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kiiro kokeshi ©the enchanted easel 2014

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©the enchanted easel 2014

©the enchanted easel 2014

kirro kokeshi ©the enchanted easel 2014

{...because perfection always has a place in my life! ;)}

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By Naoko Hosokawa

In Japan, there is a common myth of the spirit of language called kotodama (言霊, ことだま); a belief that some divine power resides in the Japanese language. This belief originates in ancient times as part of Shintoist ritual but the idea has survived through Japanese history and the term kotodama is still frequently mentioned in public discourse. The notion of kotodama is closely linked with Japanese linguistic identity, and the narrative of kotodama has been repeatedly reinterpreted according to non-linguistic factors surrounding Japan, as well as the changing idea of “purity” of language in Japan.

Ancient face

The term kotodama literally means “the spirit of language” (koto = language, dama (tama) = spirit or soul). It is a belief based on the idea of Shintoism, the indigenous religion of Japan which worships divinity in all natural creation and phenomena. In ancient Japan, language was believed to have a spirit, which gives positive power to positive words, negative power to negative words, and impacts a person’s life when his or her name is pronounced out loud. Wishes or curses were thus spelled out in a particular manner in order to communicate with the divine powers. According to this ancient belief, the spirit of language only resides in “pure” Japanese that is unique and free from foreign influence. Therefore, Sino-Japanese loanwords, which were numerous by then and had a great impact on the Japanese language, were eschewed in Shintoist rituals and Japanese native vocabulary, yamatokotoba, was preferred. Under the name of kotodama, this connection between spiritual power and pure language survived throughout Japanese history as a looser concept and was reinvented multiple times.

War-time face

One of the most significant historical moments in which the myth of kotodama was reinvented was during the Second World War. In order to strengthen national solidarity, the government reintroduced the idea of kotodama, coupling it with the idea of kokutai (国体, こくたい, koku = country or nation, tai = body), the Japanese national polity. The government promoted the idea that the use of “pure” and traditional Japanese language was at the core of the national unity and social virtue that is unique to Japan, while failing to use the right language would lead to violation of the national polity. Under the belief of kotodama, proposals to abolish or reduce the use of kanji (Chinese characters), which had been introduced since the modernization of the country in the second half of the nineteenth century, were fiercely rejected. Instead, the use of kanji as well as traditional non-vernacular orthographic style was encouraged. Furthermore, based on the kotodama myth, the use of Western loanwords was strictly banned as they belonged to the language of the enemy (tekiseigo) and those words were replaced by Sino-Japanese words. For example, the word ragubî, which is the loan from the English word “rugby,” was replaced by tôkyû, a Sino-Japanese word meaning “fight ball.” The word anaunsâ, which is the loan from the English word “announcer,” was replaced by hôsôin, a Sino-Japanese word meaning “broadcasting person.”

It is interesting to note that the kotodama myth was reinvented to encourage the use of Sino-Japanese elements, whereas in the ancient belief the myth promoted the Japanese native elements and eschewed Sino-Japanese elements. In other words, Sino-Japanese was redefined as the essential element of the “pure” and “traditional” Japanese language. Even the movements to simplify the Japanese orthographic system by abolishing the use of Chinese characters and using only kana (phonetic syllabaries) to write Japanese were considered to be violations of kotodama, despite the fact that kana was invented in Japan. This complete reversal of the position of Sino-Japanese elements can be explained by the belief that the increasing use of Western loanwords was creating a new threat to the Japanese linguistic identity. The idea of kokutai, along with other militarist propaganda, was stigmatized in post-war Japanese society and faded away. However, the idea of kotodama survived through the post-war democratization period into contemporary Japan with yet another face.

Contemporary face

You still hear the word kotodama today. A song titled “Ai no Kotodama [Kotodama of Love] – Spiritual Message” performed by a Japanese pop rock band, Southern All Stars, is a well-known hit which has sold over a million since it was recorded in 1996. Above all, one frequently sees the term kotodama used in public debates on the subject of foreign loanwords (gairaigo, which excludes Sino-Japanese loans). For example, an article from a nationwide newspaper stated that “loanwords are threatening the country of kotodama.” Thus the idea of kotodama is still linked to the purity of language in contrast to Western loanwords but, unlike the link between kotodama and political identity of the country made during World War Two, it seems that the myth is now linked to its cultural and social identity while recent waves of globalization have increased the diversity within the contemporary Japan.

The diversity of Japanese society goes hand in hand with the diversity of its vocabulary, which we can see from the rapid increase of loanwords in Japanese. However, at the same time, this increases a sense of insecurity in relation to the linguistic and cultural identity of Japan. As a result, the ancient myth of kotodama has been reinvented as a way to manifest Japanese linguistic identity through the idea of a “pure” language. Kotodama has no fixed definition, and continues to transform as Japanese society undergoes changes. It is questionable if the Japanese still really believe in the spiritual power of language — however, the myth of linguistic purity persists in the mind of the Japanese through the word kotodama.

Naoko Hosokawa is a DPhil candidate in Japanese sociolinguistics at the University of Oxford. A version of this article originally appeared on the OxfordWords blog.

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The post Kotodama: the multi-faced Japanese myth of the spirit of language appeared first on OUPblog.

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"akai kokeshi" ©the enchanted easel 2014

was going to just attach a pic of chris, but i was trying to be fair to the rest of the guys...;)

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akai kokeshi ©the enchanted easel 2014 on this little beauty this week!

©the enchanted easel 2014

©the enchanted easel 2014

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©the enchanted easel 2014

©the enchanted easel 2014

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Midori Kokeshi ©the enchanted easel 2014

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midori ©the enchanted easel 2014

transferring drawing to the canvas... ©the enchanted easel 2014

©the enchanted easel 2014

©the enchanted easel 2014

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©the enchanted easel 2014

©the enchanted easel 2014

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Print & Pattern has a new sponsor this week in the shape of Craftholic, a Japanese label who are now in the UK. These super soft cuddly creatures are part of a range of 'hug cushions' designed by Ikuko Yamamoto. They have been taking Japan by storm, and the Craftholic brand sensation is also a massive hit all over Asia. See the whole collection including accessories online here at Craftholic UK

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When Samurai Jack burst onto the small screen in 2001, it introduced a boldly imaginative visual style to the often dreary realm of television animation. Other series have tried to imitate the flattened, angular graphics pioneered by the UPA studio during early ’50s. Samurai Jack succeeds in recapturing the essence of the UPA shorts because creator Genndy Tartakovsky and his artists understand that these highly stylized visuals require equally stylized movements.

The ongoing battle between heroic Jack and the evil shape-shifter Aku simultaneously evokes and spoofs the conventions of anime and Western live-action film. Long ago, Jack nearly destroyed Aku in a duel; in desperation, the wizard hurled the samurai far into the future, where Aku’s word is law. Jack fights robots, monsters, bounty hunters, etc. as he seeks to return to his own time, so he can prevent Aku’s rise to supremacy.

Check out the Samurai Jack DVD Set on Amazon

Make sure to click the source links since there are more images from each site!

Source: http://www.retornoanime.com/navaja-suiza-13-samurai-jack/

 

Source: http://squidgy.tumblr.com/post/1533854635/samurai-jack

Source: http://www.fanpop.com/clubs/samurai-jack/images/24714239/title/samurai-jack-screencap

Source: http://www.deviantart.com/morelikethis/collections/194863755?view_mode=2

Source: http://floobynooby.blogspot.com/2011/03/samurai-jack-background-art.html

Source: http://floobynooby.blogspot.com/2011/03/samurai-jack-background-art.html

Source: http://livlily.blogspot.com/2010/10/samurai-jack-tv-series-20012004.html

Source: http://livlily.blogspot.com/2010/10/samurai-jack-tv-series-20012004.html

Source: http://livlily.blogspot.com/2010/10/samurai-jack-tv-series-20012004.html

Source: http://themagicofanimation.tumblr.com/post/38643409851/animationtidbits-samurai-jack-scott-wills

Source: http://themagicofanimation.tumblr.com/post/38643409851/animationtidbits-samurai-jack-scott-wills

Source: http://themagicofanimation.tumblr.com/post/38643409851/animationtidbits-samurai-jack-scott-wills

 

Source: http://animationbgs.blogspot.com/

Source: http://animationbgs.blogspot.com/

Source: http://animationbgs.blogspot.com/

Source: http://animationbgs.blogspot.com/

Source: http://animationbgs.blogspot.com/

Source: http://www.tumblr.com/tagged/scott-wills

Source: http://madaboutcartoons.blogspot.com/2007/07/samurai-jack.html

 

Samurai Jack Painting Demos:

Source: http://blog.signalnoise.com/2010/09/22/samurai-jack-background-designs/

Source: http://blog.signalnoise.com/2010/09/22/samurai-jack-background-designs/
Pinterest Samurai Jack Background Art Link here.
And here…
And another link here…

 

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these designs are the wonderful whimsical prints of  japanese illustrator and pattern designer anyan sha. anyan has his own fabric label called 'cotrienne' and below are a selection of his prints which are all available on fabrics in various colourways. He loves to bring a touch of humour to his work and loves the retro scandinavian look you can see all of anyan's fabrics online at cotorienne

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the V&A museum in london have created an installation in collaboration with mark's tape in their store windows. the display design by debbie spink aims to offer an alternative way of thinking about an everyday object and suggests fabulous ways to decorate everything from your walls and gifts to letters, furniture and frames. the new MT casa tape will be coming in march but the current

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having a little bit of time to spare over christmas i decided to do a little bit of browsing on a few japanese websites to see what new designs were coming out of tokyo. i discovered lots of lovely fabrics from quarter report that i hadnt seen before including a majority by designer rieko oka who has created lots of delicate florals and trees. see more from quarter report online here.

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my japanese browsing then led me to these lovely 2013 shedules by legendary japanese designer shinzi katoh. as spotted at the zakka shop online here.

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and finally from japan today a few choice items picked out from the cute sunny style website.

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We’ve come a long way from Steamboat Willie. Apparently Disney and toy-maker Bandai are working together on a Voltron-like toy robot called King Robo, and according to the storyline, Mickey Mouse and his friends supposedly pilot the robot. The toy, part of the Bandai’s Chogokin line, will be released March 2013, and unlike most Disney toys, it will be aimed at ages 15 and up. If successful, the property could spawn an anime series.

And speaking of Steamboat Willie, apparently the robot’s head transforms from a toy version of the paddle boat from that landmark film! Click the image below to see how each Disney-mecha character transforms into the body and limbs of “King Robo”.

(Thanks, Liam Scanlan)

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New Thicklebit: Tats for Tots.

New interview: Writing on the Sidewalk.

Foreign language app we are finding irresistible, with a deliciously mockable edge: Earworms. (I learned about it at GeekMom. Rose and Beanie are using the German; Jane, the Japanese. Rose likes it so much she ponied up her own funds for the Arabic.)

Other resources Jane is using to learn Japanese (answering Ellie‘s question from my learning notes blog): Pimsleur Approach audio program (check your library for these); Free Japanese Lessons; Learn Japanese Adventure (another free site).

I had such a fun time yesterday recording a Brave Writer podcast with Julie Bogart and her son. I’ll let you know when it goes live! The Prairie Thief is the October selection for Brave Writer’s Arrow program—a monthly digital language arts curriculum featuring a different work of fiction in each installment. Brave Writer is one of the first resources I ever gushed about on this blog, way back in 2005. And as you’ll discover in the podcast, Julie Bogart was the blogger who inspired me to start Bonny Glen in the first place!

 

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What better day for book trailers than a Saturday?

The girl who leapt through time  by Yasutaka Tsutsui(author) and David Karashima (translator) (Alma Books) originally appeared in Japan in 1966 as a science fiction novel written by Japanese writer and actor Yasutaka Tsutsui. Appearing in serial form with the title The Girl Who Runs Through Time, the story soon became a classic and was retold in both live action and anime films.   Karashima  provides the first English version which appeared in Britain in 2011 and makes its US debut this month. Today’s trailer is from the Japanese trailer for the live action movie. The first video is in Japanese with full sound while the second has English subtitles, but no sound. Six of one, half dozen of another.

Filed under: Me Being Me, Saturday Trailers Tagged: book trailer, Japanese

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from time to time i love to check in with google japan and see whats new at japanese company decole. i was pleased to discover a lovely new children's range called 'petiot petiote'. shown here are a collection of A4 boxes featuring the cute new lion, squirrel, and elephant characters.the new range also fits perfectly with their existing range 'ma petite chambre'.

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This Day in World History

February 8, 1904

Japanese Attack Port Arthur, Starting Russo-Japanese War

On February 8, 1904, just before midnight, Japanese destroyers entered the harbor of Port Arthur (now Lü-shun, China). Soon after, they unleashed torpedoes against Russian ships in a surprise attack that began the Russo-Japanese War.

The conflict grew over competition between Russia and Japan for territory in both Korea and Manchuria, in northern China. Japan had won Port Arthur, at the tip of the Liaotung Peninsula, from China in an 1894–1895 war. Russia joined with other European powers to force it to relinquish the port, however — and then three years later had compelled China to grant the city to it. These actions rankled Japan, as did Russia’s refusal to honor a promise to withdraw troops from Manchuria. Japan decided to go to war.

The attack on Port Arthur resumed in the late morning of February 9, when bigger Japanese ships began shelling the Russian fleet and nearby forts. The Russians put up more resistance than expected, however, and the Japanese ships withdrew.

The attack on Port Arthur was inconclusive, but the rest of the war went largely Japan’s way. The Japanese enjoyed several victories in 1904, seizing Korea in March, and defeating Russian forces twice in Manchuria during the summer. More success followed in 1905, with the surrender of Port Arthur in January, a victory over a large Russian army in Manchuria in March, and a decisive naval battle at Tsushima Strait in May that destroyed the Russian fleet. Russia’s government, facing unrest at home, was forced to seek peace.

The Russo-Japanese War marked the first victory of a non-European nation against a European one in modern times. It also contributed to unrest in Russia that would lead, more than a decade later, to the Russian Revolution.

“This Day in World History” is brought to you by USA Higher Education.
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cocoena is a japanese online shop that specialise in bringing products from america and europe to the marketplace in japan. they are currently stocking lots of lovely galison christmas lines as well as brands such as sukie, girl of all work, paperchase, and natalie lete.

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i have been mooching around on google japan again recently and came across a lovely label called 'everyday's feel so happy' from the maruwa trading co. they have lots of lovely wall stickers and beautiful paper ornaments. they also sell zakka items such as kitchenware, children's lunch boxes and melamine tableware, oil cloth bags, and books. as seen at their shop one who or contact the parent

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Just in time for fall, here's an update to my acorn needle book. I happened to find a little length of Japanese ribbon with squirrels on it at a sweet little shop called Polka Dot Kids. I don't have kids but for some reason... I'm not sure why... I still go into this shop anytime I'm passing by.

Often I tell myself I'd better not splurge on something just because it's adorable. But ribbon with squirrels on it? Well that's actually a logical addition to my sewing supplies. In fact, since I didn't already have ribbon with squirrels on it, I was essentially filling a gap in my supplies. You know, being practical.

So now the acorn needle book is back, with a little squirrel ribbon for a stem and quilt batting inside to give it more structure. I redesigned the shape to be more symmetrical after realizing that the front needed to match the back so that it all lines up when assembled. The acorn needle book is in my shop now, with more on the way.

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By Anthony Scioli

Recently Japan’s 77 year old Emperor Akihito implored his people “not to abandon hope”.  This may have struck some Westerners as odd since Japan is an Eastern country largely dominated by Buddhism and Shinto, faith traditions that many associate with mindfulness, acceptance and renunciation rather than hope for the future, transformation, or worldly pursuits.  In fact, it is not uncommon to find Westerners who believe that “hope” does not even exist in the East.  For many American intellectuals, particularly psychologists, hope is associated with the pursuit of specific, concrete goals.  Surely the emperor did not have this kind of hope in mind when he made his appeal?

Hope is not an exclusively western, Judeo-Christian virtue.  There are words for hope in Apache (ndahondii) and Swahili (matumaini) as well as Persian (omid), to name just a few examples.  The largest lab within the International Space Station is called “Kibou”, which means “hope” in Japanese.  But what is hope?  Is it one thing or many things?  What can we learn about hope from the Japanese experience?  In turn, what can the Japanese learn from “hope”?   Can these lessons be combined to form a better psycho-social-spiritual disaster kit?

What can we learn about hope from the Japanese?

It is true that hope is partly about goals and mastery.  However, while academic psychologists have tended to conceptualize hope in terms of goal expectancies and narrow-focused probability estimates, the hopes of the common man or woman tend to be more transcendent, more global, and value-laden.  A hope is not a wish.  Unlike optimism, hope is not ego-centered but collaborative, rooted in empowerment and focused on a higher plane of success.   Ironically, the well-known “secondary” or “indirect” control processes (sometimes called “soft power” in business circles) favored in the East are more line with the nature of hopeful mastery than academic psychology’s goal-centered view of hope.   In Japan, the story of the “Fukushima Fifty” has provided a good example of collaborative mastery oriented around a higher goal.  These are the fifty employees of the damaged Fukushima nuclear power company that agreed to continue in the effort to stabilize the plant despite the inevitable exposure to toxic levels of radiation.

Hope is about attachment.  In fact, attachments are probably the most important wellspring for the development of hope. However, if you peruse mainstream psychology, you will find little on hope and attachment.  The one exception is Erik Erikson who believed that trust was the root of basic hopefulness.   The philosopher Gabriel Marcel agreed with Erikson but added openness to the attachment portion of the hope equation. Again, it is curious that this dimension of hope is brought into bolder relief through contact with Japan, albeit a collectivist society, but one not typically associated with this presumably “Christian virtue”.

During a crisis, levels of civility, trust, and openness can quickly plummet.  This is unfortunate because these attachment-related aspects of hope can function as literal life-savers during an earthquake, flood, or other major disaster. �

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