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Murakami-Ego : Collective Culpability and Selective Retention
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2016 Murakami-ego : collective culpability and selective retention. Yun Kweon Jeong Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Asian Art and Architecture Commons, and the Contemporary Art Commons Recommended Citation Jeong, Yun Kweon, "Murakami-ego : collective culpability and selective retention." (2016). Electronic Theses and Dissertations. Paper 2497. https://doi.org/10.18297/etd/2497 This Master's Thesis 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]. MURAKAMI-EGO: COLLECTIVE CULPABILITY AND SELECTIVE RETENTION By Yun Kweon Jeong B.A. JeonJu University, 1997 M.Div. Southern Baptist Theological Seminary, 2008 A Thesis 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 Master of Arts in Art (c) and Art History Department of Fine Arts University of Louisville Louisville, Kentucky August 2016 Copyright 2016 by Yun Kweon Jeong All Rights Reserved MURAKAMI-EGO: COLLECTIVE CULPABILITY AND SELECTIVE RETENTION By Yun Kweon Jeong B.A. JeonJu University, 1997 M.Div. Southern Baptist Theological Seminary, 2008 A Thesis Approved on August 8, 2016 By the following Thesis Committee: Dr. -
Otorisama Continues to Be Loved by the People
2020 edition Edo to the Present The Sugamo Otori Shrine, located near the Nakasendo, has been providing a spiritual Ⅰ Otorisama continues to be loved sanctuary to the people as Oinarisama (Inari god) and continues to be worshipped and by the people loved to this today. Torinoichi, the legacy of flourishing Edo Stylish manners of Torinoichi The Torinoichi is famous for its Kaiun Kumade Mamori (rake-shaped amulet for Every November on the day of the good luck). This very popular good luck charm symbolizes prosperous business cock, the Torinoichi (Cock Fairs) are and is believed to rake in better luck with money. You may hear bells ringing from all held in Otori Shrines across the nation parts of the precinct. This signifies that the bid for the rake has settled. The prices and many worshippers gather at the of the rakes are not fixed so they need to be negotiated. The customer will give the Sugamo Otori Shrine. Kumade vendor a portion of the money saved from negotiation as gratuity so both The Sugamo Otori Shrine first held parties can pray for successful business. It is evident through their stylish way of business that the people of Edo lived in a society rich in spirit. its Torinoichi in 1864. Sugamo’s Torinoichi immediately gained good reputation in Edo and flourished year Kosodateinari / Sugamo Otori Shrine ( 4-25 Sengoku, Bunkyo Ward ) MAP 1 after year. Sugamo Otori Shrine was established in 1688 by a Sugamo resident, Shin However, in 1868, the new Meiji Usaemon, when he built it as Sugamoinari Shrine. -
The Sexual Life of Japan : Being an Exhaustive Study of the Nightless City Or the "History of the Yoshiwara Yūkwaku"
Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924012541797 Cornell University Library HQ 247.T6D27 1905 *erng an exhau The sexual life of Japan 3 1924 012 541 797 THE SEXUAL LIFE OF JAPAN THE SEXUAL LIFE OF JAPAN BEING AN EXHAUSTIVE STUDY OF THE NIGHTLESS CITY 1^ ^ m Or the "HISTORY of THE YOSHIWARA YUKWAKU " By J, E. DE BECKER "virtuous men hiive siitd, both in poetry and ulasslo works, that houses of debauch, for women of pleasure and for atreet- walkers, are the worm- eaten spots of cities and towns. But these are necessary evils, and If they be forcibly abolished, men of un- righteous principles will become like ravelled thread." 73rd section of the " Legacy of Ityasu," (the first 'I'okugawa ShOgun) DSitl) Niimrraiia SUuatratiuna Privately Printed . Contents PAGE History of the Yosliiwara Yukwaku 1 Nilion-dzutsumi ( 7%e Dyke of Japan) 15 Mi-kaeri Yanagi [Oazing back WUlow-tree) 16 Yosliiwara Jiuja ( Yoahiwara Shrine) 17 The "Aisome-zakura " {Chen-y-tree of First Meeting) 18 The " Koma-tsunagi-matsu " {Colt tethering Pine-tree) 18 The " Ryojin no Ido " {Traveller's Well) 18 Governmeut Edict-board and Regulations at the Omen (Great Gate) . 18 The Present Omon 19 »Of the Reasons why going to the Yosliiwara was called " Oho ve Yukn " ". 21 Classes of Brothels 21 Hikite-jaya (" Introducing Tea-houses"') 28 The Ju-hachi-ken-jaya (^Eighteen Tea-houses) 41 The " Amigasa-jaya -
The Lesson of the Japanese House
Structural Studies, Repairs and Maintenance of Heritage Architecture XV 275 LEARNING FROM THE PAST: THE LESSON OF THE JAPANESE HOUSE EMILIA GARDA, MARIKA MANGOSIO & LUIGI PASTORE Politecnico di Torino, Italy ABSTRACT Thanks to the great spiritual value linked to it, the Japanese house is one of the oldest and most fascinating architectural constructs of the eastern world. The religion and the environment of this region have had a central role in the evolution of the domestic spaces and in the choice of materials used. The eastern architects have kept some canons of construction that modern designers still use. These models have been source of inspiration of the greatest minds of the architectural landscape of the 20th century. The following analysis tries to understand how such cultural bases have defined construction choices, carefully describing all the spaces that characterize the domestic environment. The Japanese culture concerning daily life at home is very different from ours in the west; there is a different collocation of the spiritual value assigned to some rooms in the hierarchy of project prioritization: within the eastern mindset one should guarantee the harmony of spaces that are able to satisfy the spiritual needs of everyone that lives in that house. The Japanese house is a new world: every space is evolving thanks to its versatility. Lights and shadows coexist as they mingle with nature, another factor in understanding the ideology of Japanese architects. In the following research, besides a detailed description of the central elements, incorporates where necessary a comparison with the western world of thought. All the influences will be analysed, with a particular view to the architectural features that have influenced the Modern Movement. -
Shigisan Engi Shigisan Engi Overview
Shigisan engi Shigisan engi Overview I. The Shigisan engi or Legends of the Temple on Mount Shigi consists of three handscrolls. Scroll 1 is commonly called “The Flying Granary,” Scroll 2 “The Exorcism of the Engi Emperor,” and Scroll 3 “The Story of the Nun.” These scrolls are a pictorial presentation of three legends handed down among the common people. These legends appear under the title “Shinano no kuni no hijiri no koto” (The Sage of Shinano Province) in both the Uji sh¯ui monogatari (Tales from Uji) and the Umezawa version of the Kohon setsuwash¯u (Collection of Ancient Legends). Since these two versions of the legends are quite similar, one is assumed to be based on the other. The Kohon setsuwash¯u ver- sion is written largely in kana, the phonetic script, with few Chinese characters and is very close to the text of the Shigisan engi handscrolls. Thus, it seems likely that there is a deep connection between the Shigisan engi and the Kohon setsuwash¯u; one was probably the basis for the other. “The Flying Granary,” Scroll 1 of the Shigisan engi, lacks the textual portion, which has probably been lost. As that suggests, the Shigisan engi have not come down to us in their original form. The Shigisan Ch¯ogosonshiji Temple owns the Shigisan engi, and the lid of the box in which the scrolls were stored lists two other documents, the Taishigun no maki (Army of Prince Sh¯otoku-taishi) and notes to that scroll, in addition to the titles of the three scrolls. -
Design Variations to the Popular Area
September 12, 2018 More design variations to the popular area-exclusive bottles! Niigata, Shonan, Hida-Takayama, Osaka, and Hakata versions of the Coca-Cola Slim Bottle Regional Design to be released on Monday, October 1 Tokugawa design with the “triple hollyhock” crest also to be released on the same day. Coca-Cola Bottlers Japan Inc. (Head office: Minato-ku, Tokyo; President: Tamio Yoshimatsu) will on Monday, October 1, 2018 release Niigata, Shonan, Hida-Takayama, Osaka, and Hakata versions of the "Coca-Cola" Slim Bottle Regional Design, which features stylish packaging specially designed with illustrations of regional tourist spots. The company will also release a Tokugawa design as this year marks the 150 years since the Fall of Edo. A total of 21 variations of the "Coca-Cola" Slim Bottle Regional Design have been so far marketed as special packaging to make travel more enjoyable. Since June 2017, the company has designed bottles with symbols and tourist spots of each region, and released in respective regions only. Because those designs enjoyed popularity among lots of people in all of those regions, as a bottle perfect for a drink with meal or for refreshment during travel, as well as for a souvenir, the company has decided to roll out additional five regional bottles following the previous designs released in August this year. Each bottle is iconically designed with illustrations of region's symbols and signature tourist spots - the Bandai bridge, Niigata Geisha, and willow for Niigata design; the Great Buddha of Kamakura, Enoshima Island, and a yacht for Shonan design; a house with steep rafter roof for Hida-Takayama design; Osaka Castle, the Umeda Sky Building, and Takoyaki balls for Osaka design; Canal City Hakata and food stalls for Hataka design. -
Matthew P. Funaiole Phd Thesis
HISTORY AND HIERARCHY THE FOREIGN POLICY EVOLUTION OF MODERN JAPAN Matthew P. Funaiole A Thesis Submitted for the Degree of PhD at the University of St Andrews 2014 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/5843 This item is protected by original copyright This item is licensed under a Creative Commons Licence History and Hierarchy The Foreign Policy Evolution of Modern Japan This thesis is submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Saint Andrews by Matthew P. Funaiole 27 October 2014 Word Count: 79,419 iii Abstract This thesis examines the foreign policy evolution of Japan from the time of its modernization during the mid-nineteenth century though the present. It is argued that infringements upon Japanese sovereignty and geopolitical vulnerabilities have conditioned Japanese leaders towards power seeking policy obJectives. The core variables of statehood, namely power and sovereignty, and the perception of state elites are traced over this broad time period to provide a historical foundation for framing contemporary analyses of Japanese foreign policy. To facilitate this research, a unique framework that accounts for both the foreign policy preferences of Japanese leaders and the external constraints of the international system is developed. Neoclassical realist understandings of self-help and relative power distributions form the basis of the presented analysis, while constructivism offers crucial insights into ideational factors that influence state elites. -
The Tree Peonies
TI-IE NA.TIONA.L ~GA.rz J INE THE AMERICAN HORTICULTURAL SOCIETY, INC. 1600 Bladensburg Road, Northeast Washington 2, D. C. OFFICERS Presidellt: Dr. John L. Creech, Glenn Dale, :Ma ryland First Vice-Prcsidellt: Dr. Ezra ]. K raus, Corvalli s, Oregon Secolld Vice-Presiden t: I1{rs. Robert \"Toods Bli ss, vVashington, D. C. Secretary: Dr. Francis de Vos, Washington, D. C. Treasllrer: Miss Olive E. Vveatherell, Olean, New York Editor: Mr. B. Y. Morrison, Pass Christian, Mississipp i J1[ allagillg Editor: M r. James R. Harlow, Takoma Park, Maryland Editorial S tall : Miss May M. Blaine, Washington, D. C. Mr. Bernard T. Bridgers, Washington, D. C. Art Editor: Mr. Charl es C. Dickson, Kensington, Maryland DIRECTORS TerlJl s E xpirillg 1955 TerlJls E.,pir'ing 1956 Mrs. 'Mortim er J. Fox. Mount K isco, New Mr. Stuart Armstrong, Silver Spring, IVIa ry- Yo rk land lv[r. Frederic P. Lee, Bethesda, Maryland Dr. Fred O. Coe, Bethesda, Maryland Dr. Brian O. Mulligan, Seattl e, vVashington Mrs. Walter Douglas, Chauncey, New York Dr. F reeman A. vVeiss, Washington, D. C. Mrs. ]. Norman Henry, Gladwy ne, Penn- Dr. Donald vVyman, Jamaica P lain , Massa- sy lvania chusetts M rs. Arthur Hoyt Scott, Media, Pennsy l vallla HONORARY VICE-PRESIDENTS M r. James B. Craig Mr. George W. Peyton American Forestry Association American Peony Society 919 Seventee nth Street, Northwest Box No.1 \>\Tash in gton 6, D. C. Rapid an, V irgi ni a 'M r. Harry \ >\T . Dengler Mrs. Hermann G. P lace Holl y Society of America The Garden Club of America Maryland Extension Service 45 East 62nd Street Co ll ege Park, Maryland New York 21, New York Mr. -
Mottainai Furoshiki
Mottainai Furoshiki: Eco-friendly Fabrics of Japan by Pat Maeda ne of the things that lured me to Japan was bottles to create these lovely cloths. A Japanese cabinet Omy love of fabric. On one of my very fi rst minister, Yuriko Koike, initiated a nationwide campaign forays into early morning Tokyo subway riding, I was to return to the use of furoshiki and these new eco- in awe of the beautifully wrapped packages that most friendly cloths. They are called the mottainai furoshiki. commuters were carrying. I just knew it had to be a Yuriko has created the mottainai design as a symbol for special holiday and everyone was toting a present. We the Japanese to reduce waste. Roughly translated, mot- later found out that in fact all these interesting packages tainai means “don’t waste” or “what a waste.” contained lunches or books being taken to work. My Japanese youth use plastic bags and are not yet love affair with furoshiki was born. aware of the benefi ts of furoshiki. But this campaign has Furoshiki are wonderfully versatile traditional wrap- had a great response and made the Japanese public ping cloths used as gift wrap or for carrying almost aware of this century’s three Rs: Reduce, reuse, and anything. Simplistic in design, they are attractive, utili- recycle. There are even free workshops where partici- tarian, and earth friendly. They are available in a wide pants can learn some of the many ways to tie furoshiki. variety of fabrics, including cotton, polyester, rayon, Displays of recycled water bottle furoshiki are featured and silk. -
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy .................................................................................. -
WINTER 2018 Harmony with Nature.Indd
Harmony with Nature: Home Design in Japan by Laura Esculcas 60 Fine Homes & Design | Winter 2018 Japan is a mountainous archipelago located nearly the Japanese aesthetic of wabi sabi, which is based on 1900 miles off the eastern shore of the Asian continent. the acceptance of transience and imperfection. In home It is made up of four main islands and several hundred design, this translates to an appreciation of the imper- smaller ones. Japan stands at the convergence of four fect, weathered, natural, simple and austere. Arising tectonic plates, and is therefore a geologically active from this awareness is a flexible and impermanent phi- zone that has nearly forty active volcanoes and expe- losophy of home design, incorporating natural materi- riences about 1,000 earthquakes a year, making it a als, gardens and outdoor spaces whenever possible, and place where one is always aware of the power of nature. reminding inhabitants of the natural world by enhanc- Japan’s earliest signs of agriculture date back to 5000 ing natural light and inviting harmony with nature. BCE, but the relationship between the people of the Japanese archipelago and the natural world surrounding them dates backs much earlier to when ritual structures Transitional Spaces: Gates, Doors, Entryways, of stone circles and standing stones were erected across and Hallways the archipelago. Gates stand at places of transition, offering passage The peoples of ancient Japan attributed geograph- from one state to another, as well as separating outside ical features, especially mountains and rivers, with from inside. Gates may be welcoming but also offer divinity. -
Saigyˉo Monogatari Emaki Saigyˉo Monogatari Emaki Overview
Saigy¯o monogatari emaki Saigy¯o monogatari emaki Overview The Saigy¯o pictures were made before the death of Tameie, I. in the first year of Kenji (1275). So the pictures already exist- ed in the eleventh year of Bunei (1274). However, it is not Currently the two extant scrolls of the Saigy¯o monogatari clear whether these are the extant pictures or not. But if emaki (Illustrated Picture Scrolls of the Tale of Saigy¯o) are these are the pictures mentioned in the Shasekish¯u, then they one set owned by the Tokugawa Reimeikai and the other by were made around the same time. Whatever the answer, the Ohara¯ S¯oichir¯o. However, originally the Saigy¯o monogatari Saigy¯o pictures were made around the middle of the 13th emaki probably consisted of a larger number of scrolls cover- century. ing the entire story. Part of it was scattered and lost, and two As described in the pictures, Saigy¯o was born in the 1st scrolls were preserved separately. According to the year of Gen’ei (1118) and died in the 1st year of Kenky¯u Emakimono bunken mokuroku by Ienaga Sabur¯o, there were (1190), approximately half a century before the Saigy¯o pic- several scrolls of the Saigy¯o Monogatari. The oldest mention tures were made. The pictures are often based on the collec- of a painting of Saigy¯o can be found in Towazugatari, the tion of poems, the Sankash¯u. Confessions of Lady Nij¯o (1274) where there is a passage Born Sat¯o Norikiyo, Saigy¯o was a descendent of Fujiwara referring to “the picture chronicle of Saigy¯o’s ascetic prac- no Hidesato, and was well renowned as a warrior.