Rupture and Rhythm 1 Rupture and Rhythm: a Phenomenology Of
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Torture, Forced Confessions, and Inhuman Punishments: Human Rights Abuses in the Japanese Penal System
UCLA UCLA Pacific Basin Law Journal Title Torture, Forced Confessions, and Inhuman Punishments: Human Rights Abuses in the Japanese Penal System Permalink https://escholarship.org/uc/item/63f7h7tc Journal UCLA Pacific Basin Law Journal, 20(2) Author Vize, Jeff Publication Date 2003 DOI 10.5070/P8202022161 Peer reviewed eScholarship.org Powered by the California Digital Library University of California TORTURE, FORCED CONFESSIONS, AND INHUMAN PUNISHMENTS: HUMAN RIGHTS ABUSES IN THE JAPANESE PENAL SYSTEM Jeff Vize* INTRODUCTION Japan has rarely found itself on the most-wanted lists of human rights activists, and perhaps for good reason. It is the richest and most stable nation in Asia,' and seems to practice none of the flagrantly abusive policies of regional neighbors like China2 or Myanmar. 3 Its massive economy provides a high stan- dard of living. 4 Crime, though rising rapidly in the last ten years, is still minuscule by international standards. In 2000, Japanese authorities reported that there were 1,985 crimes for every 100,000 inhabitants, compared to 4,124 in the United States, and * University of California at Davis, King Hall School of Law, J.D. (2004). The author would like to thank Professor Diane Marie Amann for her helpful advice, comments, and criticism. The author would also like to thank Professor Kojiro Sakamoto, and his wife Chikage, for their advice from a Japanese perspective. 1. JAPAN'S NEW ECONOMY: CONTINUITY AND CHANGE IN THE TWENTY-FIRST CENTURY 2-3 (Magnus Blomstrom et al. eds., 2001). See also Statistics Division, United Nations, Indicators on Income and Economic Activity, at http://un- stats.un.org/unsd/demographic/social/inc-eco.htm (last visited July 27, 2003) (listing Japan's per capita gross domestic product for 2001 at $32,540, the fifth highest in the world). -
The Kata of Muso Jikiden Eishin Ryu
The Kata of Muso Jikiden Eishin Ryu Shoden Level or Omori-ryu There are three levels of Iai (aware and ready) kata (formal techniques) in Eishin ryu. The first or shoden level consist of eleven forms developed by Omori Rokurozaemon, a student of Hasegawa Eishin and an expert in Shinkage Ryu kenjutsu. With the unification of Japan the samurai had no wars to fight (1615-1867). Omori combined a series of sword drawing exercises with the etiquette of the tea ceremony to create the formal Seiza Kata. This was the birth of ‘Iaido’ where techniques of self-defense became techniques of self-development. These kata are used for grading for second dan and above in the All United States Kendo Federation. They are called the koryu kata, which means classical martial traditions or ancient forms. All but one, Oikaze, begin from the seiza (kneeling) position. The O chiburi (blood throw) is done standing with the feet together. Present Name English meaning and explanation of technique 1. Mae Front The enemy is in seiza before you when he goes for his sword. 2. Migi Right You is facing right and your enemy is in seiza at your left. 3. Hidari Left You are facing left and your enemy is in seiza at your right. 4. Ushiro Rear You are facing the rear and the enemy is in seiza behind you. 5. Yaegaki Barriers within Your enemy survives your first over head cut and plays possum barriers until you begin noto. As he attacks again, you move back and draw to block a cut to the leg and counter-attack with kirioroshi. -
University of Nevada, Reno American Shinto Community of Practice
University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice. -
Bowing in Procedures
礼法/礼の仕方 Reiho/Rei no Shikata Bowing Methods/Bowing Etiquette Class opening and closing ceremonies It is important that all students understand the formalities of 道場 Dojo (training hall) training, and this is for several reasons. First, we are here to learn more than just martial arts. Without formalities, etiquette, and other aspects we become nothing more than trained, fighting animals. Because of the Japanese language and cultural barriers, it is important to better understand the art, the people and the culture by learning to overcome these barriers through un- derstanding of the formalities. Japanese culture is filled with social pleasantries, polite interactions, ritualistic formalities and respectful etiquette. For us to train in Japanese martial arts, especially ones as old and traditional as the 古流 Koryu (classical, old martial arts) in the Seirin Dojo, it is important to learn the principles, procedures and ceremonies relevant to training in the arts. And second, we strive for creating an authentic training environment and atmosphere, one that mirrors how training is conducted in Japan. As all students are encouraged to train in Japan and at special training events held throughout the world, you will find that knowledge of etiquette and training formalities will not only be help- ful, but will be necessary to practice. We will go over the special ceremony used for opening and closing training ses- sions in a formal Dojo here. In Japanese culture (and other Asian cultures as well), bowing serves many purposes. First and foremost, it is a simple way to communicate a greeting. The Japanese people are not as “touchy-feely” as we are here in the West. -
The Making of an American Shinto Community
THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 -
Beyond Japanese Minimalistic Versatility Abstract
Beyond Japanese minimalistic versatility Abstract Due to advances in industrial development, we are now living in an extremely consumeristic world. Every day, large volumes of products are purchased while others are thrown away. At the same time, consumers expect products to add value to their lives beyond mere aesthetics and basic functionality. In particular, the market for mass-produced furniture has grown oversaturated in recent decades. Thus, it is very difficult for designers to make a product that is sufficiently different from what already exists. However, regardless of this state of excess, superficial novelty designs are cast into the limelight every year in Milan and throughout the world. Whenever I visit design fairs I have to question whether people truly need new chairs that appear only nominally different from what already exists. Are these products really improving the quality of our lives and do we still need new chair designs? This Master’s thesis approaches this question by studying the context rather than only looking at the problem from an aesthetic angle, applying the minimalistic thinking of Japanese product design. The methodology investigates the shared values in Japanese and Finnish culture in order to create a new seating product that is both relevant and meaningful in the context of contemporary furniture design. The thesis first delves into the changing lifestyle in Japan over time and how this affected the development of modern furniture. In many cases, the Japanese brand of minimalistic design thinking is an effective method of finding solutions, because simplification is one way to improve user experience. This thesis aims to discover ways that neutrality in design can be utilised to create new value within product design in general and chair typologies in particular. -
About Zen Bu Kan
About Zen Bu Kan Zen Bu Kan is an iaido dojo of the Muso Jikiden Eishin Ryu lineage located in Salt Lake City, Utah. Zen Bu Kan was started by Jules Harris Sensei. Having studied in New York, Harris Sensei moved to Utah to study Zen at the renowned Kanzeon Zen Center in Salt Lake City. A scholar, warrior, and spiritual leader; Harris Sensei taught without thought of personal gain, only to pass on the lineage. He moved back East, to Pennsylvania, to further his spiritual studies. Zen Bu Kan is now led by his students Jason Hankins Sensei and Dick Beckstead Sensei. More recently, Zen Bu Kan has begun to teach kendo under the direction of Robert Stroud Sensei, 7th dan renshi. Stroud Sensei leads a dojo in Boise, Idaho, and serves as a kendo mentor and instructor to Zen Bu Kan’s sensei. Iaido students at Zen Bu Kan begin by learning the basic fundamentals of iaido. Having learned the fundamentals, students then begin to learn the twelve Seitei kata. The Seitei kata are the standard by which iaido practitioners (iaidoka) world-wide begin their training and upon which they are tested. Eventually, students move on to learn the Omori-Ryu and Muso Jikiden Eishin Ryu kata. Zen Bu Kan does not operate for profit and is solely supported by its students at cost. This allows the school to keep the price of tuition to a minimum, but it also means that the school is heavily dependant upon its students to remain in operation. The students form both the body and the support staff of the school. -
Comparison of the “Oki-Gotatsu” in the Traditional Japanese House and the “Kürsü” in the Traditional Harput House
Intercultural Understanding, 2019, volume 9, pages 15-19 Comparison of the “Oki-gotatsu” in the Traditional Japanese House and the “Kürsü” in the Traditional Harput House ølknur Yüksel Schwamborn1 1 Architect, østanbul, Turkey Corresponding author: ølknur Yüksel Schwamborn, Architect, østanbul, Turkey, E-mail: [email protected] Keywords: Japan, kotatsu, oki-gotatsu, Turkey, Anatolia, Harput, kürsü, table, heater Abstract: The use of the wooden low table “kotatsu” in the center of the traditional Japanese house in the seventeenth century (Edo (Tokugava) period), the oki-gotatsu, is similar to the use of the wooden low table in the traditional Harput house, the “kürsü”. The “kotatsu” and the “kürsü” used in winter in both places with similar climate characteristics are the table usage, which is collected around the place and where the warm-up needs are met. The origins of these similar uses in the traditional Japanese house and the traditional Harput house, located in different and distant geographies, can be traced back to Central Asia. In this study, the shape and use characteristics of “oki-gotatsu”, a form of traditional Japanese house in the past, and the shape and use characteristics of the “kürsü” in the traditional Harput house are compared. 1. Introduction area is exposed to northern and southern air currents and dominated by a cold climate, which makes life conditions In this study the traditional Japanese house wooden low table difficult. (Kahraman, 2010) Continental, polar-like air masses "kotatsu" is compared with the traditional Harput house "kürsü" originating from the inner parts of Asia move southwest before known from Turkey. -
Modern Living in Southeast Asia
Appreciating Asian modern : mASEANa Project 2015-2020 mASEANa Project 2017 modern living in Southeast Asia The Report of mASEANa Project 2017 4th & 5th International Conference 2015 - 2020 The Report of mASEANa project 2017 : 4th & 5th International Conference modern living in Southeast Asia Introduction Why Are We So Interested in modern architecture in Asia? -The Story behind mASEANa Project 2015-20 and a Report on its Fiscal 2017 Activities- Shin Muramatsu 09 The Housing Question Ana Tostões 11 CONTENTS Part1: modern living in Southeast Asia Part2: Inventory of modern Buildings modern living in Southeast Asia - Inventory of modern Buildings in Yangon - Setiadi Sopandi, Kengo Hayashi 16 History of modern architecture in Yangon Friedrich Silaban Inventory & Research, 2006-2018 Win Thant Win Shwin, Su Su 65 Setiadi Sopandi 18 Inventory of modern Buildings in Yangon 67 - 1. Sports and Modern Urbanisim - - Inventory of modern Buildings in Jakarta - The Role of Sports Facilities in Metro Manila’s Urban Living from the 1930s to 1970s History of modern architecture in Jakarta Gabriel Victor Caballero 22 Setiadi Sopandi, Nadia Purwestri 77 The Shape of Sports Diplomacy: Inventory of modern Buildings in Jakarta 79 Gelora Bung Karno, Jakarta, and the Fourth Asian Games Robin Hartanto 26 Modern Architecture Literacy Development: The mASEANa Project in 2017 Kengo Hayashi 88 PHNOM PENH 1964: Architecture and Urbanism of GANEFO Masaaki Iwamoto 30 Transformation of modern Living in Japan after WWII: Washington Heights, Tokyo Olympic and Yoyogi Sports Complex Saikaku Toyokawa 34 Acknowledgment 92 - 2. Modern Projects, Changing Lifestyles, Resilience - Living in KTTs – the Formation of Modern Community in Vietnam Pham Thuy Loan, Truong Ngoc Lan, Nguyen Manh Tri 36 Pulomas: A Social Housing Project which Never Was Mohammad Nanda Widyarta 40 Modernization of Tatami, Shoji, & En Yasuko Kamei 44 Collective Housing in Japan Toshio Otsuki 48 - 3. -
Mindfulness Activities, Traditional Cuisine (Shojin), Tea Ceremony
unique differentiation attributes chisoku theme - a Zen concept which means 'to know the feeling of being fulfilled with the now’ experience - carefully selected experiences which enrich the lives of our guests which leads guests feel the concept of chisoku modern ryokan - a unique mix of old and new. Designed by the architect Ryohei Tanaka (former member of Kengo Kuma & Associates) and the landscape architect Akihiko Ono art, design, craft - all things and experiences are carefully produced by kishi-ke’s art division for guests to help them find fine the best things in one place Kamakura’s gems and people - kishi-ke collaborates with people and places located in Kamakura to introduce guests to things, experience and people which can only be experienced here concept 01Feel the chisoku In everyday life, it is hard to focus on yourself, on your life, on the present. By changing the environment, you are able to focus on the now and notice new things about yourself. Chisoku is not only about the satisfaction itself but also it is about realization and accepting where you are in your life- explains Shoshun Takai (the former head of the oldest Zen training monastery in Japan). Chisoku is a Zen concept which means 'to know the feeling of being fulfilled with the now'. From the Buddhism shojin cuisine breakfast to various cultural workshops and experiences everything in modern ryokan kishi-ke is there to bring the guests closer to the feeling of chisoku. Focus on now. Feel the seasons, the people, the change. Learn how to find chisoku in your daily life in kishi-ke. -
The Etiquette & Customs for Sword Appreciation & Viewing
The Etiquette & Customs For Sword Appreciation & Viewing Clive Sinclaire Bexley, Kent June 2012 If you practice any of the sword related martial arts, such as Kendo or Iai‐do, then from the very first day, before you even pick up the wooden practice sword, you will be made aware of reigi. This has been defined as covering such areas as “courtesy, decorum, etiquette, civility, propriety and discipline”. Such things are reflected in how one conducts oneself in the dojo, how one relates to both higher and lower grades and is the thing that prevents these martial ways from becoming uncivilised and brutal. A fundamental precept of reigi in this context is respect for the sword, even in its imitated form of a bokuto or wooden substitute which is customarily wiped with a clean cloth, before and after use. They are placed on the dojo floor with respect and care, avoiding noise or clatter and they should never be placed on the hakama (traditional clothing) as this is considered a blatant breach of etiquette. There are correct ways of bowing when entering or leaving the dojo and carrying a sword. These practices are sometimes a surprise to the novice who might view the activities as purely sport, but they are of great importance from both a cultural and safety point of view. Formal Rei at Iai‐do shia. Reigi was a natural and accepted thing in old Japan and one’s behaviour when handling swords was of great importance as the consequences of inappropriate actions might have serious consequences. Today in Japan, there are occasions when swords are viewed by large numbers of people at the same time, such as at a To‐ken Taikai or sword convention. -
Wabi Sabi: Japanese Wisdom for a Perfectly Imperfect Life
Also by Beth Kempton FREEDOM SEEKER: Live more. Worry less. Do what you love. Copyright Published by Piatkus ISBN: 978-0-349-42099-8 Copyright © 2018 Beth Kempton The moral right of the author has been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher. The publisher is not responsible for websites (or their content) that are not owned by the publisher. Piatkus Little, Brown Book Group Carmelite House 50 Victoria Embankment London EC4Y 0DZ www.littlebrown.co.uk www.hachette.co.uk To my family. I love you just the way you are. A note on the use of Japanese in this book Japanese personal names have been written in standard English name order for ease of reference (first name followed by surname), except for historical figures most commonly known by the traditional Japanese name order (family name first), such as Matsuo Bashō (family name of Matsuo). The modified Hepburn system has been used to romanise the Japanese language. Macrons have been used to indicate long vowels; for example, ū for an extended ‘uu’. This includes place names, even if they are familiarly known without the macrons, such as Tōkyō and Kyōtō. When referencing people, the suffix -san is sometimes used. This is a polite way to say ‘Mr’, ‘Mrs’ or ‘Ms’. When the suffix -sensei is used, this refers to a teacher or professor. CONTENTS Also by Beth Kempton Title Page Copyright Dedication A note on the use of Japanese