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A kakekotoba (掛詞) or pivot word is a rhetorical device used in the Japanese poetic form waka.This trope uses the phonetic reading of a grouping of kanji (Chinese characters) to suggest several interpretations: first on the literal level (e.g. 松, matsu, meaning "pine tree"), then on subsidiary homophonic levels (e.g. 待つ, matsu, meaning "to wait").
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...
Beauty and Sadness (Japanese: 美しさと哀しみと, Hepburn: Utsukushisa to kanashimi to) is a 1961–63 novel by Nobel Prize-winning Japanese author Yasunari Kawabata. The novel is narrated from the present and past perspective of the characters and how they differed from each other's point of view.
Danmaku comments left by viewers are overlaid directly on the videos and are scrolled across the screen, synchronized specifically to the playback time point where the users input the comments. At certain moments of the videos, user comments fill up the screen giving the appearance of a bullet curtain, or danmaku in Japanese and danmu in ...
The story is set in Japan in 1991. The narrator is a 14-year-old boy who has a right eye that aims in a different direction from his left eye, [4] and who is bullied by other male students. Other characters refer to him as "Eyes" [2] (In Japanese ロンパリ, Ronpari, [5] a reference to one eye looking at London and the other at Paris [6]).
Zatoichi (Japanese: 座頭市, Hepburn: Zatōichi) is a fictional character created by Japanese novelist Kan Shimozawa. He is an itinerant blind masseur and swordsman of Japan's late Edo period (1830s and 1840s).
Shinkankakuha (Japanese: 新感覚派, kyūjitai: 新感覺派) was a pre-war Japanese literary group led by Riichi Yokomitsu and Yasunari Kawabata which focused on exploring "new impressions" or "new perceptions" in the writing of Japanese literature.
Harper was Senior Lecturer in Japanese Literature at the Australian National University in Canberra. The other translator, Edward Seidensticker, was Professor of Japanese Literature at Columbia University. [citation needed] Much shorter than the author's novels, this book is a small meditative work of 73 pages, of which 59 are the essay itself.