10/17付 集計期間 10/17付 集計期間 : 10 / 3 ~ 10
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Acknowledgement to Reviewers of International Journal of Molecular
Int. J. Mol. Sci. 2015, 16, 1336-1374; doi:10.3390/ijms16011336 OPEN ACCESS International Journal of Molecular Sciences ISSN 1422-0067 www.mdpi.com/journal/ijms Editorial Acknowledgement to Reviewers of the International Journal of Molecular Sciences in 2014 IJMS Editorial Office, MDPI AG, Klybeckstrasse 64, CH-4057 Basel, Switzerland Published: 7 January 2015 The editors of the International Journal of Molecular Sciences would like to express their sincere gratitude to the following reviewers for assessing manuscripts in 2014: Abass, Khaled Agterberg, Martijn J. H. Aleman, Tomas S. Abbott, David H. Aguilar, Claudio Alexander, David Earl Abdelmohsen, Kotb Aguilar-Reina, José Alexander, Stephanie Abdraboh, Mohamed Agulló-Ortuño, M. Teresa Alexiou, Christoph Abe, Naohito Agyei, Dominic Alexis, Frank Abe, Toshiaki Ahmed, Khalil Alexopoulos, A. Abou Neel, Ensanya A. Ahmed, Salahuddin Alfandari, Dominique Abou-Alfa, Ghassan Ahn, Joong-Hoon Alhede, Morten Abraini, Jacques H. Ahn, Suk-Kyun Alisi, Anna Abram, Florence Aibner, Thomas Alison, Malcolm R. Abusco, Anna Scotto Aizawa, Shin-Ichi Al-Kateb, Huda Abzalimov, Rinat Ajikumar, Parayil Kumaran Allen, Randy Ackland, K. Akashi, Makoto Aller, Patricio Acuna-Castroviejo, Darío Akbar, Sheikh Mohammad Fazle Almagro, Lorena Acunzo, M. Akbarzadeh, A. H. Almeida, Raquel Adamcakova-Dodd, Andrea Akeda, Koji Alonso-Nanclares, Lidia Adeniji, Adegoke Akimoto, Jun Alpini, Gianfranco Adessi, Alessandra Aktas, C. Alric, Jean Adhikary, Amitava Akue, Jean Paul Altenbach, Susan B. Afseth, Nils Al Ghouleh, Imad Altmann, André Agalliu, Dritan Al-Ahmadie, Hikmat A. Alvarez Ponces, David Agarwal, Anika Alber, Birgit E. Alvarez-Suarez, José M. Ageorges, Agnès Albero, Cenci Alves, Artur Agorastos, Agorastos Alcaro, Stefano Amacher, David E. Agostini, Marco Alemán, José Amado, Francisco Int. -
Aichi Triennale 2019 Has Announced the List of Additional Artists
Aichi Triennale 2019 Press Release _ Participating Artists As of March 27, 2019 Aichi Triennale 2019 Has Announced the List of Additional Artists Aichi Triennale—an international contemporary art festival that occurs once every three years and is one of the largest of its kind—has been showcasing the cutting edge of the arts since 2010, through its wide-ranging program that spans international contemporary visual art, film, the performing arts, music, and more. This fourth iteration of the festival welcomes journalist and media activist Daisuke Tsuda as its artistic director. By choosing “Taming Y/Our Passion” as the festival’s theme, Tsuda seeks to address “the sensationalization of media that at present plagues and polarizes people around the world.” He hopes that by “employing the capacity of art— a venture that, capable of encompassing every possible phenomenon, eschews framing the world through dichotomies—to speak to our compassion, thus potentially yielding clues to solving this predicament.” Aichi Triennale 2019 announced the addition of 47 artists to its lineup on 27 March 2019; the list now comprises a total of 79 artists. Outline of Aichi Triennale 2019 http://aichitriennale.jp/ Theme | Taming Y/Our Passion Artistic Director | TSUDA Daisuke (Journalist / Media Activist) Period | August 1 (Thursday) to October 14 (Monday, public holiday), 2019 [75 days] Main Venues | Aichi Arts Center; Nagoya City Art Museum; Toyota Municipal Museum of Art and off-site venues in Aichi Prefecture, JAPAN Organizer | Aichi Triennale Organizing -
Musical Taiwan Under Japanese Colonial Rule: a Historical and Ethnomusicological Interpretation
MUSICAL TAIWAN UNDER JAPANESE COLONIAL RULE: A HISTORICAL AND ETHNOMUSICOLOGICAL INTERPRETATION by Hui‐Hsuan Chao A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2009 Doctoral Committee: Professor Joseph S. C. Lam, Chair Professor Judith O. Becker Professor Jennifer E. Robertson Associate Professor Amy K. Stillman © Hui‐Hsuan Chao 2009 All Rights Reserved ACKNOWLEDGEMENTS Throughout my years as a graduate student at the University of Michigan, I have been grateful to have the support of professors, colleagues, friends, and family. My committee chair and mentor, Professor Joseph S. C. Lam, generously offered his time, advice, encouragement, insightful comments and constructive criticism to shepherd me through each phase of this project. I am indebted to my dissertation committee, Professors Judith Becker, Jennifer Robertson, and Amy Ku’uleialoha Stillman, who have provided me invaluable encouragement and continual inspiration through their scholarly integrity and intellectual curiosity. I must acknowledge special gratitude to Professor Emeritus Richard Crawford, whose vast knowledge in American music and unparallel scholarship in American music historiography opened my ears and inspired me to explore similar issues in my area of interest. The inquiry led to the beginning of this dissertation project. Special thanks go to friends at AABS and LBA, who have tirelessly provided precious opportunities that helped me to learn how to maintain balance and wellness in life. ii Many individuals and institutions came to my aid during the years of this project. I am fortunate to have the friendship and mentorship from Professor Nancy Guy of University of California, San Diego. -
"Ersatz As the Day Is Long": Japanese Popular
“ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War. -
Diegetic Music and Identity
DIEGETIC MUSIC AND IDENTITY IN HOU HSIAO-HSIEN’S A CITY OF SADNESS (1989) by Tangmuyang Zhang Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia April 2019 © Copyright by Tangmuyang Zhang, 2019 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES .................................................................................... iii ABSTRACT ....................................................................................................................... iv ACKNOWLEDGEMENTS ................................................................................................ v CHAPTER 1: INTRODUCTION: FILM SOUND, MUSIC AND HISTORY .................. 1 CHAPTER 2: “ALONG THE SONGHUA RIVER”: THE SONG OF THE EXILES .... 10 CHAPTER 3: “RED DRAGONFLY”/“AKA-TOMBO” ................................................. 22 CHAPTER 4: ALONG THE RHINE: “LORELEI” ......................................................... 35 CHAPTER 5: “WAGON SONG”: INVISIBLE SINGING ............................................. 46 CHAPTER 6: “SPRING FLOWER”: FEMALE SPACE ................................................ 55 CHAPTER 7: CONCLUSION ......................................................................................... 66 BIBLIOGRAPHY ............................................................................................................. 69 ii LIST OF MUSICAL EXAMPLES Example 2.1: Numbered music score of “Along the Songhua River” with Chinese lyrics .................................................................................................................................. -
Beyond the Frame Intermedia And
BEYOND THE FRAME INTERMEDIA AND EXPANDED CINEMA IN 1960-1970S JAPAN Julian Ross Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Modern Languages and Cultures Centre for World Cinemas January 2014 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 3 To my father, mother and sister, with love and gratitude. 4 Acknowledgements First and foremost, I want to express my deepest gratitude to the principal supervisor of this thesis, Lúcia Nagib, whose academic breadth and intellectual rigour has been a source of inspiration and her friendship and enthusiasm a constant support. My thanks extend to staff and research students at the Centre for World Cinemas, University of Leeds, whose consortium I had the privilege to join in 2009. The workshops, seminars and conferences that I participated in or had the honour of organising set the foundations for my academic experience. The devotion to interdisciplinary research and passion for intellectual exchange I found in the Mixed Cinema Network, whose White Rose Research Studentship fully supported my doctorate, also greatly assisted in shaping my research. During my stay in Japan, I encountered a community of academics, archivists and artists whose commitment and passion for the arts I have modeled in my approach to research. I thank Shigeru Matsui, Jelena Stojkovic, Yuriko Furuhata, Michael Raine, Steve Ridgley, Ann Adachi, Mika Ko, Hiroko Tasaka, Yasuko Imura, Hirofumi Sakamoto, Kenjin Miwa and Sen Uesaki, Yu Homma and Takashi Morishita at the Keio University Art Center. -
J-Pop and K-Pop Dance Music Videos
J-pop and K-pop Dance Music Videos: Japan in the Face of Hallyu A THESIS Presented to the University Honors Program California State University, Long Beach In Partial Fulfillment of the Requirements for the University Honors Program Certificate Laura A. Tanimoto Summer 2017 ABSTRACT J-pop and K-pop Dance Music Videos: Japan in the Face of Hallyu By Laura A. Tanimoto Summer 2017 Since the turn of the millennia, the popularity of South Korean pop music has steadily grown and exploded worldwide. One reason may be attributed to global exposure through K-pop dance music videos. As an ambassador through the worldwide web, dance music videos are characterized by stunning visuals, advanced videography and editing, immaculate dance performance, and chic infusion of its respective country’s culture. In recent years, Japan’s dance music video voice has been weaker in contrast to South Korea. Despite Japan being an early pioneer of the music video genre itself, the country pauses in the face of international popularization. It is the purpose of this research to find the reasons why and suggest the steps Japan might take to be a stronger global competitor. If there is remediation, what are the ways in which both countries can continue to showcase each’s own unique pop culture through the dance music video medium? In particular, this thesis will observe and analyze how the film, culture, and dance elements in Japanese and Korean pop dance music videos communicate their image to the world and what each country has to offer. Topics on production value, mimetic dance, kawaii culture, Hallyu, and attention economy will be vital to this research. -
Sister Solidarity: Compassionate Relationships Among Popular Entertainers and Their Fellow Women in Medieval Japan
Sister Solidarity: Compassionate Relationships among Popular Entertainers and Their Fellow Women in Medieval Japan A Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in Japanese Language and Literature in the undergraduate colleges of The Ohio State University by Ashley Buzzard The Ohio State University July 2012 Project Advisor: Professor Shelley Fenno Quinn, Department of East Asian Languages and Literatures ii Copyright by Ashley Buzzard 2012 iii ABSTRACT The popular female entertainers of the Heian (794-1185) and medieval (1185-1600) periods of Japan were quite successful in establishing themselves as adept purveyors of song, dance, and sexual pleasures. Many female entertainers gained the patronage of the rich and powerful, such as emperors and prominent warriors. Both in historical records and fictional accounts, entertainers who were associated with a powerful patron would often have their names, and possibly stories about them as well, written down in medieval histories or literary narratives. However, most of the entertainers I will discuss in this study are fictional or semi-fictional characters found in narratives such as The Tale of the Heike (Heike monogatari) and Nō plays. The three types of female entertainer featured most often in medieval narrative and Nō theatre are asobime, shirabyōshi, and kusemai, each of whom will be examined in depth in Chapter 2. In medieval narrative, female entertainers were often thrust into difficult situations by their patrons or by other unforeseeable circumstances, sometimes forcing the women to make a choice between retaining their livelihoods and becoming nuns. (The importance to a performing woman of finding and holding on to patronage will be discussed in Chapter 3). -
Flower Symbolism As Female Sexual Metaphor Andrea Frownfelter Eastern Michigan University
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2010 Flower Symbolism as Female Sexual Metaphor Andrea Frownfelter Eastern Michigan University Follow this and additional works at: http://commons.emich.edu/honors Part of the Fine Arts Commons Recommended Citation Frownfelter, Andrea, "Flower Symbolism as Female Sexual Metaphor" (2010). Senior Honors Theses. 238. http://commons.emich.edu/honors/238 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. Flower Symbolism as Female Sexual Metaphor Abstract The aw tercolor paintings that I created from September 2009 to March 2010 use flowers as metaphorical subject matter to address issues and emotions associated with the topic of female sexuality. My goal was to use the long-standing tradition of flowers as symbols of female genitalia (which will be thoroughly explained in part two of this thesis) to allude to my personal attitudes, experiences, observations, and worries in a manner that would be easier for me to express and less abrasive for my audience to accept. Creating these watercolors was certainly therapeutic for me; I hope that other women who have trouble expressing and embracing their sexuality can identify with my work and perhaps learn how they can communicate personal feelings about their anatomy and sexuality -
The Transnational Modern Dance of Itō Michio a DISSERTATION
NORTHWESTERN UNIVERSITY Altered Belonging: The Transnational Modern Dance of Itō Michio A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of Theatre and Drama By Tara Rodman EVANSTON, ILLINOIS June 2017 2 © Copyright by Tara Rodman 2017 All Rights Reserved 3 Abstract This dissertation, “Altered Belonging: The Transnational Modern Dance of Itō Michio,” argues that Itō forged an artistic and social identity out of the very categories of racial and national difference typically used to exclude Japanese from Euro-American society. The strategies he employed provide a paradigm for how performing bodies marked as foreign claim freedom of mobility and a sense of belonging in their adopted communities. Addressing the full span of his career across five decades of performance in Europe, the U.S., and Japan, this dissertation restores the historic and analytic relationships among geographically distinct archives. By uncovering the linkages between his eurythmics training in Hellerau, Germany, his modernist collaborations in London, his nearly three decades dancing in New York and Los Angeles, and his Pan-Asianist activities under Japan’s wartime empire, I recover, for instance, how Itō’s experience of New York stage Orientalism later shadows his Pan-Asianist planned performances for Imperial Japan, and how the universalist ideals of his Hellerau training resurfaced as an ideology of community dance in Los Angeles. The trans-oceanic linkages thus rendered legible are relevant for understanding not only Itō’s career but also the integrated nature of twentieth-century modernism and the strategies by which modern artists refashioned alterity into a basis for creative freedom and freedom of movement. -
The Buddhist Life of Flowers Or My Obutsudan Smells Good Enough to Eat
Wheel of the Sangha - a monthly newsletter of Seattle Buddhist Church Volume 35 Issue 10 Live a Real Life October 2016 Receive the great benefit constantly practicing great compassion. The Buddhist Life of Flowers or My Obutsudan Smells Good Enough to Eat By Rinban Don Castro Recently, I was looking around my yard for obutsudan flowers. Apart from dandelions, nothing was blooming but herbs. Maybe herbs are not appropriate for our obutsudan but at least it smells terrific; the white flowers of oregano add- ed to the purple of lavender and mint. For greens, I gathered rosemary sprigs and parsley. I had sage and thyme also but they didn’t quite fit. When I was done, I looked at my ar- 2016 August 7 rangement and realized I really need flower arrangement les- sons, even if my spaghetti sauce is superior! What’s Inside This event got me thinking about the art of flower arrange- ment and the influence of Buddhism on Japanese aesthetics. Message from I went to my bookshelf and pulled out the classic “The Book Rinban Castro of Tea” written 110 years ago by Kakuzo Okakura and “Zen in the Art of Flower Arrangement” by Gustie Herrigel with a Membership, forward by the great Jodo Shinshu scholar D.T. Suzuki. In Donations, JSCC his introduction, Suzuki writes, “Art is studied in Japan not only for art’s sake, but for spiritual enlightenment…The art of DS & Fundraiser flower arrangement is not, in its truest sense, an art, but ra- ther the expression of a much deeper experience of life.” As an expression of life, few, if any, flowers are used in the ar- Dharma Exchange, rangement. -
About the Producer / Director
A TAKASHI MIIKE FILM IN COMPETITION 7.30pm, Tuesday 4th September, Sala Perla (daily press) Press Screenings: 10.30pm, Tuesday 4th September, Palalido (press, industry, professional) Press Conference: 12.00pm, Wednesday 5th September, Palazzo del Casino – 3rd floor Official Screening: Midnight, Wednesday 5th September, Sala Grande (All Accreditations) INTERNATIONAL PRESS ITALIAN PRESS DDA Public Relations Marzia Milanesi Comunicazione per il Cinema Hotel Excelsior #114 Tel : +39 041 526 6147 / 6141 Marzia Milanesi +39 348 3144360 Jill Jones [email protected] +39 335 6817909 [email protected] Jenny Bertetto +39 349 1999743 Anna Bohlin [email protected] +39 335 6755227 [email protected] INTERNATIONAL SALES Melody Monfreda Celluloid Dreams +39 335 672 3245 2 rue Turgot, Paris 75009 [email protected] T: 01 49 70 03 70 F: 01 49 70 03 71 [email protected] www.celluloid-dreams.com Photos can be downloaded from www.image.net Genre: Action / Western Running Time: 121 minutes Completed: August 2007 Production Partners: Sedic International; Geneon Entertainment; Sony Pictures Entertainment (Japan); Dentsu; TV Asahi; Shogakukan; A Team; Nagoya Broadcasting Network; Tokyu Recreation. Writers: Takashi Miike and Masaru Nakamura Director: Takashi Miike su·ki·ya·ki [soo-kee-yah-kee] n. A popular Japanese dish made with beef and usually containing soy sauce, bean curd, and greens, cooked in a single pot at the table. Simple ingredients cooked together without added broths to create a unique essence that is truly