Journal articles: 'Shōnin'

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MOCHIZUKI, Shinchō. "The Nichijō shōnin nikki." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 65, no. 1 (2016): 129–36. http://dx.doi.org/10.4259/ibk.65.1_129.

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Terao, Eichi. "The Style of the Various Copies of the Nichiren shōnin chūgasan." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 69, no. 2 (March 25, 2021): 500–507. http://dx.doi.org/10.4259/ibk.69.2_500.

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Fujiwara, Satoko. "Practicing Belonging?" Journal of Religion in Japan 8, no. 1-3 (December 17, 2019): 123–50. http://dx.doi.org/10.1163/22118349-00801008.

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Abstract This article suggests a way for scholars of Japanese religion to contribute to the international discussion on “nones” or the “non-religious,” who have been characterized as “believing without belonging,” “belonging without believing,” “believing in belonging,” etc. by integrating three different discursive arenas: one on multiple secularities as a context-conscious reexamination of functional differentiation; one on Japanese modernization centered on the idea of ie (household)-mura (village community); and one on a recent Japanese obsession with tsunagari (relationships, connection) and shōnin (recognition). The article argues that Japanese non-religiousness in the 2010s is an updated, self-conscious version of “religion as human relationships,” which can be paraphrased as “practicing belonging.” Moreover, while the current “religion as human relationships” practiced among young people tends to be confined to the intimate sphere, its traditional version regulated the public sphere as well. It was this public sphere of “religion as human relationships” that came to appear secular, as opposed to World Religions as matters of personal choice, in the process of modernization, which included the adoption of the Western concepts of “religion” and “secular.” The article also suggests that a “relationships turn” has been taking place not only in nonreligious rituals and festivals but also in spiritual culture and institutionalized religion.

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Amstutz, Galen. "Materiality and Spiritual Economies in Premodern Japanese Buddhism: A Problem in Historical Change." Journal of Religion in Japan 1, no. 2 (2012): 142–67. http://dx.doi.org/10.1163/221183412x649610.

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Abstract The recent emphasis on materiality in religion has encouraged a good deal of attention to materiality in Buddhism, but that attention has fallen entirely on Buddhist traditions with conventional monastic orientations. Yet the major Japanese Buddhist school known as True Pure Land Buddhism (Jōdo Shinshū) has also historically possessed a highly important, if different, material dimension, for which one touchpoint has been its merchant members called Ōmi shōnin who flourished in later premodern Japanese history. After alluding to the difficulty of isolating the ‘material’ in any religious culture, the article sketches the transition in Christian materialities in Europe which marked a cognitive shift from medieval modes of thinking (exteriorized, animistic-monistic, oriented to relics and ancestor religion) towards modern modes (interiorized, oriented to abstraction and the psychological individual). Against that paradigm, almost all premodern Buddhist materialities, including those in Japan, can be seen as medieval in nature. However, Jōdo Shinshū was a departure employing an innovatively interiorized doctrine. From that perspective, both Europe and Japan were highly complex civilizations displaying a long-term medieval-to-modern shift, which impacted the material manifestations of religions by gradually replacing older economies of ritual exchange with more modern-looking economies of preaching, religious publication and commercial life. Western scholarship has resisted appreciating these issues in an Asian setting.

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Itajiki, Masumi. "Characteristics of the Thought of Adherents of the Takada School as Seen in Manuscript Fragments of the Daigobon Hōnen Shōnin denki." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 67, no. 1 (December 20, 2018): 128–31. http://dx.doi.org/10.4259/ibk.67.1_128.

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Hutchinson, Rachael. "The Kingdom’s Shōnen Heart." Kingdom Hearts Special 15, no. 25 (September 22, 2022): 76–93. http://dx.doi.org/10.7202/1092427ar.

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Taken by themselves, neither Disney nor Square Enix appears particularly successful at transcultural expression, although both are certainly marketing juggernauts in transmedia franchise operations (Smoodin, 1994; Consalvo, 2013). Disney may be understood in terms of American postwar cultural imperialism, while Square Enix is deeply rooted in conventions of Japanese storytelling. But together, somehow the two achieve a synergy in Kingdom Hearts (2002), coalescing in the figure of Sora, its youthful protagonist. This article performs a close reading of Sora’s visual character design, a transcultural melding of Walt Disney’s own Mickey Mouse and the shōnen figure of earlier Nomura Tetsuya creations. While gameplay dynamics point to a new action-adventure style for Square Enix, the shōnen characteristics of Sora’s appearance combine with his sense of loss and yearning to position the game in the JRPG genre. Transculturality of the non-player characters (NPCs) in Kingdom Hearts is then considered. These character designs remain static, anchored to their original reference texts. Where the Disney characters fit their settings in an uncomplicated way, providing escapism and nostalgia for the player, Square characters seem to be chosen for their complexity. The use of then-recent Final Fantasy X characters Tidus and Wakka in Destiny Islands is contrasted against the use of darker, brooding characters from older Final Fantasy titles encountered later in the game. Just as loss and yearning define Sora’s shōnen character, the sense of loss manifested by Cloud, Aerith and Leon connect the player to the real-world context of the global late 1990s, speaking to Japanese anxiety following the Hanshin earthquake and Aum Shinrikyo attacks of 1995, and to the despair of ‘Generation X’ following Kurt Cobain’s death in 1994 (Funabashi and Kushner, 2015; Brabazon, 2005). Meanwhile, the deep economic recession of Japan’s ‘lost decade’ (1991-2001) connected perfectly to the post-9/11 unease in America at the time of the game’s release. Overall, I argue that the game’s success stems from its transcultural emphasis on loss and yearning, which fit not only the JRPG genre but also the sense of anxiety pervading both Japan and America at the time.

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Abiko, Naruaki. "A study of the Compilation of the Saihō Shinanshō 西方指南抄: The Point Made by the Examination of Hōnen Shōnin Oseppō no koto 法然聖人御説法事." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 67, no. 2 (March 20, 2019): 602–5. http://dx.doi.org/10.4259/ibk.67.2_602.

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Holmberg, Ryan. "Manga Shōnen: Katō Ken'ichi and the Manga Boys." Mechademia 8, no. 1 (2013): 173–93. http://dx.doi.org/10.1353/mec.2013.0010.

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Halim, Vanessa Cicilia, and Setefanus Suprajitno. "Dehumanization in Attack On Titan." k@ta kita 10, no. 3 (December 20, 2022): 571–78. http://dx.doi.org/10.9744/katakita.10.3.571-578.

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Manga is a Japanese comic that has its own genres, one of the most famous is shōnen. Attack on Titan is one of the most popular shōnen manga in the world, with a science fiction theme. Through this study, we want to analyze the dehumanization in the manga series by Hajime Isayama. We want to find out what forms of dehumanization occur and the reasons why the dehumanization happens to the victims, the Eldians. We use the theory of animalistic and mechanistic dehumanization to identify the forms of dehumanization in the manga. In addition, we also use the theory that state power increases dehumanization to find out the reasons that dehumanization happens. Based on our analysis results, victims treated like animals do not have human rights, are considered low class, and get persecuted. Victims treated like objects are considered "tools" to achieve goals, something that can be exchanged or destroyed, and ignores the victim's feelings. Meanwhile, the Eldians get dehumanized because they feel powerless and are considered a potential threat by the dehumanizers. It shows that dehumanization is a negative phenomenon that occurs due to differences.

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Ryan Holmberg. "Manga Shōnen: Katō Ken'ichi and the Manga Boys." Mechademia 8 (2013): 173. http://dx.doi.org/10.5749/mech.8.2013.0173.

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Zúñiga-Reyes, Danghelly Giovanna. "Conjunción de géneros narrativos en Naruto." Neuróptica, no. 1 (March 24, 2020): 173–88. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914326.

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Resumen: Esta investigación se centró en identificar la estructura narrativa del anime Naruto. El modelo de investigación cualitativa de la estructura narrativa se basó en el análisis de cuarenta y siete capítulos de los doscientos veinte que componen la primera temporada de la serie de anime Naruto. La hipótesis de esta investigación es que Naruto es la cristalización de la mezcla de diferentes tipos de narraciones, propone exitosamente una historia construida desde el ámbito local hacia lo global, en la cual se incluyen elementos de estructuras narrativas clásicas, modernas y postmodernas. Toma la narración de Naruto elementos de la picaresca, la epopeya, la gesta, los videojuegos y el shōnen. Abstract: This research focuses on identifying the narrative structure of Naruto. The qualitative research model of the narrative structure focusing on the analysis of forty-seven chapters of the two hundred twenty that make up the first season of the anime series Naruto. This investigation hypothesizes that Naruto is the crystallization of the mixture of different types of narrations, a history constructed from the local to the global is successfully proposed, in which elements of classic, modern and postmodern narrative structures are included. The narration of Naruto, the elements of the picaresque, the epic, the deed, the video games, and the shōnen.

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Kubiak-Ho-Chi, Beata. "Blade Runner w kombinacie zakrzywionej czasoprzestrzeni, czyli film Ridleya Scotta w powieści Shōno Yoriko." Porównania 18 (December 1, 2016): 183–96. http://dx.doi.org/10.14746/p.2016.18.10668.

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Blade Runner, tytuł kultowego filmu Ridleya Scotta z 1982 r., w Polsce znanego jako Łowca androidów, niczym wysłannik ponurej przyszłości pojawia się na kartach powieści „Kombinat zakrzywionej czasoprzestrzeni” (Taimu surippu konbināto, 1994), pióra współczesnej japońskiej pisarki Shōno Yoriko (ur. 1956). Co łączy te dwa utwory, należące przecież do różnych porządków narracyjnych – tak wizualnego, jak tekstowego? Co zainspirowało Shōno w Blade Runnerze i jakie są skutki tej inspiracji dla fabuły powieści? Na ile sajensfikcyjny, postapokaliptyczny świat słynnego filmu Ridleya Scotta przenika slipstreamową prozę Shōno Yoriko i kształtuje jej powieściową rzeczywistość? Oprócz odpowiedzi na te pytania, autorka niniejszego artykułu podejmuje również temat roli science fiction we współczesnej literaturze japońskiej oraz przedstawia sylwetkę i dorobek literacki Shōno Yoriko, pisarki wybitnej, lecz jak do tej pory z różnych powodów poza Japonią mało znanej.

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Wernicke, Thomas. "Shōnishin bei Kindern und Jugendlichen." Deutsche Heilpraktiker-Zeitschrift 16, no. 04 (April 2021): 56–61. http://dx.doi.org/10.1055/a-1395-1364.

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SummarySeit der Einführung der Akupunktur aus China nach Japan werden Kinder auch in Japan mit Akupunktur behandelt – daher der japanische Begriff Shōnishin (shōni = Kind; shin = Nadel/ Nadelung). Zu Beginn des 20. Jh. veränderte sich die Behandlungstechnik: Die einst invasive, stechende Akupunktur entwickelte sich zu einer sanften, nicht-invasiven Behandlungsmethode. Keine 100 Jahre später erfuhr Shōnishin eine nochmalige Weiterentwicklung und eröffnete durch die Verbindung der sino-japanischen Medizintradition mit dem heutigen Wissensstand der Entwicklungsphysiologie neue Behandlungsstrategien.

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Wernicke, Thomas. "Shōnishin bei Kindern und Jugendlichen." Zeitschrift für Komplementärmedizin 12, no. 04 (July 2020): 26–31. http://dx.doi.org/10.1055/a-1201-8779.

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SummarySeit der Einführung der Akupunktur aus China nach Japan werden Kinder auch in Japan mit Akupunktur behandelt – daher der japanische Begriff Shōnishin (shōni = Kind; shin = Nadel/Nadelung). Zu Beginn des 20. Jh. veränderte sich die Behandlungstechnik: Die einst invasive, stechende Akupunktur entwickelte sich zu einer sanften, nicht-invasiven Behandlungsmethode.Keine 100 Jahre später erfuhr Shōnishin eine nochmalige Weiterentwicklung und eröffnete durch die Verbindung der sino-japanischen Medizintradition mit dem heutigen Wissensstand der Entwicklungsphysiologie neue Behandlungsstrategien.

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Sakamoto, Rumi. "Confucianising Science: Sakuma Shōzan andwakon yōsaiIdeology." Japanese Studies 28, no. 2 (September 2008): 213–26. http://dx.doi.org/10.1080/10371390802249180.

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Holcombe, Charles. "Chinese Shōgun: Gao Huan (496–547)." Historian 76, no. 2 (June 1, 2014): 217–36. http://dx.doi.org/10.1111/hisn.12032.

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Inokuchi, Hiromitsu. "Shōsōin: The Oldest Archive in Japan." Library & Archival Security 22, no. 1 (April 30, 2009): 61–70. http://dx.doi.org/10.1080/01960070802272848.

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Lozano-Méndez, Artur, and Antonio Loriguillo-López. "Humanismos al borde del colapso: los anime nihilistamina." Co-herencia 19, no. 36 (June 17, 2022): 293–327. http://dx.doi.org/10.17230/co-herencia.19.36.11.

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El presente artículo presenta a un nuevo tipo de protagonista desarrollado en el manganime japonés:los héroes/heroínas nihilistamina. A diferencia del entusiasta héroe shōnen, los personajes de algunos de los títulos más populares del medio se sacrifican para la supervivencia de la humanidad pese a su visión nihilista del mundo, marcada por el trauma, la desafección institucional y los trastornos mentales. Mediante un análisis narratológico de sus funciones, apoyado en una presentación del contexto del humanitarismo en Japón,ofrecemos un punto de partida para integrar este tipo de personajes en los estudios sobre la representación del humanitarismo en la ficción contemporánea.

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Fanasca, Marta. "Attack on normativity: A queer reading of Shingeki no Kyojin (Attack on Titan)." East Asian Journal of Popular Culture 7, no. 2 (October 1, 2021): 255–70. http://dx.doi.org/10.1386/eapc_00052_1.

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Isayama Hajime’s Shingeki no Kyojin (Attack on Titan 2009–present, hereafter SnK) has gained huge resonance since its first release, a popularity by no means limited to Japan, and enhanced by the high-quality animation series by the same name (2013–present), directed by Araki Tetsurô (first season) and Koizuka Masashi, which has followed from the manga storyline. Without doubt, this success is due to a gripping narrative, focusing on fierce fights between the apparently invincible titans and the numerous characters that aim to save humanity, whose different aesthetic and behavioural characteristics unfailingly appeal to very mixed audiences. In this sense, there are three very notable features of SnK. First, the female characters subvert, redraw or re-interpret stereotypes about femininity both aesthetically and behaviourally, and they can be read as queer. Second, the text presents a lesbian subtext that enriches the narrative in queer terms. Ultimately, the ability of some main characters to shift between the two categories of ‘human’ and ‘titan’ contributes to destabilizing binary divisions in terms of normative or non-normative bodies, providing an additional layer to a queer reading of this text. Through an analysis of the manga and anime versions of SnK, this article investigates how gender stereotypes, heteronormativity and the dichotomy normalizing normative identities vis-à-vis non-normative identities are portrayed. This analysis sheds light on the (lack of) alternatives to binary models in terms of gender and sexuality in the shōnen manga genre, problematizing the contemporary relationship between dominant and oppositional identities. I argue that the non-normative characteristics of the main characters in SnK represent a significant case of non-normative and counter-hegemonic representation in a typically heteronormative genre, which potentially offers a means of identification for the female and queer audiences of shōnen manga.

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Miyajima, Keiko. "Queering the palate: The erotics and politics of food in Japanese gourmet manga." Studies in Comics 11, no. 2 (November 1, 2020): 271–83. http://dx.doi.org/10.1386/stic_00029_1.

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As demonstrated by a widely circulated Japanese proverb ‘men should never enter the kitchen’, kitchens, as well as food and the act of cooking, have been deeply suffused with heteronormative gender ideology. While domestic cooking has traditionally been associated with women and femininity in Japanese society and popular media, ‘gourmet manga’, emerging in shōnen manga in the 1970s, foregrounded male chefs as figures of authenticity and authority, and ever since, have successfully constructed the site of food and cooking as a professional, masculine domain. While shōnen manga tropes of battle, competition and victory have contributed to the construction of hegemonic masculinity in gourmet manga, some popular gourmet manga also employ female bodies to conflate food and sex, by repeatedly showcasing graphically explicit representations of orgasm in the scenes of women eating. These texts promulgate painstakingly prepared food as a catalyst not only for masculine maturity but also for ‘healthy’ heteronormative desire and, by extension, procreation. However, in more recent gourmet manga, non-competitive, pleasure-based cooking and eating have become salient, along with the gradual diversification of the representations of gender and sexuality. This article examines the queer interrelationship among food, gender and sexuality, in Yoshinaga Fumi’s Kinō Nani Tabeta? (What Did You Eat Yesterday?) and Hiiragi Yutaka’s Shinmai Shimai no Futari Gohan (‘Let’s have a meal together’). In these texts, the site of ‘gourmet’ is relocated from the public/professional to the private/domestic, wherein the pleasures of cooking and eating create new, non-heteronormative forms of intimacy and eroticism. Food is thus redefined as a catalyst for a queer kinship, which enables both the cooks and the eaters to create their own space and time outside the logics of domesticity and reproduction.

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Lee, Yen-Han, and William DeJong. "Depictions of Tobacco and Alcohol Use in Contemporary Japanese Shōnen Manga: A Content Analysis." Journal of Health Communication 24, no. 11 (October 17, 2019): 848–55. http://dx.doi.org/10.1080/10810730.2019.1678704.

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SUEMORI, Akio. "Words Meaning Gesture/Sign Language in “Jikei Shōdan”." Japanese Journal of Sign Language Studies 28, no. 2 (December 10, 2019): 28–30. http://dx.doi.org/10.7877/jasl.28.2_28.

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Tanaka, Ami. "Shōjin （Incarnation） Benzai-ten Faith in the <i>Enoshima engi</i>." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 70, no. 2 (March 23, 2022): 707–11. http://dx.doi.org/10.4259/ibk.70.2_707.

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Unser-Schutz, Giancarla. "What text can tell us about male and female characters in shōjo- and shōnen-manga." East Asian Journal of Popular Culture 1, no. 1 (April 1, 2015): 133–53. http://dx.doi.org/10.1386/eapc.1.1.133_1.

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Dahlberg-Dodd, Hannah E. "Voices of the hero: dominant masculine ideologies through the speech of Japanese shōnen protagonists." Gender and Language 12, no. 3 (July 14, 2017): 346–71. http://dx.doi.org/10.1558/genl.32536.

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Groza, Bogdan, and Adrian Momanu. "Plot Patterns in Manga Based on Propp’s narratological elements." Journal of Anime and Manga Studies 3 (December 14, 2022): 34–61. http://dx.doi.org/10.21900/j.jams.v3.945.

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This article takes into consideration Vladimir Propp’s work on narratological elements and applies them to the narrative strategies of manga. Through a generalization of Propp’s scheme, an in-depth explanation of how they interact with one another and the addition of several new functions, this work demonstrates that these categories are functional in the study of the narratological elements found in manga. For the purpose of this article, most of the provided examples derive from shōnen manga as they provide for a clearer analysis. The secondary aim is to emphasize that there is room for critical analysis in manga, one that is directly correlated with literature. This medium that combines literature and art, other than having its own history, has evolved along the decades and adapted to the requirements of its generation; it is hence important to acknowledge and value a possible analytical approach.

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Tao, De-min. "Turning Stone into Gold: Some Reflections on My Research about the 1854 Shōin-Perry Encounter." Journal of Cultural Interaction in East Asia 6, no. 1 (May 1, 2015): 59–72. http://dx.doi.org/10.1515/jciea-2015-060105.

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Gueydan-Turek, Alexandra. "Cute Girls, Tough Boys." European Comic Art 7, no. 1 (March 1, 2014): 85–111. http://dx.doi.org/10.3167/eca.2014.070105.

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This article explores the way in which masculinity and femininity are constructed in Algerian manga, an emerging, understudied sub-genre within the field of Algerian graphic art. Through the exploration of youth-oriented publications of shōjo and shōnen manga, I will demonstrate how these new local works offer a privileged form of expression for and platform to address disaffected Algerian youths. The primary focus of this investigation will be the differences (or lack thereof) between ideals of gender performances as expressed in Algerian manga and ideals of gender identity in society at large. This article will demonstrate that, while some differences manifest a desire for change on the part of both artists and readers, they certainly do not constitute radical revisions of the popular Algerian notions of masculinity and femininity. Ultimately, this study will demonstrate the limits of manga as an imported genre within an Arab-Islamic context, oscillating between the promulgation of alternative social ideals and the reinforcement of social norms.

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Maselli, Vincenzo. "Paisajes animados como remediación y premediación: ciudades cíborgs y mundos virtuales en los anime japoneses." Con A de animación, no. 13 (September 27, 2021): 78. http://dx.doi.org/10.4995/caa.2021.15927.

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<p>Los anime del género ciberpunk muestran un futuro post-apocalíptico e hipertecnológico. Reconociendo el poder narrativo de los paisajes animados, el artículo describe los escenarios de algunos de esos anime, en los que el espacio y la tecnología se hibridan en un único dispositivo narrativo y estético. Las escenografías examinadas están tomadas de Conan, el niño del futuro (Mirai shōnen Konan, 1978), Akira (1988), Metrópolis (Metoroporisu, 2001), Neon Genesis Evangelion (Shin seiki Evangerion, 1995), Digimon (1999) y Sword Art Online (2012). El análisis es diegético, estilístico y sintomático, y se divide en dos grandes apartados: en el primero, las ciudades tecnológicas se describen como remediación (Grusin, 2017) de las arquitecturas de los “metabolistas” japoneses de los Sesenta; en el segundo, los escenarios de la fantasía cibernética se exploran como premediación (ibídem) de mundos virtuales inmersivos. En conclusión, el artículo reconoce al anime como un medio narrativo para revelar y discutir temas sociales relacionados con la tecnología.</p>

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Whaley, Ben. "When Anne Frank Met Astro Boy." positions: asia critique 28, no. 4 (November 1, 2020): 729–55. http://dx.doi.org/10.1215/10679847-8606417.

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This article examines the evolution and impact of Anne Frank’s The Diary of a Young Girl on postwar manga (print comics) and Japanese visual culture. The author argues that Anne’s enduring legacy in Japan, dating back to 1952, owes much to the ways in which the content of her Diary capitalizes on certain hallmarks of shōjo (girls’) manga culture, such as affective storytelling and character interiority. Moreover, as shown through a primary analysis of two emonogatari (illustrated story) versions of the Diary from 1964 and two manga versions from 1967, among others referenced, Anne Frank’s life and legacy inspires a hybridized narrative and visual style in manga that blends the emotionality and interiority of shōjo with the more graphic depictions of violence common to shōnen manga for young boys. In so doing, it encourages a reevaluation of the shōjo mode and its ability to bear witness to the physical violence and psychological trauma of the Holocaust.

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Shin, Suk. "The Seventh-century Baekje Kingdom and the Shōsōin Repository Collections." Art History 36 (August 31, 2018): 165–88. http://dx.doi.org/10.14769/jkaahe.2018.08.36.165.

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Yukio, Lippit. "Ancient Japanese Tombs and Temples : A Reconsideration Through the Shōsōin Treasury." Sogang Journal of Early Korean History 31 (April 30, 2019): 151–75. http://dx.doi.org/10.35160/sjekh.2019.04.31.151.

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Scherer, Elisabeth. "Der weinende Mann in der Momotarō-Fabula. Männliche Tränenausbrüche in ausgewählten shōnen-Werken der Milleniumsdekade, by Weisgerber, Christian." Japan Forum 27, no. 2 (April 3, 2015): 286–87. http://dx.doi.org/10.1080/09555803.2015.1025816.

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Gao, T., Z. Wang, and J. M. Vanden-Broeck. "Investigation of symmetry breaking in periodic gravity–capillary waves." Journal of Fluid Mechanics 811 (December 15, 2016): 622–41. http://dx.doi.org/10.1017/jfm.2016.751.

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In this paper, fully nonlinear non-symmetric periodic gravity–capillary waves propagating at the surface of an inviscid and incompressible fluid are investigated. This problem was pioneered analytically by Zufiria (J. Fluid Mech., vol. 184, 1987c, pp. 183–206) and numerically by Shimizu & Shōji (Japan J. Ind. Appl. Maths, vol. 29 (2), 2012, pp. 331–353). We use a numerical method based on conformal mapping and series truncation to search for new solutions other than those shown in Zufiria (1987c) and Shimizu & Shōji (2012). It is found that, in the case of infinite-depth, non-symmetric waves with two to seven peaks within one wavelength exist and they all appear via symmetry-breaking bifurcations. Fully exploring these waves by changing the parameters yields the discovery of new types of non-symmetric solutions which form isolated branches without symmetry-breaking points. The existence of non-symmetric waves in water of finite depth is also confirmed, by using the value of the streamfunction at the bottom as the continuation parameter.

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Bonillo Fernández, Claudia. "Guerra, magia y romance durante “los estados combatientes”." Mirai. Estudios Japoneses 5 (June 10, 2021): 223–33. http://dx.doi.org/10.5209/mira.72870.

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La adaptación animada del manga InuYasha, escrito e ilustrado por Takahashi Rumiko, se sitúa de manera habitual entre las más queridas por los aficionados al anime en los rankings de series estrenadas desde el año 2000. Su mezcla de elementos shōjo y shōnen, su dinámica animación y la innegable química entre sus protagonistas son algunos de los elementos que más siguen atrayendo a fans de todo el mundo. Sin embargo, hay un factor clave que actúa como base para el buen desarrollo de toda la serie y que, en la mayor parte de ocasiones, pasa desapercibido: su detallista ambientación en la que se combinan los elementos fantásticos con una representación realista del periodo de las guerras civiles japonesas del siglo XVI conocido como Sengoku. En este artículo se va a realizar un análisis comparativo entre lo que se conoce sobre el estilo de vida durante “la era de los estados combatientes” y el mundo en el que se desarrollan las aventuras de Inuyasha y su grupo con el objetivo de determinar si el pozo mágico del santuario Higurashi es capaz de transportar no sólo a la protagonista Kagome a este tiempo pasado, sino también al propio espectador.

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Galán Sanz, Ana. "Una lectura feminista de La Llama de Uemura Shoen." Mirai. Estudios Japoneses 4 (June 3, 2020): 129–42. http://dx.doi.org/10.5209/mira.67401.

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Uemura Shōen (1875-1949) fue una reconocida artista japonesa especialista en bijinga.[1] Su dedicación al arte se refleja en sus pinturas y en sus memorias. Aquí se presenta a esta artista por medio de un análisis completo de La llama, pintura de 1918 que encarna el espíritu vengativo de la dama Rokujō. El objetivo que persigo es aportar una re-lectura de esta obra, y pretendo demostrar que ha sido malentendida por numerosos críticos como una simple representación de los celos. Sin embargo, escuchando a la artista, se entiende cómo verdaderamente su obra dista del imaginario artístico patriarcal que define esta feminidad desviada. Así, se demostrará cómo Shōen emplea esta pintura como un lenguaje reivindicativo donde expresa su propia mirada, con la que desarticula los estereotipos impuestos por el imaginario androcéntrico y muestra su compromiso feminista a través de su arte. [1] VV.AA. (1990): 534; bijinga (美人画) o representación de mujeres bellas (bijin) constituye un género dentro de la tradición del nihonga o pintura japonesa. Tiene su origen en las estampas ukiyo-e. Sin embargo, el problema de la belleza externa o interna es a menudo un tema de discusión.

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Simonini, Emanuel. "Sakoku. Ökonomische Anpassungen des Tokugawa-Shōgunats von 1639–1853." historia.scribere, no. 8 (June 14, 2016): 323. http://dx.doi.org/10.15203/historia.scribere.8.457.

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During the period of Edo (1603–1868), Japan was dominated and ruled by the Tokugawa Dynasty. In fact this family ruled the country on its own and provided every Shōgun in the modern age. In the era of the third Shōguns reign – Tokugawa Iemitsu – Japan got into a term of forclosure which at least took 200 years, today known as ‚Sakoku‘ (1639–1853). The purpose of this paper is to examine the economic and social conditions in order to consist as a souvereign country during this period of isolation. The focus to answer this question thereby lies on food supply, foreign commerce and the external relations of the Shōgunat.

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Tai, Eika. "Rethinking Multiculturalism from a Colonial Perspective: Shōji Sōichi’s Chin-fujin." Japanese Cultural Studies ll, no. 47 (July 2013): 157–72. http://dx.doi.org/10.18075/jcs..47.201307.157.

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de Zoete-Leśniczak, Marcelina. "Początki nowoczesnej japońskiej literatury dziecięcej." Gdańskie Studia Azji Wschodniej, no. 20 (2021): 208–22. http://dx.doi.org/10.4467/23538724gs.21.012.14844.

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The beginnings of contemporary Japanese children’s literature In Poland, despite the fact that Japanese literature is very thoroughly researched, described and translated, the section of literature dedicated to children (jidōbungaku), for years remained neglected and marginalized. As a result, it is an area completely undiscovered and unexplored. At the beginning of the article, the key role of education and its development in modernizing Japan is presented. Then, the literature of the first twenty years of the Meiji period (1868–1888) is outlined together with introduction of main mass-published magazines on children’s literature. Among them, it was the periodical “Shōnen sekai” that played an epochal role, so its activity and involvement in shaping the children’s literature of the Meiji period are discussed in detail. In the following chapters, the silhouette of Iwaya Sazanami is presented together with his representative work – a fairy tale (otogibanashi) entitled Koganemaru (boy’s name). This is because Koganemaru is considered the most important turning point in the difficult course of systematising children’s literature in modernizing Japan. This article, probably innovative, by examining the beginnings and the process of almost 40 years of emerging of Japanese children’s literature, will fill an important gap in the study of Japanese literature in Poland and maybe become an essential starting point for its development.

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Kim Seong Ju. "On the Shape of Abridgement of the Hwaeomgyeong Vols.72-80 Collected by Shōsōin." Journal of the Institute of Bibliography ll, no. 55 (September 2013): 337–70. http://dx.doi.org/10.17258/jib.2013..55.337.

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Tai, Eika. "Intermarriage and imperial subject formation in colonial Taiwan: Shōji Sōichi'sChin-fujin." Inter-Asia Cultural Studies 15, no. 4 (October 2, 2014): 513–31. http://dx.doi.org/10.1080/14649373.2014.972632.

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Idema, Wilt L. "Bo Shaojun and Her One Hundred Poems Lamenting My Husband." Nan Nü 15, no. 2 (2013): 317–32. http://dx.doi.org/10.1163/15685268-0152p0004.

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In the year following the death of her husband, the late Ming woman poet Bo Shaojun (d. 1626) wrote a set of one hundred quatrains lamenting him. Eighty-one poems of this sequence have been preserved. In his study Mindai josei no junshi to bungaku. Haku Shōkun no Kofushi hakushu (2003) the modern Japanese scholar Kobayashi Tetsuyuki argues that Bo Shaojun’s poems should be read as a report of her determination to follow her husband in death, and of the actions undertaken in preparation for that act. This review article questions his analysis by a close reading of some selected poems and Kobayashi’s interpretations, and concludes that the poems do not show evidence of a deliberate program of preparation for such a chaste and loyal suicide.

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Ng, Wai-ming. "The Uses of Chinese Political Terminology In Tokugawa Japan: A Study of Bakufu and Shōgun." Jiuzhou Xuelin 2013, no. 32 (2013): 115–27. http://dx.doi.org/10.5404/jiuzhou.2013.32.06.

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지영임. "The Shōkon-ideology of the Yasukuni Shrine and the Funeral Urns of the War Dead." 일본연구 ll, no. 28 (August 2017): 177–205. http://dx.doi.org/10.32624/stofja.2017..28.177.

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Centeno Martín, Marcos P. "The limits of fiction: politics and absent scenes in Susumu Hani’s Bad Boys (Furyō Shōnen, 1960). A film re-reading through its script." Journal of Japanese and Korean Cinema 10, no. 1 (January 2, 2018): 1–15. http://dx.doi.org/10.1080/17564905.2018.1437659.

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Lewis. "Training the Next Generation of Mangaka: A Comparison of Award Announcements in Shūkan shōnen janpu and Hana to yume." Mechademia: Second Arc 11, no. 1 (2018): 124. http://dx.doi.org/10.5749/mech.11.1.0124.

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Bouterey, Susan. "Journeys into the Underworld: Dream, Illusion and Fantasy in Shōno Yoriko's Fiction." Japanese Studies 21, no. 2 (September 1, 2001): 165–79. http://dx.doi.org/10.1080/10371390120074345.

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Durante, Daniele. "Shizu no odamaki or "The Thread from the Spool": Male Same-Sex Love and the Warrior Ethos in a Nineteenth-Century Historical Tale." Japanese Language and Literature 56, no. 2 (September 30, 2022): 411–30. http://dx.doi.org/10.5195/jll.2022.197.

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Shizu no odamaki賤のおだまき(trans. The Thread From the Spool), a work of fiction composed presumably in the first half of the nineteenth century by an anonymous author, tells the novelized account of the lives and love story of two historical Japanese bushi 武士 or “warriors,” respectively named Yoshida Ōkura Kiyoie 吉田大蔵清家 (c. 1575-1599) and Hirata Sangorō Munetsugu 平田三五郎宗次 (c. 1585-1599). The two fighters lived in the Warring States period (Sengoku jidai戦国時代, 1467-1600) and died in combat during the “disturbance of Shōnai district” (Shōnai no ran庄内の乱, 1599-1600), one of the many conflicts that took place in this age of constant bloodshed. In presenting their fictionalized biography, Shizu no odamaki operates on two intertwining levels: one romantic, providing an idealized narration of the protagonists’ tie based on the so-called “Way of the Youth” (Wakashudō若衆道), the relationship between an adult man and an adolescent male, and of Sangorō’s juvenile beauty, and one ethical, depicting the characters’ feelings as a powerful catalyzer that assists them in their pursuit of the “Way of the Warrior” (Bushidō武士道). The two Ways, of male same-sex love and combat, thereby support each other in a virtuous circle. In proving the connection between Kiyoie and Sangorō’s sentiments and their commendable behavior as soldiers, the text pursues a didactic end by indicating their amorous and martial deeds as an authoritative example for the contemporaneous reader to emulate.In the following I provide an annotated translation of Shizu no odamaki. To prepare readers for the text, I offer in the next sections an overview of the lives of the historical Sangorō and Kiyoie figures as well as information about the records from which the narrative draws inspiration. Second, I present an analysis of the main coeval notions and social practices that the title invokes to conceptualize and portray the romantic relation between the two characters. Finally, I insert an outline of the diverging, and often conflicting, ways the narration was received and reinterpreted in the first decades of the Meiji era.

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Antononoka, Olga. "Undermining the gendered genre: Kabuki in manga." Mutual Images Journal, no. 10 (December 20, 2021): 109–34. http://dx.doi.org/10.32926/2021.10.ant.under.

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According to Jaqueline Berndt, Thomas LaMarre, and other critics, manga is a highly participatory media form. Narratives with vibrant characters and creative inconsistences in the plotline encourage the reader to recontextualise the text, create new contents and unfold activities which go beyond reading (such as fan art and CosPlay). Recent popularity of manga about Japanese traditional arts – for example, Kabuki – further expanded the potential interaction with manga and other popular media to include (re)discovering traditional Japanese culture. Examples, such as Kabukumon by Tanaka Akio and David Miyahara (Morning 2008-2011), or Kunisaki Izumo no jijō by Hirakawa Aya (Weekly Shōnen Sunday 2010-2014) and a variety of other manga, anime and light novels exemplify this tendency. Consequently, influential franchises, such as Naruto and One Piece boast adaptations as Super Kabuki stage-plays. Furthermore, Jessica Bauwens-Sugimoto observes how thematic and stylistic overreaching in contemporary manga further distort the notions of the gendered genre that lays at the foundation of the manga industry. In this case, Kabuki theatre as a theme employs a variety of gender fluid characters and situations. For this purpose, Kabuki manga utilise cross-genre narrative and stylistic tropes, from overtly parodying borrowed tropes, to homage, and covert inclusions. On the example of Kabuki-manga I will explore a larger trend in manga to employ elements of female genres in male narratives, thus expanding the target readership. My paper explores specific mechanism that facilitates reading manga cross-genre, I also inquire what novel critical potential thematic and stylistic exchange between audiences may entail.

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Oxenboell, Morton. "The Vicissitudes of a Medieval Japanese Warrior." Journal of the Royal Asiatic Society of Great Britain & Ireland 17, no. 1 (January 2007): 43–54. http://dx.doi.org/10.1017/s1356186306006778.

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In standard accounts of medieval Japanese society, enormous stress is put on the conflicts between local landholders (zaichi ryōshu) and absentee proprietors. Fuelled by the debate on feudalism that divided scholars up until the early 1990s, these conflicts have widely been recognised as proof of the diminishing powers of the central elite in, or near, Kyoto and of the increasing absorption of power by warriors in both the countryside and in the administration of the military government, the bakufu. The conflicts were, in other words, seen in the structural context of a system of huge landed estates (shōen) owned by court nobles or large religious institutions, which were gradually replaced by much smaller proprietary units controlled personally by individual warrior families.

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Journal articles on the topic 'Shōnin'

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