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EASC Newsletter: October 2006
EASC Newsletter: October 2006 EASC Newsletter: October 2006 A Letter from the Director Heidi Ross Dear Friends and Colleagues, Remember summer? (Relatively) uninterrupted days dedicated to research, special training programs, travel, writing, renewal? At the mid-point of the semester, those days seem like distant memories. Nevertheless, let me take a moment to celebrate with you once again the happy news we received in July when EASC, with our consortium partner University of Illinois Urbana- Champaign’s Center for East Asian and Pacific Studies (EAPS), received Title VI funding to become one of 17 U.S. National Resource Centers for the study of East Asia. As a member of this impressive nationwide group, our consortium brings together 140 faculty specialists in East Asia, making us a Midwest powerhouse. In addition to supporting outreach activities and cross-campus teaching, our joint projects include language pedagogy workshops; national dissertation workshops on East Asian ethnology, education, sexuality and gender, and culture and society; and summer seminars on transnational and cross-regional cinemas, varieties of capitalism, culture and cognition, and Daoism and folk beliefs in Chinese religion. We are now in the planning stages of a special consortium initiative, Science and Technology in the Pacific Century (STIP), which will bring together East Asian and U.S. scholars, students, and policy makers to consider the impact of science and technology on business and society on both sides of the Pacific. To date, our colloquium series has brought Professor Ted Bestor (Harvard University) to talk about “Global Sushi” and Professor Julia Andrews (Ohio State University) to discuss “Ink Painting in the Art World of Contemporary China.” The Unforgiven, by first-time film director and writer YOON Jong-bin, kicked off this semester’s film series. -
Critical Tax Policy: a Pathway to Reform? Nancy J
Northwestern Journal of Law & Social Policy Volume 9 | Issue 2 Article 2 2014 Critical Tax Policy: a Pathway to Reform? Nancy J. Knauer Recommended Citation Nancy J. Knauer, Critical Tax Policy: a Pathway to Reform?, 9 Nw. J. L. & Soc. Pol'y. 206 (2014). http://scholarlycommons.law.northwestern.edu/njlsp/vol9/iss2/2 This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Law & Social Policy by an authorized administrator of Northwestern University School of Law Scholarly Commons. Copyright 2014 by Northwestern University School of Law Vol. 9, Issue 2 (2014) Northwestern Journal of Law and Social Policy CRITICAL TAX POLICY : A PATHWAY TO REFORM ? ∗ Nancy J. Knauer TABLE OF CONTENTS INTRODUCTION .................................................................................................... 207 I. THE COSTS OF FALSE NEUTRALITY ............................................................... 214 A. All Part of a Larger “Blueprint” ............................................................ 215 B. Hidden Choices and Embedded Values .................................................. 218 Taxpayer neutrality ..................................................................................... 219 Equity and efficiency .................................................................................. 221 C. Critical Tax Theory and Scholarship ...................................................... 223 II. CHOOSING A CRITICAL -
Destination Japan Japan Is a World Apart – a Wonderful Little Planet Floating Off the Coast of Mainland China
© Lonely Planet 22 Destination Japan Japan is a world apart – a wonderful little planet floating off the coast of mainland China. It is a kind of cultural Galapagos, a place where a unique civilisation was allowed to grow and unfold on its own, unmolested by in- vading powers. And while there has been a lot of input from both Western and Eastern cultures over the millennia, these have always been turned into something distinctly Japanese once they arrived on the archipelago. FAST FACTS Even today, the world struggles to categorise Japan: is it the world’s Population: 127 million most advanced technological civilisation, or a bastion of traditional Asian culture? Has the country become just another outpost of the West, or is Female life expectancy: there something decidedly Eastern lurking under the veneer of its familiar 84.5 years modernity? There are no easy answers, but there is plenty of pleasure to be Literacy rate: 99% had in looking for them. GDP: US$3.7 trillion First and foremost, Japan is a place of delicious contrasts: ancient temples (estimated) and futuristic cities; mist-shrouded hills and lightning-fast bullet trains; kimono-clad geisha and suit-clad businesspeople; quaint thatch-roofed Latitude of Tokyo: 35.4°N, villages and pulsating neon urban jungles. This peculiar synthesis of the the same as modern and the traditional is one of the things that makes travel in Japan Tehran, and about the such a fascinating experience. same as Los Angeles For all its uniqueness, Japan shares a lot with the wider world, and this (34.05°N) and Crete includes the state of the economy. -
How to Learn Japanese Simon Reynolds How to Learn Japanese
How to Learn Japanese Simon Reynolds How to Learn Japanese Copyright 2007 by Simon Reynolds All Rights Reserved. No part of this book may be used, reproduced or transmitted in any manner whatsoever—electronic or mechanical, including photocopying, recording or by any system of storing and retrieving information—without written permission from the publisher, except for brief quotations embodied in reviews. Email: [email protected] Website: http://sprstrikesback.googlepages.com/home Manufactured in the U.K. First Edition: 2007 Book and cover design by Simon Reynolds and Yuka Reynolds Visit our website! How to Learn Japanese Simon Reynolds TABLE OF CONTENTS 1. WHY LEARN JAPANESE? 4 2. LEARNING TO LEARN 5 Where to start Should I learn to read and write Japanese? Approaches to learning 6 Finding a teacher Language schools Language exchange 7 Self-study Self study tips Building vocabulary 8 Learning grammar Listening 9 What did you say? Speaking 10 Confidence Less is more Tips on starting a conversation Get out of jail free 11 Troubleshooting Slang Practice Writing 3. PERFECTING PRONUNCIATION 13 Vowel sounds Intonation Thinking in syllables Small tsu Dots and circles Combined syllables 14 Su Ha and he Common mistakes Homonyms 15 Pronunciation practice 4. WRITING RIGHT 17 Stroke order Learning the kana Flashcards Installing Japanese fonts on your computer Learning Kanji 18 How many kanji do I need? Approaches to learning kanji Component analysis AKA the fast track Using the internet 19 Learning the pronunciations Kanji town 20 Kanji game Buying a kanji dictionary Starting to read Visit our website! How to Learn Japanese Simon Reynolds Audio books 21 More reading on the web Japanese tests JLPT J-test 22 Kanji test 5. -
New Ways of Being in the Fiction of Yoshimoto Banana
SINGLE FRAME HEROICS: NEW WAYS OF BEING IN THE FICTION OF YOSHIMOTO BANANA Ph. D Thesis Martin Ramsay Swinburne University of Technology 2009 CONTENTS Legend............................................................................................................. 5 Disclaimer…………………………………………………………………... 6 Acknowledgements…………………………………………………………. 7 Abstract ….…………………………………………………………………. 8 Introduction: A Literature of ‘Self-Help’………………………………… 9 Yoshimoto’s postmodern style…...………………………………………….. 11 Early success and a sense of impasse………………………………………... 15 A trans-cultural writer……………………………………………………….. 17 Rescuing literature from irrelevance………………………………………… 21 Chapter One: Women and Gender Roles in Contemporary Japanese Society………………………………………………………………………. 27 An historical overview ………………………………………….…………... 27 Nation building and changing ‘ideals of femininity’………………………... 30 The rise of the Modan Ga-ru (Modern Girl)………………………………… 32 The Post-War Experience ……………………………………….………….. 37 The emergence of the ‘parasite single’……………………………………… 38 Women’s magazines and changing ‘ideals of femininity’…………………... 41 The Women’s Liberation movement……………………………….………... 44 Fear of the young: The politics of falling birth rates……..………………….. 47 Chapter Two: Yoshimoto Banana and Contemporary Japanese Literature…....…………………………………………………………….. 53 Japanese literature, women and modernity …………………………………. 54 The problem with popular culture …………………………….…………….. 62 2 Sh ôjo culture: the ‘baby-doll face of feminism’ in Japan……..……………. 70 A global literature and a shared -
The Bombay the Terrorist Ti Koun .
644 CHAPTER 26 Beyond the Industrialized West 26.1 0 The Bandit Queen: Phoolan 26.1 1 Bombay's vision of a united India: as the parents are reunited with their Devi protects her wounded lover. children, hands drop weapons and stretch out in friendship. critical cinema. "In India, there is no salvation outside Yet local audiences remained loyal to the national the commercial cinema." 1 Also pursuing this path was product-which was now incorporating more sexuality Mani Rathnam, a Tamil filmmakerwho found great suc along with MTV dance styles (e.g., Trimurti, 1995). Juras cess with Nayakan ("Hero," 1986), an adaptation of The sic Park was unable to trump another 1994 release, the Godfather. Rathnam's Bombay (1994) denounces the traditional romantic comedy-drama Hum Aapke Hain bloody religious strife of the early 1990s. A Hindu jour Koun ... ! ("Who Am I to You? "). Filled with sparkling nalist marries a Muslim woman, and the couple and their studio-shot dance numbers (Color Plate 26.5), it became children are thrust into the middle of anti-Muslim riot the most popular filmof the decade. Even after restric ing. Bombay neighborhoods are spectacularly re-created tions were lifted, American imports claimed no more than in a Madras studio, riot scenes are shot and edited for 10 percent of the box office. In a country where nearly visceral force, hand-held cameras race through the half the population earned only a dollar a day, admission streets, and children watch as people trapped in cars are to a local filmran only about fifty cents while Hollywood burned alive. -
The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries. -
03042021 Clue Program (Final).Pdf
BASED ON THE SCREENPLAY BY JONATHAN LYNN DIRECTED BY DANE CT LEASURE ❘ MARCH 5-13TH WRITTEN BY SANDY RUSTIN. ADDITIONAL MATERIAL BY HUNTER FOSTER, SANDY RUSTIN, AND ERIC PRICE. ADMINISTRATION Interim Program Coordinator Arnold Tunstall, M.F.A. presents Office Manager Alana Weber, M.M. Theatre Coordinator Anna-Jeannine Kemper Dance Coordinator Spring Healy Social Media Manager Madeleine Parks Arts Connections Series Amy Mellinger Photographer John Aylward based on the screenplay by Branding Design Greta Conley and Amanda Ebert JONATHAN LYNN Written by Sandy Rustin Additional Material by Hunter Foster and Eric Price Based on the Paramount Pictures Motion Picture Based on the Hasbro board game CLUE Original Music by David Abbinanti VIDEO PRODUCTION Director Dane CT Leasure, SDC Production Manager Anna-Jeannine Kemper General Manager Juan Eduardo Contreras Barberena, M.A. Stage Manager Cennidie Hall Broadcast Engineer Richard Kent Assistant Stage Manager Arianna Allen Costume Designer Kendra Strickland Production Crew Lighting Designer Patricia Donavan, assisted by the Lighting Design & Technology class Brooke Nappier, Caleb Morgan, Cameron Blenton, Scenic Designer Brian C. Seckfort Connor Vanmaele, De’Abion Strozier, Elek Kitchen, Light Board Operator & Production Assistant Jacen Conlan Jake Herron, Joe Goodman, Jordan Domingo, Kathy Sovak, Michael Matthews, Natalie Savage, Nick McFadden, Sound Engineer Memo Diaz-Capt Nicole Maxhimer, Payton Burkhammer, Tanner Martin Props Master Joseph Fox This show will be performed without intermission. ENSEMBLE CAST Arianna Allen (Ensemble) is a Freshman UA WARNING: Physical Theatre major from Ontario, Ohio who was previously seen as Jinny in The Waves. She The video or audio recording of this performance has spent the last 12 years training as a dancer, by any means is strictly prohibited. -
Comedy Rules: from the Cambridge Footlights to Yes, Prime Minister Comedy Rules: from the Cambridge Footlights to Yes, Prime Minister
(Free) Comedy Rules: From the Cambridge Footlights to Yes, Prime Minister Comedy Rules: From the Cambridge Footlights to Yes, Prime Minister uW0roGKp2 Hw7p4mB77 P3VHYMcJ6 GLB1Nstje KTwN6oACM fUcJqMo7c EiboWj3OW mBys6VnZ1 A5f6vPt0A IZSO3yBww uFcqFfDKO Comedy Rules: From the Cambridge Footlights to Yes, Prime Minister Ik71HZvJB DI-72150 hopUXDq2C US/Data/Biographies-Memoirs rw1sA2CWr 5/5 From 658 Reviews CqtUVpmu4 Jonathan Lynn IDZVhKA7K audiobook | *ebooks | Download PDF | ePub | DOC GKp2DFAec Ae4iXuWJ4 sFBUlptVx hnMCK6J8F ug32z6hOf NZf4bZnnw 0 of 0 people found the following review helpful. The best book on comedy you FIbAnnfEn haven't read (yet)By G. GuarinoComedy Rules is a unique book about the genre. mT4pqkmDL Jonathan Lynn's anecdotal style makes this an easy read, helping the reader 1n1KfXZTD understand the nuances of writing comedy. As a long time fan of Mr. Lynn and ADY1CzVQL his work, particularly the Yes, Minister/Prime Minister series, I found his mIZjxQ1TC references entertaining as well. Anyone interested in writing comedy in prose or Q8o2hbp8S for the screen, should read this book. Makes me wish I was with the members of Monty Python as they rose to fame.0 of 0 people found the following review helpful. Interesting fun, but with no big focus or payoffBy DalcassianThere is not much bad to say about the author or the book, though it might prove disappointing to fans of "My Cousin Vinny" about which relatively little appears. The book has the strengths of its design -- mixing how-to with autobiography and thereby giving us insights and nice anecdotes of life, creativity, and celebrity, along with a fair dose of laughter. -
Understanding Japanese Society, Second Edition
UNDERSTANDING JAPANESE SOCIETY Japanese society is not well understood in the West, but the need to understand Japanese society is becoming increasingly imperative as contacts between the West and Japan increase. This book provides a comprehensive introduction to all aspects of Japanese society and culture. It begins with the home and family life and goes through various aspects of everyday and ceremonial life to the larger, more complex units such as government and the legal system. It pays particular attention to the way the world is seen, classified and ordered by Japanese people and to the symbolic aspects of Japanese behaviour, particularly ritual behaviour. The book draws on anthropological studies carried out in houses, villages, factories, businesses, schools, hospitals and so forth to show the reality of Japanese society in specific detail. Men, women and children are given equal weight throughout. The book is written so as to be comprehensible to those with no previous knowledge of Japan. Joy Hendry is Professor of Social Anthropology at Oxford Brookes University. The Nissan Institute/Routledge Japanese Studies Series Editorial Board J.A.A.Stockwin, Nissan Professor of Modern Japanese Studies, University of Oxford and Director, Nissan Institute of Japanese Studies Teigo Yoshida, formerly Professor of the University of Tokyo, and now Professor, Obirin University, Tokyo Frank Langdon, Professor, Institute of International Relations, University of British Columbia, Canada Alan Rix, Professor of Japanese, The University of Queensland -
Spring/Summer 2004
A PUBLICATION OF THE ASIAN EDUCATIONAL MEDIA SERVICE Center for East Asian and Pacific Studies ✦ University of Illinois Urbana-Champaign A E M S Vol. 7, No. 2 Spring / News and Reviews Summer 2004 From left: Filmmakers Amy From Africa to India: Sidi Music Catlin-Jairazbhoy and Nazir Ali Jairazbhoy, and Abdul Hamid Sidi in the Indian Ocean Diaspora (Sidi research assistant, second >> A film by Amy Catlin-Jairazbhoy and Nazir Ali Jairazbhoy, 2003. 74 minutes. cameraperson, and dancer in the tour group). his excellently informative documentary of most gripping musical examples, for formulas). Parallel third singing is a T the history, music, and religion of the Sidis is the opening narrative may be too dry better marker of otherness, since par- the latest in a series of valuable educational videos and detailed for the young viewer. allel harmony is relatively uncommon by the noted ethnomusicological team Amy Some facts are exciting and surpris- (but not unheard of) in South Asia. Catlin-Jairazbhoy and ing, such as the Sidi group who The video proceeds from Uttara Nazir Ali Jairazbhoy. conquered Bombay in 1689, only Kannada in the Deccan, where Hindu, Review Although Sidi people are to lose control after 16 months. Christian, and Muslim Sidis use music diverse and their specific The videographers began the project hoping to in their various educational, social, and religious historical origins varied, “Sidi” remains a common find traces of African heritage in Sidi music. practices, to Hyderabad, Andhra Pradesh, where term in the Indian subcontinent for all people Viewers are left largely to draw their own conclu- Muslim Sidis are descendants of a regiment known believed to be of African descent. -
Missing Itami Jûzô
Missing Itami Juzo The decline of Japanese film Steve Schlossstein July, 2009 I begin this brief essay on the next page with my translation of a recent interview with the veteran Japanese actor Yamazaki Tsutomu. It was one of several (Interview 2, pages 44-49*) conducted by the editors of Itami Juzo no Eiga (Itami Juzo’s Films, published in Japanese by Shinchosha in Tokyo in May, 2007). Yamazaki (Yama-san as he is popularly known) is one of Japan’s most accomplished actors and a longtime favorite of mine. He appeared in the first three films Itami wrote and directed: The Funeral, Tampopo, and A Taxing Woman, winning a Best Actor award from the Japanese Academy for the first and third. Following the translation are brief biographies of both the director Itami and his principal actor Yamazaki, together with their filmographies. They lead into short summaries of the Japanese, Chinese, and Korean film industries, including some historical perspective that may be useful as reference points for Asian cinema. I emphasize that these are just summaries and nothing more; full details can be found in the sources cited at the end. After the films of Kurosawa Akira, Ozu Yasujiro, Ichikawa Kon, Naruse Mikio, Mizoguchi Kenji, Imamura Shohei, and Teshigahara Hiroshi – all giants of 20th century Japanese film – Itami Juzo has long been my favorite Japanese director. His work shines as bright as a beacon, driving his contemporary peers into the shadows. Although he produced and directed only ten movies, he wrote each one himself. Most of them are comic but biting satires on contemporary Japanese life that attack head-on a number of cultural sacred cows, from corruption (politicians, construction companies, real estate developers) and fraud (in politics, in the stock market, in property development) to hypocrisy, identity theft, and tax evasion (practically everybody in Japanese society).