Academic literature on the topic 'Miyazaki'

In this paper, I will explore the concept of 'yakuwarigo' in Japanese language and present text analysis of three female characters, Eboshi, Rin and Yubaba from two anime movies of Hayao Miyazaki (Princess Mononoke, Spirited Away). My aim is to demonstrate how the well-known director employs role language, particularly masculine language, to empower his female characters to take on prominent roles in a society where men traditionally hold dominance. In terms of film analysis, Miyazaki places his female characters in the public sphere, making them active participants in the storyline while consistently defying traditional Japanese feminine conventions. This study is closely tied to the field of gender linguistics and linguistic ideology from an analytical perspective, aiming to illustrate how Miyazaki's female characters diverge from linguistic norms in their dialogues.

Miyazaki Hayao is one of Japan's most influential animation directors, or maybe also worldwide. However, limited research was done to analyze his concepts and techniques and his contributions to the foundation of the Asian Animation Industry. This work is about the recent study in Asian Animation Industry, exploring the specific examples of Miyazaki's influence. Through this process, we could further and more clearly understand the foundation of today's animation industry and its popular trend or concepts.

Com o intuito de depreender o estilo autoral do japonês Hayao Miyazaki, são analisados, neste trabalho, seus seguintes filmes: Porco Rosso (1992), A Viagem de Chihiro (2001) e Vidas ao Vento (2013). Tais obras são examinadas à luz do conceito de estilo, conforme propõe Discini (2014), articulando-se tal concepção à teoria do autor de Stam (2003), além de debater os alicerces em torno da caracterização de personagens centrais de acordo com Brait (2005) e Brecht (2002). Por meio das análises realizadas, pôde-se concluir que o estilo autoral de Miyazaki se constrói a partir de recorrências observadas tanto no plano do conteúdo, quanto no plano da expressão.

The animated films of Hayao Miyazaki are populated by women, children and men at work. This article argues that the rendering of physical labour has the capacity to (re)connect the body to its broader social collective experience. The late philosopher, Bernard Stiegler, identifies the loss of savoir-faire (know-how) and savoir-vivre (life skills) as a critical deficit to how we live and work today. Miyazaki’s animated films provide a platform for potentially regaining savoir-faire and savoir-vivre in their reflexive portrayals of human labour. Every story told by Miyazaki involves scenes where bodies work with tools, with each other, and with machines to perform tasks. The rhythms of the working body speak to the ideals of labour as craft – not as exceptionally skilled expertise, but as an everyday practice – that presents ‘an opportunity to “think otherwise”’ as proposed by Glenn Adamson in The Crafter Reader (2010: 136). This article examines the performance of manual tasks in three contexts: the physical act of labour, labouring with machines and the animator’s labour. The author concludes by making the case that the animator’s labour extends to the craft of storytelling and, specifically, that Miyazaki’s animations are what Walter Benjamin called Kraftwerk – a ‘power work’ that re-models the ‘folkloric relations of space’ (see Esther Leslie’s, ‘Walter Benjamin, Traces of Craft’, 1998: 47) that keeps the human spirit alive.

In the particular context of post-Cold War Japanese animation, the name of Miyazaki Gorō 宮崎 吾朗 (born 1967) is mostly related to the name of his illustrious father, Miyazaki Hayao 宮崎 駿 (born 1942). Professionally speaking, Miyazaki Gorō is a landscaper (construction consultant in the planning and designing of parks and gardens) as well as an animation director of two animation movies and one TV animation series. This paper focuses on the two animation movies released by Studio Ghibli under Miyazaki Gorō’s direction: Tales from the Earthsea (ゲド戦記 Gedo senki, 2006) and From Up On Poppy Hill (コクリコ坂から Kokuriko-zaka kara, 2011). Miyazaki Gorō’s two animation movies are described and analyzed, both as ideological manifestos continuing and, from a certain point onward, transcending what might be called the “Ghibli paradigm” and as aesthetical masterworks combining the “Ghibli paradigm” with fresh visions of employing animation as a medium, exploring, absorbing and integrating influences from beyond geographical boundaries and striving to break the “Japanese” limitations of the artistic language utilized in his approach to animated expressive modes.

Twenty-four species of pteropods are described from the Pliocene Miyazaki Group in the Tsuma-Takanabe district, Miyazaki Prefecture, southwest Japan. Five are new: Clio shibatai new species, Cuvierina miyazakiensis new species, Cavolinia floridana japonica new subspecies, C. itoigawai new species, and C. vendryesiana hyugaensis new subspecies.The pteropod fauna of the two lower members of the Miyazaki Group consists largely of extinct species. Whereas more than one-half of the species of the two upper members are extant.Twelve species, Limacina sp., Clio hataii (Noda, 1972), C. shibatai new species, Cuvierina miyazakiensis new species, Bowdenatheca? sp., Diacria digitata subsp. indet., Cavolinia floridana japonica new subspecies, C. cf. C. gypsorum (Bellardi, 1873), C. itoigawai new species, C. mexicana (Collins, 1934), C. rattonei Simonelli, 1896, and C. vendryesiana hyugaensis new subspecies seem to serve as good index fossils for the Pliocene.

Background Bystander intervention in cases of out-of-hospital cardiac arrest (OHCA) is a key factor in bridging the gap between the event and the arrival of emergency health services at the site. This study investigated the implementation rate of bystander cardiopulmonary resuscitation (CPR) and automated external defibrillator (AED) and 1-month survival after OHCA in Miyazaki prefecture and Miyazaki city district as well as compared them with those of eight prefectures in the Kyushu-Okinawa region in Japan. In addition, we analyzed prehospital factors associated with survival outcomes in Miyazaki city district. Methods We used data from an annual report released by the Fire and Disaster Management Agency of Japan (n = 627,982) and the Utstein reporting database in Miyazaki city district (n = 1,686) from 2015 to 2019. Result Despite having the highest rate of bystander CPR (20.8%), the 1-month survival rate (15.7%) of witnessed OHCA cases of cardiac causes in Miyazaki city district was comparable with that in the eight prefectures between 2015 and 2019. However, rates of survival (10.7%) in Miyazaki prefecture were lower than those in other prefectures. In 1,686 patients with OHCA (74 ± 18 years old, 59% male) from the Utstein reporting database identical to the 5-year study period in Miyazaki city district, binary logistic regression analysis demonstrated that age of the recipient [odds ratio (OR) 0.979, 95% confidential interval (CI) 0.964–0.993, p = 0.004)], witness of the arrest event (OR 7.501, 95% CI 3.229–17.428, p < 0.001), AED implementation (OR 14.852, 95% CI 4.226–52.201, p < 0.001), and return of spontaneous circulation (ROSC) before transport (OR 31.070, 95% CI 16.585–58.208, p < 0.001) predicted the 1-month survival with favorable neurological outcomes. In addition, chest compression at a public place (p < 0.001) and by nonfamily members (p < 0.001) were associated with favorable outcomes (p = 0.015). Conclusions We found differences in 1-month survival rates after OHCA in the Kyushu-Okinawa region of Japan. Our results suggest that on-field ROSC with defibrillation performed by nonfamily bystanders who witnessed the event determines 1-month neurological outcomes after OHCA in Miyazaki city district. Continued education of citizens on CPR techniques and better access to AED devices may improve outcomes.

ABSTRACT Using a library of genomic DNA from Desulfovibrio vulgaris Miyazaki F, a strict anaerobe, and two synthetic deoxyoligonucleotide probes designed for F-type ATPases, the genes for open reading frames (ORFs) 1 to 5 were cloned and sequenced. The predicted protein sequences of the gene products indicate that they are composed of 172, 488, 294, 471, and 134 amino acids, respectively, and that they share considerable identity at the amino acid level with δ, α, γ, β, and ɛ subunits found in other F-type ATPases, respectively. Furthermore, a component carrying ATPase activity was partially purified from the cytoplasmic membrane fraction of theD. vulgaris Miyazaki F cells. The N-terminal amino acid sequences of three major polypeptides separated by sodium dodecyl sulfate–12% polyacrylamide gel electrophoresis were identical to those of the products predicted by the sequences of ORF-2, ORF-3, and ORF-4, suggesting that an F-type ATPase is functioning in the D. vulgaris Miyazaki F cytoplasmic membrane. The amount of the F-type ATPase produced in the D. vulgaris Miyazaki F cells is similar to that in the Escherichia coli cells cultured aerobically. It indicates that the enzyme works as an ATP synthase in the D. vulgaris Miyazaki F cells in connection with sulfate respiration.