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Images and Words. an Interdisciplinary Unit for Sixth-Grade Art and Language Arts Classes
DOCUMENT RESUME ED 391 771 SO 026 096 AUTHOR Lyons, Nancy Hai,:te; Ridley, Sarah TITLE Japan: Images and Words. An Interdisciplinary Unit for Sixth-Grade Art and Language Arts Classes. INSTITUTION Smithsonian Institution, Washington, DC. Arthur M. Sackler Gallery. PUB DATE 94 NOTE 66p.; Color slides and prints not included in this document. AVAILABLE FROM Education Department, Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC 20560 ($24 plus $4.50 shipping and handling; packet includes six color slides and six color prints). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Area Studies; *Art; Art Activities; Art Appreciation; *Art Education; Foreign Countries; Grade 6; *Interdisciplinary Approach; Intermediate Grades; *Japanese Culture; *Language Arts; Painting (Visual Arts) ;Visual_ Arts IDENTIFIERS Japan; *Japanese Art ABSTRACT This packet, written for teachers of sixth-grade art and language arts courses, is designed to inspire creative expression in words and images through an appreciation for Japanese art. The selection of paintings presented are from the Freer Gallery of Art, Smithsonian Institution. The interdisCiplinary approach, combines art and language arts. Lessons may be presented independently or together as a unit. Six images of art are provided as prints, slides, and in black and white photographic reproductions. Handouts for student use and a teacher's lesson guide also are included. Lessons begin with an anticipatory set designed to help students begin thinking about issues that will be discussed. A motivational activity, a development section, clusure, and follow-up activities are given for each lesson. Background information is provided at the end of each lesson. -
J. Michael Straczynski SEE RANK Writer | Producer | Miscellaneous Crew
Find Movies, TV shows, Celebrities and more... All | Help IMDb Movies, TV Celebs, Events News & & Showtimes & Photos Community Watchlist Sign in J. Michael Straczynski SEE RANK Writer | Producer | Miscellaneous Crew Official Photos » J. Michael Straczynski was born on July 17, 1954 in Paterson, New Jersey, USA as Joseph Michael Straczynski. He is a writer and producer, known for Thor (2011), World War Z (2013) and Babylon 5 (1994). See full bio » Born: Joseph Michael Straczynski July 17, 1954 in Paterson, New Jersey, USA ad feedback More at IMDbPro » Contact Info: View agent, publicist and company Quick Links Biography Photo Gallery Awards Filmography (by Job) Message Boards Trailers and Videos Explore More 15 photos | 8 videos | 1009 news articles » Scary Good: IMDb's Guide to Horror Nominated for 1 BAFTA Film Award. Another 5 wins & 5 nominations. See more awards » Known For Can't get enough of movies and television shows that scare up a good Thor (2011) World War Z (2013) Babylon 5 (1994) Changeling (2008) fright? Check out Scary Good, IMDb's Horror Entertainment Guide. Being terrified was never so much fun. Filmography Show all | Show by... | Edit Enter if you dare » Jump to: Writer | Producer | Miscellaneous Crew | Director | Actor | Soundtrack | Thanks | Self J. Michael Straczynski on Twitter Writer (34 credits) Hide Red Mars (TV Series) (created by - 1 episode) (pre-production) H id2e0 16 Follow @straczynski 25.5K followers W- Priloit e..r. ((cr3e4at ocrr)edits) Rod Serling's Night Gallery (TV Mini-Series) (pre-production) 2015 Share this page: Sense8 (TV Series) (created by - 22 episodes, 2015 - 2016) (written by - 22 episodes, 249 people like this. -
No.766 (November Issue)
NBTHK SWORD JOURNAL ISSUE NUMBER 766 November, 2020 Meito Kansho: Examination of Important Swords Juyo Bijutsuhin, Important Cultural Property Type: Tachi Mei: Unji Length: 2 shaku 4 sun 4 bu 7 rin (74.15 cm) Sori: 9 bu 6 rin (2.9 cm) Motohaba: 9 bu 2 rin (2.8 cm) Sakihaba: 5 bu 9 rin (1.8 cm) Motokasane: 2 bu (0.6 cm) Sakikasane: 1 bu 2 rin (0.35 cm) Kissaki length: 8 bu 9 rin (2.7 cm) Nakago length: 6 sun 7 bu 3 rin (20.4 cm) Nakago sori: 7 rin (0.2 cm) Commentary This is a shinogi-zukuri tachi with an ihorimune. The width is standard, and the widths at the moto and saki are slightly different. There is a standard thickness, a large sori, and a chu-kissaki. The jigane has itame hada mixed with mokume and nagare hada, and the hada is barely visible. There are fine ji-nie, chikei, and jifu utsuri. The hamon is a wide suguha mixed with ko-gunome, ko-choji, and square features. There are frequent ashi and yo, and some places have saka-ashi. There is a tight nioiguchi with abundant ko-nie, and some kinsuji and sunagashi. The boshi on the omote is straight and there is a large round tip. The ura has a round tip, and there is a return. The nakago is suriage, and the nakago jiri is almost kiri, and the newer yasurime are sujichigai, and we cannot determine what style the old yasurime were. There are three mekugi-ana, On the omote, under the third mekugi-ana (the original mekugi-ana) there is a two kanji signature. -
Department of Art and Art History the University of Utah GRAFFITI, ART
GRAFFITI, ART, AND IDENTITY: EXPLORING GAJIN FUJITA’S HOOD RATS by Patricia Kathleen Guiley A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Arts in Art History Department of Art and Art History The University of Utah May 2015 Copyright © Patricia Kathleen Guiley 2015 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The thesis of Patricia Kathleen Guiley has been approved by the following supervisory committee members: Winston Kyan , Chair 10/13/2014 Date Approved Paul Monty Paret , Member 10/13/2014 Date Approved Wesley Sasaki-Uemura , Member 10/13/2014 Date Approved and by Brian Snapp , Chair/Dean of the Department/College/School of Art History and by David B. Kieda, Dean of The Graduate School. ABSTRACT While contemporary historians have explored the advent of graffiti as well as its link to the social and financial world, little attention has been given to overarching lenses that attempt to encompass the new global contemporary form of graffiti. In a recent catalogue of street art, Carlo McCormick argues that many of the fundamental motives and aesthetics of graffiti have transformed, requiring new lenses of analysis when comprehending the work. One of the main outcomes in the art-world system of the global contemporary is the dissolving of geographical distances that once divided art worlds from each other. As a result of evolving cultural paradigms, new parameters are required when analyzing contemporary art. It is here, in the global contemporary climate, that Gajin Fujita’s Hood Rats shows how representations of American identity have transformed. -
Samurai Life in Medieval Japan
http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period. -
SAMURAI and ASHIGARU –Espansione Lords & Servants
SAMURAI AND ASHIGARU –Espansione Lords & Servants Il Giappone feudale era uno stato comandato dall'imperatore ma amministrato dallo SHOGUN , la più alta carica militare che veniva eletto dall'imperatore. Lo SHOGUN era per cui il rappresentante politico e amministrativo dell'impero che era diviso in piccoli feudi guidati dai signori locali detti DAIMYO signori locali che amministravano in maniera del tutto indipendente l'economia e la legislazione interna. Dare una data esatta per quanto riguarda il periodo SENGOKU è piuttosto difficile, gli stessi studiosi sono in contrasto tra loro, io ho deciso di utilizzare la teoria che coincide con gli ultimi anni del dominio della dinastia Ashikaga (1467-1603) come SHOGUN. Il "periodo degli stati combattenti" , questo è il significato di Sengoku in italiano, è un epoca che vede la grande crisi del potere centrale causata da lotte intestine al clan Ashikaga a cui era demandato il ruolo di Shogun che permette l'affermazione di Daimyo sempre più potenti. Possiamo identificare l'inizio del periodo Sengoku con l'inizio della guerra di Onin , una guerra civile che vede lo Shogun assistere inerme a lotte intestine tra clan di Daimyo, lotte che porteranno alla quasi totale distruzione di Kioto la capitale dell'impero. L'immobilità dello Shogun nella capitale diede il via a una serie infinita di guerre tra Daimyo , guerre che fino a quel momento erano state frenate da un potere che lo shogun ora dimostrava non avere. In questo periodo si avrà l'affermazione di casate meno rappresentative ma più aggressive spesso fondate da samurai non nobili che con esperienza e tenacia battono gli stati comandati da Daimyo di origine nobile ma meno avvezzi alla guerra e prima protetti dallo Shogun ora ormai inerme. -
Grandmaster Book of Ninja Training
The Grandmaster's Book of Ninja Training Dr Masaaki Hatsumi Translated by Chris, W. P. Reynolds Library of Congress Cataloging-in-Publication Data Hatsumi, Masaaki, 1931- The grandmaster's book of ninja training / Masaaki Hatsumi. p. cm. Includes index. ISBN 0-8092-4629-5 (paper) 1. Hand-to-hand fighting, Oriental. 2. Ninjutsu. 3. Hatsumi, Masaaki, 1931- I. Title. U167.5.H3H358 1987 613.7'1—dc19 87-35221 CIP TRANSLATION NOTE Although some of the Japanese of these interviews was capably translated at the time it was given by Doron Navon, the entire text has been retranslated from the original. Unnecessary repetitions, inaudible phrases, etc., have been edited out. Dr. Hatsumi's manner of speak- ing is by no means always straightforward, and little attempt has been made to reproduce it, since it was felt that this would be too confusing and barely read- able. However, efforts have been made (including consultation with Hatsumi Sensei himself) to clarify the many points that required it. Only a few of his very frequently used interjected phrases (expressions Published by Contemporary Books A division of NTC/Contemporary Publishing Group, Inc. like "you see," "right?," etc.) have been retained, just 4255 West Touhy Avenue, Lincolnwood (Chicago), Illinois 60712-1975 U.S.A. for the sake of naturalness; and for the same reason, Copyright © 1988 by Masaaki Hatsumi some of the broken sentences and changes of direc- All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, tion characteristic of informal speech have been re- photocopying, recording, or otherwise, without the prior written permission of tained, as long as the meaning is clear. -
Japanese Sword Buying Guide
THE SAMURAI SWORD GUIDE Learn what to look for when planning to buy www.samurai-sword-shop.com JAPANESE SWORD BUYING GUIDE With the inception of the powerful and highly modernized internet, searching for and buying hard‐to‐find gadgets, gizmos and watchamacallits have never been easier than it was 10 years ago. And this includes finding a good katana. If one wants to buy a katana way back in the good ‘ol days, he had to go out and look for a brick and mortar store where some actual katana swords were being sold. But sometimes, after having traveled quite a distance, the store owner would tell you that they don’t have any katana in stock! What a big disappointment! All of these have changed though with the birth of the World Wide Web. Now you can find ten or more different katanas with just a few clicks and in just a fraction of time. You can quickly compare katanas that range from as low as 100 euro up to a few thousand euro while a real nihonto would probably cost around 10.000 , 20.000 and up to +100.000 euro and more. Well, don’t be shocked! Even a simple antique tsuba can actually cost much more than a regular sword! Nevertheless, the emergence of modern technology cannot quite replace the actual buying process that we have been earlier exposed to – one that allows us to examine closely and even touch and smell the product before we decide if it’s worthy of our penny. Copyright © 2010 www.samurai-sword-shop.com 1 It’s really hard to tell if the katana on your computer screen is worth the price and if it’s really what you are looking for. -
Types of Japanese Folktales
Types of Japanese Folktales By K e ig o Se k i CONTENTS Preface ............................................................................ 2 Bibliography ................................... ................................ 8 I. Origin of Animals. No. 1-30 .....................................15 II. A nim al Tales. No. 31-74............................................... 24 III. Man and A n im a l............................................................ 45 A. Escape from Ogre. No. 75-88 ....................... 43 B. Stupid Animals. No. 87-118 ........................... 4& C. Grateful Animals. No. 119-132 ..................... 63 IV. Supernatural Wifes and Husbands ............................. 69 A. Supernatural Husbands. No. 133-140 .............. 69 B. Supernatural Wifes. No. 141-150 .................. 74 V. Supernatural Birth. No. 151-165 ............................. 80 VI. Man and Waterspirit. No. 166-170 ......................... 87 VII. Magic Objects. No. 171-182 ......................................... 90 V III. Tales of Fate. No. 183-188 ............................... :.… 95 IX. Human Marriage. No. 189-200 ................................. 100 X. Acquisition of Riches. No. 201-209 ........................ 105 X I. Conflicts ............................................................................I l l A. Parent and Child. No. 210-223 ..................... I l l B. Brothers (or Sisters). No. 224-233 ..............11? C. Neighbors. No. 234-253 .....................................123 X II. The Clever Man. No. 254-262 -
JOMEC Journal Journalism, Media and Cultural Studies
JOMEC Journal Journalism, Media and Cultural Studies Pacific Crossings: Remaking Bodies and Cultures Through Film Jane Chi Hyun Park University of Sydney Email: [email protected] Twitter: @jchihyunpark Keywords Diaspora Transnationalism Crossover Orientalism Hallyu Cultural Translation Hollywood Australian Film Masculinity Abstract This paper draws on scholarship from Inter-Asia and Asian diasporic cultural studies to look at two recent attempts by East Asian performers to appeal to Western audiences on the big screen, reading their crossover attempts as embodied forms of cultural and aesthetic translation. The first considers the ‘success’ of an Australian film, Mao’s Last Dancer, based on the life of a male Chinese diasporic ballet dancer, and the second, the ‘failure’ of two Hollywood films, Blood: The Last Vampire and Ninja Assassin which star Korean actors, Jeon Ji-hyun (Gianna Jun) and Jung Ji-hoon (Rain), Focusing on the ways in which these stars were produced and consumed transnationally, the paper questions the cultural, institutional and generic terms through which western films showcasing non- western bodies and themes are deemed to fail or succeed. It argues, ultimately, that a close examination of how certain narratives, genres, stars and performances are (mis)translated across different cultures demonstrates the continued existence of cultural and national differences in a supposedly swiftly globalizing world. Contributor Note Jane Chi Hyun Park is Senior Lecturer in the Department of Gender and Cultural Studies, University of Sydney and has published widely on the social uses of media technologies, the cultural impact of minority representations, and transnational flows of popular film, music, and television, with a particular focus on East Asia and Asian America. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
The Etiquette & Customs for Sword Appreciation & Viewing
The Etiquette & Customs For Sword Appreciation & Viewing Clive Sinclaire Bexley, Kent June 2012 If you practice any of the sword related martial arts, such as Kendo or Iai‐do, then from the very first day, before you even pick up the wooden practice sword, you will be made aware of reigi. This has been defined as covering such areas as “courtesy, decorum, etiquette, civility, propriety and discipline”. Such things are reflected in how one conducts oneself in the dojo, how one relates to both higher and lower grades and is the thing that prevents these martial ways from becoming uncivilised and brutal. A fundamental precept of reigi in this context is respect for the sword, even in its imitated form of a bokuto or wooden substitute which is customarily wiped with a clean cloth, before and after use. They are placed on the dojo floor with respect and care, avoiding noise or clatter and they should never be placed on the hakama (traditional clothing) as this is considered a blatant breach of etiquette. There are correct ways of bowing when entering or leaving the dojo and carrying a sword. These practices are sometimes a surprise to the novice who might view the activities as purely sport, but they are of great importance from both a cultural and safety point of view. Formal Rei at Iai‐do shia. Reigi was a natural and accepted thing in old Japan and one’s behaviour when handling swords was of great importance as the consequences of inappropriate actions might have serious consequences. Today in Japan, there are occasions when swords are viewed by large numbers of people at the same time, such as at a To‐ken Taikai or sword convention.