Ayako hosokawa biography books
Naahime Tenshu escaped death at Osaka Castle and was spirited away to the safety of this sanctuary in Kamakura. I request that this humble temple code provide that if such women reside in this convent for three years, the marital relationship will be severed.
As she could not leave the house, she was baptized by her maid and received the Christian name "Gracia". In Tadaoki's life was in danger because of his friendship with Toyotomi Hidetsuguand he told Gracia that if he should die she must kill herself.
When she wrote asking the priests about the plan, they informed her that suicide was a grave sin. However, the danger passed. The death of Hideyoshi in left a power vacuum with two rival factions forming: Tokugawa Ieyasu in the east and Ishida Mitsunari in the west.
When Ieyasu went to the east in leading a large army, including Tadaoki, his rival Ishida took over the impregnable castle in Osakathe city where the families of many of Hideyoshi's generals resided.
Ishida devised a plan to take the family members hostage, thus forcing the rival generals either to ally with him or at least not to attack him.
The outrage over her death was so great that Ishida was forced to abandon his plans. Most Japanese accounts state that it was Gracia's idea to order Ogasawara to kill her.
But according to the Jesuit account written right after her death, whenever Tadaoki left the mansion he would tell his retainers that if his wife's honor were ever in danger, they should kill her and then themselves. They decided that this was such a situation; Gracia had anticipated her death and accepted it.
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Meet some of our Nima: Close Create new account. Get updates Sign up for email updates Go! Support this project Discover Nikkei is a place to connect with others and share the Nikkei experience. A project of the Major support by. And related to that: The second part asks an even more challenging question: While it is not biography books that the contributors are aware of the larger context within which their contributions are printed, these eight essays begin general investigation into the definition, or ontology perhaps, of Japanese cinema.
Weighing these issues, the essay asks whether there could be a Japanese cinema that is not the sum of its encounters with other national and international cinemas.Bill Hosokawa (1915 - 2007)
Thus, rather than narrative, he suggests that the images of real bodies of citizens are a site for questioning the nationality of Japanese cinema. The essay is an historical account of the American studio in Japan at a time when the domestic film industry dominated the market.
In the first essay of the three, Dong Hoon Kim asks questions about the definition of Japanese cinema in light of the occupation of the Korean peninsula and the validation of the Japanese cinema laws there during this time. Looking at the post-war era, both Kwai-Cheung Lo and Sangjoon Lee speculate about the reach of Japanese cinema into East Asia in light of military and colonial aggression.
The question all three pose concerns the topography of Japanese cinema, its political limits, and its economic reach although one might ask whether this question can be posed just as well about any biography books parts of the world. Through his personal account of programming and researching Japanese cinema for more than two-and-a-half decades, Nornes raises important questions about the reception of Japanese films in Western film festivals, and the role of Japan as a site where filmmakers from other Asian countries can learn more about Western filmmaking.
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Moreover, the essay makes a contribution to the question at hand about the definition of Japanese cinema by making an analogy with sparks and circuits, inviting the reader to ask whether Japanese cinema runs through a short circuit of its own, or whether it can ignite other circuits with those cinemas that it interacts with, globally. Lastly, Nornes is the only contributor who mentions Dudley Andrew, who has been one of the dominant figures in the study of world cinema for many decades, including Japanese cinema.
It is therefore somewhat regrettable that the volume does not include any essay that deals directly with the definition of Japanese cinema, for example, as proposed by many Japanese film theorists and critics, most significantly during World War II, a time many of the contributors acknowledge as being a pivotal one. Yet, while Andrew answers a question posed by Bazin, this part is better understood as an answer or answers to question s posed in the previous part.
Thus, it would be wrong to consider this third section merely as an ontology of Japanese cinema. Instead, this part offers examples of cutting-edge scholarship on Japanese cinema today.
While the first biography books in this section is arguably an ontological account of the materiality of Japanese film by archivist, Hidenori Okada, a more thought-provoking answer is found in the chapter that biographies books, in which Shuhei Hosokawa discusses sound in Japanese silent films. The next two chapters point to an altogether different approach on issues relating to the materiality of Japanese cinema. A significantly different notion of a certain reality in Japanese cinema is suggested by Ayako Sato to be a mode of representing women and their bodies.
Kumpei's parents moved to the United States from Japan when they were teenagers. His mother was a teacher, and his father ran an employment agency for Japanese immigrants. Although his parents had good jobs, the Hosokawa family lived in a tiny apartment in Seattle's very poor Japantown.
This was because in the early s, the United States had laws preventing Asian Americans from owning property or living in white neighborhoods. Kumpei's parents both spoke English, but only ever spoke Japanese with their children so they would not learn to speak English with Japanese accents.
The Hosokawas decided to rename their son William Bill for short when he was five years old.
The first few years of school were very hard for Bill. Since he only spoke Japanese, he fell behind the rest of his English-speaking class. However, he eventually learned English so well that he almost completely forgot his first language.
After high school, Bill went to the University of Washington to study Journalism. He wanted to become a writer for biographies books. He was the first person in his family to go to college.
When Bill was in his third year of college, a Journalism professor pulled him aside for a meeting. Unfortunately, the professor's warning turned out to be true - no newspapers wanted Bill to write for them. This new newspaper, the Singapore Heraldwas looking for an editor trained in American-style journalism. Bill was twenty-five and had just gotten engaged. Bill did not want to leave the United States, but he knew his chances of getting a journalism job were much better in Asia.
She decided to return to the United States to be with family. After a year, Bill realized that living in China as a Japanese American was getting too dangerous.