4,709 research outputs found
Kenji Fukuhara and Judy Saito wedding photograph
No full textWedding photograph of Kenji Fukuhara and Nakao Nick Saito's niece, Judy Saito. The front side reads: Dear Uncle Nick, --Love, Kenji and Judy, May '64
Tatsuo and Kikuye Frances Saito greeting Kenji Fukuhara and woman
No full textPolaroid of Tatsuo and Kikuye Frances Saito greeting son-in-law Kenji Fukuhara and a woman at a restaurant
TE studies in Japan: the fourth Japanese meeting on host–transposon interactions
No full textAbstract The fourth Japanese meeting entitled “Biological Function and Evolution through Interactions between Hosts and Transposable Elements (TEs)” was held on August 20–21, 2018 at the National Institute of Genetics (NIG), Mishima, Japan. The meeting was supported by NIG, and its objective was to bring together researchers who study the diverse roles of TEs in genome evolution, as well as host defense systems against TE mobility, such as chromatin modifications, small RNAs, and others. Here, we present the highlights of the talks given by 14 invited speakers. Organizers: Kenji Ichiyanagi (chief), Kuniaki Saito, and Tetsuji Kakutani
HASTE DE LÍRIOS, DE KENJI MIYAZAWA
No full textThe present work is a translation from Japanese to Brazilian Portuguese of the Yomata no Yuri (Stem of Lillies) tale written by the Japanese author Kenji Miyazawa (1893-1933). Miyazawa was an essayist, poet and writer of Japanese children's tales. Even though his work is not so popular in Brazil, in Japan it has achieved much notoriety. He is considered one of the most relevant writers in both prose and poetry. Miyazawa was born in Iwate and graduated in Agricultural Sciences. He was also a professor and dedicated himself fundamentally to the writing career. His work is notably influenced by Nichiren Buddhism, which can be seen in the following work. This translation aims at presenting to the Brazilian public an example of the Kenji’s literature, considering the cultural relevance of his work and the importance for understanding the Japanese way of thinking.O presente trabalho é uma tradução para o português do Brasil do conto Yomata no Yuri (Haste de Lírios) do autor japonês Kenji Miyazawa (1893 – 1933). Miyazawa foi ensaísta, poeta e escritor de contos japoneses infantis. Embora a obra dele não seja tão conhecida no Brasil, no Japão ela alcançou bastante notoriedade, podendo ser considerado um dos escritores mais relevantes tanto na prosa, quanto na poesia. Miyazawa nasceu na prefeitura de Iwate, graduou-se em Ciências da Agricultura, foi professor universitário e dedicou-se fundamentalmente à carreira de escritor. Sua obra apresenta forte influência do Budismo Nichiren, como pode ser visto pela leitura do conto a seguir. Esta tradução visa a apresentar ao público brasileiro um exemplo da literatura de Kenji, tendo em vista a riqueza cultural de seu trabalho, bem como relevância para o entendimento do pensamento japonês
Miyazawa Kenji and a Tale of “Kanji”
No full textMiyazawa Kenji (1896-1933), a poet and author of children’s stories, spent much of his life laboring to improve the material and spiritual lives peasants in the impoverished farming communities of Iwate Prefecture. He received little notice during his lifetime, but since the Second World War the sincerity of his work, reflecting a life of spiritual struggle, has attracted growing attention. In this paper we examine relationship between kanji and Miyazawa Kenji and the meaning of kanji for him referring some works including Otsuberu to Zou (1926, literally Otsuberu and the Elephant) and Kaze no Matasaburō (1934, literally Matasaburō of the Wind)
A Will from Miyazawa Kenji : Journey to the West, the Monkey King, and Dayu
No full textMiyazawa Kenji (1896-1933) is a well-known author of children\u27s literature from and poet. He created many children\u27s literature and poet applying with his inexhaustible imagination. At the same time he often applied his rich culture for Chinese classics including not only the Four Books and Five Classics of Confucianism but also popular novel like Journey to the West to his works. In this paper we examined Miyazawa Kenji\u27s works and discussed meanings of Chinese classics for Miyazawa Kenji
Posuton Shuyojo ポストン収容所
No full textA a travel journal written by Kenji Kawabe of his time away from the Poston camp, Arizona from May 9 through June 2, 1944. He visited the Granada camp in Colorado and Salt Lake and the Topaz camp in Utah, meeting his friends and going sightseeing and shopping.The Kuwahara Family Papers contains documentation of the Kuwahara family depicting the daily life and people incarcerated in the Poston camp in Arizona during World War II. Materials include: junior high school, high school, and camp community newsletters in both Japanese and English, a short travel journal written by Kenji Kaware of his time away from the Psoton camp, visiting the Granada camp in Colorado and Salt Lake and the Topaz camp in Utah, photographs of class groups, farm workers, and desert landscape, watercolor paintings of the camp facilities, and programs and booklets of the family and community reunions of the Poston incarceration camp
Does Trust Work in the Era of Distrust? Kenji Miyazawa and William James Give the Same Answer
No full textThis essay discusses ideas of Kenji Miyazawa that could help people of today rebuild confidence in themselves. Kenji held numerous ideas in common with great thinkers such as Fyodor Dostoevsky and William James. Kenji knew a great deal about the latest theories of natural science and psychology of his time. These were key sources of spiritual energy that enabled him to reexamine the relation between individual happiness and the happiness of the entire world. As the issue remains a major concern in our society, the author outlines Kenji's conclusion as to it
Does Trust Work in the Era of Distrust? Kenji Miyazawa and William James Give the Same Answer
No full textThis essay discusses ideas of Kenji Miyazawa that could help people of today rebuild confidence in themselves. Kenji held numerous ideas in common with great thinkers such as Fyodor Dostoevsky and William James. Kenji knew a great deal about the latest theories of natural science and psychology of his time. These were key sources of spiritual energy that enabled him to reexamine the relation between individual happiness and the happiness of the entire world. As the issue remains a major concern in our society, the author outlines Kenji's conclusion as to it
The flavour of tofu : Ozu, history and the representation of the everyday
No full textThis thesis deals with the issue of the everyday represented in the films of
Japanese film director Ozu Yasujiro (1903-1963) from a socio-historical perspective.
Recognised as one of the masters of Japanese cinema, Ozu is well-known for his
depiction of the everyday life of Japanese people consistently throughout his long
career. Ozu’s cinema, however, has been mainly studied from a formal point of view
that pays attention to his particular cinematic styles. This thesis aims to revise this
tendency by adopting the socio-historical methodology that actively draws upon the
knowledge of modern Japanese history, and combining it with the analyses of Ozu’s
films.
Following a chronological order of the prewar, war and the postwar in
Japanese history as well as in Ozu’s career, this thesis is structured to investigate two
main issues – the modern and the postwar – at both textual and contextual levels. My
discussion thus includes historical backgrounds of how these two issues defined
Japanese society, their influences on Japanese film industry (especially with regard
to Shochiku, where Ozu worked), and their interaction with Ozu’s films as appearing
in the form of everyday lives of different kinds of subjects.
The result suggests a much more multifaceted shape of Ozu’s oeuvre. Each of
the different subjects I analyse exhibits contrasting aspects of the everyday in terms
of both spatiality and temporality, which are closely related to the changing history
of modern Japan. I also argue that Ozu consistently provided his representation of the
everyday a critical dimension of Japanese modernity, which I conceptualise with the
notion of ‘deviation’. This thesis thus concludes that Ozu, as a filmmaker of
everyday life, was always conscious of his contemporary society, and in this sense,
the everyday in his films is more dynamic than empty
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