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Journal articles on the topic 'Kyaka'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Clark-Kazak, Christina R. "The politics of protection: aid, human rights discourse, and power relations in Kyaka II settlement, Uganda." Disasters 34, no. 1 (November 27, 2009): 55–70. http://dx.doi.org/10.1111/j.1467-7717.2009.01114.x.

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2

Clark-Kazak, Christina. "The Politics of Formal Schooling in Refugee Contexts: Education, Class, and Decision Making among Congolese in Uganda." Refuge: Canada's Journal on Refugees 27, no. 2 (January 18, 2012): 57–64. http://dx.doi.org/10.25071/1920-7336.34722.

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Based on ethnographic research with over four hundred Congolese refugees in Kampala and Kyaka II refugee settlement, Uganda, this article interrogates the politics of education—both historically in the Democratic Republic of Congo and currently in migration contexts in Uganda. Formal education was an aspiration for all young people in the study, irrespective of current educational level. Moreover, it is a priority for the United Nations High Commissioner for Refugees (UNHCR) and many other organizations working with refugees. Drawing on the experiences and views of Congolese young people, this article analyzes the socio-political importance they accord to formal schooling. It then analyzes the degree to which these political aspects of education are manifested in daily decision-making processes in families, households, communities, and high-level politics. The author concludes with some reflections on how researchers and practitioners working in migration contexts can recognize and take into account the politicized nature of education.

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3

SENUMA, Fumiaki. "Observations on Intra-Nebular Kyara Among Youth." Acta Linguistica Asiatica 5, no. 2 (December 29, 2015): 43–50. http://dx.doi.org/10.4312/ala.5.2.43-50.

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This article summarizes the author’s book (Senuma 2007) on kyara in communication among young people in modern Japan, and subsequent research developments.Here, kyara refers to an intelligible, stereotypical abstraction, derived from a person’s prominent traits. Among the young generation, individuals are sometimes assigned a specific kyara by others in their peer group, regardless of that individual's intentions. Accepting and performing that kyara can elevate the mood of the situation, and become the occasion for communication and humour. This is a benefit of kyaras, but they have disadvantages as well. For example, it may be burdensome to perform that kyara, they might not like the kyara assigned by their friends, or they may be troubled by the disconnect between kyara and self. If kyara-based teasing turns into bullying, this can be a source of suffering for youths as well.The above trends have escalated since the publication of Senuma (2007). Situations in which young people should perform kyaras around their friends have increased. Moreover, the younger generation must increasingly use different kyara for different situations due to the popularization of smartphones and the ubiquity of various social networking sites.This “situational use of different selves” is contrary to the identity theory, which posits that people build a consistent self during adolescence. Human relationships and types of friendship are inherently varied, but to the young, fear of losing friends takes precedence, so they perform kyaras to fit in with their friends. If they become too accustomed to performing these kyaras, their innate right to change within their relationships to others could be stripped away by the group dynamic.

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4

Inouye, Charles Shiro. "Izumi Kyoka and Language." Harvard Journal of Asiatic Studies 56, no. 1 (June 1996): 5. http://dx.doi.org/10.2307/2719374.

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5

Bedoire, Fredric. "Kyrka, herrgård och bruk." Konsthistorisk Tidskrift/Journal of Art History 64, no. 3 (January 1995): 147–62. http://dx.doi.org/10.1080/00233609508604383.

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6

Idone Cassone, Vincenzo. "Gotta face ‘em all: Pokémon, Japanese animated characters, and the emergence of playful visual animism." Sign Systems Studies 49, no. 3-4 (December 31, 2021): 543–65. http://dx.doi.org/10.12697/sss.2021.49.3-4.15.

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As a result of technological innovations and new cultural practices, the contemporary mediasphere is increasingly populated by digital(ized) faces. The phenomenon is not limited to human faces, but includes a vast universe of fictional animated faces, variously called ‘characters’, ‘mascots’ or ‘kyara’. In Japan, while certainly not new, kyara have been spreading thanks to globalization, digitalization and media-mix strategies. Through the connection between visual design, fictional narratives and socio-cultural consumption, kyara can be considered semiotic figures of in-betweenness, key symbolic mediators in the Japanese mediascape. Their anthropomorphic face design mediates the cultural boundaries between the human and the non-human, the animate and the inanimate, nature and culture. Furthermore, their post-modern narratives mix inspiration from the past and the present, from myths to science fiction. Lastly, they involve an encyclopedic reworking between fiction and reality, mythical references and secularization, between the domains of seriousness and playful make-believe. The article aims to explore the semiotic dimensions of kyara in contemporary Japan, with emphasis on their logic of representation and cultural outcomes. These will be investigated through the analysis of the Pokémon franchise, which will make it possible to describe the emergence of new semiotic patterns of ‘playful visual animism’ in the process of media facialization of everyday life.

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7

Lemus, Jorge E. "Definiendo al indígena salvadoreño." Wani 62 (October 31, 2012): 48–61. http://dx.doi.org/10.5377/wani.v62i0.858.

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Salvador ra patitara uplika kyamka kaia tanka Naha ulbanka ra, ulbanka dauki waiknika ba trai kaikisa makabanka kum ra ansa munaia. Baha ba naha sa: ¿Salvador uplika nani ba dia maplika wal patitara uplika kyamka nani kulkanka alkaia sip sa ? Baha makabi walan ka ansa munaia tanira rul satka 8 nani bapi marikisa nahki Salvador ra patitara uplika wina takan kyamka nani ba maplika sakaia. Naha muna daukaia lukanka sakan ba sika nitka laka barasa rul nani bapanka plaika baku ridi dauki bri kaia Salvador ra patitara uplika kyamka nani ba nahki maplika sakaia sip kabia sapa sakaia. Trabilka taki ba sika, naha uplika nani Salvador ra ai iwanka natka nani sut tiki luwan, wibia kaka yapti bila aisanka, kwalka dimra wihta, ai Dawan ra pura sunra laka bara ai natka wala nani sut tiki luwan. Bbaha taka naiwa pyuwara Salvador ra ba campesino kum, apiakra Salvador uplika wala nani kum wihki patitara uplika kyamka kun ba wal sut sim sat kaikisa. Naha ulbanka ra alki ba pat baha muna rulka tara nani bapan ba, Salvador kuntrika ra Pipiles kyamka nani laka bapan nani ba baku sin warkka daukan wainika tauwan nani bilara ai warkka nani dauki tauki tilara uplika iwanka nani tanka kaikkan dukia nani brih wina daukan sa.Salvador innidianbalnayulni Adika yulni parahni rawaswi yakna akat warkni yamyang adika kulnin lani duwi yulwi dakana balna as kidi yak nangnit lana atnin¿salvador innidianbalnakidiaisyaklauwilaihdiyakwi? Kidi yak nangnit lanin kat kulnin lani tiaskau bas yakwi salvador innidian kapat amang lanin yulni. Adika kulnin lani adika laih kalahna ki amput dawi Salvador innidian balna yulni amang lanin yulni. Kat adika sulani balna kidi yalahwa lani balna laih palni awaski yulnin kat witingna yalalahwa lani didisna palniki, yulnin kat tuni yulwa, asnina kakawa, sutslainni yak dawak lanina balna bik laih palni yuldarang kat witingna kidi indian kapat taldaski indian as dawi salvador isnipayul karak. Adika yulni wauhnitaya akat laih yakwi yulwi sulani as tannika yulni, pipil muihni balna tannika yulwa kaupak laihwi talwi kaput bik kulwi talna as munah adika amanglanin kulnin yamwi muihni balna yalahwa lani pas yak kawi dawak amput lalah lainni munah satuk kalahwa kidi. DOI: http://dx.doi.org/10.5377/wani.v62i0.858 Wani No.62 2010 pp.48-61

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Müller, Simone, Steven Hill, Sukwi Kim, Francis Müller, Nahoko Suzuki, and Andres Toledo. "Aufzeichnungen über einen unheimlichen Mönch: Eine kommentierte Übersetzung." Asiatische Studien - Études Asiatiques 73, no. 2 (July 26, 2019): 297–310. http://dx.doi.org/10.1515/asia-2019-0006.

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Abstract Yōsōki (Records about a Creepy Monk, 1902) is a lesser-known short story of Izumi Kyōka, one of the most popular writers of the Meiji period. Kyōka, known for his fantastic, pictorial and folksy stories, belonged to the renowned literary circle Kenyūsha, founded by Ozaki Kōyō, that committed itself to light fiction and firmly rejected didactically motivated literature. The story Yōsōki presented here for the first time in German translation, stands prototypically in the tradition of the fantastic-aesthetic literature characteristic for Kyōka’s writing.

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9

Ericsson, Anne-Marie. "Om stolarna i Hjorthagens kyrka." Konsthistorisk Tidskrift/Journal of Art History 73, no. 2 (May 2004): 98–99. http://dx.doi.org/10.1080/00233600410035481.

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10

Edgren, Helena. "Dominikanbrodern i S. Marie kyrka." Konsthistorisk Tidskrift/Journal of Art History 59, no. 1-2 (January 1990): 11–16. http://dx.doi.org/10.1080/00233609008604247.

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11

Wilde, Lukas R. A. "Kyara revisited: The pre-narrative character-state of Japanese character theory." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 220–47. http://dx.doi.org/10.1515/fns-2019-0014.

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AbstractThis article proposes to take a closer look at a variety of contemporary Japanese “character” franchises which cannot be accounted for if the entities in question are primarily understood with reference to diegetic worlds or stories. Rather, virtual idols like Hatsune Miku, fictional mascots like Kumamon, or notorious product placement figures such as Hello Kitty all seem to circulate mostly on non-narrative artifacts such as clothes, office supplies, or decontextualized artworks, and within mediated performances such as stage musicals, cosplay, or public appearances in full-body suits. They are nevertheless quite typical for the Japanese “media mix” franchising model, designed to allow for user-level reshuffling and reenactment. Such “characters without stories,” or kyara, are thus best understood as “mediated performers,” as fictional actors that can take on any fictional role attributed to them within the participatory cultures and collective creations of fan manga (dōjinshi), fan artworks, or even cosplay. Theorists such as Itō (2005) or Azuma (2009) therefore differentiate sharply between kyarakutā und kyara, the latter being a pre- or meta-narrative “nodal point” for diverging games of make-believe. Kyara can just as easily be enacted and performed as they can be brought back into narrative (kyarakutā) contexts. The following article relates and contrast these notions to international (“Western”) character theories and argues for their relevance beyond “exotic” Japanese contexts.

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12

Quesada, J. Diego. "Las lenguas indígenas de la Costa Rica actual." Wani 62 (October 31, 2012): 19–24. http://dx.doi.org/10.5377/wani.v62i0.856.

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La población indígena costarricense asciende a 63,876 personas distribuidas en ocho pueblos indígenas: huetar, maleku, chorotega, bribri, cabécar, brunka guaymi y teribe. En este artículo se presenta su distribución étnica y territorial, sus orígenes e historias, la filiación genética de sus lenguas y su estado actual. También se señalan las instituciones y las investigaciones y programas cuyos esfuerzos están encaminados a la revitalización de sus lenguas y la reivindicación de sus derechos étnicos. 1. INDIGENAS DE COSTA RICA-HISTORIA 2. ETNICIDADINVESTIGACIONES- COSTA RICA 3. CULTURAS INDIGENAS-COSTA RICA DOI: http://dx.doi.org/10.5377/wani.v62i0.856 Wani No.62 2010 pp.19-24 Naiwa pyuwara Costa Rica ra patitara uplika kyamka nani yapti bila aisanka nani ba Naiwa pyuwa ra Costa Rica ra patitara uplika kyamka nani ba 63,876 upla nani barasa, baha nani sut ba kyamka satka 8 nani ra asla takisa, nina nani ba: huetar, maleku, chorotega, bribri, cabécar, brunka guaymi bara teribi. Naha ulbanka ra tanka marikisa baha nani sat ka kumi bani kyamka mapla bara tasbaya piarkika trabilka nani dukiara; baku sin witinka nani ginisis ka, blasi ka sturka, yaptika bila nani pana pana wilkanka tanka bamna naiwa yuwa kat ai iwan ka nani nahki briba tanka sim. Baku sin naha ulbanka ra tanka marikisa baha uplika yaptika bila nani tiwi auya ba kli raki bukaia bara ai raitka laka alkaia aiklabanka bri nani ba ta baikaia lainkara wark nani dauki aula ba sim.Costa Rica sauni yak warmanimanikatindiantuniyulwabalna Costa Rica sauni kidi indian sulani63,876 muih pa binina sat sat kau yalalahwi: huetar, maleku, chorotega, bribri, cabécar, brunka guaymi y teribe. Adika wauhnitaya akat laih sulani dawak sauni kau sahyakwi nining kawi, angkaupak kalahna dawak yulni bayakna balna bik, tuni yulwa kidi angdika kal uduhna kaupak kidi dawak warmani kat yalalahwa pani balna bik. Kaput bik adika yak yulwi Apis, walwi talna dawak prukrama balna tuni yulwa dawak sulani kapat ramhni balna yak parasniawinininglalauwakidibik.

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Acosta, María Luiza. "La autodeterminación de los pueblos indígenas del Pacifico, Centro y Norte de Nicaragua." Wani 62 (October 31, 2012): 62–72. http://dx.doi.org/10.5377/wani.v62i0.859.

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Los pueblos indígenas del Pacifico, Centro y Norte de Nicaragua han sufrido un arduo y forzado proceso de asimilación a la cultura dominante y el despojo de sus tierras colectivas a partir de la conquista española, pasando por la época colonial y continuando desde la fundación del Estado Nacional. En este artículo, su autora, mediante un inventario de la jurisprudencia nacional e internacional señala que la invisibilidad que sufren estos pueblos es una clara muestra de la violación a sus derechos humanos, y exhorta al estado nicaragüense a continuar con el proceso reivindicativo de estos indígenas que en este momento se centra en el anteproyecto de Ley para los Pueblos Indígenas del Pacifico, Centro y Norte, el cual está actualmente en la etapa de consulta. En este sentido aboga para que el gobierno preste atención a las observaciones que han hecho de él las organizaciones y pueblos indígenas. 1. INDIGENAS DE NICARAGUA-ASPECTOS JURIDICOS2. DERECHOS HUMANOS-FUNDAMENTOS-NICARAGUA3. ANTEPROYECTO DE LEY-PARTICIPACION CIUDADANA-NICARAGUA DOI: http://dx.doi.org/10.5377/wani.v62i0.859 Wani No.62 2010 pp.62-72 Patitara uplika kyamka nani Nicaragua Pacific, Lilapas bara Yahbrika ra silp ai klauna iwanka nat ka nani plikaia ba Nicaragua Pacific ka ra, Lilapas ka bara Yahbri ka sait ra patitara uplika kyamka luhpika iwi nani ba kyamka wala laka munuhtara taibi dinki, yuski, rau munan panis ka tara pali wahwansa. Baha trabilka ba Ispail kyamka nani naha tasbaya ra bal diman wina ta krikan, baha wina Nicaragua gavarment ka bal ulan wal kli sahwan, naiwa yuwa kat ban sa. Naha ulbanka ra, ulbanka na dauki mairka ba, witin Nicaragua kuntrika ra baku sin biara kuntri nani lainkara upla raitka laka tanka nani aiska pliki, wahbi saki brih muni tanka mariki wisa, baha rau munan ka laka paniska ra iwi ba wal upla raitka laka tara nani bapan ka sut drusbisa. Baku ba mihta Nicaragua gavarment ka ra winanka kum daukisa ai ninara taubia apia, ban dauki tnata alkbia ba kat, Nicaragua Pacific, Lilapas bara Yahbrika kyamka nani Laka kum paski ba dauki tnata alkbia. Baha laka ba naha pyuwara ulbi paski, lukanka pliki kaikanka ra brisa. Baku natkara makabisa Nicaragua gavermentka ra kupia kraukanka nani balbia ba sut ra pain laki kaiki yus muan kabia asla takan ka apia kra patitara uplika kyamka sat sat wina bribia ba sut.Nicaragua sauni yak indiansulanibalna alas yalahwalanikatyalalahwakidi, makawadaw akpapuspisnikarak Wadah, papus dawak ma kawa saitni indian sulani balna kidi taihna lani nuhni munah sulani uk kau parasni kidi yalah walani balna yak lan kalalahna dawak bik ispayul ma sauki tingni yak duna kaupak, taihna lani nuhni kaina dai muih uk balna aiwi kakana yak dawak sau adika ispayul tingni yak duna kaupak. Adika wauhnita yakat, adika yulwa muihni yal adika la balna laihwi talna kat amang lana ki sulani balna amput ramhni balna yak taihna lani duduwa ki dawak bik kabamint lani yak kanin indian sulani balna sulani ramhnina yulwa lani pasyak kanin, adika lani kidi wara minit laih laihwi talna yak kau sak ki. kaput laih ilpni yulni kabamint kidi laihwi talwangh kal uduhna balna dawak indian sulani pani balna yuyulwa kidi yak.

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Murai, Fumika, Makiko Naka, and Hiromichi Kato. "“Kyara” and the self-formation in Japanese Adolescents: How do the Japanese high school students perceive “Kyara”?" Proceedings of the Annual Convention of the Japanese Psychological Association 81 (September 20, 2017): 1D—090–1D—090. http://dx.doi.org/10.4992/pacjpa.81.0_1d-090.

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15

Damayanti, Mutia, Nabiella Salsabil, Rakhma Nur Azzahrani, and Titus Rossale. "Penggunaan Modalitas te mo ii dan te mo kamawanai dalam Percakapan Bahasa Jepang." Ayumi : Jurnal Budaya, Bahasa dan Sastra 8, no. 2 (October 12, 2021): 140–55. http://dx.doi.org/10.25139/ayumi.v8i2.3888.

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Artikel ini menganalisis tentang penggunaan modalitas te mo ii dan te mo kamawanai dalam percakapan bahasa Jepang. Artikel ini bertujuan untuk mendeskripsikan penggunaan modalitas kinshi-kyoka yakni te mo ii dan te mo kamawanai beserta perbandingan fungsi kedua modalitas tersebut. Peneliti memperoleh data berupa wacana dialog pada drama Jepang, dan kanal YouTube bertema pendidikan bahasa Jepang. Dalam menganalisis, peneliti menggunakan metode deskriptif untuk mendeskripsikan fungsi modalitas kinshi-kyoka berpermarkah te mo ii dan te mo kamawanai. Selanjutnya, untuk mengetahui perbedaan dan persamaan modalitas te mo ii dan temo kamawanai, peneliti menggunakan teknik substitusi. Berdasarkan hasil analisis data, modalitas te mo ii dan te mo kamawanai mempunyai perbedaan yang terletak pada padanan maknanya, tetapi mempunyai penggunaan yang sama yaitu untuk meminta atau memberi izin. Dalam penggunaannya, modalitas te mo ii dan te mo kamawanai dapat saling bersubstitusi dalam konteks perizinan.

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16

Liepe, Lena. "Det befolkade rummet: Relikfyndet från Torsken kyrka." Nordlit, no. 36 (December 10, 2015): 261. http://dx.doi.org/10.7557/13.3691.

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<p>Taking its point of departure in the finding of a bag of relics tucked away under the chin of a late medieval wooden Christ figure from Torsken Church, Senja, this essay discusses relics as an essential feature of the medieval church room. Through the relics – deposited in the sepulchres of the altars, encased in reliquaries made from precious metals or, as in the case of the Torsken crucifix, contained within wooden cult images – the saints became present and accessible as addressees of intercessions. The role of relics in medieval liturgy and devotion is accounted for, and the oscillation between visibility and invisibility, reality and representation, as played out by the Torsken crucifix with its relics, is explored. The visible, “realistic” or life-like figure of Christ is a mere representation, a manufactured similitude of the Son of Man, whereas it is the relics, hidden away in the bag, that manifest the actual presence of the higher, invisible but nevertheless true divine reality in the church room.</p>

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Magnuson, Torgil. "Jesuiternas kyrka Il Ges[ugrave] i Rom." Konsthistorisk Tidskrift/Journal of Art History 75, no. 3 (September 2006): 146–66. http://dx.doi.org/10.1080/00233600600608414.

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18

Sandström, Birgitta. "Ordet — Pehr Hörbergs projekt för Urshults kyrka." Konsthistorisk Tidskrift/Journal of Art History 55, no. 1 (January 1986): 12–18. http://dx.doi.org/10.1080/00233608608604097.

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Editor, El. "Proyecto de ley de los pueblos indígenas del Centro, Norte y Pacífico de Nicaragua." Wani 62 (October 31, 2012): 84–99. http://dx.doi.org/10.5377/wani.v62i0.862.

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La paskaia bapan ka kum Nicaragua Lilapas, Yahbrika bara Pacific saitka ra patitara uplika kyamka iwi nani ba dukiara Naha wauhtaika na la kum paskaia bapan ka kum sa, Nicaragua Lila pas, Yahbrika bara Pacific ka sait ra patitara uplika kyamka iwi nani ba bui daukan. Naha laka brinka nani pali ba sika baha uplika nani ba silp ai klauna laka iwanka nani natka alkaia raitka nani kan kahbaia; la mawanra silp ai prapati ka bri uplika nani baku kulkanka yabaia baku sin ai gaverment ka, ai pyarkika bara ai raitka bapanka bri nani ba sut Nicaragua constitución ka wal wilkanka daukaia, witin nani ba Chorotega, Cacaopera, Nahoa bara Xiou kyamka nani wina bal takan uplika nani sa. DOI: http://dx.doi.org/10.5377/wani.v62i0.862 Wani No.62 2010 pp.84-99 Proyecto de Ley de los pueblos indígenas del Centro, Norte y Pacífico de Nicaragua Adikawauhnitayaniningkadaakat Nicaragua sauni wadah (pacifico), ma kawa dawak papus pisni yak indian balna yalalahwa lani pruyiknitu parasni kalana ki dawak bik yamnin kulnin lani nunuhni kidi laih yalahwa lani kat ramhnina diyanin dawak bik kulnin aslah lani kat yalalahwarang adika pani balna dawak indian muihni balna bitik karak; muih as kapat la amanglanin dawak bik muih bitik muhnit yak ramhni kidi duwa atnin yalahwa lani as yamni, kaput bik silp yalahwa lani kat sauni tunan dunin, tunan kanindawaksipatnin, Nicaragua sauni lani dinit yak atnin. Kaput bik Apis tang anamayang adika lani pruyiknitu yulni dawak adika innidian balna yaklauwi isning pakna as yayamna ki dibik.

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Maree, Claire. "Writing Onê: Deviant Orthography and Heternormativity in Contemporary Japanese Lifestyle Culture." Media International Australia 147, no. 1 (May 2013): 98–110. http://dx.doi.org/10.1177/1329878x1314700111.

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Since the turn of the millennium, Japanese variety television has witnessed a revival in onê-kyara (queen personalities). In contemporary lifestyle media, the trans-gendered onê-personality figure is demonstrative of how suitable consumption and personal effort can bring forth the transformational happiness of the individual. The transgressive, radical potential of the figure of transformative non-normative gender is muffled by the onê-personality's positioning within variety television as a friendly expert of extraordinary and often comical proportions. Language is one of the key sites where the tensions of critical expertise and queerness are negotiated via synthetic friendship and comic relief. In lifestyle media, onê-kyara-kotoba (queen-personality-talk) is juxtaposed with conventional Japanese and emerging practices of digital orthography. This social practice of writing effectively facilitates the contemporary fetish of the onê (queen), and the consumption of homosexual and trans-gendered lifestyle experts selling the promise of heteronormative romantic love.

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Omdal, Gerd Karin. "Den kriminelle romanen og leseren." European Journal of Scandinavian Studies 51, no. 1 (April 1, 2021): 140–61. http://dx.doi.org/10.1515/ejss-2020-2019.

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Abstract In the article KYKA / 1984 is studied as a concrete experiment with the printed book as a medium and with the double-book-format. Karin Moe is in this text dealing with questions concerning the relationship between work and text, and between work, text and reader. The article is an exploration of the design and the composition of the book, and it also explores several kinds of transtextuality, which are establishing interconnections with other literary works and genres. Questions raised by Moe in KYKA / 1984 concerning language and gender are also examined. An important objective of the article is to uncover how and why an experimental and critical investigation is carried out in a book copying a well-known commercial format.

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Inouye, Charles Shiro. "Water Imagery in the Work of Izumi Kyoka." Monumenta Nipponica 46, no. 1 (1991): 43. http://dx.doi.org/10.2307/2385146.

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23

Lachaud, Francois. "L'Ermite du Mont Kôya, une lecture d'Izumi Kyôka." Ebisu 2, no. 1 (1993): 67–81. http://dx.doi.org/10.3406/ebisu.1993.882.

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Neuenfeldt, Karl W. "The Kyana Corroboree: Cultural Production of Indigenous Ethnogenesis." Sociological Inquiry 65, no. 1 (January 1995): 21–46. http://dx.doi.org/10.1111/j.1475-682x.1995.tb00405.x.

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Hirahara, Shiori, and Atsushi Shimotomai. "Contraction of Kyara function scale and function evaluation structure." Proceedings of the Annual Convention of the Japanese Psychological Association 82 (September 25, 2018): 3EV—010–3EV—010. http://dx.doi.org/10.4992/pacjpa.82.0_3ev-010.

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Cornyetz, Nina, and M. Cody Poulton. "Spirits of Another Sort: The Plays of Izumi Kyoka." Journal of Japanese Studies 28, no. 2 (2002): 443. http://dx.doi.org/10.2307/4126823.

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Greene, Barbara. "Haunted Psychologies." Journal of Anime and Manga Studies 2 (November 29, 2021): 243–81. http://dx.doi.org/10.21900/j.jams.v2.869.

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The anime adaptation of the light novel franchise Bakemonogatari was released in 2009. The story revolves around the character Araragi Koyomi, a high school student in his senior year who encounters a powerful vampire during a school break and is transformed into a semi-supernatural being himself. However, this is not merely an example of a supernaturally-focused anime, but rather is a discussion on the impact of capitalism on the subjectivity of the individual. The narrative and experience of viewing Bakemonogatari is a commentary on the trauma of postmodernity and otaku consumption’s failure to remediate the objectification of consumer-capitalism. The series’ design and narrative choices is designed to attract otaku, to whose consumption these patterns are designed to appeal, and thereby give warning to otaku concerning the potential dangers posed by their approach towards media. The characters in this series are possessed by Specters who dredge up and yet simultaneously suppress this traumatic state of existence in a world without catharsis and without justice. Otaku, attracted to moe-kyara to escape the drudgery and misery of the three-dimensional world, are shown that this escape itself is a form of harm—like Araragi, they turn meaning into a form of self-flagellation and heap untold suffering on the moe-kyara towards which they are inextricably drawn.

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Jarlert, Anders. "Relationerna mellan kyrka och stat i Sverige sedan år 2000." Norsk Teologisk Tidsskrift 108, no. 01 (March 6, 2007): 41–51. http://dx.doi.org/10.18261/issn1504-2979-2007-01-04.

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STRUVE, Daniel. "Les recueils comiques de kyôka : l'exemple du Tokuwaka gomanzai shû." Extrême orient Extrême occident 25, no. 25 (2003): 139–63. http://dx.doi.org/10.3406/oroc.2003.1171.

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CHISHIMA, YUTA, and TATSUYA MURAKAMI. "Relation Between Acceptance of Kyara in Friendship and Psychological Adjustment :." Japanese Journal of Educational Psychology 64, no. 1 (2016): 1–12. http://dx.doi.org/10.5926/jjep.64.1.

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Leiter, Samuel L. "Spirits of Another Sort: The Plays of Izumi Kyoka (review)." Asian Theatre Journal 19, no. 2 (2002): 360–62. http://dx.doi.org/10.1353/atj.2002.0033.

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Chaudhary, Rakesh. "Usage 2: ‘Aati kyaa New York?’ – a Nampally monologue." English Today 17, no. 1 (January 2001): 27–38. http://dx.doi.org/10.1017/s0266078401001109.

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Nam, Sang-Ho. "A Study on The Moral Suasion Mobilization Campaign (Kyoka Doin Undo)." Korea-Japan Historical Review 62 (November 30, 2018): 365–99. http://dx.doi.org/10.18496/kjhr.2018.11.62.365.

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Noh, Hyekyoung. "Study of Giketsukyouketsu (義血俠血) and The Prosecutor and the Female Teacher." Hankuk University of Foreign Studies Literature Studies 88 (November 30, 2022): 41–67. http://dx.doi.org/10.22344/fls.2022.88.41.

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This paper is a comparative study of Giketsukyouketsu and The Prosecutorand the Female Teacher. Giketsukyouketsu is the work of Izumi Kyoka, oneof the representative writers of modern Japanese literature. The Prosecutorand the Female Teacher is the work of Choon-kwang Kim, one of therepresentative theater writers of Korea during the colonial period. In themeantime, The Prosecutor and the Female Teacher has been known as KimChoon-kwang's complete creation. However, in this paper, the fact that thiswork is an adaptation was proved using evidence. The Prosecutor and theFemale Teacher is highly likely to be a rewritten work based onGiketsukyouketsu.

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Melin, Pia. "KLÄDER SOM KOMMUNIKATIONSMEDEL. SENMEDELTIDA MANSDRÄKT I ALBERTUS PICTORS MÅLNINGAR I TÄBY KYRKA." Kunst og Kultur 90, no. 02 (August 19, 2007): 103–12. http://dx.doi.org/10.18261/issn1504-3029-2007-02-05.

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Poulton, Cody. "Drama and Fiction in the Meiji Era: The Case of Izumi Kyōka." Asian Theatre Journal 12, no. 2 (1995): 280. http://dx.doi.org/10.2307/1124111.

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Williams, Henrik. "DET INLEDANDE PERSONNAMNET PÅ EN AV RUNSTENARNA I DANDERYDS KYRKA, U 129." Amsterdamer Beiträge zur älteren Germanistik 67, no. 1 (2011): 79–90. http://dx.doi.org/10.1163/9789401200783_008.

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Oladayo, Muniru Murana, and Hafsat AbdulWahab. "An Exploration of Adamu Kyuka Usman’s Style of Introduction in Hope in Anarchy." International Journal of English and Comparative Literary Studies 2, no. 1 (January 26, 2021): 13–23. http://dx.doi.org/10.47631/ijecls.v2i1.160.

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Every good piece of writing, fictional or otherwise is marked by a good introduction. This initial part is the primary provider of the reader’s first impression that sustains the reading. The introduction as well as the other parts of a written or spoken text is essentially realized through specially selected language. In prose fiction, special selections and patterns are the hallmarks. This paper explores the devices of style deployed by Usman in the creation of the introduction to Hope in Anarchy. It involves an intensive reading of the first chapter of the novel to unravel its artistic underpinnings for creating and sustaining the interest of the reader in the story. This thorough reading follows a general but careful reading of the entire text to establish the writer’s preoccupation and general tone. Excerpts from the introductory chapter form the data, and the analytical framework is linguistic stylistics. The analysis reveals that the novelist annexes contrastive lexical and syntactic devices, adjectives and adverbs of varied types and semantic nuances and morpho-phonological choices to introduce and delineate characters, develop events and create suspense. The paper concludes that both the novelty and typicality of the narrative derive from these stylistic constructs.

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Bussey, Samuel K. "A Spirit of Revitalization. Urban Pentecostalism in Kenya, written by Kyama M. Mugambi." Exchange 51, no. 2 (August 23, 2022): 192–93. http://dx.doi.org/10.1163/1572543x-20221632.

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Dharma, H. R. C., and A. A. T. Kariko. "Kyaragobi:Enhancing the identity of a Kyara on Japanese fiction in the digital era." Journal of Physics: Conference Series 1175 (March 2019): 012245. http://dx.doi.org/10.1088/1742-6596/1175/1/012245.

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Sandra Annett. "What Can a Vocaloid Do? The Kyara as Body without Organs." Mechademia: Second Arc 10 (2015): 163. http://dx.doi.org/10.5749/mech.10.2015.0163.

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Rotaru, Arina. "Yoko Tawada’s Kafka Kaikoku." Journal of World Literature 2, no. 4 (2017): 454–74. http://dx.doi.org/10.1163/24056480-00204005.

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Despite the vast body of scholarship on Yoko Tawada, an author who writes in both German and Japanese, her work has not been examined in light of the question of modernity. Through a close reading of her play Kafka Kaikoku and an examination of recent world literary theories, this paper situates Tawada’s work in relation to a complicated nexus that features as protagonists two contemporaneous authors, Franz Kafka and Izumi Kyōka, engaging with their migrations between pre-modern and modern pasts. How does this complicated temporal dimension re-imagine putative divisions between East and West in relation to modernity and modernities, and how does that affect our understanding of world literature? My paper proposes the notion of “interlaced modernities” to address these questions and reflects on its implications for world literature.

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김경화. "About the Kyoka Izumi 「GIKETSUKYOKETSU」 - focused on the class system of the Meiji era." Journal of Japanese Language and Literature 98, no. 2 (August 2016): 181–99. http://dx.doi.org/10.17003/jllak.2016.98.2.181.

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44

Harley, Matthew. "Aspects of the phonology and morphosyntax of Kyak, an Adamawa language of Nigeria." Language in Africa 1, no. 3 (December 25, 2020): 373–404. http://dx.doi.org/10.37892/2686-8946-2020-1-3-373-404.

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This paper provides a preliminary analysis of a few aspects of the phonology and morphosyntax of Kyak [bka], a largely undocumented Adamawa language spoken in the northern part of Taraba State in Nigeria. The paper is divided into four main sections. The first section deals with the phonology, focusing on consonant and vowel inventories, some phonetic processes, and syllable structure. The second section looks at nominal morphology, particularly nominal modifiers and possessive constructions, which show a distinction between alienable and inalienable possession. The third section describes the verbal morphosyntax, identifying the various forms that encode the expression of tense-aspect and person-number. The fourth part looks at a couple of clause/sentence level features, namely the clitic -ŋ, which is associated with the marking of assertiveness, and the use of logophoric pronouns. This is the first description of the phonological and grammatical features of the language, and one of the first for the Jen cluster. It thus adds to the knowledge of the cluster and to the evaluation of genealogical and areal hypotheses which involve languages of this region.

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Kawakami, Chiyoko. "The Metropolitan Uncanny in the Works of Izumi Kyoka: A Counter-Discourse on Japan's Modernization." Harvard Journal of Asiatic Studies 59, no. 2 (December 1999): 559. http://dx.doi.org/10.2307/2652722.

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Hirayama, Manami, and Timothy J. Vance. "Onset Cy and High Vowel Devoicing in Japanese." Journal of Japanese Linguistics 34, no. 1 (April 25, 2018): 103–26. http://dx.doi.org/10.1515/jjl-2018-0006.

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Abstract Japanese has contrasts between onsets romanized as singletons and Cy clusters (e.g., kaku ‘rank’ vs. kyaku ‘guest’). It is uncertain whether Cy should be treated as a distinctively palatalized consonant /Cy/ or as a /Cy/ cluster; the phonetic realization is compatible with either. A distributional argument favoring the /Cy/ analysis is the neutralization of the contrast before front vowels: Ci, Ce, *Cyi, *Cye; the absence of */Cyi/ and */Cye/ follows automatically from */yi/ and */ye/. In this paper, high vowel devoicing is used as a diagnostic to investigate this phonemicization issue. A production experiment was conducted, comparing the rates of vowel devoicing in words containing Cu/iC and CyuC sequences (e.g., maputa vs. mapyuta). The devoicing rate was significantly lower in CyuC than in Cu/iC. This supports the cluster analysis /Cy/ (with the /y/ inhibiting devoicing) over the singleton analysis /Cy/ for the onset palatalized consonants of Japanese.

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Rajkovic, Dragana, and A. D. Jurisic. "Ixodes ricinus as vector and reservoir of Borrelia burgdorferi in an urban environment." Archives of Biological Sciences 57, no. 3 (2005): 253–54. http://dx.doi.org/10.2298/abs0503253r.

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As specific arthropods, ticks in urban environments transmit the agents of dangerous contagious diseases endangering human and animal health. They are vectors of numerous infective agents that cause serious diseases of animals such as babesiosis and ehrlichiosis. Tick populations maintain and transmit an increas?ing number of different infective agents. In regard to the human population, they transmit the agents of tick encephalitis, Omsk hemorrhagic disease, Crim-Congo hemorrhagic disease, Kyasa-nur forest fever, ixodid fever, Q fever, Rocky Mountain spotted fever, tularemia, Siberian tick typhus and Lyme disease the last of which according to acarological references has become the dominant zoonosis in over 140 of the world's countries. In urban environments ticks represent problem both for their epidemiological significance and as organisms whose presence disturbs people during their work and rest. In Europe, the two most fre?quent species and Ixodes ricinus and Ixodes persulcatus. Both species have a wide spectrum of hosts.

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48

Orekhov, Boris. "Bashkir Verse from the Turkic Perspective." Studia Metrica et Poetica 8, no. 2 (December 31, 2021): 32–44. http://dx.doi.org/10.12697/smp.2021.8.2.02.

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The article discusses the statistically identified properties of Bashkir versification in comparison with the existing descriptions of other Turkic versification systems. The focus is on imparisyllabic forms, predominant meters, and peculiarities of rhyme. The study allows concluding that Bashkir Uzun-Kyuy (a regular alteration of 10- and 9-syllable lines) is unique and its equivalents are not found in other Turkic poetic traditions except the Tartar tradition, with which Bashkir verse has common roots. The frequency of Bashkir 9-syllable verse is also unusual as compared with poetry in other Turkic languages. Octosyllabic lines, which are often used together with 7-syllable verse, are common for various Turkic systems and can also be found in Bashkir poetry, most prominently in Kyska-Kyuy (a regular alteration of 8- and 7-syllable lines). More data is needed to judge to what extent the rhythm of Bashkir verse is comparable with the verse rhythm in other Turkic poetic traditions.

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49

Wiyatasari, Reny. "Penyajian Teh oleh Teishu dalam Ritual Sadoo: Potret Representasi Karakter Bangsa Jepang." Endogami: Jurnal Ilmiah Kajian Antropologi 1, no. 2 (June 8, 2018): 194. http://dx.doi.org/10.14710/endogami.1.2.194-202.

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SADOO -- is one of the culture of the Japanese that still awake its sustainability in the midst of globalization and modernization. Sadoo in Japan is influenced by Zen Buddhism. Therefore sadoo is believed to be one of the richest cultures of meaning and value of life, such as social values, discipline, beauty, and etiquette. It is illustrated by the strict rules of conduct carried out and observed by the teishu during the invited guest ritual and o-kyaku. In this article, the author will discuss the presentation of tea by teishu in a sadoo ritual; how a teishu presents tea, what matters and what to watch for and do so that one can perform sadoo rituals, actions, movements and attitudes of a teishu during the sadoo ritual. These things are believed to be a reperesentation of the character of the Japanese known for its discipline, hardworking, thorough, diligent, well organized, manners, and ethics

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GERSTLE, C. ANDREW. "The culture of play: kabuki and the production of texts." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 358–79. http://dx.doi.org/10.1017/s0041977x03000259.

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This article examines the role of performance (defined in its broadest sense) in Japanese literary culture, specifically the relationship between performance and the production of physical texts, both script and illustration. It postulates the thesis that performance has been an essential part of artistic creation even among highly literate artists/writers in the genres of poetry (waka, renga, haikai, kyōka), Nō and kabuki drama. A case is made that artists' salons (including professionals and amateurs) were an integral part of cultural life and that their activities were as important as the physical texts produced in response to such performances. The core of the article focuses on the Kabuki ‘culture of play’ in Osaka, through which actors, poets, artists and fans participated both in performances and in the production of texts such as books on actors (yakusha ehon), books on theatre (gekisho), surimono (privately-commissioned prints commemorating a poetry gathering), single-sheet actor prints, and actor critique books (yakusha hyōbanki).

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