By invitation only.
In this paper I revisit the age-old practice of musical borrowing by examining the musical nexus at the heart of the cinema of the Hong Kong filmmaker Wong Kar Wai. Directing films is for Wong a way of channelling a lifetime of chancing upon, collecting and listening to music in the commercial and artistic entrepôt of Hong Kong. Key to Wong’s musical borrowings are his celebrated 'musical ear', the circumstances of his films’ production and reception, shrewd marketing strategies, and penchant for 'poaching' music from other films (ranging from old Chinese melodramas to European art films...
The 1951 Refugee Convention defined a new actor, albeit imperfectly, out of the chaos of post-war Europe: the refugee. Today, the ethnographic conditions that constitute persecution at the heart of the Convention have shifted once again but the legal and administrative apparatus has so far failed to recognize this shift. This is affecting those fleeing their home countries and seeking asylum around the world, including in Japan, which, despite its generous support of refugees overseas, has one of the lowest refugee recognition rates in the world.
Play: 附子, The Delicious Poison
Tarō-kaja and Jirō-kaja are entrusted with some sugar by their master, but told not to eat it, as it is poison; naturally, they eat it.
* Kyogen is comic theater which developed alongside Noh. While Noh is musical and solemn, Kyogen provides comic relief with a focus on clever dialogue. Historically Kyogen and Noh alternated in the same program, but now Kyogen is also performed independently, as will be the case in this event.
Daijiro Zenchiku 善竹大二郎
Noriyoshi Ohkura 大藏教義
Shinkai Yoshida 吉田信海
In 1718, in the coastal city of Quy Ninh, in what is now Vietnam’s south central coast, a group of students reprinted the “Guide for Young Learners by Category and Rhyme (指南幼學備品協韻)” in honour of their teacher. As its title suggests, the compiler intended to explicate literary Sinitic terms for young Vietnamese speakers. Divided into chapters explicating classical Chinese terms such as political figures, familial relationships, and flora and fauna, young Vietnamese speakers probably used it, and its earlier iterations, to improve their literacy level in the literary Sinitic.
The academic study of old Chinese vernacular novels and short stories is barely a century old. Until the 1920s, China’s educated elite often dismissed vernacular fiction as too “popular” and too didactic to be worthy of serious appreciation.
Many Japanese roboticists building humanoids today have sought to imbue their robots with “heart” (kokoro), which they translate into English as both “consciousness” and “emotion.”Recently, the popular media have been full of references to “emotional” (kokoro-bearing) and even “spiritual” robots, with specific reference to Pepper, SoftBank’s humanoid that debuted in 2015.