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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. -
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. -
Oriental Adventures James Wyatt
620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K. -
Noh Theater and Religion in Medieval Japan
Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure. -
Supernatural Elements in No Drama Setsuico
SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed. -
And the Visual Representation of the Korean Dokkaebi Abstract the Oni and the Dokkaebi Are Mythological Characters in Japan and Korea
theme 2 strand 1 memory design histories: tradition, transgression and transformations Mikyung Bak [email protected] Blucher Design Proceedings author(s) Dezembro de 2014, Número 5, Volume 1 Kyoto University www.proceedings.blucher.com.br/evento/icdhs2014 The Folktale “Hokpuri Yongkam” and the Visual Representation of the Korean Dokkaebi abstract The Oni and the Dokkaebi are mythological characters in Japan and Korea. The question of the originality of the Dokkaebi has been raised because, although the Oni and the Dokkaebi are certainly different in many respects, the image of the Dokkaebi today is described as being identical to that of Oni. A prime example cited is an illustration for the folk story “Hokpuri Yongkam” [The Old Man with a Lump] in school textbooks during the colonial period (1910–1945). Almost all scholars insist that this illustration is evidence of an affection for Japanese colonial unification ideology and that the image thus has to be corrected urgently. Moreover, some of them also insist that the folktale itself is Japanese. In this paper, I want to show another possibility for the origin of this folktale and its visual representation of the Dokkaebi. keywords Dokkaebi, Oni, representation, visualization, colonial period Introduction The current visualization of the Dokkaebi has one or two horns and a long tooth, wears tiger-skin pants and carries a magic stick. While there are variations on this appearance, the horns and tiger-skin pants fundamentally symbolize the Oni, as well (Yanagida, 1951) and are used in many designs of Oni-based characters. The Dokkaebi is a beloved symbolic icon of Korean culture, showing up in animation, comics, soap operas, and movies. -
Momotaro (The Peach Boy) and the Spirit of Japan: Concerning the Function of a Fairy Tale in Japanese Nationalism of the Early Showa Age*
Klaus Antoni Universitdt Hamburg Momotaro (The Peach Boy) and the Spirit of Japan: Concerning the Function of a Fairy Tale in Japanese Nationalism of the Early Showa Age* Abstract This article is concerned with a famous Japanese fairy tale, Momotaro, which was used during the war years in school readers as a primary part of nationalistic pro paganda. The tale and its central motif are analyzed and traced back through history to its earliest forms. Heroes from legend and history offered perfect identification patterns and images for the propagation of state ideals that were spread through education, the military, and war propaganda. Momotaro subtly- transmitted to young school pupils that which official Japan looked upon as the goal of its ideological education: through a fairy tale the gate to the “ Japanese spirit ” was opened. Key words: Momotaro — Japanese spirit — war propaganda Ryukyu Islands Asian Folklore Studies> Volume 50,1991:155-188. N a t io n a l is m a n d F o l k T r a d it io n in M o d e r n J a p a n F oundations of Japanese N ationalism APAN is a land rich in myths, legends, and fairy tales. It pos sesses a large store of traditional oral and literary folk literature, J which has not been accounted for or even recognized in the West. The very earliest traditional written historical documents contain narratives, themes, and motifs that express this rich tradition. Even though the Kojiki of the year 712, the oldest extant written source, was conceived of as a historical work at the time, it is a collection of pure myths, or at least the beginning portions are. -
'Camellia T'. Synonym for 'Donckelaeri'. (Masayoshi). TC Cole
T. T. Fendig. 1951, American Camellia Yearbook, p.77 as ‘Camellia T’. Synonym for ‘Donckelaeri’. (Masayoshi). T.C. Cole. Trewidden Estate Nursery, 1995, Retail Camellia List, p.8. Abbreviation for Thomas Cornelius Cole. T.C. Patin. (C.japonica) SCCS., 1976, Camellia Nomenclature, p.147: Light red. Very large, full, semi- double with irregular, large petals and a spray of large stamens. Originated in USA by T.C. Patin, Hammond, Louisiana. Sport: T.C. Patin Variegated. T.C. Patin Variegated. (C.japonica), SCCS., 1976, Camellia Nomenclature, p.147 as ‘T.C. Patin Var.’: A virus variegated form of T.C. Patin - Light red blotched white. Originated in USA by T.C. Patin, Hammond, Louisiana. T.D. Wipper. Nagoya Camellia Society Bulletin, 1992, No.25. Synonym for Dave’s Weeper. T.G. Donkelari. Lindo Nurseries Price List, 1949, p.7. Synonym for ‘Donckelaeri’. (Masayoshi). T.K. Blush. (C.japonica) Wilmot, 1943, Camellia Variety Classification Report, 1943, p.14: A light pink sport of T.K. Variegated. Originated in USA. Synonym: ‘T.K. Pink’. T.K. Number 4. Florida Nursery and Landscaping Co. Catalogue, 1948 as ‘T.K. No.4’. Synonym for T.K. Variegated. T.K. Pink. Morris, 1954, RHS., The Rhododendron and Camellia Yearbook, p.113. Synonym for T.K. Blush. T.K. Red. Semmes Nursery Catalogue, 1942-1943, p.21. Synonym for T.K. Variegated Red. T.K. Variegata. Kiyono Nursery Catalogue, 1942-1943. Synonym for T.K. Variegated. T.K. Variegated. (C.japonica) Kiyono Overlook Nursery Catalogue, 1934, p.14: Semi-double. Light pink edged dark pink. Gerbing’s Azalea Gardens Catalogue, 1938-1939: Semi-double, white flowers striped pink, rose and lavender, some flowers solid colour, purple and pink. -
Netsuke Lots
HAP MOORE ANTIQUES AUCTIONS Auction of Estate Antiques Netsuke and Other Carved Japanese Objects Saturday Morning, August 23, 2008 Auction Begins at 10:00 a.m. Netsuke and Carved Japanese Objects Sold at Approximately 11:00 a.m. Preview Friday, August 22nd from 2:00 to 6:00 p.m., From 8:00 to 10:00 a.m. on the Day of Sale Or by Appointment Lot Description 608 Bronze sui teki (water dropper) for mixing ink. 609 Mingei pipe case and tobacco box. 610 Signed boxwood monkey Okimono. 611 Japanese bronze pocket sundial, giving time, month and phase of moon. 612 Boxwood tobacco box with ivory ojime with noh masks and 18th c. netsuke of Dutchman. 613 Tobacco box with signed ojime, inlaid stained ivory and bronze, featuring bronze tiger with silver eyes, the piece having early 19th c. netsuke of dog mask. 614 Tobacco box with gold, lacquer, pewter and gilt bronze onlay and Mother of Pearl accents, having a late 18th to early 19th c. frog netsuke with signed brown and gold lacquer ojime. 615 Pipe case, pipe and tobacco box in form of Daruma, having bone ojime. 616 Signed one case inro with inlaid ebony eyes, monkeys en suite. 617 Traveling shrine with Amida Buddha. 618 Unsigned monkey-form tobacco box. 619 Lacquer inro with two-piece Ojime, netsuke of snake attacking bird and shi-shi on a wood bell. Netsuke and Other Carved Japanese Objects 620 Late 19th c. gold lacquered two case inro with Mother of Pearl inlays with phoenix and ivory Ojime. 621 Signed boxwood guardian figure. -
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reviews | 453 Japan Noriko T. Reider, Seven Demon Stories from Medieval Japan Boulder, CO: Utah State University Press, 2016. xiii + 312 pages. 22 illustrations, notes, bibliography, index. Paperback, $33.95, ISBN: 978-1-60732-489-8. The term otogi-zoshi (“companion tales”) refers to a genre of more than 400 illustrated stories composed between the fifteenth and early-seventeenth centuries. The term otogi- zoshi was first employed by an eighteenth-century publisher and is suggestive of “nurs- ery rhymes” suitable for children and their care-givers, an association that was perpet- uated by literary historians for much of the twentieth century. Nevertheless, the genre is now achieving wide recognition as a vibrant part of the literature of medieval Japan. Noriko Reider’s Seven Demon Stories from Medieval Japan offers us a nuanced and informative exploration of this particular literary-historical landscape. Each chapter focuses on a single text, telling the tale of a character’s encounter with a demon (oni). The first two stories examine the adventures of the famous warrior Minamoto Yor- imitsu and his band of retainers, as they brave (with no small amount of divine in- tervention) the mountain lair of the “Drunken Demon” Shuten Dōji and track the venomous Earth Spider (tsuchigumo). The third and fourth stories describe the ad- ventures of clever scholars: Minister Kibi (whose historic diplomatic mission to China is fictionalized into a series of trials in which Kibi outwits his Chinese adversaries) and Lord Haseo (whose wager with a game-playing oni leads to a lesson in the dangers of lust). The third pair of stories touch on the adventures of female protagonists: the Weaving Maiden who goes off in search of her demon-husband Amewakahiko (a story that combines an etiology of the Star Festival—celebrating the yearly joining of the stars Vega and Altair—with a reflection on the marriage politics of the day) and the Blossom Princess (a “Cinderella story,” in which an abused step-daughter gains magi- cal assistance from a mountain hag and finds love). -
Knowledge 3 Teacher Guide Grade 1 Different Lands, Similar Stories Grade 1 Knowledge 3 Different Lands, Similar Stories
¬CKLA FLORIDA Knowledge 3 Teacher Guide Grade 1 Different Lands, Similar Stories Grade 1 Knowledge 3 Different Lands, Similar Stories Teacher Guide ISBN 978-1-68391-612-3 © 2015 The Core Knowledge Foundation and its licensors www.coreknowledge.org © 2021 Amplify Education, Inc. and its licensors www.amplify.com All Rights Reserved. Core Knowledge Language Arts and CKLA are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. References herein should not be regarded as affecting the validity of said trademarks and trade names. Printed in the USA 01 BR 2020 Grade 1 | Knowledge 3 Contents DIFFERENT LANDS, SIMILAR STORIES Introduction 1 Lesson 1 Cinderella 6 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • Core Connections/Domain • Purpose for Listening • Vocabulary Instructional Activity: Introduction Instructions • “Cinderella” • Where Are We? • Somebody Wanted But So Then • Comprehension Questions • Word Work: Worthy Lesson 2 The Girl with the Red Slippers 22 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • What Have We Already Learned? • Purpose for Listening • Drawing the Read-Aloud • Where Are We? • “The Girl with the Red Slippers” • Comprehension Questions • Word Work: Cautiously Lesson 3 Billy Beg 36 Introducing the Read-Aloud (10 min) Read-Aloud (30 min) Application (20 min) • What Have We Already Learned? • Purpose for Listening • -
Issun Boshi: One-Inch
IIssunssun BBoshi:oshi: OOne-Inchne-Inch BBoyoy 6 Lesson Objectives Core Content Objectives Students will: Explain that f ctional stories come from the author’s imagination Identify folktales as a type of f ction Explain that stories have a beginning, middle, and end Describe the characters, plot, and setting of “Issun Boshi: One- Inch Boy” Explain that people from different lands tell similar stories Language Arts Objectives The following language arts objectives are addressed in this lesson. Objectives aligning with the Common Core State Standards are noted with the corresponding standard in parentheses. Refer to the Alignment Chart for additional standards addressed in all lessons in this domain. Students will: Demonstrate understanding of the central message or lesson in “Issun Boshi: One-Inch Boy” (RL.1.2) Recount and identify the lesson in folktales from diverse cultures, such as “Issun Boshi: One-Inch Boy” (RL.1.2) Orally compare and contrast similar stories from different cultures, such as “Tom Thumb,” “Thumbelina,” and “Issun Boshi: One-Inch Boy” (RL.1.9) Draw and describe one of the scenes from “Issun Boshi: One- Inch Boy” (W.1.2) Describe characters, settings, and events as depicted in drawings of one of the scenes from “Issun Boshi: One-Inch Boy” (SL.1.4) Different Lands, Similar Stories 6 | Issun Boshi: One-Inch Boy 79 © 2013 Core Knowledge Foundation Add suff cient detail to a drawing of a scene from “Issun Boshi: One-Inch Boy” (SL.1.5) Prior to listening to “Issun Boshi: One-Inch Boy,” identify orally what they know and have learned about folktales, “Tom Thumb” and “Thumbelina” Core Vocabulary astonished, adj.