Bøger om Japan

This book considers how music, musicality, and ideologies of musicality are working within the specific construction of waka on the theme of male love in Kitamura Kigin¿s Iwatsutsuji (1676) and Ihara Saikaküs Nanshoku ¿kagami (1687) by using a modified generative theory of music. This modified theory seeks to get at the interdependent meanings that may exist among the music, image, and the text of the waka in question. In all, this study guides the reader through five waka on the theme of male love and demonstrates not only how each waka is inherently musical but how the image and text may interdependently relate to the ways in which premodern Japanese song poets may not only have thought in and with sound but may have also utilized a diverse array of musical gestures to construct new objects of knowledge. In the case of this study, these new objects of knowledge seem to have aided in situating a changing musicopoetics that aligned with changing constructions of male desire.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Master - An Ainu Story provides a rare insight into the lives and culture of modern-day Ainu (an indigenous people of Japan). It has been exhibited at The Brunei Gallery, London, Sway Gallery, London and Stockholm, The ICP Museum, New York, and has appeared in National Geographic Traveler magazine.Adam Isfendiyar is a London-based photographer, whose passion is in telling the stories of individuals and their connection to their environment. He lived in Hokkaido, Japan with Kenji Matsuda from 2016 to 2018. Through the personal experiences of Matsuda san, the photos and stories in this book tell the story of survival and adaptation of the Ainu.Matsuda san, known as 'Master' (which roughly translates to 'Boss' in English) to his family, colleagues and patrons, has grown up sandwiched between two generations of Ainu with very different attitudes towards their heritage. While his grandparents' generation encouraged their children and grandchildren to assimilate for fear of discrimination, recent generations have started to demand recognition of their indigenous status, which was finally given in February 2019.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

There seems to be a sense of divine magic in the very atmosphere, through all the luminous day, brooding over the vapoury land, over the ghostly blue of the flood--a sense of Shinto. With my fancy full of the legends of the Kojiki, the rhythmic chant of the engines comes to my ears as the rhythm of a Shinto ritual mingled with the names of gods.

"The Japanese man of the people-the skilled laborer able to underbid without effort any Western artisan in the same line of industry-remains happily independent of both shoemakers and tailors. His feet are good to look at, his body is healthy, and his heart is free. If he desire to travel a thousand miles, he can get ready for his journey in five minutes. His whole outfit need not cost seventy-five cents; and all his baggage can be put into a handkerchief. On ten dollars he can travel for a year without work, or he can travel simply on his ability to work, or he can travel as a pilgrim. You may reply that any savage can do the same thing. Yes, but any civilized man cannot; and the Japanese has been a highly civilized man for at least a thousand years. Hence his present capacity to threaten Western manufacturers." "Japan is producing without capital, in our large sense of the word. She has become industrial without becoming essentially mechanical and artificial. The vast rice crop is raised upon millions of tiny, tiny farms; the silk crop, in millions of small poor homes, the tea crop, on countless little patches of soil. If you visit Kyoto to order something from one of the greatest porcelain makers in the world, one whose products are known better in London and in Paris than even in Japan, you will find the factory to be a wooden cottage in which no American farmer would live." "Of all peculiarly beautiful things in Japan, the most beautiful are the approaches to high places of worship or of rest,-the Ways that go to Nowhere and the Steps that lead to Nothing."