In Ghostly Japan
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D"Fj Japanesepodlol.Com
d"fJ JapanesePodlOl.com innoVative LANGUAGE.COM LESSON NOTES Beginner S5 #1 It's Always Sunny in Japan CONTENTS 2 Kanji 2 Kana 3 Romanization 4 English 4 Vocabulary 5 Sample Sentences 6 Grammar # 1 COPYRIGHT © 2013 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED. KANJI 1. (TV Station) 2. 男: 五秒前、四、三、二、一 3. 遠井 歩: みなさん、おはようございます。遠井歩(とおいあゆむ)の天気予 報の時間です。 今日、東京は とても寒くなるでしょう。天気は晴れ のち くもりでし ょう。 朝は 晴れますが、午後から くもるでしょう。夕方からは 雨でしょ う。 ところによって 雪が 降るかもしれません。 外出の時、暖かいコートと 傘を 忘れないでくださいね。 それでは、みなさん今日も 頑張りましょう。 4. 男: はい!カット!オッケイです。遠井さん、お疲れ様でした。 5. 遠井 歩: ふー。お疲れ様です。 KANA 1. (TV Station) 2. おとこ: ごびょうまえ、よん、さん、に、いち CONT'D OVER JAPANESEPOD101.COM BEGINNER S5 #1 - IT'S ALWAYS SUNNY IN JAPAN 2 3. とおい あゆむ: みなさん、おはようございます。とおい あゆむの てんきよほうの じかんです。 きょう、とうきょうは とてもさむくなるでしょう。てんきは はれ の ち くもりでしょう。 あさは はれますが、ごごから くもるでしょう。ゆうがたからは あめ でしょう。 ところによって ゆきが ふるかもしれません。 がいしゅつのとき、あたたかいコートと かさを わすれないでくださ いね。 それでは、みなさん きょうも がんばりましょう。 4. おとこ: はい!カット!オッケイです。とおいさん、おつかれさまでした。 5. とおい あゆむ: ふー。おつかれさまです。 ROMANIZATION 1. (TV Station) 2. OTOKO: Go byō mae, yon, san, ni, ichi... 3. TŌI AYUMU: Mina-san, ohayō gozaimasu. Tōi Ayumu no tenkiyohō no jikan desu. Kyō, Tōkyō wa totemo samuku naru deshō. Tenki wa hare nochi kumori deshō. Asa wa hare masu ga, gogo kara kumoru deshō. Yūgata kara wa ame deshō. Tokoro niyotte yuki ga furu kamo shiremasen. Gaishutsu no toki, atatakai kōto to kasa o wasurenaide kudasai ne. Sore dewa, mina-san kyō mo ganbarimashō. 4. OTOKO: Hai! Katto! Okkei desu. Tōi-san, o-tsukare-sama deshita. -
ANIME OP/ED (TV-Versio) Japahari Net - Retsu No Matataki Maximum the Hormone - ROLLING 1000 Toon
Air Master ANIME OP/ED (TV-versio) Japahari Net - Retsu no matataki Maximum the Hormone - ROLLING 1000 tOON 07 Ghost Ajin Yuki Suzuki - Aka no Kakera flumpool - Yoru wa Nemureru kai? Mamoru Miyano - How Close You Are 91 Days Angela x Fripside - Boku wa Boku de atte ELISA - Rain or Shine TK from Ling Tosite Sigure - Signal Amanchu Maaya Sakamoto - Million Clouds 11eyes Asriel - Sequentia Ange Vierge Ayane - Arrival of Tears Konomi Suzuki - Love is MY RAIL 3-gatsu no Lion Angel Beats BUMP OF CHICKEN - Answer Aoi Tada - Brave Song .dot-Hack Lisa - My Soul Your Beats See-Saw - Yasashii Yoake Girls Dead Monster - My Song Bump of chicken - Fighter Angelic Layer .hack//g.u Atsuko Enomoto - Be my Angel Ali Project - God Diva HAL - The Starry sky .hack//Liminality Anime-gataris See-Saw - Tasogare no Umi GARNiDELiA - Aikotoba .hack//Roots Akagami no Shirayuki hime Boukoku Kakusei Catharsis Saori Hayami - Yasashii Kibou eyelis - Kizuna ni nosete Abenobashi Mahou Shoutengai Megumi Hayashibara - Anata no kokoro ni Akagami no Shirayuki hime 2nd season Saori Hayami - Sono Koe ga Chizu ni Naru Absolute Duo eyelis - Page ~Kimi to Tsuzuru Monogatari~ Nozomi Yamamoto & Haruka Yamazaki - Apple Tea no Aji Akagi Maximum the Hormone - Akagi Accel World May'n - Chase the World Akame ga Kill Sachika Misawa - Unite. Miku Sawai - Konna Sekai, Shiritakunakatta Altima - Burst the gravity Rika Mayama - Liar Mask Kotoko - →unfinished→ Sora Amamiya - Skyreach Active Raid Akatsuki no Yona AKINO with bless4 - Golden Life Shikata Akiko - Akatsuki Cyntia - Akatsuki no hana -
Handbook of English-Japanese Etymology
HANDBOOK OP ENGLISH-JAPANESE ETYMOLOGY. BY WILLIAM IMBRIE. TOKIYO: PRINTED BY E. MEIKLEJOHN & Co., YOKOHAMA. 1880. PEEFACE. Recent English Grammarians are coming to drop Orthography and Prosody as properly belonging elsewhere, and to treat Grammar as divided into Etymology and Syntax. It is in this sense that the term is employed in the present work : Etymology, the fellow of Syntax ; Grammatical Etymology, not Historical. As at first written, the book consisted entirely of classified sen- tences, prepared by the writer to serve him in rendering English into Japanese, and without a thought of their ever leaving his own table; when, however, it was decided to publish them in the hope that they might prove helpful to others in their earlier studies, it appeared likely that the usefulness of the book would be increased by a change in its form. Accordingly, an outline of Etymology was sketched out, and as many of the sentences as ' seemed desirable inserted, in illustration of important words ranged under their respective Parts of Speech. This statement will explain the presence of so large a number of examples ; it is hoped also that it may afford a sufficient reason for certain blemishes in classification. The work being written from the English side, and with the design of helping the student to render ideas as they lie in an English mind, the author was able to find no title which better expressed his intention and method than the one adopted. Transliteration is still a vexed question, no one of the systems yet proposed commanding universal acquiescence. Those desiring to consult the literature of the subject are referred to the In- IV PREFACE. -
Beyond the Frame Intermedia And
BEYOND THE FRAME INTERMEDIA AND EXPANDED CINEMA IN 1960-1970S JAPAN Julian Ross Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Modern Languages and Cultures Centre for World Cinemas January 2014 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 3 To my father, mother and sister, with love and gratitude. 4 Acknowledgements First and foremost, I want to express my deepest gratitude to the principal supervisor of this thesis, Lúcia Nagib, whose academic breadth and intellectual rigour has been a source of inspiration and her friendship and enthusiasm a constant support. My thanks extend to staff and research students at the Centre for World Cinemas, University of Leeds, whose consortium I had the privilege to join in 2009. The workshops, seminars and conferences that I participated in or had the honour of organising set the foundations for my academic experience. The devotion to interdisciplinary research and passion for intellectual exchange I found in the Mixed Cinema Network, whose White Rose Research Studentship fully supported my doctorate, also greatly assisted in shaping my research. During my stay in Japan, I encountered a community of academics, archivists and artists whose commitment and passion for the arts I have modeled in my approach to research. I thank Shigeru Matsui, Jelena Stojkovic, Yuriko Furuhata, Michael Raine, Steve Ridgley, Ann Adachi, Mika Ko, Hiroko Tasaka, Yasuko Imura, Hirofumi Sakamoto, Kenjin Miwa and Sen Uesaki, Yu Homma and Takashi Morishita at the Keio University Art Center. -
Essential Japanese Grammar : a Comprehensive Guide to Contemporary Usage / Masahiro Tanimori, Eriko Sato
A Comprehensive Guide to Contemporary Usage MASAHIRO TANIMORI ERIKO SATO TUTTLE Publishing Tokyo | Rutland, Vermont | Singapore The Tuttle Story: “Books to Span the East and West” Most people are surprised to learn that the world’s largest publisher of books on Asia had its beginnings in the tiny American state of Vermont. The company’s founder, Charles E. Tuttle, belonged to a New England family steeped in publishing. And his first love was naturally books—especially old and rare editions. Immediately after WW II, serving in Tokyo under General Douglas MacArthur, Tuttle was tasked with reviving the Japanese publishing industry, and founded the Charles E. Tuttle Publishing Company, which thrives today as one of the world’s leading independent publishers. Though a westerner, Charles was hugely instrumental in bringing knowledge of Japan and Asia to a world hungry for information about the East. By the time of his death in 1993, Tuttle had published over 6,000 books on Asian culture, history and art —a legacy honored by the Japanese emperor with the “Order of the Sacred Treasure,” the highest tribute Japan can bestow upon a non-Japanese. With a backlist of 1,500 titles, Tuttle Publishing is more active today than at any time in its past—inspired by Charles’ core mission to publish fine books to span the East and West and provide a greater understanding of each. Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd. www.tuttlepublishing.com Copyright © 2012 by Masahiro Tanimori All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher. -
Japanese Cinema Goes Global
JapaneseCinema Goes Global: Cosmopolitan Subjectivity and the Transnationalizationof the Culture Industry Yoshiharu Tezuka Department of Media and Communications Goldsmith College, University of London Thesis submitted for the degree of Doctor of Philosophy (PhD) 1 Declaration I declare the work presented in this thesis is my own. 2 Abstract This thesis investigates the Japanesefilm industry's interactions with the West and Asia, the development of transnational filmmaking practices, and the transition of discursive regimes through which different types of cosmopolitan subjectivities are produced. It draws upon Ulrich Deck's concept of "banal cosmopolitanization" (2006) - which inextricably enmeshesthe everyday lives of individuals acrossthe industrialized societieswithin the global market economy. As has often been pointed out, modem Japanesenational identity since the 19th century has been constructed from a geopolitical condition of being both a "centre" and a "periphery", in the sensethat it has always seenitself as the centre of East Asia, while being peripheral to the flow of Western global processes.Contrary to the common belief that defeat in the war sixty years ago radically changed the Japanesesocial structure and value system, this sense of national identity and of Japan being "different from the West but above Asia" was left intact if not ideologically encouraged by the American Occupation policy through the preservation of many pre-war institutions (cf., Dower 1999; Sakai 2006). In a world that was to become dominated by a hierarchical logic of "the West and the rest" established against the backdrop of the Cold War, Japan and its culture effectively found itself in a privileged but ambiguous position as part of but not part of the `West', something which was solidified by the international success of Japanese national cinema in the 1950s. -
Tools for Analyzing Talk Part 2: the CLAN Program
Tools for Analyzing Talk Part 2: The CLAN Program August 24, 2021 Brian MacWhinney Carnegie Mellon University https://doi.org/10.21415/T5G10R When citing the use of TalkBank facilities, please use this reference to the last printed version of the CHILDES manual: MacWhinney, B. (2000). The CHILDES Project: Tools for Analyzing Talk. 3rd Edition. Mahwah, NJ: Lawrence Erlbaum Associates This allows us to systematically track usage of the programs and data through scholar.google.com. Part 2: CLAN 2 1 Getting Started ............................................................................................................ 8 1.1 Why you want to learn CLAN ....................................................................................... 8 1.2 Learning CLAN .................................................................................................................. 8 1.3 Installing CLAN – Mac OS X ........................................................................................... 9 1.4 Installing CLAN – Windows .......................................................................................... 9 2 Using the Web ............................................................................................................ 10 2.1 Community Resources ................................................................................................ 10 2.2 Downloading Materials .............................................................................................. 10 2.3 Using the Browsable Database ............................................................................... -
Zen Sand: the Book of Capping Phrases for Koan Practice / Compiled, Translated, and Annotated by Victor S Ōgen Hori
TIHE IOŒ cF‘ CA -"i7 -7 1N"" I1ÂI3 20E ÇOAN P r-1-1C2 COMPILED, TRANSLATED, AND ANNOTATED BY Pci-or SEgen Hori WAJ University of Press HONOLULU Copyright © 2003 University of Hawai`i Press All rights reserved Printed in the United States of America 08 07 06 05 04 65432 Library of Congress Cataloging-in-Publication Data Hori, Victor Sōgen. Zen sand: the book of capping phrases for koan practice / compiled, translated, and annotated by Victor S ōgen Hori. p. cm. —(Nanzan library of Asian religion and culture) Includes bibliographical references and index. ISBN 0-8248-2284-6 (cloth : alk. paper) 1. Koan. 2. Spiritual life—Rinzai (Sect) I. Title. II. Series. BQ9289.5.H67 2003 294.3'4446—dc21 2002032477 The typesetting for this book was done by the Nanzan Institute for Religion and Culture. University of Hawai`i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. for Kobori Nanrei, Former Osh6 of Ry6k6-in, Daitoku-ji & Nakamura Kan'un-shitsu, Former R6shi of the Daitoku-ji S6d6 Contents Preface ix Introduction: Capping-Phrase Practice in Japanese Rinzai Zen . 3 The Nature of the Rinzai 10an Practice 5 2. The Steps of 10an Practice 16 3. Literary Study in 10an Practice 3o 4. The 10an and the Chinese Literary Game 41 5. The History of Zen Phrase Books 62 6. Guide to Conventions and Abbreviations 91 Phrases Four-Character Phrases loi Five-Character Phrases 179 Six-Character Phrases 225 Seven-Character Phrases 258 Eight-Character Phrases 313 Nine-Character Phrases -
Japanese Conceptualizations of the South Seas (Nan’Yō) As A
MONSTROUS PROJECTIONS AND PARADISAL VISIONS: JAPANESE CONCEPTUALIZATIONS OF THE SOUTH SEAS (NAN’YŌ) AS A SUPERNATURAL SPACE FROM ANCIENT TIMES TO THE CONTEMPORARY PERIOD A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY AUGUST 2014 By Mark Alan Ombrello Dissertation Committee: Yuma Totani, Chairperson David Chappell David Hanlon Matthew Lauzon Nobuko Ochner ACKNOWLEDGEMENTS I want to take this opportunity to express my utmost appreciation to all the people who offered their support through the process of completing this dissertation. I am particularly indebted to my committee members (Dr. Yuma Totani (Chair), Dr. David Chappell, Dr. David Hanlon, Dr. Matthew Lauzon, and Dr. Nobuko Ochner) who stuck with me to the end. Thank you for your guidance and mentoring. I also want to offer my sincerest gratitude to Dr. Sharon Minichiello who also served as a tremendous mentor and source of inspiration during my years as a graduate student. Thanks to all the wonderful people at the Crown Prince Akihito Fellowship Foundation. My deepest appreciation goes to Dr. Kazuhiko Komatsu and the kind folks at the Komatsu Project. I also want to express my gratitude to the librarians, staff members, visiting scholars, and other professors at the International Research Center for Japanese Studies (Nichibunken). Individual thanks to Daniel Arakelian, Heidi Ballendorf, Chris Cabrera, Susan Carlson, Dr. Greg Dvorak, Michael Gatti, Dr. Anne P. Hattori, Kevin Hulbert, Nathan Jones, Jessica Jordan, Dr. James Kraft, Scott Kramer, Richard Nigh, Danny Peck, Dr. Donald Platt, Dr.