Special Electronic Features Special Electronic
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Modern Yokai How Japan Embraced Their Monsters
Modern Yokai How Japan embraced their monsters. What are Yokai? The kanji used for Yokai doesn’t have a simple/exact English translation. Yokai are a class of supernatural entities and spirits in Japanese folklore. They range from dangerous and aggressive to helpful and fortuitous. Some are as strong as gods, others are spirits of nature, and others are just lil’guys…who want to give you tofu on a dark road at night. Forewarning: I am NOT a yokai expert. I have tried to stay as close to the official historical information on these guys as possible, but some less accurate things may pop up. Please don’t come at me. I’m very weak and insecure. ALSO there are some adult themes throughout. Kitsune (lit. fox/ fox spirit) Two major variations. *Zenko Holy foxes are servants of the Shinto deity Inari, shrines decorated with statues and images of foxes. These holy foxes act as messengers of the gods and mediums between the celestial and human worlds, protect humans or places, provide good luck, and ward evil spirits away. We are not talking about those ones. More common are the *Yako wild foxes which delight in mischief, pranks, or evil, wild foxes trick or even possess humans, and make them behave strangely. Kitsune are often associated with fire, “kitsunebi” or Fox-fire, similar in a way to “wil-o-wisps”, created by kitsune breathing fire into lanternlight orbs to light paths for other yokai or to trick humans. Kitsune are extremely intelligent and powerful shape-shifters. They frequently harass humans by transforming into fearsome monsters *giants, trains, oni etc. -
Confronting Racism and Sexism
TheWomen's Movement in the United States: Confronting Racism and Sexism Leslie R.Wolfe At the risk of seeming ridiculous, let me say that thc true revolution ary is guided by great feelings of love che Guevara Preface: A Personal Note This chapter presents some verbal snapshots of the U.S. women's movement in the context of gender and race relations. This has been central to my work and life since 1972-when I flrst went to work at the National Welfare Rights Organization and then to the U.S. Commission on Civil Rights; and today it is in full flower in the work of the Center for Women Policy Studies. In all of these years, I have shared with many other feminists the mission to speak out about racism-plus-sexism as having a unique quality of oppression for women of color. We have talked about the importance of "doing our homework" about other sisters' origins, cul- tures, and histories. We have encouraged white feminists to be outspo- ken against racism and not to leave that task solely to women of color. We have insisted on our responsibility to root out the vestiges of racism in ourselves, in our organizations, and in our feminist theory and policy priorities. And we have talked to women of color as well about multiethnic visions of feminism and the importance of doing the hard work to break down racial. ethnic, and cultural barriers both to sisterhood and to the institutional change that will foreshadow an egal- itarian future. 231 232 Counvy Pottroits fheWomen's Movement in the United Stotes 255 Setting the Stager Defining premises Our Central sex. -
Game Play Mechanics in Old Monster Yarns Sugoroku
LEAPING MONSTERS AND REALMS OF PLAY: GAME PLAY MECHANICS IN OLD MONSTER YARNS SUGOROKU by FAITH KATHERINE KRESKEY A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2012 THESIS APPROVAL PAGE Student: Faith Katherine Kreskey Title: Leaping Monsters and Realms of Play: Game Play Mechanics in Old Monster Yarns Sugoroku This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Professor Akiko Walley Chairperson Professor Glynne Walley Member Professor Charles Lachman Member and Kimberly Andrews Espy Vice President for Research and Innovation Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2012 ii © 2012 Faith Katherine Kreskey iii THESIS ABSTRACT Faith Katherine Kreskey Master of Arts Department of the History of Art and Architecture December 2012 Title: Leaping Monsters and Realms of Play: Game Play Mechanics in Old Monster Yarns Sugoroku Taking Utagawa Yoshikazu’s woodblock printed game board Monster Yarns as my case study, I will analyze how existing imagery and game play work together to create an interesting and engaging game. I will analyze the visual aspect of this work in great detail, discussing how the work is created from complex and disparate parts. I will then present a mechanical analysis of game play and player interaction with the print to fully address how this work functions as a game. -
The Web That Has No Weaver
THE WEB THAT HAS NO WEAVER Understanding Chinese Medicine “The Web That Has No Weaver opens the great door of understanding to the profoundness of Chinese medicine.” —People’s Daily, Beijing, China “The Web That Has No Weaver with its manifold merits … is a successful introduction to Chinese medicine. We recommend it to our colleagues in China.” —Chinese Journal of Integrated Traditional and Chinese Medicine, Beijing, China “Ted Kaptchuk’s book [has] something for practically everyone . Kaptchuk, himself an extraordinary combination of elements, is a thinker whose writing is more accessible than that of Joseph Needham or Manfred Porkert with no less scholarship. There is more here to think about, chew over, ponder or reflect upon than you are liable to find elsewhere. This may sound like a rave review: it is.” —Journal of Traditional Acupuncture “The Web That Has No Weaver is an encyclopedia of how to tell from the Eastern perspective ‘what is wrong.’” —Larry Dossey, author of Space, Time, and Medicine “Valuable as a compendium of traditional Chinese medical doctrine.” —Joseph Needham, author of Science and Civilization in China “The only approximation for authenticity is The Barefoot Doctor’s Manual, and this will take readers much further.” —The Kirkus Reviews “Kaptchuk has become a lyricist for the art of healing. And the more he tells us about traditional Chinese medicine, the more clearly we see the link between philosophy, art, and the physician’s craft.” —Houston Chronicle “Ted Kaptchuk’s book was inspirational in the development of my acupuncture practice and gave me a deep understanding of traditional Chinese medicine. -
Full Spectrum of Selves in Modern Chinese Literature: from Lu Xun to Xiao Hong
UCLA UCLA Electronic Theses and Dissertations Title Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong Permalink https://escholarship.org/uc/item/5022k8qv Author Ho, Felicia Jiawen Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in East Asian Languages and Cultures by Felicia Jiawen Ho 2012 © Copyright by Felicia Jiawen Ho 2012 ABSTRACT OF THE DISSERTATION Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong by Felicia Jiawen Ho Doctor of Philosophy in East Asian Languages and Cultures University of California, Los Angeles, 2012 Professor Shu-mei Shih, Chair Despite postcolonial theory’s rejection of legacies of Western imperial dominance and cultural hierarchy, the superiority of Euro-American notions of subjectivity remains a persistent theme in third world cross-cultural literary analysis. Interpretations of the Chinese May Fourth era often reduce the period to one of wholesale westernization and cultural self- repudiation. Euro-American notions of the self often reify ideologies of individuality, individualism, rationalism, evolution, and a “self-versus-society” dichotomy, viewing such positions as universal and applicable for judging decolonizing others. To interrogate this assumption, I examine the writing of Lu Xun and Xiao Hong, two May Fourth writers whose fictional characters present innovative, integrated, heterogeneous selves that transcend Western ii critical models. This “full spectrum of selves” sustains contradicting pulls of identity—the mental (the rational, the individual), the bodily (the survivalist, the affective), the cerebral (the moral), the social (the relational, the organismic), as well as the spiritual and the cosmic. -
The Reliquaries of Hyrule: a Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time
Press Start The Reliquaries of Hyrule The Reliquaries of Hyrule: A Semiotic and Iconographic Analysis of Sacred Architecture Within Ocarina of Time Jared Hansen University of Oregon Abstract This study is a semiotic and iconographic analysis of the sacred architecture in The Legend of Zelda: Ocarina of Time (Nintendo, 1998). Through an analysis of the visual elements of the game, the researcher found evidence of visual metaphors that coded three temples as sacred spaces. This coding of the temples is accomplished through the symbolism of progression that matches the design of shrines and cathedrals, drawing on iconography and other symbolism associated with Shinto, Buddhist, and Christian sacred architecture. Such indications of sacred spaces highlight the ways in which these virtual environments are designed to symbolize the progression of the player from secular to sacred, much like the player’s progression from zero to hero. By using the architecture and symbolism of the three aforementioned belief systems, Ocarina of Time signifies these temples as reliquaries—that is, sacred places that house reverential items as part of the apotheosis of the player. Keywords Art history; The Legend of Zelda; sacred space; symbolism; temple. Press Start 2021 | Volume 7 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Hansen The Reliquaries of Hyrule Introduction The video game experiences that I remember and treasure most are the feelings I have within the virtual environments. -
Shaping Darkness in Hyakki Yagyō Emaki
Asian Studies III (XIX), 1 (2015), pp.9–27 Shaping Darkness in hyakki yagyō emaki Raluca NICOLAE* Abstract In Japanese culture, the yōkai, the numinous creatures inhabiting the other world and, sometimes, the boundary between our world and the other, are obvious manifestations of the feeling of fear, “translated” into text and image. Among the numerous emaki in which the yōkai appear, there is a specific type, called hyakki yagyō (the night parade of one hundred demons), where all sorts and sizes of monsters flock together to enjoy themselves at night, but, in the end, are scattered away by the first beams of light or by the mysterious darani no hi, the fire produced by a powerful magical invocation, used in the Buddhist sect Shingon. The nexus of this emakimono is their great number, hyakki, (one hundred demons being a generic term which encompasses a large variety of yōkai and oni) as well as the night––the very time when darkness becomes flesh and blood and starts marching on the streets. Keywords: yōkai, night, parade, painted scrolls, fear Izvleček Yōkai (prikazni, demoni) so v japonski kulturi nadnaravna bitja, ki naseljuje drug svet in včasih tudi mejo med našim in drugim svetom ter so očitno manifestacija občutka strahu “prevedena” v besedila in podobe. Med številnimi slikami na zvitkih (emaki), kjer se prikazni pojavljajo, obstaja poseben tip, ki se imenuje hyakki yagyō (nočna parade stotih demonov), kjer se zberejo pošasti različne vrste in velikosti, da bi uživali v noči, vendar jih na koncu preženejo prvi žarki svetlobe ali skrivnosten darani no hi, ogenj, ki se pojavi z močnim magičnim zaklinjanje in se uporablja pri budistični sekti Shingon. -
Dogū: from Prehistoric Figurines to Collectible Pocket Monsters
Dogū: from prehistoric figurines to collectible pocket monsters Rodrigo B. Salvador Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand. Email: [email protected] As an avid consumer of Japanese video with large round eyes (Fig. 1). I did not know its games during my early teens, particularly of the actual name and could not find information RPG sort, I could not help but notice that some about it anywhere.1 monsters would pop up in several games and typically had a pretty standard depiction. I have always been interested in mythology and could naturally identify the usual chimeras, griffins, phoenixes, and gorgons. Figure 2. The Pokémon Baltoy (left) and its evolution Claydol (right). Official artwork from the Pokémon series (The Pokémon Company, 1996–present). Source: Figure 1. The monster called “Pocus Poppet”, from the Bulbapedia. Dragon Quest series (Square Enix, 1986–present; artwork from the game). Other versions of this enemy (you know, Then, I forgot all about this monster when I those with different colors and more Hit Points) are switched my geek focus to tabletop RPGs and called “Clay Doll / Terracotta Warrior” and “Dirty Dogu”. my gaming preferences to Western hits Source: Dragon Quest Wiki. (Bioware RPGs, Gears of War, etc.). This lasted until some years ago when I played Persona 4 However, these monsters shared their and Pokémon: Alpha Sapphire for the first time screen time with more unusual ones (or (I had skipped Pokémon’s Gen III back in the unusual to me at least) from Japanese myths day); there and then, I re-encountered that and folklore. -
Kamigawa by Gaunlet AKA Waddle Proofread By
Kamigawa By Gaunlet AKA Waddle Proofread By The world of Kamigawa, positioned far from any other world known to the Walkers, is governed by the interplay between the mortals and the kami, minor gods or spirits of the world. However, when a child of the supreme kami, O-Kagachi, was stolen away, the physical and spiritual worlds gird for war against each other. The Kakuriyo, sometimes called the Reikai, is the spirit world where the kami dwell; its other half is that of the Utsushiyo where mortals live. Together they form a great sphere that makes the whole of the world. You have come at a troubling time, dear Jumper. The war with the spirit realm has begun. In a world of mysticism and honor, the war is brewing. Spirits launch attacks against humans as, in the shadows, a terror lurks just beyond sight. This world is filled with mysteries and it’s depths have yet to be properly understood. So many things are coming to light and old grudges are being settled wholesale and into this world you have entered. Take this 1000 CP to aid in your journey in this place. Age and Gender matter little here. Age: 1d8+20 Free Choice on Gender. Location Roll 1d8 or pay 100 CP for a free choice of location. 1. Towabara — A massive plain, the name means "eternal field". Within the Towabara is the Araba, the "ruined land", a blasted place filled with craters from kami attacks. Eiganjo Castle is in the center of the Araba. It is the fortification of daimyo Takeshi Konda and his samurai. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them. -
A Bi Oad a Bi Road
#DKMQ#6QYP9JGTG6CNGU#TG$QTP#DKMQ#6QYP9JGTG6CNGU#TG$QTPD U#TG$QTP AA BIB I R OADOAD Shall we take a trip down journey lane? A Town Where YouTube video Website By smartphone By tablet Tales Are Born The pictures come alive! ABIKO Abiko Guidebook Symbol indicating This Is What the Town of Abiko is All About spots with free Wi-Fi. An open park that allows everyone to enjoy the great natural environment near Lake Teganuma. Visitors can relax for the entire day, experience miniature trains, rent boats, and take part in many other activities. 2 26-4 Wakamatsu, Abiko City Shirakaba Literary Sugimura Sojinkan Historic Site of Entry fee: Free Taste of Culture Museum 4 Memorial House and Museum 6 the Kano Jigoro Villa 8 Teganuma Park By foot 10 minutes from Abiko Station (750 m) A Town of Waterfronts Former Murakawa Villa 9 and Birds 10 Mizu no Yakata 12 Museum of Birds 14 The Waterfront Town of Rich Water and Spend a Weekend Fusa: History of the Former Inoue Family Greenery 16 Like in a Resort 18 Development of New Fields 20 Residence 22 A Trip through Eternity Gatherings in Abiko Abiko Souvenirs Abiko Guideposts 24 28 30 32 This is a park full of waterfronts and greenery that runs along Lake Teganuma, which is a symbol of Abiko City. You can view waterfowl right up close, and since benches Visitors are encouraged to use the discounted entry ticket for three museums have been installed you can spend a relaxing time gazing or passport for two museums. -
Tokimeku: the Poetics of Marie Kondo's Konmari Method
Flowers, Johnathan. “Tokimeku: The Poetics of Marie Kondo’s KonMari Method.” SPECTRA 7, no. 2 (2020): pp. 5–12. DOI: https://doi.org/10.21061/spectra.v7i2.146 ARTICLE Tokimeku: The Poetics of Marie Kondo’s KonMari Method Johnathan Flowers Worcester State University, US [email protected] Mono no aware is a poetic term developed by Motoori Norinaga to refer to the driving force behind aesthetic works, specifically poetry, and to refer to the human awareness of the qualitative nature of our experience in the world. For Norinaga, the cultivation of mono no aware necessarily leads to heightened sensitivity to both natural and man-made objects. As mono no aware is the natural response of the cultivated heart to the world around us, Norinaga takes it to be fundamental to human experience. Norinaga’s interpretation of the term aware as “to be stirred” bears striking similarities to the concept of “sparking joy” or tokimeku as used by Marie Kondo in her KonMari system. In Japanese, Kondo’s phrase “spark joy” is written as tokimeku, a word whose literal translation means “throb,” “pulsate,” or “beat fast,” as in the heart’s response to anticipation or anxiety. The aim of the present work is to make clear the connection between tokimeku in the KonMari system and Norinaga’s poetics of mono no aware. Specifically, this paper indicates the ways in which the KonMari system functions in line with a tradition of Japanese aesthetics of experience. This philosophy informs Japanese aesthetic practices and is articulated throughout Japanese poetics. This paper places Kondo in conversation with Norinaga’s work on aware and mono no aware towards a conceptualization of the KonMari system as an implement for cultivating a mindful heart.