965 research outputs found
The Body of the Musician : The Embryology and Anatomy in Indian Musicology
No full text13th World Sanskrit Conference at Edinburg, Scotland (UK) [10-14 July 2006]MAKOTO KITADA, "The Body of the Musician : The Embryology and Anatomy in Indian Musicology" ; in: Edited by S.R. Sarma, Gyula Wojtilla, Scientific Literature in Sanskrit, Papers of the 13th World Sanskrit Conference Volume I, Delhi: Motial Banarsidass Publishers, 2011, pp.195-205
Letter from Makoto Okine to Mr. Okine, June 28, 1945
No full textA letter from Makoto Okine in Lecce, Italy to his father, Seiichi Okine, in the Rohwer incarceration camp in Arkansas. It is mailed via New York by the US Army Postal Service. In the letter, Makoto assumes that not many people participate in the bonodori event in the camp this time because many of the young people left the camp either for work or being drafted. He also talks about the U.S. government recruitment of eligible Japanese American students and volunteers for M.I.S.The Okine Collection contains materials collected by Seiichi and Tomeyo Okine who were Issei flower growers in Whittier, California. It includes correspondence, photographs, financial documents, and a photo album. A large portion of the collection consists of family correspondence with Seiichi and Tomeyo Okine, including letters from their Nisei children, Masao and Makoto Okine, both soldiers overseas during World War II, to their Issei parents incarcerated in the Rohwer incarceration camp in McGehee, Arkansas. The correspondence also includes letters from their relatives and friends who are former incarcerees in the camps during the war and have “resettled” in Chicago, Illinois as well as letters from the Okines’ family members in Hiroshima, Japan during the Allied occupation of Japan. In addition, the collection includes a family photo album compiled by Dorothy Ai Aoki, a Nisei daughter to the Okines
Western Union telegraph from Makoto Okine to S. Okine. August 20, 1946
No full textA Western Union telegram from Makoto Okine to his father Seiichi Okine in Whittier, California. It notifies of Makoto's arrival to Beale Air Force Base, California from Europe where he has been stationed as a Nisei soldier.The Okine Collection contains materials collected by Seiichi and Tomeyo Okine who were Issei flower growers in Whittier, California. It includes correspondence, photographs, financial documents, and a photo album. A large portion of the collection consists of family correspondence with Seiichi and Tomeyo Okine, including letters from their Nisei children, Masao and Makoto Okine, both soldiers overseas during World War II, to their Issei parents incarcerated in the Rohwer incarceration camp in McGehee, Arkansas. The correspondence also includes letters from their relatives and friends who are former incarcerees in the camps during the war and have “resettled” in Chicago, Illinois as well as letters from the Okines’ family members in Hiroshima, Japan during the Allied occupation of Japan. In addition, the collection includes a family photo album compiled by Dorothy Ai Aoki, a Nisei daughter to the Okines
Contemporary Art in Japan and Cuteness in Japanese Popular Culture
No full textThis thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture.
Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.
Director of Studies: Toshio Watanabe
Supervisors: David Ryan and Omuka Toshihar
Statement by [John] Victor Carson on Makoto Miyakawa, April 28, 1942
No full textStatement that to the knowledge of Mr. Carson that Makoto Miyakawa is an upstanding citizen
<Special Feature "Publication and Distribution of Islamic Books in South Asia 1">Urdu Literature in Deccan from the 14th to 17th Century
No full textThe Kyoto University Aqeel Collection possesses about 400 books on Dakanī Urdu literature besides more than 200 books on the local history of the Deccan. Books on these topics are becoming scarce even in India in recent years. Such a big collection is very rare worldwide. This article aims to make the significance of this collection clear, in that the situation of the Deccan in the history of Urdu literature is clarified. First, the history of Muslim immigration from North India to the Deccan, which is the background of the emergence of Dakanī Urdu, is surveyed. Next, three Dakanī Urdu works from the Bahmanī and Qutb Shāhī dynasties which were renowned for their respective prosperity in literal activities, are presented and analyzed: the Kadam Rāo Padam Rāo or the oldest narrative poetry (masnavī) by Nizām Fakhar Dīn (Middle 15th cent.), Qulī Qutb Shāh's love poetry (16th cent.), and the Sabras, or the masterpiece of Dakanī Urdu narrative prose by Vajhī (17th cent.)
<Special Feature "Publication and Distribution of Islamic Books in South Asia 2">The Books on Dakanī Urdu Language and Literature in the Aqeel Collection, Kyoto University
No full textDakanī is the group of languages spoken in Deccan which are usually considered dialects of Urdu. Written in Arabic script, it has a long literary tradition since at least the 15th century. During the Bahmanī, ‘Ādil Shāhī (Bījāpur) and Quṯb Shāhī (Golkonḍah, Hyderabad) Dynasties, i.e. the three Muslim dynasties based in Deccan, writers of literature were very active in contrast to Delhi where writing activities adopting Urdu as the literary language did not begin substantially until the 18th century. Thus, Dakanī literature can be considered a very significant precursory phase in the history of Urdu literature, in which various literary inventions and experiments were conducted. The Aqeel Collection includes about 400 books dealing with the Dakanī language and literature and more than 200 books on the local history of Deccan. These books are becoming less and less available all over the world, and even in India. In such a situation, the fact that the Aqeel collection possesses so large an amount of books related to the matter is a very rare case of invaluable importance. In addition, this collection has the following strong points: It covers almost all the authors (poets) considered as great masters representative of the literature of Deccan such as ‘Ādil Shāh II, Nuṣratī, Qulī Quṯb Shāh, Wajhī etc. Not only the original texts of the literary works, but also the analysis and detailed studies of these works, the authors’ lives and the historical, social and cultural background are contained in this collection. This collection also includes authors around the great masters, i.e. poets belonging to the same school as, or contemporary with the masters. Such poets might certainly be less known to us, but the study of such poets would enable us to attain a deeper and richer comprehension of the background of these masters, and the literary language and stylistics which they partly inherited from the school they belonged to and partly invented by themselves. Considering these advantages, it is highly expected that the study of Dakanī literature which has so far been relatively little cultivated, will opened up more in the future, bringing to light the early phases of the development of Urdu literature
The Fox and the Grapes
No full textThis is a 28-page large-format pamphlet that needs a plain brown wrapper. It is titled (in English) The fox and the grapes. The title-page has a clear English announcement Adult only. The bulk of the book is then a black-and-white graphic novelette that is indeed graphic! From my quick look I have little sense of how the fable of the fox and the grapes is played out in this intense sexual adventure (or adventures?). I offer one last word of warning. Do some or all Japanese books work from our back to our front? The pages, I notice, are numbered that way, and now I see that what I took for the back cover is an appropriate cover with the same English title and warning as the title-page. Aesop provokes a great deal!Language note: JapaneseKanon: Makoto Sawatori and Mishio Aman
<Article>Love and Eros of Waris Shah : Panjabi Sufi Literature
No full textThe linguist Roman Jakobson, who studied oral poetry of various ethnic groups, observed that folk poets use a couplet as a figure of speech to connect two different levels of meaning. In such a couplet, every single grammatical element in the first line is often made to correspond to an element in the second line, so that an intricate metaphorical connection is created between the two lines. This produces an effect that resembles to a montage shot in a film, in which two images overlap. In this article, I, adopting Jakobson's theory, analyze the grammatical structure of several couplets contained in "Hīr and Rānjhā, " the love romance composed by Waris Shah (Wāriş Šāh), the Panjabi Sufi poet of the 18th century. The analysis revealed that the couplets describing the idyllic scenes of rural villages in Punjab are technically accomplished and stylistically sophisticated. Although this work is usually considered to be Waris Shah's original creation, my analysis suggests that his text is strongly influenced by the collective literature of Punjab, and inherits a lot of elements from antecedent oral texts. It is also observed that pre-Islamic characteristics are predominant in Waris Shah's language, containing a relatively poor vocabulary of Perso-Arabic. Instead, the vocabulary of this text largely consists of New Indo-Aryan words, and the poetical expressions are very often those inherited from the indigenous poetical tradition of South Asia. Thus, an aspect of the process of intermixing Islamic and indigenous South Asian cultures is elucidated on the basis of linguistic analysis of a lyrical text
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