2020 H.C.Andersen Award Nominee from Japan
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Vaitoskirjascientific MASCULINITY and NATIONAL IMAGES IN
Faculty of Arts University of Helsinki, Finland SCIENTIFIC MASCULINITY AND NATIONAL IMAGES IN JAPANESE SPECULATIVE CINEMA Leena Eerolainen DOCTORAL DISSERTATION To be presented for public discussion with the permission of the Faculty of Arts of the University of Helsinki, in Room 230, Aurora Building, on the 20th of August, 2020 at 14 o’clock. Helsinki 2020 Supervisors Henry Bacon, University of Helsinki, Finland Bart Gaens, University of Helsinki, Finland Pre-examiners Dolores Martinez, SOAS, University of London, UK Rikke Schubart, University of Southern Denmark, Denmark Opponent Dolores Martinez, SOAS, University of London, UK Custos Henry Bacon, University of Helsinki, Finland Copyright © 2020 Leena Eerolainen ISBN 978-951-51-6273-1 (paperback) ISBN 978-951-51-6274-8 (PDF) Helsinki: Unigrafia, 2020 The Faculty of Arts uses the Urkund system (plagiarism recognition) to examine all doctoral dissertations. ABSTRACT Science and technology have been paramount features of any modernized nation. In Japan they played an important role in the modernization and militarization of the nation, as well as its democratization and subsequent economic growth. Science and technology highlight the promises of a better tomorrow and future utopia, but their application can also present ethical issues. In fiction, they have historically played a significant role. Fictions of science continue to exert power via important multimedia platforms for considerations of the role of science and technology in our world. And, because of their importance for the development, ideologies and policies of any nation, these considerations can be correlated with the deliberation of the role of a nation in the world, including its internal and external images and imaginings. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Shaping Darkness in Hyakki Yagyō Emaki
Asian Studies III (XIX), 1 (2015), pp.9–27 Shaping Darkness in hyakki yagyō emaki Raluca NICOLAE* Abstract In Japanese culture, the yōkai, the numinous creatures inhabiting the other world and, sometimes, the boundary between our world and the other, are obvious manifestations of the feeling of fear, “translated” into text and image. Among the numerous emaki in which the yōkai appear, there is a specific type, called hyakki yagyō (the night parade of one hundred demons), where all sorts and sizes of monsters flock together to enjoy themselves at night, but, in the end, are scattered away by the first beams of light or by the mysterious darani no hi, the fire produced by a powerful magical invocation, used in the Buddhist sect Shingon. The nexus of this emakimono is their great number, hyakki, (one hundred demons being a generic term which encompasses a large variety of yōkai and oni) as well as the night––the very time when darkness becomes flesh and blood and starts marching on the streets. Keywords: yōkai, night, parade, painted scrolls, fear Izvleček Yōkai (prikazni, demoni) so v japonski kulturi nadnaravna bitja, ki naseljuje drug svet in včasih tudi mejo med našim in drugim svetom ter so očitno manifestacija občutka strahu “prevedena” v besedila in podobe. Med številnimi slikami na zvitkih (emaki), kjer se prikazni pojavljajo, obstaja poseben tip, ki se imenuje hyakki yagyō (nočna parade stotih demonov), kjer se zberejo pošasti različne vrste in velikosti, da bi uživali v noči, vendar jih na koncu preženejo prvi žarki svetlobe ali skrivnosten darani no hi, ogenj, ki se pojavi z močnim magičnim zaklinjanje in se uporablja pri budistični sekti Shingon. -
©Copyright 2012 Sachi Schmidt-Hori
1 ©Copyright 2012 Sachi Schmidt-Hori 2 Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Paul S. Atkins, Chair Davinder L. Bhowmik Tani E. Barlow Kyoko Tokuno Program Authorized to Offer Degree: Department of Asian Languages and Literature 3 University of Washington Abstract Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori Chair of the Supervisory Committee: Associate Professor Paul S. Atkins Asian Languages and Literature This study is an attempt to elucidate the complex interrelationship between gender, sexuality, desire, and power by examining how premodern Japanese texts represent the gender-based ideals of women and men at the peak and margins of the social hierarchy. To do so, it will survey a wide range of premodern texts and contrast the literary depictions of two female groups (imperial priestesses and courtesans), two male groups (elite warriors and outlaws), and two groups of Buddhist priests (elite and “corrupt” monks). In my view, each of the pairs signifies hyperfemininities, hypermasculinities, and hypersexualities of elite and outcast classes, respectively. The ultimate goal of 4 this study is to contribute to the current body of research in classical Japanese literature by offering new readings of some of the well-known texts featuring the above-mentioned six groups. My interpretations of the previously studied texts will be based on an argument that, in a cultural/literary context wherein defiance merges with sexual attractiveness and/or sexual freedom, one’s outcast status transforms into a source of significant power. -
What Genji Paintings Do
Beyond Narrative Illustration: What Genji Paintings Do MELISSA McCORMICK ithin one hundred fifty years of its creation, gold found in the paper decoration of their accompanying cal- The Tale of Genji had been reproduced in a luxurious ligraphic texts (fig. 12). W set of illustrated handscrolls that afforded privileged In this scene from Chapter 38, “Bell Crickets” (Suzumushi II), for readers a synesthetic experience of Murasaki Shikibu’s tale. Those example, vaporous clouds in the upper right corner overlap directly twelfth-century scrolls, now designated National Treasures, with the representation of a building’s veranda. A large autumn survive in fragmented form today and continue to offer some of moon appears in thin outline within this dark haze, its brilliant the most evocative interpretations of the story ever imagined. illumination implied by the silver pigment that covers the ground Although the Genji Scrolls represent a singular moment in the his- below. The cloud patch here functions as a vehicle for presenting tory of depicting the tale, they provide an important starting point the moon, and, as clouds and mist bands will continue to do in for understanding later illustrations. They are relevant to nearly Genji paintings for centuries to come, it suggests a conflation of all later Genji paintings because of their shared pictorial language, time and space within a limited pictorial field. The impossibility of their synergistic relationship between text and image, and the the moon’s position on the veranda untethers the motif from literal collaborative artistic process that brought them into being. Starting representation, allowing it to refer, for example, to a different with these earliest scrolls, this essay serves as an introduction to temporal moment than the one pictured. -
Introduction This Exhibition Celebrates the Spectacular Artistic Tradition
Introduction This exhibition celebrates the spectacular artistic tradition inspired by The Tale of Genji, a monument of world literature created in the early eleventh century, and traces the evolution and reception of its imagery through the following ten centuries. The author, the noblewoman Murasaki Shikibu, centered her narrative on the “radiant Genji” (hikaru Genji), the son of an emperor who is demoted to commoner status and is therefore disqualified from ever ascending the throne. With an insatiable desire to recover his lost standing, Genji seeks out countless amorous encounters with women who might help him revive his imperial lineage. Readers have long reveled in the amusing accounts of Genji’s romantic liaisons and in the dazzling descriptions of the courtly splendor of the Heian period (794–1185). The tale has been equally appreciated, however, as social and political commentary, aesthetic theory, Buddhist philosophy, a behavioral guide, and a source of insight into human nature. Offering much more than romance, The Tale of Genji proved meaningful not only for men and women of the aristocracy but also for Buddhist adherents and institutions, military leaders and their families, and merchants and townspeople. The galleries that follow present the full spectrum of Genji-related works of art created for diverse patrons by the most accomplished Japanese artists of the past millennium. The exhibition also sheds new light on the tale’s author and her female characters, and on the women readers, artists, calligraphers, and commentators who played a crucial role in ensuring the continued relevance of this classic text. The manuscripts, paintings, calligraphy, and decorative arts on display demonstrate sophisticated and surprising interpretations of the story that promise to enrich our understanding of Murasaki’s tale today. -
Myths & Legends of Japan
Myths & Legends Of Japan By F. Hadland Davis Myths & Legends of Japan CHAPTER I: THE PERIOD OF THE GODS In the Beginning We are told that in the very beginning "Heaven and Earth were not yet separated, and the In and Yo not yet divided." This reminds us of other cosmogony stories. The In and Yo, corresponding to the Chinese Yang and Yin, were the male and female principles. It was more convenient for the old Japanese writers to imagine the coming into being of creation in terms not very remote from their own manner of birth. In Polynesian mythology we find pretty much the same conception, where Rangi and Papa represented Heaven and Earth, and further parallels may be found in Egyptian and other cosmogony stories. In nearly all we find the male and female principles taking a prominent, and after all very rational, place. We are told in theNihongi that these male and female principles "formed a chaotic mass like an egg which was of obscurely defined limits and contained germs." Eventually this egg was quickened into life, and the purer and clearer part was drawn out and formed Heaven, while the heavier element settled down and became Earth, which was "compared to the floating of a fish sporting on the surface of the water." A mysterious form resembling a reed-shoot suddenly appeared between Heaven and Earth, and as suddenly became transformed into a God called Kuni-toko- tachi, ("Land-eternal-stand-of-august-thing"). We may pass over the other divine births until we come to the important deities known as Izanagi and Izanami ("Male-who-invites" and "Female-who-invites"). -
Mononoke, Yōkai E Donna Problematiche E Aspetti Sociali Del Giappone
Corso di Laurea in Lingue e civiltà dell'Asia e dell'Africa Mediterranea [LM20-14] Tesi di Laurea MONONOKE, YŌKAI E DONNA PROBLEMATICHE E ASPETTI SOCIALI DEL GIAPPONE Relatore Ch. Prof.ssa Maria Roberta Novielli Correlatore Ch. Prof.ssa Paola Scrolavezza Laureando Valerio Pinos Matricola 859473 Anno Accademico 2016 / 2017 INDICE INDICE .............................................................................................................................. 1 INTRODUZIONE .......................................................................................................... 3 要旨 ....................................................................................................................................... 5 MONONOKE: UN ESPERIMENTO FRA MISTERO E REALTÀ ........ 7 GLI ASPETTI STORICI E L’AUTORE 11 LO STILE D’ANIMAZIONE 15 LE QUESTIONI SOCIALI DELLA DONNA IN MONONOKE 31 YŌKAI: DEMONI DEL FOLKLORE E METAFORE SOCIALI............ 38 ZASHIKI-WARASHI: BAMBINI FANTASMA E IL DESIDERIO DI RINASCITA 41 NOPPERA-BŌ: SPIRITI SENZA VOLTO E ASSENZA DI IDENTITÀ 52 BAKENEKO: QUANDO LA VENDETTA PRENDE FORMA 64 DA MONONOKE ALLA REALTÀ: LA DONNA FRA OGGETTO, IDENTITÀ E DISCRIMINAZIONE ................................................................... 78 ABORTO E EMANCIPAZIONE DEL CORPO 80 L’IDENTITÀ DELLA DONNA NELLA FAMIGLIA 90 DISPARITÀ SUL POSTO DI LAVORO 100 CONCLUSIONI .......................................................................................................... 111 INDICE DELLE FIGURE ..................................................................................... -
Folklore and Earthquakes: Native American Oral Traditions from Cascadia Compared with Written Traditions from Japan
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/249551808 Folklore and earthquakes: Native American oral traditions from Cascadia compared with written traditions from Japan Article in Geological Society London Special Publications · January 2007 DOI: 10.1144/GSL.SP.2007.273.01.07 CITATIONS READS 20 5,081 12 authors, including: R. S. Ludwin Deborah Carver University of Washington Seattle University of Alaska Anchorage 18 PUBLICATIONS 261 CITATIONS 2 PUBLICATIONS 95 CITATIONS SEE PROFILE SEE PROFILE Robert J. Losey Coll Thrush University of Alberta University of British Columbia - Vancouver 103 PUBLICATIONS 1,174 CITATIONS 20 PUBLICATIONS 137 CITATIONS SEE PROFILE SEE PROFILE Some of the authors of this publication are also working on these related projects: Cheekye Fan - Squamish Floodplain Interactions View project Peace River area radiocarbon database View project All content following this page was uploaded by John J. Clague on 07 June 2016. The user has requested enhancement of the downloaded file. Downloaded from http://sp.lyellcollection.org/ at Simon Fraser University on June 6, 2016 Folklore and earthquakes: Native American oral traditions from Cascadia compared with written traditions from Japan RUTH S. LUDWIN 1 & GREGORY J. SMITS 2 IDepartment of Earth and Space Sciences, University of Washington, Box 351310, Seattle, WA 98195-1310, USA (e-mail: [email protected]) 2Department of Histoo' and Program in Religious Studies, 108 Weaver Building, The Pennsylvania State UniversiO', Universio' Park, PA 16802, USA With Contributions from D. CARVER 3, K. JAMES 4, C. JONIENTZ-TRISLER 5, A. D. MCMILLAN 6, R. LOSEY 7, R. -
Cinemeducation Movies Have Long Been Utilized to Highlight Varied
Cinemeducation Movies have long been utilized to highlight varied areas in the field of psychiatry, including the role of the psychiatrist, issues in medical ethics, and the stigma toward people with mental illness. Furthermore, courses designed to teach psychopathology to trainees have traditionally used examples from art and literature to emphasize major teaching points. The integration of creative methods to teach psychiatry residents is essential as course directors are met with the challenge of captivating trainees with increasing demands on time and resources. Teachers must continue to strive to create learning environments that give residents opportunities to apply, analyze, synthesize, and evaluate information (1). To reach this goal, the use of film for teaching may have advantages over traditional didactics. Films are efficient, as they present a controlled patient scenario that can be used repeatedly from year to year. Psychiatry residency curricula that have incorporated viewing contemporary films were found to be useful and enjoyable pertaining to the field of psychiatry in general (2) as well as specific issues within psychiatry, such as acculturation (3). The construction of a formal movie club has also been shown to be a novel way to teach psychiatry residents various aspects of psychiatry (4). Introducing REDRUMTM Building on Kalra et al. (4), we created REDRUMTM (Reviewing [Mental] Disorders with a Reverent Understanding of the Macabre), a Psychopathology curriculum for PGY-1 and -2 residents at Rutgers Robert Wood Johnson Medical School. REDRUMTM teaches topics in mental illnesses by use of the horror genre. We chose this genre in part because of its immense popularity; the tropes that are portrayed resonate with people at an unconscious level. -
EYE-CANDY-CATALOG-3.Pdf
EyeCandyCustomzus.com Hello. Eye Candy Pigments are mica pigments, which are powders which are typically used as an additive or colorant in applications such as Epoxy, Resin, Lacquer, Automotive Paints, Acrylics, Soap Molds, Art, and Cosmetics, just to name a few. Our pigments are NON-TOXIC, animal friendly, irritant, stain free, and most importantly gentle and Did You safe to your skin. The desire for pigments in these industries are limitless, as Eye Know... Candy pigments are proving to be the perfect solution for those Do-It-Yourselfers looking for a VERY cost effective way to customize their projects. At Eye Candy™ our vision is to create a better everyday experience for the many people who use our products. Our business idea supports this vision by offering The word ‘Mica’ originated the best possible service, selection, quality, and value.” in the Latin language and literally means ‘Crumb’. Eye Candy Pigments were originally being used within the automotive paint industry The mica rock is crushed as an additive for paint shops looking for alternative customization at an affordable and processed through price. This concept proved extremely successful and before long our growth and various stages until it takes popularity crossed over into the construction and craft industry markets. Whether the form of, well, little you’re a “DIY’er” or a business, an artist, woodworker, cosmetologist, soap maker, or crumbs. Just in case you automotive painter, we assure you that we have your best interests in mind when it were wondering! comes to our pigments and your projects. What’s the Use?..