JENESYS2015 Inbound Program (Mekong 5 Countries, Theme: Social
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Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. -
Japan in Translation
Volume 14 | Issue 14 | Number 1 | Article ID 4903 | Jul 15, 2016 The Asia-Pacific Journal | Japan Focus Introduction to the Special Issue in Honor of Kyoko Selden: Japan in Translation Alisa Freedman two journals were venues through which Kyoko shared much of her work. These poems, stories, novellas, essays, plays, memoirs, and biographies—drawn from her more than twenty books and fifty short pieces—exemplify her belief in the humanizing power of literature and art, concern for the human toll of historical events, and gentle humor. They reveal new dimensions of established authors while ensuring that marginalized voices are heard. The selections highlight Kyoko’s emphasis on women writers and her interlocking themes: war and peace, classical literature and art, Ainu traditions, Okinawan literature, atomic cataclysm, music, education, and childhood, among others. We have prioritized texts that have not been published and those that were first circulated in private venues; included are a few of her many contributions to theAsia Pacific Journal and Japan Focus. We have completed translations that Kyoko did not have a chance to finish before her passing in January 2013.2 Review of Japanese Culture and Society, Volume XXVII, Special Issue in Honor of Kyoko Selden (2015); also available here This issue of The Asia-Pacific Journal: Japan Focus is the first of three special online issues that can be read in conjunction with a 2015 special issue of the Review of Japanese Culture and Society (Volume XXVII).1 Together the issues offer examples of Kyoko Selden’s literary translations and writings that span Japanese history, literature, and multiple genres. -
Sexism in the City “We're Simply Buying Too Much”
SEPTEMBER 2016 Japan’s number one English language magazine Five style-defining brands that are reinventing tradition SEXISM IN THE CITY Will men and women ever be equal in Japan’s workforce? “WE’RE SIMPLY BUYING TOO MUCH” Change the way you shop PLUS: The Plight of the Phantom Pig, Healthy Ice Cream, The Beauties of Akita, Q&A with Paralympics Athlete Saki Takakuwa 36 20 24 30 SEPTEMBER 2016 radar in-depth guide THIS MONTH’S HEAD TURNERS COFFEE-BREAK READS CULTURE ROUNDUP 8 AREA GUIDE: SENDAGAYA 19 SEXISM IN THE CITY 41 THE ART WORLD Where to eat, drink, shop, relax, and climb Will men and women ever be equal This month’s must-see exhibitions, including a miniature Mt. Fuji in Japan’s workforce? a “Dialogue with Trees,” and “a riotous party” at the Hara Museum. 10 STYLE 24 “WE’RE SIMPLY BUYING TOO MUCH” Bridge the gap between summer and fall Rika Sueyoshi explains why it’s essential 43 BOOKS with transitional pieces including one very that we start to change the way we shop See Tokyo through the eyes – and beautiful on-trend wrap skirt illustrations – of a teenager 26 THE PLIGHT OF THE PHANTOM PIG 12 BEAUTY Meet the couple fighting to save Okinawa’s 44 AGENDA We round up the season’s latest nail colors, rare and precious Agu breed Take in some theatrical Japanese dance, eat all featuring a little shimmer for a touch of the hottest food, and enter an “Edo-quarium” glittery glamor 28 GREAT LEAPS We chat with long jumper Saki Takakuwa 46 PEOPLE, PARTIES, PLACES 14 TRENDS as she prepares for the 2016 Paralympics Hanging out with Cyndi Lauper, Usain Bolt, If you can’t live without ice cream but you’re and other luminaries trying to eat healthier, then you’ll love these 30 COVER FEATURE: YUKATA & KIMONO vegan and fruity options. -
Leca, Radu (2015) the Backward Glance : Concepts of ‘Outside’ and ‘Other’ in the Japanese Spatial Imaginary Between 1673 and 1704
Leca, Radu (2015) The backward glance : concepts of ‘outside’ and ‘other’ in the Japanese spatial imaginary between 1673 and 1704. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/23673 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. The Backward Glance: Concepts of ‘Outside’ and ‘Other’ in the Japanese Spatial Imaginary between 1673 and 1704 Radu Leca Thesis submitted for the degree of PhD 2015 Department of the History of Art and Archaeology SOAS, University of London 1 Declaration I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
International Workshop
Special event preceding EAJRS Conference, Leiden, September 16-19, 2015 INTERNATIONAL WORKSHOP “IMAGES OF WOMEN IN THE AGE OF MECHANICAL REPRODUCTION: PRINT CULTURE IN EARLY MODERN AND MODERN JAPAN” Tuesday, September 15, 2015, Leiden University Abstracts and Speakers’ Biographical Notes (in the order of appearance) Masato Naitō (Keio University) Harbingers of Modernity: Objective Portrayal of Women in ukiyo-e Many beauties were depicted in ukiyo-e, mainly in prints or on commercial objects that needed to appeal to potential buyers. As ukiyo-e was driven by consumer demand it is necessary to be cautious when analyzing it as a historical document of the Edo period. This presentation aims at a comparative study of two different ways of representing women in ukiyo-e: one that is considered typical and one that is atypical and as such heralds the coming modernity. Masato NAITŌ is Professor of Art History at Keio University and Director at Keio University Art Center (Tokyo). Formerly, he served as head curator at the Idemitsu Museum of Art (Tokyo). His research intrests focus on Edo period art and inlcude ukiyo-e as well as painting of the Rimpa and the Kanō school. His major publications include Ukiyo-e to patoron (Ukiyo-e and Its Patrons, Keio Univrestity Press, 2014), Katuskawa Shunshō to Tenmeiki no ukiyo-e bijinga (Katsukawa Shunshō and Images of Beautiful Women of the Tenmei Era, Tokyo University Press, 2012) and Rimpa Art (co-authored, British Museum, 1998) etc. Prof. Naito received the Kajima Foundation for the Arts Award in 1994 and the International Ukiyo-e Society Award in 2015. -
A Study of Borrowing in Contemporary Spoken Japanese
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1996 Integration of the American English lexicon: A study of borrowing in contemporary spoken Japanese Bradford Michael Frischkorn Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the First and Second Language Acquisition Commons Recommended Citation Frischkorn, Bradford Michael, "Integration of the American English lexicon: A study of borrowing in contemporary spoken Japanese" (1996). Theses Digitization Project. 1107. https://scholarworks.lib.csusb.edu/etd-project/1107 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. INTEGRATION OF THE AMERICAN ENGLISH LEXICON: A STUDY OF BORROWING IN CONTEMPORARY SPOKEN JAPANESE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfilliiient of the Requirements for the Degree Master of Arts in English Composition by Bradford Michael Frischkorn March 1996 INTEGRATION OF THE AMERICAN ENGLISH LEXICON: A STUDY OF BORROWING IN CONTEMPORARY SPOKEN JAPANESE A Thesis Presented to the Faculty of California State University,,, San Bernardino , by Y Bradford Michael Frischkorn ' March 1996 Approved by: Dr. Wendy Smith, Chair, English " Date Dr. Rong Chen ~ Dr. Sunny Hyonf ABSTRACT The purpose of this thesis was to determine some of the behavioral characteristics of English loanwords in Japanese (ELJ) as they are used by native speakers in news telecasts. Specifically, I sought to examine ELJ from four perspectives: 1) part of speech, 2) morphology, 3) semantics, and 4) usage domain. -
Gender Play in Japanese National Painting
gender play in modern japanese painting 265 FROM MADONNA TO FEMME FATALE: GENDER PLAY IN JAPANESE NATIONAL PAINTING Doris Croissant A major concern of Meiji cultural reforms was the restructuring of visual arts into a tool for national image building. After enthusiastic attempts at importing Western art education, the success of Japanese export-ware on the world market stimulated a reverse course of native art promotion. As a remedy for the threat of Westernization, the conception of New Japanese Painting (Shin-Nihonga) evolved dur- ing the 1880s under the guidance of the American philosopher Ernest F. Fenollosa (1858-1908), and was made into an academic discipline by his disciple, Okakura KakuzÙ (1863-1913), director of the Tokyo Art Academy between 1889 and 1898.1 While Fenollosa prophesized that—contrary to the hopes of supporters of Western-style painting (yÙga)—only the synthesis of Asian and Western painting would push Japan to the forefront of world art, Okakura elaborated the princi- ples that burdened Nihonga artists with the task of re-investing con- ventional techniques and motifs with the spirit of the times. One of the most pressing tasks for national representation con- sisted in the severance of the female image from the “floating world” of Edo popular culture. The long-standing affiliation of female beauty with the courtesan—celebrated into the 1890s as the epitome of refined sensuality, everyday elegance, and erotic charm—contrasted sharply with the ideal Meiji woman who was supposed to embody the womanly and motherly virtues thought essential to the “good wife and wise mother” (ryÙsai kenbo) doctrine.2 In the early Meiji era, 1 Ellen P. -
Asia Week New York
Asia Week New York sia Week New York 2012 retains a similar format to that as the Jade Emperor, adapted Aseen last year and again comprises dozens of special from the Chinese Daoist events and exhibitions. The ‘Asia Week’ group (AWNY) is tradition and worshipped by made up of more than thirty galleries, and involves five auction shamanists in Korea; and houses – Christie’s, Sotheby’s, Bonhams, Doyle New York and Dragon amid Clouds, in ink iGavel – and several museums and Asian cultural institutions and colour on paper (85.1 x (16-24 March; for further information and a detailed calendar 113 cm). (17-24 March; 9 East and map of events, see www.asiaweekny.com). An 88-page 82nd Street, Suite 3A) printed guide is also available from participating galleries and In Martha Sutherland’s institutions. Events on 16 March include a special lecture and exhibition, ‘Contemporary reception with Vidya Dehejia, in honour of renowned dealer and Chinese Ink Paintings: Zhu mainstay of Asia Week Doris Wiener, who died last April. Later Daoping, Jia Youfu, Hsia the same day, The Metropolitan Museum of Art’s annual lecture I-fu and Other Masters’, ink on South and Southeast Asian art ‘Temple Arts of Vijayanagar paintings by living guohua Dragon amid Clouds and Nayaka, South India’ is presented by Crispin Branfoot. artists demonstrate the Korea, 19th century Kang Collection The closing event on the 24th is Japan Society’s symposium ‘incredible range of creativity on the Art Deco movement in Japan, with Gennifer Weisenfeld (Duke University), Vera Mackie (University of Wollongong) and Kendall Brown (curator of ‘Deco Japan: Shaping Culture 1920-1945’ at Japan Society, 16 March-10 June). -
The Woman in Kimono: an Ambivalent Image of Modern Japanese Identity※
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Woman in Kimono: An Ambivalent Image of Modern Japanese Identity※ Kaoru Kojima When the Meiji Government opened Kōbu Bijutsu Gakkō (an Art School of the Ministry of Technology), the first national institute for the education of Western style art in Japan, in 1876, female students were admitted as well as male students. However, the government closed the school in 1882 and discontinued its promotion of education in Western style art. It was only after 1896,that the Tokyo School of Fine Arts, established in 1887 by the Ministry of Education, opened a department of Western style painting and started life-drawing classes. Only male students were eligible for admission to this school from its opening until as late as 1946.1 The female nude became an ardently desired genre by Japanese male artists, though exhibiting images of the female nude to the public remained controversial until the early twentieth century. Neither allegorical paintings of female nudes nor divine mythological female figures of the sort in the Indian art assumed a major presence in Japanese modern art. Diverse images of women wearing kimono, however, were extremely popular in Japanese visual culture. This essay analyzes the emergence of the kimono-clad female figure as a Japanese icon abetted by nationalism and imperialism in the age of the Japanese Empire. 1. Western Clothes as Modern Fashion in Early Meiji Japan The Meiji Emperor was only fourteen years old when he succeeded to the throne after his fatherʼs sudden death in 1866. -
What Influence Did Japan and the West Have on Each Other in the Wonderful World of Art During the Edo Period and Beyond?
What influence did Japan and the West have on each other in the wonderful world of art during the Edo Period and beyond? By Alex Thompson The relationship between Japan and countries of the West contains all the elements of true romance. The intrigue, the mystery, the love and lust, and what’s a good romance without suspicion and an execution of some sort? The Ukiyo-e art movement was a major part of the Edo Period in Japan, and was composed of many great woodblock masters. From the first great master of black and white prints, to the last leading artist in landscape, this period of art had a great influence on the Western world. Westerners, especially those in Europe, also inspired ukiyo-e artists and acted as a source of intrigue to the isolated nation of Japan. The rapport between these two cultures had its shortcomings, however it blossomed into a symbiotic relationship in the end. Ukiyo-e, meaning “pictures of the floating world,” depicts the glamorous lifestyle of Japanese townspeople during the pleasure-filled Edo Period (also known as the Tokugawa Period.) This was a lengthy period of peace and prosperity in Edo (present day Tokyo) that lasted between 1603 and 1868. During this stable period, the Japanese were ruled by the Tokugawa shogun, which were established by the almighty Tokugawa leyasu. Foreign trade was encouraged, although leyasu was rather apprehensive when dealing with outsiders. Due to his suspicion of foreigners, trading ports were limited, as were the types of commodities that they were allowed to handle. -
ACCESS GRANTED Art-Historical Art and Woodblock-Printed Books in Eighteenth-Century Japan
CHELSEA FOXWELL ACCESS GRANTED Art- Historical Art and Woodblock- Printed Books in Eighteenth- Century Japan Abstract Contributors to this volume have linked the flourishing of art-historical art in the Song period (960– 1279) and beyond to an overall change in historical consciousness. The surge in art- historical art in eighteenth- and early nineteenth- century Japan similarly marks a fundamental change in historical consciousness and methodology. From the early 1700s onward, Japan saw the dawn of an information age in response to urbanization, commercial printing, and the encouragement of foreign books and learning by the shogun Yoshimune (in office 1716– 45). This essay explores the impact of this eighteenth-century information age on visual art, distinguishing new developments from earlier forms of Japanese art- historical consciousness found primarily in the Kano school. Printed seventeenth- and eighteenth-century Chinese painting albums and manuals arrived in Japan shortly after their issuance, but certain conditions had to be met before similar books could be published in Japan. First, artists and publishers needed to circumvent the ban on publishing infor- mation related to members of the ruling class (including paintings owned by these elites). Second, independent painters who had been trained in the Kano school also were obliged to find a means of breaking with medieval codes of secret transmission in a way that benefited rather than harmed their careers. Finally, the emergence of printed painting manuals was predicated on the presence of artists and audiences who saw value in the accurate transcription of existing paintings and their circulation in woodblock form. In the 1670s and 80s, the Edo- based painter Hishikawa Moronobu (1618– 1694) popularized the ezukushi (exhaustive compendium) form of illustrated book. -
Pigments in Later Japanese Paintings : Studies Using Scientific Methods
ND 1510 ' .F48 20(}3 FREER GALLERY OF ART OCCASIONAL PAPERS NEW SERIES VOL. 1 FREER GALLERY OF ART OCCASIONAL PAPERS ORIGINAL SERIES, 1947-1971 A.G. Wenley, The Grand Empress Dowager Wen Ming and the Northern Wei Necropolis at FangShan , Vol. 1, no. 1, 1947 BurnsA. Stubbs, Paintings, Pastels, Drawings, Prints, and Copper Plates by and Attributed to American and European Artists, Together with a List of Original Whistleriana in the Freer Gallery of Art, Vol. 1, no. 2, 1948 Richard Ettinghausen, Studies in Muslim Iconography I: The Unicorn, Vol. 1, no. 3, 1950 Burns A. Stubbs, James McNeil/ Whistler: A Biographical Outline, Illustrated from the Collections of the Freer Gallery of Art, Vol. 1, no. 4, 1950 Georg Steindorff,A Royal Head from Ancient Egypt, Vol. 1, no. 5, 1951 John Alexander Pope, Fourteenth-Century Blue-and-White: A Group of Chinese Porcelains in the Topkap11 Sarayi Miizesi, Istanbul, Vol. 2, no. 1, 1952 Rutherford J. Gettens and Bertha M. Usilton, Abstracts ofTeclmical Studies in Art and Archaeology, 19--13-1952, Vol. 2, no. 2, 1955 Wen Fong, Tlie Lohans and a Bridge to Heaven, Vol. 3, no. 1, 1958 Calligraphers and Painters: A Treatise by QildfAhmad, Son of Mfr-Munshi, circa A.H. 1015/A.D. 1606, translated from the Persian by Vladimir Minorsky, Vol. 3, no. 2, 1959 Richard Edwards, LiTi, Vol. 3, no. 3, 1967 Rutherford J. Gettens, Roy S. Clarke Jr., and W. T. Chase, TivoEarly Chinese Bronze Weapons with Meteoritic Iron Blades, Vol. 4, no. 1, 1971 IN TERIM SERIES, 1998-2002, PUBLISHED BY BOTH THE FREER GALLERY OF ART AND THE ARTHUR M.