525 research outputs found
Islamophobia, ‘gross offensiveness’ and the internet
No full textThis article argues that restrictions on expression based on ‘gross offensiveness’ or similar public morality notions embedded in speech offences are not and cannot be politically neutral and be evenly applied to political speech, no matter who is the author. Such concepts draw on a majoritarian perspective purporting to be reflective of unified base values of the ‘national community’. The article explores why such concepts of unacceptable speech are a poor fit for a deeply heterogeneous community, and all the more so on the internet, where those who engage in public discourse are even more numerous and more diverse in ethnic, cultural, political and social terms. Set against such a diverse speech landscape the prohibition of ‘gross offensiveness’, or what are considered the outer boundaries of acceptability, is repressive of minorities and of challenges to conventional opinions and existing power dynamics, and is liable to reinforce the very bigotry it seeks to relieve
Letter to Misao Okada from Mr. and Mrs. Kinuhachi and Uta Okada, July 11, 1947
No full textCorrespondence from Misao Okada's scrapbook. Japanese to English Translation:
Although it was always our intention to live harmoniously with our landlord and neighbors, it seems that there is no other way to move out as we have been requested to do so. Our landlord misinterpreted certain things that I did with the chrysanthemum flower beds as malicious. She complains that she is no longer able to live as easily and happily as she wishes while we continue to stay with her.
Her malicious intention to force us out is so obvious. We believe she planned our eviction with one of her friends. She threatened my son that she will ruin his family unless we move out. Although it is our intention to live harmoniously, we can’t help but accept this eviction to avoid the possible break-up of our son’s family. Due to the current shortage of houses, we need at least 6 months before the move-out date, hopefully we can negotiate that much time in order to find a new place to move into. We accepted moving out immediately after her request at the night of July 11th, 1947.
From Kinuhachi and Uta OkadaMisao Okada’s scrapbook contains photographs, ephemera, notes, and correspondence documenting her time at Amache and a visit and reunion over 50 years later. The scrapbook also includes materials relating to reparations and events observing Japanese American incarceration
Characterization of Wood Mulch and Leachate/Runoff from Three Wood Recycling Facilities
No full textLarge-scale open storage of wood mulch is common practice at wood recycling facilities. During rain and snow melt, leachate with soluble compounds and suspended particles is released from mulch stockpiles. The objective of this study was to determine the quality of leachate/runoff from wood recycling facilities to evaluate its potential to contaminate receiving waterbodies. Wood mulch (n = 30) and leachate/runoff (n = 26) samples were collected over 1.5 years from three wood recycling facilities in New Jersey, USA. Differences by site were found (p < 0.05) for most of the 21 constituents tested in the solid wood mulch samples. Biochemical oxygen demand (range <20 – 3000 mg/L), chemical oxygen demand (134 - 6000 mg/L) and total suspended solids (69 - 401 mg/L) median concentrations of the leachate/runoff samples were comparable to those of untreated domestic wastewater. Total Kjeldahl N, total P and fecal coliform median values were slightly lower than typical wastewater values. Dose-response studies with leachate/runoff samples using zebrafish (Danio rerio) embryos showed that mortality and developmental defects typically did not occur even at the highest concentration tested, indicating low toxicity, although delayed development did occur. Based on this study, leachate/runoff from wood recycling facilities should not be released to surface waters as it is a potential source of organic contamination and low levels of nutrients. A study in which runoff from a controlled drainage area containing wood mulch of known properties is monitored would allow for better assessment of the potential impact of stormwater runoff from wood recycling facilities.Peer reviewe
Letter from Uta Okada to Mrs. Natsumeda
No full textIn this brief letter, Mrs. Okada appreciates the visits Mrs. Natsumeda made to her home. Item from Misao Okada’s album.Misao Okada’s scrapbook contains photographs, ephemera, notes, and correspondence documenting her time at Amache and a visit and reunion over 50 years later. The scrapbook also includes materials relating to reparations and events observing Japanese American incarceration
PERBANDINGAN KARAKTER TOKOH FILM MEET ME AFTER SUNSET DENGAN TAIYO NO UTA (SEBUAH KAJIAN SASTRA BANDINGAN)
No full textMurtadho, Iqbal. 2020. “Comparison of The Main Character in The Movie Meet Me After Sunset and Taiyo No Uta: A Comparative Literature Study”. Thesis. Indonesian Literature Strata I Program. Faculty of Cultural Sciences, Diponegoro University, Semarang. Supervised by Dr. Sukarjo Waluyo, S.S., M.Hum. dan Laura Andri, R.M., S.S., M.A.
The object of research that author use is Meet Me After Sunset and Taiyo No Uta. The purpose of this study is to describe elements of the structure of narratology in Meet Me After Sunset and Taiyo No Uta and comparison of main character in Meet Me After Sunset and Taiyo No Uta. The research method that used is a comparative method with a structural approach. The steps that used by the research is data sources, data analysis techniques, and presentation of analysis result. The data source of this research is Meet Me After Sunset and Taiyo No Uta .
Based on the research that has been done, it can be concluded that the structure of Meet Me After Sunset and Taiyo No Uta includes: story and plot, time sequence, space, characters and characterization, objectives, problems and conflicts, and narrative structure patterns. There are similarities in main character: simple and respect the efforts oh others. The differences between two main character is influenced by public response. The public’s response in Meet Me After Sunset tended to be mocking, so the main character becomes gloomy and unsocial. Contrary, the main character in Taiyo No Uta tended happy and loves to be social.
Keywords: Movie, structural, compariso
Uta Hagen's Challenge
No full textThis thesis argues that Uta Hagen's A Challenge for the Actor is more effective than Hagen's more widely used Respect for Acting as a primary text for contemporary actor training. Chapter 1 tracks Ms. Hagen's evolution as an actress, teacher and author. Chapter 2 summarizes Hagen's core artistic values and signature acting techniques. Chapters 3 through 5 focus on three of these values and techniques. Chapter 3 examines self-observation and transference; Chapter 4, playing action through animation of body and mind; and Chapter 5, realism and its relationship to styles of theatre. Throughout, I compare the presentation of these values and techniques in each of her two books and evaluate their relative worth. Using examples from both texts, my experience as a student in her classroom, and my own practice teaching her techniques, I assert that while both are practicable handbooks for actors, acting teachers will get better results from A Challenge for the Actor
Practice led research into stream-form composition methods, freeassociation, and synaesthesia in audio/visual compostion.
No full text.haul / S is a portfolio of audio/visual works, all with a common start point, synaesthesia: a
powerful and highly personal phenomenon. In this portfolio I examine my own synaesthetic perceptions of sound and image, and how they direct my compositional decisions and aesthetic tastes. These perceptions, and the resulting compositions, are compared to the experiences of synaesthete composers, and their goals in composing from such an abstract source material, as well as synaesthetes not engaged in musical
endeavours. In doing so, I speculate how the act of making from such personal, abstract, and ultimately indescribable and unsharable experiences affects an audience’s reception
of the pieces produced. As such, I produce works that are as close to being about nothing as I could posit: pieces that feature no defined subject, theme, or narrative, outside of their constituent parts. This nothingness, or lack of concrete reference is speculative, aiming to open discussion on perception and synaesthesia (which I do not consider a special condition only experienced by few), and strives to inform further work actively influenced by this composer/audience feedback loop.
The compositions in this portfolio are also the result of practice-led research into stream
form composition methods, and examinations of free-association in audio/visual composition. The aim of this research is to open discussion on intuitive composition practices, and composers’ aesthetic judgments and decisions when producing a work. It also examines synaesthesia as a compositional tool, as a means of suggesting further research in a field which is still poorly understood
Hozonkai – fenomen ohranjanja ljudske glasbe in uprizoritvenih umetnosti na Japonskem: primer združenja Kokiriko uta hozonkai
No full textThe article closely examines the phenomenon of preservation societies or hozonkai, which strives to preserve Japanese folk songs and other folk performing arts in an authentic form or intact without change. As an example of hozonkai’s treatment of the folk song, it takes a closer look into organization and current activities of Kokiriko uta hozonkai; a hozonkai formed in 1951 and in charge of preservation and transmission of song accompanied by dance Kagura mai. Taking into consideration Hughes’ general characteristics of hozonkai as a base, the author points out the commonly shared characteristics which Kokiriko uta hozonkai shares with most preservation societies, but at the same time also shows its particularities. Kokiriko uta hozonkai has a stronger concept of locality and it is not absolutely conservative with respect to possible changes to Kagura mai in the future. Moreover, the research on Kokiriko uta hozonkai and its treatment of Kagura mai raises questions to what extent hozonkai really transmitts the ancient revived Kagura mai?Članek proučuje fenomen združenj hozonkai za ohranjanje ljudskih pesmi oz. ljudskih uprizoritvenih umetnosti, ki si prizadevajo ohraniti in prenašati japonske ljudske pesmi v »avtentični«, nespremenjeni obliki. Kot primer enega takšnih združenj in njegovega ravnanja z ljudskim glasbenim izročilom avtorica obravnava organizacijo in trenutne dejavnosti združenja Kokiriko uta hozonkai – ustanovljenega leta 1951 in zadolženega za ohranjanje in prenos plesne pesmi Kagura mai.Ob upoštevanju Hughesovih splošnih značilnosti združenj kot osnove avtorica poudari skupne značilnosti, ki jih Kokiriko uta hozonkai deli z večino združenj, hkrati pa osvetli tudi njegove posebnosti. Kokiriko uta hozonkai ima močnejši koncept lokalnosti in ni povsem konservativen glede morebitnih sprememb v glasbi Kagure mai v prihodnosti. Raziskava o združenju Kokiriku uta hozonkai in njegovem »ohranjanju« Kagure mai zastavlja tudi vprašanje, ali hozonkai resnično prenaša starodavno različico pesmi Kagura mai
Shinobi Uta
No full textShinobi Uta is a song cycle in five movements for soprano, baritone, and chamber orchestra based on the story of Tosa Nikki. The first literary work in Japanese history conveyed in the form of a diary, Tosa Nikki was written by one of the most renowned poets and writers of its time, Tsurayuki Kino, in 935. His refined skills in Japanese and Chinese poetry were highly acknowledged by the Japanese imperial court during the Heian Period (794-1185). His name often appears in many of the early Japanese anthologies of poetry including the first of its kind called Kokin Wakashu, for which he was appointed one of the four editors responsible for compiling more than a thousand poems from this period. In Tosa Nikki, the author recounts a series of events during his 55-day journey back to Kyoto (then the capital of Japan) from the province of Tosa, where he had been appointed the governor for five years, and also includes 57 poems.The most fascinating aspect of Tosa Nikki is the fact that Tsurayuki wrote the entire work from the perspective of an anonymous female, only mentioning himself in the third person. His intention is evident from the very first line of the diary: They say that writing diaries is for men, but as a woman, I am going to give this a try. In order to emphasize the female voice, he used only phonetic characters (Kana), which were considered to be the writing method for women, as opposed to ideographic characters (Kanji) for men. Tsurayuki\u27s motive for hiding his gender is not certain, but one can speculate that he was greatly influenced by the loss of his young daughter during his stay in Tosa. Throughout the diary, the author repeatedly reminds the reader of this matter by mentioning a grieving couple (Tsurayuki and his wife). Perhaps assuming the tone of a female writer allowed Tsurayuki to express his deep sorrow more simply and intimately
Logiken des Sinns – Logiken der Schrift. Überlegungen zur Textgenese und Deutung von Trakls später Dichtung
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