DOCSLIB.ORG

CAPSCR Nobuhiro

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NOBUHIRO written by Aidan Cole [email protected] 636-459-5118 FADE IN: INT. ROOM - NIGHT Black. NOBUHIRO (V.O.) It was a time of the Sengoku. “A Country at War.” Tsuki no Shizuku (Traditional Japanese music) plays. A CANDLE is lit. ANIMATED images of Japanese paintings flow across the screen, depicting the 1467 Ōnin War. NOBUHIRO (V.O.) The collapse of the feudal military government of Japan, The Ashikaga Shogunate. A painting of the Shugunate, feudal lords, getting killed. NOBUHIRO (V.O.) Various samurai warlords and their clans fought for control in the power vacuum. Swords CLASH, men YELL, horses GALLOP. A painting of samurai armies battling. NOBUHIRO (V.O.) In their struggle for power, a group of anarchists called the Ikkō- ikki, made themselves known. A painting of the Ikkō-ikki, dirty and poor peasant farmers, executing samurai, women, children and burning their villages. Women and children SCREAM. NOBUHIRO (V.O.) Loyal to no one, they fight without conscious or mercy. Without honor. Wishing to destroy the samurai. No clan welcomes them. Not even mine. Paintings show the present. A painting of The Oda Clan family crest: a Black and Golden Flower. The petals rotate. NOBUHIRO (V.O.) The Oda Clan. Below the family crest is the Oda Family, their samurai army behind them. SHUGO HIDÉ sits with his wife and kids. 2. NOBUHIRO (V.O.) My father, the Shugo, protector of the Owari Province. He trains me and my three siblings in preparation for the war we will inherit. It’s “us against them” my father says. The final painting is a sunrise with a cherry blossom tree on a small hill, outside the Nagoya Village. NOBUHIRO (V.O.) I dream of an end to our war. But before I can unite our country, I must unite my family. The painting BECOMES REALITY. DISSOLVE TO: EXT. OWARI PROVINCE, NAGOYA VILLAGE - SUNRISE SUPER: Japan, 1550 CHILDREN run up the hill, LAUGHING. NOBUHIRO (V.O.) I hope I’m not too late. The Oda children have wooden katanas. NOBUHIRO (18) runs ahead. NAGA (16) chases him. OICHI (14), kind but stern, holds MASU’S (8) hand. OICHI Naga, wait for us! NAGA Halt, Ikko scum! Nobuhiro raises a peach. NOBUHIRO Come and get it, “Master Kygo.” Naga charges. They playfully fight under the tree. Naga spins, hitting Nobuhiro’s hand and LAUNCHING the peach into the tree. It lands on a branch. The brothers exchange a look. They continue fighting. 3. OICHI Guard me while I go get it. MASU Okay. She climbs. Masu holds his little katana, acting tough. Nobuhiro pushes Naga down the hill. NOBUHIRO Yield or die brother! NAGA Hiro look! NOBUHIRO Really? You think I’ll fall for that? NAGA No really. Oichi! Naga runs past Nobuhiro. He turns. Oichi has the peach. NOBUHIRO Oichi! I had it first! Masu points his katana at his brothers. MASU Stop you thieves! Naga and Nobuhiro exchange a smile. Nobuhiro passes Masu and climbs. Naga tackles Masu. NOBUHIRO Oichi, you know I had it first! She chuckles and climbs higher. Nobuhiro follows. She holds the peach high and opens her mouth. NOBUHIRO Oichi no! No... don’t you dare! Naga sees her. NAGA Oichi don’t! She takes a bite. Naga gets on his knees. 4. NAGA (dramatic) NOOOOOO! Masu copies him. NOBUHIRO Okay, you had your fun. Give me a bite. OICHI Sorry, I promised Masu a bite first. Masu, you want it? Masu runs under Oichi. Masu catches the peach and takes a few bites. NOBUHIRO What? That’s not fair! Naga takes the peach from him. NAGA Alright my turn, little rat. MASU (chewing) I’m not a rat! Give it back! Naga holds Masu back. Nobuhiro climbs to Oichi. NOBUHIRO See what you started? Nobuhiro pushes her and she falls. Nobuhiro grabs her foot at the last second. She hangs from the tree in a nervous panic. OICHI Nobuhiro! Nobuhiro pull me up! Nobuhiro smiles. NOBUHIRO Say you’re sorry. OICHI What?! NOBUHIRO Say you’re sorry or I drop you. Naga and Masu, entertained, are still eating the peach. 5. NAGA (chewing) Yeah, Oichi, apologize. OICHI Shut up Naga! MASU NAGA Give me the peach! It’s my (swallows) turn. Look, either you apologize or I TRY to catch you, and I don’t want to drop the peach. OICHI Alright! I’m sorry, I’m sorry! Nobuhiro smiles maniacally. NOBUHIRO Naga, CATCH! Naga’s eyes widen. Nobuhiro drops her. NAGA Shit! Naga drops the peach and catches her. Nobuhiro climbs down. Oichi punches him. OICHI You could’ve killed me! NOBUHIRO Ow, stop! I knew he would catch you! Oichi stomps away. Masu punches Nobuhiro in the crotch. MASU You’re mean! Nobuhiro falls. Masu follows Oichi. Naga meets Nobuhiro with the dirty peach. A pause. NAGA Here, I don’t want it anymore. Nobuhiro stands, annoyed. He takes a bite. NOBUHIRO Mmm... worth it. 6. A distant bell RINGS. NOBUHIRO We’re late for training! The two brothers run down the hill. EXT. NAGOYA CASTLE, TRAINING YARD - DAY A large area within the castle walls. Filled with wooden dummies, targets for archery, platforms for practicing balance, surround Master MASAHÍDE (40s). His hair in a bun, black cloak with red lining on his sleeves, barefoot. Full beard. Loves his students but trains them hard. Naga, Nobuhiro and Oichi in the free space arena, Masu on the wooden platforms. Naga and Nobuhiro bare foot and blindfolded. Oichi sits and watches. She hopes Naga wins. The children’s father, ODA NOBUHÍDE (46) or SHUGO HIDÉ, watches from the castle, expecting the best from his children. He’s tall and strong. Paranoid for the safety of his family and village. MASAHÍDE Nobuhiro and Naga. Step forward. He gives them their katanas. MASAHÍDE You know what to do. They go to opposite sides of the arena and bow to each other. MASAHÍDE Begin. They raise their katanas, slithering toward each other, listening for the slightest sounds. MASAHÍDE Legend says the most powerful samurai can charge into a battlefield of smoke and still know where his enemy stands! Naga throws a rock to trick Nobuhiro. He doesn’t flinch. 7. MASAHÍDE The most resourceful samurai will let the wind tell him where the next strike will be. Masu does a handstand on a tall wooden pole, switching from one hand to the other. Masahíde looks at Masu. MASAHÍDE ...and the most honorable samurai, will maintain inner peace throughout the entire battle. A bird lands on Masu’s foot. MASU (to the bird) Hello. MASAHÍDE Nagamasu! MASU Yes Master! Sorry Master! He whistles at the bird. The bird flies away. Masahíde squints. The two boys are a few feet apart. They hear each other’s breathing. Naga’s breath is faster. Oichi holds hers. Everything is still. Masahíde tosses a small rock between the boys. Masu falls off the pole and the boys start fighting. Masahíde runs to comfort Masu. MASAHÍDE In battle you will be distracted on all sides with meaningless noise. Keep your balance no matter what’s around you. MASU Yes master. Masahíde smiles and dusts him off. MASAHÍDE What did you say to that bird? 8. MASU Just to go away. Masahíde smiles. MASAHÍDE (to himself) He’s still young. (to Masu) Try again. Masu climbs the pole. Naga swings his katana. Nobuhiro dodges and hits Naga in the leg. He falls. Naga rolls in retreat. Masahíde approaches Oichi. MASAHÍDE Run straight through them without getting hit. She gives a concerned look. MASAHÍDE On the battlefield the enemy will block your path. You must find a way through. You’re welcome to join the fight if you wish, but again, don’t get hit. She smiles manically at Nobuhiro. OICHI Yes, Master. She sprints to her brothers. NOBUHIRO Oichi, stay out of this! NAGA Oichi, is that you?! MASAHÍDE Stay focused, boys! The battlefield is full of other enemies. Remain focused but be aware of your surroundings. Oichi jumps off Nobuhiro’s back and reaches the other side. She turns and runs back, confusing the boys. 9. NOBUHIRO Stop Oichi! Naga hits Nobuhiro’s arm. NAGA I can hear you. Nobuhiro’s anger grows. Oichi punches Nobuhiro. OICHI That’s for pushing me off the tree. NOBUHIRO Well, if you weren’t so scared maybe father would finally give you a REAL katana. Oichi kicks Nobuhiro to the ground. Naga hears him fall. NAGA Master, do I win? MASAHÍDE Not until one of you yields. Nobuhiro stands. NOBUHIRO I’ll never yield! I am a samurai! They have Shugo’s attention. Nobuhiro widens his stance, ready. Nobuhiro catches her arm and twists it. He punches her in the face and stomach, throwing her out of the arena. She cries in pain. NAGA Oichi! You alright? She doesn’t answer. NOBUNAGA MASAHÍDE Master?! Keep fighting! NAGA Nobuhiro, I’ll make you pay, wherever you are. Naga, enraged, sprints to Nobuhiro. He stops suddenly and Nobuhiro swings, missing. Naga LAUNCHES himself at Nobuhiro. He punches him, HARD. Nobuhiro, in his rage, kicks Naga off. 10. Nobuhiro strikes down, next to Naga’s head, missing again. Naga hears where Nobuhiro’s katana hit the ground. He grabs it. NAGA There you are. Naga pulls Nobuhiro’s katana to him and jump kicks his throat. Nobuhiro releases his katana and falls, coughing. Naga strikes Nobuhiro with two katanas. NOBUHIRO I yield! MASAHÍDE Yamete! (Stop!) He stops. Nobuhiro removes his blindfold and kicks Naga in the face. He falls. NOBUHIRO That hurt! MASAHÍDE Nobuhiro! Yamete! Masahíde rushes to Nobuhiro.
Recommended publications
  • The Japanese Samurai Code: Classic Strategies for Success Kindle

    The Japanese Samurai Code: Classic Strategies for Success Kindle

    THE JAPANESE SAMURAI CODE: CLASSIC STRATEGIES FOR SUCCESS PDF, EPUB, EBOOK Boye Lafayette De Mente | 192 pages | 01 Jun 2005 | Tuttle Publishing | 9780804836524 | English | Boston, United States The Japanese Samurai Code: Classic Strategies for Success PDF Book Patrick Mehr on May 4, pm. The culture and tradition of Japan, so different from that of Europe, never ceases to enchant and intrigue people from the West. Hideyoshi was made daimyo of part of Omi Province now Shiga Prefecture after he helped take the region from the Azai Clan, and in , Nobunaga sent him to Himeji Castle to face the Mori Clan and conquer western Japan. It is an idea taken from Confucianism. Ieyasu was too late to take revenge on Akechi Mitsuhide for his betrayal of Nobunaga—Hideyoshi beat him to it. Son of a common foot soldier in Owari Province now western Aichi Prefecture , he joined the Oda Clan as a foot soldier himself in After Imagawa leader Yoshimoto was killed in a surprise attack by Nobunaga, Ieyasu decided to switch sides and joined the Oda. See our price match guarantee. He built up his capital at Edo now Tokyo in the lands he had won from the Hojo, thus beginning the Edo Period of Japanese history. It emphasised loyalty, modesty, war skills and honour. About this item. Installing Yoshiaki as the new shogun, Nobunaga hoped to use him as a puppet leader. Whether this was out of disrespect for a "beast," as Mitsuhide put it, or cover for an act of mercy remains a matter of debate. While Miyamoto Musashi may be the best-known "samurai" internationally, Oda Nobunaga claims the most respect within Japan.
  • Feudal Japan

    Feudal Japan

    The Japanese had a deep respect for nature due to their geography Tsunami Tsunami 2 • How do you think that played into their early religion? • How do you think that played into their early religion? • Polytheistic • SHINTOISM Yamato Period: 300-710 Began promoting the adoption of Chinese culture: Confucianism. Language Buddhism Chinese art & architecture. Strong Government “Great Kings” era Heian Period: 700’s-1100’s Characteristics: Growth of large estates.(Nobles) Arts & literature of China flourished. Elaborate court life [highly refined] . ETIQUETTE. Great novel The Tale of Genji by Lady Murasaki Shikibu [1000 pgs.+] Heian Court Dress Tale of Genji (first novel) Tale of Genji Scroll (first novel) Heian Period: Selective Borrowing 1.Chinese writing. 2.Chinese artistic styles. 3.Buddhism [ZEN]. 4.BUT, not the Chinese civil service system! Feudalism A political, economic, and social system based on loyalty, the holding of land, and military service. Europe: King Land - Fief Loyalty Land - Fief Loyalty Lord Lord Food Knight Knight Knight Protection Peasant Peasant Peasant Peasant Feudalism A political, economic, and social system based on loyalty, the holding of land, and military service. Japan: Shogun Land - Shoen Loyalty Land - Shoen Daimyo Daimyo Loyalty Samurai Samurai Samurai Food Protection Peasant Peasant Peasant Peasant The emperor reigned, but did not always rule! Feudal Society Medieval Warriors vs. European knight Samurai Warrior Medieval Warriors vs. Knight’s Armor Samurai Armor Code of Bushido * Respect for
  • Tokyo Takarazuka Theater(TOKYO) Aug.5‒Sep.4 2016

    Tokyo Takarazuka Theater(TOKYO) Aug.5‒Sep.4 2016

    Tokyo Takarazuka Theater(TOKYO) Aug.5‒Sep.4 2016 Postal Life Insurance 100th Anniversary ‒ Kanpo Dream Theater Rock Musical "Nobunaga: The Will to Power" Written and directed by Takuji Ono Postal Life Insurance 100th Anniversary ‒ Kanpo Dream Theater Shining Show "Forever LOVE!!" Written and directed by Daisuke Fujii On sale from: July 3, 2016, at 10:00 AM(JST) ‒ Price SS Seat : 12,000 / S Seat : 8,800 / A Seat : 5,500 / B Seat : 3,500 Unit: Japanese Yen (tax included) Story ‒‒‒ "Nobunaga: The Will to Power" Japan is at war with itself. At Okehazama, Oda Nobunaga (Masaki Ryu) of Owari, rumored to be a fool, spectacularly defeated Imagawa Yoshimoto of Mikawa as he was leading a much larger host than Nobunaga's toward the capital city, Miyako (modern‒day Kyoto). Nobunaga has decided to take Yoshimoto's place and lead his own forces to Miyako, so he is compelled to ally with the Azai clan in order to suppress Mino, a province lying between Owari and Miyako, by having his younger sister Oichi (Mitsuki Umino) wed Nagamasa, the Azai clan's successor. However, Mino is also the birthplace of Nobunaga's wife, Kicho (Reika Manaki). Her former retainers and people are in Mino, and Kicho is vehemently opposed to the province's destruction, even if it is now in the hands of an enemy who overthrew her father, Saito Dosan. But Nobunaga, who has embarked upon his path to conquest, holds to his course. Ten years later, Nobunaga has conquered Mino and marched into Miyako. He has become war incarnate and continues to slaughter his enemies, instilling terror in the populace, who call him a king of demons.
  • THE BATTLE of ANEGAWA, 30 JULY 1570 THEME TENKA FUBU the Sengoku Period Was Coming Towards Its Closing Years

    THE BATTLE of ANEGAWA, 30 JULY 1570 THEME TENKA FUBU the Sengoku Period Was Coming Towards Its Closing Years

    © Alan Perry THE BATTLE OF ANEGAWA, 30 JULY 1570 THEME TENKA FUBU The Sengoku period was coming towards its closing years. As Oda Nobunaga slowly realised his goal of setting up a tame shogun, he found that there was an ever-increasing hostil- ity to his expanding power and influence. By 1568 this re- sistance was beginning to coalesce around the rival daimyo (the traditional feudal hereditary landlords) and, ironically, the Ikko-ikki (a loose uprising of religious groups who were op- posed to the traditional feudal hierarchy of Japanese society). By Eoghan Kelly n an attempt to break the back of both groups, Nobunaga launched a campaign against the Ikkō-ikki with the strategic goal of breaking their fortified holdings and leav- Iing them without strongholds. Initially Nobunaga had to deal with the Rok- kaku clan, who were prepared to go to war over his choice for shogun – but they were far less prepared than Nobu- naga, who all but destroyed the clan in a lightning war of 1569. He was then further pushed by the Asakura clan, who were attempting to curtail his ris- ing power, and in 1570 he launched an invasion of their lands. To every- one’s surprise, the Azai (or Asai) clan honoured their old alliance with the Asakura clan and broke their more re- cent alliance with Tokugawa Ieyasu to support Asakura Kagetaki. This was not quite so much of a surprise as Nobu- naga portrayed it as, given that the Oda and Azai clans had been involved in a territorial struggle for the control of several provinces for nearly five years at this point.
  • 25.06.2014 PRIMA BOZZA Annotazioni

    25.06.2014 PRIMA BOZZA Annotazioni

    Mutamenti dei linguaggi nella scena contemporanea in Giappone a cura di Bonaventura Ruperti Mutamenti dei linguaggi della scena contemporanea in Giappone a cura di Bonaventura Ruperti © 2014 Libreria Editrice Cafoscarina ISBN: 978-88-7543-364-2 The editor and the Department of Asian and North African Studies of Ca’ Foscari University wish to express their appreciation for assistance given by the Japan Foundation towards the cost of publishing this book. Libreria Editrice Cafoscarina srl Dorsoduro 3259, 30123 Venezia www.cafoscarina.it Tutti i diritti riservati Prima edizione settembre 2014 CONTENTS Introduzione di Bonaventura Ruperti Il teatro in Giappone dalla modernità alla contemporaneità Cifre e linguaggi della scena contemporanea xx - Molteplicità di tendenze xx - La tradizione xx - Trapassi tra tradizione e modernità xx - La modernità xx - La contemporaneità xx - Altre sperimentazioni, nel confronto con le tradizioni xx - Incessanti mutazioni: il corpo e le interazioni tra le arti xx - Rivoluzione, mobilità e impulsi creativi xx - Umorismo e disincanto, silenzio e tragico nel quotidiano xx - Leggerezza del sogno, miti del passato e di un futuro imminente xx - Quiete, frantumazioni e innesti tecnologici xx - Intersezioni, frammenti e fuggevole precarietà xx 1 Katja Centonze Mutamenti del linguaggio estetico e segnico della danza: ankoku butō Prima del butō: L’importanza di Hijikata e la via verso il corpo che si ribella nelle arti sceniche xx - Kinjiki: il primo passo verso la rivoluzione semiotica della danza xx - Lo sguardo storico di Ichikawa Miyabi xx - Il corpo nudo: ratai xx - Le definizioni ankoku butō, ankoku buyō e di “danza” in Giappone xx - L’oggetto “nikutaizzato” come rivoluzione copernicana del butō: corpo e oggetto dalla manipolazione alla trasformazione xx 2 Cinzia Coden Kara Jūrō: la fisicità dell’attore cantastorie Kara e la compagnia Dainana byōtō xx - La nascita di una nuova estetica.
  • 2014 Tsikakonakamuro Vcorr.Pdf

    2014 Tsikakonakamuro Vcorr.Pdf

    UNIVERSIDADE DE SÃO PAULO – USP FACULDADE DE FILOSOFIA LETRAS E CIÊNCIAS HUMANAS – FFLCH PROGRAMA DE PÓS-GRADUAÇÃO EM LÍNGUA, LITERATURA E CULTURA JAPONESA Sen’hime - A princesa da Era Tokugawa Tsikako Nakamuro Dissertação apresentada ao Programa de Pós- Graduação na área de Língua, Literatura e Cultura Japonesa do Departamento de Letras Orientais da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para obtenção do Título de Mestre em Literatura Japonesa. Orientadora: Profa. Dra. Luiza Nana Yoshida De acordo: _____________________________________________________________ Profa. Dra. Luiza Nana Yoshida Versão Corrigida SÃO PAULO 2014 À minha querida mãe Kimico, por me fazer acreditar que o impossível pode ser realizado. Agradeço aos meus irmãos Isao, Hideyuki, Assako, Júlia Namie, Kazuko e aos sobrinhos Adirlei, Bruna e Jimmy pela compreensão durante meus momentos de frustração. 2 AGRADECIMENTOS Agradeço a Deus por me dar forças e discernimento para continuar até o final dessa árdua jornada, principalmente quando as dificuldades apareciam e eu tive vontade de abandonar o meu sonho. À minha orientadora Profa. Dra. Luiza Nana Yoshida pela paciência e sabedoria ao me conduzir durante esses trabalhosos anos de elaboração dessa dissertação de Mestrado com grande maestria. Ao corpo docente do Programa de Pós Graduação em Língua, Literatura e Cultura Japonesa, em especial à Profa. Dra. Madalena Natsuko Hashimoto Cordaro. Ao CEJAP - USP que possibilitou que grande parte da minha pesquisa bibliográfica fosse desenvolvida. À Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – CAPES, pelo apoio financeiro para a realização desta pesquisa. Às minhas amigas Andréa Ribeiro dos Santos e Lídia Spaziani pela grande torcida.
  • A Tanizaki Feast

    A Tanizaki Feast

    A Tanizaki Feast Michigan Monograph Series in Japanese Studies Number 24 Center for Japanese Studies, The University of Michigan A Tanizaki Feast The International Symposium in Venice Edited by Adriana Boscaro and Anthony Hood Chambers Center for Japanese Studies The University of Michigan Ann Arbor, Michigan, 1998 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. 1998 The Regents of the University of Michigan Published by the Center for Japanese Studies, The University of Michigan, 202 S. Thayer St., Ann Arbor, MI 48104-1608 Distributed by The University of Michigan Press, 839 Greene St. / P.O. Box 1104, Ann Arbor, MI 48106-1104 Library of Congress Cataloging in Publication Data A Tanizaki feast: the international symposium in venice / edited by Adriana Boscaro and Anthony Hood Chambers. xi, 191 p. 23.5 cm. — (Michigan monograph series in Japanese studies ; no. 24) Includes index. ISBN 0-939512-90-4 (cloth : alk. paper) 1. Tanizaki, Jun'ichir5, 1886—1965—Criticism and interpreta- tion—Congress. I. Boscaro, Adriana. II. Chambers, Anthony H. (Anthony Hood). III. Series. PL839.A7Z7964 1998 895.6'344—dc21 98-39890 CIP Jacket design: Seiko Semones This publication meets the ANSI/NISO Standards for Permanence of Paper for Publications and Documents in Libraries and Archives (Z39.48-1992). Published in the United States of America ISBN 978-0-939512-90-4 (hardcover) ISBN 978-0-472-03838-1 (paper) ISBN 978-0-472-12816-7 (ebook) ISBN 978-0-472-90216-3 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ Contents Preface vii The Colors of Shadows 1 Maria Teresa Orsi The West as Other 15 Paul McCarthy Prefacing "Sorrows of a Heretic" 21 Ken K.
  • ART, ARCHITECTURE, and the ASAI SISTERS by Elizabeth Self

    ART, ARCHITECTURE, and the ASAI SISTERS by Elizabeth Self

    ART, ARCHITECTURE, AND THE ASAI SISTERS by Elizabeth Self Bachelor of Arts, University of Oregon, 2007 Master of Arts, University of Pittsburgh, 2012 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of the Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Elizabeth Self It was defended on April 6, 2017 and approved by Hiroshi Nara, Professor, East Asian Languages and Literatures Mrinalini Rajagopalan, Assistant Professor, History of Art and Architecture Katheryn Linduff, Professor Emerita, History of Art and Architecture Dissertation Advisor: Karen Gerhart, Professor, History of Art and Architecture ii Copyright © by Elizabeth Self 2017 iii ART, ARCHITECTURE, AND THE ASAI SISTERS Elizabeth Self, PhD University of Pittsburgh, 2017 In early modern Japan, women, like men, used art and architectural patronage to perform and shape their identities and legitimate their authority. Through a series of case studies, I examine the works of art and architecture created by or for three sisters of the Asai 浅井 family: Yodo- dono 淀殿 (1569-1615), Jōkō-in 常高院 (1570-1633), and Sūgen-in 崇源院 (1573-1626). The Asai sisters held an elite status in their lifetimes, in part due to their relationship with the “Three Unifiers” of early 17th century Japan—Oda Nobunaga (1534-1582), Toyotomi Hideyoshi (1537- 1589), and Tokugawa Ieyasu (1543-1616). As such, they were uniquely positioned to participate in the cultural battle for control of Japan. In each of my three case studies, I look at a specific site or object associated with one of the sisters.
  • Road to Honganji General Unit (Front) General Unit (Back) Main Rules

    Road to Honganji General Unit (Front) General Unit (Back) Main Rules

    1-2-1 Generals Road to Honganji General unit (front) General unit (back) Main Rules Game Design: Jun Tajima Produced and Published by Simulation Journal (http://www.gamejournal.net) Units with a military value printed on them are Translation by: Matt Boehland generals. Emails welcome: [email protected] Generals represent the important people of the time, Japanese wargame database: their soldiers, and each player's castles. Generals have http://www.wolfgames.com/jpnwar/jpnwar.htm their 'general's name' and 'military value' printed on them. Chapter 1: Game components 1) General's name: Referred to in some cards and charts The following items are included with this game. In addition, 6 sided dice (the more the better) are needed. 2) Military value: All generals have this value, which represents combat expertise and battlefield command Rules (1) skill. Board (1) Units & markers (part of 1 countersheet) 3) Cunning: Some generals have this value, which Combat cards (32 cards) indicates that general having expertise in carrying out Note: Print out chart translation in 'landscape' mode plots, schemes and their domestic administration ability. 1-1 Board Printed on the board are 'areas' that units are placed on, 1-2-1-1 Leaders a 'turn track', and various charts to help players during These are the daimyos that are the main characters that the game. each player becomes: 'Hashiba Hideyoshi', 'Akechi Mitsuhide, 'Shibata Katsuie', and 'Tokugawa Ieyasu' 1-1-1 Areas (shown below in that order): The map is of central Japan in feudal times. Each area has its 'area name' and 'starting placements' printed on it.
  • A Lady Samurai Behind the Shadow of Toyotomi Hideyoshi

    A Lady Samurai Behind the Shadow of Toyotomi Hideyoshi

    Kitanomandokoro: A Lady Samurai Behind the Shadow of Toyotomi Hideyoshi by Tomoko Kitagawa B.Sc., The University of British Columbia, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS m THE FACULTY OF GRADUATE STUDIES C Asian Studies ) THE UNIVERSITY OF BRITISH COLUMBIA April 2006 © Tomoko Kitagawa, 2006 Abstract "Your skill is the best, and our wish is always the same - Taiko" (1593) This is a quote from a private correspondence between Toyotomi Hideyoshi and his first wife, Kitanomandokoro. She had been married to him for thirty-seven years, and was respected not only by Hideyoshi and other vassals who were close to him, but also by Daimyo who lived in remote places. In studies on Hideyoshi and his time, however, this fact has never come into the spotlight; Kitanomandokoro has always simply been referred to as "a wife of Hideyoshi," and very little is known about her. Who is this lady whom Taiko praised as the best and most trustworthy? This study presents the first biographical record of Kitanomandokoro. By reading primary sources from her time, even without believing that Kitanomandokoro was a powerful figure, one would be persuaded that the "lady samurai" behind the male samurai cannot be underestimated in terms of their consolidated and meaningful positions. The private correspondences of Hideyoshi to Kitanomandokoro further act as records demonstrating Kitanomandokoro's importance in the castle in absence of Hideyoshi. These letters have generally been taken as love letters and thus have never been analyzed as a significant historical record of women's importance during Hideyoshi's reign.
  • Sengoku Era Figures & Their Media Portrayals Neko2015

    Sengoku Era Figures & Their Media Portrayals Neko2015

    By dj Date Masamune • Panel will be available online as well as a list of all my resources • On my blog • Will upload .pdf of PowerPoint that will be available post-con • Contact info. • Take a business card before you leave • Especially if you have ANY feedback • Even if you leave mid-way, feel free to get one before you go • If you have any questions left, feel free to ask me after the panel or e-mail me • Background • Will be giving a brief overview of the Sengoku era, as well as historical figures • Don’t have nearly enough time to give a comprehensive outline of all the daimyos, events, clans, famous figures, etc. of the Sengoku era, so I’m going to be giving some factoids on each covered • a.k.a. the Warring States Period • 1467-1573 • Reference to Warring States Period in China • Gekokujo • Upheaval that weakened central authority & precipitated the rise of daimyos & the fall of Shoguns that really kickstarted the Sengoku era • *Anything having to do with Oda Nobunaga! • The Onin War • Conflict rooted in economic distress & instigated by a dispute over shogunal succession. Lasted 11 years & left Kyoto almost completely destroyed • Unification/Azuchi-Momoyama Period • Started by Oda Nobunaga & finished & maintained by Hideyoshi Toyotomi & then Ieyasu Tokugawa • Battle of Sekigahara • Tokugawa Ieyasu’s forces vs. Mitsunai Ishida’s forces post Hideyoshi Toyotomi’s (1598) & Maeda Toshiie (1599) death since Mitsunari accused Ieyasu of disloyalty to Toyotomi • Tokugawa Shogunate • The last Shogunate & when Japan could • Shogunate-A system in government put in place by the present feudal dictatorship at the time • *There are various important battles (Battle of Kawanakajima, the Siege of Osaka, etc.
  • Oda Nobunaga's Council

    Oda Nobunaga's Council

    Official Background Guide Oda Nobunaga’s Council Model United Nations at Chapel Hill XVIII February 22 – 25, 2018 University of North Carolina at Chapel Hill Table of Contents Letter from the Crisis Director …………………………………………………………………… 3 Letter from the Chair …………………………………………………………………………… 4 Background Information ………………………………………………………………………… 5 The Imagawa Clan ……………………………………………………………………………… 13 Earthquakes …………………………………………………………………………………… 14 European Encroachment ……………………………………………………………………… 15 Position List …………………………………………………………………………………… 16 Oda Nobunaga’s Council Page 2 Letter from the Crisis Director Dear Delegates, It is my pleasure to welcome you to MUNCH XVIII, and to the unique committee Tyler, your chair, Mason, your co-chair, and I have put together -- Oda Nobunaga’s Council. My name is Thomas Poole and I am a freshman here at UNC Chapel Hill studying Political Science and Chinese. I was born and raised in Raleigh, North Carolina, and have participated in MUN for three years at Enloe High School. Coming into MUNCH, I knew I wanted to direct a historical crisis committee. As a delegate, there is nothing more entertaining to me than watching a historical committee get flipped on its head and rewriting history; that’s why I want to provide a similar experience for all of you. I chose the Sengoku Jidai as the setting for our committee because it naturally lends itself to Model UN. It is driven by individuals, by personalities that are remembered throughout history, and none more so than Oda Nobunaga. I’m excited for every delegate to interact with and become one of these personalities, and for all of the tense, strategic, and amusing interactions that are sure to come with it. Another focus I had when designing this committee was making sure that I created a level playing field for all delegates.