Relevant bibliographies by topics / Japanese imprints

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Japanese imprints'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Japanese imprints"

1

Michener, Gail R. "Limits on egg predation by Richardson's ground squirrels." Canadian Journal of Zoology 83, no. 8 (August 1, 2005): 1030–37. http://dx.doi.org/10.1139/z05-094.

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To test the inference, arising from circumstantial evidence, that Richardson's ground squirrels (Spermophilus richardsonii (Sabine, 1822)) frequently depredate eggs of greater sage-grouse (Centrocercus urophasianus (Bonaparte, 1827)), gape size was measured and the response of free-living squirrels to three sizes of eggs was observed. Maximum gape measured on carcasses was 26 mm and functional gape assessed from tooth imprints in artificial clay eggs was 17 mm. Squirrels left imprints in 46 of 110 clay eggs, but whether tested with domestic fowl (Gallus gallus (L., 1758)) or ring-necked pheasant (Phasianus colchicus L., 1758) eggs that approximated the maximum width of sage-grouse eggs or with much smaller Japanese quail (Coturnix japonica Temminck and Schlegel, 1849) eggs that approximated maximum gape, no squirrels (28 adults and at least 28 juveniles) spontaneously depredated eggs, even after multiple exposures. When re-tested with damaged eggs, 15 of 16 adult females scavenged contents, though usually not on their first exposure. After scavenging damaged eggs, 2 of 12 squirrels opened a few intact eggs, but only quail eggs and usually only if the shell was rough. Although Richardson's ground squirrels are potential scavengers of large damaged eggs and likely they could depredate small eggs, the inference from circumstantial evidence that they are major predators of greater sage-grouse eggs remains unsubstantiated.
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2

Van Minh, Nguyen, and Yuzuru Hamada. "Age-related changes of sulcal imprints on the endocranium in the Japanese macaque (Macaca fuscata)." American Journal of Physical Anthropology 163, no. 2 (March 16, 2017): 285–94. http://dx.doi.org/10.1002/ajpa.23205.

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Sumilang-Engracia, Erika Ann. "Repackaging Japanese Culture: The Digitalization of Folktales in the Pokémon Franchise." Mutual Images Journal, no. 5 (December 20, 2018): 5–30. http://dx.doi.org/10.32926/2018.5.sum.repac.

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Pokémon is arguably one of the most enduring brands in Japanese pop culture. As of March 2014 the Pokémon video game franchise alone has sold more than 260 million units worldwide (Lien, 2014). The Pokémon series has been the most well known game that the Nintendo Game Boy series has ever produced and marketed internationally. This study looks at Pokémon as a cultural product. Information contained in the Pokédex, an electronic encyclopedia of Pokémon found in the game points to the use of Japanese folklore as inspiration for some of the Pokémon released. There is an intricate give and take in the process of telling and retelling of folktales that is argued to be present even in its currently newer forms. This study explores the digitalization of folklore by looking at the incorporation of Japanese folktales into the Pokémon video game. Looking at how folkloric motifs were integrated in the creation of these pocket monsters inhabiting the world of Pokémon points to the importance of the Japanese folklore in the character designs. These folklore motifs infused in the game characters, and the world itself gives the franchise a Japanese cultural flavor which, as pointed out by other authors like Allison, make the experience more enjoyable (2003, p. 384). As such, this study looks at how the Pokémon franchise fuses socio-cultural elements in the creation Pokémon’s individual and unique pocket monsters. In effect, these new game creatures called Pokémon become new conduits by which old Japanese folktales are revisited, revised, and ultimately renewed. More importantly, it becomes one important avenue in the creation and proliferation of a Japanese cultural identity that is marketed abroad. It is argued that Pokémon is indeed a new medium where Japanese folklore has been appropriated and digitalized. According to Iwabuchi, influence of products of different cultures on everyday life cannot be culturally neutral. Instead, they inevitably carry cultural imprints called “cultural odor.” In terms of cultural odor, this makes Pokémon Japanese in fragrance. The creation of these newly formed folklore is a dynamic interaction between Japanese culture, the technology they are coursed through and gameplay as a form of performance by the consumers. The whole franchise now serves as a digital archive for folkloric beings that influenced directly or indirectly their creation. This resulted in enabling participative interaction between folklore and the individual. For international consumers, they also potentially serve as entryway into picking up an interest and learning more about Japanese culture. More than the ukiyo-e paintings and monster catalogs that proliferated during the Edo Period, Pokémon has fleshed out these folklore motifs and has put them at the front and center through their games, allowing for players to interact with and bond with them in an ever expanding virtual space called the Pokémon world.
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Droz, Laÿna. "Distribution of Responsibility for Climate Change within the Milieu." Philosophies 6, no. 3 (July 28, 2021): 62. http://dx.doi.org/10.3390/philosophies6030062.

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This article approaches the challenges of the distribution of responsibility for climate change on a local level using the framework of the milieu. It suggests that the framework of the milieu, inspired by Japanese and cross-cultural environmental philosophy, provides pathways to address the four challenges of climate change (global dispersion, fragmentation of agency, institutional inadequacy, temporal delay). The framework of the milieu clarifies the interrelations between the individual, the community, and the local milieu and is open to a conservative view of human communities and an inclusive view of multispecies communities. On this basis, an account of individual responsibility that is anchored in the local milieu and includes a responsibility to collaborate across milieus is developed. It consists of a forward-looking responsibility that balances a degree of contributory responsibility for one’s imprints on the milieu with a degree of capacity-responsibility that varies regarding the individual’s knowledge and powers, and the acceptability of practices within the local milieu.
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Burgin, Victor. "Nagori: Writing with Barthes." Theory, Culture & Society 37, no. 4 (May 21, 2020): 167–83. http://dx.doi.org/10.1177/0263276420910475.

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Presented in the form of an acrostic, the text offers six entries ( Nagori, Amateur, Genshiken, Obtuse, Rhythm, and Interstice). It begins with the Japanese term nagori, the etymology of which is in nami-nokori, ‘remains of the waves’, to refer to the ephemeral imprints left by the waves as they withdraw from the beach. The modern word nagori carries a more general sense of resignation, of a destiny that cannot be changed, of things that pass. The opening entry, for example, refers to our present time as the nagori of photography – as being ‘everywhere’ even before being shattered and scattered by the internet, by social media and cameras in mobile phones. Underlying the six entries is specific reference to the work of Roland Barthes, notably as a form of writing with Barthes, not about him. As such, and as the final contribution to a special issue of Theory, Culture & Society, ‘Neutral Life/Late Barthes’, this opens up for the ‘reader’ a specific practice and politics of writing.
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Oh, Sang Mee. "‘Why Korea Failed?’: The American Discourse of Korea’s Historical Failure at the Turn of the 20th Century." Journal of American-East Asian Relations 29, no. 4 (December 19, 2022): 341–64. http://dx.doi.org/10.1163/18765610-29040002.

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Abstract The discourse of Korea’s failed history has been mostly a production of Japanese colonial scholarship, but the early texts that American authors produced were what guided the Western understanding of Korean history during the long 20th Century. Despite the importance of these texts that left significant imprints on later academic works and policy decisions, scholars have not as yet examined properly the American discourse of failure in Korean history. This article analyzes the representative American books on Korean history of authors William E. Griffis and Homer B. Hulbert to describe the emergence of the American discourse of Korea’s failed history in the late 19th and the early 20th centuries. It argues that early American authors of accounts of Korean history wrote them in a specific narrative structure that depicted Korea’s past as a story of gradual decline that ended with failure. These works identify three major themes – isolation, victimization, and dependency – as explanations for why Korea failed. Then, the article examines the doctoral dissertations of Harold J. Noble and George M. McCune to show how this early narrative framework during the 1930s and the 1940s continued thereafter to shape U.S. understanding of Korea even into the 1950s, informing both policymakers and scholars.
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Feng, Wenbao, Caishuang Liang, Hang Gong, and Changqun Cai. "Sensitive detection of Japanese encephalitis virus by surface molecularly imprinted technique based on fluorescent method." New Journal of Chemistry 42, no. 5 (2018): 3503–8. http://dx.doi.org/10.1039/c7nj04791f.

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A fluorescence method was used to detect Japanese encephalitis virus using surface molecularly imprinted technique. This method could selectively detect Japanese encephalitis virus with a picomolar detection limit.
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Park, Joohyun Jade. "MISSING LINK FOUND, 1880: THE RHETORIC OF COLONIAL PROGRESS IN ISABELLA BIRD’SUNBEATEN TRACKS IN JAPAN." Victorian Literature and Culture 43, no. 2 (February 25, 2015): 371–88. http://dx.doi.org/10.1017/s1060150314000606.

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InUnbeaten Tracks in Japan(1880), Isabella Bird, one of the most celebrated travel writers of her time and the first female member of the Royal Geographical Society, asserts that she has found “the ‘MISSING LINK’” in the deep interior of Japan, on the island of Hokkaido (270). According to Bird, a wizened individual barely resembling man sits “crouched” in front of a disheveled hut, showing no “signs of intelligence” (270). In fact, this “missing link” Bird purports to have discovered was one of the Ainu, the native people of Hokkaido, who suffered the consequences of Japanese developmental schemes. Bird's identification of the forlorn figure as the “missing link,” an anachronistic being that lacks history and culture, is puzzling, as she encounters this haggard man after having already spent several days with the Ainu in Biratory, a small village in Hokkaido. During her stay, the Ainu villagers constantly speak of the strained relationship between themselves and the Japanese, as well as their discontent at Japanese prohibitions on Ainu traditions. In other words, they divulge the oppressiveness of Japan's so-called “modernizing” regulations and policies, and they attempt to inform their visitor of the history between the two conflicting peoples. However, their efforts seem to be lost on Bird. Rather than interpret the Ainu individual's ruined body as a corporeal text on which the history of colonial violence and exclusion is imprinted, Bird judges the man's beastly existence to be the evidence of his people's inferiority.
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Mori, Shigeki. "THE “WASHINGTON SYSTEM” AND ITS AFTERMATH: REEVALUATING AFTER IMPERIALISM FROM THE PERSPECTIVE OF THE JAPANESE HISTORIOGRAPHY." International Journal of Asian Studies 3, no. 2 (June 29, 2006): 255–68. http://dx.doi.org/10.1017/s1479591406000350.

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Iriye, Akira. After Imperialism. Cambridge: Harvard University Press, 1965, and New York: Atheneum, 1973, paperback; “Preface to the New Edition.” In the republished edition. Chicago: Imprint Publications, Inc, 1990.
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10

Selimov, M. "Natsume Sōseki’s address to the new generation of literary figures: The writer’s thoughts on literary movements." Japanese Studies in Russia, no. 1 (April 18, 2024): 6–15. http://dx.doi.org/10.55105/2500-2872-2024-1-6-15.

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This article analyzes two theoretical works by the writer Natsume Sōseki ( 夏目漱石, 1867–1916): the essay "Merits and Flaws of -isms" ( イズムの功過, Izumu-no Kōka , 1910), in which Natsume Sōseki called on adherents of naturalism, prevalent in Japan in the early 20th century, not to view Japanese literature through the prisms of “isms” and to go beyond the boundaries set by them; and the writer’s lecture on literary theory titled “My Individualism” ( 私の個人主義, Watakushi-no Kojinshugi, 1914). This lecture marked the culmination of the writer’s years-long theoretical inquiries, the most significant of which was his unsuccessful, as he later acknowledged, monograph “Theory of Literature” ( 文学論, Bungakuron , 1907). However, Russian literary studies did not show any serious interest in Natsume Sōseki’s theoretical works, despite the fact that Natsume Sōseki’s thoughts on the appropriateness of using Western terminology to describe the works of Japanese artists are extremely intriguing. The writer insisted that literary theory should take into account the context of a particular culture rather than seek universal paths of development, resorting to typologies of literary development, etc. Natsume Sōseki became the first Japanese literary theorist to argue that ideological and artistic trends that emerged in European and American cultures, bearing their imprint and conditioned by specific historical processes, cannot be transposed as a template onto Japanese soil simply because certain elements of Western artistic currents are evident in the works of Japanese writers. The present study raises the question of the value of studying Natsume Sōseki’s theoretical writings because they shed light on how he conceptualized, scientifically grasped the regularities, essence, and course of development of Japanese literature, being one of the most influential literary figures of the Meiji era (明治時代, 1868–1912).
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Dissertations / Theses on the topic "Japanese imprints"

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Nguyen, Van Minh. "Age-related changes in the skulls of Japanese macaques." 京都大学 (Kyoto University), 2015. http://hdl.handle.net/2433/202668.

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Books on the topic "Japanese imprints"

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Sakurai, Yoshiyuki. Chosŏn yŏn'gu munhŏnji: The collection of Korean studies bibliographies in modern Japan. Sŏul-si: Somyŏng Ch'ulp'an, 2021.

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Wang, Fangxue, and Xiuying Jiang. Taiwan gong cang Ri wen Han xue guan xi zi liao hui bian. Taibei Shi: Guo li zhong yang tu shu guan, 1985.

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Yi, Han-sŏp. Hanʼguk Ilbon ŏhak kwanʼgye yŏnʼgu munhŏn illam, 1945-1997. Sŏul-si: Koryŏ Taehakkyo Chʻulpʻanbu, 1998.

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European Association of Japanese Resource Specialists. Conference. Japanese information resources: Papers of the Budapest Conference, 5-8 September 1990. Sheffield [England]: European Association of Japanese Resource Specialists, c/o Dept. of History, University of Sheffield, 1992.

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Keiō Gijuku Daigaku. Fuzoku Kenkyūjo Shidō Bunko, ed. Abe Ryūichi ikōshū. Tōkyō: Kyūko Shoin, 1985.

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Iwamoto, Atsushi, and Kōki Hanaoka. Takada-han Sakakibara-ke shomoku shiryō shūsei. Tōkyō: Yumani Shobō, 2011.

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1924-2013, Asakura Haruhiko, ed. Gakken Bunko zōsho mokuroku. Tōkyō: Yumani Shobō, 2008.

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Kikin, Kokusai Kōryū, ed. Catalogue of books on Japan translated from the Japanese into English, 1945-1981. Tokyo, Japan: Japan Foundation, 1988.

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Umeda, Kei. Kotenseki sakuin sōsho: Zoku : Kunaichō Shoryōbu zō "Ruihyō". Tōkyō: Yumani Shobō, 2021.

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Jain, Sushil Kumar. A bibliography of English language publications on Japanese education, 1970-1988. Windsor, Ont: Eskay Publications, 1989.

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Book chapters on the topic "Japanese imprints"

1

Úbeda Blanco, Marta, Daniel Villalobos Alonso, and Sara Pérez Barreiro. "Little Big Models. The Tools of Japanese Architect Studios." In Graphic Imprints, 1076–86. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_88.

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Oyler, Elizabeth, and Katherine Saltzman-Li. "Introduction." In Cultural Imprints, 1–14. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501761621.003.0001.

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This chapter focuses on war, war memory, and the field of memory studies. Animated in part by what memory studies has brought to cultural historiography, the chapter offers a rethinking of the long-term historical and cultural significance of the samurai. It investigates how experiences of war are presented through our imprints, each a signpost in the ongoing formation of a collective memory with Japan's warriors at its center. The chapter also draws our attention to the role of the past in constituting our world through dialogue and intercommunication, and it analyses the forms in which the past presents itself to us as well as the motives that prompt our recourse to it. Ultimately, the chapter aims to break down the ahistorical, monolithic idea of the warrior through an examination of the changes and iterations of samurai existence over time as expressed by members of the warrior class itself, as well as by nonwarrior members of society.
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"3. The Image of Women in Battle Scenes: “Sexually” Imprinted Bodies." In Gender and Power in the Japanese Visual Field, 35–48. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824841577-005.

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King, Winston L. "The Life-Giving “Sword” of the Martial Arts." In Zen and the Way of the Sword, 231–52. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195068108.003.0011.

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Abstract The final era of the overt manifestation of the samurai fighting spirit came to an official end on August 15, 1945. Under American occupation, Japan became a nonaggressive nation whose only military force was composed of self-defense units and whose constitution forbade their use outside the Japanese islands, a policy now slightly modified. But as suggested in Chapter 9, the imprint of the warrior centuries and the samurai regime of the Tokugawa era could not be erased overnight by the stroke of an official pen. The armed warrior version of the samurai spirit was indeed gone, or perhaps not quite gone, but reborn in a new nonlethal form—the martial arts.
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Peterson, William. "The Master of the Form." In Asian Self-Representation at World’s Fairs. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch02.

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By the early 20th century, Japan was the master of the international exhibition format. With over fifty years of experience at world’s fairs in the West, Japan knew how to market its culture and products in a manner appealing to the Western consumer of both high art and decorative objects. The 1915 Panama Pacific International Exposition provided the country with a unique opportunity to create a strong and lasting imprint on American bodies in the country pavilion site with its famed gardens and exotic, kimono-clad women. As the epicenter of Asian migration, San Francisco also offered unique opportunities to further the power of Japonisme in the arts, while politicians in both countries used the event to champion Japanese-American relations.
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Ota, Hiroshi, Yukiko Shimmi, and Akinari Hoshino. "International Education and ICT During and Post-COVID-19: Japan's Experiences and Perspectives." In Internationalization and Imprints of the Pandemic on Higher Education Worldwide, 229–48. Emerald Publishing Limited, 2023. http://dx.doi.org/10.1108/s1479-367920230000044014.

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Rendell, James. "Digital Crypt Keepers: Informal Digital Dissemination and Consumption of Post-TV Horror." In Transmedia Terrors in Post-TV Horror. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463726320_ch03.

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The chapter focuses on informal circulation and consumption as a fundamental component of post-TV horror, offering the original concept ‘Only-Click TV’. Exploring Only-Click TV’s transcultural and temporal dynamics, the chapter analyses global audiences downloading The Walking Dead during broadcast as just-in-time fandom. The chapter then considers how Only-Click TV is important for mining horror television from yesteryear, looking at Japanese horror series Rasen and Mexican horror anthology Hora Marcada. Accounting for what Only-Click TV lacks as a format, the chapter argues DVD/Blu-ray’s symbolic value can elevate horror television. Finally, the chapter explores industry’s incorporation of Only-Click TV discourse: BBC3 adopted Only-Click TV functionality when becoming online-only whilst Masters of Horror uses discourses of censorship in paratextual marketing of ‘Imprint’.
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Conference papers on the topic "Japanese imprints"

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Chen, Xiaofei. "Spatial Structure in Chinese and Japanese Cities: A Comparative Study of the Supergrid and Superblock Structure." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.4555.

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Title: Spatial Structure in Chinese and Japanese Cities: A Comparative Study of the Supergrid and Superblock StructureAuthor Name: Xiao Fei Chen Affiliation: Faculty of Architecture Design and Planning, The University of Sydney Address: The Wilkinson Bldg G04, 148 City Rd, Darlington NSW 2008 Email Address: xche3951@Sydney.edu.au Mobile: 61 (02) 0450875226 Keywords: Supergrid and Superblock, Urban Morphology, China and JapanAbstract:Supergrids and Superblocks form an urban structure that extends across large areas of many Chinese and Japanese cities. The grid structures consist of wide roads at a city scale and define Superblocks, each with a network of narrower streets. My paper investigates the form-function interrelationships of these structures from morphological perspectives against a backcloth of theory that stresses an integrated network of streets as the prerequisite for a convenient and synergetic environment, with a specific focus on road/street networks, and mix and distribution of functional activities. Both qualitative and quantitative methods (including space syntax) are used to investigate four Superblocks from two pairs of Chinese and Japanese cities: Xi’an and Kyoto, and Nanjing and Osaka, from three aspects: integration, connection and interaction. Here I focus on the Nanjing-Osaka pair and the findings demonstrate clear but divergent patterns between the two cities, which are indicative of general differences between Chinese and Japanese Superblocks: there are very strong interrelationships between the street network and distribution of activities in the Japanese Superblocks, but these are much less evident in the Chinese Superblocks and this results largely from the extensive Chinese cultural practice of building walls around compounds. It reveals some structural disadvantages, leading to congestion of traffic and functional activities in some strategic locations in Chinese Superblocks. It also highlights some crucial qualities in the structures of many Japanese Superblocks that can provide inspiration for China’s future urban development and possibly for cities in other parts of the world.Reference:Alexander, C. (1965) ‘A city is not a tree’, Architectural Forum 122, 58-62. Ashihara, Y. (1983) The Aesthetic Townscape, US: Massachusetts Institute Technology Press Halliday Lithograph. Bentley et al., (1985) Responsive environments: a manual for designers (London: Architectural Press). Hillier, B. (1996) Space is the machine (Cambridge University Press, Cambridge). Jacobs, J. (1961) The death and life of great American cities (New York: Random House). Marshall, S. (2005) Streets & Patterns, (Spon Press, Taylor & Francis Group). Shelton, B. (2012) Learning from the Japanese City: Looking East in Urban Design (Routledge imprint of Taylor & Francis, London). Zhu, W.Y. (2010) Space, Symbol and City: a Theory of Urban Design (China Architecture & Building Press, Beijing.
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