Japan in the World, the World in Japan
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Geography's Importance to Japan's History
RESOURCES ESSAYS of the present and become better prepared — Japan has many earth- geography’s for challenges of the future. Space in one quakesgeology because of its position on the Pacific article does not permit a comprehensive plan “Ring of Fire.” The Pacific Plate moves a importance to with all the possible ways to incorporate few inches a year westward into the Philip- Japan’s historical geography into the class- pine and Eurasian Plates. In addition, there Japan’s Historyby Patrick Grant room. This article, instead, offers a few is a complex system of faults on the Japan- ideas for applying these two standards by ese islands. The 1923 earthquake, with the addressing some important geographical resultant fire, destroyed much of Tokyo and apan’s geography has been and is a concepts. most of Yokohama. Some 100,000 people crucial factor in its history. Geology, The article touches upon many specific perished in this disaster. Only twenty sec- location, patterns of settlement, trans- issues that teachers will find interesting for onds of shaking killed 5,480 people in the J port, and economic development are discussions in the classroom. The brief 1995 Hanshin-Awaji quake around K¬be.3 strongly influenced by spatial considera- introduction to geology gives background to The rebuilding of this area is rapidly pro- tions. Our appreciation of any historical the earthquake hazard. Scarcity of space, gressing, but there are still thousands of dis- issue is greatly enhanced by learning how covered in the next section, has helped to located people two years after the quake. -
Sake & SHOCHU TOURS of JAPAN
Sake & SHOCHU TOURS OF JAPAN 酒 蔵ツーリズムのすすめ ENGLISH | 日本語 BREWERY BREWERY において全ての“もの づくり”に捧げられる THE SAKE EXPERIENCE 日本献身と情熱は、それは それは美しいものなのですよ。」酒蔵通 外国人レポーターによる酒蔵観光レポート りを歩く私達に、ツアーガイドは熱心に 語りかけてきた。そして酒造りに関して By 3rd generation Japanese American reporter Sami Kawahara 文 サミ カワハラ(日系三世アメリカ人レポーター) も、彼女の言うとおりであることが明ら into the tasting room filled with countless かになるのである。 sake products. Bottles of sake, of course, but also sake-inspired beauty products and 酒蔵通り―文字通り、酒の蔵元が並ぶ通 omiyage (souvenirs). Mr. Maegaki, head brewer り―には8つの異なる蔵元が立ち並んで at Kamoizumi brewery, eagerly lines up four いる。蔵元同士で競い合う代わりに、彼 sake glasses with the bottles displayed behind, らは特定のガイドラインに従って団結し ready for guests to taste. I was continuously ている。ワインの試飲ツアーと同様、酒 charmed by the brewer’s enthusiasm and ex- citement when proudly serving his own sake. 蔵通りを訪れるゲストは各地域で醸造さ れる多種多様な酒を試飲し、それぞれの As we moved to the next brewery a few 蔵元が造り出す個性的な品質を確かめる buildings down, I felt drawn in and inspired ことが出来る。蔵元の責任者がゲストに by the countryside atmosphere and the sake 挨拶する際に見せる情熱と、酒を造る職 rice fields only a stone’s throw away from the 人達の実直な働きぶりを目にすると、口 brewery. And as we continued the brewery に含んだひとすすりの酒に、より深い感 tour, it was clear that whether I wanted to 謝の念が心の底から湧き上がる。 learn more about sake in a classroom environ- ment, view traditional sake making tools, relax 酒の豊かな伝統は紀元3世紀まで遡る。 in a zen garden, or eat cake with sake sauce 酒の持つ印象はとても伝統的で、私のよ 酒造りはビールの製造と似ている。どち 広島県西条は、数々のホテルと蔵元、そ drizzled over the top, each brewery brought うな初心者の酒飲みには、時に、あまり らも原料を醸造することで、デンプンを して最寄り駅がわずか半径1km圏内に全 something new to the table. にも伝統的で威圧感すら覚えてしまう。 糖化し、更にその糖分をアルコール化す て収まっている、古風で趣のある街だ。 るからである。ツアー参加中、私はこの 一方、京都府伏見市と兵庫県灘市では日 Saijo, located in Hiroshima Prefecture, is a けれど、様々な蔵元を探索し酒産業の中 quaint town comprised of hotels, breweries, 核を経験してからというもの、私はこの 酒造りの最初(洗米)から最後(瓶詰 本酒の50%以上を醸造している。また and a convenient train station, all in a 1,000 アルコール飲料に対し、新たな賞賛の念 め)までの過程を見ることが出来た。 試飲の機会を設けている蔵元の多くも、 square meter radius. -
CURRICULUM VITAE Kenneth J. Ruoff Contact Information
CURRICULUM VITAE Kenneth J. Ruoff Contact Information: Department of History Portland State University P.O. Box 751 Portland, OR 97207-0751 Tel. (503) 725-3991 Fax. (503) 725-3953 e-mail: [email protected] http://web.pdx.edu/~ruoffk/ Education Ph.D. 1997 Columbia University History M.Phil. 1993 Columbia University History M.A. 1991 Columbia University History B.A. 1989 Harvard College East Asian Studies Study of advanced Japanese, Inter-University Center (formerly known as the Stanford Center), Yokohama, Japan, 1993-1994 (this is a non-degree program). Awards Tim Garrison Faculty Award for Historical Research, Portland State University, 2020. For Japan's Imperial House in the Postwar Era, 1945-2019. Ambassador, Hokkaido University, 2019-present. Branford Price Millar Award for Faculty Excellence, Portland State University, Spring 2015. For excellence in the areas of research and teaching, in particular, but also for community service. Commendation, Consulate General of Japan, Portland, OR, December 2014. For enriching the cultural landscape of Portland through programs sponsored by the Center for Japanese Studies and for improving the understanding of Japan both through these programs and through scholarship. Frances Fuller Victor Award for General Nonfiction (best work of nonfiction by an Oregon author), Oregon Book Awards sponsored by the Literary Arts Organization, 2012. For Imperial Japan at Its Zenith: The Wartime Celebration of the Empire’s 2,600th Anniversary. Jirõ Osaragi Prize for Commentary (in Japanese, the Osaragi Jirõ rondanshõ), 2004, awarded by the Asahi Newspaper Company (Asahi Shinbun) for the best book in the social sciences published in Japan during the previous year (For Kokumin no tennõ; translation of The People’s Emperor). -
Analysis of Japanese and Finnish Furniture
University of Lapland, Faculty of Art and Design Name of the Pro gradu thesis: ANALYSIS OF JAPANESE AND FINNISH FURNITURE DESIGN: A consideration for product identity and the relativity of industrial development and cultural context Writer: Akiko Nakatani Degree programme: Industrial Design Type of the work: Pro gradu thesis Number of pages: 97 pages, 3 attachments Year: Spring 2011 Summary In a globalized product design market, firms take national identity into consideration to survive among the competitors, because a particular identifying feature can be the decision making factor for customers to buy a particular product. In such a situation, you may realize something as “Japanese-like” or “Finnish-like” in designs as you hold the product in your hand. But why do you think like that? The aim of this study is to clarify the factors that characterize these ideas, in terms of furniture design, with a focus on industrial development and the cultural contexts of Japan and Finland. The study is twofold, with a theoretical framework and an empirical framework. The theoretical analysis works with cultural industrial context and also argues that the transition of industrial development significantly affects national product design orientation and helps characterize products. The empirical analysis works with questionnaires concerning product image. The results conceptualize cultural references in both Japanese and Finnish furniture design. However, the results also present the realistic difficulty of recognizing products. The paper concludes by arguing that factors affecting customer’s decision making are also influenced by not only product design but the socio-culture they belong to. Therefore, measuring product image is not the only way to define national product identity, and the image is formed by both customers and product design factors. -
THE, /Ouvntxl OF
ISSN 0021-91 THE, /ouvntxl OF PUBLISHED BY THE ASSOCIATION FOR ASIAN STUDIES, INC. Volume XXXIX, Number 4 August 1980 Downloaded from https://www.cambridge.org/core. IP address: 170.106.203.244, on 04 Oct 2021 at 02:36:58, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0021911800028357 NEW EDITION DOCTORAL DISSERTATIONS ON ASIA compiled and edited In Frank Joseph Shulman Volume 3, No. 1 The latest issue of Doctoral Dissertations on Asia (DDOA) is 96 pages long and includes approximately 1,400 entries of world- wide doctoral dissertations on Asia in progress or completed since 1977. Addresses of many individuals also are included. (The next issue of the DDOA, Volume 3, No.2, will appear in the summer of 1980.) Publication Date: March 1980 Cost: S5.00 All orders must be prepaid. Checks should be made payable to the Association for Asian Studies. Inc. Send orders to the AAS Secretariat, 1 Lane Hall, University of Michigan, Ann Arbor, MI 48109. ASSOCIATION FOR ASIAN STUDIES MEMBERSHIP DIRECTORY This new edition, the first compiled since 1977, includes an alpha- betical name/address listing of current members (life, regular, student, associate, retired) as of May 15, 1980. This section of the publication is produced by offset printing of computer printouts. A separate alpha- betical name/address listing of supporting members also will be included. Indices, compiled from data submitted by AAS members (excluding supporting members), will provide breakdowns on primary discipline and country/region of greatest interest. -
Delft University of Technology Tatami
Delft University of Technology Tatami Hein, Carola Publication date 2016 Document Version Final published version Published in Kyoto Design Lab. Citation (APA) Hein, C. (2016). Tatami. In A. C. de Ridder (Ed.), Kyoto Design Lab.: The tangible and the intangible of the Machiya House (pp. 9-12). Delft University of Technology. Important note To cite this publication, please use the final published version (if applicable). Please check the document version above. Copyright Other than for strictly personal use, it is not permitted to download, forward or distribute the text or part of it, without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license such as Creative Commons. Takedown policy Please contact us and provide details if you believe this document breaches copyrights. We will remove access to the work immediately and investigate your claim. This work is downloaded from Delft University of Technology. For technical reasons the number of authors shown on this cover page is limited to a maximum of 10. TATAMI Inside the Shōkin-tei, located in the garden of the Katsura Imperial Villa. A joint of three tatami. Tatami Carola Hein Use of the tatami mat reportedly goes back to the 8th century (the Nara period in Japan) when single mats began to be used as beds, or brought out for a high-ranking person to sit on. Over centuries it became a platform that has hosted all facets of life for generations of Japanese. From palaces to houses, from temples to spaces for martial art, the tatami has served as support element for life. -
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. -
Sino-US Relations and Ulysses S. Grant's Mediation
Looking for a Friend: Sino-U.S. Relations and Ulysses S. Grant’s Mediation in the Ryukyu/Liuqiu 琉球 Dispute of 1879 Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Chad Michael Berry Graduate Program in East Asian Studies The Ohio State University 2014 Thesis Committee: Christopher A. Reed, Advisor Robert J. McMahon Ying Zhang Copyright by Chad Michael Berry 2014 Abstract In March 1879, Japan announced the end of the Ryukyu (Liuqiu) Kingdom and the establishment of Okinawa Prefecture in its place. For the previous 250 years, Ryukyu had been a quasi-independent tribute-sending state to Japan and China. Following the arrival of Western imperialism to East Asia in the 19th century, Japan reacted to the changing international situation by adopting Western legal standards and clarifying its borders in frontier areas such as the Ryukyu Islands. China protested Japanese actions in Ryukyu, though Qing Dynasty (1644-1912) leaders were not willing to go to war over the islands. Instead, Qing leaders such as Li Hongzhang (1823-1901) and Prince Gong (1833-1898) sought to resolve the dispute through diplomatic means, including appeals to international law, rousing global public opinion against Japan, and, most significantly, requesting the mediation of the United States and former U.S. President Ulysses S. Grant (1822-1885). Initially, China hoped Grant’s mediation would lead to a restoration of the previous arrangement of Ryukyu being a dually subordinate kingdom to China and Japan. In later negotiations, China sought a three-way division of the islands among China, Japan, and Ryukyu. -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
The History Problem: the Politics of War
History / Sociology SAITO … CONTINUED FROM FRONT FLAP … HIRO SAITO “Hiro Saito offers a timely and well-researched analysis of East Asia’s never-ending cycle of blame and denial, distortion and obfuscation concerning the region’s shared history of violence and destruction during the first half of the twentieth SEVENTY YEARS is practiced as a collective endeavor by both century. In The History Problem Saito smartly introduces the have passed since the end perpetrators and victims, Saito argues, a res- central ‘us-versus-them’ issues and confronts readers with the of the Asia-Pacific War, yet Japan remains olution of the history problem—and eventual multiple layers that bind the East Asian countries involved embroiled in controversy with its neighbors reconciliation—will finally become possible. to show how these problems are mutually constituted across over the war’s commemoration. Among the THE HISTORY PROBLEM THE HISTORY The History Problem examines a vast borders and generations. He argues that the inextricable many points of contention between Japan, knots that constrain these problems could be less like a hang- corpus of historical material in both English China, and South Korea are interpretations man’s noose and more of a supportive web if there were the and Japanese, offering provocative findings political will to determine the virtues of peaceful coexistence. of the Tokyo War Crimes Trial, apologies and that challenge orthodox explanations. Written Anything less, he explains, follows an increasingly perilous compensation for foreign victims of Japanese in clear and accessible prose, this uniquely path forward on which nationalist impulses are encouraged aggression, prime ministerial visits to the interdisciplinary book will appeal to sociol- to derail cosmopolitan efforts at engagement. -
Takeshi Kitano O'brien, Shelley Available from Sheffield Hallam University Research Archive (SHURA) At
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sheffield Hallam University Research Archive Filmbites presents : Takeshi Kitano O'BRIEN, Shelley Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/15360/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version O'BRIEN, Shelley (2015). Filmbites presents : Takeshi Kitano. In: Filmbites presents : Takeshi Kitano, Sheffield, Three Sundays in May. (Unpublished) Repository use policy Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in SHURA to facilitate their private study or for non- commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. Sheffield Hallam University Research Archive http://shura.shu.ac.uk FILMBITES PRESENTS TAKESHI KITANO PRESENTED BY THE SHOWROOM CINEMA in association with SHEFFIELD HALLAM UNIVERSITY Tutor: Shelley O'Brien Takeshi Kitano aka 'Beat' Takeshi Takeshi Kitano has gained a reputation as the most original Japanese director of recent years. He can also be regarded as a renaissance man in that he is a multi- talented film editor, screenwriter, actor, comedian, television personality, painter, tap dancer and author. Each of these facets underpin his work as a director. Indeed, Kitano can be regarded as an auteur - in the truest sense - writing, directing, acting in and editing films under his company label Office Kitano, as well as employing the same personnel such as actor, Susumu Terajima, and composer, Joe Hisaishi. -
Maquette Hana-Bi
Un film de Takeshi Kitano LYCÉENS AU CINÉMA EN RÉGION CENTRE SOMMAIRE AVANT-PROPOS 3 Takeshi qui rit et Takeshi qui pleure LE CINÉASTE 4 Docteur Kitano et Mister “Beat” Takeshi L’ÉQUIPE DU FILM 5 Le musicien et l’homme-orchestre HISTOIRE DU FILM 6 De l’accident à la reconnaissance LES PERSONNAGES 7 Artistes et modèles ANALYSE DU RÉCIT 8 Un escalator narratif MISE EN SCÈNE 10 Le musical et le pictural CHEMINS DE TRAVERSE 12 Le générique de début : tout un programme Atelier montage « Beaucoup de critiques et de journalistes parlent de mes films comme d’œuvres avant tout violentes. Or, pour moi, le rapport entre la douceur et la violence ressemble au mouvement d’un pendule. Plus un homme PISTES DE RÉFLEXION 16 est tendre, plus il peut devenir extrêmement cruel et brutal. C’est en lui que l’écart entre les deux états Un film qui se voit en peinture d’âme peut être le plus extrême, car il a une capacité de ressentir les émotions les plus profondes. Cela peut paraître une exagération, mais il me semble que l’acte amoureux ultime peut être le meurtre de celui que AUTOUR DU FILM 19 vous aimez ». Les femmes et les enfants d’abord Takeshi Kitano, Entretien avec Michel Ciment, Positif n°441, 1997 Extraits critiques DOCUMENTS 20 L’éternité retrouvée Lycéens au cinéma en région Centre est coordonné par l’Atelier de Production Centre Val de Loire, réalisé avec le soutien du Centre National de la Bibliographie Cinématographie, de la Région Centre, de la DRAC Centre et du Rectorat de l’Académie Orléans-Tours et le concours des salles de cinéma partici- pant à l’opération.