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Article about translations of Japanese books published in the journal "LG Topics".

See Christian Martorella, Betrayers of the Rising Sun, in "Topics LG", No.2, XXXVIII years, from April to June 2002, pp.20-22.

Betrayers of the Rising Sun
of Christian Martorella

translator traitor. This version also has a famous saying in the Japanese archipelago far: hon'yakusha wa uragirimono. Obviously it is an opinion shared by many if you have a perfect match even in Japan. It seems that only the American philosopher Donald Davidson believes that it is possible radical translation that does not involve semantic loss (1). But his theoretical position (formal and highly abstract) is not shared by the translators who always feel a bit 'traitors. And what is even more true for Italian translators of Japanese texts.
Write an article about the Italian translations of Japanese books of children's literature is extremely easy. In fact very few titles have been published (2). In the children's necklaces are the following titles: Alarm! Warning! Miyazawa Kenji, in a stormy night of Yuichi Kimura, The flash of the Hiroshima Maruko Toshi, the laundry of the family of mice Kazuo Iwamura, Letters to my mother and Ichiro Hatano Isoka, The Planet Yo Shomei dolphins. There are other important texts of Japanese literature for children, however, included in series that are not aimed at children and young people: A night on the train of the Milky Way (Ginga Tetsudo no Yoru) and Goshu Cellist (Sero Hiki no Goshu) of Miyazawa Kenji, fantastic stories and Ryunosuke Akutagawa's Kappa.
This is a small number of books wholly inadequate to understand the richness and vastness of Japanese literature for children (3). The scarcity of translated texts prevents us from developing an articulate speech. However, we can report the bad habit of editors or curators of collections, which change and change the titles and even the original texts, often against la volontà dei traduttori. Altre volte sono i traduttori stessi a cercare formule più semplici e banali che rendano i testi appetibili. Insomma, si fa a gara nel tradire l'autore.
Un esempio è costituito da Allarme! Allarme! di Miyazawa, pubblicato da Giunti. Il titolo originale era Asa ni tsuite no dowa teki kozu, ossia Una favola di una mattinata. Il titolo era indicativo e caratteristico, intimamente collegato alla vicenda narrata. A causa di una improvvisa e breve pioggia mattutina un fungo cresce inaspettato gettando nel panico le formiche. Ma l'allarme si rivelerà presto infondato. Come era apparso, così il fungo sparisce cadendo e disfacendosi. La morale è semplice. In un attimo anche le cose apparentemente più grandi possono dissolve. This is the famous Buddhist principle of impermanence. So the short period of time in the morning is crucial because it brings together the incessant becoming of things. The universe may be caught in a moment through the awareness of impermanence.
certainly do not expect publishers to reach the Italian Buddhist enlightenment, but more caution would be desirable. Often describe the Japanese culture as inscrutable, mysterious and complex. In fact we do everything to make it incomprehensible beyond all expectations. Sometimes it did not show any interest in those who are different and can teach us a lot. The other is artificially. Us first define to know him. Well, this is the same attitude you have towards the Japanese literature for children. Then there is the risk, always feared that Italian children are contaminated by other cultures. The suspicion of the Japanese culture is always high. Excluding the exceptional case of Bruno Munari, a genius, but is in contrast to the current mediocrity, no Italian has ever praised the Japanese teaching methods (4). On the other hand we know that The Children's Castle in Tokyo had been written by Martians Munari turning to the only true recipient of the book. When Munari says that you can learn from the Japanese, when the praises Japanese education, you're obviously paying the Martians. Apart from the irony, the issues remain unresolved.
There are two main difficulties to be faced. The biggest problem is the lack of Italian critics of Japanese literature for children. Who can provide an assessment of the Italian translations? Those who know the original texts? Clearly, the backwardness and the poor level of training in the field becomes very clear. Despite the hype and the praise of trade journals, gaps are still enormous. Another problem in the comics and Japanese animation (5). Generally, critics have an attitude of sufficiency, if not contempt, towards comics and cartoons. Not only is behavior incorrect, but even harmful. Comics and cartoons are an extension of narrative by other means. The literary critic can not and must not underestimate the continuity between narrative genres. The works of the master of animation Hayao Miyazaki's masterpieces are well worth the title of "graphic novels". The relationship and continuity between these genres should be studied with caution. Especially in Japan that draws on a broad tradition still strong.
At present ignorance of Japanese literature for children only serves to emphasize any kind of misunderstanding. Do not cry later when the misunderstanding is the scandal turns into conflict. Translating means above all to understand, must listen to and understand each other (not supposed to know already, or worse, denied). In this unfortunate period of history we are still able to listen to others? Probably this is the true and most difficult form of flexibility.



Notes 1. The Davidson's philosophical position is central to contemporary thought and its influence on American linguists is remarkable. See Davidson, Donald, Truth and Interpretation, Il Mulino, Bologna, 1994. But there is a suspicion that Davidson supports a theory that relies exclusively on the existence of a single thought approval. Otherwise it is difficult to understand where they come from so many abstractions.
2. To verify please consult the database of Liber, the updated bibliographic archive on CD-ROM.
3. A small introduction to this rich universe, however, was attempted. See Martorella, Christian, Introduction to Japanese literature for children, in "Topics LG", No.3, XXXVII years, from July to September 2001, pp. 54-58.
4. See Munari, Bruno, The Children's Castle in Tokyo, Einaudi Ragazzi, Trieste, 1995.
5. On the question of adaptations to the core, see Marco Pellitteri. Even if there is a specific discourse about translation, it is indicative of the situation. See Pellitteri, Mark, if fear is synonymous with censorship, in "The Pepeverde", n. 10, 2001, pp. 38-43.


Bibliography
Akutagawa, Ryunosuke, Kappa, trans. Mario Teti, SE, Milan, 1992.
Akutagawa, Ryunosuke, fantastic stories, trans. by Christian Ceci, Marsilio, Venice, 1995.
Kimura, Yuichi, In a stormy night, trans. Paolo Volpato, Salani, Firenze, 1998.
Iwamura, Kazuo, The mice of the family laundry, trans. Akane Suzuki, Babalibri, Milan, 1999.
Hatano, Ichiro and Isoke, Letters to my mother, trans. Luciano Tamburini, E. Elle, Trieste, 1994.
Maruko, Toshi, Hiroshima Lightning, trans. Makiko Yamada, Perosini, Zevio, 1980.
Miyazawa, Kenji, A night on the train of the Milky Way, trans. Giorgio Amitrano, Marsilio, Venice, 1994.
Miyazawa, Kenji, Warning! Warning!, Trans. Hiraishi of Asako, Giunti, Firenze, 1994.
Miyazawa, Kenji, cello Goshu, trans. of Mariko Muramatsu, Happy Life, Milan, 1996.
Yo, Shomei, Planet of the dolphins, the meeting point, Vicenza, 1997.

Ghirardelli Shortbread Cookie Mix To Buy

Bruno Munari in Giappone

Article on the pedagogy of Bruno Munari Nipponico.com published on the website.

Bruno Munari and creative research of a method of Christian education
Martorella

January 3, 2001. Sometimes you discover unexpected proximity between Italy and Japan. Thus, for example, is little known as they once were rich exchanges between our culture and the Japanese about the search of an educational model that stimulating creativity in children. In this article we want to remember as the work of Bruno Munari has been incorporated by the Japanese, and as he is still considered an innovative teacher, a genial and generous, absolute point of reference.
Bruno Munari (1907-1998), eclectic figure in Italian culture of the twentieth century, was primarily a designer (and therefore received the Japan Design Foundation Prize), and this activity will fall even many contributions as an author (for which he had the Andersen Prize ) and illustrator of children's books (including the memorable designs for machinery and texts Rodari). He often cited Japan as a country to learn from both in the art that the organization and civic education. Bruno Munari has left us a little book that tells, in a light, witty and funny, one of his experiences in Japan. The text is titled "The Castle of children in Tokyo" and describes his visit to a conference and the establishment of an exhibition at the Aoyama theater near Shibuya. In addition to describing the structure of the castle of the children and the unfolding of the event's conference and exhibition, Munari has the opportunity to take Japan as food for thought. Often he is a bit 'challenging against the usual stereotypes that seeks to remove:

"In our country, some say that the Japanese come to us to copy everything. But why, I say, we do not copy something from them? "

In fact, the book will show how many Japanese children's activities may also be provided from our own. Munari draws on extensive hands, and integrates its experimental program with the Japanese cultural tradition. So combine origami, textures, patterns compounds, all in an anthology of shapes and colors for the triumph of imagination and creativity. As regards the analysis of operative techniques, Munari has a concrete proposal. Sometimes things are much simpler than seem, we are not only recognize them. Munari uses the term "resolve underlying problems" to showcase something elemental in its simplicity seems to elude us, so come la soluzione di un puzzle a portata di mano:

"Ma nel frattempo, che cosa ho imparato io dal pensiero giapponese? In parte ho avuto la conferma che certi principi progettuali che applico normalmente erano giusti. Altre regole o procedimenti utili a migliorare i progetti o le comunicazioni, o semplicemente altri comportamenti quotidiani, erano invece da capire e applicare. Un esempio è che i problemi vanno risolti alla base.
A Venezia ci sono dei natanti che vanno in giro per la laguna a pulire le acque. Questo è necessario perché i cittadini buttano spesso i rifiuti nei canali. Il problema si risolve insegnando ai bambini a non sporcare la laguna. Se nessuno (utopia) butta l'immondizia nella laguna, non c'è niente da clean. Another example: we in the West are very good in inventing sophisticated appliances, to clean the house, polishing the floors, washing windows, collecting waste. The Japanese do not dirty the house, there are floors to be polished in their homes when they take off their shoes and walk on the tatami in stockings. Do not throw cigarette butts on the floor and then stamp on them, are short, as they say, polite, and the problem of cleaning the house is fixed to the base. "

Munari is regarded as the inventor of a method for teaching children and is watched closely by scholars from different disciplines, artists, educators and writers. Coca Alberto Frigerio and wheels are trying to organize the material left to us by Munari trying to deepen and continue the work of the master. To do this they created a series of books, published by Edizioni Erga, entitled The alphabets munariani. This is the most comprehensive contribution to show us the great news of the issues raised by Munari. The methodology is ideally linked Munari a Japanese author, Katsumi Komagata, graphic designer in his lectures in Italy has recalled how he feels tied to the creative work of the Milanese. Readers should be aware of Italian thanks to an article by Paola Vassalli, entitled Walking between the awards and exhibitions, published in the journal "Andersen": "[...]

beautiful books by Katsumi Komagata, also a Japanese student who was also ideal Munari, Bologna has received an honorable mention in the new section of premium Bologna Ragazzi Award - Introducing Art to Children with the series Mini Book. "

Japanese magazines also consider Komagata a prominent illustrator. See, for example, the article in the September 2000 dedicated to him by the Japanese magazine "Moe." Apparently, then, the work of Munari is putting fruit even in that distant country that he looked with admiration. Surely evolution will have the best if you understand that the creative development of the child should not be stifled by cultural patterns that require a single interpretation of reality. To achieve this, must consider the child as a person who has full rights, and therefore its own mode of development, and not as a taxable person to train. Until the confrontation between cultures will be lively and fruitful, as Munari has been able to show a modest, we find ample scope for the invention of creative children. But when the culture becomes sterile and stiffens in templates, it presents itself as an enemy and obstacle to creativity.

Bibliography

Frigerio, Coca and Wheels, Alberto, and game art, Erga Edizioni, Genova, 2000.
Kawabe, Shoko, Katsumi Komagata no hon. Ehon no Waku koeta katachi or, in "Moe", n. 9 September 2000, p. 95.
Munari, Bruno, The castle of the children in Tokyo, Editions E. Elle, Trieste, 1995.
Munari, Bruno, One thing leads to. Notes for a design methodology, Laterza, Bari, 1996.
Munari, Bruno, artist and designer, Laterza, Bari, 1978.
Munari, Bruno, design and visual communication, Laterza, Bari, 1985.
Munari, Bruno, The craft of art, "Art and disclosed," No 8 December 1986, pp. 18-21.
Vassalli, Paola, Walking between awards and exhibitions, "Andersen", n. 159, May 2000, pp. 16-17.

Moms Who Use The Hairbrush

Lettura e tecnologia

article on the topic of the relationship between reading and technology magazine published by "LG Topics".

See Christian Martorella, Dokusho. The reading of science and technology, in "LG Topics", 1, year XL, January-March 2004, pp.20-23.

Dokusho
Reading between science and technology
of Christian Martorella

Dokusho means reading in Japanese, and indicates the activity of reading pleasure. When it comes to this topic always comes out the connection between reading and ideology (often presented as teaching), so in Japan as in Italy (1). A Giorgio Bini is credited with having raised some doubts about crucial. He has exhibited a question as simple as tough in response. If the media technology has changed the way of enjoying the fiction, juvenile literature must comply with various forms, styles, subjects and languages? In tal senso, sono cambiate anche le facoltà intellettive dei giovani?
Non si può fornire una risposta se prima non si riconosce l’influenza ideologica sulla letteratura giovanile. Questa influenza è stata opportunamente analizzata per quanto riguarda il passato, mentre è ignorata per il presente. Perché oggi fingiamo che la letteratura si sia liberata da questa influenza quando è vero il contrario? Purtroppo quando si è immersi nell’ideologia è più difficile vederla. L’assetto sociale dei nostri tempi è riconoscibile nell’attitudine economicista della letteratura contemporanea. Il valore di un libro è stabilito dai dati commerciali. Così il libro di un calciatore diventa un best-seller che oscura le opere degli autori contemporanei. La tanto proclamata e vantata liberazione della letteratura dalla pedagogia non è altro che lo spostamento verso un uso puramente commerciale del libro. In passato il libro era il veicolo dell’ideologia, ora è svincolato dai contenuti per rispondere appunto alle esigenze della nuova ideologia. Questa nuova ideologia che chiameremo emporiocrazia, ossia governo del mercato, considera la letteratura un bene di consumo e l’inserisce nel sistema economico che essa stessa sostiene. Insomma, si tratta di un’ideologia più subdola perché priva di contenuti e valori, è l’ideologia del consumismo. Riconosciuto ciò bisogna andare oltre e ottenere una visione complessiva che ci permetta out of this purely economistic interpretation to identify alternative perspectives. In this sense, the Japanese experience is very useful for several reasons. First, Japan is the country where the technology is more advanced, with important consequences both positive and negative. Secondly, issues relating to literature and technology have had approaches and solutions in this most advanced country, much still unknown in the West. Mainly on the technique involves the phenomenon of otaku and Japanese youth culture (bunka wakame).
since the 80s has appeared before as an issue, then as a resource, the Japanese youth culture. Initially, the phenomenon was classified into the categories of functionalist sociology of Robert King Merton, giving the character of deviance instead of what it was a real innovation involving not only the costumes, but also the means of production and consumption. With the derogatory term of otaku is someone who wanted to stay at home segregation follow a passion or hobby into a fanatic. This pastime (Shumi) could be reading comic books, models, collecting, etc.. After nearly a decade social scientists realized that the phenomenon was not merely passive and had not only negative aspects. The otaku have great capacity for gathering and socializing encouraged by their passion, were also creators attivi di fanzine (dojinshi), disegnavano, scrivevano, organizzavano raduni. Insomma, erano tutto tranne che asociali e indolenti come erano stati inizialmente descritti. Intanto la sociologia cambiava indirizzo influenzata dal metodo dell’interazionismo simbolico di George Herbert Mead. Così le vecchie analisi erano buttate alle ortiche. In Giappone cominciarono a fiorire studi e considerazioni ben diversi sulla cultura giovanile. Ormai Tokyo era divenuta un laboratorio vivente, specialmente nei quartieri di Harajuku, Shibuya e Akihabara, di questa nuova cultura. La tecnica svolgeva un ruolo importantissimo in questa trasformazione. Le possibilità offerte agli otaku provenivano dal sistema di produzione snella inventato dai manager giapponesi. Con un computer, a printer, a copier, you could make a small printing home. This capability was born in the '80s thanks to the information revolution. Communication via internet and mobile phones changed. Television was overtaken and made obsolete by the DVD player and multimedia files. In Japan this is part of the history of the recent past, in Italy this is the near future.

What then is the teaching experience that comes to us Japanese? The main issue that must be stressed is that the changes in techniques can not act alone on the change of society, rather the opposite is true. The application of certain techniques and their success is due to social needs. Television, as it is still conceived, is destined to obsolescence as the company's future can not tolerate a passive use as a means of communication. Currently there is an attempt to make interactive TV, but it is only a trick that fools the new generation already accustomed to surfing the internet. Other teaching experience about Japanese culture and language. The otaku have used technology assets fell back on the native culture of pagan and Buddhist master. This should raise the suspicion that a strong push towards the use of technology involves compensation as a recovery of culture antica depositaria dell’equilibrio delle pulsioni irrazionali. La risposta sociale alla razionalità della tecnica è una virulenta irrazionalità controllabile soltanto da nuovi schemi simbolici e semiotici. Come diceva Martin Heidegger, citando Hölderlin, dov’è il pericolo cresce anche ciò che salva. Perciò Giorgio Bini può stare davvero tranquillo sulla sorte della letteratura. Il futuro non vedrà affatto nuovi paradigmi logici, piuttosto risorgerà la saggezza dell’antichità capace di dare senso alla realtà irrazionale dell’essere. Non sarà la tecnica a creare un nuovo essere. Non esiste un essere digitale autonomo e separato dall’essere. La tecnica è un sostegno (Gestell), capacità di creare una realtà artificiale piegando la natura alla volontà dell’uomo. Però ciò che è solo tecnica non giunge mai all’essenza della tecnica. La tecnica ha una sua essenza che prescinde dall’uomo. Così come l’essenza dell’uomo non è la sua opera, così l’essenza della tecnica non è opera dell’uomo. La tecnica si separa e vive di vita propria indipendente dall’uomo perché l’essenza della tecnica è l’essere stesso. Non un nuovo essere, ma l’essere. Insomma, l’uomo non crea la realtà con le sue macchine, egli interagisce e le macchine sono protagoniste di un mondo complesso dove l’idea di controllo e creatore discarded. The danger is that the essence of man ran his hand the essence of technology. So the error would be to see a technical problem there where the problem is human. The evils of man should not be attributed to the technique, but in a relationship instability caused by the modern man unable to find himself. A man who is often engaged to look himself in the machines that created without ending. The essence of man is not his work. Unfortunately, this misconception is the inability to pay attention to the essence of the technique, and the confusion between technique and substance, between use and life. The turning point came when we look into what it is, scoprendo che chi guarda ha lo sguardo rivolto verso se stesso. La ricerca della tecnica era ricerca dell’uomo. Dimenticato l’uomo, la tecnica diviene incapace di vedere. La letteratura giovanile sarà veramente emancipata quando vedrà il pericolo della tecnica come salvezza dell’uomo, perché dov’è il pericolo cresce ciò che salva. L’idea che la lettura sia un bene da salvaguardare è illusoria. Ciò che va tutelato è il soggetto pensante. Tutte le parole spese in Italia a favore della promozione della lettura si sono rivelate vacue e soprattutto inutili. Non poteva essere altrimenti. Gli studiosi giapponesi ci insegnano che la lettura è un’attività spontanea che non può essere pianificata dalla didattica. Ogni attività rivolta alla formalizzazione e razionalizzazione della lettura si distingue per essere controproducente e dannosa. Per questo motivo le biblioteche familiari (bunko) che hanno un approccio informale ed emotivo hanno tanto successo in Giappone. La lettura ha bisogno di essere liberata dalle ricette dei sedicenti esperti, dalle formule della lettura per piacere, dalla confusione del sensualismo pasticcione. I libri si leggono, se si leggono, perché interessano. Tutto il resto è vaneggiamento. L’interesse è un processo del soggetto su cui non si può agire tramite il libro che è soltanto un mezzo o meglio un medium. Non esistono ricette per scrivere bei libri. Non esiste un esperto della letteratura capace di convincere a leggere. Quando avremo compreso ciò potremo guardare alla questione della lettura come ciò che realmente è, un sottoproblema della sociologia che può essere trattato seriamente solo in un ambito più ampio.
La pedagogia e la critica giapponese hanno capito ciò da un bel po’ di tempo. Quando si emanciperà anche la critica letteraria italiana?

Note

1. Per la problematica in Giappone si consulti la rivista "Nihon jidobungaku" dedicata alla letteratura per l'infanzia.

Bibliografia

Drake, William, The New Information Infrastructure, Twentieth Century Fund Press, New York, 1995.
Drucker, Peter, Post-Capitalist Society, Harper Collins, New York, 1993.
Eagleton, Terry, Le illusioni del postmodernismo, Editori Riuniti, Roma, 1998.
Ferretti, Gian Carlo, Il mercato delle lettere, Einaudi, Torino, 1979.
Fukuyama, Francis, La Grande Distruzione. La natura umana e la ricostruzione di un nuovo ordine sociale, Baldini & Castoldi, Milano, 1999.
Hardt, Michael e Negri, Antonio, Impero. Il nuovo ordine della globalizzazione, Rizzoli, Milano, 2001.
Martorella, Cristiano, Affinità fra il buddhismo zen e la filosofia di Wittgenstein, in “Quaderni Asiatici”, n.61, marzo 2003.
Martorella, Cristiano, Wakamono. I paradossi della cultura giovanile giapponese, in “LG Argomenti”, n.1, anno XXXIX, gennaio-marzo 2003.
Martorella, Cristiano, Il concetto giapponese di economia: le implicazioni sociologiche e metodologiche, Cartotecnica Veneziana Editrice, Venezia, 2002.
Martorella, Cristiano, La rivoluzione invisibile, in “Sushi”, n.3, ottobre 1996.
Masuda, Yoneji, The Information Society as Post-Industrial Society, World Future Society, Washington, 1981.
Morikawa, Kaichiro, Learning from Akihabara. The Birth of a Personapolis, Gentosha, Tokyo, 2003.
Rifkin, Jeremy, La fine del lavoro, Arnoldo Mondadori, Milano, 2002.

Take Out Wire From Outlet

Niju, il pluralismo del doppio

Articolo sul pluralismo pubblicato dalla rivista "LG Argomenti".

Cfr. Cristiano Martorella, Niju, il pluralismo twice, in "Topics LG", No.3, year XXXVIII, July-September 2002, pp.10-13.

Niju, pluralism double
of Christian Martorella

In Japanese Niju means double. Dualism nijusei it is said. But in the Japanese literary and philosophical thought twice did not properly acquired the same way in the West. In the Far East, the idea of \u200b\u200bunity and harmony of opposites was so pervasive as to be questioned only when there were the first contacts with European philosophy.
Hinduism Brahman summarizes the unitary principle, the absolute. Since pluralism, dualism, and so can only be obtained in the determination, that the categories of time and space, the absolute which is the original authentic and incorruptible, does not know the samsara (cycle of birth and death) and with it the phenomenal existence. Hinduism therefore reduces to a simple dualism of appearance or illusion of the senses.
Taoism incorporates the idea of \u200b\u200bopposites and the places at the base of the doctrine. There is no peace without the complementarity of two principles: the yang (masculine, bright, warm and active) and yin (female, dark, cold and passive). But this reduction has always threatened to turn into a regulation dictated by the risk that was amplified by Confucianism and its agents (government officials, administrators, etc.).. It is no coincidence that the more severe and negative evaluations of the Taoist concept of harmony came from the Chinese Marxists who had absorbed the lessons of historical materialism at the beginning of the twentieth century (especially the critique of ideology as a theoretical system, the ruling classes).
Buddhism, even more profoundly to Hindu tradition, it eliminates all forms of dualism, defining it as a hoax, a sham. Even the form and content would be the same reality. So nothing would be phenomenal existence and the only two aspects of reality itself. The Japanese expression defines the concept this way: soku ze shiki ku (emptiness is form).
Shintoism, Japan's indigenous religion, has developed so indipendente il concetto di doppio nel mito di Izanagi e Izanami, la coppia di dei che crearono l'arcipelago giapponese. Gli dei del cielo (amatsukami) inviarono Izanagi e Izanami, fratello e sorella, per popolare la terra ancora nel caos. Essi crearono le isole del Giappone immergendo una lancia e mescolando l'acqua del mare. Quando l'acqua si addensò, sollevando la lancia la fecero gocciolare (simbolismo dell'eiaculazione) formando un'isola. Poi Izanagi (maschio che seduce) e Izanami (femmina che seduce) si accoppiarono generando altre isole, dei e creature che abitarono l'arcipelago nipponico. Questa coppia divina è rappresentata nel culto shintoista da due rocce affioranti dal mare nella baia di Futami presso il tempio di Ise (Daijingu). The sacred rocks are the most powerful symbolic expression of the concept of harmony and union of opposites. Through the link, consisting of a rope, while it accentuates the duality and unity.
The Japanese thought the Buddhist and Shinto matrices are those that you feel better. But we add a deep knowledge of European literature, which becomes a constituent part of the world and dialoguing Japanese. Japan's literature and film not only gained the western techniques, but they also studied, the different registers, the narrative kind that coalesced into something inseparable from the tradition that already exists. The director Akira Kurosawa
treated the theme of the double in the film Kagemusha (1980). In Kagemusha (Kagemusha, l'ombra del guerriero, produzione Toho e Kurosawa Films) si narra la vicenda del grande condottiero e daimyo Takeda Shingen e del suo sosia (interpretati da Nakadai Tatsuya). Shingen, morto a causa di una ferita, lascia come ordine che il suo decesso venga nascosto al nemico e anche alle persone che non fossero comandanti militari del clan Takeda. Il posto di Shingen viene preso da un sosia perfetto che ha però modeste origini. Il sosia era un ladruncolo condannato per furto. L'uomo si sostituisce al condottiero, ma il peso e la responsabilità del suo comportamento si ripercuotono in modo inaspettato. Il sosia comincia a sentirsi perseguitato da Shingen, tanto da identificarsi in lui e non riconoscere più la sua personalità that of the noble Shingen. He manages to fool everyone, concubines, his nephew was still a child and especially your enemies. Goes so far as to lead the troops victoriously against opposing forces. Seems to have reached the goal of a perfect duplicate, covering the most of its role. But one day he decides to ride a horse that only proud Shingen was able to tame. The horse instinctively recognizes the stranger and thrown. Falling to the ground, the notices of the concubines of the wounds that the real Shingen had, and the deception is discovered the double. So the ideal twin Shingen is expelled. The Takeda clan starts to decline. The Battle of Nagashino in 1575 marks the end, and the consequent rise Nobunaga.
The theme of the double is here treated by Kurosawa from the perspective of relativism. The double identifies herself both in its role to suffer when removed. He even feels the same responsibility to Shingen against the clan. The theme of relativism is more insistently in another masterpiece by Kurosawa film Rashomon by Akutagawa Ryunosuke based on the book. In this case, the double is made up of a married couple. The specific episode is taken from the story Yabu no naka (In the forest). The dual relationship husband-wife breaks down in the triangle husband-wife-lover, then a quartet, quintet, sextet consists of the testimony of her husband. Everything comes together in the revelation of a medium that speaks to the status of trans confession of her husband committed suicide. The confession of her husband brings diversity to unity. The sense of the story is in the testimonies that show the relativity of different perspectives of the characters. The tension of the pair can not be solved in the complementarity as well as Taoism thought, but explodes into a number of contradictions be resolved only in the unity of the cosmos. Here the relativism of the matrix reveals Akutagawa Shinto-Buddhist. The nature of the universe is made up of a multitude of contradictions held together by the absolute contradiction: one is the manifold, the manifold is the one. It therefore requires to abandon classical logic, and open his eyes to reality and creative thinking (what the sages call satori, or enlightenment).
The influence of foreign literature, including one for children, introduced the theme of the doppelgänger (ikiryo in Japanese). The theme of the twins had a reworking by reading Western classics. Amanuma Haruki rewrote the masterpiece inspired by Lewis Carroll wonderland of the imagination freely (see Amanuma, Haruki, Alicetopia. Fushigi no kuni no boken, Parorusha, Tokyo, 2000). The book is beautifully illustrated by tables Surrealist Shigeo Otake. The brothers Tweedledum and Tweedledee thus become two twin sisters. But being identici è causa di discordia. Come afferma la ragazza: "Se è uguale, allora è meglio vivere con uno specchio". I doppi uguali, come per la legge del magnetismo, si respingono. Il conflitto è inevitabile.
E qui ritornano i princìpi filosofici introdotti all'inizio. Essendo la realtà impermanente (shogyo mujo), il principio d'identità ha valore soltanto nel paese delle meraviglie, luogo dove le contraddizioni logiche sono l'ordinaria esistenza. Ma nel mondo effimero (ukiyo) dell'esistenza umana non vi è posto per il doppio e il dualismo, incessantemente scavalcato dal pluralismo del reale.

Bibliografia

Akutagawa, Ryunosuke, Rashomon e altri racconti, UTET, Torino, 1983.
Amanuma, Haruki, Alicetopia. Fushigi no kuni no boken, Parorusha, Tokyo, 2000.
Bigatti, frankly, the Japanese thought. The myths of antiquity, Vol 1, Graphos, Genova, 1991.
Bigatti, frankly, the Japanese thought. The meeting with Chinese culture, Vol 2, Graphos, Genova, 1992.
Boisselier, Jean, La Sagesse du Bouddha, Gallimard, Paris, 1993.
Confucius, The Confucian classics, trans. Yuan Huaqing, Antonio Vallardi, Milan, 1995.
Delay, Nelly, Le Japon éternel, Gallimard, Paris, 1998.
Futo no Yasumaro, Kojiki, Kadokawa Shoten, Tokyo, 1993.
Kurosawa, Akira, The Last Samurai. Almost an autobiography, Baldini & Castoldi, Milan, 1995.
La Rosa, George and Sirtori, Vittorio (ed.), Dictionary of Eastern religions, Antonio Vallardi, Milan, 1993.
Moore, Charles, The Japanese Mind: Essentials of Japanese Philosophy and Culture, University of Hawaii Press, Honolulu, 1967.
Muccioli, Marcello, Japanese Literature, Sansoni, Firenze, 1969.
Novielli, Mary Roberta, History of Japanese cinema, Marsilio, Venice, 2001.
Reischauer, Edwin, Japan, Tradition and Transformation, Allen & Unwin, Sydney, 1979.

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Le scuse per Hiroshima

Statement published by the newspaper Il Secolo XIX ". See Chris Martorella, The Nobel Barack does not admit the horror of Hiroshima, "The Century XIX ", Thursday, November 19, 2009, p.22.

The Nobel Barack does not admit the horror of Hiroshima

Despite the climate of detente, and won the Nobel Prize for Peace, Barack Obama can not take a step back acknowledging the seriousness of the atomic bombings of Hiroshima and Nagasaki. The Japanese authorities had suggested that they deem appropriate to apologize for an act which is historically similar to other war crimes, the evidence of indiscriminate mass murder. But history is always written especially by the victors, and this prevents the emergence of the facts rather than political interpretations. In the United States still exists a historical version that considers the atomic bombings del Giappone come necessari per evitare una strage di truppe americane in un eventuale sbarco. Questa giustificazione è falsa. I bombardamenti atomici furono un test per valutare l'effettiva potenza e la possibilità di utilizzo delle armi nucleari, e nello stesso tempo un avvertimento per la crescente potenza sovietica. La giustificazione del bombardamento atomico è stata supportata per anni da una mistificazione di regime che ha sempre ridicolmente descritto i giapponesi come ostinati combattenti pronti a morire tutti pur di non arrendersi. Sappiamo invece da numerosi documenti che le autorità politiche giapponesi erano consapevoli di aver perso la guerra e cercavano semplicemente una resa dignitosa. Però le trattative per una resa non furono facilitate dagli Stati Uniti che pretesero l'umiliazione del Giappone con una resa incondizionata e l'occupazione militare del paese. Il Giappone perse la sua indipendenza e ritornò un paese sovrano soltanto nel 1952. I territori del Giappone furono drasticamente ridimensionati sottraendo tutte le zone acquisite dopo il 1895. Anche Okinawa divenne una regione ad amministrazione fiduciaria americana, e alcune isole a nord dell'Hokkaido furono cedute all'Unione Sovietica. Il Trattato di San Francisco del 1951, e il suo rinnovo a Washington nel 1960, pose delle condizioni molto limitanti per il Giappone, e sancì una subordinazione politica del Giappone alla potenza militare americana. Gli scontri violentissimi fra manifestanti e polizia che si ebbero nel periodo della firma dei trattati were supported both by the extreme left and extreme right, in a climate of general dissatisfaction of the population. This can not be forgotten and erased. The United States can and should take a step back to see the history of the atomic bombing of Hiroshima and Nagasaki no longer use the distorting lens of politics.
Christian Martorella

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The Japanese militarism

Article published by the Japanese militarism Nipponico.com site.

Fukoku kyohei
Militarism, colonialism and the free market of Christian Martorella


June 19, 2005. The expression Fukoku Kyohei (rich country and strong army) was the slogan used in the Meiji era (1868-1912) that best describes militarism (gunkokushugi) that permeates modern Japan until the mid-twentieth century. Argument is often spoken lightly falling in the usual way working current instrumental ideology, without understanding what are the motivations for the protagonists of the story. So you need to do some 'clarity even at the cost of being unconventional and controversial. Above will be the comparative historical method (1) to allow us to analyze adverse events liberating vision of ideology. Do not forget that the historic Noro Eitaro (1900-1934) in his History of the development of Japanese Capitalism (Nihon shihonshugi hattatsushi) first to demonstrate the validity of the comparative method applied to the Japanese history (2).
The purpose of our analysis will therefore sull'esplicazione the relationship between militarism and the free market, highlighting the following points:

1) Difference between the modern capitalist militarism and militarism aristocratic feudal
2) Origins of the extreme rural Japanese right and weakness of the liberal bourgeoisie;
3) Japanese imitation of Western military and colonial model;
4) Persistence of military types "rich country and strong army" in the democracies of the twenty-first century.

The distinction between aristocratic samurai warriors ed esercito nazionale di plebei della leva obbligatoria, appare chiaramente evidenziando alcuni eventi cruciali della storia. La coscrizione obbligatoria per l’esercito fu avviata nel 1873, ed era soltanto uno dei passaggi di un grande processo di mutamento della struttura sociale giapponese. I samurai erano stati per secoli i migliori funzionari del Giappone feudale. Oltre ad essere guerrieri abilissimi, erano preparati nelle lettere e nelle arti, risultando un ottimo strumento dell’amministrazione finché non apparve con risalto il declino del potere dello shogun. Il Giappone feudale si scontrò con le nazioni colonialiste occidentali, presentando l’impossibilità di competere con l’organizzazione moderna industriale, anche e soprattutto con la struttura burocratica nazionalista degli stati capitalisti del XIX secolo. Il Giappone era un efficiente impero feudale dell’Oriente, ciò non era però sufficiente per un confronto paritario con la forza militare dell’Occidente finché non fosse divenuto uno stato moderno capitalista. D’altronde era la forza militare che garantiva la penetrazione dei commerci occidentali nelle colonie, garantendo l’esistenza di un libero mercato imposto con l’uso delle armi (3). La coscrizione obbligatoria era soltanto un passaggio della trasformazione del Giappone. Però i samurai, esclusi e ridimensionati nella nuova società, si ribellarono all’evidente svantaggio che li privava dei privilegi e diritti della casta aristocratic, from right to wear two swords in public symbol of the warrior. Already in 1874 there was a Saga an uprising led by Eto Shinpei (1834-1874) stifled by the government. In 1876, the rebellion of the samurai was to Kumamoto. Shortly after the revolt broke out in Kagoshima, where fifteen thousand samurai fought with forty thousand peasants enlisted by the government and well equipped. The rebel leader was Saigo Takamori (1827-1877), a former minister who resigned in protest and valiant warrior. But the samurai had become obsolete both technically and politically, and could not resist the advance of reforms propelled the coupling industry and capital. On September 24, 1877, Saigo Takamori was defeated and lost his life last decisive battle for the samurai.
The clash between samurai and army conscripts had also resulted in the social demands of a mass of commoners who were far removed from the Enlightenment ideas of equality, brotherhood and freedom, concepts accepted only by the educated middle classes and some aristocrats and intellectuals (4). These sections of the populace fueled the formation of an extremist right in the name of patriotism advocated the use of violence to impose its authoritarian government. A first successful attempt that led to entry into the armed forces, then the government's control by the army. The formation of armed forces made up of peasants was a process that drew a spontaneous movement. Farmers avevano costituito autentici eserciti ostili al governo dello shogun, il bakufu, e le loro rivolte avevano indebolito il potere militare dei Tokugawa, fino al crollo definitivo nel 1867. La coscrizione obbligatoria del 1973 integrò i contadini nella nuova società, però comportò anche gravi squilibri. Praticamente il nuovo stato nasceva tramite una militarizzazione di massa, a discapito delle forze sane e propulsive dell’economia come i commercianti (chonin). Intanto il malcontento dei samurai fu placato inserendoli nell’apparato burocratico come funzionari governativi, amministratori locali, membri della polizia, e personale scolastico docente e amministrativo. Ruoli che svolsero zelantemente grazie all’indubbia preparazione.
The Meiji government, concerned about the threat of insurrection, he tried to avoid at all costs, class conflict, thus generating a dangerous situation ignored by all, or the militarization of society. Industry also developed in this direction, emphasizing heavy industry serves the development of war. These imbalances were amplified by the weakness of the Japanese middle class. The development of the country has aimed at military power, otherwise lacked a middle class intellectual who supported the enrichment of the country for the welfare of the citizens. There were many exceptions, but it was brilliant ideas from intellectuals who rarely dragged the consent of the masses. And they were themselves to denounce the dangers of conformism of public opinion. The slogan Fukoku Kyohei (rich country and strong army) was thus interpreted as a rich country for a strong military, what the critically-General of the crowds. Despite the use of the peasant masses, the army was very far from having a slightest democratic aspect being still dominated by personal interests. Yamagata Aritomo the fief of Choshu took command of the Imperial Guard since 1872, thereby establishing the supremacy of his dominion over the army until the early twentieth century. Yamagata Aritomo was also the creator of an order which suppressed any democratic activity in the army, and imposed a strict reactionary policy. Ironically it was forming a private army composed of aristocrats and commoners ideals hostile to democracy, it also happened in a formally democratic country with laws and liberal institutions. Unfortunately, such a process was not anything special, but he had as a model of the Western colonial powers. Meanwhile, the armies of Western liberal democracies have never had any democratic system, setting up the obvious contradiction of a hierarchical authoritarian political systems in electoral representation. The contradiction is still ignored, even when the armed forces of democracies are guilty of war crimes, often called as rare exceptions, neither in reality nor rare exceptions.
The structure of the Japanese Army became extremely dangerous when he began to review the policy and pay the economic alliance with the cracks (zaibatsu). The combination of free trade and militarism is not so unusual when you consider the economies of the Western colonial powers. Japanese militarism is no exception, but the pursuit of a rule, the rule expressed by the slogan rich country and strong army.
The phenomenon of the political and paramilitary soldiers is typical of the first half of the twentieth century, and can be framed by the term fashizumu (fascism) is also widely used by Maruyama Masao. Although it is still controversial definition of "Japanese fascism" because it lacked a single party and there were other characteristics, it can be agreed on what is meant to define (5). How fascist military means organizations which practiced armed violence, including the murder of political opponents and the coup, with the purpose of controlling the country and strengthen their way of distorted ideology of imperialism (kodo). These military formations originated in the countryside still rooted in values \u200b\u200band reactionary antiprogressista, in every way hostile to liberal values. For the masses of peasants, the dialectic of democratic institutions was a social and political degeneration. They did not accept the liberal principles and the guarantee of rights, instead relying on the principle of authority, respect for hierarchies and the use of force. There were several supporters of the authoritarian turn that attempted to theorize what the tumultuous events claimed. Ryohei Uchida (1874-1937) argued that the borders of Japan were to be extended to the Amur River in China, and founded the Kokuryukai (Black Dragon Society). Another leader was ultranationalist Toyama Mitsuru (1855-1944), a proponent of the rule of Asia under the leadership of Japan (Japanese pan-Asian) and organizer of numerous political attacks. Surely the first and fiercest theory of Nationalism Japanese extremist was Kita Ikki (1883-1937) argued that the elimination of the parliament, the abolition of the constitution, the establishment of an economy against popular zaibatsu and estates, and occupation of China. Kita Ikki was implicated in an attempted coup and was executed by its imperial authority that he supported instrumentally.
On May 15, 1932 Prime Minister Inumai Tsuyoshi was assassinated by a group of army officers and navy ending last government supported by the parties without military influences. On February 26, 1936 rose twenty-two young army officers and navy men at the helm of 1400 that killed some important politicians, including Finance Minister Korekiyo Admiral Saito Makoto Takahashi, and occupied several buildings. In the name of an alleged imperial authority, they called for a renewal of the country and the absolute loyalty to the emperor. It was the Emperor Hirohito to crush the uprising by sending the army against the rebels. But the situation was compromised, and the justification of law and order the army eliminated all opposition. Emperor Hirohito was so hostage to the militarist policy, and even if moderate leaders and leaned against the war, as Fumimaro Konoe, failed to strongly oppose the madness of the government headed by General Tojo as Hideki.
I militari erano fuori dal controllo delle istituzioni e prendevano iniziative autonome che trascinavano poi il paese nel baratro oscuro (kurai tanima). Risulta evidente che chi doveva difendere le istituzioni le stava invece demolendo. Inoltre lo scontro nelle forze armate era esasperato perché da una parte la marina (kaigun) si ispirava al modello inglese, non concordando gli obiettivi con l’esercito (conquista della Cina e guerra con gli Stati Uniti), dall’altra anche all’interno dell’esercito chi si opponeva alle concezioni retrograde era considerato un avversario da eliminare.
Questa situazione complessa è ancora più articolata se si considera dinamicamente il quadro che la costituisce. Il militarismo Japanese movement was fueled by rural (nohonshugi) campaign which provided the ideology and men, the army found the structure that allowed the penetration and establishment politics, but the material support was provided by business groups (zaibatsu) that through War could find an outlet for war production. Capitalism and rural mated with common interest to create new markets through the use of military force, so as to perpetuate the family model beyond national borders. It is therefore appropriate expression that defines the great pan-Asian family (daitoa kyoeiken), the area of \u200b\u200bcommon prosperity, even if distorted, absurd and illiberal. But today was not driven out the idea of \u200b\u200bcreating a single political model through the use of military force and the expansion of the market economy. After the end of fascism and socialism seems to be frustrating the unique model of capitalist democracy as the dominant model, because of globalization in the form reappears the militarism that had allied with capitalism. With the justification of fighting terrorism, are no longer the need to support the fascist use of military force to ensure the social order, but democratic governments. A defeat which destroys centuries of struggle for civil rights.

Notes

1. The comparative method applied to the historical and social sciences is highly effective but difficult to include in its scope and depth. Distinguished historians such as Otto Hintze, Karl Lamprecht, Max Weber and Wilhelm Roscher, made extensive use of the comparative method. In the academic importance of the writer has had the teaching of Joseph Di Costanzo, student notes from the authors at the University Federico II of Naples.
2. Noro Eitaro always said that we must consider the inevitability (hitsuzen) history, rather than the occasional (guzen). The story is a story that you can interpret whatever you want, but a connection of facts.
3. Emblematic cases of India and China subdued by the strength of the most powerful liberal economy in the world. Britain, the cradle of the Industrial Revolution and an advocate of free markets, was also the largest colonial empire of the nineteenth century, extending its dominion and control of commercial traffic on the entire planet. British troops and gunboats protect both the economic and political interests often coincide. It was for commercial reasons that broke the Opium War (1840-1842). In fact it was imposed on China to import opium produced from British colonies in Central Asia. The refusal led to the bombardment of Nanking, Canton and the acquisition of the block Hong Kong through a contract, in addition to paying cash compensation to war. See Herbert Franke and Rolf Trauzettel, Feltrinelli Universal History, The Empire of China, Vol.19, Feltrinelli, Milano, 1969.
4. Among the samurai and liberal supporters of the Enlightenment ideas stands the figure of Fukuzawa Yukichi (1834-1901), author of Encouragement to know (Gakumon no Susume) is the condition of the West (Seiyo Jijo).
5. The debate on Japanese fascism (fashizumu rons) is still alive, even going back to the dispute between the school and the school Koza Rono, linked to the Socialists and Yamakawa Hitoshi Inomata Tsunao.

Bibliography

Arena, Leonardo Vittorio, Samurai, Arnold Mondadori, Milano, 2002.
Barzini, Luigi, Japan in arms, Treves, Milan, 1906.
Halliday, Jon, History of contemporary Japan. The politics of Japanese capitalism since 1850, Einaudi, Torino, 1979.
Martorella, Christ, the concept of the Japanese economy: methodological and sociological implications, Proceedings of the XXV Congress of Studies on Japan, Paper Publishing Veneziana, Venezia, 2002.
Maruyama, Masao, The roots of the expansion. Ideologies of modern Japan, Edizioni della Fondazione Giovanni Agnelli, Torino, 1990.
Vincentiis De Positano, Fiammetta, cruisers for the Rising Sun, De Ferrari, Genova, 2005.
Takeshita, Toshiaki, Japan and its culture: Historically, Clueb, Bologna, 1996.
Yanagi, Chitoshi, Transition from military to bourgeois society, with "Oriens", 1, vol.8, 1955.
Benefits, Adriano, Japan 1853-1905: From the end of isolation to the role of great power, Lassa-Scales, Genova, 1984.

How To Earn Credits On Poptropica

football, entertainment, and integration of disabled

The Leo Club Sorrento, philanthropic youth organization of Lions International, has participated successfully to a new project for the social.

Youth Club members took part, with its own Representative football, the X edition of the football tournament "A Football indifference" in the sports complex Splash City Water.

The tournament, organized by Leo Club Castellammare di Stabia Spa, lasted a month and saw eight teams face each other in soccer, including four representing as many clubs and four leo freely open to groups representing businesses, financial Trade and just friends of the territory Stabia.
Fun and healthy competition have driven many players.
The purpose of the tournament was to raise funds for the territorial section of AS. I. Ha,
Italian Association for the Integration of Handicapped.

The award ceremony took place Wednesday, November 11.
Third place for the team and the club's Peninsular medal for the top scorer of the tournament.

The president Sorrento, Gianluigi Cioffi thank the hospitality and helpfulness of the President of the Club of Castellammare, Diana Cascone and all its members, said: "There are many ways to contribute to social progress of our community and certainly one of them is contributing to the integration of many disabled people unable, in most cases, you can freely move, play and have fun as they did in recent weeks the many young avvicendatisi on the pitch, just the sport has always been an effective vehicle for raising awareness and I'm glad that our young club was able to compete in this type of event making its contribution in terms of participation and solidarity. "