Podcasts about heike monogatari

A special interview with Dr. Ross Bender, who recently finished his translation of the Shoku Nihongi, including a capstone work on the court of the 8th century.  We cover his work, from his training with some of the greatest names in Japanese historical circles to his dissertation on the Hachiman cult and the Dokyo Incident, and then to his most recent work publishing translations of the various senmyo, the edicts, as well as the entirety of the Shoku Nihongi.  Throughout the discussion we touch on many different  topics, and for notes on everything, please check out our blogpost page:  https://sengokudaimyo.com/podcast/bender-interview   Rough Transcript: JOSHUA: Welcome to Sengoku Daimyō's Chronicles of Japan. My name is Joshua, and this is a special episode I'd like to share with you an interview I had with Doctor Ross Bender, translator of the shogunate. Now, some of you may know Doctor Bender from his work translating the Shoku Nihongi, the official history of the Japanese court compiled in 797 and covering from the end of the Nihon Shoki in 697 through the entirety of the Fujiwara capital and Nara periods ending at the 10th year of the reign of Kanmu Tennō in 791. Not only has he translated the historical chronicles, but he has a series of books on the senmyō, the edicts, as well as more about that period, including institutional life more generally. And we cannot forget the paper that started at all, the Hachiman cult and the Dōkyō incident. We'll have links to all of this and more over on the episode blog post page. Now, in this interview, we cover the Shoku Nihongi and Dr. Bender's academic journey. Throughout that journey, he has had the chance to converse and study with some of the big names in Japanese historical circles, such as Donald Keene, Alexander Vovin, G. Cameron "Cappy" Hurst, and more. It was absolutely a pleasure to be able to talk with him about his career, his work, and about the Shoku Nihongi and this period more generally, and I really hope you all enjoy it as much as I did. So without further ado, I give you Sengoku Daimyo's interview of Dr. Ross Bender.    Dr. Bender, thank you very much for joining me for this. Dr. Bender has done some absolutely wonderful work, in particular with translating the Shoku Nihongi, which is going to be very key to some of the stuff we're going to be looking at here in the coming years. I want to thank you, first of all, for all of your efforts and welcome you to Sengoku Daimyo's Podcast, here; our little Chronicles of Japan.    DR. ROSS BENDER: Thank you. Happy to be here.    J: So your translation of the Shoku Nihongi: how did you come about deciding to do that? What was it that pulled you into the translation?    R: Well, it's a long story, but it does go back to my time in graduate school at Columbia in the 70s. In 1974, I finished my Master's thesis, which was "The Hachiman Cult and the Dōkyō Incident". I started grad school in 1971, and after a lot of intensive language training, became interested in Hachiman because, as you know, the common definition was that Hachiman was the Shinto god of war. Of course, at the time, the Vietnam War was raging. And so I became interested in, you know, what was this theology of a war God. And so I became rather obsessed with Hachiman, and, two things: In 74, I was in a seminar with Donald Keene on the Noh theater, and I found a play--a Hachiman play--called "Yumi Yawata". And I translated that and became interested in the way that Hachiman was portrayed in this Noh play. And then at the same time, I became interested in the Dōkyō incident and the Hachiman Oracle. So that was really my first encounter with Shoku Nihongi.    Two things I suppose really struck me. The first was that although the text is in classical Chinese or literary Sinitic, the senmyō and a few of the- there are a few poems are in the old Japanese script inscribed in Shoku Nihongi.    J: And the "senmyō": They are specifically the edicts.    R: They are the imperial edicts that are recorded in old Japanese.   And Motoori Norinaga, in the 18th century did an intensive study and interpretation, really, of them. And he came up with a canonical number of 62. There are some quibbles with that number, but that's the number. And so at the same time, I was discovering that some of the pioneers in the field had done work on these. So, for example, George Sansom in the 1920s had started to translate the senmyō, and he had also done work on the ritsuryo. And then in the 30s, JB Snellen had begun translation of the Shoku Nihongi, and he completed the years 697 to 715. So the reigns of Monmu and Genmei and-    J: I remember actually going through that translation. I think at one point I found it and was so enamored of like, oh, we have some of this, but then it then it stops.   R: Then it stops. And so both Sansom and Snellen are published in the Transactions of the Asiatic Society of Japan. And as I say, these were real pioneers, you know, digging into this stuff. And it was amusing because Snellen prefaced his work by saying that Shoku Nihongi is "dry as dust". And he further said that translating it was like "intellectual coolie labor". But his translation, you know, is still very useful and extraordinarily well documented, footnoted. And of course, I was able to use that, although it needed updating.    J: You mentioned that you had language training before going into this.    R: Well, I started at Columbia in fall of 71 with no Japanese at all. I had visited Japan and as a teenager in 67, but no language training. So they gave me an intensive full year of language study. So you had first year, second year, and third year all in the first calendar year. And then in the second year of study you started Bungo and further modern Japanese. And I have to say that I was very fortunate to be at Columbia at a time when some of the giants and pioneers of the field were there. So Ivan Morris had the first class in classical Japanese, and we did bits of Hōjōki and Heike Monogatari. And he told us that when we eventually went to Japan, we might find ourselves at a cocktail party, and we could be sure to amaze the hosts. And so he had us memorize the opening lines of both of those.    J: That's fascinating. So, so all about the Gion bells, and-    R: Yes. "Gion shōja no kane no koe...", and "Yuku kawa no nagare wa..." So I actually- I think there was one time I was at a party with, oddly enough, bunch of pediatricians from Kobe Children's Hospital, and I tried them out and with Hōjōki, and they couldn't get it. They said, oh, is that Hyakunin Isshu?    J: [laughing] R: So I was kind of pleased about that. But then everybody knew the "Heike".    J: Right.    R: Yeah. So actually my first class in ancient Japanese history was with Morris. He tragically died in 1976, so he had the Bungo introduction in the fall. And then Donald Keene came back from Japan and did it in the spring. And so he introduced us to a Noh play and "Oku no Hosomichi" and Shinkokinshu, I think. So the language training was just excellent. And then in the third year, Doctor Hakeda did Shingon Buddhism and classical Chinese and so forth. So yes, there was a lot of front-loading and intensive language study, but it was very pleasurable.   J: As you're studying about Dōkyō and the Dōkyō Incident and Hachiman, that then allowed you to access these sources and the senmyō, and all of that, correct?   R: Right. That was my first introduction to them. Both the "Yumi Yawata" and the "Hachiman and the Dōkyō Incident" were published in the late 70s in Monumenta Nipponica, and then in 1980, I finished my dissertation, which was the political meaning of the Hachiman cult in ancient and early medieval Japan.    J: I came across that as I was going through Ōjin Tennō's period. R: Yes, it was sort of a simplistic construction, but what I did basically was to posit three stages of the Hachiman cult. The first at Usa, which was the oracular stage, the second at Iwashimizu, which was where the Ōjin Tennō connection developed, and also the Hachiman Daibosatsu connection. And then the third stage, you know, identified with Tsurugaoka in Kamakura, which was the Minamoto- Where the martial aspect--the god of war--really developed.    J: And that is fascinating because, you know, you go to Hachiman shrines today and that's probably where people's minds will first go. But it is such a fascinating religious exercise of like Shinto, but also kind of Buddhist and kind of continental.    R: Yes. And I don't know what the statistics are today, but at least I think 35 or 40% of Shinto shrines have some connection with Hachiman. So it's yeah, it's a fascinating study all by itself.   J: So as you were doing this, you come across the Shoku Nihongi. Can you talk a little bit about where the Shoku Nihongi falls in all of this?    R: Yes. Well, the notable thing about both Nihongi and Kojiki is that they begin with the Age of the Gods, so that the first sections, the Shinwa, are the mythologies. Nihongi probably becomes historically accurate sometime in the late, I don't know, it's late six hundreds, but for the seven hundreds it's probably pretty much historically accurate. And of course, you know that John Bentley just recently did the first English translation since I think 1898 was going to ask, so that was long overdue. And that's a very useful publication. J: It's interesting to see the differences in some of the things he updates and the different take he has on it in terms of how to do some of the translating.    R: Yes. And he is a historical linguist. And so he has a very valuable exegesis and commentary. And then, of course, Matthieu Felt just published the first volume of his translation. It was Oxford Press. That just came out a few months ago. That's also a useful document. He actually has the text of the Nihon Shoki along with the translation. And so that's very useful. And I'm not sure when he's going to be publishing the second half, but that's something to watch for.    So the first one started with The Age of the gods. Now, Shoku Nihongi is the second of the Rikkokushi, or 'Six National Histories', and it, unlike the first two, is judged to be a very accurate historical chronicle. And it, of course, was presented to the Court of Kanmu in two recensions, 794 and 797, and takes the story up to 791, which I think was the 10th year of Kanmu's reign. That's where it fits. And then, of course, you have the rest of the Rikkokushi. The next one is Nihon Kōki, which I'm just starting to get into now. Then Shoku Nihon Kōki, Nihon Montoku Tennō Jitsuroku, and then Nihon Sandai Jitsuroku. So they take the story up to 887, and they become increasingly detailed, and the language becomes more intricate as time goes on. But that's where Shoku Nihongi sits in terms of the six national histories, and they're all court chronicles, compiled by court scholars and ordered by the emperors. And of course, the point of view is that of the central court.    J: Right. You're not getting Kyūshū's take on things.    R: No. Although, you know, Kyūshū is a fascinating place. A lot happens there. So of course you have the Dazaifu, the Kyūshū government headquarters, which is an important outpost, almost a mini capital by itself. J: The first several dazai sōchi, I think, all become Daijin. Like Sadaijin, Udaijin. They kind of come back and do that if they don't pass away in the meantime.    R: Yeah, it's an important post. People take that position and come back. But also what's interesting is that the Hayato people of southern Kyūshū begin to appear in the chronicles, and in the early years, there are some major Hayato rebellions, and that's a story all by itself. Those rebellions are, for the most part, put down. And then there's some sort of accommodation because Hayato people show up at court almost as envoys from, you know, the barbarian realm, and then some of them become guards. So they are assimilated more or less early on. And then, of course, there's the whole question of the Hayato and the Emishi and where did they come from? There are some theories that when the Yayoi people came in they mixed with the Jōmon people and assimilated. But some theories that the Hayato in the far southwest and the Emishi in the northeast were remnants of the old Jōmon. So that's, you know, it's a possibility, but it's certainly interesting. And unlike the Hayato, the Emishi, as you know, were constant problem for the Nara court. And all through Shoku Nihongi, but particularly from about oh 780 on, there were more and more intense periods of warfare. And these are described in great detail in Shoku Nihongi. Karl Friday and Wayne Farris back in the 90s, both did books on. I think Farris was the "Heavenly Warriors: History of the Samurai". And then Karl Friday also did a book on the samurai, but they paid a lot of attention to these Emishi wars, so that's well documented in English. J: Getting back to the Shoku Nihongi, which includes all of this, really, what were some of the biggest challenges you found?    R: Well, part of the story is that after I finished my dissertation, I went off and did a variety of things, this and that, and finally wound up at University of Pennsylvania teaching in the English Language Programs, which was the program to teach English to foreign students. At that time the majority of the students when I started were from Japan. So I actually ran a program for the Monbushō, and they would send over Japanese high school teachers of English for a summer session, and we would give them language classes, but also pedagogical training, how to teach English. And so that was my connection with Japan during that period. And so I really was away from my original interest until the early 2000s. I took early retirement and I visited my old advisor, Paul Varley. He had, of course, taught at Columbia, but then he had retired and moved to University of Hawaii. I visited him, he introduced me to Wayne Farris, who was also there at the time, and they both encouraged me to get back, get back to work. So that was sort of the impetus. I have to give them credit for that. So I found myself in Kobe for several months in 2006, and that was when I decided I was interested in the senmyō. So my first thought, my first ambition was to translate the senmyō. As you know, in the late 80s and 90s, the immense five volume Iwanami collated and critical edition had come out, the one edited by Aoki Kazuo and his team. That was still a magnificent piece of work, you know, with I'm sure you've seen it with all of the head notes and footnotes, and on one page there's the kanbun and on on the facing page is the yomi-kudashi, and, you know, more than you could ever hope to know. But also at that time there were three modern Japanese translations, so that was very useful. It was a good time to be starting into this, so I went to a secondhand bookstore in Kobe and got myself the books, and that started, I guess, what's turned out to be a 20 year project.    J: 2006 to 2026.   R: Right.    J: And it looks like you're doing most of this through self-publishing. Is that correct?    R: Yes. I discovered early on that what's now called Kindle Direct--it used to be called Create Space--through Amazon was a very useful piece of software. In fact, I first published several volumes of poetry in 2012, and that was my introduction to using this platform. And I've been very pleased with it, because I don't have to wait years and years to try to find an academic publisher. And actually they pay royalties through Amazon, so... J: That's not bad.    R: Yeah, that's worked out well for me. So I never had a chance to have an academic position teaching Japanese studies. Although when I was at Penn, my friend Cappy Hurst--Cameron Hurst--was the chairman of the department and he had been a student also of Varley's at Columbia, although before my time. And he invited me to give some lectures in his class on Japanese history. So another thing was that my classical Chinese needed an upgrade. Fortunately, at Penn, Victor Mair was teaching a year long course in classical Chinese, and so I sat through that and he was extremely, extremely helpful. Then one other thing was that I also got to know Alexander Vovin, who at the time was at Hawaii, and he, of course, is *the*- was *the* authority on old Japanese. And, you know, his Man'yōshu translations and, and commentary are just really helpful. So he gave me some good advice. So I had good teachers all the way through. And, you know, I'm always very grateful for that.    J: You mentioned classical Chinese. I'm curious how much of it is a standard classical Chinese, or is it kind of their own thing in the archipelago? I'm curious what the language is like in the Shoku Nihongi.    R: Okay, so of course, at that time, the eighth century was sort of the apogee of the Tang dynasty, and at least from what Victor Mair told me. And he was very helpful in beginning this translation. And he would look at some of my stuff. And according to him, it was pretty much like the Tang dynasty Chinese. I think that's called Early- I forget- Early Middle Chinese. So at least for the eighth century, that seemed to be the case. And, you know, you have records in the Shoku Nihongi of teachers who come from the mainland and lecture and teach the correct pronunciation and how to read. And then, of course, with the Buddhist monks, they're using the Chinese translations of some of the Sanskrit, and they have their own techniques for reading. So, yeah, the eighth century is a really dynamic time because the Japanese, at least at the elite level, are and with the help of the Koreans and that should be emphasized after the fall of Paekche there were a large number of refugees and high ranking aristocrats who came to Japan and helped them to learn to read and write Chinese. And then, of course, the Japanese started sending students to China and, you know, staying there for ten, twenty years. So, yeah, it was a very dynamic time. And then, of course, they were learning how to use Chinese characters to express old Japanese. And that's another story in itself, using the characters as semantograms, but also as phonograms. That's one of the things I found really fascinating about old Japanese, about the senmyō. J: And how does that compare to- I think we usually just refer to "Man'yōgana" as any of that. Is it very similar to what's going on in the Man'yōshu, or is once again, is there something else going on with the senmyō?    R: The standard edition of the senmyō I think notes that there are about 250 some--if I've got the number right--of phonograms used in the senmyō. There is a huge number used in the Man'yōshu; much greater. In fact, I think Vovin once said that it's not really known that you can't count. Although Bentley has a very excellent book, I think it's called an ABC Dictionary of Phonograms, like that. He has really scoured the landscape. So- But you could say that the phonograms in the senmyō are Man'yōgana, but that the set of Man'yōgana is far, far greater. J: Only 250 phonograms to have to worry about, as opposed to going through the Man'yōshu and seeing every once in a while a character and going, which pronunciation or what are they trying to represent here?    R: Yeah, yeah. So I mean, Man'yō studies, you know, or a whole realm in themselves and some of the, the emperors--I'm thinking of Genmei especially, or is it Gensho? I think it's Gensho. She has three poems in the Shoku NIhongi and they may be included in Man'yōshu. So there's some crossover. I was going to say that, of course, once you start reading these phonograms, you begin to see where the kana systems developed from, from Man'yōgana.    J: Right. So I think I've read that in Old Japonic, we think that there were more or at least different sounds than maybe we have today. R: Yes.    J: And so you see it represented in different ways. You'll see the same--what we would think of as the same character--represented differently, because to them it was different.    R: Yes. So there's still, as far as I know, no absolute standard for representing old Japanese. You'll see different scholars have their own takes on it, and Vovin, in his Man'yōshu translations, has his own very intricate system. Another good place to look that's freely available. The Oxford, I think it's called the Oxford Ninjal Corpus of Old Japanese Texts, is an ongoing project. It's actually been ongoing for many years, but you can go there. They have laid out all of the Man'yōshu poems with their  romanization system. I suspect that, you know, that's very prestigious and will eventually become a standard. But that's where you find all these things. Like is it "Himiko" or "Pimiko"?    J: Do you say "Kapa", "Kaha", or "Kawa"?    R: Yes. There you go.   J: [Laughter]    R: Right. Yeah.    J: I'm constantly wondering that myself.    R: Yeah. So you'll see different scholars have different ways of approaching it. But my opinion is that the Oxford, which is a very long standing and slow running project, will probably produce the standard.   J: In doing this translation, were there any favorite moments or items of particular interest that you found? R: So yes, actually my first go at the senmyō were the edicts of the lady we call Koken/Shotoku. Actually, I think almost half of the senmyō were produced during her reign. And so that was where I started. I think the first article I got around to writing in 2009 was for the journal Oral Tradition, and it was called Performative Loci of the Shoku Nihoingi Edict 749 to 770. And also because of my interest in Dōkyō my interest in her went way back. So 2015 I did the edicts. I called it the Edicts of the Last Empress, and it was a translation of all of the edicts from her reign. That year and the next year I did the four volumes I called them, Nara Japan 749 to 757, 758 to 763. So that period was, yeah, my first period of interest. And of course it went back to the Hachiman cult and the Dōkyō incident. I mean, you know, the stories about this wild empress I saw I saw an article that's just come out. I think it's a compilation of Women in Japanese Buddhism. And the title of the article by Emily Simpson is "The Depraved Empress". So that was one of the things that, early on, I decided was not accurate. That's a whole rabbit hole by itself. But according to Shoku Nihongi, there's no evidence, you know, of any illicit goings on between the two. But in Nihon Ryoiki, which appears in the early Heian period, not much later, you find the first really scurrilous story that about Dōkyō and the Empress. And then, as if you look at, for example, Donald Keene's "Seeds in the Heart," he has a long excerpt from a medieval tale. I forget which one that, you know, really rings the changes. And what fascinated me was that in there was a Playboy fable- I forget they were called. Some sort of fabulous stories. This one was done anonymously, but it was a very scurrilous, licentious story about Dōkyō and the Empress, and done anonymously. But it was later found to have been Bill LaFleur--William LaFleur--who taught at Penn and passed away unfortunately, some years ago.    J: So then in the Shoku Nihongi, it's just straight up politics, right? Just about Dōkyō's rise. And then it's just the political conflict going on rather than anything else?   R: Right. And it's a very intense period of political- So of course, the story was that when she was at the Hora capital, which was up near Otsu, it was a brief capital, and she was there and she was ill, and Dōkyō apparently at that time attended her as a physician. And that was the beginning of their relationship. So this would have been 760 or so. But the only phrase is that Dōkyō received the favor of the Empress, but it doesn't have a sexual connotation. It's used in other political settings also.    J: Yeah, I have to wonder how much they weren't looking back at Wu in the Chinese, which of course she also gets excoriated for stuff that is questionable. How much worse was it than anything that any of the men did? But she was a woman doing it.   R: Yes. Well, that's what happens to female rulers. You know, you have Catherine the Great in Russia. So. Yes. So that was initially my what really excited me. It was that period. And then I finished the "Edicts" translation. This was 2012. Bryan Lowe, who's a good friend at Princeton, he was finishing his doctorate and he had a workshop on Shosoin documents, and he invited Dr. Sakaehara Towao to present at the workshop. And he had been Bryan's advisor in Japan. So I was able to meet him and then talk to him and said, you know, I think I'd like to translate Shoku Nihongi. And he basically said, go for it. But I met him later that fall in Nara. He was at the Todaiji Museum, and so he encouraged me. A lot of people gave encouragement along the way. Yeah. So 20 years later, actually, I finished the translation 2025. And then this year in the spring, I did what I- is sort of considered the capstone, the volume: "The Japanese Imperial Institution in the Eighth Century." That's available as an e-book and also paperback and hardcover. And so there I have about a 75 page overview of the eighth century and then the introductions, not the translations, but the introductions to each of the emperors throughout the period. I'm very happy with that. And that sort of puts a cap on it. I should mention that that was in memory of Herschel Webb, another one of my great teachers at Columbia. He had done a book way back in 68 called "The Japanese Imperial Institution in the Tokugawa Era". And so this is sort of an homage to his memory.   J: And we very much thank you for it.  I remember when that came out, and we definitely snapped it up as soon as we saw it.    R: Well, great.    J: [Laughter]   R: Yeah. And you know, it's all available on Amazon. So let me let me make my plug.    J: Absolutely. Absolutely. You mentioned something about the Nihon Kōki. Are you are you serious about taking this project on and moving forward, or is that just kind of something you're toying with? R: Well, no, I'm actually I've actually made a start. That's an immense document. And what I'm interested in is finishing the reign of Emperor Kanmu. He dies in 806. And so Nihon Kōki begins in 792, and I'm currently up to 799. But I'm not putting as much energy into it. I do maybe an hour a day if I feel like it, but it's slow going. But there's some really fascinating stuff. So Wake no Kiyomaro died in 799, and they've inserted this immensely long biography of his life at this point, although it was obviously produced later and it's set apart. But that has details of his miraculous trip to the Usa shrine. And, you know, it's not clear if somebody cut his tendons, but he was lame and so he was on his way to Kyūshū, and suddenly a pack of wild boars appeared and sort of escorted him down to the shrine. It is just a really wonderful story. Then he has a vision of Hachiman, which is not part of the Shoku Nihongi tale. Yeah, I'm trucking along. My ambition is at least to finish the reign of Emperor Kanmu, and then we'll see what time there is beyond that.    J: So do you have any recommendations for current students of Japanese history? Those coming up? R: Actually, there are some young scholars. I was at the Association for Asian Studies meeting in Columbus, Ohio, which was, I guess, yeah, 2025. And for some reason there were a good number of presentations on eighth and ninth century. So there's a scholar by the name of Nadia Kanagawa. She finished a dissertation at USC on immigrants in the eighth century. Then Abigail McBain finished up at Columbia, and her dissertation was on specifically Tang Buddhist monks and interchange with Japan. Yeah, so there are some young scholars who are digging in to this. You know, I was just looking the other day at Wikipedia, which is a good start for anyone. I would say, you know, take it with a grain of salt. But if you want to know the names of the, you know, the famous emperors and the rebels, you know, Tachibana no Naramaro, and Fujiwara no Nakamaro. And just, just the other day I found this amazing thing called 'Grokipedia', which apparently is a new. But it's one of those AI things. Yeah, but it had the best summary of the Shoku Nihongi that I've seen. So with the AI revolution, goodness knows what's going to happen. But yeah, I find that it's possible to dip in and a lot of things are available. For example, the Rikkokushi text is online, it's been online, and it was first published by Asahi Shimbun way back when. But I used that and then that the Oxford project that I mentioned is online -- more and more it's becoming possible to access, you know, original documents. J: Yeah, combination of making them available online, better online translations.    R: Machine translation is going great guns. Yeah-   J: Yeah. Although I have to admit, it can get you a sense of what the classical Chinese is kind of saying sometimes, but the translation for some of the old stuff just it still has some work to do. I think it's better if you can translate the at least the modern Japanese translation, rather than sometimes going back into this. It's still tricky.    R: Yeah, well, it's I admit I'm getting old, but this this stuff is getting kind of frightening. This machine translation...   J: It is, yeah.    R: I feel like I'd be out of the job if I had a job.    J: Well, I think there's still a lot of questions to be asked on that. I don't think we need to get into a whole thing on AI right now, but I think there's some great benefits, obviously. And then, you know, I definitely know there's some concerns too, because every once in a while it can just hallucinate an answer. And you might be going through things that seem absolutely wonderful and then find something that you're like, wait a minute, I never knew that. [laughter]     R: And then it turns out not to be true.    J: Yeah, I don't know if you heard there was one, and I mean, this was a year ago, which already seems, in AI terms, ages and ages, but apparently it hallucinated entire papers and authors.    R: Yes, that's there was I don't know if you follow the PMJS list.    J: Oh yeah.    R: But I think there was a discussion and an example of that. So it's-  J. But the world is going to be different. J: Things are changing. And I think we will figure out how to use the tools that are useful will hopefully win out. And there's always going to be certain things. For instance, I remember early days, Wikipedia and still, you know, looking at Wikipedia sometimes for certain things around more popular subjects got to be a little more wary, though I have found the Japanese Wikipedia has been great when you're just trying to look for something and go, let me at least get what a common sense of this is so that I know the other things to go research. R: Well, I was going to say, just to sort of sum up, yeah, we're in a very dynamic time, but the eighth century was very similar because the new technologies were pouring in from the continent and the peninsula, and people were learning these new methods of reading and writing and orality to literacy.    J: So any last thoughts? I do appreciate all your time. But any last thoughts as we finish up here?    R: Not really, but I noticed that yesterday you came up with a long spiel on the UNESCO World Heritage site, and that's exciting. The Asuka region you seem to have links to photographs that took me back to wandering around that area. The Ishibutai, I remember, was something. So party on and keep up the good work. J: Thank you very much and thank you again. Thank you for your time today, and thank you for all the work that you've put into this. You have made these sources so much more accessible for people in English, and I think that is going to be critical as we move forward. I know for me this is a huge help. I was looking at Shoku Nihongi going, okay, I know we've got like the first so many years so I can get through that and then I'm really going to have to up my game. Then I saw all the work that you'd been doing and it was like a big load felt lifted off of my back. Now I can, you know, take a look. But at least with the idea that someone more experience than I has already done some of the really hard labor. I really want to say thank you for all of that.    R: Yeah, you're very welcome.    J: And once again, I would like to say thank you to Doctor Bender and thank all of you for listening. If you think that this is something you would like to see more of, please let us know. We'll see what we can do. Perhaps we can make it the start of a new interview series. In the meantime, next episodes we get back to our regularly scheduled program. And as always, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts. If you feel the need to do more and want to help us keep this thing going, we do have information about how you can donate on Patreon, where we have early and add free episodes for you to listen to. You can also donate through our Ko-Fi or BuyMeACoffee Sites. Just look up SengokuDaimyo for all of that. You can also find the links over to our main website, SengokuDaimyo.com, where we will also have more discussion on topics from this episode. Finally, feel free to reach out to our Sengoku Daimyo Facebook page. You can also email us at the.Sengoku.Daimyo@gmail.com. Thank you also to Ellen for their work editing the podcast. And that's all for now. Thank you again and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan

Μπορεί να άργησε έναν χρόνο, αλλά το νέο επεισόδιο του «Μάθε Βαλίτσα» είναι κοντά σας σαν ένας γλυκός kamikaze - θεϊκός άνεμος. 6 ιστορίες από την Ιαπωνία, μέσα από τις αφηγήσεις του Αστέρη, του Καρκ, του Γρηγόρη, του Δομήνικου, του Μάνου και τη δική μου. Από την Αματεράσου, τη θεότητα του ήλιου, στους «7 Σαμουράι» του Κουροσάβα. Από το ιαπωνικό έπος «Η Ιστορία του Χέικε» (Heike Monogatari) στην cool Ιαπωνία των anime και των manga. Από την ατομική βόμβα στη Χιροσίμα στο κινηματογραφικό Τόκιο, και από τους ιδρωμένους Αμερικανούς που φορούν κιμονό στο Κιότο στην ιαπωνική κουζίνα. Μάθε Βαλίτσα - Ιαπωνία! #alejandroΜία παραγωγή του Shake n' Bake.

The Taiheiki is arguably one of the most dismissed works of literature in Japanese history, doomed to always exist solely in comparison to the far more highly regarded Heike Monogatari. But even so, there's a lot to draw the interest of the interested historian. So, what can we learn about medieval Japan from its most famously "eh" work of literature? Show notes here.  

Welcome to Anime Watch Club, a bi-weekly group discussion and review where the hosts of the what do you say anime podcast, nominate and vote on shows either that we haven't seen or shows that will hopefully lead to a great discussion. On todays episode we will be reviewing the 2022 anime, Heike MonogatariSocials/Discord - https://linktr.ee/whatdoyousayanime0:00 - Intro2:37 - First Impressions9:20 - Synopsis13:50 - Setting up the show21:30 - Biwa's role and Fleshing out the Cast34:12 - Favorite cast members40:42 - Why this story?49:30 - Production value57:35 - Final Thoughts and Rating1:03:53 - What We''re Watching Next

In So Deep, It's Love Already on Reida Soragakin kepeä romanssi, jossa nörttityttö alkaa fanittaa poikaa, joka piilottelee ujosteluaan äksyilyn alle. Kuulumisissa käymme läpi Japanin-matkamme Tokion-osuuden, lukujonossa taas katsastamme reissulta kertyneen mangasaaliin. Ajankohtaisaiheina raportoimme kuulumiset Desucon Frostbite 2026:sta ja Lappeenrannan Manga Hokusai Manga -näyttelystä sekä puhumme siitä, miten uusi suomalainen mangakustantaja Fuyuki on lisensoinut Dinosaur Sanctuaryn. --- Kommentoi | Bluesky | Mastodon | X | Threads | Instagram --- (01:00) – KUULUMISET: KÄYTIIN JAPANISSA 3/3 – TOKIO – Ikebukuron Sunshine City -ostari – Jirai-kei eli maamiinatyyli – Bataatti-monaka-jäätelö (kuva) – Shoya-izakayaketjun Uenon-liike – CoCo Ichibanya – Shabu-shabu – Ueno – Asakusan Kappabashi-doori (keittiövälinealue) – Senso-ji-temppeli – Asakusan kolme ikonista nähtävyyttä: Skytree, Asahin oluttuoppipäämaja ja kultainen kakka (kuva) – Leiji Matsumoton suunnittelema jokilaiva – Shosen Book Tower – Uenon Ameya Yokochou eli Ameyoko-ostoskatu – Nipporin Yanaka Ginza -ostoskatu – Harajukun Takeshita Street on absoluuttinen ryysishelvetti (kuva) – Harajukun Cat Street on kivempi vaihtoehto nykyisin – Idolish7-crepe (kuva) – Harajukun Kinji Used Clothing -kauppa myy hyvälaatuisia käytettyjä vaatteita – Nipporin Edwin-kauppa – Hotel Balian Resort Shinjuku Glamping – Japanilainen näkemys retkeilystä? (kuva) – Kabukicho – Näyttää siltä, että vain yksi host club Kabukichossa tarjoaa poikia aikuisempaankin makuun (kuva) – Tokyo Metropolitan Government Building – Fuji näkyi rakennuksesta (kuva) – …joskaan emme ehtineet näkemään "timantti-Fujia" – Myös Blue Lock näkyi rakennuksesta (kuva) – Hiroshi Kamiya – Kazuki Ura – Shibuyan Modi-nörttiostoskeskus – The Guy She Was Interested in Wasn't a Guy at All -popup-kauppa (kuva) ja sen oheistuotteita (kuva) – Odaiban Small Worlds -pienoismallisisäteemapuisto – Yleiskuvia (Bluesky) – Evangelion-hangaari ja Tokyo (Bluesky) – Tokyo DisneySea – Uusi Fantasy Springs -alue (Bluesky) ja lisätietoja Wikipediassa – Magellan's-ravintola (Bluesky) – Tower of Terror -laite – 20,000 Leagues under the Sea -laite – Sinbad's Storybook Voyage -laite – Showa Kinen -puisto (Google Maps) – Neidonhiuspuiden yövalaistus (kuva) – Lasten leikkimaan sumulaakso (kuva) – Japanilaisen puutarhan ruskanäkymät päivällä ja illalla (Bluesky) – Bonsaimuseo (kuva) (41:36) – IN SO DEEP, IT'S LOVE ALREADY: ESITTELY – In So Deep, It's Love Already – Tokyopopin printtijulkaisu kirjoitetaan pilkulla, K Mangan digiversio ilman pilkkua –Sarjan lähtöasetelma (kuva) (44:12) – IN SO DEEP, IT'S LOVE ALREADY: PÄÄHENKILÖT JA ROMANSSI – Colleenin X-ketju nykyshoujon isoista trendeistä – Idoli x fani -sarjoja: – Tamon's B-Side – Star⇄Crossed!! (K Manga) – My Idol Sits the Next Desk Over (K Manga) – It Takes More than a Pretty Face to Fall in Love – Gazing at the Star Next Door – Kynsienlakkauskohtaus (kuva) – Leimautunut kuin ankanpoikanen (kuva) – Kametanin mitätön traaginen menneisyys (kuva) – Kirinon mitätön traaginen menneisyys (kuva) – Jakso 42, jossa puhuimme sarjasta Horimiya – Kametani muuttuu täydelliseksi poikaystäväksi (kuva) – Sarjan ensimmäinen kakkospoika Sakurai (kuva) (1:08:32) – IN SO DEEP, IT'S LOVE ALREADY: ISOVELI-HIJACK – Ahdistava fritsu äh öh (kuva) – Isoveljen valokuvausharrastus (kuva) – Isoveljen rakkaudentunnustus (kuva) – Isoveli saa Kirinon miettimään tulevaisuuttaan uudella tavalla (kuva) – Jakso 115, jossa puhuimme sarjast You Got Me, Sempai! (1:19:14) – IN SO DEEP, IT'S LOVE ALREADY: TYYLI JA VISUAALIT – Kirinolla on paljon hauskoja ilmeitä (kuva) – Isoja tunnehetkiä korostetaan usein tekemällä kuvasta vähän epätarkan näköinen lisäämällä sotkua ääriviivojen ympärille (kuva) – Muutama esimerkki luvunaloituskuvista (kuva) (1:22:46) – IN SO DEEP, IT'S LOVE ALREADY: KANNET – Sarjan kannet (1:23:59) – IN SO DEEP, IT'S LOVE ALREADY: JULKAISUT – KÄÄNNÖSEROT – Sarja K Mangassa – Jakso 120, jossa puhuimme sarjasta Tower Dungeon – Esimerkkejä käännöseroista: – K Mangan versiossa sanotaan "fangirl" ja "best boy" (kuva) – Tokyopopin versiossa sanotaan "otaku" ja "oshi" (kuva) – Tokyopop myös kääntää "oshittamisen" verbiksi "stannata" (kuva), toisin kuin K Manga (kuva) – Jakso 96, jossa puhuimme sarjasta Fake ja Tokyopopin vanhasta vapaammin sovittavasta käännöstyylistä (1:31:55) – IN SO DEEP, IT'S LOVE ALREADY: JULKAISUT – SENSUURI – K Mangan valtavat sensuuripalkit saavat seksuaaliset kohtaukset näyttämään tuhmemmilta kuin ovatkaan (kuva) – Sama kohtaus pokkarijulkaisussa (kuva) – Mielenkiintoista kyllä sensuuripalkkeja ei ole vain raa'asti vedetty kuvien päälle, vaan puhekuplien muodot on huolellisesti säilytetty (1:39:21) – IN SO DEEP, IT'S LOVE ALREADY: JULKAISUT – LUVUT VS POKKARIT – Pokkarijulkaisussa on muokattu kohtauksen dialogia ja tunnelmaa verrattuna alun perin julkaistuihin lukuihin: – Kohtaus lukujulkaisussa (johon K Mangan englanninkielinen versio perustuu) (kuva) – Pokkarijulkaisussa Kametanin tilanteenkeskeytys ja Kirinon poisjuokseminen ovat visuaalisesti humoristisemmat, ja dialogia on muutettu niin että Kametani ei sanokaan "en halua mennä pidemmälle", vaan "haluan puhua kanssasi" (kuva) – Jakso 56, jossa puhuimme mangan lukemiskokemuksesta luku kerrallaan vs pokkari kerrallaan – Lukujen väliset stripit ovat kanonisia ja muuttavat lukukokemusta jonkun verran (kuva) – Jakso 84, jossa puhuimme sarjasta Fullmetal Alchemist (1:48:43) – IN SO DEEP, IT'S LOVE ALREADY: JAPANIKSI LUKEMINEN – Furiganat auttavat lukemaan kanjeja eli kiinalaisia kirjoitusmerkkejä selittämällä yksinkertaisemmilla kana-merkistöillä auki, miten kanji on tarkoitus lausua – Vanitaksen kirjassa puhutaan kanonisesti ranskaa (Bluesky) (1:58:56) – IN SO DEEP, IT'S LOVE ALREADY: YHTEENVETO – Sarja sisältää hauskan kivaa seksuaalisuuteen tutustumista (kuva) (2:03:10) – DESUCON FROSTBITE 2026: MAARETIN LUENTO – Desucon Frostbite 2026:n ohjelmakartta – Maaretin ohjelma: Ihanan kamalat ongelmalliset parisuhteet BL-mangassa (YouTube) (2:10:42) – DESUCON FROSTBITE 2026: PETTERIN LUENTO – Petterin ohjelma: Japanin erityinen luontosuhde (YouTube) (2:20:51) – DESUCON FROSTBITE 2026: MUUT OHJELMAT – Tyttöys ja sen mieskeskeisyys shoujomangassa (YouTube) – Dandadanin yokait (YouTube) – One Piece - Wano ja onnistunut sovittaminen (YouTube) – Kunniavieras Ryootaroo Okiayu – Petterin cossi Okiayun ääninäyttelemästä Usamimi Kamen -hahmosta Animeconissa 2007 (kuva) – Onegai My Melody on Sanrio-sarja vuodelta 2005 (YouTube) – Mangan epätyypilliset naishahmot – Papa Told Me – Journal with Witch – I Want to Be a Wall – Shiawase wa tabete nete mate – Is Kichijoji the Only Place to Live? – Apothecary Diariesin historiallisuus ja hierarkiat (YouTube) – Ohjaustekniikat ja leikkaus sarjassa The Summer Hikaru Died (YouTube) – Kiitti supervoimista faija – Vanhemmuus HeroAcassa (YouTube) – Animurot-podcast – Heike Monogatari uudelleenkerrottuna (YouTube) – The Heike Story – Naoko Yamada – Huumori animessa (YouTube) – Sayonara, Zetsubou-sensei – BL- ja GL -mangan sovitus live actioniksi (YouTube) – Happy of the End – BL-gachakirjasto – Delivery Cupid – How to Deal When Your Intimidating Neighbor is Actually an Omega (2:46:44) – MANGA HOKUSAI MANGA -NÄYTTELY – Manga Hokusai Manga -näyttely – Yleiskuva näyttelystä (kuva) – Toinen yleiskuva näyttelystä (kuva) – Katsushika Hokusai – Ylen artikkeli – Hokusai Manga oli Hokusain nimissä julkaistu 15-osainen kuvakokoelmajulkaisu, joka popularisoi vielä nykyäänkin käytettävän sanan "manga" – Vaikka sanan "manga" (漫画) ensimmäinen kanji "man" (漫) on perinteisesti käännetty sen modernin merkityksen mukaan "huolimaton" tai "hullunkurinen", on kyseessä tulkintavirhe – 1800-luvun kontekstissa parempi käännös olisi "kokoelma" tai "valikoima" – Hokusain julkaisuja voi selata netissä – Yhtymäkohta moderniin mangaan löytyi piirtämisen kodifioinnista ja piirto-oppaista (kuva) – Manganpiirto-oppaita vuosikymmenien varrelta (kuva) – Hokusai teki muitakin piirto-oppaita – Näyttelyn isoin visuaalinen elementti olivat Sawa Sakuran tekemät potretit Hokusaista ja hänen lähipiiristään – Hokusain omakuva ja Sakuran tekemä piirros hänestä (kuva) – Sakuran sarja Momo & Manji – O-Ei, Hokusain tytär (kuva) – Elokuvat Miss Hokusai ja Hokusai's Daughter perustuvat molemmat mangaan Sarusuberi – Utagawa Kuniyoshi, toinen saman aikakauden kuuluisa taiteilija (kuva) – Tetsuzoo Okadaya (joka haluaa että hänen nimensä kirjoitetaan "Tetuzoh"), The Man of Tangon tekijä, on itse asiassa valinnut nimimerkkinsäkin Hokusain aiemmin käyttämän taiteilijanimen "Tetsuzoo" mukaan – Hokusai esiintyy hahmona myös mangoissa Blade of the Immortal, Kazuo Kamimuran Kyojin kankei ja Shotaro Ishinomorin Hokusai – Efektiviivojen käyttöä Hokusain puupiirrostaiteessa (kuva) – Puhe- ja ajatuskuplia aikakauden puupiirrostaiteessa (kuva) – Isobe Isobee Monogatari, vuosina 2013-2017 ilmestynyt Shonen Jump -sarja… – …jonka keskeinen vitsi on se, että se on piirretty 1800-luvun tyyliin (kuva) – Futatsu Makura, vuonna 1986 ilmestynyt kaksipokkarinen manga… – …jonka idea on se, että piirrostyyli matkii aina nimenomaisesti jonkun tietyn Edo-kauden puupiirrostaiteilijan yksilöllistä tyyliä (kuva) – Tetsuzoo Okadayan lyhäri (kuva) – Haruko Ichikawan lyhäri (kuva) – Näyttelyesittelykansio oli todella vaikeasti luettavaa tekstiä, ja lisäksi todennäköisesti konekäännetty (kuva) (3:18:52) – DINOSAUR SANCTUARY – Uusi mangakustantaja Fuyuki – Ubunchu – Dinosaur Sanctuary – Kuulemma Lehtipisteen kanssa on käyty jo keskusteluja (Bluesky) (3:22:15) – KUULIJAKOMMENTTI: OMPPUPOMPPU – Kaiju No. 8, josta puhuimme lukujonossa jaksossa 35 –Contradict tekijältä Kamome Oshima (3:28:40) – LUKUJONOSSA: OSTOKSET JAPANISTA – Sutosuto – Stalker ga stalker sareteru hanashi – Manga UP!:issa nimellä Stalker Stalks Stalker – Kuma to usagi wa tomodachi de wa irenai – Himokuzu Hana-kun wa shinatagari – K Mangassa nimellä Hana-kun Can't Live Without Me – Tokoton kuzuna Watarase nanoni – Lulu's Hellhouse – 1999 Shanghai – Shinyuu no "dousei shite" ni "un"te iu made – Oni wa kyou mo ame wo matsu – Ryokudo nasu – Pinky Nightmare – Ore no seito wa kawaikunai – The Betrayer's Love Song – Sasaki and Miyano – Gakuran naka made sawatte hoshii (3:44:13) – LOPETUS

This week, the Yoshitsune legend finds its legs with Heike Monogatari--one of the most epic works in Japanese history. Except that while Yoshitsune is a bigger deal here than he is in Azuma Kagami, he's still far from the main character....so where does he show up, what changes does Heike make from the Azuma Kagami version, and what's still missing from our hero's story? Show notes here. 

We have another double feature for y'all today. This time with a little history lesson.Buddy Links

Get In The Mecha is officially back! In this episode I'm catching up on some of the analysis that I missed by talking about some of the sleeper hits of 2022 that I think are worth going back to. How does Tatami Time Machine Blues differ from The Tatami Galaxy? How does The Girl From The Other Side configure into the current anime landscape? What can music videos teach us about storytelling? All this and more in this episode. Thanks so much for your patience over the first half of this year (and before that) - I'm graduating this month which means I finally have the time to produce the podcast consistently again. I can't wait to share all of my thoughts on a regular basis like before! Video Version of this episode: https://youtu.be/VEQHa6loaKw Show Notes for this episode: https://getinthemecha.home.blog/2023/07/10/the-forgotten-anime-of-2022-gitm-podcast-ep-118/ Timestamps: 0:00 - Intro 2:21 - Why 2022? 4:23 - Tatami Time Machine Blues 9:18 - The Girl From The Other Side 14:20 - Tangent: What Counts As 'Anime'? 16:11 - TGFTOS Continued 17:15 - He's Playing Our Song (and Naoko Yamada) 23:54 - Futari-bun no Shoumei 27:59 - Thunder In Bud (And Why MVs Matter) 37:14 - Credits Garden of Remembrance @ Annecy 2023 - https://programme.annecyfestival.com/en/movies/20232143 My INU-OH piece for Full Frontal - https://fullfrontal.moe/inu-oh-is-a-film-about-artists-for-artists/ The Girl From The Other Side Anime Official Twitter - https://twitter.com/totsukunishoujo Koji Yamamura Webinar - https://youtu.be/tEh-31qq1sg The other two TGFTOS Storyboard Artists - https://koyanomoe.tumblr.com/ https://takuto-katayama.tumblr.com/ Futari-bun no Shoumei - https://youtu.be/JBeEpW8l-Mg My Futari-bun no Shoumei Thread - https://twitter.com/GetInTheMecha/status/1606135974362128384?s=20 Thunder In Bud - https://youtu.be/K26fPtPcCys Works Mentioned: How Do You Live?, Tatami Time Machine Blues, The Tatami Galaxy, The Night Is Short, Walk on Girl, Sonny Boy, The Girl From The Other Side, He's Playing Our Song, A Silent Voice, Heike Monogatari, Garden of Remembrance, Kimi no Iro, Futari-bun no Shoumei, Thunder In Bud, Neon Genesis Evangelion Main Artists Referenced: Shingo Natsume, Fuga Yamashiro, Moko-chan, Yutaro Kubo, Satomi Maiya, Koji Yamamura, Naoko Yamada, Naoko Ogigami, loundraw, Suguru Asakura, que, KAF, Hakushi Hagesawa Follow me on Twitter: https://twitter.com/GetInTheMecha Questions, corrections, complaints: getinthemecha@gmail.com (I will go back to checking these again) Listen to Get In The Mecha on podcast platforms: https://linktr.ee/getinthemecha Music In This Episode: Synth Wave by Alex by Alex McCulloch: https://opengameart.org/content/synth-wave-by-alex Chill by Alex McCulloch: https://opengameart.org/content/chill-1 On The Road Again by Alex McCulloch: https://opengameart.org/content/on-the-road-again Adventure Time: https://opengameart.org/content/adventure-time-revised

Episode 32 of Key Frames: Inbetweens, a mini-podcast about anime. It's time to rock out with Masaaki Yuasa's latest movie, Inu-Oh! Not to spoil, but everyone loves it. What all do they like? Is it the real-life talent behind this medieval Japanese rock opera? Is it the wonderful celebration of difference? Is it the opportunity to bring up Heike Monogatari as much as humanly possible? Listen and you're certain to find out. The post 32 - Ballet on the Water (Inu-Oh) first appeared on Key Frames.

Plaadil kohtuvad Jaapani traditsiooniline laulev jutustamine, mida kehastab karismaatiline Junko Ueda ning kaaseaegne kosmiline rock prantsuse bändilt Poil. Albumi kompositsioon toetub 7.-8. sajandi budistlikule laulule ja 13. sajandi Jaapani eepilisele loole "Heike-Monogatari".

Незрячие глаза, таинственные голоса и чарующая музыка — ждут тебя в этой сказке. Бродил по стране слепой певец Хоити. Как-то ночевал он в одном монастыре — и вдруг услышал шаги грозного самурая. Воин отвел Хоити на пир в богатый дворец, где знатные господа приказали спеть песнь о гибели великого рода Тайра. Но не мог слепец увидеть: там, где он пел, не было ни дворца, ни пира… ни живых людей… У кого веселый нрав, тот и сквозь железо пройдет. Кроме оригинальной музыки подкаста в сказке звучит композиция «Tsuru no Sugomori», песнь «Heike Monogatari» в исполнении Дзюнко Уэда и японская народная музыка. Слушайте «Мрачные сказки» на всех подкаст-площадках: https://taplink.cc/grimtales_ Атмосферные картинки, факты о народах-сказочниках и моменты из закадровой жизни проекта ждут вас в соцсетях «Мрачных сказок»: ВКонтакте: https://vk.com/grimtales2021 Яндекс.Дзен: https://zen.yandex.ru/grimtales_ Соцсеть-которую-нельзя-называть: @grimtales_ Другие крутые проекты от подкаст-студии «Терменвокс» тут: Телеграм: https://t.me/terminvox ВКонтакте: https://vk.com/terminvox.podcast Соцсеть-которую-нельзя-называть: @terminvox.podcast Если вы хотите заказать классную интеграцию в нашем подкасте и других подкастах студии, пишите нам на adv@terminvox.ru По другим вопросам – podcasts@terminvox.ru

En este episodio hablamos acerca de "El Cantar de los Heike" o el "Heike Monogatari", una obra clásica de la literatura japonesa. El Heike contiene doce libros y un epílogo que fueron escritos a principios del siglo XIII, y que nos narran la rivalidad y la lucha por el poder entre dos clanes militares, los Genji (o Minamoto) y los Heike (o Taira). A menudo el Heike es comparado con otras grandes obras de la literatura, como La Iliada o La Odisea, pero, ¿es esta comparación justa? La obra cubre un periodo de 90 años, de 1131 a 1221, pero la mayoría se enfoca en 18 años, desde que Taira Kiyomori asume el liderazgo en 1167 y hasta la destrucción de las fuerzas de Heike en la batalla "Dan no Ura". Repleto de episodios de guerreros, el Heike es una obra clásica de la literatura japonesa, y es considerada la obra con la cual nace la literatura samurái. En este episodio, platicamos con el Dr. Pitarch y el Dr. Stilerman acerca de qué hace al Heike un clásico de la literatura japonesa, de cómo inaugura la tradición de la literatura samurái y de la relevancia que dicha obra tiene para los lectores contemporáneos. El Dr. Pitarch es profesor de literatura japonesa moderna en la Universidad de Waseda, Tokio. Tiene un doctorado en literatura japonesa por la Universidad de Columbia y un master de la Universidad de Tokio. Es también administrador de la página "Kappa Bunko" sobre literatura japonesa. El Dr. Ariel Stilerman es profesor del Departamento de Idiomas y Culturas del Este de Asia, en la Universidad de Stanford. Cuenta con un doctorado de la Universidad de Columbia y una maestría de la Universidad de Waseda, ambos en literatura japonesa. Su investigación se centra principalmente en la literatura japonesa pre-moderna, específicamente en las poesía de la corte imperial. Créditos: Locución y guión: Patricia Portillo y Sofía Ortega Equipo técnico: Moisés Pérez Música de cortinilla: Jorge Aja Música adicional: "Imperial Forces" de Aaron Kenny Este podcast es una colaboración entre Fundación Japón en México y Fundación Japón, Madrid. Visita nuestros sitios web y síguenos en nuestras redes sociales: Fundación Japón en México - Homepage Fundación Japón en México (jpf.go.jp) - Instagram: Fundación Japón en México (@fjmex1) • Instagram photos and videos - Facebook: Fundación Japón en México 国際交流基金メキシコ日本文化センター | Mexico City | Facebook Fundación Japón, Madrid - Inicio :: FUNDACIÓN JAPÓN MADRID (fundacionjapon.es) - Instagram: Fundación Japón, Madrid (@bibliotecafjm) • Instagram photos and videos - Facebook: Fundación Japón, Madrid | Facebook

Seconda parte dello speciale di fine stagione. Il Motto Podcast torna a parlare di inclusione, cecità e cultura giapponese allo stesso tempo. Per congedarci al meglio dai nostri ascoltatori, proponiamo l'intervista realizzata da un super emozionato Roberto alla scorsa Mostra del Cinema di Venezia. Ospite è il noto regista di animazione Yuwasa Masaaki che ci parlerà della sua opera Inu-o. In essa, si narrano le vicende di Tomona cantastorie non vedente e del suo amico Inu-o, danzatore con il corpo deformato. La storia è ambientata nell'antico giappone ma, i temi sono molto molto attuali. Prima dell'intervista, Roberto ed Elena da studio vi parleranno dell'antica professione dei biwa hoshi non vedenti e dello Heike Monogatari. Nella prima parte invece potrete ascoltare una antica fiaba giapponese. Roberto e Keiko vi racconteranno in doppia lingua le vicende del biwa hoshi non vedente Hoichi, con un sottofondo musicale creato apposta per noi da una suonatrice di koto. Restate assieme a noi per questa ultima grande puntata di Motto Podcast! Buon ascolto!

Water is extremely versatile in the real world and the same can be said for its place in animated filmmaking. In this episode of Get In The Mecha I take a look at how anime makes use of water as a device for telling profound stories, from Attack On Titan to Heike Monogatari. I also discuss why it is worth loooking into these tools for yourself when engaging with a piece of art. Video Version of this Episode: https://youtu.be/64IWFKvyNCA Timestamps: 0:00 - Intro 1:50 - The Iceberg 4:11 - The Great Passage 7:32 - March Comes In Like A Lion 11:57 - Attack On Titan 15:48 - Shouwa Genroku Rakugo Shinjuu 18:40 - Heike Monogatari 24:23 - 'Over-reading' & Intentionality 27:14 - Outro + Music Credits Show Notes for this episode: https://getinthemecha.home.blog/2022/06/12/studying-water-visual-storytelling-in-anime-gitm-podcast-ep-114/ Staff & Creators Mentioned: Shion Miura, Takuya Sato, Toshimasa Kuroyanagi, Naoyuki Asano, Ryousuke Nakamura, Nobutaka Yoda, Kazuya Shiotsuki, Hajime Isayama, (AOT S3 P2 #10 Staff: SB - Daizen Komatsuda / ED - Tetsuya Wakano, Shintaro Itoga & Tetsuro Araki), Tokuyuki Matsutake, Mamoru Hatakeyama, Nobukage Kimura, Naoko Yamada For complete show notes, visit getinthemecha.home.blog Follow me on Twitter: https://twitter.com/GetInTheMecha Questions, corrections, complaints: getinthemecha@gmail.com Music In This Episode: Synth Wave by Alex by Alex McCulloch: https://opengameart.org/content/synth-wave-by-alex Chill by Alex McCulloch: https://opengameart.org/content/chill-1 On The Road Again by Alex McCulloch: https://opengameart.org/content/on-a-monday-night Adventure Time: https://opengameart.org/content/adventure-time-revised

I know we're already in March but let's talk about the anime staff I discovered for the first time in 2021! 2021 was a really great year for anime, in terms of the number of exciting projects that came out, which of course meant that I came across many cool creatives at the same time. In this episode I share who I've come across, why I gravitated to their work and more on this episode of Get In The Mecha. Video version of this episode: https://youtu.be/hn09ZCO-icg Timestamps: 0:00 – Intro 1:42 – Yuki Yonemori, Keiichiro Saito & Nobuhide Kariya (WEP & Sonny Boy) 7:07 – Fuuga Yamashiro & the Heike team (Heike Monogatari) 9:49 – Ikuo Yamakado & Kohei Hatano (Mars Red) 14:28 – Post-Edit Notes on Link Click 15:49 – Li Haoling & co. (Link Click) 19:02 – Hiromatsu Shuu (Da Wang Rao Ming) 21:37 – niL, Asuka Dokai &

The Anime Addicts celebrate Valentine's Day with a few rounds of "Anime Blind Dates" inspired by Caroline. We also review the anime Heike Monogatari. §-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§ Time Markers: -Intro(s): 0:00 -Hot, New Anime Releases: 6:30 -Main Topic: Anime Blind Dates: 17:00 -Trivia/News Break: 58:30 -Unexplored Pictures: 1:04:30 -Mailbags: 1:10:20 -Review: Heike Monogatari: 1:14:30 -Closing Information: 1:49:00 §-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§-§ You can support the podcast in the following ways: Sign up at: http://www.aaapodcast.com/join Send a donation at: https://www.aaapodcast.com/donate Sign up at Patreon: https://www.patreon.com/AAAPodcast Thank you for your generosity and kindness. ------------------------------------------------------ You can also join our Discord Channel at: https://discordapp.com/invite/jFyUqgk ------------------------------------------------------

Automne 2021, deuxième partie : Heike Monogatari, Jojo Part 6, Ranking of Kings et quelques trucs autour qui ne sont pas Heike Monogatari, Jojo Part 6 et Ranking of Kings Vous voulez nous en causer ? Rejoignez-nous sur :DiscordTwitterSoutenez-nous : https://www.patreon.com/calvinballL’offre légale de Simulcast : https://simulcastfr.netlify.com/ Animés entre 7 et 7.5 Hanyou no Yashahime: Sengoku … Lire la suite Calweeb Ball #34 – Et soudain ils gagnèrent →

Stāsta arhitekte Ilze Paklone Klasiskajā japāņu literatūras šedevrā Heike Monogatari jeb "Heikes stāsts "sešpadsmitgadīgā prinča Atsumori sejas skaistums tiek raksturots ar tās maigo pūderējumu un melni tonētajiem zobiem. Savukārt īsajā stāstā par dīvaino meiteni, kam patika kukaiņi, no Tsutsumi Chūnagon Monogatari krājuma kā viena no viņas ekscentriskuma pazīmēm minēti viņas balti spīdošie zobi. Zobus gan Japānā neviens vairs melnus netonē, bet jāpatur prātā, ka skaistuma izjūta te ir jāizkopj visai ekstravaganta, pārkāpjot vispārpieņemtās robežas un trenējoties neparastā pieņemšanā. Ikdienā gan man patiešām ir bijis jāsaņemas, lai wabi sabi suki jeb tādu japāniski tradicionālu skaistumu atrastu, piemēram, pilsētas apbūvē. Tokijas kopiespaids ir grotesks, kā tāda nebeidzama fragmentu kolāža. Vispirms jau ķēros pie pārbaudītām un vieglām skaistuma meklēšanas metodēm – romantizēju Tokijas – sākotnēji Edo – pagātni ar samurajiem koka namu un dārzu pilsētā. Pilsētas ielu audums un struktūra kopumā nav mainījusies un ietver šo te piedomāto, neredzamo skaistumu, tādu kā nojaušamu kārtību aiz visa groteskā. Pilsētas atmiņas ir vairāk uzminamas nekā tiešas. Japāņi tradīcijas nodot nākamajām paaudzēm nemateriālā formā kā zināšanas un prasmes. Ik divdesmit gadus Izes tempļu kompleksa Naikū un Gekū svētnīcas tiek pārbūvētas, lai nodotu tradīciju jaunai sintoisma praktizētāju un kokapstrādes amatnieku paaudzei. Tas, ka ēkas te fiziski nestāv neskartas simtiem gadu, nevienu neuztrauc, tikai varbūt mani reālu un taustāmu pierādījumu meklējumos. Tā es esmu pieradusi – redzēt vēsturi materiālā veidolā. Traģiskā 2011. gada zemestrīce sāpīgi parādīja, ka betona un dzelzs konstrukcijas nav neaizskaramas, un lietu kārtība ir kustībā un apmaiņā. Svelmīgā vasaras svētdienā, kad gaisa temperatūra un mitruma līmenis gaisā pārsniedza saprātam un ķermenim aptveramo robežu, ieniru Tokijas universitātes bibliotēkas arhīvos. Iseja Mijakes (Issey Miyake) monogrāfija East meets West man kļuva par japāņu dizainā iesaistīto personāžu un viņu saikņu un pēctecības enciklopēdiju. Blociņā uzzīmēju gandrīz vai dzimtas koku: kurš ir kurš un ar ko kopā darbojies. Grāmatu Wabi Sabi Suki. The Essence of Japanese Beauty, uz kuru ir tik daudz atsauču Japānas dizaina pētniecībā, ilgi meklēju amazon.com un Nihonbaši apkaimes lietoto grāmatu grēdās. Šīs divas grāmatas tagad man ir nejauši izvēlēti, tomēr uzticami Japānas dizaina izziņas stūrakmeņi. Tās man lieku reizi atgādina par visuresošo ikdienas vizuālās estētikas spēku. Universitātes bibliotēkā grāmatu angliski vispār nav pārāk daudz, lai gan universitāte ir viena no Āzijas labākajām universitātēm Tajā iestāties jau no bērna kājas sapņo jebkurš japāņu bērns. Japānas kultūra, tajā skaitā arī dizains, ir tik savdabīga tās noslēgtības dēļ. Japāņi vienmēr paši sevi apzinājušies kā noslēgtas pasaules apdzīvotājus un jau 8. gadsimta kartē savu zemi iezīmējuši kā mikrokosmu bezgalīga okeāna vidū. Dažās šī perioda kartēs ieskicētas arī Daitoku, Rasetsu-koku un Gando. Daitoku jeb Ķīna senajā japāņu kultūrā ir attīstītākā un diženākā nācija. Savukārt Rasetsu-koku un Gando ir skarbākas japāņu variācijas par Ptolemaja karšu terra incognita - dēmonu, monstru un citu necilvēcīgo radījumu teritorijas ārpus sakārtotās pasaules. Loģiski, ka pirmie eiropieši, kas 16. gadsimtā nokļuva līdz Japānas krastiem, izsmalcinātības un manieru trūkuma dēļ skaidri un gaiši tika nodēvēti par nanban jeb barbariem no dienvidiem. Dienvidu barbaru kultūra ilgajos slēgtās valsts gados japāņiem tapa zināma kā atsevišķi artefakti un fragmentēti tēli, atrauti no to sākotnējā izmantošanas vai nozīmes konteksta. Tāpēc tik saprotama arī bijusī un esošā Rietumu reliģisko un mākslas objektu dekontekstualizēšana: Svētā Vakarēdiena gleznu izmanto lietussargu reklāmai, Monu Lizu - milzīgā elektropreču veikala bannerī. Ģeniālā spēja interpretēt savu un citas kultūras, tās pārvērst jaunos kultūras artefaktos, ir tas, kas visvairāk fascinē Japānā. Tas trenē jutību, uzmanību, spēju saredzēt nianses, saredzēt, pat ja vienmēr nevarēt pieņemt. Fascinē arī spēja izkopt skaistumu līdz perfekcijai jebkurā arodā. Tas ir daudzu gadu, gadu desmitu pacietīgs darbs, lai japāņu meistars teiktu, ka tagad viņam ir izdevies. Ar japāņu draudzeni kādu brīdi strādājām Kanazavā pie slavena mūrniekmeistara. Par māceklēm viņš mūs nepieņēma, tomēr ļāva strādāt pie ēku uzmērījumiem un brīvrokas rasējumiem. Veselu nedēļu strādājām pie brīvrokas zīmējuma, pusi viņa, pusi es. Mūsu meistars ilgi mūs vēroja. Par manu japāņu draudzeni sacīja: cik viņa zīmē precīzi, tik detalizēti, kā rasējot un rakstot. Par mani viņi abi izlēma, ka es labi protot ar vismīkstāko zīmuli skicēt japāņu dārza detaļas, ūdeni un akmeņus un īpaši labi – akmeņu plaisas. Nu tā, ka varot just neticamu spriegumu augumam. Ja pareizi sapratu, tas bija kompliments. Meistars teica, ka mēs abas esot burvīgi apvienojušas atmosfēras un gaisa radīšanu mūsu grafikā. Samulsu. Lūk, atmosfēra dizainā esot iecerēts skaistums, bet gaiss rodoties no nejaušības, kad zīmējums sāk veidoties pats no sevis, un radītājs to nevar vairs kontrolēt. Tas, lūk esot skaisti.

End of Cour Fall 2021   Su seems to have struck out with most of her choices but Scott and Dan fared much better. Brendan was jettisoned into space but he's thankfully not a vampire (yet). Clearly the best strategy is to only watch cute girls making pottery, and brilliantly written historical dramas. Come have a listen!   The Shows covered in this Podcast are: Visual Prison, Komi Can't Communicate, Yuuki Yuna is a Hero: The Great Mankai Chapter, Let's Make a Mug Too: Niban Gama, Demon Slayer: Mugen Train Arc, Heike Monogatari, Tsuki to Laika no Nosferatu, The Great Jahy Won't Be Defeated, My Next Life as a Villainess OVA, The Faraway Paladin, My Hero Academia: World Heroes Mission, Aggretsuko S4   Please visit us at: https://theconartistsblog.com/ and subscribe to our feed (http://theconartists.podbean.com/feed/) to get more podcasts!   The intro/outro music is: Symphogear G - "Rainbow Flower" Lyrics/Composition: Noriyasu Agematsu Arrangement: Seima Iwahashi Vocals:  Aoi Yuki   Disclaimer: The Con Artists own nothing but our opinions and this podcast.  

For our final episode of 2021, we're looking at the origin of one of Japan's most famous pieces of literature: the war epic known as the Heike Monogatari, or Tale of Heike. How did a story about a single conflict in Japanese history become one of the best known chronicles in the entirety of Japan's history, and what did the story tap into to attain that status? Show notes here.

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Heike monogatari, traducido al español como Cantar de Heike, es un poema épico del siglo XIII, considerado un clásico de la literatura japonesa, y fuente de numerosas leyendas, personajes e historias que tienen su origen en él.¿Quieres ser parte del Podcast en vivo? Siguenos en https://www.twitch.tv/animelmackRecuerda que puedes apoyarnos con donaciones al Podcast / To support our Podcasts: https://bit.ly/BDAPodcastSupportSi deseas publicitar tu marca en nuestros episodios, escríbenos a: info@frikitimes.comSuscribete a nuestra playlist con las canciones favoritas que vamos descubriendo en cada episodio de nuestro podcast: https://bit.ly/BastardosPlaylist

What ties rich historical narratives like Heike Monogatari together? On this episode of Get In The Mecha I complete my trilogy of discussions on Heike Monogatari by taking a look at the anime's smart use of visual metaphors. This week I dive into the various symbols the show uses, what we can learn from them and most importantly - why are they so important in historical anime. Thank you for the review Ohirafan! Video version of this episode: https://youtu.be/mPYRp-cQrdM Timestamps: 0:00 - Intro & Review Reading 3:31 - Context 4:26 - Flowers 10:24 - Wings / Butterflies 13:19 - Biwa Strings 17:45 - Dynamics 19:31 - Cinematography & The Strings 23:46 - Visual Identity & History 30:37 - Outro & Music Credits Creatives Mentioned in this Episode: Naoko Yamada: https://anidb.net/creator/1791 Moko-chan: https://anidb.net/creator/virtual/437546 Takashi Kojima: https://anidb.net/creator/11763 Takuya Yamamura: https://anidb.net/creator/2656 Leave a 5-Star Review on Apple Podcasts here: https://podcasts.apple.com/podcast/get-in-the-mecha/id1477541787 For the complete show notes, visit getinthemecha.home.blog Follow me on Twitter: https://twitter.com/GetInTheMecha Questions, corrections, complaints: getinthemecha@gmail.com Music In This Episode: Synth Wave by Alex by Alex McCulloch

Episode 103 of Key Frames, a podcast about anime. You thought we covered maids in episode 41, the one about And Yet the Town Moves, but the joke's on you! Ben, Duncan, and Jeff barely talk about that anime at all this time, preferring instead to wallow in garbage like Mahoromatic and He Is My Master. After the break, at least, they class things up a bit with discussions of Heike Monogatari and the Type-Moon franchise? You'll have to see for yourself if it was all worth it. The post 103 - No Old Maids first appeared on Key Frames.

Heike Monogatari flew way under the radar this season, but this collision of Yamada Naoko and Science Saru, two of the greatest creatives in the industry, absolutely should not be missed! It's an ambitious show, and we discussed how it takes on the original epic, how it differed, and where it succeeded to make a totally unique tale. ➤ Link to the Discord server - https://discord.gg/vrzhhjA ➤ Follow us on twitter! - https://twitter.com/tokyopodfathers ➤ Past Episode Mp3s - https://tokyopodfathers.simplecast.fm/ Hosts: Sinrus - https://myanimelist.net/profile/MetalRain Nix - https://twitter.com/snowynix Aspiring Shoulder Edited by Sinrus

Pocas semanas quedan de la temporada de Otoño, series se van (Japan Sinks: People of Hope, Heike Monogatari) y llegaron un par de estrenos (Super Crooks, Jojo's Bizarre Adventure - Stone Ocean).

If life was an anime? Would you watch one about yourself more than once. Our podcast considers this existential question and much more in this week's podcast. This episode's members: Hybridmink, TGRIP, Requiem and Doctorkev, with Thatsmapizza handling the editing duties. The AniTAY Podcast is a bi-weekly podcast brought to you every other Wednesday. It is available on all your favorite podcast services! If you like us, be sure to subscribe on your favorite service and give us 5 stars! Your support is much appreciated and will help us grow and continue to provide this style of content. Itinerary Intro: 0:00 - 1:01 TGRIP, Digimon Tamers Article: 1:02 - 2:35 AniTAY Early Impression Articles: 2:36 - 4:32 Seasonal Shows Vampire Cosmonaut: Irina: 4:33 - 8:27 Violet Evergarden (Movie): 8:28 - 10:36 Blue Period: 10:37 - 15:45 Heike Monogatari: 15:46 - 20:01 A.M.A.I.M Warrior at the Borderline: 20:02 - 24:05 Rumble Garanndoll: 24:06 - 26:51 Aquatope on White Sand: 26:52 - 31:45 Ranking of Kings: 31:46 - 37:39 Digimon Ghost Game: 37:40 - 40:01 Ganbare Douki-Chan: 40:02 - 41:59 Takt op.Destiny: 42:00 - 44:11 News Attack on Titan Merchandise: 44:12 - 46:05 New Fate Spin Off Anime: 46:06 - 49:59 Ali Band's Drummer is Arrested: 50:00 - 51:05 Toei Animation Toxic Workplace: 51:06 - 55:29 Topic of the week: Would you rewatch an anime?: 55:30 - 1:34:50 Ending: 1:34:51 - End You can find TGRIP's digimon article here: https://www.animeherald.com/2021/11/13/exploring-digimon-tamers-20-years-later/ Missed the previous episode of the AniTAY Podcast? Check it out here: https://medium.com/anitay-official/anitay-podcast-episode-18-we-hope-you-like-isekai-f03eb3c8975c

It's a quarter-century anniversary! Which means not much really, but we have some actually relevant media to discuss, more accidental mic bumps than you can stand, and the return of David Boreanaz??   Movies: No Time To Die, Dune, Venom: Let There Be Carnage, When A City Rises, Petite Maman, Wheel of Fortune and Fantasy, Witches of the Orient, Night Beyond The Tricornered Window, It's A Summer Film, The Deer King TV: Arcane, Wheel of Time, Ranking of Kings, Heike Monogatari, Muteking: The Dancing Hero, Shikizakura Games: Guardians of the Galaxy, Halo Infinite, Forza Horizon 5, Shin Megami Tensei V, Kingdom Hearts, Destiny Books: Priory of the Orange Tree, Skip and Loafer, Swamp Thing, Jade City & Jade War, Head Lopper Volume 4   Follow Us! Email: winemumspodcast@gmail.com Facebook: www.facebook.com/WineMumsPod Twitter: twitter.com/WineMumsPod Website: winemumspodcast.libsyn.com

I couldn't stop thinking about the anime Heike Monogatari so I decided to make another episode on it - this time, I'm focusing on Episode 9, storyboarded and directed by the amazing Ryouhei Takeshita. This week, I try my best to go into depth on what I think makes this episode a standout one in the series with the goal gaining some more insight into what makes great storytelling in anime. Let's dive into one of the standout anime of the Fall 2021 season for a second time! 0:00 - Intro 1:21 - The Work of Ryouhei Takeshita 4:29 - Lighting 8:09 - Lens & Focus 14:46 - Composition & Cuts 19:02 - My Favourite Shot 21:55 - Learning From Takeshita's Direction 24:37 - Outro + Music Credits Creatives Mentioned In This Episode: Ryouhei Takeshita: https://anidb.net/creator/16512 Naoko Yamada: https://anidb.net/creator/1791 Ai Yukimura: https://anidb.net/creator/22433 Leave a 5-Star Review on Apple Podcasts here: https://podcasts.apple.com/podcast/get-in-the-mecha/id1477541787 For the complete show notes, visit getinthemecha.home.blog Follow me on Twitter: https://twitter.com/GetInTheMecha Questions, corrections, complaints: getinthemecha@gmail.com Music In This Episode: Synth Wave by Alex by Alex McCulloch

Ya tenemos nuestras series favoritas de la temporada y seguimos hablando de ellas, por que son historias muy interesantes: Heike Monogatari, Aquatope on White Sand, Blue Period, Komi Can't Communicate.

Episode 324: Part 2 of our Fall 1st impressions! This week we talk about Mushoku Tensei: Isekai Ittara Honki Dasu Part 2, Platinum End, Blue Period, Saihate no Paladin, Shin no Nakama ja Nai to Yuusha no Party wo Oidasareta node Henkyou de Slow Life suru Koto ni Shimashita, Ousama Ranking, Heike Monogatari, Gokushufudou Part 2, and many more! 00:00 Intro, Links, Manga Book Club, Patrons, etc. 07:20 Listener Question + Waifu/Husbando 15:40 Jobless Reincarnation 18:30 Platinum End 28:15 Blue Period 35:00 86 Part 2 + Faraway Paladin 43:40 Banished from the Hero's Party… 48:00 Ranking of Kings 1:01:45 Heike Monogatari 1:14:00 Pride of Orange 1:16:20 Tesla Note 1:17:45 Way of the House Husband 1:19:20 Shorts 1:25:00 Favorite OPs + EDs, Final Thoughts --- Send in a voice message: https://anchor.fm/anime-summit/message Support this podcast: https://anchor.fm/anime-summit/support

Esta temporada hay historias que están contando historias muy interesantes, tratando temas de una manera peculiar: Blue Period, Heike Monogatari, Ranking of Kings y Komi Can't Communicate.

Episode 101 of Key Frames, a podcast about anime. Is the party over? Has the band stopped playing? Have the guests all left? Good, now we can go back to phoning it in, and what better way to do that than to combine our end-of-season and beginning-of-season coverage into one big omnibus episode! Tune in to hear Ben, Andy, Duncan, and Jeff talk about how great The Aquatope on White Sand and Sonny Boy were and how bad Girlfriend, Girlfriend was, for the summer, and about how great Komi Can't Communicate and Heike Monogatari are and how bad The Great Jahy Will Not Be Defeated! is, for the fall. The post 101 - Slime Boostin' first appeared on Key Frames.

Acompanhe nossas gravações na twitch de segunda a sexta a partir das 14h: www.Twitch.tv/ChaDeTrovaoMande seus comentários para nós em nosso e-mail: thunderreview@gmail.comAjude nosso podcast a continuar vivo em www.catarse.me/ChaDeTrovaoConheça nossas camisetas exclusivas: montink.com/chadetrovaoReferência Bibliográfica: http://bit.ly/CdTLinkTwitter: @Thunderbout @Rapha_Whatever @Igor_Nasuverse

Pete & Anime expert Miles are here today to give our first impressions on the currently airing Fall 2021 anime season. What shows were hits and which ones were misses. Tune into the episode today! We have some spoilers for the shows we discusses, so please use the timestamps to avoid any show you are interested in watching! 0:00 Intro 3:27 Komi Can't Communicate 14:10 Takt. OP Destiny 27:10 Blue Period 41:15 My Senpai is Annoying 51:51 Pride of Orange 01:01:40 Irina: The Vampire Cosmonaut 01:10:05 Taishou Maiden Fairytale 01:21:19 Speed Round (Faraway Paladin, World Finest Assassin, Banished From the Heroes Party, Fruit of Evolution, & Sakugan) 01:26:51 Heike Monogatari

Bei den sinkenden Temperaturen ist es Zeit, sich einzumummeln und die letzte Season des Jahres zu genießen. Und die ist schon einmal vielversprechender als die letzte! Mit der 2. Cour von Mushoku Tensei: Jobless Reincarnation kehrt Julians Hype-Anime zurück, während Lukas sich mit 86 Part 2 diesmal mehr anfreunden kann. Netflix steigt mit Blue Period und der absolut großartigen 'Komi Can't Communicate'-Adaption in das Simulcast*-Geschäft ein, Takt Op.Destiny und Mieruko-chan scheinen ganz nett zu sein, wohingegen Platinum End recht abzustinken scheint. Zwei absolute Granaten haben wir aber mit Heike Monogatari, einer Adaption der gleichnamigen Epik, die überraschenderweise von Yamada Naoko im Studio Science Saru und nicht Kyoto Animation umgesetzt wird, und WIT Studios neustem Werk Ranking of Kings, was sich nach zwei Episoden schon zum AOTS mausert. Und bei alldem ist noch nicht mal der neue Arc von Ufotables Demon Slayer gestartet! *mit zweiwöchiger Verspätung

Heike Monogatari kind of came out of nowhere and already there's so much to unpack from a visual perspective. In this episode, I attempt to break down this anime's approach to visual storytelling by going through the work of the various storyboard aritsts & episodes directors that featured on Episodes 1-4. How does it's approach fit with the epic's themes? How does Naoko Yamada's style as a director influence the anime's aesthetic? All this and more on this week's edition of Get In The Mecha. Timestamps: 0:00 - Intro 1:18 - Context 3:31 - The Yamada Style 9:34 - The Ai Yukimura Episode 12:26 - Shuntarou Tozawa's Direction 16:32 - The China Episode 20:27 - Learning From This Anime 25:02 - Outro + Music Credits Creatives mentioned in this episode: Naoko Yamada, Ai Yukimura, China, Shuntarou Tozawa Anime mentioned in this episode: Heike Monogatari, A Silent Voice, Just Call It Love (Music Video), Fire Force S2 Get In The Mecha on YouTube: https://www.youtube.com/getinthemecha Leave a Review on Apple Podcasts here: https://podcasts.apple.com/podcast/get-in-the-mecha/id1477541787 For the complete show notes, visit getinthemecha.home.blog Follow me on Twitter @GetInTheMecha for updates on the show! Questions, corrections, complaints: getinthemecha@gmail.com Music In This Episode: Synth Wave by Alex by Alex McCulloch Mandatory Overtime by Joth

This season is STACKED. There are so many new and interesting Animes coming out this season that it's hard to keep up! Today, Xell and Crim are here to give their first impressions of the shows that are out so far. Did the Animes live up to the hype? Are there dark horses and sleepers lurking in this dense packed season of Anime? We'll answer these questions and much more on today's episode of the Nii-San Podcast. Follow Xell Here: https://twitter.com/XellTweets https://twitch.tv/Xell Follow Crim Here: https://twitter.com/TheAsianAvenger https://Twitch.tv/TheAsianAvenger Follow Nii-San Podcast Here: https://Reddit.com/r/NiisanPodcast https://twitter.com/NiisanPodcast 0:00 Intro 2:21 Anime News 2:29 Oozora Subaru Voices in Lupin III 3:51 World's End Harem Delayed 7:20 Wit Studio Reports 4.5M Loss 10:37 Resident Evil Welcome to Racoon City 12:28 Adam Warlock Casting 13:11 Blue Period 17:20 Komi Can't Communicate 17:37 Platinum End 22:35 Takt Op. Destiny 30:56 Mieruko-Chan 38:03 86 Eighty-Six Part Two 42:37 World's Greatest Assassin Isekai 45:24 Senpai is Annoying 48:21 Demon Slayer Season 2 53:06 Moon, Laika and the Bloodsucking Princess 57:10 The Fruit of Evolution 58:46 Sakugan 1:02:17 The Vampire Dies in No Time 1:05:56 Heike Monogatari 1:08:41 Fena Pirate Princess 1:11:24 Way of the House Husband 1:13:55 Fall 2021 First Impressions 1:19:21 Outro

En este primer episodio de la segunda temporada, hablamos acerca de Sei Shonagon, una de las escritoras más importantes de la literatura clásica japonesa. También hablaremos del género del "zuihitsu", uno de los géneros más curiosos de la literatura japonesa y por el cual esta escritora es más conocida. Para hablar de ello, contamos con la Prof. Rumi Tani, quien es Doctora en Filología por la Universidad Autónoma de Madrid. Es también responsable de la traducción de grandes joyas de la literatura clásica japonesa al español, como: "Heike Monogatari", "Kojiki" y el "Sunamonogatari". Entrevistadora: Patricia Portillo Edición: Moisés Pérez Cortinilla: Jorge Aja Música: Hirokazu Akiyama (H/MIX GALLERY)

La temporada de verano está por terminar pero antes de que eso pase, nos trajo una nueva serie (Heike Monogatari), y se lleva algunas más, en este episodio hablamos de las series: Star Wars Visions, The Aquatope on white sand, Miss Kobayashi's Dragin Maid S y Kageki Shojo.

Regresamos a la programación habitual, con un estreno sorpresivo: Heike Monogatari y el final de la temporada de verano muy cerca, empezamos con el final de That Time I Got Reincarnated as a Slime, y el final de temporada de Tokyo Revengers, pronto tendremos algo especial de la serie To Your Eternity y se quedan algunas series pendientes y algunas otras nos decepcionaron totalmente.

With Fall 2021 Anime Season just around the corner, the hosts of the Otaku Spirit Animecast are here to give their rundown on the up coming titles for us to expect in the Anime Sphere. Listen in and find out what to expect! Anime Discussed In This Preview: Komi Can't Communicate, Platinum End, Blue Period, Mieruko-chan, takt op Destiny, The World's Finest Assassin Gets Reincarnated In Another World as an Aristocrat, World's End Harem, Banished from the Hero's Party I Decided To Live a Quiet Life In The Countryside, The Faraway Paladin, My Senpai is Annoying, Visual Prison, Taisho Maiden Fairytale, Moon Laika and the Bloodsucking Princess, Sakugan, King Ranking, Blade Runner Black Lotus, The Vampire Dies in No Time, The Evolution Fruit Conquering Life Unknowingly, Muv Luv Alternative, The Knight Beyond The Tricornered Window, Selection Project, Shikizakura, Puraore PRIDE OF ORANGE, Tesla Note, Kyoukai Senki, Deep Insanity The Lost Child, Rumble Garanndoll, Megaton-kyuu Musashi, Waccha PriMagi, Star Wars Visions, The Heike Story, Build Divide Code Black, Demon Slayer Entertainment District Arc, Mushoku Tensei Jobless Reincarnation Part 2, JoJo's Bizarre Adventure Stone Ocean, 86 Eighty Six Part 2, World Trigger 3rd Season, Restaurant To Another World 2, Yashahime Princess Half-Demon Second Act, Yuki Yuna is a Hero The Great Mankai Chapter, Lupin the 3rd Part 6, Digimon Ghost Game, Cardfight Vanguard OverDress 2, MUTEKING The Dancing Hero, Baki Hanma, The Way of the Househusband Part 2, Kaginado, Let's Make a Mug Too 2, Can I make Your Ears Happy in 180 Seconds, Deji Meets Girl, BanG Dream Garupa Pico Fever, Kimi to Fit Boxing, Continuing Series, and some random ONA/Movie/OVAs! The opening of this episode is from the PV for takt op Destiny. The closing of this episode is from the PV for Rumble Garanndoll.

What's good? HAPPY BIRTHDAY JUAN! FOR YOUR BIRTHDAY I GOT YOU A NEW PODCAST THEME OR WHATEVER! DUCKTAAAALES!   News Demon Slayer: Kimetsu no Yaiba Entertainment Disctrict Arc's anime adaptation will air this fall for a half year long run. Voice Actor Kiyoshi Kobayashi has retired at the age of 88. Science SARU is producing Heike Monogatari's anime adaptation Winter 2022. Ranking of Kings will be a new anime series from WIT STUDIO exclusive to Funimation in October.   The Witcher: Nightmare of the Wolf   Our intro artist! Soundcloud: https://soundcloud.com/tomnasr Instagram: @tom_nasr Youtube: https://www.youtube.com/user/SuperArmhair                Contact Us: Facebook: https://www.facebook.com/instantramenpodcast/ Twitter: https://twitter.com/InstantRamenPod Instagram: http://instagram.com/instantramenpodcast E-mail: instantramenpodcast@gmail.com Twitch: twitch.tv/krispother What we've watched: https://docs.google.com/spreadsheets/d/1dOnuaP2W--abNIJPF1nwlLoNnD-SHUkuTP_AuLm9ass/edit?usp=sharing  

La Emperatriz Jingū quedó viuda, estaba en embarazo y se aproximaba una invasión al territorio que hoy es Corea. Jingū vendó su vientre para usar ropa de guerra y lideró ella misma la invasión. Estuvo en el poder desde el año 201 hasta el 269. Su figura inspiró las futuras onna bugeisha de las que se habla en este programa de Baúl de Cartas. Aunque hay pocos registros de las onna bugeisha, son mencionadas en el Heike monogatari, traducido al español como El Cantar de Heike, un poema épico del siglo XIII, considerado un clásico de la literatura japonesa. En este libro se menciona a las onna bugeisha como grupos pequeños de mujeres familiares de guerreros samurái que fueron entrenadas para defender sus hogares cuando ellos no estuvieran. Un caso más reciente es el de Nakano Takeko, la última onna bugeisha, fue asesinada por un disparo en 1868 mientras luchaba al lado de su hermana con una espada naginata. Fuentes Amdur, Ellis. (1996). Women Warriors of Japan. Journal of Asian Martial Arts, 5. Heike Monogatari (1330) Anónimo. (Traducido al inglés por Sadler, Arthur) Hubbard, Ben. (2015). The Samurai Warrior: The Golden Age of Japan's Elite Warriors 1560–1615. Amber Books Ltd. Nowaki, Rochelle. (2013). Women Warriors of Early Japan. Hohonu 2015 Academic Journal. Vol, 13 Suscríbete a Baúl de Cartas en: Apple Podcast | YouTube | Spotify | Google Podcast | TuneIn | Stitcher | Deezer | Soundcloud | Overcast | Castbox | Breaker | RadioPublic | --- Support this podcast: https://anchor.fm/bauldecartas/support