1,382,594 research outputs found
Letter from Kay Yamashita to Pooh, November 1, 1942
No full textLetter from Kay Yamashita to Pooh at the Sakai house, written from Topaz incarceration camp. Yamashita mentions the Student Relocation Council and activities of the Fellowship of Reconciliation, a scheduled visit from Caleb Foote, and the arrival of a new teacher at the camp high school, F.O.R. member Mary McMillan. Yamashita asks if Joe [Joseph R. Goodman] would be willing to come teach at the high school. Kay also writes of lack of adequate heating in the cold weather, and of censorship of the camp newsletter: "If you get a hold of one of our Topaz Times, now a daily news sheet, don't believe all - it's highly censored - about as much as our Tanforan newspaper was - they're afraid to let anything unpleasant or detrimental to the administration out." Yamashita also mention lack of available or willing workers for farm labor in the camp.Personal correspondence, organizational records, government documents, publications, and other papers created or collected by Joseph R. Goodman documenting the forced removal and incarceration of Japanese Americans during World War II, as well as organized resistance to incarceration. Included in the collection are records of the Japanese Young Men's Christian Association and the Japanese American Citizens' League in San Francisco, including papers of the Japanese YMCA's executive secretary Lincoln Kanai; Sakai family papers; Goodman's correspondence to and from Japanese American incarcerees, organizations opposing forced removal and incarceration of Japanese Americans, the War Relocation Authority, and others; publications, photographs, and ephemera from the Topaz Relocation Center, where Goodman taught high school; War Relocation Authority records and publications; and newspaper clippings, pamphlets, and reports about forced removal and incarceration created by various government, religious, and civic organizations, in California and nationwide
Letter from Kay Yamashita to Elizabeth B. and Joseph R. Goodman, January 9, 1943
No full textLetter from Kay Yamashita to Elizabeth B. and Joseph R. Goodman, written from Topaz incarceration camp. Yamashita writes of Christmas and New Year's festivities, and uncertainty and depression among students at the camp. She asks the Goodmans to send reading material for the students, and mentions that a student was allowed to go on leave. She mentions that the camp director, Mr. Ernst, who was broke regulations to permit an incarceree to visit his dying father at Tule Lake without an escort.Personal correspondence, organizational records, government documents, publications, and other papers created or collected by Joseph R. Goodman documenting the forced removal and incarceration of Japanese Americans during World War II, as well as organized resistance to incarceration. Included in the collection are records of the Japanese Young Men's Christian Association and the Japanese American Citizens' League in San Francisco, including papers of the Japanese YMCA's executive secretary Lincoln Kanai; Sakai family papers; Goodman's correspondence to and from Japanese American incarcerees, organizations opposing forced removal and incarceration of Japanese Americans, the War Relocation Authority, and others; publications, photographs, and ephemera from the Topaz Relocation Center, where Goodman taught high school; War Relocation Authority records and publications; and newspaper clippings, pamphlets, and reports about forced removal and incarceration created by various government, religious, and civic organizations, in California and nationwide
Masu Yamashita, December 1938.
No full textPhoto of Masu Yamashita, a Japanese American friend of Mary (Murakami) Doi. Photo dates from 1938, when Masu and her family lived in Salinas, California
Platform, Showcase, Gathering, Exchange: A Conversation about Film Festivals with Erika Balsom, George Clark, Chris Kennedy, Eduardo Thomas, and Koyo Yamashita
No full textThe conversation includes discussions about issues of relevance to film festivals that screen experimental moving image work, including: the emergence of small festivals whose programming challenges the dominance of European or North American work; the incorporation of the moving image into the gallery scene; and the opening up of new possibilities for global exchange using digital media. Erika Balsom (United Kingdom), George Clark (New Zealand), Eduardo Thomas (Mexico), Koyo Yamashita (Japan), and Chris Kennedy (Canada) spoke about these and other developments related to experimental moving image practices in the festival scene. A postscript addresses the early impact of the COVID-19 pandemic
Filmmaker Shinpei Takeda interviews Yasuaki Yamashita, a survivor of the atomic bombing of Nagasaki in 1945
No full textYasuaki Yamashita remembers his friend's death a few days after the Nagasaki bombing. He talks about working at the Atomic Bomb Hospital and leaving for Mexico to work as a translator in the 1968 Olympics. He also shares his artistic philosophy and how those concepts help to understand the atomic bombings
Recognising Shinji Yamashita, Dynamic Ethnographer Par Excellence: A Prologue
No full textThis Prologue provides introductory commentary about Shinji Yamashita, the Japanese anthropologist to whom this special issue is dedicated. His trajectory, from his early studies of Toraja (Indonesia) rituals to his work on tourism, migration, and Asian disasters, has been foundational for subsequent generations of anthropologists, as attested by this special guest-edited issue featuring research by his former graduate students. As I argue, in many ways Shinji Yamashita is the ultimate ‘dynamic ethnographer’ of Asian societies. I use this expression, inspired by his description of his book on Toraja highlanders, in several senses. First, his agenda has been continuously expanding to insightfully address dynamic events in the world, ranging from the tourism expansion in Indonesia, to international migration and intermarriage, to disasters. Second, Yamashita is himself a dynamic force. His research and professional travels have enabled him to forge new connective tissue between the anthropologies of Japan and the United States
Reel: THE CASE OF GENERAL YAMASHITA
No full textA Review of THE CASE OF GENERAL YAMASHITA By A. Frank Reel
The actor Yamashita Kyōnosuke.
No full textPrint shows Yamashita Kyōnosuke, an actor, full-length portrait, standing, facing left, looking at a poster mounted on a building showing a deer.Restricted access; material extremely fragile; please use online digital image.Title and other descriptive information compiled by Nichibunken-sponsored Edo print specialists in 2005-2006.Format: Hosoban Benizurie.Forms part of: Japanese prints and drawings (Library of Congress)
A comparison of the mechanical variables of the front handspring vault and the Yamashita vault with a half twist performed by elite gymnasts
No full textThe purpose of this study was to compare the mechanical variables of a handspring vault and a Yamashita vault with a half twist, and identify differences that may be significant when progressing from one vault to the other. A total of 48 subjects was utilized for the comparison, with 24 subjects performing a handspring vault at the 1987 Pan American Games and 24 subjects performing a Yamashita vault with a half twist at the 1992 Summer Olympic Games. A total of 36 different variables was analyzed in the comparison. The study identified differences (ps.001) in body orientation angles, vertical velocity, and angular momentum to be important variables to concentrate on when progressing from a handspring vault to a Yamashita vault with a half twist. The gymnasts who performed the Yamashita vault with a half twist departed the board in a more forward body position with a higher vertical velocity. They also contacted and departed the horse with a higher vertical velocity, attributing to a greater time and CG trajectory height of postflight. The gymnasts performing the Yamashita vault with a half twist also exhibited a smaller angular momentum at board departure than the gymnasts performing the handspring vault, with both groups reducing their angular momentum while on horse. It may be important to focus on body orientation angles, vertical velocity, and angular momentum when progressing from a handspring vault to a Yamashita vault with a half twist
[Seiko Ishida with Fujii and Yamashita families]
No full textSeiko Ishida, seated second from left, is photographed with the Fujii and Yamashita families. Caption below photograph in album reads, "Last farewell with Fujii and Yamashita family. May 1936 Tokuyama, Japan." Photograph from "Seiko Ishida's photo album" (csufu_sc_0364), page 16.The Japanese American Relocation Collection is composed of ephemera related to the relocation program during World War II. Items include the official government report of Manzanar Relocation Center, a photo album, post-war activism materials related to preserving and remembering the camps, various clippings, and documents. The strength of this collection is found in its many perspectives on the controversial relocation program and how it has been presented since World War II
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