Podcasts about oguri

In Episode 2, we will be talking to OGURI Hirofumi about ONUMA Yasuaki's article "When was the Law of International Society Born? – An Inquiry of the History of International Law From an Intercivlizational Perspective", published in JHIL 2(1) (2000) 1-66. Join us, as Hirofumi sheds light on Eurocentrism in and of international law, dives into ONUMA san's ‘intercivilizational approach' and discusses ONUMA san's legacy within the field of international law. Professor Hirofumi Oguri – Associate Professor, Kyushu University, Japan. Faculty Profiles - OGURI Hirofumi (okayama-u.ac.jp).  Music:  “SamuelFrancisJohnson – Lifting Guitar” (https://pixabay.com/de/sound-effects/lifting-guitar-12549/)

In the 14th episode of the MladiRini podcast, our guests are Jelena Lacman and Ivana Čogurić. The two of them launched a series of environmental actions, which is now a strong community called Ecopatriotism. For more info, visit www.mladirini.org

After almost exactly 12 minutes of preshow, we cover Furuya-kun & Oguri-san 4 by Aomushi from Fakku. You can read it here: https://www.fakku.net/hentai/furuya-kun-oguri-san-4-english Talking Points: Big Clit, blowing bubbles, and more. Music by Snortrax Find us on Twitter, Instagram @Nymphomercial  Come join our discord!  https://www.patreon.com/Nymphomercial

Written By: Annie Vandermeer Mitsoda Read By: Max Williams Edited By: Robert Croy Wherin Kudaka and Yasuki Oguri meet Hida Etsuji and help protect an outpost from goblins and undead. Kudaka feels another Kansen and Oguri is trying to deal with superiors. Follow at: Check out the site here Facebook Page Twitter Find it on Spotify, iTunes, GooglePlay Email at ttiycast@gmail.com Join us on the l5R Discord Shosuro Croy: Robert Croy Become a Patron and support the show! Find out more at https://the-table-is-yours.pinecast.co This podcast is powered by Pinecast.

Aired Thursday, 29 November 2018, 9:00 AM EST/6:00 AM PSTYuval RonYuval Ron is a world-renowned musician, composer, educator, peace activist and record producer. Among his many honors, he composed the music for the Oscar-winning film, West Bank. he was invited to perform for the Dalai Lama, has collaborated with the Sufi leader Pir Zia Inayat Khan, master musician Omar Faruk Tekbilek, Zen Buddhist Priest and Visual Artist Hirokazu Kosaka, choreographers Daniel Ezralow and Oguri and with neuroscientists Mark Robert Waldman and Andrew Newburg.He was awarded the Los Angeles Treasures Award and grants from the National Endowments of the Arts. American Composers Forum, California Council for Humanities, and the Rockefeller Foundation. He is a noted lecturer and has been invited to speak at numerous schools including Yale, John Hopkins, UCLA, MIT, Berklee College, and the University of Chicago.Yuval has been on the faculty of the Esalen Institute and is an affiliated artist with the Center for Jewish Culture and Creativity and a guiding voice for Seven Pillars – House of Wisdom. Yuval’s first book, Divine Attunement: Music as a Path to Wisdom, won the gold medal in the spirituality category at the Indie Book Awards in 2015.

Y acaba la obra con un final que podría ser un principio, o la nada o el todo, pues el todo es la nada, y la nada lo es todo. Oguri, el bailarín japonés, se planta en mitad del escenario y con creciente placer empieza a tragar monedas. Oguri nos mira y nosotros le miramos como a un loco, el loco que todos tememos ser en secreto, tragando monedas y Oguri escupiendo monedas el loco somos nosotros. Miradas que se cruzan, el brillo de la moneda cayendo al escenario, que es la vida. Todos somos Oguri escupiendo monedas con una amplia sonrisa y un gozo y dicha sin igual y después fundido en negro. Nada tiene sentido porque tiene todo el sentido: es la nada. Descargar el podcast (MP3 6 Mb) El placer estético en la obra de BeckettUn hombre que no ocupa un espacio escapa al control del orden, pues estamos predestinados a ocupar un espacio, y más aún, a ocupar el espacio de otros, pues en el interior de cada uno anida el instinto de posesión, del egoísmo desmedido que impera en la construcción de la cosmovisión del mundo actual. Razas enteras se doblegan ante el dominio del más fuerte, que ocupa el espacio. Se es en tanto que se ocupa, si no se ocupa, no se es. Somos marionetas en un estercolero sin sentido, veleros mecidos por el aliento de gansos; colibrís sin alas; cerdos sin motor. Ojalá todo tuviera sentido, pero no lo tiene. Es absurdo, como el alma. Injusto y cruel y lento, como la vida. Intento, sí, sumergirte en el hastío y la pesadumbre, en el pesimismo de Beckett. Un pesimismo optimista, porque es vital, pero que no alberga esperanza, solo un ser y estar. Ser y tiempo, a lo Heidegger. Una silla puede simbolizar el tiempo, y Oguri girando sobre sí mismo puede simbolizar el ser. Una silla que es todas las sillas, y por tanto todos los tiempos: ayer, hoy y mañana. Un ser que es todos los seres: yo, tú, los otros. Un movimiento lento y asíncrono que es una bofetada a la rapidez y al ritmo que el mundo establece de salida. Ante el orden que impera, forjado a base de costumbre y tradición, parece que nada, absolutamente nada, escapa a la racionalidad del orden establecido. Uno no puede simplemente permanecer en calma consigo mismo, darse el respiro necesario para dar un paso atrás y contemplar la visión de conjunto. Ser lento y pesado es un demérito, no son cualidades exigibles en un mundo que se mueve rápido y ágil. El placer estético, el movimiento singular de esta poesía visual que es Return to absence (Volver a la ausencia), la obra que fugazmente se ha representado en la sala Hiroshima de Barcelona, es lo que yo definiría como una experiencia artística. Arcane Collective, la compañía de danza fundada por Oguri y Morleigh Steinberg, nos ha regalado una obra de un inmenso goce estético, que bucea en la obra de Beckett, especialmente en su trilogía de Molloy, Malone muere y El innombrable. La danza es arte en movimiento y es una de las pocas ocasiones, junto al teatro y la performance, en que podemos ver el arte creándose en vivo, abriéndose paso por entre las costuras del orden. Imagen de portada: http://www.unitedstatesartists.org/fellow/oguri/

Happy New Year! We have returned with our first anime episode of 2018, in which we talk about the last anime episodes of 2017. We are going over the Guardian Spirits Arc as we talk about episodes... Go to www.GintamaPodcast.com for full show notes.

2016 Metropolitan PGA Section Teacher of the Year and Golf Digest Top 100 Club-Fitter, Kirk Oguri, talks at length about golf club-fitting and how to get the best clubs for you in your hands.  More specifically Kirk discusses golf club- lofts, lies, bounce and sole-widths, and shafts and how they influence golf shots.  He also shares a tip to help you hit the golf ball more crisply.

Michael Wert‘s new book considers the construction of memory around the “losers” of the Meiji Restoration, individuals and groups whose reputations suffered most in the late nineteenth-century transition from Tokugawa to imperial rule. Meiji Restoration Losers: Memory and Tokugawa Supporters in Modern Japan (Harvard University Asia Center, 2013) explores the work of memory activists at different moments of commemoration in the history of modern Japan. Also, there is buried treasure. Before the treasure, we are invited to a beheading. The execution of Oguri Tadamasa, one of the most important of the losers in Wert’s book, sets the stage for a guided tour through the memory landscapes from which Oguri and others emerge as historical instruments and objects. Wert mobilizes an impressive range of diaries, local historical sources, newspapers, essays, works of manga, and short fiction from which a textually-mediated historical memory of controversial Restoration figures has been produced. In addition to this rich textual archive, Wert also brings us into a trans-historical collection of statues, graves, heads, magnifying glasses, and a single screw, all of which open up a material archive to supplement and extend the written. Historians of moving pictures will also find much of interest here, as the commemoration of Oguri and company takes shape in film and television in the latter part of the book. In addition, as you will recall from above: there is buried treasure involved. I won’t tell you how or when, but you’ll find out if you listen to the interview. Wert concludes with a helpful consideration of his the story continues into the twenty first century, turning finally to consider the ways that the practices and legacies of historical commemoration have shaped reactions to the 3.11 disaster in recent memory. And if I haven’t already made it clear: buried treasure. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Wert‘s new book considers the construction of memory around the “losers” of the Meiji Restoration, individuals and groups whose reputations suffered most in the late nineteenth-century transition from Tokugawa to imperial rule. Meiji Restoration Losers: Memory and Tokugawa Supporters in Modern Japan (Harvard University Asia Center, 2013) explores the work of memory activists at different moments of commemoration in the history of modern Japan. Also, there is buried treasure. Before the treasure, we are invited to a beheading. The execution of Oguri Tadamasa, one of the most important of the losers in Wert’s book, sets the stage for a guided tour through the memory landscapes from which Oguri and others emerge as historical instruments and objects. Wert mobilizes an impressive range of diaries, local historical sources, newspapers, essays, works of manga, and short fiction from which a textually-mediated historical memory of controversial Restoration figures has been produced. In addition to this rich textual archive, Wert also brings us into a trans-historical collection of statues, graves, heads, magnifying glasses, and a single screw, all of which open up a material archive to supplement and extend the written. Historians of moving pictures will also find much of interest here, as the commemoration of Oguri and company takes shape in film and television in the latter part of the book. In addition, as you will recall from above: there is buried treasure involved. I won’t tell you how or when, but you’ll find out if you listen to the interview. Wert concludes with a helpful consideration of his the story continues into the twenty first century, turning finally to consider the ways that the practices and legacies of historical commemoration have shaped reactions to the 3.11 disaster in recent memory. And if I haven’t already made it clear: buried treasure. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Reverend Murakami Taiken, Abbot, Tozenji Temple

Kisha duket vendi i përshtatshëm për të mbledhur informacione. Pastori ia shpjegon melodinë Anës dhe i njofton se ajo është çelësi i një makine që udhëton në kohë. Por për çfarë makine e ka fjalën ai? Pas rifillimit të lojës, Ana dhe Gruaja me të Kuqe luftojnë me njëra-tjetrën. Kur shfaqet pastori, Gruaja me të Kuqe ia mbath. Pastori i shpjegon Anës, se komisar Oguri vetëm është plagosur dhe është shtruar në spital. Ai e luan edhe një herë melodinë dhe i shpjegon asaj se vargu i notave D A C H F E G është çelësi i një makine që udhëton në kohë. Ky triumf i dhuron Anës dhe lojtarit një shpërblim kohor prej 10 minutash. Po a do të mjaftojë kjo kohë?

Oguri plagoset në shkëmbimin e zjarrit me gruan me të kuqe dhe e sqaron Anën për Ratavan, që kërkon të eleminojë ngjarje historike. Me fuqitë e fundit të mbetura ai i përmend asaj një datë: 9 nëntorin. Por të cilit vit? Komisar Oguri beson se Ana ndodhet në teatër dhe e shtyn që të largohet me të shpejtë. Gruaja me të Kuqe shfaqet dhe shtin kundër Anës, e cila humb në këtë mënyrë një jetë tjetër. Pasi ka filluar loja sërish, Oguri i sqaron Anës se një bandë terroristësh kërkon të ndryshojë historinë. Megjithëse komisari plagoset për vdekje, ai i tregon Anës një datë të rëndësishme: 9 nëntorin. Por për cilin vit flet ai?

Ana arrin t'u shpëtojë motoçiklistëve, duke u futur në një teatër varietesh. Atje ajo takon Hajdrunin dhe mëson nga komisar Oguri se atë po e kërkon RATAVA. Po çfarë kërkojnë RATAVA dhe Gruaja me të Kuqe nga Ana? Lojtari e udhëzon Anën që të kthehet në dyqanin e Paul Vinkerit, për të marrë kutinë muzikore me kurdisje. Rrugës për atje ajo arrin t'u shpëtojë motoçiklistëve dhe takon sërish në një teatër varietesh Hajdrun Drajn. Edhe komisari Ogur shfaqet atje, për ta pyetur Hajdrunin për vendndodhjen e Anës. Ai ndien se Ana është fshehur në teatër dhe e paralajmëron se RATAVA është në gjurmët e saj. Papritur shfaqet Gruaja me të Kuqe. Çfarë do ajo nga Ana?