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Program of the 76Th Annual Meeting
PROGRAM OF THE 76 TH ANNUAL MEETING March 30−April 3, 2011 Sacramento, California THE ANNUAL MEETING of the Society for American Archaeology provides a forum for the dissemination of knowledge and discussion. The views expressed at the sessions are solely those of the speakers and the Society does not endorse, approve, or censor them. Descriptions of events and titles are those of the organizers, not the Society. Program of the 76th Annual Meeting Published by the Society for American Archaeology 900 Second Street NE, Suite 12 Washington DC 20002-3560 USA Tel: +1 202/789-8200 Fax: +1 202/789-0284 Email: [email protected] WWW: http://www.saa.org Copyright © 2011 Society for American Archaeology. All rights reserved. No part of this publication may be reprinted in any form or by any means without prior permission from the publisher. Program of the 76th Annual Meeting 3 Contents 4................ Awards Presentation & Annual Business Meeting Agenda 5………..….2011 Award Recipients 11.................Maps of the Hyatt Regency Sacramento, Sheraton Grand Sacramento, and the Sacramento Convention Center 17 ................Meeting Organizers, SAA Board of Directors, & SAA Staff 18 ............... General Information . 20. .............. Featured Sessions 22 ............... Summary Schedule 26 ............... A Word about the Sessions 28…………. Student Events 29………..…Sessions At A Glance (NEW!) 37................ Program 169................SAA Awards, Scholarships, & Fellowships 176................ Presidents of SAA . 176................ Annual Meeting Sites 178................ Exhibit Map 179................Exhibitor Directory 190................SAA Committees and Task Forces 194…….…….Index of Participants 4 Program of the 76th Annual Meeting Awards Presentation & Annual Business Meeting APRIL 1, 2011 5 PM Call to Order Call for Approval of Minutes of the 2010 Annual Business Meeting Remarks President Margaret W. -
Dept of History Draft Syllabus (Cbcs)
RAJA NARENDRALAL KHAN WOMEN’S COLLEGE (AUTONOMOUS) DEPT OF HISTORY DRAFT SYLLABUS (CBCS) I SEMESTER Course Course Title Credit Marks Total Th IM AM CC1T Greek and Roman Historians 6 60 10 5 75 CC2T Early Historic India 6 60 10 5 75 GE1T History of India From the earliest 6 60 10 5 75 times to C 300 BCE DSC History of India-I (Ancient India) 6 60 10 5 75 CC-1: Greek and Roman Historians C1T: Greek and Roman Historians Unit-I Module I New form of inquiry (historia) in Greece in the sixth century BCE 1.1 Logographers in ancient Greece. 1.2 Hecataeus of Miletus, the most important predecessor of Heredotus 1.3 Charon of Lampsacus 1.4 Xanthus of Lydia Module II Herodotus and his Histories 2.1 A traveller’s romance? 2.2 Herodotus’ method of history writing – his catholic inclusiveness 2.3 Herodotus’ originality as a historian – focus on the struggle between the East and the West Module III Thucydides: the founder of scientific history writing 3.1 A historiography on Thucydides 3.2 History of the Peloponnesian War - a product of rigorous inquiry and examination 3.3 Thucydides’ interpretive ability – his ideas of morality, Athenian imperialism, culture and democratic institutions 3.4 Description of plague in a symbolic way – assessment of the demagogues 3.5 A comparative study of the two greatest Greek historians Module IV Next generation of Greek historians 4.1 Xenophon and his History of Greece (Hellenica) 4.2 a description of events 410 BCE – 362 BCE 4.3 writing in the style of a high-class journalist – lack of analytical skill 4.5 Polybius and the “pragmatic” history 4.3 Diodorus Siculus and his Library of History – the Stoic doctrine of the brotherhood of man Unit II Roman Historiography Module I Development of Roman historiographical tradition 1.1 Quintus Fabius Pictor of late third century BCE and the “Graeci annals” – Rome’s early history in Greek. -
The Technological Imaginary of Imperial Japan, 1931-1945
THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology. -
Sartorius Thesis.Pdf (5.388Mb)
Material Memoir Master’s In Fine Arts Thesis Document Andrew Sartorius SUNY New Paltz Spring 2019 Material Memoir: Artist Statement My family owns a fifty acre plot of rolling red clay hills in West Virginia. When I return home, I dig clay, a pilgrimage to harvest from the strata of memory. This body of work explores the potential of wild West Virginia clay through the wood firing process. The kiln creates a dramatic range of effects as varying amounts of ash and heat amalgamate and give vitality to the wild clays I use. The kiln is my collaborator, a trusted but pleasantly unpredictable partner lending its voice to mine to create something made from a life of memory and memorial. Abstract Almost every Sunday of my childhood, my family gathered here for Sunday dinner. My family would meet on a rolling red clay hill topped with pin oak and pine forests, gentle fields, and barns that lean and sag with the weathering of time. My great grandmother lived on one side of the hill, and my grandparents on the other. My great grandmother’s parents started the tradition, and it followed the generations down to my grandmother and grandfather, Alice and Bernard Bosley, who took up the mantle during my childhood. In 2010, I moved to Japan to teach English at a rural high school in Kochi Prefecture. I returned to America in 2014 as a potter’s apprentice studying the traditional Japanese wood-fired ceramics with the ceramic artist Jeff Shapiro in Accord, New York. Since then, my grandparents have passed, but I find that they are more present in my thoughts than ever before. -
Okakura Kakuzō's Art History: Cross-Cultural Encounters
Asian Review of World Histories 2:1 (January 2014), 17-45 © 2014 The Asian Association of World Historians doi: http://dx.doi.org/10.12773/arwh.2014.2.1.017 Okakura Kakuzō’s Art History: Cross-Cultural Encounters, Hegelian Dialectics and Darwinian Evolution Masako N. RACEL Kennesaw State University Kennesaw, United States [email protected] Abstract Okakura Kakuzō (1863-1913), the founder of the Japan Art Institute, is best known for his proclamation, “Asia is One.” This phrase in his book, The Ideals of the East, and his connections to Bengali revolutionaries resulted in Okakura being remembered as one of Japan’s foremost Pan-Asianists. He did not, how- ever, write The Ideals of the East as political propaganda to justify Japanese aggression; he wrote it for Westerners as an exposition of Japan’s aesthetic heritage. In fact, he devoted much of his life to the preservation and promotion of Japan’s artistic heritage, giving lectures to both Japanese and Western audi- ences. This did not necessarily mean that he rejected Western philosophy and theories. A close examination of his views of both Eastern and Western art and history reveals that he was greatly influenced by Hegel’s notion of dialectics and the evolutionary theories proposed by Darwin and Spencer. Okakura viewed cross-cultural encounters to be a catalyst for change and saw his own time as a critical point where Eastern and Western history was colliding, caus- ing the evolution of both artistic cultures. Key words Okakura Kakuzō, Okakura Tenshin, Hegel, Darwin, cross-cultural encounters, Meiji Downloaded from Brill.com10/02/2021 09:32:22PM via free access 18 | ASIAN REVIEW OF WORLD HISTORIES 2:1 (JANUARY 2014) In 1902, a man dressed in an exotic cloak and hood was seen travel- ing in India. -
Drastic Demographic Events Triggered the Uralic Spread to Appear in Diachronica
Drastic demographic events triggered the Uralic spread To appear in Diachronica Riho Grünthal (University of Helsinki) Volker Heyd (University of Helsinki) Sampsa Holopainen (University of Helsinki) Juha Janhunen (University of Helsinki) Olesya Khanina (Institute of Linguistics, Russian Academy of Sciences) Matti Miestamo (University of Helsinki) Johanna Nichols (University of California, Berkeley; University of Helsinki; Higher School of Economics, Moscow) Janne Saarikivi (University of Helsinki) Kaius Sinnemäki (University of Helsinki) Abstract: The widespread Uralic family offers several advantages for tracing prehistory: a firm absolute chronological anchor point in an ancient contact episode with well-dated Indo-Iranian; other points of intersection or diagnostic non-intersection with early Indo-European (the Late PIE-speaking Yamnaya culture of the western steppe, the Afanasievo culture of the upper Yenisei, and the Fatyanovo culture of the middle Volga); lexical and morphological reconstruction sufficient to establish critical absences of sharings and contacts. We add information on climate, linguistic geography, typology, and cognate frequency distributions to reconstruct the Uralic origin and spread. We argue that the Uralic homeland was east of the Urals and initially out of contact with Indo-European. The spread was rapid and without widespread shared substratal effects. We reconstruct its cause as the interconnected reactions of early Uralic and Indo-European populations to a catastrophic climate change episode and interregionalization opportunities which advantaged riverine hunter-fishers over herders. Keywords Uralic; Finno-Ugric; Indo-European; Yamnaya; Indo-Iranian; Siberia; Eurasia; Seima-Turbino, 4.2 ka event; linguistic homeland Note: In-text references have not yet been fully deanonymized. 2 Drastic demographic events triggered the Uralic spread (Contents, for convenience) Main text (pp. -
UNIVERSITY of HAWAII LIBRARY. NARRATIVES OF
,UNIVERSITY Of HAWAII LIBRARY. NARRATIVES OF SPACE AND PLACE IN THREE WORKS BY NAKAGAMI KENJI A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN EAST ASIAN LANGUAGES AND LITERATURES (JAPANESE) AUGUST 2005 By Joshua Petitto Thesis Committee: Nobuko Ochner, Chairperson Lucy Lower Arthur Thornhill © Copyright 2005 by Joshua Petitto 111 TABLE OF CONTENTS Chapter 1 - Introduction 1.1 Nakagami's Style , 1 1.2 Literature Review 3 1.3 Summary ofthe Chapters ,. '" 8 1.4 Misaki, "Garyl1san," and "Wara no ie"............................................. 9 Chapter 2 - Down the Ever-Winding Narrative Path 2.1 Introduction........................................................................... 11 2.2 The Problem ofNarrative 11 2.3 Taking on the "Pig ofNarrative". 17 2.5 Conclusion: Monogatari and Genealogy....................................... 20 Chapter 3 - The Ambivalence ofNakagami's Space 3.1 Introduction 3.1.1 Conceptualizing Space 23 3.1.2 The Space ofthe Roji 28 3.2 A History ofKumano 30 3.3 The Ambivalence ofNakagami's Space 3.3.1 Attempted Assertion over Space through Ritual.................. 35 3.3.2 The Dominance ofSpace............................................... 42 3.3.3 Gendered Space and Origin............................................ 44 3.3.4 Reconstructing Space................................................... 47 3.4 Conclusion: The Same Struggle by Another Name............................. 49 Chapter 4 - The Place ofMemory 4.1 Introduction 4.1.1 Space and Place 51 4.1.2 The Recovery ofOrigin..................................... .. 54 4.2 Narratives ofPlace in Misaki, "Garyl1san," and "Wara no ie" 4.2.1 The Brother and Father in Misaki 58 4.2.2 Garyl1 Mountain and Toshihisa 66 4.2.3 The Rediscovery ofDifference in "Wara no ie" 75 4.3 Conclusion: Place, Narrative, and Rememory 80 Chapter 5 - Coming Full Circle: Space, Narrative, and the Next Roji 5.1 Introduction 84 5.2 The Emperor System and Capital................................................ -
The Origins of Japanese Culture Uncovered Using DNA ―What Happens When We Cut Into the World of the Kojiki Myths Using the Latest Science
The Origins of Japanese Culture Uncovered Using DNA ―What happens when we cut into the world of the Kojiki myths using the latest science Miura Sukeyuki – Professor, Rissho University & Shinoda Kenichi – Director, Department of Anthropology, Japanese National Museum of Nature and Science MIURA Sukeyuki: The Kojiki (Records of Ancient Matters) has one distinguishing feature in the fact it includes a mixture of both Southern and Northern style myths. This is proof that Japanese culture was originally not only one culture, but rather came into existence while being influenced by its various surroundings; but when it comes to trying to seek out the origins of that culture, as we would expect, there are limits to how far we can get using only an arts and humanities-based approach. That’s where your (Professor Shinoda’s) area of expertise— molecular anthropology—comes in and corroborates things scientifically for us. Miura Sukeyuki , Professor, Rissho By analyzing the DNA remaining in ancient human skeletal remains, University your research closing in on the origins of the Japanese people is beginning to unravel when the Jomon and Yayoi peoples and so on came to the Japanese archipelago, where they came from, and the course of their movements, isn’t it? In recent times we’ve come to look forward to the possibility that, by watching the latest developments in scientific research, we may be able to newly uncover the origins of Japanese culture. SHINODA Kenichi: Speaking of the Kojiki , during my time as a student my mentor examined the bones of O-no-Yasumaro, who is regarded as being the person who compiled and edited it. -
Archaeology and Development / Peter G. Gould
Theme01: Archaeology and Development / Peter G. Gould Poster T01-91P / Mohammed El Khalili / Managing Change in an ever-Changing Archeological Landscape: Safeguard the Natural and Cultural Landscape of Jarash T01-92P / Wai Man Raymond Lee / Archaeology and Development: a Case Study under the Context of Hong Kong T01A / RY103 / SS5,SS6 T01A01 / Emmanuel Ndiema / Engaging Communities in Cultural Heritage Conservation: Perspectives from Kakapel, Western Kenya T01A02 / Paul Edward Montgomery / Branding Barbarians: The Development of Renewable Archaeotourism Destinations to Re-Present Marginalized Cultures of the Past T01A03 / Selvakumar Veerasamy / Historical Sites and Monuments and Community Development: Practical Issues and ground realities T01A04 / Yoshitaka SASAKI / Sustainable Utilization Approach to Cultural Heritage and the Benefits for Tourists and Local Communities: The Case of Akita Fortification, Akita prefecture, Japan. T01A05 / Angela Kabiru / Sustainable Development and Tourism: Issues and Challenges in Lamu old Town T01A06 / Chulani Rambukwella / ENDANGERED ARCHAEOLOGICAL LANDSCAPE OF THE WORLD HERITAGE CITY OF KANDY AND ITS SUBURBS IN SRI LANKA T01A07 / chandima bogahawatta / Sigiriya: World’s Oldest Living Heritage and Multi Tourist Attraction T01A08 / Shahnaj Husne Jahan Leena / Sustainable Development through Archaeological Heritage Management and Eco-Tourism at Bhitargarh in Bangladesh T01A09 / OLALEKAN AKINADE / IGBO UKWU ARCHAEOLOGICAL HERITAGE AS A BOOST TO NIGERIAN CULTURAL HERITAGE OLALEKAN AJAO AKINADE, [email protected] -
Shinto, Primal Religion and International Identity
Marburg Journal of Religion: Volume 1, No. 1 (April 1996) Shinto, primal religion and international identity Michael Pye, Marburg eMail: [email protected] National identity and religious diversity in Japan Questions of social and political identity in Japan have almost always been accompanied by perceptions and decisions about religion. This is true with respect both to internal political issues and to the relations between Japan and the wider world. Most commonly these questions have been linked to the changing roles and fortunes of Shinto, the leading indigenous religion of Japan. Central though Shinto is however, it is important to realize that the overall religious situation is more complex and has been so for many centuries. This paper examines some of these complexities. It argues that recent decades in particular have seen the clear emergence of a more general "primal religion" in Japan, leaving Shinto in the position of being one specific religion among others. On the basis of this analysis some of the options for the Shinto religion in an age of internationalization are considered. The complexity of the relations between religion and identity can be documented ever since the Japanese reception of Chinese culture, which led to the self-definition of Shinto as the indigenous religion of Japan. The relationship is evident in the use of two Chinese characters to form the very word Shinto (shen-dao), which was otherwise known, using Japanese vocabulary, as kannagara no michi (the way in accordance with the kami).1 There are of course some grounds for arguing, apparently straightforwardly, that Shinto is the religion of the Japanese people. -
Formation of the Proto-Japanese People
EAST ASIAN HISTORY: A KOREAN PERSPECTIVE Vol. 2. No. 8. 2005. 5. 28. 1 IC-10.S-1.5-0528 Formation of the Proto-Japanese People THE YAYOI WAVE Wontack Hong Professor, Seoul University 1. Jōmon Pottery THE NEOLITHIC JŌMON CULTURE OF AINU AND MALAYO- POLYNESIAN PEOPLE 1 The skeletal remains of The Ainu people from Siberia came by foot to the Hokkaido Ainu share Sakhalin-Hokkaidō area toward the end of the glacial period morphologically close relations and then spread over the whole archipelago, commencing the with northern Mongoloid people. pre-pottery Palaeolithic life. Before the end of the glacial An analysis of mitochondrial period, the Malayo-Polynesian people also came from DNA found no shared types Southeast Asia via the sea route of the Philippines-Taiwan- between the Ainu and Okinawans. Ryūkyū Islands, settling mostly in the Kyūshū area and some of See Hudson (1999: 64-67, 71-72 them moving into the western mainland. and 76-78). Genetic studies show that the Ainu are much closer to northern Mongoloid than to Southeast Asian populations.1 2 Diamond (1998: 11). Many place-names in Hokkaidō and northern main land include the Ainu words, but such Ainu-like names never occur 3 See Imamura (1996: 112). in the southwestern area and Kyūshū.2 It may account for the Ainu and Malayo-Polynesians are contrast in Jōmon pottery traditions between southwestern and not genetically close. northeastern Japan, the boundary being located around the See Nei Masatoshi, “The Origins Nagoya region.3 of Human Populations: Genetic, With the advent of the Neolithic Jōmon period (10,000 – Linguistic, and Archeological 300 BC), people on the Japanese islands began fishing with ” Data, in The Origin and Past of harpoons and fishhooks, hunting and gathering with stones Modern Humans as Viewed from DNA, ed. -
How to Look at Japanese Art I
HOWTO LOOKAT lAPANESE ART STEPHEN ADDISS with Audrey Yos hi ko Seo lu mgBf 1 mi 1 Aim [ t ^ ' . .. J ' " " n* HOW TO LOOK AT JAPANESE ART I Stephen Addi'ss H with a chapter on gardens by H Audrey Yoshiko Seo Harry N. Abrams, Inc., Publishers ALLSTON BRANCH LIBRARY , To Joseph Seuhert Moore Library of Congress Cataloging-in-Publication Data Addiss, Stephen, 1935- How to look at Japanese art / Stephen Addiss with a chapter on Carnes gardens by Audrey Yoshiko Seo. Lee p. cm. “Ceramics, sculpture and traditional Buddhist art, secular and Zen painting, calligraphy, woodblock prints, gardens.” Includes bibliographical references. ISBN 0-8109-2640-7 (pbk.) 1. Art, Japanese. I. Seo, Audrey Yoshiko. II. Title N7350.A375 1996 709' .52— dc20 95-21879 Front cover: Suzuki Harunobu (1725-1770), Girl Viewing Plum Blossoms at Night (see hgure 50) Back cover, from left to right, above: Ko-kutani Platter, 17th cen- tury (see hgure 7); Otagaki Rengetsu (1791-1875), Sencha Teapot (see hgure 46); Fudo Myoo, c. 839 (see hgure 18). Below: Ryo-gin- tei (Dragon Song Garden), Kyoto, 1964 (see hgure 63). Back- ground: Page of calligraphy from the Ishiyama-gire early 12th century (see hgure 38) On the title page: Ando Hiroshige (1797-1858), Yokkaichi (see hgure 55) Text copyright © 1996 Stephen Addiss Gardens text copyright © 1996 Audrey Yoshiko Seo Illustrations copyright © 1996 Harry N. Abrams, Inc. Published in 1996 by Harry N. Abrams, Incorporated, New York All rights reserv'ed. No part of the contents of this book may be reproduced without the written permission of the publisher Printed and bound in Japan CONTENTS Acknowledgments 6 Introduction 7 Outline of Japanese Historical Periods 12 Pronunciation Guide 13 1.