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This collection of Japanese short stories reveals a rapidly changing Japanese society and the deep draw of its traditional culture. The first half of this century saw the coming of age of the Japanese short story. Influenced by Western literary techniques, such innovative writers as Shiga Naoya, Ozaki Shiro, Yasunari Kawabata, Shimaki Kensaku, Hayashi Fumiko, Dazai Osamu, and (somewhat later) Kobo Abe reassessed the Japanese story tradition and brought new vigor to the uniquely Japanese sense of the detail and natural context of everyday life. The works of these writers stand at the center of modern Japan's literary development. Despite their differences, it is the simplicity and purity of their natural images-sultry late-summer days, cicadas, lizards, and the sounds of life's routines-that more than anything anchor the emotions and perceptions of their stories. For A Late Chrysanthemum, translator and editor Lane Dunlop has selected twenty-one stories by these seven intriguing and influential authors to convey the depth and range of the modern Japanese story, a discriminating selection which, in Dunlop's sure and masterful English renderings, won this book the Japan-United States Friendship Award for Literary Translation.
As Osaka Maru steams into the port town of Kure, the great, grey war-making vessels of the Imperial Japanese Navy are making steam. The boy at the bow wonders where they are headed.Once ashore, he finds Kure changed beyond recognition. The boy is returning to Japan, to the only family he knows, his uncle and aunt and his cousin, Kazuo. It is seven years since he last saw his homeland. Seven years since, with his parents, he left Kure for Minas Gerais, in the wilds of Brazil, to fulfil his father's misplaced ambition to become a coffee planter. It had brought his parents only misery and ultimately, an untimely end for them both, leaving Hanro orphaned and alone in a foreign country. It has taken almost two years to find the means to return to his homeland. He climbs Mount Egezan and knocks on his Uncle Junichiro's door. The lady who answers is a surprise. She is a gaigin, an Englishwoman who explains that his uncle's family had moved away, to Hiroshima. She invites him in and he finds that she is married to a flyer on the aircraft carrier Hiryu, the Flying Dragon. When she shows a photo of her husband flying his Nakajima torpedo bomber, wearing a white hachimaki tied around his forehead, a samurai of the sky, he is immediately seen as a hero. The Englishwoman invites the boy to stay with her until he can find his family. In exchange, he agrees to restore the samurai's garden. The boy finds that he has walked into a tense and conflicted household. Then Radio Tokyo announces that the Imperial Japanese Navy has destroyed the US fleet at Pearl Harbor ?
She was a perfect baby, and she had a perfect name. Chrysanthemum. Chrysanthemum loved her name—until she started school. A terrific read-aloud for the classroom and libraries!
With Post-Theory, David Bordwell and Noël Carroll challenge the prevailing practices of film scholarship. Since the 1970s, film scholars have been searching for a unified theory that will explain all sorts of films, their production, and their reception; the field has been dominated by structuralist Marxism, varieties of cultural theory, and the psychoanalytic ideas of Freud and Lacan. Bordwell and Carroll ask, why not employ many theories tailored to specific goals, rather than searching for a unified theory? Post-Theory offers fresh directions for understanding film, presenting new essays by twenty-seven scholars on topics as diverse as film scores, audience response, and the national film industries of Russia, Scandinavia, the U.S., and Japan. They use historical, philosophical, psychological, and feminist methods to tackle such basic issues as: What goes on when viewers perceive a film? How do filmmakers exploit conventions? How do movies create illusions? How does a film arouse emotion? Bordwell and Carroll have given space not only to distinguished film scholars but to non-film specialists as well, ensuring a wide variety of opinions and ideas on virtually every topic on the current agenda of film studies. Full of stimulating essays published here for the first time, Post-Theory promises to redefine the study of cinema.
For fans of Lisa Wingate’s Before We Were Yours and Min Jin Lee’s Pachinko, a deeply moving novel that follows two Korean sisters separated by World War II. Korea, 1943. Hana has lived her entire life under Japanese occupation. As a haenyeo, a female diver of the sea, she enjoys an independence that few other Koreans can still claim. Until the day Hana saves her younger sister from a Japanese soldier and is herself captured and transported to Manchuria. There she is forced to become a “comfort woman” in a Japanese military brothel. But haenyeo are women of power and strength. She will find her way home. South Korea, 2011. Emi has spent more than sixty years trying to forget the sacrifice her sister made, but she must confront the past to discover peace. Seeing the healing of her children and her country, can Emi move beyond the legacy of war to find forgiveness? Suspenseful, hopeful, and ultimately redemptive, White Chrysanthemum tells a story of two sisters whose love for each other is strong enough to triumph over the grim evils of war.
Muna has never known his father -- a samurai, a noble warrior. But Muna's mother has told Muna how he will know him one day: by the sign of the chrysanthemum. When his mother dies, Muna travels to the capital of twelfth-century Japan, a bewildering city on the verge of revolution. He finds a haven there, as servant to the great swordsmith, Fukuji. But Muna cannot forget his dream: He must find his father. Only then will he have power and a name to be reckoned with. Only then will he become a man.
Donald Kirihara examines in extraordinary detail the brilliant early works of one of the world's great film directors, offering an in-depth analysis of his career. Kirihara's exploration of Mizoguchi within his national and cultural context marks a new step forward in the integration of film theory, historical research, and auteur criticism.
Reading a Japanese Film, written by a pioneer of Japanese film studies in the United States, provides viewers new to Japanese cinema with the necessary tools to construct a deeper understanding of some of the most critically acclaimed and thoroughly entertaining films ever made. In her introduction, Keiko McDonald presents a historical overview and outlines a unified approach to film analysis. Sixteen "readings" of films currently available on DVD with English subtitles put theory into practice as she considers a wide range of work, from familiar classics by Ozu and Kurosawa to the films of a younger generation of directors.