Epok Research Essays
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THE Buddhist Thinker and Reformer Nichiren (1222–1282) Is Consid
J/Orient/03 03.10.10 10:55 AM ページ 94 A History of Women in Japanese Buddhism: Nichiren’s Perspectives on the Enlightenment of Women Toshie Kurihara OVERVIEW HE Buddhist thinker and reformer Nichiren (1222–1282) is consid- Tered among the most progressive of the founders of Kamakura Bud- dhism, in that he consistently championed the capacity of women to achieve salvation throughout his ecclesiastic writings.1 This paper will examine Nichiren’s perspectives on women, shaped through his inter- pretation of the 28-chapter Lotus Sutra of Gautama Shakyamuni in India, a version of the scripture translated by Buddhist scholar Kumara- jiva from Sanskrit to Chinese in 406. The paper’s focus is twofold: First, to review doctrinal issues concerning the spiritual potential of women to attain enlightenment and Nichiren’s treatises on these issues, which he posited contrary to the prevailing social and religious norms of medieval Japan. And second, to survey the practical solutions that Nichiren, given the social context of his time, offered to the personal challenges that his women followers confronted in everyday life. THE ATTAINMENT OF BUDDHAHOOD BY WOMEN Historical Relationship of Women and Japanese Buddhism During the Middle Ages, Buddhism in Japan underwent a significant transformation. The new Buddhism movement, predicated on simpler, less esoteric religious practices (igyo-do), gained widespread acceptance among the general populace. It also redefined the roles that women occupied in Buddhism. The relationship between established Buddhist schools and women was among the first to change. It is generally acknowledged that the first three individuals in Japan to renounce the world and devote their lives to Buddhist practice were women. -
Construction and Verification of the Scale Detection Method for Traditional Japanese Music – a Method Based on Pitch Sequence of Musical Scales –
International Journal of Affective Engineering Vol.12 No.2 pp.309-315 (2013) Special Issue on KEER 2012 ORIGINAL ARTICLE Construction and Verification of the Scale Detection Method for Traditional Japanese Music – A Method Based on Pitch Sequence of Musical Scales – Akihiro KAWASE Department of Corpus Studies, National Institute for Japanese Language and Linguistics, 10-2 Midori-cho, Tachikawa City, Tokyo 190-8561, Japan Abstract: In this study, we propose a method for automatically detecting musical scales from Japanese musical pieces. A scale is a series of musical notes in ascending or descending order, which is an important element for describing the tonal system (Tonesystem) and capturing the characteristics of the music. The study of scale theory has a long history. Many scale theories for Japanese music have been designed up until this point. Out of these, we chose to formulate a scale detection method based on Seiichi Tokawa’s scale theories for traditional Japanese music, because Tokawa’s scale theories provide a versatile system that covers various conventional scale theories. Since Tokawa did not describe any of his scale detection procedures in detail, we started by analyzing his theories and understanding their characteristics. Based on the findings, we constructed the scale detection method and implemented it in the Java Runtime Environment. Specifically, we sampled 1,794 works from the Nihon Min-yo Taikan (Anthology of Japanese Folk Songs, 1944-1993), and performed the method. We compared the detection results with traditional research results in order to verify the detection method. If the various scales of Japanese music can be automatically detected, it will facilitate the work of specifying scales, which promotes the humanities analysis of Japanese music. -
Problem Gambling: How Japan Could Actually Become the Next Las Vegas
[Type here] PROBLEM GAMBLING: HOW JAPAN COULD ACTUALLY BECOME THE NEXT LAS VEGAS Jennifer Roberts and Ted Johnson INTRODUCTION Although with each passing day it appears less likely that integrated resorts with legalized gaming will become part of the Tokyo landscape in time for the city’s hosting of the summer Olympics in 20201, there is still substantial international interest in whether Japan will implement a regulatory system to oversee casino-style gaming. In 2001, Macau opened its doors for outside companies to conduct casino gaming operations as part of its modernized gaming regulatory system.2 At that time, it was believed that Macau would become the next Las Vegas.3 Just a few years after the new resorts opened, many operated by Las Vegas casino company powerhouses, Macau surpassed Las Vegas as the “gambling center” at one point.4 With tighter restrictions and crackdowns on corruption, Macau has since experienced declines in gaming revenue.5 When other countries across Asia have either contemplated or adopted gaming regulatory systems, it is often believed that they could become the 1 See 2020 Host City Election, OLYMPIC.ORG, http://www.olympic.org/2020-host- city-election (last visited Oct. 25, 2015). 2 Macau Gaming Summary, UNLV CTR. FOR GAMING RES., http://gaming. unlv.edu/ abstract/macau.html (last visited Oct. 25, 2015). 3 David Lung, Introduction: The Future of Macao’s Past, in THE CONSERVATION OF URBAN HERITAGE: MACAO VISION – INTERNATIONAL CONFERENCE xiii, xiii (The Cultural Inst. of the Macao S. A. R. Gov’t: Studies, Research & Publ’ns Div. 2002), http://www.macauheritage.net/en/knowledge/vision/vision_xxi.pdf (noting, in 2002, of outside investment as possibly creating a “Las Vegas of the East”). -
The Karin Ikebana Exhibition
Sairyuka - Art and ancient Asian philosophy rooted in nature KARIN-en vol.6 Sairyuka No. 35 Supplementary Karin-en News No. 6, January 2018 Ikebana / Paintings / Vessels ... The Karin Ikebana Exhibition Kanazawa / Tokyo “ Ikebana / Paintings / Vessels - The Karin Ikebana Exhibitions” were held in Kanazawa and Tokyo, co- inciding with the Hina festival and Boy’s Day celebration (Sairyuka No. 35). This page and the next show designs from the Tokyo exhibition. Sairyuka - Ikebana of the Wind Camellia (single-variant); by Karin Painting (hanging scroll) - “Sea bream”; by Karin Mounting by Akira Nagashima Vessel: Boat-form ceramic vase and square/circular stand (thick board) Design by Karin Production by Yatomi Maeda (ceramics), Kazuhiko Tada (stand) Koryu Association, Komagome, Tokyo 23 November Held together with the Koryu Ikebana Exhi- bition (continued on p2) Jiyuka (versatile arrangement); by Risei Morikawa Pine, camellia, eucalyptus, lily, soaproot, kori willow, other Vessel: Reika - beech, other; by Box-form ceramic vase Design by Karin Hosei Sakamoto Painting Production by Yatomi Maeda (hanging scroll) - “frog”; by Positioned at the venue entrance Karin Mounting by Akira Na- gashima Vessel: Ceramic “ kagamigata ” (parabolic) vase Design by Karin Production by Yatomi Maeda 1 The Karin Ikebana Exhibition 23 November23 Continued from page page 1 from Continued KoryuAssociation, Komagome, Sairyuka - Five Ikebana: Camellia (single tone) (From left: Wind Ikebana, Water Ikebana, Sword Ikebana, Earth Ikebana, Fire Ikebana): by Karin, Kyuuka Yamaki, Kyuuka Higashimori Paintings (hanging scroll) - From left: Enso-Wind, Enso-Water, Enso-Sword, Enso-Earth, Enso-Fire: Karin Mounting by Akira Nagashima Vessel: Square-circular ceramic vase Design by Karin Tokyo Production by Yatomi Maeda The Tokyo “Karin Ikebana Exhibition” was held on 23 【Right】 November at the Koryu Reika - (Japanese yew), other: by Association in Komagome, Ribin Okamoto alongside the established Painting (hanging scroll) - “sword”; Koryu Shoseikai Ikebana by Karin exhibition. -
Those Restless Little Boats on the Uneasiness of Japanese Power-Boat Gamblers
Course No. 3507/3508 Contemporary Japanese Culture and Society Lecture No. 15 Gambling ギャンブル・賭博 GAMBLING … a national obession. Gambling fascinates, because it is a dramatized model of life. As people make their way through life, they have to make countless decisions, big and small, life-changing and trivial. In gambling, those decisions are reduced to a single type – an attempt to predict the outcome of an event. Real-life decisions often have no clear outcome; few that can clearly be called right or wrong, many that fall in the grey zone where the outcome is unclear, unimportant, or unknown. Gambling decisions have a clear outcome in success or failure: it is a black and white world where the grey of everyday life is left behind. As a simplified and dramatized model of life, gambling fascinates the social scientist as well as the gambler himself. Can the decisions made by the gambler offer us a short-cut to understanding the character of the individual, and perhaps even the collective? Gambling by its nature generates concrete, quantitative data. Do people reveal their inner character through their gambling behavior, or are they different people when gambling? In this paper I will consider these issues in relation to gambling on powerboat races (kyōtei) in Japan. Part 1: Institutional framework Gambling is supposed to be illegal in Japan, under article 23 of the Penal Code, which prescribes up to three years with hard labor for any “habitual gambler,” and three months to five years with hard labor for anyone running a gambling establishment. Gambling is unambiguously defined as both immoral and illegal. -
Japanese Publicly Managed Gaming (Sports Gambling) and Local Government
Papers on the Local Governance System and its Implementation in Selected Fields in Japan No.16 Japanese Publicly Managed Gaming (Sports Gambling) and Local Government Yoshinori ISHIKAWA Executive director, JKA Council of Local Authorities for International Relations (CLAIR) Institute for Comparative Studies in Local Governance (COSLOG) National Graduate Institute for Policy Studies (GRIPS) Except where permitted by the Copyright Law for “personal use” or “quotation” purposes, no part of this booklet may be reproduced in any form or by any means without the permission. Any quotation from this booklet requires indication of the source. Contact Council of Local Authorities for International Relations (CLAIR) (The International Information Division) Sogo Hanzomon Building 1-7 Kojimachi, Chiyoda-ku, Tokyo 102-0083 Japan TEL: 03-5213-1724 FAX: 03-5213-1742 Email: [email protected] URL: http://www.clair.or.jp/ Institute for Comparative Studies in Local Governance (COSLOG) National Graduate Institute for Policy Studies (GRIPS) 7-22-1 Roppongi, Minato-ku, Tokyo 106-8677 Japan TEL: 03-6439-6333 FAX: 03-6439-6010 Email: [email protected] URL: http://www3.grips.ac.jp/~coslog/ Foreword The Council of Local Authorities for International Relations (CLAIR) and the National Graduate Institute for Policy Studies (GRIPS) have been working since FY 2005 on a “Project on the overseas dissemination of information on the local governance system of Japan and its operation”. On the basis of the recognition that the dissemination to overseas countries of information on the Japanese local governance system and its operation was insufficient, the objective of this project was defined as the pursuit of comparative studies on local governance by means of compiling in foreign languages materials on the Japanese local governance system and its implementation as well as by accumulating literature and reference materials on local governance in Japan and foreign countries. -
Ws \\ I: I, I; I\ Si
x i: w s \\ i: i, i; i\ s i: FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 FOR IMMEDIATE RELEASE MAJOR EXHIBITION OF JAPANESE ART AT NATIONAL GALLERY OF ART Exhibition To Appear Only In Washington WASHINGTON, August 25, 1988- The art of the daimyo, feudal lords who ruled the provinces of Japan for nearly 700 years, will be the focus of a new exhibition, Japan: The Shaping of Daimyo Culture 1185 - 1868, opening this fall at the National Gallery of Art. The exhibition will bring together more than 450 Japanese-owned works of art that express the values that helped shape the aesthetic ideals and social character of the Japanese nation in its feudal age. An unprecedented number of objects officially designated by the Japanese government as National Treasures, Important Cultural Properties and Important Art Objects will be on view in what will be the largest exhibition of its kind ever presented in the West, or even in Japan. This exhibition will appear only in Washington. Japan: The Shaping of Daimyo Culture 1185 - 1868 will be in the East Building of the National Gallery of Art, Oct. 30, 1988 through Jan. 23, 1989. The exhibition is organized by the National Gallery of Art, The Agency for Cultural Affairs of Japan, and The Japan Foundation. The R.J. Reynolds Tobacco Company, The Yomiuri Shimbun and The Nomura Securities Co., Ltd. made the exhibition possible. Japan Air Lines provided transport. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. -
Seminar on Japanese Swords 7 February 2005
Tsurugi-Bashi Kendo Kai University of Cambridge Kendo Society Seminar on Japanese swords 7 February 2005 Revised proceedings Proceedings editor: Nicholas Taylor Copyright c Tsurugi Bashi 2005 http://www.cam.ac.uk/societies/kendo/ Table of Contents Preface FrankStajano....................................... ...............3 A visit to a sword polisher's workshop FrankStajano....................................... ...............4 The parts of the Japanese sword NeilHubbard........................................ ..............7 Katana and Kendo: Background and Reigi HyoWonKim.......................................... ...........9 Functional differences between European medieval and Japa- nese swords SabineBuchholz...................................... ............11 Manufacture of Japanese swords RichardBoothroyd..................................... ...........13 Zen and the Way of the Sword KristiinaJokinen................................... ...............15 Metallurgy and the Japanese Sword NicholasTaylor..................................... ..............17 2 Preface On a sunny morning in December 2004 I happened to pass by the British Museum and my attention was caught by an elegant black poster featuring a beautiful Japanese sword blade. I immediately went in and was delighted at the chance to admire a won- derful exhibition of the Museum’s magnificent collection of about a hundred Japanese blades, all recently restored in Japan. Once back in Cambridge, I set out to organize a visit to the exhibition for members of our kendo dojo, Tsurugi-Bashi. Although, as one might expect, many of our kendoka have an interest in Japanese swords, none of us is really knowledgeable, let alone an expert or collector. We therefore needed some preparation and guidance in order fully to appreciate the visit. In the spirit of encouraging people to find out more about the subject, I there- fore requested that members wishing to join the guided tour carry out a little research about some aspect of the Japanese sword, write it up as a short essay and present it to the others. -
Japanese Sword Buying Guide
THE SAMURAI SWORD GUIDE Learn what to look for when planning to buy www.samurai-sword-shop.com JAPANESE SWORD BUYING GUIDE With the inception of the powerful and highly modernized internet, searching for and buying hard‐to‐find gadgets, gizmos and watchamacallits have never been easier than it was 10 years ago. And this includes finding a good katana. If one wants to buy a katana way back in the good ‘ol days, he had to go out and look for a brick and mortar store where some actual katana swords were being sold. But sometimes, after having traveled quite a distance, the store owner would tell you that they don’t have any katana in stock! What a big disappointment! All of these have changed though with the birth of the World Wide Web. Now you can find ten or more different katanas with just a few clicks and in just a fraction of time. You can quickly compare katanas that range from as low as 100 euro up to a few thousand euro while a real nihonto would probably cost around 10.000 , 20.000 and up to +100.000 euro and more. Well, don’t be shocked! Even a simple antique tsuba can actually cost much more than a regular sword! Nevertheless, the emergence of modern technology cannot quite replace the actual buying process that we have been earlier exposed to – one that allows us to examine closely and even touch and smell the product before we decide if it’s worthy of our penny. Copyright © 2010 www.samurai-sword-shop.com 1 It’s really hard to tell if the katana on your computer screen is worth the price and if it’s really what you are looking for. -
Basic Guidelines Iaido & Budo
Basic Guidelines for Iaido & Budo Compiled by the Japanese Swordsmanship Society Courtesy & Etiquette (Reiho & Reigi) Guidelines for Training “I know nothing about how to win over others, I only know the way to win over myself” —Yagyu Tajima No Kami Munenori 1. Always treat your Sensei and fellow students with courtesy and respect. 2. Never question your Sensei’s abilities. 3. Always be in control of your actions and emotions. 4. Practice your techniques as often as possible. 5. Take constructive criticism with an open mind. 6. Never be arrogant about what you know. Never think that you know everything about something. 7. Remember that you can learn something from anyone. 8. Never say, “I cannot.” Have a positive attitude. 9. Remember all techniques are ultimately self-taught over time. 10. Always look inward and try to improve yourself. Entrance 1. The uniform must be clean, worn correctly, and adjusted properly. At the end of every class, the hakama, keiko-gi and obi must be neatly and respectfully folded up. 2. No jewelry, patches, emblems may be worn within the Dojo except approved ones. An exception to this rule will be allowed for wedding rings that cannot easily be removed. 3. If a student arrives late for a training session, he/she will bow-in away from blocking the entrance. From there, he/she will wait at the entrance of the Dojo and wait to be recognized by the Sensei. After recognition he/she will bow-in using the correct manner and may then join the class at the Sensei’s direction. -
Vocaloid and the Future of Songwriting
Vocaloid and the future of Songwriting Vocaloid is a concept that requires two explanations – it is a software developed at Pompeu Fabra University in Barcelona, Spain, with the backing of Yamaha Corporation and commercially marketed as a virtual instrument, similar to any other music creation and editing software, except that instead of instrumental sounds, Vocaloid gives digital music producers a powerful tool to enhance their music – the human voice. Vocalists are contracted by software companies with a licensing agreement with Yamaha, such as Crypton Future Media, to produce and sell software utilizing the Vocaloid technology, record vast libraries of phonemes that allow for the construction of lyric tracks, complete with pitch modulation and a multitude of other available effects. This allows digital music producers to record music and lyrics directly from their computers without needing recording equipment or, most importantly, a live vocalist. In this sense, Vocaloid has opened the doors of democracy to the music production industry – anyone with the time and passion for songwriting can record professional-quality music in their own home regardless of their own vocal talent or ability to hire talent. The second facet of Vocaloid began as a marketing ploy – the first generation of Japanese Vocaloid software featured two voices, one male and one female, named “Meiko” and “Kaito”. Their box art featured illustrations of the “performer”, depicting Meiko as a slender brunette in red pleather and Kaito with blue hair in a white jacket and scarf matching his hair. Japan’s cultural history of Shinto Animism cultivated an environment with a preference for anthropomorphism, leading fans to closely associate with the virtual pair, boosting the software’s popularity. -
Kamakura Period, Early 14Th Century Japanese Cypress (Hinoki) with Pigment, Gold Powder, and Cut Gold Leaf (Kirikane) H
A TEACHER RESOURCE 1 2 Project Director Nancy C. Blume Editor Leise Hook Copyright 2016 Asia Society This publication may not be reproduced in full without written permission of Asia Society. Short sections—less than one page in total length— may be quoted or cited if Asia Society is given credit. For further information, write to Nancy Blume, Asia Society, 725 Park Ave., New York, NY 10021 Cover image Nyoirin Kannon Kamakura period, early 14th century Japanese cypress (hinoki) with pigment, gold powder, and cut gold leaf (kirikane) H. 19½ x W. 15 x D. 12 in. (49.5 x 38.1 x 30.5 cm) Asia Society, New York: Mr. and Mrs. John D. Rockefeller 3rd Collection, 1979.205 Photography by Synthescape, courtesy of Asia Society 3 4 Kamakura Realism and Spirituality in the Sculpture of Japan Art is of intrinsic importance to the educational process. The arts teach young people how to learn by inspiring in them the desire to learn. The arts use a symbolic language to convey the cultural values and ideologies of the time and place of their making. By including Asian arts in their curriculums, teachers can embark on culturally diverse studies and students will gain a broader and deeper understanding of the world in which they live. Often, this means that students will be encouraged to study the arts of their own cultural heritage and thereby gain self-esteem. Given that the study of Asia is required in many state curriculums, it is clear that our schools and teachers need support and resources to meet the demands and expectations that they already face.