John Hersey’s Hiroshima is not only a detailed account of the Americans bombing Japan in 1945, but he inserts rhetorical devices that encourage readers to feel pathos while reading. Ironic occurrences make readers think about the paradoxes that occurred. Alliteration added soft and hard moods to situations, which allowed the ambiance of the story to take
To select groups it is a way of life, but these groups are in the minority and its traditional images and methods are fading, unlike the “West” where the tattoo has exploded into popular culture and become more vogue than ever. With its past elevation to a cherished art form, why then have tattoos in Japan stayed in the category of taboo while here in America have become so incredibly popular? Though having a deep love and pride for their history, culture (which includes the tattooed) and surroundings, much of the decline in tattoo has to do with Japan’s profound desire to be looked upon as culture in control, a culture that cares very much what outsiders think of them. Though the early history of tattooing in Japan is hazy, the origin has been traced back to the Jomon period (10,000 B.C. ~ 300 B.C.)
It also depicts with a considerable degree of realism what life was like for the powerful elites of Heian nobility.” The story touches on themes of love, marriage, sexual politics, death, and more, but also goes further by showing “the influence of Buddhism on Japanese views, thoughts, and expressions of beauty” (Li). Aesthetics at the time of Genji had a completely different meaning then they so in today’s times. The purpose of this paper will be to compare and contrast Heian Japanese aesthetics as revealed in the novel The Tale of Genji with contemporary American perceptions or views of beauty as suggested in the media such as in films, television, magazines, newspapers, and on the internet. To compare and contrast these two things, one must look at the examples of aesthetics in The Tale of Genji. The story itself is written to connect the reader with both details of people and nature.
Tojo Hideki undeniably played an important role in Japan’s history, however it was one of destruction and devastation. “In public, Prime Minister Tojo Hideki was self-effacing, insisting he was merely an ordinary citizen doing his job at the emperor’s request, but in fact he was an adept bureaucratic politician who gathered power into his own hands.”(Duus, 1998) Ultimately in the end, Hideki was the cause for the blockade of Japan’s evolution. Due to the confinements of the word limit, I will be primarily focusing on the time period of 1920 to 1945. It is within these years that military leader; Tojo Hideki influenced significantly the evolution of Japan and its people. Born in Tokyo 1884
Keith Mitchell Since our departure from Chinese cinema we have explored Taiwanese, Korean, and Japanese films. Through these films we have witnessed many powerful images, be it new creative ways to enjoy a ripened watermelon or the impermeability of a Japanese mobster. The most prevailing image that I have observed in our new series of films is one that continues to purvey in Japanese films. The way in which Japanese life has been portrayed in the films we have seen thus far is a life that I do not want to live. For this journal I want to discuss the portrayal of Japanese life as a mundane and trite existence through the film Hana and Alice.
Reaction Paper In his article Body Rituals among the Nacirema, Miner effectively convinces his reader of the ridiculous nature of America’s obsession with the body’s health and visual appeal by allowing his readers to form an opinion about themselves without realizing they are their own subject. At first glance the reader may be convinced he is reading about magical beliefs and extreme practices of a little know civilization. Miner effectively employs an academic tone as he opens the paper with “[t]he anthropologist has become so familiar with the diversity of ways in which different peoples behave in similar situations that he is not apt to be surprised by even the most exotic customs.” Miner continues to use this tone throughout the article. Furthermore his statement “[t]he rites are normally only discussed with children… I was able, however, to establish sufficient rapport with the natives to examine these shrines and to have the rituals described to me” shows superior attitude to place his reader on the level of a scholar observing a native (Miner 503). Still even an inexperienced evaluator soon realizes the connection between the Nacirema and the United States.
The Reluctant fundamentalist shows us that nostalgia is a poison In Mohsin Hamid’s The Reluctant Fundamentalist, apparently is shown the other aspect, despite the beneficial side as a salve, but the far lethal side of nostalgia. The astonishing issue---the September 11, undoubtedly turns the USA’s theme from “openness” to “nostalgia”, and as a dire turning-point to be in the story, triggers subsequent changes. The same as America, Erica, who is assumed to be a symbolic character reflects the USA, also gets lost into the endless reminiscence of the bygone affections with Chris, finally destroy her. Nevertheless, these remind Changez of his relatives, who are addicted to nostalgia as well. Strikingly, Hamid sets these enormously realistic and secular scenes to the readers in order to substantiate the havoc of odious recalling back, which is with blindness and narrow-vision, septic grudge and mutiny, like a chronic but fatal poison.
She was a thief and a rebel and she was my hero." But the book spans enough time for Karen's heroism to become something quite different in the eyes of this daughter. (Karen has several children, geographically scattered, with different fathers.) One of the things that makes "West of Then" so potent is the absence of easy explanations or answers. In a book that mingles a rainbow of intoxicating Hawaiian memories with the multigenerational story of her family's disintegration, Ms. Smith winds up capturing all the strain and anger and messiness of the trouble she
She begins her argument by sharing some funny examples of what Americans call foreigners: Farbod was called Farthead, Farshid became Fartshit, and Arash was referred to as a rash. This approach breaks the ice and establishes a nonthreatening tone. She describes the linguistic style in Iran as “the sound usually made by actors in the final moments of a choking scene” (Dumas 606). Although humorous, the reader can imagine the style of speech. The author also describes the lack of foreign names in America by stating that “nobody without a mask and a cape has a z in his name” (Dumas 605).
– Stephen Hunter, Washington Post "I was crying a lot throughout the movie. That was not a surface feeling, but rather a deep-seated feeling that came from me as a Japanese." – skaskaclub88, Yahoo!Japan reviewer ABSTRACT Hollywood, struck by a case of Japan "fever" in the early 21st century, churned out a crop of Japan-oriented films such as Lost in Translation [Coppola 2003], Kill Bill Vol. 2 [Tarantino 2004], Memoirs of a Geisha [Marshall 2005] and Letters from Iwo Jima [Eastwood 2006]. But among all these, The Last Samurai [Zwick 2003] received the most positive Japanese audience reaction.