipedia. As an additional lens into the soul of a culture we compare top terms, sentiment, emotionality, and complexity of the English, Portuguese, Spanish, and German Wikinews. 1 Introduction Over the last ten years the Web has become a mirror of the real world (Gloor et al. 2009). More recently, the Web has also begun to influence the real world: Societal events such as the Arab spring and the Chilean student unrest have drawn a large part of their impetus from the Internet and online social networks. In the meantime, Wikipedia has become one of the top ten Web sites1, occasionally beating daily newspapers in the actuality of most recent news. Be it the resignation of German national soccer team captain Philipp Lahm, or the downing of Malaysian Airlines flight 17 in the Ukraine by a guided missile, the corresponding Wikipedia page is updated as soon as the actual event happened (Becker 2012. -
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. -
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VOLUME 1: BORDERS 2018 Published by National Institute of Japanese Literature Tokyo EDITORIAL BOARD Chief Editor IMANISHI Yūichirō Professor Emeritus of the National Institute of Japanese 今西祐一郎 Literature; Representative Researcher Editors KOBAYASHI Kenji Professor at the National Institute of Japanese Literature 小林 健二 SAITō Maori Professor at the National Institute of Japanese Literature 齋藤真麻理 UNNO Keisuke Associate Professor at the National Institute of Japanese 海野 圭介 Literature KOIDA Tomoko Associate Professor at the National Institute of Japanese 恋田 知子 Literature Didier DAVIN Associate Professor at the National Institute of Japanese ディディエ・ダヴァン Literature Kristopher REEVES Associate Professor at the National Institute of Japanese クリストファー・リーブズ Literature ADVISORY BOARD Jean-Noël ROBERT Professor at Collège de France ジャン=ノエル・ロベール X. Jie YANG Professor at University of Calgary 楊 暁捷 SHIMAZAKI Satoko Associate Professor at University of Southern California 嶋崎 聡子 Michael WATSON Professor at Meiji Gakuin University マイケル・ワトソン ARAKI Hiroshi Professor at International Research Center for Japanese 荒木 浩 Studies Center for Collaborative Research on Pre-modern Texts, National Institute of Japanese Literature (NIJL) National Institutes for the Humanities 10-3 Midori-chō, Tachikawa City, Tokyo 190-0014, Japan Telephone: 81-50-5533-2900 Fax: 81-42-526-8883 e-mail: [email protected] Website: https//www.nijl.ac.jp Copyright 2018 by National Institute of Japanese Literature, all rights reserved. PRINTED IN JAPAN KOMIYAMA PRINTING CO., TOKYO CONTENTS -
Sakata Tojuro, Nakamura Shichisaburo and the Creation Of
SAKATA TOJURO, NAKAMURA SHICHISABURO AND THE CREATION OF WAGOTO KABUKI IN THE GENROKU ERA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE August 2004 By Holly A. Blumner Dissertation Committee: James R. Brandon, Chair Robert Huey Tamara Hunt Montgomery Julie A. Iezzi Kirstin Pauka Acknowledgements The research for this dissertation was made possible through the very generous support of the Monbusho and the Crown Prince Akihito Scholarship Foundation. I would like to thank the managers and theatre attendants at Shochiku's Minami-za, Naka-za, and Shochiku-za theatres for granting me access to numerous performances. I wish to thank Asahi Earphone Guide Service and the Asahi English Earphone Guide staff. I am grateful to Hamatani Hiroshi at the National Theatre of Japan for his advice during my field study in Japan. I wish to thank Nakamura Ganjiro III and Kataoka Nizaemon IV for speaking with me about the current state of wagoto kabuki and nimaime acting. I am indebted to Torigoe Bunzo at Waseda University for his guidance during my two years of research at Waseda University, and to Ikawa Mayuko who tirelessly answered my questions about play texts and acting critiques. In Hawai'i, I would like to acknowledge my graduate student colleagues for their encouragement along the way. I wish to thank my committee members for their advice and assistance during the writing of this III dissertation. I am especially grateful to Dr. James R. Brandon who continues to be a great source of knowledge, inspiration, and encouragement. -
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CHAPTER 1: DEFINING HISTORY 1. Perceptions vs. facts The word history is on occasion defined as “the truth about past events.” That definition is then extended to “past events as they actually occurred.” Going by that assumption, we might conclude that history exists in the realm of objective reality, and is unbiased, impartial, immutable, and precise. But a closer examination reveals that this definition does not reflect the meaning of the word history as we use it. A more accurate description would be “past events as we perceive them.” In other words, when we speak of history we are talking about past events created (or recreated) by human perception. So history is not past events as they actually occurred. We enter into various debates about past events, but we must remember that we are discussing past events as we perceive them, not as they actually happened. I beg your indulgence as I rephrase my argument. Readers of this book have at your command a wide variety of fragmented knowledge pertaining to history: Japanese history, Chinese history, Korean history, world history, the history of biology, the history of the Earth, the history of the universe. The first definition of history I offered, i.e., past events as they actually occurred, colors every bit of that fragmented knowledge. But again, history is not past events as they actually occurred. It is simply history being made real by our perceptions. But is it acceptable to perceive history arbitrarily, in any way that pleases us? Of course not. Historical fact must take precedence. Perceptions must be subordinate to the truth of past events. -
The History of World Civilization. 3 Cyclus (1450-2070) New Time ("New Antiquity"), Capitalism ("New Slaveownership"), Upper Mental (Causal) Plan
The history of world civilization. 3 cyclus (1450-2070) New time ("new antiquity"), capitalism ("new slaveownership"), upper mental (causal) plan. 19. 1450-1700 -"neoarchaics". 20. 1700-1790 -"neoclassics". 21. 1790-1830 -"romanticism". 22. 1830-1870 – «liberalism». Modern time (lower intuitive plan) 23. 1870-1910 – «imperialism». 24. 1910-1950 – «militarism». 25.1950-1990 – «social-imperialism». 26.1990-2030 – «neoliberalism». 27. 2030-2070 – «neoromanticism». New history. We understand the new history generally in the same way as the representatives of Marxist history. It is a history of establishment of new social-economic formation – capitalism, which, in difference to the previous formations, uses the economic impelling and the big machine production. The most important classes are bourgeoisie and hired workers, in the last time the number of the employees in the sphere of service increases. The peasants decrease in number, the movement of peasants into towns takes place; the remaining peasants become the independent farmers, who are involved into the ware and money economy. In the political sphere it is an epoch of establishment of the republican system, which is profitable first of all for the bourgeoisie, with the time the political rights and liberties are extended for all the population. In the spiritual plan it is an epoch of the upper mental, or causal (later lower intuitive) plan, the humans discover the laws of development of the world and man, the traditional explanations of religion already do not suffice. The time of the swift development of technique (Satan was loosed out of his prison, according to Revelation 20.7), which causes finally the global ecological problems. -
The Story of IZUMO KAGURA What Is Kagura? Distinguishing Features of Izumo Kagura
The Story of IZUMO KAGURA What is Kagura? Distinguishing Features of Izumo Kagura This ritual dance is performed to purify the kagura site, with the performer carrying a Since ancient times, people in Japan have believed torimono (prop) while remaining unmasked. Various props are carried while the dance is that gods inhabit everything in nature such as rocks and History of Izumo Kagura Shichiza performed without wearing any masks. The name shichiza is said to derive from the seven trees. Human beings embodied spirits that resonated The Shimane Prefecture is a region which boasts performance steps that comprise it, but these steps vary by region. and sympathized with nature, thus treasured its a flourishing, nationally renowned kagura scene, aesthetic beauty. with over 200 kagura groups currently active in the The word kagura is believed to refer to festive prefecture. Within Shimane Prefecture, the regions of rituals carried out at kamikura (the seats of gods), Izumo, Iwami, and Oki have their own unique style of and its meaning suggests a “place for calling out and kagura. calming of the gods.” The theory posits that the word Kagura of the Izumo region, known as Izumo kamikuragoto (activity for the seats of gods) was Kagura, is best characterized by three parts: shichiza, shortened to kankura, which subsequently became shikisanba, and shinno. kagura. Shihoken Salt—signifying cleanliness—is used In the first stage, four dancers hold bells and hei (staffs with Shiokiyome paper streamers), followed by swords in the second stage of Sada Shinno (a UNESCO Intangible Cultural (Salt Purification) to purify the site and the attendees. -
The Making of Modern Japan
The Making of Modern Japan The MAKING of MODERN JAPAN Marius B. Jansen the belknap press of harvard university press Cambridge, Massachusetts London, England Copyright © 2000 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Third printing, 2002 First Harvard University Press paperback edition, 2002 Book design by Marianne Perlak Library of Congress Cataloging-in-Publication Data Jansen, Marius B. The making of modern Japan / Marius B. Jansen. p. cm. Includes bibliographical references and index. isbn 0-674-00334-9 (cloth) isbn 0-674-00991-6 (pbk.) 1. Japan—History—Tokugawa period, 1600–1868. 2. Japan—History—Meiji period, 1868– I. Title. ds871.j35 2000 952′.025—dc21 00-041352 CONTENTS Preface xiii Acknowledgments xvii Note on Names and Romanization xviii 1. SEKIGAHARA 1 1. The Sengoku Background 2 2. The New Sengoku Daimyo 8 3. The Unifiers: Oda Nobunaga 11 4. Toyotomi Hideyoshi 17 5. Azuchi-Momoyama Culture 24 6. The Spoils of Sekigahara: Tokugawa Ieyasu 29 2. THE TOKUGAWA STATE 32 1. Taking Control 33 2. Ranking the Daimyo 37 3. The Structure of the Tokugawa Bakufu 43 4. The Domains (han) 49 5. Center and Periphery: Bakufu-Han Relations 54 6. The Tokugawa “State” 60 3. FOREIGN RELATIONS 63 1. The Setting 64 2. Relations with Korea 68 3. The Countries of the West 72 4. To the Seclusion Decrees 75 5. The Dutch at Nagasaki 80 6. Relations with China 85 7. The Question of the “Closed Country” 91 vi Contents 4. STATUS GROUPS 96 1. The Imperial Court 97 2. -
The Goddesses' Shrine Family: the Munakata Through The
THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA by BRENDAN ARKELL MORLEY A THESIS Presented to the Interdisciplinary Studies Program: Asian Studies and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts June 2009 11 "The Goddesses' Shrine Family: The Munakata through the Kamakura Era," a thesis prepared by Brendan Morley in partial fulfillment ofthe requirements for the Master of Arts degree in the Interdisciplinary Studies Program: Asian Studies. This thesis has been approved and accepted by: e, Chair ofthe Examining Committee ~_ ..., ,;J,.." \\ e,. (.) I Date Committee in Charge: Andrew Edmund Goble, Chair Ina Asim Jason P. Webb Accepted by: Dean ofthe Graduate School III © 2009 Brendan Arkell Morley IV An Abstract ofthe Thesis of Brendan A. Morley for the degree of Master ofArts in the Interdisciplinary Studies Program: Asian Studies to be taken June 2009 Title: THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA This thesis presents an historical study ofthe Kyushu shrine family known as the Munakata, beginning in the fourth century and ending with the onset ofJapan's medieval age in the fourteenth century. The tutelary deities ofthe Munakata Shrine are held to be the progeny ofthe Sun Goddess, the most powerful deity in the Shinto pantheon; this fact speaks to the long-standing historical relationship the Munakata enjoyed with Japan's ruling elites. Traditional tropes ofJapanese history have generally cast Kyushu as the periphery ofJapanese civilization, but in light ofrecent scholarship, this view has become untenable. Drawing upon extensive primary source material, this thesis will provide a detailed narrative ofMunakata family history while also building upon current trends in Japanese historiography that locate Kyushu within a broader East Asian cultural matrix and reveal it to be a central locus of cultural production on the Japanese archipelago. -
Saigyo • a Search for Religion
SaigyO • A Search for Religion T a k a g i Kiyoko SAIGYO, POET a n d /o r P RIEST That the warrior Sato Norikiyo of the hokumen guard in the service of retired emperor Toba suddenly decided to “go out from his house” and enter religion is a well-known fact. After entering the sacred life, he took the Buddhist name of En,i; he also had the title of Daikakubo, and was further styled Saigyo. To enter religion usually means a casting away of the things of this earthly world and immersing oneself in a Buddhist religious environment. But it is not clear to what extent En’i,after enter ing, became really “Buddhist” . It is rather as the celebrated poet Saigyo that his name and fame have been passed on to aftertimes. It remains unclear what distinction the man him self made between use of the names En’i and Saigyo, but there are extremely few records that give the name of En’i.1 Already within a short time of his death, Sato Norikiyo was well known to the world as “priest Saigyo”; this fame however was not of the priest,but of the poet. Saigyo is one of the representative poets of the Shinkokinshu anthology, but the excellencies of his poetry had already at tracted attention during his lifetime. What had decided this was the inclusion of eighteen of his poems in the Senzaishu com piled by Fujiwara no Shunzei. This gave him his start, and we can see in the Gokuden of cloistered emperor Gotoba the following appraisal of Saigyo: Translated by Eileen Kato from “ Saigy6 no shukyoteki kikyuM 西行の宗教的希求 in Sanko bunka kenkyusho nenpd 三康文化研究所年報,no. -
CSJR Newsletter
Centre for the Study of Japanese Religions CSJR Newsletter Autumn 2009 Issue 18-19 CSJR Newsletter • Autumn 2009 • Issue 18-19 In this issue 2 From the Centre Chair Centre Activities FROM THE CHAIR 3 CSJR Seminar and Fora Schedule 4 Film Screening: A Zen Life: D.T. Suzuki 5 Spring International Workshop: Minakata Another academic year has just concluded and while we look forward to the summer Kumagusu and London break we reflect back on the past months. As I write, the field of Japanese religion is saddened by the news that Carmen Blacker has passed away, on the morning of her Centre Activities Reports 85th birthday. Perhaps the most influential British scholar of Japanese religions, Carmen Blacker’s work opened up a new understanding of religious practices in Japan. She was 6 CSJR Spring International Workshop very supportive of the Centre, as she was of young scholars and of new initiatives, and I 8 Numata Lecture Series (2007-2008) have fond memories of her visits in the early years of the Centre. We will be remember- 9 Portraiture: Power & Ritual ing her and honouring her scholarly contributions in coming events. Research Notes Last year several people were away from the CSJR. After Brian Boching took up a post 10 O-take Dainichi Nyorai, a Shugendō Icon at the University of Cork, John Breen also left London to take up a three-year assignment 13 Motoori Norinaga’s Thoughts at Nichibunken in Kyoto. A few of our PhD students spent periods in Japan conducting on Astronomy fieldwork, and I myself was on sabbatical for the first two terms of 2008-2009. -
Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū
Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino Submitted in partial fulfillment of the Requirement for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Takuya Hino All rights reserved ABSTRACT Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino In this dissertation I provide a detailed analysis of the role played by the Tachikawa-ryū in the development of Japanese esoteric Buddhist doctrine during the medieval period (900-1200). In doing so, I seek to challenge currently held, inaccurate views of the role played by this tradition in the history of Japanese esoteric Buddhism and Japanese religion more generally. The Tachikawa-ryū, which has yet to receive sustained attention in English-language scholarship, began in the twelfth century and later came to be denounced as heretical by mainstream Buddhist institutions. The project will be divided into four sections: three of these will each focus on a different chronological stage in the development of the Tachikawa-ryū, while the introduction will address the portrayal of this tradition in twentieth-century scholarship. TABLE OF CONTENTS List of Abbreviations……………………………………………………………………………...ii Acknowledgements………………………………………………………………………………iii Dedication……………………………………………………………………………….………..vi Preface…………………………………………………………………………………………...vii Introduction………………………………………………………………………….…………….1 Chapter 1: Genealogy of a Divination Transmission……………………………………….……40 Chapter