Takuan (沢庵), also known as takuwan or takuan-zuke, is a popular traditional Japanese preserved vegetable.
It is made from daikon radish. In addition to being served alongside other types of tsukemono in traditional Japanese cuisine, takuan is also enjoyed at the end of meals as it is thought to aid digestion. In Korean it is known as danmuji (단무지) and is typically added to gimbap or served as a side dish in Korean Chinese cuisine.
Takuan is made by first hanging a daikon radish in the sun for a few
weeks until it becomes flexible. Next, the daikon is placed in a
pickling crock and covered with a mix of salt, rice bran, optionally sugar, daikon greens, kombu, and perhaps chilli pepper and/or dried persimmon
peels. A weight is then placed on top of the crock, and the daikon is
allowed to pickle for several months. The finished takuan is usually
yellow in color, although most mass-produced takuan rely on food
coloring for this effect.
Takuan Sōhō is credited with concocting this yellow pickle, which now bears his name.[1]
Tsukemono (漬物, literally "pickled things") are Japanese preserved vegetables.[1]
Takuan Sōhō (沢庵 宗彭, December 24, 1573 – January 27, 1645) was a major figure in the Rinzai school of Zen Buddhism.
24.10.12
22.10.12
Tsukimi
Tsukimi (月見) or Otsukimi, literally moon-viewing, refers to Japanese festivals honoring the autumn moon. The celebration of the full moon typically takes place on the 15th day of the eighth month of the traditional Japanese lunisolar calendar; the waxing moon is celebrated on the 13th day of the ninth month. These days normally fall in September and October of the modern solar calendar.
The tradition dates to the Heian era, and is now so popular in Japan that some people repeat the activities for several evenings following the appearance of the full moon during the eighth lunisolar month.
On the evening of the full moon, it is traditional to gather in a place where the moon can be seen clearly and give offerings to the moon in order to pray for an abundant harvest.
Tsukimi traditions include displaying decorations made from Japanese pampas grass (susuki) and eating rice dumplings called Tsukimi dango in order to celebrate the beauty of the moon.
Seasonal produce are also displayed as offerings to the moon. Sweet potatoes are offered to the full moon, while beans or chestnuts are offered to the waxing moon the following month. The alternate names of the celebrations, Imomeigetsu (literally "potato harvest moon") and Mamemeigetsu ("bean harvest moon") or Kurimeigetsu ("chestnut harvest moon") are derived from these offerings.
These dishes are known collectively as Tsukimi dishes (月見料理 tsukimi ryōri).
Tsukimi refers to the Japanese tradition of holding parties to view the harvest moon. The custom is thought to have originated with Japanese aristocrats during the Heian period,[citation needed] who would gather to recite poetry under the full moon of the eighth month of the lunisolar calendar, known as the "Mid-Autumn Moon." Since ancient times, Japanese people have described the eighth lunisolar month (corresponding to September on the contemporary Gregorian calendar) as the best time for looking at the moon, since the relative positions of the earth, sun, and moon cause the moon to appear especially bright.[citation needed]
Susuki is a grass native to eastern Asia throughout most of China, Japan, Taiwan, and Korea.
The Full Harvest Moon is the full moon that occurs closest to the autumnal equinox.
The tradition dates to the Heian era, and is now so popular in Japan that some people repeat the activities for several evenings following the appearance of the full moon during the eighth lunisolar month.
On the evening of the full moon, it is traditional to gather in a place where the moon can be seen clearly and give offerings to the moon in order to pray for an abundant harvest.
Tsukimi traditions include displaying decorations made from Japanese pampas grass (susuki) and eating rice dumplings called Tsukimi dango in order to celebrate the beauty of the moon.
Seasonal produce are also displayed as offerings to the moon. Sweet potatoes are offered to the full moon, while beans or chestnuts are offered to the waxing moon the following month. The alternate names of the celebrations, Imomeigetsu (literally "potato harvest moon") and Mamemeigetsu ("bean harvest moon") or Kurimeigetsu ("chestnut harvest moon") are derived from these offerings.
These dishes are known collectively as Tsukimi dishes (月見料理 tsukimi ryōri).
Tsukimi refers to the Japanese tradition of holding parties to view the harvest moon. The custom is thought to have originated with Japanese aristocrats during the Heian period,[citation needed] who would gather to recite poetry under the full moon of the eighth month of the lunisolar calendar, known as the "Mid-Autumn Moon." Since ancient times, Japanese people have described the eighth lunisolar month (corresponding to September on the contemporary Gregorian calendar) as the best time for looking at the moon, since the relative positions of the earth, sun, and moon cause the moon to appear especially bright.[citation needed]
Susuki is a grass native to eastern Asia throughout most of China, Japan, Taiwan, and Korea.
The Full Harvest Moon is the full moon that occurs closest to the autumnal equinox.
19.10.12
Japanese Martial Arts Titles
Martial artists often address their teachers as sensei. Junior and senior students are organized via a senpai/kōhai system. Also in some systems of karate, O´Sensei is the title of the (deceased) head of the style.
Various titles are also employed to refer to senior instructors. Which titles are used depends on the particular licensing organization.
Various titles are also employed to refer to senior instructors. Which titles are used depends on the particular licensing organization.
Shōgō
Shōgō (称号, Japanese for "title","degree") are martial arts titles developed by the Dai Nippon Butoku Kai,[1] the Kokusai Budoin and the International Martial Arts Federation Europe. Many organizations in Japan award such titles upon a sincere study and dedication of Japanese martial arts. The below mentioned titles are awarded after observing a person's martial arts skills, his/her ability of teaching and understanding of martial arts and the mostly important a role model and perfection of one's character.- Renshi (錬士 : れんし): Polished Instructor. (Skilled person or expert teacher) Awarded to 5th Dan and above.
- Kyōshi (教士 : きょうし) refers to an advanced teacher. (Senior Teacher/Expert). Awarded to 7th Dan and above.
- Hanshi (範士 : はんし) refers to a senior expert considered a "teacher of teachers". This title is used by many different arts for the top few instructors of that style, and is sometimes translated "Grand Master". Awarded to 8th Dan and above.
- Meijin (名人): awarded by a special board of examiners.
Other martial arts titles
- Kensei (剣聖, sword's saint) an honorary title given to a warrior of legendary skill in swordsmanship.
- Kyōshi (教師 : きょうし), which in everyday Japanese can be a more modest synonym for sensei, is sometimes used to indicate an instructor.
- Oyakata (親方 : おやかた), master, especially a sumo coach. The literal sense is of someone in loco parentis.
- Shihan (師範 : しはん), merely means chief instructor; unlike the titles above it is not related to grade.
- Shidōin (指導員:しどういん), intermediate instructor, also unrelated to grade.
- Shishō (師匠 : ししょう) is another title used for martial arts instructors.
- Zeki (関 : ぜき), literally "barrier", used for sumo wrestlers in the top two divisions (sekitori).
18.10.12
Heian-kyō and Heian Period
Heian-kyō (平安京, literally "tranquility and peace capital"), was one of several former names for the city now known as Kyoto.
It was the capital of Japan for over one thousand years, from 794 to 1868 with an interruption in 1180.
Emperor Kammu established it as the capital in 794, moving the Imperial Court there from nearby Nagaoka-kyō at the recommendation of his advisor Wake no Kiyomaro and marking the beginning of the Heian period of Japanese history.[1]
The Heian period (平安時代 Heian jidai) is the last division of classical Japanese history, running from 794 to 1185.[1] The period is named after the capital city of Heian-kyō, or modern Kyōto.
It is the period in Japanese history when Buddhism, Taoism and other Chinese influences were at their height.
The Heian period is also considered the peak of the Japanese imperial court and noted for its art, especially poetry and literature. Although the Imperial House of Japan had power on the surface, the real power was in the hands of the Fujiwara clan, a powerful aristocratic family who had intermarried with the imperial family. Many emperors actually had mothers from the Fujiwara family.[2]
The Heian period was preceded by the Nara period.
It was the capital of Japan for over one thousand years, from 794 to 1868 with an interruption in 1180.
Emperor Kammu established it as the capital in 794, moving the Imperial Court there from nearby Nagaoka-kyō at the recommendation of his advisor Wake no Kiyomaro and marking the beginning of the Heian period of Japanese history.[1]
The Heian period (平安時代 Heian jidai) is the last division of classical Japanese history, running from 794 to 1185.[1] The period is named after the capital city of Heian-kyō, or modern Kyōto.
It is the period in Japanese history when Buddhism, Taoism and other Chinese influences were at their height.
The Heian period is also considered the peak of the Japanese imperial court and noted for its art, especially poetry and literature. Although the Imperial House of Japan had power on the surface, the real power was in the hands of the Fujiwara clan, a powerful aristocratic family who had intermarried with the imperial family. Many emperors actually had mothers from the Fujiwara family.[2]
The Heian period was preceded by the Nara period.
17.10.12
Tsūtenkaku and Billiken
Tsūtenkaku (通天閣, lit. "Tower Reaching Heaven") owned by Tsūtenkaku Kanko Co., Ltd. is a tower and well-known landmark of Osaka, Japan and advertises Hitachi. It is located in the Shinsekai district of Naniwa-ku, Osaka. Its total height is 103 m: the main observation deck is at a height of 91 m.
The current tower is the second to occupy the site. The original tower, patterned after the Eiffel Tower, was built in 1912, and was connected to the adjacent amusement park, Luna Park, by an aerial cable car. At the time of its construction, its height of 64 meters made it the second tallest structure in Asia. It quickly became one of the most popular locations in the city, drawing visitors from all over the area. The original structure suffered a fire in 1943 which severely damaged it, and rather than repair the structure, it was disassembled and the steel used for the war effort.[1]
After the war, citizens lobbied to rebuild the beloved tower. A private company, the Tsūtenkaku Kanko Co. Ltd. was established and Tachū Naitō, Japan's "Father of Towers" was selected to design it. The new, eight-sided structure was opened in 1956.[2]
On the fifth floor observation deck is enshrined Billiken, the God of Happiness or "things as they ought to be." Billiken, a popular American charm doll that came to Japan in about 1910, was enshrined within Luna Park when it opened. When the park closed in 1923, the wooden statue of Billiken went missing. As a part of an effort to revive the tower, a copy of Billiken was made from an old photograph and placed inside the tower in 1979. The statue of Billiken became closely associated with the tower and is a popular symbol of good luck. Each year thousands of visitors place a coin in his donation box and rub the soles of his feet to make their wishes come true.
The Billiken was a star in Sakamoto Junji's 1996 comedy Billiken in which the statue is restored to the Tsutenkaku in an effort to revive the popularity of the tower and save Shinsekai.[8]
The tower is also famous for its neon lights, which change every few years (they were shut off during the oil crisis of 1974–76). Hitachi has sponsored the tower since 1957, and the light designs usually spell out Hitachi advertisements, although one side of the tower is usually occupied by a public service announcement.
The current tower is the second to occupy the site. The original tower, patterned after the Eiffel Tower, was built in 1912, and was connected to the adjacent amusement park, Luna Park, by an aerial cable car. At the time of its construction, its height of 64 meters made it the second tallest structure in Asia. It quickly became one of the most popular locations in the city, drawing visitors from all over the area. The original structure suffered a fire in 1943 which severely damaged it, and rather than repair the structure, it was disassembled and the steel used for the war effort.[1]
After the war, citizens lobbied to rebuild the beloved tower. A private company, the Tsūtenkaku Kanko Co. Ltd. was established and Tachū Naitō, Japan's "Father of Towers" was selected to design it. The new, eight-sided structure was opened in 1956.[2]
On the fifth floor observation deck is enshrined Billiken, the God of Happiness or "things as they ought to be." Billiken, a popular American charm doll that came to Japan in about 1910, was enshrined within Luna Park when it opened. When the park closed in 1923, the wooden statue of Billiken went missing. As a part of an effort to revive the tower, a copy of Billiken was made from an old photograph and placed inside the tower in 1979. The statue of Billiken became closely associated with the tower and is a popular symbol of good luck. Each year thousands of visitors place a coin in his donation box and rub the soles of his feet to make their wishes come true.
The Billiken was a star in Sakamoto Junji's 1996 comedy Billiken in which the statue is restored to the Tsutenkaku in an effort to revive the popularity of the tower and save Shinsekai.[8]
The tower is also famous for its neon lights, which change every few years (they were shut off during the oil crisis of 1974–76). Hitachi has sponsored the tower since 1957, and the light designs usually spell out Hitachi advertisements, although one side of the tower is usually occupied by a public service announcement.
15.10.12
Kaomoji (Japanese Emoticons)
Users from Japan
popularized a style of emoticons called Kaomoji (顔文字) that can be understood without tilting
one's head to the left.
This style arose on ASCII NET of Japan in 1986.[11][12]
Similar looking emoticons were used by Byte Information Exchange (BIX) around the same time.[13]
These emoticons are usually found in a format similar to
Different emotions such as
The emphasis on the eyes is reflected in the common usage of emoticons that use only the eyes, e.g.
Looks of stress are represented by the likes of
Repeating the /// mark can indicate embarrassment by symbolizing blushing. Characters like hyphens or periods can replace the underscore; the period is often used for a smaller, "cuter" mouth or to represent a nose, e.g.
The parentheses also can often be replaced with braces, e.g.
A quotation mark ", apostrophe ', or semicolon ; can be added to the emoticon to imply apprehension or embarrassment, in the same way that a sweat drop is used in popular and common Asian animation.
This style arose on ASCII NET of Japan in 1986.[11][12]
Similar looking emoticons were used by Byte Information Exchange (BIX) around the same time.[13]
These emoticons are usually found in a format similar to
(*_*). The asterisks indicate the eyes; the central character, commonly an underscore, the mouth; and the parentheses, the outline of the face.Different emotions such as
(")(-_-)("), are expressed by changing the character representing the eyes, for example "T" can be used to express crying or sadness (T_T).The emphasis on the eyes is reflected in the common usage of emoticons that use only the eyes, e.g.
^^.Looks of stress are represented by the likes of
(x_x) while (-_-;)
is a generic emoticon for nervousness, the semicolon indicating sweat
that occurs during anxiety.Repeating the /// mark can indicate embarrassment by symbolizing blushing. Characters like hyphens or periods can replace the underscore; the period is often used for a smaller, "cuter" mouth or to represent a nose, e.g.
(^.^). Alternatively, the mouth/nose can be left out entirely, e.g. (^^).The parentheses also can often be replaced with braces, e.g.
{^_^}. Many times, the parentheses are left out completely, e.g. ^^, >.< , o_O, O.O, e_e, e.e.A quotation mark ", apostrophe ', or semicolon ; can be added to the emoticon to imply apprehension or embarrassment, in the same way that a sweat drop is used in popular and common Asian animation.
14.10.12
Chikuwa
Chikuwa (竹輪) is a Japanese tube-like food product made from ingredients such as fish surimi, salt, sugar, starch, monosodium glutamate
and egg white. After mixing them well, they are wrapped around a bamboo
or metal stick and steamed or broiled.
The word chikuwa, ("bamboo ring") comes from the shape when it is sliced.
As it is cheap and a relatively low-fat source of protein, chikuwa is popular as a snack.
In Tottori, the per-household consumption has been the highest of all prefectures for the past 30 years, since the first year such records were kept.
There are several regional varieties. In the east part of Tottori and part of Nagasaki, tofu chikuwa is produced that adds tofu to surimi. Often, firm tofu is the preferred selection.
In Yawatahama, Ehime, Kawa-chikuwa (literally skin chikuwa) is produced, which uses fish skin wrap around the skewers and broiled. This is a by-product of regular chikuwa, however texture and taste are different.
In Shikokuchūō, Ehime, there is Ebi-chikuwa, which contains shrimp paste in surimi.
In Komatsushima, Tokushima, there is Take chikuwa (literally bamboo chikuwa), which remains on the bamboo after it is broiled.
Australian sushi restaurants may stuff the hollow with cheese, (processed or soft cheeses like Brie) and deep-fry them in tempura batter.
The word chikuwa, ("bamboo ring") comes from the shape when it is sliced.
As it is cheap and a relatively low-fat source of protein, chikuwa is popular as a snack.
In Tottori, the per-household consumption has been the highest of all prefectures for the past 30 years, since the first year such records were kept.
There are several regional varieties. In the east part of Tottori and part of Nagasaki, tofu chikuwa is produced that adds tofu to surimi. Often, firm tofu is the preferred selection.
In Yawatahama, Ehime, Kawa-chikuwa (literally skin chikuwa) is produced, which uses fish skin wrap around the skewers and broiled. This is a by-product of regular chikuwa, however texture and taste are different.
In Shikokuchūō, Ehime, there is Ebi-chikuwa, which contains shrimp paste in surimi.
In Komatsushima, Tokushima, there is Take chikuwa (literally bamboo chikuwa), which remains on the bamboo after it is broiled.
Australian sushi restaurants may stuff the hollow with cheese, (processed or soft cheeses like Brie) and deep-fry them in tempura batter.
Kokyū
The kokyū (胡弓) is a traditional Japanese string instrument, the only one played with a bow.
Although it was introduced to Japan from China along with the shamisen, its material, shape, and sound are unique to Japan.
The instrument also exists in an Okinawan version, called kūchō (胡弓 くーちょー) in the Okinawan language.
The instrument is similar in construction to the shamisen, appearing like a smaller version of that instrument.
It is 70 cm (28 inches) tall, with a neck made of ebony and a hollow body made of coconut or Styrax japonica wood, covered on both ends with cat skin (or snakeskin in Okinawa). It has three (or, more rarely, four) strings and is played upright, with the horsetail-strung bow rubbing against the strings.
In central Japan, the kokyū was formerly used as an integral part of the sankyoku ensemble, along with the koto and shamisen, but beginning in the 20th century the shakuhachi most often plays the role previously filled by the kokyū.
Since Shinei Matayoshi, a kokyū and sanshin musician and sanshin maker, invented and popularized a four-stringed version of the kokyū in order to expand the instrument's range, the kokyū has become much more popular. A kokyū society, dedicated to promoting the instrument, exists in Japan.
The kokyū is similar to two Chinese bowed lutes with fingerboards: the leiqin and the zhuihu. In Japanese, the term kokyū may refer broadly to any bowed string instrument of Asian origin, as does the Chinese term huqin. Thus, the Chinese erhu, which is also used by some performers in Japan, is sometimes described as a kokyū, along with the kūchō, leiqin, and zhuihu. The specific Japanese name for erhu is niko.
Although it was introduced to Japan from China along with the shamisen, its material, shape, and sound are unique to Japan.
The instrument also exists in an Okinawan version, called kūchō (胡弓 くーちょー) in the Okinawan language.
The instrument is similar in construction to the shamisen, appearing like a smaller version of that instrument.
It is 70 cm (28 inches) tall, with a neck made of ebony and a hollow body made of coconut or Styrax japonica wood, covered on both ends with cat skin (or snakeskin in Okinawa). It has three (or, more rarely, four) strings and is played upright, with the horsetail-strung bow rubbing against the strings.
In central Japan, the kokyū was formerly used as an integral part of the sankyoku ensemble, along with the koto and shamisen, but beginning in the 20th century the shakuhachi most often plays the role previously filled by the kokyū.
Since Shinei Matayoshi, a kokyū and sanshin musician and sanshin maker, invented and popularized a four-stringed version of the kokyū in order to expand the instrument's range, the kokyū has become much more popular. A kokyū society, dedicated to promoting the instrument, exists in Japan.
The kokyū is similar to two Chinese bowed lutes with fingerboards: the leiqin and the zhuihu. In Japanese, the term kokyū may refer broadly to any bowed string instrument of Asian origin, as does the Chinese term huqin. Thus, the Chinese erhu, which is also used by some performers in Japan, is sometimes described as a kokyū, along with the kūchō, leiqin, and zhuihu. The specific Japanese name for erhu is niko.
13.10.12
Yuki Onna
Yuki Onna (雪女, snow woman) is a spirit or yōkai in Japanese folklore. She is a popular figure in Japanese literature, manga, and animation.
She may also go by such names as yuki-musume snow girl[1], yuki-onago "snow wench", yukijorō "snow harlot"[1], yuki anesa "snow sis'", yuki-omba "snow granny or snow nanny"[2], yukinba "snow hag"（Ehime）[2], yukifuri-baba(?) "snowfall hag"[1](Nagano)[2].
In many stories, Yuki-onna appears to travelers trapped in snowstorms, and uses her icy breath to leave them as frost-coated corpses. Other legends say she leads them astray so they simply die of exposure.
Yuki-onna appears on snowy nights as a tall, beautiful woman with long black hair and blue lips. Her inhumanly pale or even transparent skin makes her blend into the snowy landscape (as famously described in Lafcadio Hearn's Kwaidan: Stories and Studies of Strange Things). She sometimes wears a white kimono,[3] but other legends describe her as nude, with only her face and hair standing out against the snow.[4] Despite her inhuman beauty, her eyes can strike terror into mortals. She floats across the snow, leaving no footprints (in fact, some tales say she has no feet, a feature of many Japanese ghosts), and she can transform into a cloud of mist or snow if threatened.
Some legends say the Yuki-onna, being associated with winter and snowstorms, is the spirit of someone who perished in the snow.[5] She is at the same time beautiful and serene, yet ruthless in killing unsuspecting mortals. Until the 18th century, she was almost uniformly portrayed as evil. Today, however, stories often color her as more human, emphasizing her ghost-like nature and ephemeral beauty.[6]
In Ranma ½, she is responsible for a snow blizzard and is accompanied by a Snow Monster Guardian.
She may also go by such names as yuki-musume snow girl[1], yuki-onago "snow wench", yukijorō "snow harlot"[1], yuki anesa "snow sis'", yuki-omba "snow granny or snow nanny"[2], yukinba "snow hag"（Ehime）[2], yukifuri-baba(?) "snowfall hag"[1](Nagano)[2].
In many stories, Yuki-onna appears to travelers trapped in snowstorms, and uses her icy breath to leave them as frost-coated corpses. Other legends say she leads them astray so they simply die of exposure.
Yuki-onna appears on snowy nights as a tall, beautiful woman with long black hair and blue lips. Her inhumanly pale or even transparent skin makes her blend into the snowy landscape (as famously described in Lafcadio Hearn's Kwaidan: Stories and Studies of Strange Things). She sometimes wears a white kimono,[3] but other legends describe her as nude, with only her face and hair standing out against the snow.[4] Despite her inhuman beauty, her eyes can strike terror into mortals. She floats across the snow, leaving no footprints (in fact, some tales say she has no feet, a feature of many Japanese ghosts), and she can transform into a cloud of mist or snow if threatened.
Some legends say the Yuki-onna, being associated with winter and snowstorms, is the spirit of someone who perished in the snow.[5] She is at the same time beautiful and serene, yet ruthless in killing unsuspecting mortals. Until the 18th century, she was almost uniformly portrayed as evil. Today, however, stories often color her as more human, emphasizing her ghost-like nature and ephemeral beauty.[6]
In Ranma ½, she is responsible for a snow blizzard and is accompanied by a Snow Monster Guardian.
12.10.12
Radio Drama in Japan (Rajio Dorama)
Radio drama in Japan has a history as long as that of radio broadcasting in that country, which began in 1925.
Some consider the first Japanese radio drama to have been "Kirihitoha (桐一葉, The Falling Paulownia Leaf)" which was a radio broadcast of a stage play. Others consider the Japanese translation of Richard Hughes's "Danger" or Tankō no Naka (炭坑の中, Down the coal pit) to be the first true radio drama to be broadcast in Japan.
The Japanese public broadcaster, NHK, also had a special radio drama theatrical company that is the origin of the seiyū phenomenon in Japan that continues to this day.
In the 1950s, authors like Shinichiro Nakamura (中村真一郎), Kiyoteru Hanada (花田清輝), and others who belonged to the "junbun gaku (純文学, "pure literature movement") penned many experimental radio dramas. These radio dramas caught the attention of various Eastern European countries, and as a result, these works were translated and rebroadcast. As with most countries, radio drama broadcasts have become less common after the advent of television.
In Japan today, it is common for popular television dramas, light novels, manga series, anime series or video games to have main plot lines, plot continuations, sequels or small side stories released in the form of audio dramas. These audio dramas are alternatively called drama CDs (ドラマCD), radio dramas (ラジオドラマ), or sound dramas (サウンドドラマ).
Some consider the first Japanese radio drama to have been "Kirihitoha (桐一葉, The Falling Paulownia Leaf)" which was a radio broadcast of a stage play. Others consider the Japanese translation of Richard Hughes's "Danger" or Tankō no Naka (炭坑の中, Down the coal pit) to be the first true radio drama to be broadcast in Japan.
The Japanese public broadcaster, NHK, also had a special radio drama theatrical company that is the origin of the seiyū phenomenon in Japan that continues to this day.
In the 1950s, authors like Shinichiro Nakamura (中村真一郎), Kiyoteru Hanada (花田清輝), and others who belonged to the "junbun gaku (純文学, "pure literature movement") penned many experimental radio dramas. These radio dramas caught the attention of various Eastern European countries, and as a result, these works were translated and rebroadcast. As with most countries, radio drama broadcasts have become less common after the advent of television.
In Japan today, it is common for popular television dramas, light novels, manga series, anime series or video games to have main plot lines, plot continuations, sequels or small side stories released in the form of audio dramas. These audio dramas are alternatively called drama CDs (ドラマCD), radio dramas (ラジオドラマ), or sound dramas (サウンドドラマ).
Pride FC
PRIDE Fighting Championships (PRIDE or Pride FC) was a Japanese mixed martial arts (MMA) organization.
Its inaugural event was held at the Tokyo Dome on October 11, 1997.
Pride held more than sixty mixed martial arts events.
As one of the most popular MMA organizations in the world during its ten years of operation, Pride broadcasted to about 40 countries worldwide.[1]
Pride also held the largest live MMA event audience record of over 70,000 people at the Pride and K-1 co-production, Shockwave/Dynamite, held in August 2002,[2] as well as the audience record of over 67,450 people at the PRIDE Final Conflict 2003.
In March 2007, Dream Stage Entertainment sold Pride to Lorenzo Fertitta and Frank Fertitta III, co-owners of Zuffa, which owns the Ultimate Fighting Championship (UFC).[3] While remaining as legally separate entities with separate managements, the two promotions were set to cooperate in a manner akin to the AFL-NFL merger. However, such an arrangement did not materialize, and in October 2007, Pride Worldwide's Japanese staff was laid off, marking the end of the organization as an active fight promoter. As a result, many of the Pride staff left to form a new organization alongside K-1 parent company Fighting and Entertainment Group. That new organization, founded in February 2008, was named Dream. On June 3, 2012, Dream effectively went out of business.[4]
Its inaugural event was held at the Tokyo Dome on October 11, 1997.
Pride held more than sixty mixed martial arts events.
As one of the most popular MMA organizations in the world during its ten years of operation, Pride broadcasted to about 40 countries worldwide.[1]
Pride also held the largest live MMA event audience record of over 70,000 people at the Pride and K-1 co-production, Shockwave/Dynamite, held in August 2002,[2] as well as the audience record of over 67,450 people at the PRIDE Final Conflict 2003.
In March 2007, Dream Stage Entertainment sold Pride to Lorenzo Fertitta and Frank Fertitta III, co-owners of Zuffa, which owns the Ultimate Fighting Championship (UFC).[3] While remaining as legally separate entities with separate managements, the two promotions were set to cooperate in a manner akin to the AFL-NFL merger. However, such an arrangement did not materialize, and in October 2007, Pride Worldwide's Japanese staff was laid off, marking the end of the organization as an active fight promoter. As a result, many of the Pride staff left to form a new organization alongside K-1 parent company Fighting and Entertainment Group. That new organization, founded in February 2008, was named Dream. On June 3, 2012, Dream effectively went out of business.[4]
Hagoita and Hanetsuki
Hagoita (羽子板 ｢はごいた｣) are rectangular wooden paddles, originating in Japan, ostensibly used to play hanetsuki, but often instead serving a more ornamental purpose. These are frequently painted, usually with lacquer, with auspicious symbols, or decorated with complex silk collages.
This tradition dates to the 17th century, and although the game itself
is now rarely played, crafting decorative hagoita is still commonplace.
They are generally sold at traditional fairs, hagoita ichi, which are held in December. In Tokyo, they are sold at shrines, especially Asakusa and Furukawa Fudō.
Hanetsuki (羽根突き, 羽子突き) is a Japanese traditional game, similar to badminton without a net, played with a rectangular wooden paddle called a hagoita and a brightly-coloured shuttlecock.
Often played by girls at the New Year, the game can be played in two fashions: by one person attempting to keep the shuttlecock aloft as long as possible, or by two people batting it back and forth. Girls who fail to hit the shuttlecock get marked on the face with India Ink.
Traditionally, the longer the shuttlecock remains in the air, the greater protection from mosquitoes the players will receive during the coming year.
Although Hanetsuki is not as popular as it used to be, decorative hagoita are commonly sold throughout Japan.
Hagoita sometimes have pictures of Kabuki theatre performers on it.
They are generally sold at traditional fairs, hagoita ichi, which are held in December. In Tokyo, they are sold at shrines, especially Asakusa and Furukawa Fudō.
Hanetsuki (羽根突き, 羽子突き) is a Japanese traditional game, similar to badminton without a net, played with a rectangular wooden paddle called a hagoita and a brightly-coloured shuttlecock.
Often played by girls at the New Year, the game can be played in two fashions: by one person attempting to keep the shuttlecock aloft as long as possible, or by two people batting it back and forth. Girls who fail to hit the shuttlecock get marked on the face with India Ink.
Traditionally, the longer the shuttlecock remains in the air, the greater protection from mosquitoes the players will receive during the coming year.
Although Hanetsuki is not as popular as it used to be, decorative hagoita are commonly sold throughout Japan.
Hagoita sometimes have pictures of Kabuki theatre performers on it.
11.10.12
Daisetsuzan National Park (2)
Daisetsuzan National Park (大雪山国立公園 Daisetsuzan Kokuritsu Kōen), or Taisetsuzan is located in the mountainous center of the northern Japanese island of Hokkaidō.
At 2,267.64 square kilometres (875.54 sq mi), Daisetsuzan is the largest national park in Japan, and is approximately the size of Kanagawa Prefecture.
Daisetsuzan, meaning "great snowy mountains", an apt description of these peaks. There are 16 peaks over 2,000 metres (6,600 ft) in Daisetsuzan National Park, both with and without trails.
The park offers some of the most rugged scenery in Japan. Asahidake (2,290 metres (7,510 ft)), located in the north of the park, is the highest peak in Hokkaidō. Daisetsuzan National Park spans two subprefectures of Hokkaidō, Kamikawa and Tokachi. Daisetsuzan National Park was established in 1934.[2][3][4][5][6]
Daisetsuzan National Park consists of three volcanic mountain groups.
These volcanic groups lie around a central highlands dominated by Mount Tomuraushi. The park is also known for its alpine meadows and remote backcountry.
At 2,267.64 square kilometres (875.54 sq mi), Daisetsuzan is the largest national park in Japan, and is approximately the size of Kanagawa Prefecture.
Daisetsuzan, meaning "great snowy mountains", an apt description of these peaks. There are 16 peaks over 2,000 metres (6,600 ft) in Daisetsuzan National Park, both with and without trails.
The park offers some of the most rugged scenery in Japan. Asahidake (2,290 metres (7,510 ft)), located in the north of the park, is the highest peak in Hokkaidō. Daisetsuzan National Park spans two subprefectures of Hokkaidō, Kamikawa and Tokachi. Daisetsuzan National Park was established in 1934.[2][3][4][5][6]
Daisetsuzan National Park consists of three volcanic mountain groups.
These volcanic groups lie around a central highlands dominated by Mount Tomuraushi. The park is also known for its alpine meadows and remote backcountry.
Kotodama
Kotodama or kototama (言霊, lit. "word spirit/soul") refers to the Japanese
belief that mystical powers dwell in words and names.
English translations include "power of words", "soul of language", "spirit of language", "power of language", "power word", "magic word", and "sacred sound".
The notion of kotodama presupposes that sounds can magically affect objects, and that ritual word usages can influence our environment, body, mind, and soul.
Kotodama is a central concept in Japanese mythology, Shinto, and Kokugaku. For example, the Kojiki describes an ukei (or seiyaku) 誓約 "covenant; pledge, written vow" between the sibling gods Susanoo and Amaterasu, "Let each of us swear, and produce children".[1] Uttering the divine words of an ukehi[clarification needed] supposedly determines results, and in this case, Amaterasu giving birth to five male deities proved that Susanoo's intentions were pure.
Kototama or kotodama is also fundamental to Japanese martial arts, for instance, in the use of kiai. Morihei Ueshiba, the founder of aikido, used kototama as a spiritual basis for his teachings. William Gleason says Ueshiba "created aikido based on the kototama principle," and quotes him that "Aikido is the superlative way to practice the kototama. It is the means by which one realizes his true nature and finds ultimate freedom."[2] Mutsuro Nakazono, a disciple of Ueshiba, wrote books on the importance of kototama in aikido.[3]
While other cultures have animistic parallels to kotodama, such as mantra, mana, and logos, some Japanese people believe the "word spirit" is unique to the Japanese language. One of the classical names of Japan is kototama no sakiwau kuni (言霊の幸はう国, "the land where the mysterious workings of language bring bliss"),[4] a phrase that originated in the Man'yōshū.
Kokugaku (Kyūjitai: 國學/Shinjitai: 国学; lit. National study) was a National revival, or school of Japanese philology and philosophy originating during the Tokugawa period. Kokugaku scholars worked to refocus Japanese scholarship away from the then-dominant study of Chinese, Confucian, and Buddhist texts in favor of research into the early Japanese classics.[1]
English translations include "power of words", "soul of language", "spirit of language", "power of language", "power word", "magic word", and "sacred sound".
The notion of kotodama presupposes that sounds can magically affect objects, and that ritual word usages can influence our environment, body, mind, and soul.
Kotodama is a central concept in Japanese mythology, Shinto, and Kokugaku. For example, the Kojiki describes an ukei (or seiyaku) 誓約 "covenant; pledge, written vow" between the sibling gods Susanoo and Amaterasu, "Let each of us swear, and produce children".[1] Uttering the divine words of an ukehi[clarification needed] supposedly determines results, and in this case, Amaterasu giving birth to five male deities proved that Susanoo's intentions were pure.
Kototama or kotodama is also fundamental to Japanese martial arts, for instance, in the use of kiai. Morihei Ueshiba, the founder of aikido, used kototama as a spiritual basis for his teachings. William Gleason says Ueshiba "created aikido based on the kototama principle," and quotes him that "Aikido is the superlative way to practice the kototama. It is the means by which one realizes his true nature and finds ultimate freedom."[2] Mutsuro Nakazono, a disciple of Ueshiba, wrote books on the importance of kototama in aikido.[3]
While other cultures have animistic parallels to kotodama, such as mantra, mana, and logos, some Japanese people believe the "word spirit" is unique to the Japanese language. One of the classical names of Japan is kototama no sakiwau kuni (言霊の幸はう国, "the land where the mysterious workings of language bring bliss"),[4] a phrase that originated in the Man'yōshū.
Kokugaku (Kyūjitai: 國學/Shinjitai: 国学; lit. National study) was a National revival, or school of Japanese philology and philosophy originating during the Tokugawa period. Kokugaku scholars worked to refocus Japanese scholarship away from the then-dominant study of Chinese, Confucian, and Buddhist texts in favor of research into the early Japanese classics.[1]
Hanryū (Korean Wave)
The Korean wave[1] (Hangul: 한류; Hanja: 韓流; RR: Hanryu; MR: Hallyu) refers to the significant increase in the popularity of South Korean entertainment and culture starting in the 1990s, in Asia,
and more recently in other parts of the world. As one put it, it
represents a surge in the international visibility of Korean culture.[2]
The term was coined in mid 1999 by Beijing journalists surprised at the fast growing popularity of Korean entertainment and culture in China.[3]
In Japan, the Korean wave phenomenon started after the successful airing of the drama Winter Sonata. The demographics mostly included older Japanese women at that time.[10]
K-pop girl groups that advance into Japan focus on the young, independent, and teenage market. K-pop groups are seen as "cool and attractive", with emphasis on being "strong-minded" rather than being seen as "cute and sweet", with emphasis on being "Kawaii", which J-pop girl groups are known to be.[citation needed]
Japan was once held as an unattainable goal for Korean entertainers, but that is no longer the case.
In 2010, Korean girl groups such as Girls' Generation and Kara marked progress for other K-pop acts after being able to rank in the top five on the Oricon charts.[57][58]
The wave has had considerable impact on the South Korean economy, as well as on the political and cultural influence of South Korea. For example, in 2011 based on international activity the Korean wave added approximately USD$3.8 billion dollars of revenue to the South Korean economy.[4]
The term was coined in mid 1999 by Beijing journalists surprised at the fast growing popularity of Korean entertainment and culture in China.[3]
In Japan, the Korean wave phenomenon started after the successful airing of the drama Winter Sonata. The demographics mostly included older Japanese women at that time.[10]
K-pop girl groups that advance into Japan focus on the young, independent, and teenage market. K-pop groups are seen as "cool and attractive", with emphasis on being "strong-minded" rather than being seen as "cute and sweet", with emphasis on being "Kawaii", which J-pop girl groups are known to be.[citation needed]
Japan was once held as an unattainable goal for Korean entertainers, but that is no longer the case.
In 2010, Korean girl groups such as Girls' Generation and Kara marked progress for other K-pop acts after being able to rank in the top five on the Oricon charts.[57][58]
The wave has had considerable impact on the South Korean economy, as well as on the political and cultural influence of South Korea. For example, in 2011 based on international activity the Korean wave added approximately USD$3.8 billion dollars of revenue to the South Korean economy.[4]
10.10.12
Johnny & Associates, Inc. and Janīzu (Johnny's)
Johnny & Associates, Inc. (株式会社ジャニーズ事務所 Kabushikigaisha Janīzu Jimusho) is a talent agency formed by Johnny Kitagawa in 1962. Johnny & Associates trains and promotes groups of male idols, collectively known as "Johnny's" (ジャニーズ Janīzu),[1][2] in Japan.
Kaibun
Kaibun (回文; lit. circle sentence) is a Japanese equivalent of palindrome, or in other words, a sentence that reads the same from the beginning to the end or from the end to the beginning.
The unit of kaibun is mora since the Japanese language uses syllabaries, hiragana and katakana.
Single word palindromes are not uncommon in Japanese. For example, Ku-ku (九九, multiplication table), Shi-n-bu-n-shi (新聞紙, newspaper), to-ma-to (トマト, tomato), To-e-to (トエトUmmuhh), etc. So kaibun usually refers to a palindromic sentence, but a passage can be a kaibun too.
The topic marker "wa" (は) can be treated as "ha" and small kana ゃ,ゅ and ょ are usually allowed to be interpreted as big kana や, ゆ and よ. In classics, diacritic marks are often ignored.
Famous Kaibun
- Ta-ke-ya-bu ya-ke-ta (竹薮焼けた) - A bamboo grove has been burned.
- Wa-ta-shi ma-ke-ma-shi-ta-wa (私負けましたわ) - I have lost.
- Na-ru-to wo to-ru-na (なるとを取るな) - Do not take my naruto (spiral-shaped fishcake).
- Shi-na-mo-n pa-n mo re-mo-n pa-n mo na-shi (シナモンパンもレモンパンも無し) - There is neither cinnamon bread nor lemon bread.
- Na-ga-ki yo-no to-ho-no ne-bu-ri-no mi-na me-za-me na-mi-no-ri-bu-ne-no o-to-no-yo-ki-ka-na (長き世の 遠の眠りの 皆目覚め 波乗り船の 音の良きかな) Tanka
- Yo-no-na-ka, ho-ka-ho-ka na-no-yo (世の中、ホカホカなのよ) - The world is a warm place.
Mora (plural moras or morae) is a unit in phonology that determines syllable weight, which in some languages determines stress or timing. As with many technical linguistic terms, the definition of a mora varies. Perhaps the most succinct working definition was provided by the American linguist James D. McCawley in 1968: a mora is “Something of which a long syllable consists of two and a short syllable consists of one.”
9.10.12
Shibuya-kei
Shibuya-kei (渋谷系) is a sub-genre of Japanese pop music which originated in the Shibuya district of Tokyo. It is best described as a mix between jazz, pop, and electropop.
Shibuya-kei gained popularity from the Japanese music corner of some foreign-affiliated retail music chains in Shibuya (Tower Records, HMV[1]) early in the 1990s and it spread through Japan rapidly.
The term was applied to bands strongly influenced by French yé-yé music and its most notable proponent, Serge Gainsbourg.
Typical artists are Flipper's Guitar, Pizzicato Five, and Original Love.
As the style's popularity increased at end of the 90s, the term began to be applied to many bands whose musical stylings reflected a more mainstream sensibility. Although some artists rejected or resisted being categorized as "Shibuya-kei," the name ultimately stuck, as the style was favoured by local businesses, including Shibuya Center Street's HMV Shibuya, which sold Shibuya-kei records in its traditional Japanese music section. Increasingly, musicians outside of Japan, such as Britain's Momus, France's Dimitri from Paris, and the US artists Natural Calamity and Phofo are labelled Shibuya-kei.
The term "Shibuya-kei" comes from Shibuya (渋谷), one of the 23 special wards of Tokyo known for its fashion stores, night life, and being an epicenter of Japanese pop culture, and the Japanese word kei (系), which literally means "system"[2] or, in this context, "style".[3] So, Shibuya-kei translates to "Shibuya style".
Shibuya-kei gained popularity from the Japanese music corner of some foreign-affiliated retail music chains in Shibuya (Tower Records, HMV[1]) early in the 1990s and it spread through Japan rapidly.
The term was applied to bands strongly influenced by French yé-yé music and its most notable proponent, Serge Gainsbourg.
Typical artists are Flipper's Guitar, Pizzicato Five, and Original Love.
As the style's popularity increased at end of the 90s, the term began to be applied to many bands whose musical stylings reflected a more mainstream sensibility. Although some artists rejected or resisted being categorized as "Shibuya-kei," the name ultimately stuck, as the style was favoured by local businesses, including Shibuya Center Street's HMV Shibuya, which sold Shibuya-kei records in its traditional Japanese music section. Increasingly, musicians outside of Japan, such as Britain's Momus, France's Dimitri from Paris, and the US artists Natural Calamity and Phofo are labelled Shibuya-kei.
The term "Shibuya-kei" comes from Shibuya (渋谷), one of the 23 special wards of Tokyo known for its fashion stores, night life, and being an epicenter of Japanese pop culture, and the Japanese word kei (系), which literally means "system"[2] or, in this context, "style".[3] So, Shibuya-kei translates to "Shibuya style".
Kombu (Konbu)
Kombu (Japanese: 昆布) is edible kelp from the family Laminariaceae widely eaten in East Asia [1]. It may also be referred to as konbu (Japanese), dashima (Korean: 다시마 dasima) or haidai (simplified Chinese: 海带; traditional Chinese: 海帶; pinyin: Hǎidài).
Kombu is used extensively in Japanese cuisines as one of the three main ingredients needed to make dashi, a soup stock.
Kombu is a good source of glutamic acid, an amino acid responsible for umami, the Japanese word used for one of the five basic tastes in addition to salty, sweet, sour, and bitter, identified in 1908.
Most kombu is from the species Saccharina japonica (Laminaria japonica),[1] extensively cultivated on ropes in the seas of Japan and Korea.[2]
Over 90% of Japanese kombu is cultivated, mostly in Hokkaidō, but also as far south as the Seto Inland Sea.
The earliest written record of kombu appeared in Shoku Nihongi in 797 as a gift and tax from the Tōhoku region. Its use is believed to have begun much earlier, probably dating back to the Jōmon period, but because it easily decomposes, no archaeological evidence can be found.
Traditional Okinawan cuisine relies heavily on kombu as a part of the diet; this practice began in the Edo period. Okinawa uses more kombu per household than any other prefecture.
In 1867, the word "kombu" first appeared in an English-language publication—A Japanese and English Dictionary by James Curtis Hepburn.
Kombu is used extensively in Japanese cuisines as one of the three main ingredients needed to make dashi, a soup stock.
Kombu is a good source of glutamic acid, an amino acid responsible for umami, the Japanese word used for one of the five basic tastes in addition to salty, sweet, sour, and bitter, identified in 1908.
Most kombu is from the species Saccharina japonica (Laminaria japonica),[1] extensively cultivated on ropes in the seas of Japan and Korea.[2]
Over 90% of Japanese kombu is cultivated, mostly in Hokkaidō, but also as far south as the Seto Inland Sea.
The earliest written record of kombu appeared in Shoku Nihongi in 797 as a gift and tax from the Tōhoku region. Its use is believed to have begun much earlier, probably dating back to the Jōmon period, but because it easily decomposes, no archaeological evidence can be found.
Traditional Okinawan cuisine relies heavily on kombu as a part of the diet; this practice began in the Edo period. Okinawa uses more kombu per household than any other prefecture.
In 1867, the word "kombu" first appeared in an English-language publication—A Japanese and English Dictionary by James Curtis Hepburn.
Gōkon
In Japan, a gōkon (合コン) is a group blind date,
typically used to form at least some friendships between two groups
that are each of a single sex. Generally, a single man and woman who
know each other organize the gōkon in advance, each agreeing to
bring three or four eligible friends. The venue is usually a restaurant,
izakaya (pub), or anywhere people can eat, drink and make a bit of noise.[3]
The term gōkon comes from the Japanese words konpa (a party for members of a single group, class, or club) and gōdō ("together", "combination").
Generally speaking, gōkon are not primarily intended to result in one-night stands (something more associated with nanpa), but rather for making friends and possibly forming long-term relationships.
Typically groups of men and women will sit opposite each other and converse with one another, while simultaneously whispering discussions with their same-sex peers about which potential partners they find attractive. Sometimes games are played to reduce tension and encourage a convivial atmosphere.
Recently, writing a text message on a mobile phone and showing it to others has become popular as an alternative to whispering.[4]
The term gōkon comes from the Japanese words konpa (a party for members of a single group, class, or club) and gōdō ("together", "combination").
Generally speaking, gōkon are not primarily intended to result in one-night stands (something more associated with nanpa), but rather for making friends and possibly forming long-term relationships.
Typically groups of men and women will sit opposite each other and converse with one another, while simultaneously whispering discussions with their same-sex peers about which potential partners they find attractive. Sometimes games are played to reduce tension and encourage a convivial atmosphere.
Recently, writing a text message on a mobile phone and showing it to others has become popular as an alternative to whispering.[4]
8.10.12
Honmei Choko and Giri Choko
Honmei Choco (本命チョコ), literally, "true feeling chocolate" in Japanese.
Honmei choco is chocolate given by women on Valentine's day to men whom the giver has romantic feelings for. This is often given to boyfriends, prospective boyfriends, and husbands.
Honmei chocolate is higher-quality and more expensive than giri choco ("obligation chocolate").
Giri choco is given to male coworkers and other men to whom the woman has no romantic attachment.[1]
Homemade honmei choco is also popular.[2]
This is generally reciprocated on White day, celebrated on March 14th, when men buy candy and gifts for women.
Giri choco (義理チョコ, literally, "obligation chocolate" in Japanese) is chocolate given by women to men on Valentine's day in Japan.
It is a relatively cheap type of chocolate women give to male co-workers, casual acquaintances, and others to whom they have no strong attachment.[1][2]
Giri choco is lower-quality than honmei choco (more expensive chocolates women give to their romantic partners).[citation needed]
Men generally reciprocate by giving women cookies and other gifts on White Day, celebrated on March 14.
Honmei choco is chocolate given by women on Valentine's day to men whom the giver has romantic feelings for. This is often given to boyfriends, prospective boyfriends, and husbands.
Honmei chocolate is higher-quality and more expensive than giri choco ("obligation chocolate").
Giri choco is given to male coworkers and other men to whom the woman has no romantic attachment.[1]
Homemade honmei choco is also popular.[2]
This is generally reciprocated on White day, celebrated on March 14th, when men buy candy and gifts for women.
Giri choco (義理チョコ, literally, "obligation chocolate" in Japanese) is chocolate given by women to men on Valentine's day in Japan.
It is a relatively cheap type of chocolate women give to male co-workers, casual acquaintances, and others to whom they have no strong attachment.[1][2]
Giri choco is lower-quality than honmei choco (more expensive chocolates women give to their romantic partners).[citation needed]
Men generally reciprocate by giving women cookies and other gifts on White Day, celebrated on March 14.
White Day
White Day (ホワイトデー Howaito Dē) is a day that is marked in Japan, South Korea, Taiwan and China on March 14, one month after Valentine's Day.
In Japan, Valentine's Day is typically observed by girls and women presenting chocolate gifts (either store-bought or handmade), usually to boys or men, as an expression of love, courtesy, or social obligation. Handmade chocolate is usually preferred by the recipient because of the perception of sincerity, effort, and emotion put into a home-made confection. On White Day, the reverse happens: men who received a honmei-choco (本命チョコ?, "chocolate of love") or giri-choco (義理チョコ?, "courtesy chocolate") on Valentine's Day are expected to return the favor by giving gifts.
Traditionally, popular White Day gifts are cookies, jewellery, white chocolate, white lingerie and marshmallows.[1]
Sometimes the term sanbai gaeshi (三倍返し?, literally, "triple the return") is used to describe the generally recited rule that the return gift should be two to three times the cost of the Valentine's gift.[2]
In Japan, Valentine's Day is typically observed by girls and women presenting chocolate gifts (either store-bought or handmade), usually to boys or men, as an expression of love, courtesy, or social obligation. Handmade chocolate is usually preferred by the recipient because of the perception of sincerity, effort, and emotion put into a home-made confection. On White Day, the reverse happens: men who received a honmei-choco (本命チョコ?, "chocolate of love") or giri-choco (義理チョコ?, "courtesy chocolate") on Valentine's Day are expected to return the favor by giving gifts.
Traditionally, popular White Day gifts are cookies, jewellery, white chocolate, white lingerie and marshmallows.[1]
Sometimes the term sanbai gaeshi (三倍返し?, literally, "triple the return") is used to describe the generally recited rule that the return gift should be two to three times the cost of the Valentine's gift.[2]
Ganbare! Adomin-kun (Mr Admin)
Mr. Admin (がんばれ！ アドミンくん) (2005- ) is a weekly Japanese four-panel (4コマ) web comic strip published on a technology news portal site.
It is notable for being the first Japanese comic aimed at IT professionals.
Stories usually revolve around the IT staff at an unnamed company in a shabby building somewhere in the sprawl of Tokyo. Though most of the recurring characters have proper names, the persevering main character, a system administrator, is known only as “Mr. Admin.”
The original Japanese comic has run since November 2005, and the English version since 2008.
List of main characters.
It is notable for being the first Japanese comic aimed at IT professionals.
Stories usually revolve around the IT staff at an unnamed company in a shabby building somewhere in the sprawl of Tokyo. Though most of the recurring characters have proper names, the persevering main character, a system administrator, is known only as “Mr. Admin.”
The original Japanese comic has run since November 2005, and the English version since 2008.
List of main characters.
7.10.12
Sekitori and Makushita
A sekitori (関取) is a sumo wrestler who is ranked in one of the top two professional divisions: makuuchi and juryo.
Currently there are 70 rikishi in these divisions. The benefits of being a sekitori compared to lower ranked wrestlers include:
rikishi (力士) Literally, Strong man. The most common term for a professional sumo wrestler, although sumōtori is sometimes used instead.
Makushita (幕下) is the third highest division. Prior to the creation of the jūryō division, this division was only one below the topmost makuuchi division (meaning inside the curtain). Hence makushita, literally meaning "below (shita) the curtain (maku)".
Unlike the sekitori ranks above them, wrestlers compete only seven times during a tournament.
It is often considered that holding the rank of makushita is the first step toward becoming a professional (sekitori ranked) sumo wrestler. Furthermore it can be regarded as the most heavily contested division, with younger sumo wrestlers on their way up competing with those older sumo wrestlers who have dropped from jūryō and are determined to regain the higher rank. A key incentive is the difference between being ranked in the topmost makushita slot versus the lowest jūryō rank, which has been likened to being that between heaven and hell: A makushita wrestler is expected to carry out chores for the stable and any sekitori within it, whereas the jūryō wrestler will be served upon. Similarly the jūryō wrestler receives a comfortable monthly salary, whereas the makushita wrestler still only receives a small living allowance.
The term makushita, can also be used to refer to all four divisions below jūryō as a whole, as these four division are considered wrestlers that are still in training.
Currently there are 70 rikishi in these divisions. The benefits of being a sekitori compared to lower ranked wrestlers include:
- to receive a salary and bonus (others merely receive an allowance)
- to have one's own supporters' club
- to wear high quality men's kimono and other items of attire
- to have a private room in the training stable
- to be able to get married and live away from the training stable
- to have junior rikishi to effectively act as their personal servants
- to wear a silk mawashi with stiffened cords (called sagari) in tournament bouts
- to participate in the ring entrance ceremony and wear keshō-mawashi
- to wear the more elaborate oicho chonmage hairstyle on formal occasions
- to become an elder in the Sumo Association if one is sekitori for long enough
rikishi (力士) Literally, Strong man. The most common term for a professional sumo wrestler, although sumōtori is sometimes used instead.
Makushita (幕下) is the third highest division. Prior to the creation of the jūryō division, this division was only one below the topmost makuuchi division (meaning inside the curtain). Hence makushita, literally meaning "below (shita) the curtain (maku)".
Unlike the sekitori ranks above them, wrestlers compete only seven times during a tournament.
It is often considered that holding the rank of makushita is the first step toward becoming a professional (sekitori ranked) sumo wrestler. Furthermore it can be regarded as the most heavily contested division, with younger sumo wrestlers on their way up competing with those older sumo wrestlers who have dropped from jūryō and are determined to regain the higher rank. A key incentive is the difference between being ranked in the topmost makushita slot versus the lowest jūryō rank, which has been likened to being that between heaven and hell: A makushita wrestler is expected to carry out chores for the stable and any sekitori within it, whereas the jūryō wrestler will be served upon. Similarly the jūryō wrestler receives a comfortable monthly salary, whereas the makushita wrestler still only receives a small living allowance.
The term makushita, can also be used to refer to all four divisions below jūryō as a whole, as these four division are considered wrestlers that are still in training.
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