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The Culture of Capital Punishment in Japan David T
MIGRATION,PALGRAVE ADVANCES IN CRIMINOLOGY DIASPORASAND CRIMINAL AND JUSTICE CITIZENSHIP IN ASIA The Culture of Capital Punishment in Japan David T. Johnson Palgrave Advances in Criminology and Criminal Justice in Asia Series Editors Bill Hebenton Criminology & Criminal Justice University of Manchester Manchester, UK Susyan Jou School of Criminology National Taipei University Taipei, Taiwan Lennon Y.C. Chang School of Social Sciences Monash University Melbourne, Australia This bold and innovative series provides a much needed intellectual space for global scholars to showcase criminological scholarship in and on Asia. Refecting upon the broad variety of methodological traditions in Asia, the series aims to create a greater multi-directional, cross-national under- standing between Eastern and Western scholars and enhance the feld of comparative criminology. The series welcomes contributions across all aspects of criminology and criminal justice as well as interdisciplinary studies in sociology, law, crime science and psychology, which cover the wider Asia region including China, Hong Kong, India, Japan, Korea, Macao, Malaysia, Pakistan, Singapore, Taiwan, Thailand and Vietnam. More information about this series at http://www.palgrave.com/gp/series/14719 David T. Johnson The Culture of Capital Punishment in Japan David T. Johnson University of Hawaii at Mānoa Honolulu, HI, USA Palgrave Advances in Criminology and Criminal Justice in Asia ISBN 978-3-030-32085-0 ISBN 978-3-030-32086-7 (eBook) https://doi.org/10.1007/978-3-030-32086-7 This title was frst published in Japanese by Iwanami Shinsho, 2019 as “アメリカ人のみた日本 の死刑”. [Amerikajin no Mita Nihon no Shikei] © The Editor(s) (if applicable) and The Author(s) 2020. -
KCGI: the Kyoto College of Graduate Studies for Informatics
Japan’s first IT professional graduate school KCGI:KCGI: TheThe KyotoKyoto CollegeCollege ofof GraduateGraduate StudiesStudies forfor InformaticsInformatics Study cutting-edge IT in Kyoto, Japan Link to the Pioneer Spirit URL: https://www.kcg.edu/ E-mail: [email protected] Inquiries: Admissions Section, The Kyoto College of Graduate Studies for Informatics 7 Tanakamonzen-cho, Sakyo-ku, Kyoto 606-8225, Japan Telephone: 075-681-6334 (+81-75-681-6334 outside Japan) Fax: 075-671-1382 (+81-75-671-1382 outside Japan) 英 語 202107 No. 1 & the Only One ! In order to cultivate high level professionals in the field of IT School Philosophy The objective of our school is to train highly-qualified information With the advancements in science and technology, technology professionals with strong practical knowledge remarkable technological innovations, and radical of the current business practices, a solid theoretical background, and a creative and innovative spirit which will enable them to meet socioeconomic changes (diversi�ication, increasing the demands of society and to be responsible for the current complexity, increasing sophistication, globalization, and future generation. and the arrival of the age of IoT, etc.) in recent years, expectations for the education of high level IT professionals viable both in Japan and internationally KCGI's Mission and Purpose are rapidly increasing. In the �ield of IT, however, which spans such To meet the need for high level and diverse human resources specialty �ields as information and management, in our IT society and, furthermore, to contribute to the realization the number of colleges and graduate schools able to of a high level information society and the development of meet the challenges of cultivating high level IT the economy through the provision of high level IT professionals system professionals has been virtually almost zero who possess extensive knowledge and high level skills beyond what is conventional and who are also internationally minded until now. -
Japanese Business Concepts You Should Know
1 Japanese Business Concepts You Should Know Edited by Parissa Haghirian Sophia University Tokyo, Japan 2 Contents About this Book ......................................................................................... 4 The Editor ................................................................................................ 5 Japanese Business Concepts You Should Know ................................................. 6 Contributors of This Book ............................................................................ 94 Bibliography ............................................................................................ 96 Further Reading on Japanese Management .................................................... 102 3 About this Book This book is the result of one of my “Management in Japan” classes held at the Faculty of Liberal Arts at Sophia University in Tokyo. Students wrote this dictionary entries, I edited and updated them. The document is now available as a free e-book at my homepage www.haghirian.com. We hope that this book improves understanding of Japanese management and serves as inspiration for anyone interested in the subject. Questions and comments can be sent to [email protected]. Please inform the editor if you plan to quote parts of the book. Japanese Business Concepts You Should Know Edited by Parissa Haghirian First edition, Tokyo, October 2019 4 The Editor Parissa Haghirian is Professor of International Management at Sophia University in Tokyo. She lives and works in Japan since 2004 -
New Ways of Being in the Fiction of Yoshimoto Banana
SINGLE FRAME HEROICS: NEW WAYS OF BEING IN THE FICTION OF YOSHIMOTO BANANA Ph. D Thesis Martin Ramsay Swinburne University of Technology 2009 CONTENTS Legend............................................................................................................. 5 Disclaimer…………………………………………………………………... 6 Acknowledgements…………………………………………………………. 7 Abstract ….…………………………………………………………………. 8 Introduction: A Literature of ‘Self-Help’………………………………… 9 Yoshimoto’s postmodern style…...………………………………………….. 11 Early success and a sense of impasse………………………………………... 15 A trans-cultural writer……………………………………………………….. 17 Rescuing literature from irrelevance………………………………………… 21 Chapter One: Women and Gender Roles in Contemporary Japanese Society………………………………………………………………………. 27 An historical overview ………………………………………….…………... 27 Nation building and changing ‘ideals of femininity’………………………... 30 The rise of the Modan Ga-ru (Modern Girl)………………………………… 32 The Post-War Experience ……………………………………….………….. 37 The emergence of the ‘parasite single’……………………………………… 38 Women’s magazines and changing ‘ideals of femininity’…………………... 41 The Women’s Liberation movement……………………………….………... 44 Fear of the young: The politics of falling birth rates……..………………….. 47 Chapter Two: Yoshimoto Banana and Contemporary Japanese Literature…....…………………………………………………………….. 53 Japanese literature, women and modernity …………………………………. 54 The problem with popular culture …………………………….…………….. 62 2 Sh ôjo culture: the ‘baby-doll face of feminism’ in Japan……..……………. 70 A global literature and a shared -
SONG of the YEAR ARTIST/NON-ARTIST SONGWRITER of the YEAR CONTEMPORARY CHRISTIAN SOUTHERN GOSPEL/GOSPEL ARTIST of the YEAR
SONG of the YEAR DIVISION I / Category 1 Rules and Definitions: Candidates for Song of the Year will be determined using data provided by CCLI, Radio Charts (Singing News and BDS) and Soundscan to calculate the most impressions/audience impact across a songwriters body of work based on sales, airplay and church performance during the eligibility period. A craft committee composed of music publishers, producers, radio experts, and label representatives across the CCM, Southern Gospel and Gospel genres will be selected to review the final ten nominees to ensure qualitative (the character of the music) and quantitative (the number of impacting single) credibility of the outcome. A song is ineligible for Song of the Year if it has been in the top ten nominated songs the past two consecutive years or won the previous year. Dove Awards are presented to the songwriter(s) and publisher(s). ARTIST/NON-ARTIST SONGWRITER of the YEAR DIVISION I / Category 2-3 Rules and Definitions: The Songwriter of the Year categories will be determined using data provided by CCLI, Radio Charts (Singing News and BDS) and Soundscan to calculate the most impressions/audience impact across a songwriters body of work based on sales, airplay and church performance during the eligibility period. A craft committee composed of music publishers, producers, radio experts, and label representatives across the CCM, Southern Gospel and Gospel genres will be selected to review the final five nominees to ensure qualitative (the character of the music) and quantitative (the number of impacting single) credibility of the outcome. Category 2 Songwriter (Artist) - A songwriter who is actively recording their own material and came to prominence as a performer. -
No Legion Bingo
FRroAX.JVLT8,19a^ flanr^stnr Ettntbia Snalft Arerage Dailr CtoMatka Tha Wi Pto^baMMOiaCtaAiett a t O. K Appeals Board Crowd Gathers mt Town No Herald Heard Along Main Street 7,451 Tom orrow Grants Pleas And on Some of Manchettor^t Sidm StrooU, Too At Small Fire I from town wko latt for V Mandim tor< ■ A City of ViOagm Charm :UMm^ wttk tbo Int A numbar of mambara of tbo lo-fiwara unnecessary, but took part T- I vp*«leo unit o« UotTiMO- Three Exceptions'^ to cal Legion Poet are burned up at enthuaiaatically Just bacauae it Department Called at (FOURTEEN PAGES) PRICE THREE ____ifrookOBny VCOomtfor- NTo issue of the Manches the ca^v a) situation in town. And waa a lark and gave them a few VOL.LXL.n o . 235 to). MANCHBSTML CONN., MONDAY, JULY t, 1942 Oourant roporUr ter Evening Herald will Zoning Regulations the Legion isn’t alone In the' peeve. minutes out of school. Hour 'When Woihers - tb «it*o a Croat life, but be published tomorrow. Made at Meeting. Other organisations that~ would Came that filtaful day in Octo Returned to Town. aro woakonfaic " like to conduct camlvala can’t un ber, 1013, when the big school ■/ Independence Day. caught fire. Moat of the school Three exceptions to sonlng reg- derstand why they were tcM by lo Oantar Hbaa No, 8 of Fourdi of Jnty *Flrewor]u* in Europe rir„-r , , tO»bly, OOtbOUC cal pollca authoritlea that they kids thought It waa Just another ulaUons were granted lest night by driU and they filed out of the Manchester Fire Department waa lof Ooluabut, wU Bloottbla the Zoning Board of Appeals, one could not bring organised carni l|British Force Enemy called at< 11:20 last night to the at t o’clock, in front of vals or "shows” to town, and yet building in perfect order. -
Pianodisc Music Catalog.Pdf
Welcome Welcome to the latest edition of PianoDisc's Music Catalog. Inside you’ll find thousands of songs in every genre of music. Not only is PianoDisc the leading manufacturer of piano player sys- tems, but our collection of music software is unrivaled in the indus- try. The highlight of our library is the Artist Series, an outstanding collection of music performed by the some of the world's finest pianists. You’ll find recordings by Peter Nero, Floyd Cramer, Steve Allen and dozens of Grammy and Emmy winners, Billboard Top Ten artists and the winners of major international piano competi- tions. Since we're constantly adding new music to our library, the most up-to-date listing of available music is on our website, on the Emusic pages, at www.PianoDisc.com. There you can see each indi- vidual disc with complete song listings and artist biographies (when applicable) and also purchase discs online. You can also order by calling 800-566-DISC. For those who are new to PianoDisc, below is a brief explana- tion of the terms you will find in the catalog: PD/CD/OP: There are three PianoDisc software formats: PD represents the 3.5" floppy disk format; CD represents PianoDisc's specially-formatted CDs; OP represents data disks for the Opus system only. MusiConnect: A Windows software utility that allows Opus7 downloadable music to be burned to CD via iTunes. Acoustic: These are piano-only recordings. Live/Orchestrated: These CD recordings feature live accom- paniment by everything from vocals or a single instrument to a full-symphony orchestra. -
Anime/Games/J-Pop/J-Rock/Vocaloid
Anime/Games/J-Pop/J-Rock/Vocaloid Deutsch Alice Im Wunderland Opening Anne mit den roten Haaren Opening Attack On Titans So Ist Es Immer Beyblade Opening Biene Maja Opening Catpain Harlock Opening Card Captor Sakura Ending Chibi Maruko-Chan Opening Cutie Honey Opening Detektiv Conan OP 7 - Die Zeit steht still Detektiv Conan OP 8 - Ich Kann Nichts Dagegen Tun Detektiv Conan Opening 1 - 100 Jahre Geh'n Vorbei Detektiv Conan Opening 2 - Laufe Durch Die Zeit Detektiv Conan Opening 3 - Mit Aller Kraft Detektiv Conan Opening 4 - Mein Geheimnis Detektiv Conan Opening 5 - Die Liebe Kann Nicht Warten Die Tollen Fussball-Stars (Tsubasa) Opening Digimon Adventure Opening - Leb' Deinen Traum Digimon Adventure Opening - Leb' Deinen Traum (Instrumental) Digimon Adventure Wir Werden Siegen (Instrumental) Digimon Adventure 02 Opening - Ich Werde Da Sein Digimon Adventure 02 Opening - Ich Werde Da Sein (Insttrumental) Digimon Frontier Die Hyper Spirit Digitation (Instrumental) Digimon Frontier Opening - Wenn das Feuer In Dir Brennt Digimon Frontier Opening - Wenn das Feuer In Dir Brennt (Instrumental) (Lange Version) Digimon Frontier Wenn Du Willst (Instrumental) Digimon Tamers Eine Vision (Instrumental) Digimon Tamers Ending - Neuer Morgen Digimon Tamers Neuer Morgen (Instrumental) Digimon Tamers Opening - Der Grösste Träumer Digimon Tamers Opening - Der Grösste Träumer (Instrumental) Digimon Tamers Regenbogen Digimon Tamers Regenbogen (Instrumental) Digimon Tamers Sei Frei (Instrumental) Digimon Tamers Spiel Dein Spiel (Instrumental) DoReMi Ending Doremi -
WASSUP??? April 2019
WASSUP??? April 2019 VOLUNTEER AWARD WINNERS Volunteer of the Quarter Awards: Team Chiefs, though award winners have not been selected for a while, please keep on submitting your choice for Volunteer of the Quarter and Volunteer of the Year according to the following schedule. To all Team Chiefs, please make your nominations for the Volunteer of the Quarter awards to Lou Nigro no later than (NLT) the 15th day of March, June, September, and December. If we do not receive nominations by the date above of each of the specified quarters, we will not name a Volunteer of the Quarter. NEW VOLUNTEERS We are continuously blessed with new people volunteering their time to help us here at the Museum. Since the last issue of the WASSUP, we have not added to our team of volunteers. The Museum is always looking for a “few good men & women” to add to our team. Please recruit your family members to volunteer @ the Museum. We are always in need of weekend docents especially and a couple of our Tuesday/Friday teams are also in desperate need of volunteers. LONG-TERM MUSEUM VISITORS PASSES For those who do not use a Government ID card to access the Base, a revised list of volunteers have been sent to the Base Access Control Officer for the new Defense Biometric Identification System (DBIDS) card that will allow you access to the base. This list includes the name of volunteer’s spouses, if applicable, or the parent/guardian of volunteers who have not already reached driving age. The Air Force-mandated background check on the individuals listed will be accomplished, at the Visitor’s Center when the DBIDS card is issued. -
"Ersatz As the Day Is Long": Japanese Popular
“ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War. -
WRESTLING with OR EMBRACING DIGITIZATION in the MUSIC INDUSTRY the Contrasting Business Strategies of J-Pop and K-Pop
Parc & Kawashima / Wrestling with or Embracing Digitization 23 WRESTLING WITH OR EMBRACING DIGITIZATION IN THE MUSIC INDUSTRY The Contrasting Business Strategies of J-pop and K-pop Jimmyn Parc Seoul National University and Sciences Po Paris [email protected] Nobuko Kawashima Doshisha University [email protected] Abstract Digitization has significantly changed the process for producing and consuming music: from analogue to digital, albums to songs, possess to access, audio to visual, and end products to promotional products. In this globalized digital era, actively embracing digitization would likely help enhance the competitiveness of the music industry. The rise of K-pop and the decline of J-pop clearly demonstrate the different results from whether to embrace or wrestle with digitization. The Korean music industry recognized changes brought on by digitization earlier and was more active in responding with effective strategies. By contrast, the Japanese music industry did not immediately respond to these changes but stuck to its rent-seeking behavior in order to take advantage of its larger market size and ‘sophisticated’ copyright regime. The implications from this paper is that business activities are the core element for creating and enhancing competitiveness of the music industries. Keywords J-pop, K-pop, Hallyu, music industry, digitization, cultural industry Kritika Kultura 30 (2018): 23–048 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Parc & Kawashima / Wrestling with or Embracing Digitization 24 About the Authors Jimmyn Parc is a visiting lecturer at Paris School of International Affairs (PSIA), Sciences Po Paris, France and a research associate at the EU Centre, Graduate School of International Studies (GSIS), Seoul National University. -
Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 18 | Number 1 Article 3 1-1-1995 Everything That Glitters Is Not Gold: Songwriter- Music Publisher Agreements and Disagreements Don E. Tomlinson Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Don E. Tomlinson, Everything That Glitters Is Not Gold: Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm. & Ent. L.J. 85 (1995). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol18/iss1/3 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Everything That Glitters Is Not Gold:* Songwriter-Music Publisher Agreements and Disagreements by DON E. TOMLINSON** Table of Contents I. Introduction ............................................ 87 A. The Fundamental Songwriting-Music Publishing Quid Pro Quo ...................................... 88 1. Advances Against Royalties .................... 88 2. Demonstration Recordings ..................... 89 3. Exploitation .................................... 90 4. "H it" Songs ..................................... 90 B. The