DOCSLIB.ORG

Bokura No Hashitte Kita Michi Wa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bokura No Hashitte Kita Michi Wa Bokura no Hashitte kita Michi wa sou desu! sara ni (fu!) hashirou sore shikanai to kagayakitakute hajimaritakutte omotteru kedo nayamu ne nakama ni deai nagara hashitte kita michi bokura (fu!) zettai tomarenai yo zero kara ichi tte nante taihen nandarou datte kanjitai atsuku dakedo sore ga (dakedo sore ga) motto chigatta katachi de tsunagari ni natta yo atarashiku yume mite sou desu! aa doushiyou (ashita e) nani mo wakarazu namida to ase to de aa doushiyou (mukaeba) nakama to hagemashiatte hashitte kita michi wakaru? (wakaru?) oozora miagete katariatta yo mainichi mirai no bokura wa...? dakara minna (dakara minna) ganbatte koreta ne sou desu... jibun rashiku to jumon o tonaete itsumo (fu!) yume ga kokoro ni atta nakama o miokuru koto o ukeire nagara mo miushinaisou ni natte mo zero janai daijoubu! genki dasou waraou yo bokura (fu!) zettai akiramenai! yatte miyou (yatte miyou) datte hikari ga mieta yo madamada ne ganbaru motto muchuu ni naretara kawaru tte sa shinjiteta sara ni (fu!) hashirou sore shikanai to kono minna de omotteru kara hashiru yo bokura (fu!) zettai tomarenai yo sou desu! datte kanjitai atsuku hitotsu futatsu to negai ga kanatte motto chigatta katachi de nakama ga ite yokatta natte hashitte kita michi atarashiku yume mite demo ne wakare wa donna koto ni mo arunda saa maku ga agattara zutto utatte itai ne doko e ikou (doko e ikou) owaranai yume miyou... sorezore no gooru e Thrilling‧One Way watashitachi kagayakitai! harahara (mayoi mo) motomete (michidzure) hashire mirai (mai mirai) mai mirai torai‧torai‧torai rai Thrilling One Way honki de hashire sore koso honmou dato mai mirai torai‧torai‧torai rai inochi moyashite kanjitai dake sa honki de hashire (fufufufu fu fufufu) (hai) until verse tomaranaide tomaranaide mechakucha na negai o sekaijuu de kanaeyou tte watashitachi no yabou gakkari wa shitakunai tte tomaranaide tomaranaide mechakucha na negai o nani o mamoru tsumori sa? daremo ga kakushiteru yo jibun katte ni rettsu go! ochikonde mo ii janai ka agarou yo shiisoo geemu atsuku natte atsuku natte nando datte naichaunda ikiteru tte kanjitai yo kankiwamaritai kara ne nanto naku wa iya janai ka (hai) until verse kimerunda happii choisu girigiri dakedo ne hashiru mirai girigiri (mienai) dakedo ne (yo no naka) sore koso honmou dane hashiru mirai (mai mirai) ikiru atsusa o kanjitai dake sa Thrilling One Way (fufufufu fu fufufu) sore koso honmou dane ikiru atsusa o kanjitai dake sa tomaranai yo tomaranai yo afuresou na omoi wa (fufufufu fu fufufu) sekaijuu de asobitai tte kokoro kara no kibou tomaranai yo tomaranai yo afuresou na omoi wa tomaranai yo tomaranai yo afuresou na omoi wa dareka no tame janakute jibun katte na passhon sekaijuu de asobitai tte kokoro kara no kibou katte ni yacchae rettsu go! tomaranai yo tomaranai yo afuresou na omoi wa dareka no tame janakute jibun katte na passhon mai mirai torai‧torai‧torai rai honki de hashire (hai) until verse mai mirai torai‧torai‧torai rai honki de hashire sappari ga jiman nano kai? mai mirai torai‧torai‧torai rai akirame waruku ikou yo honki de hashire zettai ni hoshii mono wa mai mirai torai‧torai‧torai rai neraunda pookaa feisu honki de hashire yuzuttari shinai yo datte mai mirai torai‧torai‧torai rai aite ni mo shitsurei sa honki de hashire nanto naku wa son janai ka mai mirai torai‧torai‧torai rai tsukamunda rakkii sutaa honki de hashire Aozora Jumping Heart During the middle and end of each chorus, (motto) kiite mitakute furicopy seiyuu’s pointing motion: (Let’s go!) hikari no mukou e https://youtu.be/cPAHUREs?t= hora, issho ni ne! mita koto nai yume no kidou oikakete kaetai na! My Future* taiyou ga noboru you ni (fu!) (hai) until verse *(saa doko e) yume yo kagayaite Charging Heart Shining Road hashiridasu kono kimochi chikara ippai kanaeyou negai o massugu ni ikioi yoku kimi o sagashiteta yo seishun pikkari da!? chotto matte nante muri tobidasou kaetai to omou* kimochi ga kitto daiji da yo (fu!) bokutachi no naka no yuuki ga* sawaideru *(Sunshine Mission) *(seno! hai hai haihaihaihai) yume o tsukamae ni yuku yo minna to nara setsumei wa dekinai kedo itsumo *no sekai ga atarashii tobira o daijoubu sa *(oooh hai! oooh hai! oooh hai! oooh hai!) (hai) until bridge (motto) kakushiteru no (Let’s go!) zenbu aketai yo Jumping Heart datte hajimetai koto ga hora, issho ni ne! Charging Heart ima mitsukatta bakkari gooru wa doko? doko darou? wakaranai hajimetai! My Story* aoi sora ga matteru (fu!) wakaranai demo ne tanoshisou da yo *(saa ima da) yume o dakishimete Jumping Heart hajimetai! My Story aoi sora ga matteru (fu!) sore dake de ashita e to susumeru yume o dakishimete Jumping Heart seishun masshigura!? sore dake de ashita e to susumeru hajimatta toki no* tokimeki zutto daiji ni ne (fu!) seishun masshigura!? *(Sunshine Story) hajimatta toki no* tokimeki zutto daiji ni ne (fu!) yume o tsukamae ni yuku yo *(Sunshine Story) donna koto ga okoru no ka wakaranai no mo yume o tsukamae ni yuku yo tanoshimi sa donna koto ga okoru no ka wakaranai mirai (hai) until verse yume o tsukamae ni yuku yo minna to nara setsumei wa dekinai kedo Open Mind tsutaenakya tsutawaranai daijoubu sa... saisho kara kanpeki ni dekiru hazu wa nai kara masshigura! toriaezu genki ni tobidasou bokutachi no sutaato line gooru wa* tooi kana *(seno! hai hai haihaihaihai) mabushi*i sekai de yobu koe ga kikoeta *(oooh hai! oooh hai! oooh hai! oooh hai!) SKY JOURNEY doko kara kita no? sugu ni koko kara tsugi e to tabidatsu darou zutto tooku kara! sono egao ni wa (tamerai ga nakute) kotaeteru you de kotaetenai urayamashiku naru yo mabushii yue ni kimi wa maru de boku no shiranai sekai ni ita to omowaseru tameiki no iro yume kanaetai kara itsudemo akiramenai koto ga daiji dato kitto setsunai chikai ga atta no darou naze honki de katareru no darou? demo egao de ashita o utau koe yuuki ga tsutawareba daijoubu sonna atsui omoi kimi kara mune ni tashika na mono mottetara uketotta boku mo ima atsui yo sore dake de nantoka naru tte naze yasashiku katareru no darou? kitto setsunai chikai ga atta no darou yuuki ga hoshii no wa dare demo demo egao de ashita o utau koe kanjiteru koto dato shitteru yo dakedo hito wa mayoi tagaru ne mune ni tashika na mono mottetara sore dake de nantoka naru tte doko o mezasu no? doko e ittemo katari tsudzukete motto tooku e to! yuuki ga tsutawareba daijoubu kotae ga sora o yubi sashiteta sonna atsui omoi kimi kara kimi to mada minu basho ni tsuite hanashite mitai uketoru no wa boku dake janai kokoro odoru mirai no kodou sekai mo hiroku atsui yo Daydream Warrior Penlight color: Yoshiko (clap) to the beat doushite anata ni deatta no ka (atsuku mune ga tokimeite) kehai ga kieta...? tashika na tsunagari kanjiteta yo watashi no kokyuu ga (uso janai to shinjitainda) araku hageshiku tadoru te gakari dakedo maboroshi wa uchi kudakareta ne sagashi nagara mo mitsuketakunai mitsuketara sugu kougeki shinakya inori mo koi mo Daydream (Daydreamer) yume wa yume de shikanai to doushite anata ga teki nano ka nageki no hate no (unmei wa) (kitto dare ni mo wakaranai) kawarazu ni ima wa Lost Love konna ni hikareta wake sae mo nori koeru made kono namida o nomikondara (hontou no koto wa wakaranai) kurai kabe ni senaka yosete warui yume nanda tatakai no ishiki togisumashiteru hikari to yami no Daydream (Daydreamer) demo kaeritai ano hi, deai no hi... kuroi tobira no mukou tatta hitotsu no negai kanawanu machi ukeru no wa (unmei ni) warui yume nanda dakareta watashi no Lost Love ano hi shitta yasashisa dake wasurenai to (clap) to the beat hitai tsutau ase o nugui hikari to yami no Daydream (Daydreamer) mizukara no te de owari ni shiyou kuroi tobira no mukou machi ukeru no wa (unmei ni) (clap) to the beat dakareta watashi no Lost Love (Lost Love) ano hi shitta yasashisa dake wasurenai to kokoro no koe o kikanai furi de hitai tsutau ase o nugui hashiru watashi no mujun ga yureru mizukara no te de owari ni shiyou itoshii kimochi yurusenai kimochi toi tadashitai yowasa ga tsurai (clap) to the beat Tousou Meisou Mobius Loop Penlight color: Kanan Dia Mari acchi ikou ka? (Oh no!) iki ga kirete genkai nanda yotte kocchi ikou ka? (Oh no!) demo ne ashi ga saki ni iku yo docchi ikou ka? wakannai-nai-nai -naai! hayaku hayaku tomaranaide yo (Go!) zutto jiyuu ni ikitetai tte yappari oikakerareteru dake ja Oh yeah ki ga tsuitanda kaiketsu dekinai koto ga isoide nigechaou ka? sou nigechae! guruguru tto guruguru tto suupu mitai ni jama shinaide yo Bye-bye nikomarechatteru mune de sorosoro ajimi shiyou ka hashiri nagara kangaeta tte atsui kana atsui yo ne ase to aseri de aa mou atsui yo demo tsutaenakucha koe o dashicha mitsukarisou to kuchi no katachi de tsutaeru yo mebiusu no wa de mebiusu no wa de zutto nigete oikakerarete nobore orite nobore (meiro mitai na) watare magare watare (douro kiken da) yappari oikakerareteru dake ja hashiri sugite kurushii no ni kaiketsu dekinai koto ga nazeka minna warai dashite tomaranai no guruguru tto guruguru tto suupu mitai ni nikomarechatteru mune de dakara oikakerareteru hazu ga sorosoro ajimi shiyou ka oikaketeru no kamo hontou wa atsui kana atsui yo ne kurukuru tto kurukuru tto saakuru egaite honne tteba atsui ne tsukamari takunai keredo tsukamaete mitai ne tte oikakerareteru hazu ga omoshiroku natte kita yo oikaketeru no kamo hontou wa Runaway forever!? kurukuru tto kurukuru tto saakuru egaite tsukamari takunai keredo motto jiyuu ni ikitetai tte tsukamaete mitai ne tte Oh yeah ki ga tsuitan da omoshiroku natte kita yo isoide nigechaou ka? sou nigechae! Runaway forever!? jama shinaide yo Bye-bye tousou meisou mebiusu ruupu Runaway runaway forever!? tsukare hateta toki ga
Load more

Recommended publications
  • Title Call # Category
    Title Call # Category 2LDK 42429 Thriller 30 seconds of sisterhood 42159 Documentary A 42455 Documentary A2 42620 Documentary Ai to kibo no machi = Town of love & hope 41124 Documentary Akage = Red lion 42424 Action Akahige = Red beard 34501 Drama Akai hashi no shita no nerui mizu = Warm water under bridge 36299 Comedy Akai tenshi = Red angel 45323 Drama Akarui mirai = Bright future 39767 Drama Akibiyori = Late autumn 47240 Akira 31919 Action Ako-Jo danzetsu = Swords of vengeance 42426 Adventure Akumu tantei = Nightmare detective 48023 Alive 46580 Action All about Lily Chou-Chou 39770 Always zoku san-chôme no yûhi 47161 Drama Anazahevun = Another heaven 37895 Crime Ankokugai no bijo = Underworld beauty 37011 Crime Antonio Gaudí 48050 Aragami = Raging god of battle 46563 Fantasy Arakimentari 42885 Documentary Astro boy (6 separate discs) 46711 Fantasy Atarashii kamisama 41105 Comedy Avatar, the last airbender = Jiang shi shen tong 45457 Adventure Bakuretsu toshi = Burst city 42646 Sci-fi Bakushū = Early summer 38189 Drama Bakuto gaijin butai = Sympathy for the underdog 39728 Crime Banshun = Late spring 43631 Drama Barefoot Gen = Hadashi no Gen 31326, 42410 Drama Batoru rowaiaru = Battle royale 39654, 43107 Action Battle of Okinawa 47785 War Bijitâ Q = Visitor Q 35443 Comedy Biruma no tategoto = Burmese harp 44665 War Blind beast 45334 Blind swordsman 44914 Documentary Blind woman's curse = Kaidan nobori ryu 46186 Blood : Last vampire 33560 Blood, Last vampire 33560 Animation Blue seed = Aokushimitama blue seed 41681-41684 Fantasy Blue submarine
    [Show full text]
  • Isum 許諾楽曲一覧 更新日：2019/1/23
    ページ：1/37 ISUM 許諾楽曲一覧 更新日：2019/1/23 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM-1880-0537 JASRAC あの紙ヒコーキ くもり空わって ISUM-8212-1029 JASRAC SUNSHINE ISUM-9896-0141 JASRAC IT'S GONNA BE ALRIGHT ISUM-3412-4114 JASRAC あの青をこえて ISUM-5696-2991 JASRAC Thank you ISUM-9456-6173 JASRAC LIFE ISUM-4940-5285 JASRAC すべてへ ISUM-8028-4608 JASRAC Tomorrow ISUM-6164-2103 JASRAC Little Hero ISUM-5596-2990 JASRAC たいせつなひと ISUM-3400-5002 NexTone V.O.L ISUM-8964-6568 JASRAC Music Is My Life ISUM-6812-2103 JASRAC まばたき ISUM-0056-6569 JASRAC Wake up! ISUM-3920-1425 JASRAC MY FRIEND 19 ISUM-8636-1423 JASRAC 果てのない道 ISUM-5968-0141 NexTone WAY OF GLORY ISUM-4568-5680 JASRAC ONE ISUM-8740-6174 JASRAC 階段 ISUM-6384-4115 NexTone WISHES ISUM-5012-2991 JASRAC One Love ISUM-8528-1423 JASRAC 水・陸・そら、無限大 ISUM-1124-1029 JASRAC Yell ISUM-7840-5002 JASRAC So Special -Version AI- ISUM-3060-2596 JASRAC 足跡 ISUM-4160-4608 JASRAC アシタノヒカリ ISUM-0692-2103 JASRAC sogood ISUM-7428-2595 JASRAC 背景ロマン ISUM-5944-4115 NexTone ココア by MisaChia ISUM-1020-1708 JASRAC Story ISUM-0204-5287 JASRAC I LOVE YOU ISUM-7456-6568 NexTone さよならの前に ISUM-2432-5002 JASRAC Story(English Version) 369 AAA ISUM-0224-5287 JASRAC バラード ISUM-3344-2596 NexTone ハレルヤ ISUM-9864-0141 JASRAC VOICE ISUM-9232-0141 JASRAC My Fair Lady ft. May J. "E"qual ISUM-7328-6173 NexTone ハレルヤ -Bonus Tracks- ISUM-1256-5286 JASRAC WA Interlude feat.鼓童,Jinmenusagi AI ISUM-5580-2991 JASRAC サンダーロード ↑THE HIGH-LOWS↓ ISUM-7296-2102 JASRAC ぼくの憂鬱と不機嫌な彼女 ISUM-9404-0536 JASRAC Wonderful World feat.姫神 ISUM-1180-4608 JASRAC Nostalgia
    [Show full text]
  • JALT Journal
    iN0 187-1410 ¥75 0 JAET J~~~~Al N ovemb er 1995 Vol ume 17 • N o_ 2 Japan Assaciafion for Language Teaching Inside this issue: Definition forms • JSl composition language education ideologies Tronslotion-oided SLA • Japanese posfposing Voice quality • Goal setting The Cambridge Internation~ Dictionary of En~ish (ODE) for learn", of English 3l a foreign language (intermediate upwards) (ontains a wealth access to today's of information to help students use and understand English (onfidendy and Englib accurate ly. COMPREHENSIVE Hon !han 100,000 wmpIes iHustr.1It usage and (on[ut 100,000 words and phrases defined.. CLEAR Guido _ h<Ip dilftR!l;'" im...rw.ly be_n ~"'" oIlhe """ ..rn. A PInst Indu gives insl2nl iCttU to 30,000 phnses IlId idioms. haptionally dw page IaJoot GnsmutD poin. iIway! ~ by ., """Ii< INTERNATIONAL ful covmgo 01 Sliti!h, Amorian IlId AIls .... Engli1h. Fake friend information f(ll' t 6 different languages. 1m" .'\I, a W 4 PltSll4l41l ' mlUlflU'. CAMBRIDGE U~I\LKSln "\U:.ss November 1995 Contents Volume 17 • No.2 164 In this Issue 165 From the Editors Articles 167 Word Definition and La nguage Profi ciency Machika Achiba 180 An Inquiry into Reading Comprehension Strategies through Think-aloud Protocols HideD Horibe 197 How Overseas Graduate Students Compose in Japanese: A Stu dy of Two Writers Takao Kinugawa 213 Ideologies of Engli sh L.1 nguage Ed uca tion in Japan Graham Law 225 Translation-aided Approach in Second lan­ guage Acqui sition Kiwamu Izumi 238 Fragmentation in Conversa tional Japanese: A Case Study Kazuko Jltfalsul1l010 Point-to-Point 255 A Reaction to Brown and Yamashita "English Language Entrance Exams at Japanese Uni versities: \X1hat Do We know About Them?" Bany O'Sullivan 257 The Authors Respond: Out of Criticism Comes Knowledge James Dean Brow/1 & Sayoko Okada Yamashita Research Forum 261 A Preliminary Study of Voice Quality Differences between Japa­ nese and Am erican English Yuiehi Todaka 269 Goal-Setting to Ra ise Speaking Se lf- Confidence Slepben A.
    [Show full text]
  • Fighting Over Fences
    VU Research Portal Fighting over fences. Organisational co-operation and reciprocal exchange between the Save Valley Conservancy and its neighbouring communities, Zimbabwe Wels, H. 2000 Link to publication in VU Research Portal citation for published version (APA) Wels, H. (2000). Fighting over fences. Organisational co-operation and reciprocal exchange between the Save Valley Conservancy and its neighbouring communities, Zimbabwe. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 09. Oct. 2021 VRIJE UNIVERSITEIT Fighting over Fences Organisational Co-operation and Reciprocal Exchange between the Save Valley Conservancy and its Neighbouring Communities in Zimbabwe ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Vrije Universiteit te Amsterdam, op gezag van de rector magnificos prof.dr. T. Sminia, in het openbaar te verdedigen ten overstaan van de promotiecommissie van de faculteit der sociaal-culturele wetenschappen op dinsdag 30 mei 2ooo om 13.45 uur in het hoofdgebouw van de universiteit, De Boelelaan nos door Harry Wels geboren te Amsterdam Executive Summary I I This study is about organisational co-operation, a joint venture, between two partners I with different social identities related to land (and hunting) in Zimbabwe.
    [Show full text]
  • From the Studio of Marjory Halvorson
    The Music Department at Gonzaga University presents Isabel Parra Mezzo-soprano Senior Voice Recital with Susan Lim & Annie Flood pianists from the studio of Darnelle Preston Friday, April 24th, 2021 3:00 PM Live Streamed from Robert Frost Auditorium Culver City, California This recital is given in partial fulfillment of a Bachelor of Arts in Music Performance Concentration Program Amore è bandito Barbara Strozzi Ariette a voce sola, Op. 6 (1619-1677) Spesso per entro al petto ****** Du meines Herzens Krӧnelein Richard Strauss Breit‘ über mein Haupt (1864-1949) Cäcilie ****** La Courte Paille Francis Poulenc I. Les Sommeil (1899-1963) II. Quelle Aventure III. La Reine de coer IV. Ba, Be, Bi, Bo, Bu V. Les Anges musiciens VI. La Carafon VII. Lune d‘Avril ****** Eki 駅 Akira Miyoshi (1933-2013) Uguisu 鶯 Fumio Hayasaka (1914-1955) Funauta Katakoi 舟唄片恋 Ikuma Dan (1924-2001) Kojo no Tsuki 荒城の月 Rentarō Taki (1879-1903) ****** Eight Epitaphs Theodore Chanler 1. Alice Rodd (1902-1961) 2. Susannah Fry 3. Three Sisters 4. Thomas Logge 5. A Midget 6. “No Voice to Scold“ 7. Ann Poverty 8. Be Very Quiet Now ****** Palomita Manuel M. Ponce (1882-1948) Ilusión Fantasma Mario Kuri-Aldana (1931-2013) Cantar del Zenzontle Translations Amore è bandito Love is banished Barbara Strozzi (1619-1677) Translation by Martha Gerhart Amore è bandito, Love is banished, amanti su, su. lovers, move on. È fatto un eddito An edict has been made ch'Amor non sia più. that love shall be no more. Forniti gl'amori Finished are the love affairs; l'inganno e la frode, the deception and the fraud ah, ah, più non s'ode Ah, ah, no longer one hears of them tormenti e rancori: of torments and grudges: il caso è spedito.
    [Show full text]
  • Space In-Between: Masumura Yasuzo, Japanese New Wave, And
    SPACE IN-BETWEEN: MASUMURA YASUZO, JAPANESE NEW WAVE, AND MASS CULTURE CINEMA by PATRICK ALAN TERRY A THESIS Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2011 THESIS APPROVAL PAGE Student: Patrick Alan Terry Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of East Asian Languages and Literatures by: Prof. Steven Brown Chair Dr. Daisuke Miyao Advisor and Richard Linton Vice President for Research and Graduate Studies/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2011 ii © 2011 Patrick Alan Terry iii THESIS ABSTRACT Patrick Alan Terry Master of Arts Department of East Asian Languages and Literatures June 2011 Title: Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema Approved: ________________________________________________ Dr. Daisuke Miyao During the early stage of Japan’s High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave’s central position through the career of Daiei Studios’ director, Masumura Yasuzo.
    [Show full text]
  • Title Call # Category Lang./Notes
    Title Call # Category Lang./Notes Da Ali G show (Seazon 1) 39216 - 39217 Da Ali G show (Seazon 2, 2 separate discs) 42979 Da hong deng long gao gao gua = Raise the red lantern 35831, 41274 Man/ Chinese subtitles Da nei mi tan ling ling = Forbidden City cop 46757 Drama Cant/Man Da Vinci Code 43419 g̲ Da zhi lao = Running on Karma 39984 Action Chi Daag = Dā ẖa 34081 Romance Hin Daddy long legs (Fred Astaire,Leslie Caron) 43820 Daddy-long-legs (Mary Pickford) 31268 Dagon, H. P. Lovecraft's 47960 Dai-bosatsu tôge = Sword of doom 39888 Action Jpn Daimajin 34762 Fantasy Jpn Daisy Kenyon 47924 Dallas 44562 Damage 29478 Dames 42287 Dames du Bois de Boulogne = Ladies of the Bois de Boulogne 35770 Romance Fre Damn Yankees 38729 Damned 37166 Damned don't cry! 41595 Dance of the dead 44463 Dance or exercise on the perimeter of a square 47159 Dance, girl, dance 46187 Dancehall queen 38389, 43801 Dancer in the dark 32087 Dancer upstairs 36442 Dances with wolves 30646 Dancing at the Blue Iguana 40775 Dancing lady 43058 Dangerous acts 48146 Drama Heb Dangerous liaisons 32248 Dangerous living : Coming out in the developing world 41017 Dangerous moves 36307 Dangerous when wet (Esther Williams collection) 46335 Danh nhân đất việt. 46173 Shorts Vie Daredevil 36363 Daremo shiranai = Nobody knows 41053 Drama Jpn Darfur diaries 43464 Darfur's skeleton 47296 Darjeeling Limited 46279 Dark circle 46188 Dark city 31447 Dark days 33556 Dark hours 42973 Dark passage (Bogart, Becall) 36603 Dark shadows special edition 30664 Dark side 45812 Dark Star 35445 Dark victory 31763 Dark water 40752 Horror Jpn Darling 36742 Darling Lili 41346 Darr 33797 Thriller Hin Darwin's dangerous idea 44554 Darwin's nightmare 43375 Dastak = Dastaka 34250 Drama Hin Dateline Afghanistan 45930 Daud = Fun on the run 33808 Musical Hin Daughter of Keltoum 43793 Daughter of Tong 40644 Daughters of Afghanistan 39772 Daughters of the dust 31213 Dave Chappelle's Block party 42739 David and Bathsheba 42238 David and Lisa 45393 David Attenborough wildlife specials 47723 David Copperfield (BBC) 44438 David Copperfield (W.C.
    [Show full text]
  • Analysing the Discursive Role of 'Quiet Activism' in Koreeda Hirokazu's Fami
    Positive depictions of the family in crisis: Analysing the discursive role of ‘quiet activism’ in Koreeda Hirokazu’s family narratives Duncan Breeze 100068770 Thesis Submitted for the Degree of Doctor of Philosophy in the School of Art, Media and American Studies University of East Anglia July 2020 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract The Japanese family has undergone significant upheavals since the late 20th century and this has had profound effects on cinematic representations. Contemporary filmmaker Koreeda Hirokazu has gained worldwide fame as a director of family dramas, many of which depict the family in contemporary social contexts. This thesis focuses on a selection of Koreeda’s films (and a TV series) termed the ‘family narratives’ (2011-2016) to determine how the representations of family and associated gender roles positively address social developments and anxieties. Recognising their broader role within sociological debates in Japan, this project asks, how do Koreeda’s family narratives function as a discourse on contemporary social anxieties related to family and gender? Evading traditional authorship methods, the critical framework relies on a range of approaches examining film as history (Standish 2000; Rosenstone 2012), the family on film (Harwood 1997) and the ‘social problem film’ to textually analyse the discursive role of Koreeda’s representations within socio-historical contexts.
    [Show full text]
  • Músicas Japonesas Por Ordem De Cantor
    MÚSICAS JAPONESAS POR ORDEM DE CANTOR - JANEIRO 2016 Código Título Intérprete Início de Letra 18483 ANO KAMI HIKOHKI KUMORIZORA WATTE 19 Genki desu ka kimi wa ima mo 2017 STORY A.I. Kagirareta toki no naka de 18424 MIZU IRO NO TEGAMI Abe Shizue Ogenki desu ka soshite ima demo aishite 18486 BELIEVE Ai Dokoka tohku de koe ga kikoeru 18319 YOU ARE MY STAR Ai Furuete iru watashi no te ni hajimete 5103 AKAI GLASS Ai Johji & Shiki Chinami Kutibiru yossereba naze ka 5678 BYE BYE Aikawa Nanase Naze nante iwanai de iwanai... 5815 SWEET EMOTION Aikawa Nanase Hadashi de odorou volume agete... 5645 YUME MIRU SHOJYO JYA IRARENAI Aikawa Nanase Goossen reijino… 2031 KABUTO MUSHI Aiko Nayanderu karada ga atsukute 2015 SEN NO KAZE NI NATTE Akikawa Masafumi Watashi no ohaka no mae de 2022 AI NO MAMA DE... Akimoto Junko Kotori tachi wa nani o sawagu no 2124 AME NO TABIBITO Akimoto Junko Soshite mata kisetsu wa utsuri yuku 2011 MADINSON GUN NO KOI Akimoto Junko Kareha ga aoba ni yomigaeru 18233 TASOGARE LOVE AGAIN Akimoto Junko Tasogareta fuhkei wa sabishige na 2296 OTOKO NO TABIJI Akioka Shuji Hito no isshoh ichido kiri 18432 SAKE BOJO Akioka Shuji Kokoro ni kesenai hito ga iru sake de 18485 BALLAD ~NAMONAKI KOI NO UTA~ Alan Kizu tsuita tsubasa de kimi wa yuku 5117 FUYU NO INAZUMA Alice Anata wa inazuma no youni 2266 IMA WA MOH DARE MO Alice Ima wa moh dare mo aishitakunai no 18279 TAIYOH NO UTA Amane Kaoru Furuete iru watashi no te ni hajimete 5658 ALONE IN MY ROOM Ami Suzuki Tanoshii kamo ne sou iu hitori..
    [Show full text]
  • CHAPTER IV DATA ANALYSIS and INTERPRETATION the AKB48's Songs Have Kind of Figurative Expressions Because the Lyrics Contain F
    CHAPTER IV DATA ANALYSIS AND INTERPRETATION The AKB48’s songs have kind of figurative expressions because the lyrics contain feeling about each season in Japan. The feeling itself express about the emotions of each season is used in the lyrics. English that is used in the songs averagely is not grammatical but the lyrics' content can give a brief description of what the songs tell about. The writer chooses four songs from AKB48 which include a feeling of seasons in Japan. AKB48 is an idol group in Japan where English is not their native language. They mostly use Japanese in their lyrics even though they rarely still put English in making song lyrics so that is why in making this research the writer uses the translated lyrics from the internet and also discusses with Japanese in translating the song lyrics. The first thing the writer takes to arrange the research is making a general description or general interpretation of the song. After that, the writer will point out the words or phrases which have the emotions of each season in Japan. The last, the writer analyzes the feeling of Spring, Summer, Autumn, and Winter which is inserted in the songs. 4.1 SONG 1: SAKURA NO HANABIRATACHI 4.1.1 General Interpretation of Spring The first song the writer researches is Sakura no hanabiratachi that generally tells about the school graduation. In this song, it is described as the condition of school when the graduation ceremony is held when cherry blossom trees are blooms. Spring is a time for us to set about on new journeys and start new goals with fresh ideas (Bostwick, 2018).
    [Show full text]
  • Kanshi, Haiku and Media in Meiji Japan, 1870-1900
    The Poetry of Dialogue: Kanshi, Haiku and Media in Meiji Japan, 1870-1900 Robert James Tuck Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Robert Tuck All Rights Reserved ABSTRACT The Poetry of Dialogue: Kanshi, Haiku and Media in Meiji Japan, 1870-1900 Robert Tuck This dissertation examines the influence of ‘poetic sociality’ during Japan’s Meiji period (1867-1912). ‘Poetic sociality’ denotes a range of practices within poetic composition that depend upon social interaction among individuals, most importantly the tendency to practice poetry as a group activity, pedagogical practices such as mutual critique and the master-disciple relationship, and the exchange among individual poets of textually linked forms of verse. Under the influence of modern European notions of literature, during the late Meiji period both prose fiction and the idea of literature as originating in the subjectivity of the individual assumed hegemonic status. Although often noted as a major characteristic of pre-modern poetry, poetic sociality continued to be enormously influential in the literary and social activities of 19th century Japanese intellectuals despite the rise of prose fiction during late Meiji, and was fundamental to the way in which poetry was written, discussed and circulated. One reason for this was the growth of a mass-circulation print media from early Meiji onward, which provided new venues for the publication of poetry and enabled the expression of poetic sociality across distance and outside of face-to-face gatherings. With poetic exchange increasingly taking place through newspapers and literary journals, poetic sociality acquired a new and openly political aspect.
    [Show full text]
  • Sayuri Arai Dissertation Final Final Final
    © 2016 Sayuri Arai MEMORIES OF RACE: REPRESENTATIONS OF MIXED RACE PEOPLE IN GIRLS’ COMIC MAGAZINES IN POST-OCCUPATION JAPAN BY SAYURI ARAI DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Chapmpaign, 2016 Urbana, Illinois Doctoral Committee: Professor Clifford G. Christians, Chair Professor Cameron R. McCarthy Professor David R. Roediger, The University of Kansas Professor John G. Russell, Gifu University ABSTRACT As the number of mixed race people grows in Japan, anxieties about miscegenation in today’s context of intensified globalization continue to increase. Indeed, the multiracial reality has recently gotten attention and led to heightened discussions surrounding it in Japanese society, specifically, in the media. Despite the fact that race mixing is not a new phenomenon even in “homogeneous” Japan, where the presence of multiracial people has challenged the prevailing notion of Japaneseness, racially mixed people have been a largely neglected group in both scholarly literature and in wider Japanese society. My dissertation project offers a remedy for this absence by focusing on representations of mixed race people in postwar Japanese popular culture. During and after the U.S. Occupation of Japan (1945-1952), significant numbers of racially mixed children were born of relationships between Japanese women and American servicemen. American-Japanese mixed race children, as products of the occupation, reminded the Japanese of their war defeat. Miscegenation and mixed race people came to be problematized in the immediate postwar years. In the 1960s, when Japan experienced the postwar economic miracle and redefined itself as a great power, mixed race Japanese entertainers (e.g., models, actors, and singers) became popular.
    [Show full text]