#sabetsu

[armoralor]

Ketbine (Ketsu x Sabine) from Rebels ✰ inspired by these iconic lesbian posts (x x x) ✰ reminder that T*RFs can fuck off, only interact if you love trans & nb women ♡

#ketsu onyo #sabine wren #rebels #ketbine #sabine wren x ketsu onyo #star wars rebels #swr #sapphic star wars #star wars lesbians #star wars wlw #star wars femslash #sabetsu #my edits #mine

[ahsoka-its-all-of-us]

Okay so I saw mentions of Sabine drawing Zeb and Kallus in Trials Of The Darksaber but I couldn't find it anywhere in the episode so I looked into the trivia gallery and

"best friends" uhuh sure sure

But like fr. At that point she has only once met Kallus in his Fulcrum role, and that was before she knew that he had defected, back at Skystrike. Zeb must have told them what happened on Bahryn, but that was like a year ago and they haven't had any direct interactions since (that we know of). And Sabine draws them like that, arms around each other and smiling broadly (when we can be pretty certain that she has never seen Kallus smile like that).

Seriously I am now inclined to think that from the moment she found out Zeb made Kallus defect she ships them hard 😂

(also it's kinda gay that she has a painting of Ketsu there as well)

(and Lando?!? Sabine you gotta tell us something???)

#Star wars #star wars rebels #kalluzeb #sabine wren #alexsandr kallus #garazeb orrelios #lando calrission #ketsu onyo #sabetsu

[neopuff]

sabine/ketsu // dead inside

#star wars rebels #sabine wren #ketsu onyo #sabetsu #iirc thats the ship name but its been years what do i know #vid #amv #song: dead inside by younger hunger #star wars

[spiderfreedom]

It's interesting how the same misogynistic trope can reappear, independently, in different countries. I'm reading "Scream from the shadows: the women's liberation movement in Japan" and this section about the connotations of the word 'woman' is interesting:

In the Japanese context, the semantic distinctions between the terms fujin, josei, and onna, which are all translated as “women” and/or “woman,” must be given careful attention, as they often signal political differences. Ribu [women's lib] activists deliberately chose and reappropriated onna, a term for woman that can be used in a pejorative manner with sexual or lower-class connotations. As noted by Kano Masanao, the term onna approximated a discriminatory word (sabetsu go). It signified the raw and total being that had to be liberated. According to linguistics scholar Orie Endo, its strong sexual implications made it a term that could “be substituted for many sexually related terms, such as mistress or prostitute,” and this was considered disrespectful, taboo, even “dirty.”

As a kid, I never liked the word 'woman' because it often sounded sexual to me, and I hated the way it was used. "My vices are alcohol, cigarettes, and women" - treating 'women' as equivalent as objects. "Love going to Colombia and seeing all the beautiful women" - treating 'women' as sightseeing objects. "You've known her since she was a girl, now watch her become a woman" - being a 'woman' is to be a passive sex object that is (often against her will) penetrated.

I used to think this was my personal issue with the word, but I've since learned other women also felt the same way about the word. And apparently in Japan, the word we foreigners are taught is the default word for woman (we learn woman = onna and man = otoko) is also subject to being sexualized, objectified, and degraded. What the Japanese 'ribu' activists did was to reclaim the word onna to mean a woman who was a subject, who was free to pursue sexual pleasure for herself and not for men. In other words, the degradation of the word for 'woman' isn't just something that happens in English, but in other languages and cultures. In this case, it does not appear to be a result of Western colonization, either.

If you haven't read much feminist work outside your home country (or about the West), I strongly recommend doing so. The more you learn about feminists in other countries, the more you realize that the form sexism takes is eerily universal.

#mypost #feminism #radical feminism #japanese women #intersectional feminism #100 notes tag

[pikahlua]

MHA Chapter 387 spoilers translations

This week’s initial tentative super rough/literal translations under the cut.

PLEASE DO NOT SHARE THIS POST AS A DIRECT LINK ON OTHER WEBSITES.

1 火叢は血が濃いんだ ひむらはちがこいんだ Himura wa chi ga koinda “The Himura blood runs thick.”

tagline 1 No.387 煮凝り　　堀越耕平 ナンバー387 にこごり　　ほりこしこうへい NANBAA 387 nikogori   Horikoshi Kouhei No. 387 Aspic   Kouhei Horikoshi

tagline 2 語るは… かたるは… kataru wa... The speaker...

2 古くからの庄屋だった火叢は農地改革後も分家を��やす事で ふるくからのしょうやだったひむらはのうちかいかくごもぶんけをふやすことで furuku kara no shouya datta Himura wa nouchi kaikaku-go mo bunke wo fuyasu koto de “The Himuras, who were village leaders from ancient times, by increasing their family branches even after the land reform, they”

3 財とプライドをなんとか保ってきた ざいとプライドをなんとかたもってきた zai to PURAIDO wo nantoka tamotte kita “somehow managed to keep their wealth and pride.”

tagline 3 超常解放戦線幹部 ちょうじょうかいほうせんせんかんぶ choujou kaihou sensen kanbu Paranormal Liberation Front Officer

tagline 4 外典　個性「氷操」 げてん　こせい「ひょうそう」 Geten   kosei 「hyousou」 Geten  Quirk: Ice Manipulation

4 でも超常が起きると共に加速度的に零落していった でもちょうじょうがおきるとともにかそくどてきにれいらくしていった demo choujou ga okiru to tomo ni kasokudo-teki ni reiraku shite itta “But that all fell at an accelerating pace to zero in tandem with the awakening of the paranormal.”

5 血が混ざるのを嫌ったんだ ちがまざるのをきらったんだ chi ga mazaru no wo kirattanda “They hated mixing their blood.”

6 お家柄と…異形差別のコンボね　スピナーが聞いたらなんて言うかな おいえがらと…いぎょうさべつのコンボね　スピナーがきいたらなんていうかな oiegara to...igyou sabetsu no KONBO ne   SUPINAA ga kiitara nante iu ka na “Sounds like a combo of family pedigree and heteromorph discrimination, eh? Wonder what Spinner would say if he heard this.”

7 Mr.コンプレス ミスターコンプレス MISUTAA KONPURESU Mr. Compress

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1 結果分家…遠縁同士での結婚が相次いだ けっかぶんけ…とおえんどうしでのけっこんがあいついだ kekka bunke...tooen doushi de no kekkon ga aitsuida “As a result, the family branches...had marriages with distant relatives one after another.”

2 血が濃いってそういう… ちがこいってそういう… chi ga koitte sou iu... “That’s how the blood is thick...”

3 自らを閉塞環境に置き みずからをへいそくかんきょうにおき mizukara wo heisoku kankyou ni oki “By placing themselves in a closed environment,”

4 火叢家は縮小の一途を辿り ひむらけはしゅくしょうのいっとをたどり Himura-ke wa shukushou no itto wo tadori “the Himura family steadily shrank,”

5 とうとう本家が身売りを始めたことで事実上の終焉を迎えた とうとうほんけがみうりをはじめたことでじじつじょうのしゅうえんをむかえた toutou honke ga miuri wo hajimeta koto de jijitsujou no shuuen wo mukaeta “and when finally the main family started selling themselves, it came to a de facto end.”

6 残りの僅かな氏族も離散し のこりのわずかなしぞくもりさんし nokori wo wazuka na shizoku mo risan shi “Even the few remaining clans are scattered,”

7 その中の一つだった僕は最高指導者に拾われた そのなかのひとつだったぼくはリ・デストロにひろわれた sono naka no hitotsu datta boku wa RI DESUTORO (kanji: saikou shidousha) ni hirowareta “and I was among them and then picked up by Re-Destro (read as: supreme leader).”

8 異能は世代を経るごとにより複雑に深化していく いのうはせだいをへるごとによりふくざつにしんかしていく inou wa sedai wo heru goto ni yori fukuzatsu ni shinka shite iku “As meta abilities pass through the generations, they deepen in complexity.”

page 2

1 濃く深く こくふかく koku fukaku “In those thickly and deeply”

2 堆積した因子には たいせきしたからだには taiseki shita karada (kanji: inshi) ni wa “ingrained bodies (read as: quirk factors),”

3 本人すら知覚し得ない力が眠っているかもしれない ほんにんすらちかくしえないちからがねむっているかもしれない honnin sura chikaku shi enai chikara ga nemutte iru kamo shirenai “there may be a sleeping power that even the person himself is unaware of.”

4 だが人は心を置き去りにしたままだ だがひとはこころをおきざりにしたままだ daga hito wa kokoro wo okizari ni shita mama da “But people now leave their hearts behind.”

5 明日…何が変わるだろう あす…なにがかわるだろう asu...nani ga kawaru darou “Tomorrow...I wonder what [tomorrow] will bring.”

6 さァ次はおまえだ さァつぎはおまえだ saA tsugi wa omae da “Well, next is you.”

7 警察・ヒーローと何を話してた？ けいさつ・ヒーローとなにをはなしてた？ keisatsu・HIIROO to nani wo hanashiteta? “What were you talking about with the police and the heroes?”

8 何でもいい聞かせろ なんでもいいきかせろ nandemo ii kikasero “Let me hear anything,”

9 この戦いが終わるまでの暇つぶしに このたたかいがおわるまでのひまつぶしに kono tatakai ga owaru made no himatsubushi ni “to kill time until this battle is over.”

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1-2 群訝山荘跡より約800m ぐんがさんそうあとよりやく800メートル gunga sansou ato yori yaku 800 MEETORU Approximately 800 meters from the Gunga Mountain Villa Ruins

3-7 ハア HAA “Haah” (Note: It’s the sound of heavy panting/breathing.)

8 爆発… ばくはつ… bakuhatsu... “An explosion...”

9 だと…⁉︎ da to...!? “you say...!?”

10-11 ハア HAA “Haah” (Note: It’s the sound of heavy panting/breathing.)

page 2

1 避難ブロックだけじゃない… ひなんブロックだけじゃない… hinan BUROKKU dake ja nai... It won’t just be the evacuation blocks...

2 今トガの増殖を抑えてるピクシーボブたちもーーー‼︎ いまトガのぞうしょくをおさえてるピクシーボブたちもーーー‼︎ ima TOGA no zoushoku wo osaeteru PIKUSHIIBOBU-tachi mo---!! Also Pixiebob and the others who are suppressing Toga’s proliferation right now---!!

3 いかん…AFO戦のダメージが脚に来ている…！ いかん…オール・フォー・ワンせんのダメージがあしにきている…！ ikan...OORU FOO WAN sen no DAMEEJI ga ashi ni kite iru...! This is bad...the damage from the battle with AFO is spreading to my leg...!

4 これ以上燈矢を誘導して遠くへ向かうにはーーー… これいじょうとうやをゆうどうしてとおくへむかうにはーーー… kore ijou Touya wo yuudou shite tooku e mukau ni wa---... I have to guide Touya and lead him farther away---...

5 あっ a “AGH”

6 お o “OH”

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1 おどおさん odoosan “FATHER”

2 見で みで mide “WATCH”

3 見でええ みでええ mideee “WAAATCH [ME]”

page 2

1 こんなのできるよぉになったんだぜ！ konna no dekiru yoo ni nattanda ze! “I’ve become able to do something like this!”

page 1

1 炎を ほのおを honoo wo “The flames,”

2 止めろ とめろ tomero “stop them!”

3 燈矢…‼︎ とうや…‼︎ Touya...!! “Touya...!!“

4 見でええ みでええ mideee “WAAATCH”

page 2

1 …死なせたくない…！ …しなせたくない…！ ...shinasetakunai...! "...I don’t want you to die...!”

2 なづぐん nadzu-gun “NATSU-KUN”

3 あぞぼお…おお⁉︎ azoboo...oo!? “LET’S PLAY...YY!?”

4 もう…意識が…！ もう…いしきが…！ mou...ishiki ga...! His consciousness...is already...!

5 …俺が …おれが ...ore ga ...[Why have] I,

6 灼ける程の熱で やけるほどのねつで yakeru hodo no netsu de with a heat that burns...

7 何でここまで…保ってこられた なんでここまで…たもってこられた nande koko made...tamotte korareta Why have I...been kept here until this point?

8 燈矢…‼︎ とうや…‼︎ Touya...!! Touya...!!

9 おまえはーーー omae wa--- You---

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1 死地での危機感 しちでのききかん shichi de no kikikan A sense of crisis at death’s door.

2 臨死の経験が"個性"を覚醒させる事がある りんしのけいけんが"こせい"をかくせいさせることがある rinshi no keiken ga “kosei” wo kakusei saseru koto ga aru There have been cases where quirks have been awakened by near-death experiences.

3 その一方で人には そのいっぽうでひとには sono ippou de hito ni wa On the other hand, people

4-5 「火事場の馬鹿力」というものがあり… 「かじばのばかちから」というものがあり… 「kajiba no baka chikara」 to iu mono ga ari... have something like an insane strength of desperation... (Note: This is the level of strength Izuku tapped into against Muscular the first time where he broke his body’s limiters. The typical example is of a mother lifting a car off her child in a moment of desperation.)

6 それは覚醒とは違い それはかくせいとはちがい sore wa kakusei to wa chigai That’s different from an awakening.

7 死に瀕した時のみ顕現する力 しにひんしたときのみけんげんするちから shi ni hin shita toki nomi kengen suru chikara A power that manifests only when on the brink of death.

8 ああ… aa... “Yes...”

9 あああ！ aaa! “I get it!”

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1 冷の れいの Rei no Rei’s

2 "個性"…‼︎ "こせい"…‼︎ “kosei”...!! quirk...!!

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1 勝って かって katte I’ll win by

2 燈矢を見続ける！ とうやをみつづける！ Touya wo mitsudzukeru! continuing to watch Touya!

page 2

1 全部 ぜんぶ zenbu “Everything”

2 俺の責任だ おれのせきにんだ ore no sekinin da “is my fault.”

-4 全部背負って償いに生きねばと思っていた ぜんぶせおってつぐないにいきねばとおもっていた zenbu seotte tsugunai ni ikineba to omotte ita “I thought I had to live and shoulder everything to make amends.”

5 でも demo “But”

6 おまえはずっと俺を見続けてたんだもんな… おまえはずっとおれをみつづけてたんだもんな… omae wa zutto ore wo mitsudzuketetanda mon na... “you were always continuing to look at me...”

7-8 おまえを見てやれなかった…… おまえをみてやれなかった…… omae wo mite yarenakatta...... “I couldn’t see you......”

9 おまえにも償わなきゃいけなかったんだ おまえにもつぐなわなきゃいけなかったんだ omae ni mo tsugunawanakya ikenakattanda “I needed to atone to you, too.”

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1 同じ夢を見る俺だけがいない家族の夢 おなじゆめをみるおれだけがいないかぞくのゆめ onaji yume wo miru ore dake ga inai kazoku no yume I saw the same dream, the dream of my family without me only.

2 …一人で逝かせはしない…だが …ひとりでいかせはしない…だが ...hitori de ikase wa shinai...daga “...I won’t let you die alone...but”

3 もう誰も…！巻き込ませはしない もうだれも…！まきこませはしない mou dare mo...! makikomase wa shinai “no one else...! We won’t involve [anyone else!]”

page 2

1 地上の移動では間に合わない ちじょうのいどうではまにあわない chijou no idou de wa ma ni awanai They won’t evacuate the area above ground in time.

2 燈矢　おまえの火力も借りて空にーーー とうや　おまえのかりょくもかりてそらにーーー Touya   omae no karyoku mo karite sora ni--- Touya, I’m borrowing your firepower to [send us] to the sky---

3 待て…待ってくれ…！ まて…まってくれ…！ mate...mattekure...! Wait...please wait...!

4 もう少しだけーーー！ もうすこしだけーーー！ mou sukoshi dake---! Just a little more---!

1 火叢は血が濃いんだ ひむらはちがこいんだ Himura wa chi ga koinda The Himura blood runs thick.

2 冷!!⁉︎ れい!!⁉︎ Rei!!!? “Rei!!!?”

3 お母さんも おかあさんも okaasan mo You, too, Mom.

4 加担してんだよ かたんしてんだよ katan shitenda yo You're complicit.

tagline 母…‼︎ はは…‼︎ haha...!! His mother...!!

PLEASE DO NOT SHARE THIS POST AS A DIRECT LINK ON OTHER WEBSITES.

#please do not share this direct link on other websites #my hero academia manga spoilers #final showdown spoilers #won't properly tag until next week #wow that flashback to katsuki is sus #makin' it too easy for me to tie him in there horikoshi #will tag better later

[chanoyu-to-wa]

Nampō Roku, Book 7 (47b):  the Cloth Used to Make the Shifuku for the Chaire and Temmoku (Shibayama’s Version).

47) With respect to the bags for things like the chaire and temmoku, [those made from] donsu and [those made from] cloth containing gold [threads] should be distinguished [from each other]:  donsu is [considered to show the] higher [status]¹.

    During the san-shu gokushin [temae], the Kamakura-nasu was [tied in a bag made of donsu that had] a small-sized pattern; the Kazan-temmoku was [tied in one made from donsu] with a medium-sized pattern; and the bag for the chashaku was made from something like kinran².

    Usually most karamono and meibutsu utensils have shifuku made from donsu³; nevertheless, a bag made from cloth that contains gold [threads] is also always added⁴.

    [From the early days] through the time of Fukō-in dono [普廣院殿] and Jishō-in dono [慈照院殿], [the covers of] the hand-scrolls brought over [from the continent] generally were brocade⁵.  But brocade that contains gold threads is rendered very thick, so it is difficult to use it for bags⁶.  High-quality donsu is made so it is both thin and supple; and for this reason it was especially used for making bags⁷.

    Later on cloth that was like donsu, but which contained gold [threads], was also specially ordered from China; and when it was brought over [to Japan] many people began to use it [to make bags for their treasured tea utensils]⁸.  However, during the time of the Higashiyama-dono, when speaking about treasuring [ones utensils], it was the case that [donsu] was recommended⁹.  Indeed, there are people who think that putting on [bags made from] antique donsu gives [the utensils] a nostalgic feeling¹⁰.

    In the final analysis, cloth with [some] gold, and cloth with a large amount of gold, these should be separated into two [categories, with only the former really suitable for bags]¹¹.

    [Ri]kyū’s Yakushi-dō temmoku was famous as a meibutsu the world over¹². [Once,] when [his Lord] was going to visit, tea that had been ground [in the mizuya of Hideyoshi's palace] was put into a natsume that was then tied in a fukusa, because [the tea] had been received [from Hideyoshi]¹³.  The Yakushi-dō was put into a bag made with cloth woven with gold [to show it was inferior to the tea], and then arranged so it was lined up beside [the natsume]¹⁴.  On similar occasions, something like this is possible¹⁵.

    With respect to the bag of the chaire, too, [you] should understand that [all these teachings apply] in the same way¹⁶.

    When a meibutsu temmoku is placed out together with a kara[mono] taikai that lacks a name, the temmoku [should be tied in] a donsu-bag, and the taikai -- even though it is a karamono -- should have cloth woven with gold used [for its bag]¹⁷.  Only reversing the positions of the temmoku and the chaire [so that the temmoku is to the right of the chaire] is not the whole story¹⁸.  Details like [the cloth from which] the bags [are made] should also be changed, as appropriate to their [relative] ranks¹⁹.  And even when [the host] wants to use a [more] ordinary sort of arrangement, a meibutsu temmoku [should always be handled] in a way that shows it respect, as a matter of course²⁰.

_________________________

◎ While much of the text of this entry is virtually the same as what is found in the Enkaku-ji manuscript, the important differences would have been lost if discussed only in the footnotes to the previous post.  For that reason, I felt it would be best to discuss Shibayama Fugen’s version in a separate post.

¹Chaire・temmoku-tō no fukuro ni donsu to kin-iri to no sabetsu, donsu wo ue to su　[茶入・天目等ノ袋ニ緞子ト金入トノ差別、緞子ヲ上トス].

    Chaire・temmoku-tō no fukuro ni [茶入・天目等の袋に] means in the case of bags for things like* the chaire or temmoku....

    Donsu to kin-iri to no sabetsu [緞子と金入との差別] means we have to distinguish between shifuku made of donsu, and those made of cloth into which gold threads were incorporated.

    Donsu wo ue to su [緞子を上とす] means that donsu is higher (in rank or preferability). __________ *The implication, in the text, is that we are looking at shifuku that are removed during the temae.  Beginning in the Edo period, many utensils were provided with elegant shifuku, as well as elaborate (and not infrequently, multiple) boxes, collections of documents, and so forth.

    But in the case of most of these utensils, the shifuku was removed when the object was taken out of storage, and never seen by the guests (except when -- as became a sort of custom during the Edo period -- the guests asked to inspect these things).

²San-shu gokushin no toki, Kamakura-nasu ha ko-mon no donsu, Kazan-temmoku ha naka-mon no donsu no fukuro, chashaku fukuro ha kinran nari to ka ya　[三種極眞ノ時、鎌倉茄子ハ小紋ノ緞子、花山天目ハ中紋ノ緞子ノ袋、茶杓袋ハ金襴ナリトカヤ].

    “During the san-shu gokushin temae, the Kamakura-nasu was (tied) in a shifuku made of donsu with a small pattern; the Kazan-temmoku was (tied) in one made from donsu with a medium-sized pattern; and the bag for the chashaku was made from something like kinran.”

    This sentence is the same as in the Enkaku-ji manuscript.

³Ōkata karamono meibutsu nado ha donsu-fukuro ōshi　[大方唐物名物抔ハ緞子袋多シ].

     “Usually most karamono and meibutsu utensils have shifuku made from donsu.”

⁴Saredomo kin-iri-fukuro mo kanarazu soete ari　[サレ共金入袋モ必添テアリ].

    Saredomo [然れども] means nevertheless, even then, however, be that as it may, and so forth.  This word alters the meaning of this sentence:

    “Nevertheless, a bag made from cloth that contains gold is always added.”

    In other words, meibutsu utensils should also have a second shifuku made out of some sort of cloth that incorporates gold threads.  That is, such utensils should routinely be provided with two shifuku.

    Many of the varieties of kinran that were imported during the sixteenth century (which was after Chinese weavers replaced gold plated threads with thin strips of gilded paper) could be used for shifuku.  While some examples still had quite a lot of gold (the specimen shown on the left is known as Kōdai-ji kinran [高臺寺金襴], and seems to have been presented to that temple by Hideyoshi’s widow Nene [ねね] -- who subsequently took the name of Kodai-in [高臺院]), while others occasionally featured much more delicate designs where the use of gold was kept to a minimum (the example on the right is sometimes referred to as Oribe kinsha [織部金紗], since the gilded strips are parallel to the warp -- though a very similar variety of this cloth was used by Jōō for the ichi-monji and fūtai of some of the scrolls mounted for him during his last years).

⁵Fukō-in dono, Jishō-in dono nado no on-toki-made ha watari-kuru makimono oyoso ha nishiki nari　[普廣院殿、慈照院殿ナドノ御時迄ハ渡リ來ル巻物凡ハ錦也].

    Fukō-in dono [普廣院殿] refers to the sixth Ashikaga shōgun, Yoshinori [足利義教; 1394 ~ 1441].

    Jishō-in dono [慈照院殿] refers to Ashikaga Yoshimasa [足利義政; 1436 ~ 1490], the eighth shōgun.

    This sentence is the same as the one found in the Enkaku-ji manuscript.  Nishiki, brocade, was primarily used for the maki-ginu [巻絹] of hand-scrolls (where it was the fabric of choice because of its thickness and durability).

⁶Kin-iri-nishiki ha koto-sara atsuku-shite, fukuro ni mochii-gatashi　[金入錦ハ殊更厚クシテ、袋ニ難用].

    Nishiki that contained gold threads is especially thick, so it is difficult to use (this kind of cloth) for the shifuku (of tea utensils, such as the chaire or temmoku).

⁷Donsu no jō-hin-naru ha usuku-yawaraka ni shite moppara fukuro ni mochiirare-shi nari　[緞子ノ上品ナルハ薄クヤハラカニシテ專袋ニ被用シナリ].

    Donsu no jo-hin-naru ha usuku-yawaraka ni shite [緞子の上品なるは薄く柔らかにして] means because high-quality donsu has been (intentionally) made* so that it is thin and supple....

    Moppara fukuro ni mochiirare-shi nari [專ら袋に用いられしなり] means it should be used exclusively for making shifuku. __________ *In the Enkaku-ji manuscript, this first phrase is donsu no jō-hin-naru ha usuku-yawaraka ni te [ドンスノ上品ナルハウスクヤハラカニテ], which means “because high-quality donsu is soft and supple....”  Shibayama’s teihon adds shite, which changes the meaning to “because high-quality donsu has been made so that it is thin and supple....”

    In other words, the author of this version is emphasizing the intentionality of the weaving process (though it was actually woven that way so that clothing made from it would be more comfortable -- since donsu was used for under-garments and clothing intended for routine, around-the-house use).

⁸Sono ato kara [h]e atsuraete donsu-ji no kin-iri mo gotoku suki orite watari-shi yue, kin-iri wo mochiiru-hito ōshi　[其後唐ヘ誂ヘテ緞子地ノ金入モ如好織テ渡リシ故、金入ヲ用ル人多シ].

    This version of the sentence differs from what is found in the Enkaku-ji manuscript by the introduction of the particle mo [も], meaning also.  In other words, beginning in the Edo period, chajin were ordering not only donsu*, but also donsu-type cloth that incorporated gold threads into the design, for use when making shifuku.  It was because of this -- because of the sudden availability of this kind of cloth featuring a design rendered in gold, that it became very popular. __________ *Many of the “famous” varieties of donsu -- including what is usually called “Rikyū donsu” [利休緞子] today -- were custom made for Japanese buyers in China starting from around the third decade of the Edo period.

    The meibutsu-gire known as Rikyū donsu was never seen by Rikyū (and so could never have been used by him for the shifuku of a black lacquered natsume)!

    The name was given to this kind of cloth (after it arrived in Japan) because the diamond-shaped petals resembled the flower of the shrub known as Rikyū-bai [利休梅] (Exochorda racemosa), commonly known as pearlbush in English (the immature flower buds resemble pearls, both in color and in size).  The cloth was originally called Rikyū-bai donsu [利休梅緞子] -- until the design was appropriated by the Sen family, and its history modified to fit their preferred narrative.

⁹Saredomo Higashiyama-dono jibun no o-shōgan to mōse ba, hito-shio shō-suru-koto naru-yue　[サレトモ東山殿時分ノ御賞翫ト申セバ、一入賞スルコトナル故].

    However, if (we) are talking about the treasuring (of utensils) during the time of the Higashiyama-dono, because (of the desire) to treasure (the utensil) even more (the shifuku were made from high quality donsu).

    As mentioned previously, the implication is that donsu, being so soft and supple, nurtures* the meibutsu-utensils that are kept in it. ___________ *Odd as it may seem, this is the closest English word that I can find to actually describe the implications in the text.

¹⁰Mukashi no donsu wo kakete ko-fū wo shinobu-hito mo ari　[昔ノドンスヲ掛テ古風ヲ偲ブ人モアリ].

    Mukashi no donsu wo kakete [昔の緞子を掛けて] means putting on (a shifuku) made from antique donsu....

    Ko-fū wo shinobu-hito mo ari [古風を偲ぶ人もあり] means there are people who are reminded, by this use of old donsu, of the old way that things used to be done long ago.

    In other words, rather than giving people a feeling of this being old-fashioned (which gave the sentence a negative connotation in the Enkaku-ji manuscript), here using old donsu is said to make some people feel nostalgic (which is positive).

¹¹Shosen kin-iri, kin-daka-iri fukuro, futatsu aru-beki-koto nari　[所詮金入、金高入袋、二ツ可有事也].

    Shosen [所詮] means in the final analysis.

    Kin-iri, kin-daka-iri fukuro, futatsu arubeku-koto nari [金入、金高入袋、二つ有べくことなり]:

◦ kin-iri [金入] means cloth that contains gold threads (to pick out the pattern), such as those shown below*; 

◦ kin-daka-iri [金高入], below, refers to cloth that contains a substantial amount of gold.  In other words, the amount of gold threads is significantly greater in this variety of cloth†.  Because the gold threads cover the entire surface of the cloth without interruption, kin-daka-iri is much stiffer than the other.

    While kin-iri were generally suitable for shifuku, kin-daka-iri varieties are usually too stiff, making it difficult to use them (especially for very small chaire, or those with a rounded profile such as many of the ko-tsubo [小壺] types). ___________ *On the left is a variety of kinran that is named from its pattern, shiro-ji hana-karakusa kinran [白地花唐草金襴]; on the right, the cloth known as Sugiyoshi-gire [杉吉裂].  In such varieties of cloth, the gilded paper strips were usually cut off on the back side between the figures, making this kind of cloth much softer.

†On the left is Tomita kinran [富田金襴]; and on the right, Saga-kinran [嵯峨金襴].  Here, because most of the front side of the cloth is covered with gold, it is impossible to cut anything off the back side.  Thus these kin-daka-iri varieties are often too stiff to use for shifuku, even when the gold was attached to paper.

¹²Kyū no Yakushi-dō temmoku ha yo ni kakure-naki meibutsu naru ni　[休ノ藥師堂天目ハ世ニ隱レナキ名物ナルニ].

    “As Rikyū’s Yakushi-dō temmoku is a world-famous meibutsu....”

    The only difference from the Enkaku text is that Shibayama’s teihon gives the full the name of the temmoku.

¹³O-nari no toki, o-cha hikase, natsume fukusa tsutsumi ni te hairyō ari-shi toki　[御成ノ時、御茶挽カセ、棗フクサ包ニテ拜領アリシ時].

    Here, the punctuation of the sentence is different, resulting in a very, very different meaning.  For clarity, I will divide it across two footnotes.

    O-cha hikase, natsume fukusa tsutsumi ni te hairyō ari-shi toki [お茶挽かせ、ナツメ袱紗包にて拜領在りし時] means that tea that had already been ground was put into a natsume that was then tied with a fukusa* -- because the tea was bestowed (upon Rikyū, by Hideyoshi).

    In other words, here it is the tea that was received from Hideyoshi, rather than the temmoku. __________ *This means that the tea, which was from Hideyoshi's own jar, was ground at dawn and put into several natsume (to keep the matcha fresh until it might be needed sometime during the day).  One natsume of this tea was subsequently sent off to Rikyū's house, so he could use it when serving tea to Hideyoshi.

¹⁴Yakushi-dō wo kin-iri no fukuro ni irete narabete oki-awaseraru　[藥師堂ヲ金入ノ袋ニ入レテ並ベテ置合セラル].

    Yakushi-dō wo kin-iri no fukuro ni irete narabete oki-awaseraru [藥師堂を金入の袋に入れて並べて置き合わせらる] means the Yakushi-dō temmoku was put into a shifuku made from cloth woven with gold, and it was put in a line (with the natsume) when arranged (on the mat).

    In other words the Yakushi-dō was intentionally placed into a kin-iri shifuku, even though it was a very famous meibutsu, because the tea (which had come from Hideyoshi’s own jar) was held in higher esteem than this precious bowl.  Thus, by using a shifuku made with cloth containing gold, Rikyū was essentially effacing the temmoku (because, though very famous, it belonged to him) out of deference to the tea.

   This is very different from the way the matter is presented in the Enkaku-ji manuscript*.

    Some commentators associate this chakai with the gathering that Rikyū hosted at dawn† on the 12th day of the Eleventh Month of Tenshō 14 [天正十四年十一月十二日] (this was December 22, 1586 in the Gregorian calendar).

    This gathering was given to celebrate the first snowfall of the year (and so the invitations may only have been sent out after Rikyū woke up and saw the condition of the garden).

    While the present entry states that, on this occasion, tea was served to Hideyoshi, according to the entry in Book Two‡, the guests were Shōrei oshō [笑嶺和尚], Hosokawa Yūsai [細川幽齋], and Nambō Sōkei [南坊宗慶]; and Hideyoshi is not mentioned**. __________ *And, to be perfectly honest, it also makes better sense -- while the Enkaku-ji account appears, at best, inexplicably contradictory.  This is why I decided to keep the two versions separate:  I am inclined to believe that this was the original version of the account that lost some of its details when Tachibana Jitsuzan recopied it into the notebook that he then presented to the Enkaku-ji.

†In Kyōto, dawn breaks around 6:33 AM on December 22, meaning that the guests probably arrived between 6:30 and 7:00 AM.  Depending on the guests, sometimes they arrived in order to watch the host's preparations, while others preferred to allow the host to draw the water and lay the fire in private, coming to the koshi-kake around the time that they imagine he will be sweeping the utensil mat after having put the kama into the ro.

‡For further details, please refer to the post entitled Nampō Roku, Book 2 (8):  (1586) Eleventh Month, Twelfth Day, Dawn.  The URL for that post is:

http://chanoyu-to-wa.tumblr.com/post/179730569820/namp%C5%8D-roku-book-2-8-1586-eleventh-month

**There are other problems with this particular entry in the kaiki (suggesting that the gathering was probably given at short notice), beginning with the fact that the room is not specified.

    While both the Yakushi-dō temmoku and Shiri-bukura chaire (rather than a natsume tied in a fukusa) were used.  The kind of oki-dana is not specified (and, in this kaiki, the unqualified word “tana” usually means that it was the tsuri-dana in Rikyū’s 2-mat room -- which would be a highly unusual setting in which to use both a bon-chaire and a dai-temmoku during the same temae). The kaiki also indicates that incense was appreciated during the shoza (probably in lieu of anything more than a very simple meal service, since Rikyū wanted to keep the focus on the ephemerality of the occasion).  Furthermore, Shōrei Sōkin [笑嶺宗訢] died on the 29th day of the Eleventh Month of Tenshō 11 (January 11, 1584), and so could not have been present.

    Nevertheless, it is difficult to see how or why Rikyū could have inadvertently written Shōrei if the shōkyaku had actually been Hideyoshi (the way this entry is structured is also inconsistent with the way Hideyoshi's visits are usually cataloged in this kaiki).  The easiest way to think about this is to imagine that the two gatherings were unrelated, and that perhaps Nambō Sōkei’s own note memorializing the chakai for Shōrei oshō-sama was actually describing a gathering that had taken place a number of years earlier; and that it was only inserted into Rikyū’s kaiki later -- perhaps by Tachibana Jitsuzan -- who imagined he was restoring it to its proper context.  (At least one group of the Enkaku-ji scholars apparently believed the kaiki that forms Book Two to have been a random compendium of records -- given their large number -- rather than a record of gatherings that had actually been hosted during a one-year period.  This, of course, fails to recognize that Rikyū’s job was to entertain Hideyoshi’s special guests with chanoyu -- either so they would have something to do while waiting for Hideyoshi to receive them into his presence, or because Hideyoshi wanted certain information to be imparted to them, or to have certain things asked of them, sub rosa.)

¹⁵Kayō no toki iru-koto nari　[加様ノ時入ルコトナリ].

    “On similar occasions, this kind of thing is a possibility.”

¹⁶Chaire no fukuro mo onaji kokoro-e nari　[茶入ノ袋モ同心得也].

    “The bag for the chaire can be understood in the same way.”

¹⁷Meibutsu no temmoku ni na mo naki kara no taikai nado okaruru ni ha, temmoku ha donsu-fukuro, taikai ha karamono naredomo kin-iri mochiirare-shi　[名物ノ天目ニ名モナキ唐ノ大海ナド置ルヽニハ、天目ハドンス袋、大海ハ唐物ナレドモ金入被用シ].

    Meibutsu no temmoku ni na mo naki kara no taikai nado okareru ni ha [名物の天目に名も無き唐の大海など置かれるには] means “when something like a kara(mono) taikai that does not have a name is placed out with a meibutsu taikai....”

    The point is that it is the temmoku that is the meibutsu, while, though respectable (it is a karamono chaire, after all), the taikai lacks that kind of distinction.  Thus the temmoku will clearly be of higher rank than the chaire.

    Temmoku ha donsu-fukuro [天目は緞子袋] means the temmoku (is displayed in) a shifuku made from donsu.

    Taikai ha karamono naredomo kin-iri mochiirare-shi [大海は唐物なれども金入用いられし] means even if the taikai is a karamono, a shifuku made with gold thread should be used.

    The point here is to emphasize the relative rank of the temmoku vis-à-vis the chaire through the cloth that is used for their respective shifuku.  The chajin of the Edo period became obsessed with this kind of thing (and it is still seen in the detailed -- sometimes to the point of being nit-picky -- rules taught by the modern schools, particularly in their interpretations of the conventions that define the higher temae).

¹⁸Anagachi temmoku to chaire sa-yū ni za wo kayuru bakari wo meibutsu-temmoku no kazari to ha iu-bekarazu　[アナガチ天目ト茶入左右ニ座ヲカユル斗ヲ名物天目ノ飾トハ云ベカラズ].

    Anagachi...iu-bekarazu [強ち...云うべからず] means should not necessarily say (that something is the case).

    Temmoku to chaire sa-yu ni za wo kaeru bakari wo meibutsu-temmoku no kazari [天目と茶入左右に座を替えるばかりを名物天目の飾] this means that just reversing the positions of the temmoku and chaire -- placing the temmoku on the right side of the arrangement, with the chaire arranged on its left -- and then arguing that this what the meibutsu-temmoku kazari is all about....

    In other words, simply reversing the positions of the temmoku and chaire when arranging them -- as on the ten-ita of the daisu -- can not be said to be the whole story, when speaking about the way to display a temmoku as a meibutsu*.

    Here Shibayama refers the reader to entry 35 in Book Five† (which shows the arrangement of a meibutsu-temmoku on the ten-ita of the daisu), with the comment that “(here) placing the temmoku in the higher seat than the chaire is the way (the meibutsu-temmoku) is displayed.  This is an example of what is meant by saying they exchange their seats‡.” __________ *The implication is that the “rank” of the temmoku should also be demonstrated by displaying it in a donsu shifuku.

    Nevertheless, when Rikyū used the Yakushi-dō temmoku to serve tea to Hideyoshi, he displayed it in a shifuku sewn from white kinran (which is confounding to the arguments expressed in this entry).

†Nampō Roku, Book 5 (35):  the Display of a Meibutsu Temmoku.  (However, Displaying the Yakushi-dō [藥師堂] in this Way has been Suppressed).

    The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/627820014740914177/namp%C5%8D-roku-book-5-35-the-display-of-a

    The entry shows the meibutsu-temmoku displayed squarely on the kane to the right of the central kane, and with the chaire (which is described as a natsume) overlapping the central kane by one third.  This is explained in a kaki-ire:  “because this is a meibutsu temmoku, it should be very carefully displayed on its kane.  Nevertheless, even though the tea container is a natsume, because the guests are coming this day to drink the tea [that it contains], in order to show appreciation for the tea, [the natsume] should overlap the center by one-third.”

    As for why the display of the Yakushi-dō temmoku in this way was suppressed, Tanaka Senshō explains that (summarizing his arguments) because the Yakushi-dō temmoku was such a peerless bowl (it was one of three white temmoku that were made for Jōō at the Seto kiln, and came into the possession of the famous medical doctor Yaku-in Zensō [施藥院全宗; 1525 ~ 1599] after Jōō's death, who presented it to Hideyoshi; subsequently Hideyoshi gave it to Rikyū circa 1586, perhaps as an expression of thanks for his assistance when Hideyoshi served tea to the Emperor in his golden tearoom), it would be disrespectful to display it anywhere but on the central kane.  Thus, in its case, this arrangement would be inappropriate, and so should not be used.

‡Temmoku wo chaire no kami-za ni oki-shi kazari ari, kore wo sashite za wo kayuru to iu nari [天目ヲ茶入ノ上座ニ置キシ飾アリ、之レヲ指シテ座ヲ替ユルト云フナリ].

¹⁹Kayō no fukuro nado ni te dan wo kae　[ケ様ノ袋抔ニテ段ヲカヘ].

    Kayō [斯様] means in this way; in such cases.

    Fukuro nado ni te dan wo kae [袋などにて段を替え] means the rank of the fukuro and other things of that sort should be changed.

    In other words, the temmoku should be dressed in a shifuku made from donsu, while the chaire should be tied in a shifuku made of some lesser cloth (kinran or kanto -- or even simply tied in a fukusa).

²⁰Kazari-kata ha tsune no gotoku-shite mo, meibutsu-temmoku no shōgan mochiron nari　[飾リ方ハ常ノ如クシテモ、名物天目ノ賞翫勿論ナリ].

    Kazari-kata [飾り方] means the way to execute the arrangement.

    Tsune no gotoku-shite mo [常の如くしても] means even when doing things in the ordinary manner....

    That is, when employing a more ordinary sort of arrangement (where the temmoku is displayed on the left side of the chaire)....  This would also include occasions when the temmoku is used in a wabi setting.

    Meibutsu-temmoku no shōgan mochiron nari [名物天目の賞翫勿論なり] means it is, of course, important to treasure (show respect to) a meibutsu-temmoku.

    Even in a wabi setting, the host should do something (such as displaying the temmoku in a donsu-shifuku, and handling it very carefully and correctly) to reveal its meibutsu status, as a gesture of respect.

    Rikyū said that, when using a meibutsu utensil, the host should take great pains to perform the temae correctly, with no abbreviations or lapses.

[jpf-sydney]

Nihon no koyō nenrei sabetsu

New item:

Shelf: 366.21 GEN Nihon no koyō nenrei sabetsu : 35-sai risutora shakai no kōzōteki fubyōdō. by Genba Mami. Tōkyō : Keisō Shobō, 2010. ISBN: 9784326653546

iv, 250 pages : illustrations ; 20 cm.

Includes bibliographical references (pages 209-245 (2nd group)). Text in Japanese.

#age discrimination in employment #law and legislation #new 2022 08 #jstudies

[payroo]

Finally uploading this Sabine and Ketsu painting I did earlier this year for a Star Wars zine!

#star wars #star wars rebels #sabine wren #ketsu onyo #sabetsu #ketbine #my art #love my lesbian mandalorian daughters always

[thatwitchrevan]

that awkward moment at the end of their short where Kestu and Sabine should definitely be kissing but they just sit there awkwardly for a second because Disney.

#sw #forces of destiny #sabetsu

[morimyulyrics]

Op.2 Masterlist

Here’s the list of songs for Musical Moriarty the Patriot Op.2: A Scandal in the British Empire. Wherever possible, I took the title from the official source. Some songs still have no titles as I’m not entirely sure of their content yet. I will update this list as I post more lyrics.

Act I (1-21). Act II (22-37).

Latest update: (08/18/2022) Added all links. Corrected titles.

Daiei Teikoku | The Great British Empire

Watson no nikki - Jobun | Watson’s Diary - Preface

Main Theme

Hanzai Soudan | Crime Consulting

Nayamu na, Kyoudai | Falter not, my brother

Karyuudo | Hunters

Subete wo sasagete | Devotion

Akuma wo sabaku wa | Making the Devils Pay

Futari no M | The Two M’s - Mycroft and Albert

Tsukiyo no Chikai | Promise under the Moonlight

Watson no nikki - Honbun | Watson’s Diary - Entries

Watson no nikki - Batsubun | Watson’s Diary - Epilogue

Kokoro kuruwasu | Mindgames of the Lord of Crime

Densha no shokudou sha | Train’s Dining Hall

Catch me if you can

Hanzai basho | The Crime Scene

How dare he

Hanzaisha | The Criminal

Futari no M - Shirei | The Two M’s - The Mission

Kono sekai wo kaeyou | I’ll change this world

Yami e no tobira ga ima hiraku | The Doors to Darkness Open

Daisakusen | The Grand Plan

Cinderella sensou | Cinderella war

Kase koro wa kami - Dai isshou | He is god - Chapter I

Shinnen: Prima Donna | Faith: Prima Donna

Shinnen: Kagaku wa sabetsu shinai | Faith: Science doesn’t discriminate

Shinnen

Shinjitsu | Truth

Ano onna kaku shisaku seri - sono ichi | Her thoughts - Part I

Kare koso wa kami - Dai nishou | He is god - Chapter II

Yami no opera | Opera in the Dark

Ano onna kaku shisaku seri - sono ni | Her thoughts - Part II

Kibou no hikari no sasu michi wa | Glimmer of hope upon this road

Hikari to yami ga deau toki - When light and darkness meet

Sayounara, watashi no tantei-san | Goodbye, my detective

Umarekawaru toki | Life changing moment

I hope / I will - megane_tantei

Edit log:

(09/21/2021) Added more songs in Act II. (09/22/2021) Added song titles. Combined some songs. (09/25/2021) Added links. Added song. (10/03/2021) Added links until Devotion. (10/11/2021) Added links. Removed song (The Invitation). (08/18/2022) Added all links. Corrected titles.

#mine #masterlist #op2masterlist #op2 #op2lyrics

[chibimyumi]

Mouri: “I will not hit a woman”. Akiyoshi: “How romantic.”***

***TLN: She actually said: “Isn’t that sexist of you?” (Sore tte sabetsu janai?)

When people meet sexism but see romance.

I normally don’t post anything unrelated to either Kuroshitsuji or Japanese theatre, but this translation skims the edge between accurate and inaccurate translation, namely: PAINFULLY ACCURATE. XDDDDDDD

I LOVE IT!!!

From ‘Detective Conan: Strategy above the Depths’ (2005)

#Funny mistranslation #Funny painfully accurate translation #Detective Conan #Detective conan movie #Strategy above the depths #japanese #translation #language

[armoralor]

Ketsu Onyo from Rebels ✰ inspired by these iconic lesbian posts (x x x) ✰ reminder that T*RFs can fuck off, only interact if you love trans & nb women ♡

#ketsu onyo #rebels #star wars rebels #sabine wren #ketbine #sabine wren x ketsu onyo #swr #sapphic star wars #star wars lesbians #star wars wlw #star wars femslash #sabetsu #my edits #mine

[ahsoka-its-all-of-us]

EVERYBODY SHUT UP RIGHT NOW

CANON LESBIAN COUPLE IN YOUNG JEDI ADVENTURES

IT FINALLY HAPPENED I AM SCREAMING

What if this paved the way for Sabine getting a girlfriend Ketsu in Ahsoka? 👀👀👀

#young Jedi adventures #ahsoka show #sabine wren #ketsu onyo #sabetsu #star wars

[ebookporn]

The language of Black Lives Matter in Japanese

Following the killing of George Floyd in late May, the month of June echoed with marches in support of the ブラック・ライブズ・マター (Burakku Raibuzu Matā, Black Lives Matter) movement here in Japan.

Local media has been following the movement, too. Many use the katakana term ブラック・ライブズ・マター to refer to it, while newspapers have varied in their descriptions: 人種差別抗議デモ (jinshu sabetsu kōgi demo, protests against racial discrimination) was how Tokyo Shimbun put it, while Mainichi Shimbun went with 米黒人差別抗議デモ (bei kokujin sabetsu kōgi demo, protests against discrimination toward Black people in the States).

READ MORE

#black lives matter #language #translators #translation #Japan #literacy

[newstfionline]

Headlines

Western wildfires (NYT) Across a hellish landscape of smoke and ash, authorities in Oregon, California and Washington State battled to contain mega-wildfires on Sunday as shifting winds threatened to accelerate blazes that have burned an unimaginable swath of land across the West. The arrival of the stronger winds on Sunday tested the resolve of fire crews already exhausted by weeks of combating blazes that have consumed around 5 million acres of desiccated forests, incinerated numerous communities and created what in many places was measured as the worst air quality on the planet. “There’s just so much fire,” said Ryan Walbrun, a fire weather meteorologist with the National Weather Service. “And so much smoke.” The fires, which have killed at least 24 people in the last week alone, have engulfed the region in anguish and fear, as fairgrounds have turned into refugee camps for many who have been forced from their homes.

The Maitre d’ Will Take Your Temperature Now (NYT) In recent weeks, a new cadre of gatekeepers armed with thermometer guns has appeared at the entrances of hospitals, office buildings and manufacturing plants to screen out feverish individuals who may carry the coronavirus. Employees at some companies must report their temperature on apps to get clearance to come in. And when indoor dining resumes at restaurants in New York City later this month, temperature checks will be done at the door. Since the beginning of the pandemic, the practice of checking for fever has become more and more commonplace, causing a surge in sales of infrared contact-free thermometers and body temperature scanners even as the scientific evidence indicating they are of little value has solidified. Gov. Andrew M. Cuomo of New York last week called for checking patrons’ temperatures as one of several ground rules for resuming indoor dining in restaurants, along with strict limits on the number of tables and a mask mandate for diners when they are not seated. Restaurants also will be required to obtain contact information from one guest at each table.

Voting by mail (California Sunday Magazine) Voting by mail is an increasingly attractive and necessary option for voters, but it requires actual infrastructure to accomplish, large machines to be built and acquired, and a significant effort to get the ballots where they need to be. In 2016, 20 percent of Americans voted by mail, but this year it could be as high as 50 percent. A commercial grade printer can make 50,000 ballots in an hour, but it takes an enormous $500,000 device called an inserter to get the envelopes—linked by barcode to a specific voter—appropriately stuffed at the clip of 14,000 ballots per hour. The process is meticulous: when in 2014, an inserter misfired for 35 seconds in Phoenix, 232 voters in California and 1,000 in Colorado and Arizona got misprinted ballots, and when they caught the error they were able to fix that. The other 3.8 million ballots handled at the facility were fine.

As Sally chugs to coast, Gulf residents get ready (AP) Hurricane Sally, a plodding but powerful storm with winds of 90 mph, crept toward the northern Gulf Coast early Tuesday, with forecasters warning of potentially deadly storm surges, flash floods spurred by up to 2 feet (.61 meters) of rain and the possibility of tornadoes. Hurricane warnings stretched from Grand Isle, Louisiana, to Navarre, Florida, but forecasters — while stressing “significant” uncertainty — kept nudging the predicted track to the east. That eased fears in New Orleans, which once was in the storm’s crosshairs. But it prompted Florida Gov. Ron DeSantis to declare an emergency in the Panhandle’s westernmost counties, which were being pummeled by rain from Sally’s outer bands early Tuesday.

Russian opposition leader Navalny able to leave hospital bed (AP) Russian opposition leader Alexei Navalny is off a ventilator and is able to leave his hospital bed briefly, his doctors said Monday, while Germany announced that French and Swedish labs have confirmed its findings that he was poisoned with the Soviet-era nerve agent Novichok. Navalny, 44, was flown to Berlin for treatment at the Charite hospital two days after falling ill on a domestic flight in Russia on Aug. 20. Germany has demanded that Russia investigate the case. Although noting the improvement in Navalny’s health, the statement didn’t address the long-term outlook for the anti-corruption campaigner. Doctors have previously cautioned that even though Navalny is recovering, long-term health problems from the poisoning cannot be ruled out.

Lukashenko meets with Putin (Foreign Policy) More than 100,000 protesters flooded the streets of the Belarusian capital of Minsk on Sunday in one of the largest demonstrations against the rule of longtime President Aleksandr Lukashenko since his disputed victory in last month’s presidential elections. Police said they detained 400 people during the protests. The demonstrations came before a meeting between Lukashenko and Russian President Vladimir Putin scheduled for today, during which they will reportedly discuss deeper integration of their two countries. Lukashenko’s relations with Moscow had deteriorated in the months leading up to the election, but he has since warmed to Moscow again as the threat to his reign has grown more acute. Putin recently confirmed that he would send a reserve police force to Belarus if Lukashenko requested it.

US issues sweeping new travel warning for China, Hong Kong (AP) The U.S. on Tuesday issued a sweeping new advisory warning against travel to mainland China and Hong Kong, citing the risk of “arbitrary detention” and “arbitrary enforcement of local laws.” The new advisory warned U.S. citizens that China imposes “arbitrary detention and exit bans” to compel cooperation with investigations, pressure family members to return to China from abroad, influence civil disputes and “gain bargaining leverage over foreign governments.” “U.S. citizens traveling or residing in China or Hong Kong, may be detained without access to U.S. consular services or information about their alleged crime. U.S. citizens may be subjected to prolonged interrogations and extended detention without due process of law,” the advisory said.

In Japan, coronavirus discrimination proves almost as hard to eradicate as the disease (Washington Post) When a cluster of coronavirus infections broke out in Kyoto’s Horikawa Hospital, medical staff were not only battling a potentially deadly disease at work. They came home to fight an even more unsettling disease—fear and discrimination. Their children were turned away from nursery schools and after-school clubs, their spouses were told not to come to work, three were fired from their second jobs and one was told point-blank to stay away from a favorite diner. “Our staff were really shocked, severely shocked,” said Masaaki Yamada, the hospital’s administration chief, explaining that the affected workers had not necessarily been in close contact with infected patients. “Some even said they were afraid to go home, and afraid of being seen by their neighbors,” he said. “They got family members to put the garbage out for them. Some said they would go to work when it was dark and come home when it was dark again.” The hospital received anonymous phone calls telling employees to die or threatening to burn the place down. Nearly nine months after the coronavirus first arrived in Japan, “korona sabetsu” (coronavirus discrimination) is proving almost as hard to eradicate as the virus itself.

Mideast deals tout ‘peace’ where there was never war (AP) For the first time in more than a quarter-century, a U.S. president will host a signing ceremony between Israelis and Arabs at the White House, billing it as an “historic breakthrough” in a region long known for its stubborn conflicts. But while the optics of Tuesday’s event will evoke the groundbreaking agreements that ended decades of war between Israel and neighboring Egypt and Jordan, and that launched the peace process with the Palestinians, the reality is quite different. The United Arab Emirates will establish diplomatic relations with Israel, a fellow U.S. ally it has never gone to war with, formalizing ties that go back several years. The agreement cements an informal alliance against Iran and could pave the way for the UAE to acquire advanced U.S. weapons, while leaving the far more contentious Israeli-Palestinian conflict as intractable as ever. A similar agreement announced Friday with Bahrain, which welcomed a visiting Israeli Cabinet minister as early as 1994, also formalizes longstanding ties. But it’s debatable whether agreements like these, among already friendly countries, do much to advance regional peace. “Normalization of states in the region with Israel will not change the essence of this conflict, which is the systemic denial of the Palestinian people’s inalienable right to freedom and sovereignty,” said Hanan Ashrawi, a senior Palestinian official.

Nigeria reels from twin crises that threaten food availability (Reuters) Mal Shehu Ladan took a boat across what was, until this month, a growing rice paddy. Now, like thousands of hectares of rice in Nigeria’s Kebbi state, it is under water. Floods early this month across northwest Nigeria destroyed 90% of the 2 million tons that Kebbi state officials expected to harvest this autumn, the head of the state branch of the Rice Farmers Association of Nigeria told Reuters. The loss amounts to some 20% of the rice Nigeria grew last year, and the waters are still rising. Farther south, outside Nigeria’s capital, Abuja, chicken farmer Hippolite Adigwe is also worried. A shortage of maize forced him to sell most of his flock of more than 1,000 birds, and the 300 left are hungry. Chicken feed prices have more than doubled, and he isn’t sure how long he can cope. Twin crises, floods and maize shortages, come just after movement restrictions and financing difficulties caused by COVID-19 containment measures complicated spring planting. Some farmers and economists say it could push Nigeria, Africa’s most populous nation, into a food crisis. Rice is the country’s staple grain, and chicken is a core protein. “There is a real fear of having food shortages,” Arc Kabir Ibrahim, president of the All Farmers Association of Nigeria told Reuters. “The effect on the food system is going to be colossal.”

After Two Decades of Rot, Zimbabwe Is Coming Apart at the Seams (Bloomberg) In Zimbabwe, pregnant women are left alone in hospitals to give birth, taps have run dry in major urban centers, infrastructure has all but collapsed and more than half the population needs food aid. This is the toll that two decades of economic mismanagement have taken on a nation once considered one of Africa’s shining stars. Promises of an economic revival and more political freedom made by President Emmerson Mnangagwa, now in his third year of rule, have rung hollow and public anger over intolerable living conditions has spurred protest action that’s been brutally quashed by the military. Western governments that berated long-time ruler Robert Mugabe for violating civil rights are leveling similar criticism against his successor. And even South Africa, a regional power broker and long-time Zimbabwe ally, has now entered the fray, dispatching envoys and ruling party officials to Harare, Zimbabwe’s capital, to try and help its neighbor resolve the deepening crisis. No headway was made in initial talks and more are planned in coming days.

#headlines #news

[chanoyu-to-wa]

Nampō Roku, Book 6 (3):  the Number of Utensils Displayed During the Shoza and Goza.

3) Regarding the number of objects [displayed in the tearoom], [during] the shoza [and] the goza, what might the preferred [number] be -- if [one] were to ask¹?

    In the case of the daisu and shoin, during the daytime, with respect to both the kane, and the number [of objects displayed in the room], the yang² should be used.

    At night, the kane [that are used], and the number [of objects] are both yin³.

    Perhaps in the case of especially auspicious occasions, memorial services, and Buddhist ceremonies⁴ [things might be different] -- in each of these instances, there are kuden [口傳]⁵ that [discuss what should be done].

    Even among the various [sorts of] small rooms, because in the sōan [草菴]⁵ the number [of objects] should be kept to the barest minimum, [I⁶] carefully scrutinized [the number of things that are displayed in during the shoza, and during the goza] and, after also consulting with Jōō, decided that that they should not be the same.  Having decided that the shoza is yin, [and] the goza is yang, then we should act accordingly, thoroughly understanding that the number [of things] refers to counts of even and odd numbers⁷.

    [There is this] poem:

     toko ha toko, zaseki ha zaseki, tana ha tana          ni chō ichi han ni han ichi chō

     [床ハ床、座席ハ座席、棚ハ棚          二調一半二半一調]⁸.

    From this [you] should be able to understand the matter⁸.

    As an example, during the shoza:

﹆ in the toko:  〽the bokuseki¹⁰;

 ﹆ in the room:  〽the kama [in the ro];

     ﹆ or else:   the furo [with the kama arranged in it];

﹆ on the tana:  〽the kōgō [and]  〽the habōki.

    According to what was written previously¹¹, [during the shoza] two [should be] odd, and one [should be] even.

    However, it might be difficult to understand that the number [of objects] in the toko, and on the tana, do not always differ.  You should also recall that, as  previously [stated], “two [are] even, and one [is] odd” is also [a possibility]¹².

    The actual number of pieces is irrelevant.  In the case of the shoin・daisu, as well as in the sōan, in the toko, the tana, and the room, if all of them are even, or all of them are odd, such [a situation] should be displeasing¹³.

    Nevertheless, [in the case of] soe-oki, or when [a utensil] is displaced from its kane, one is freed [from the preceding rule]¹⁴.

_________________________

◎ While written as a single block of text, this passage actually discusses a number of different, though related, topics.  I decided to separate them with spaces, to make it easier for the reader to follow the development of Rikyū’s arguments.

¹Ikaga tsukamatsu-beki kana to tazune mōshi-kereba  [如何可仕哉ト尋申ケレバ].

    Rikyū is beginning his discourse with a rhetorical question.

²Daisu・shoin ha, hiru ha kane mo kazu mo yō wo mochiiru [臺子・書院ハ、晝ハカネモ數モ陽ヲ用].

    While hiru [晝] technically means midday, it is used here to refer to daytime -- the daylight hours.

    Yō [陽] means yang.

    Thus the yang-kane, and the yang numbers (the odd numbers) should be used at gatherings held during the daytime.

³Yoru ha kane mo kazu mo in ni te [夜ハカネモ數モ陰ニテ].

    While yoru [夜] technically means evening, it is used more generally to mean the hours of darkness (between sunset and dawn).

    In [陰] means yin.

    So, Rikyū is saying that after dark, the yin kane should be used, and the number of objects displayed should be even.

⁴Arui ha shūgi [アルイハ祝儀、懷舊佛事等]

    Shūgi [祝儀] means a celebration, a congratulatory occasion, a wedding.  In other words, and auspicious occasion.

    Kaikyū [懷舊] means a memorial, a gathering held in memory of someone (who has died).

    Butsuji [佛事] means a Buddhist service.

    The kuden [口傳] is that auspicious (omedetai [おめでたい], congratulatory) occasions are yang, while memorial services and Buddhist ceremonials are yin, irrespective of the time of day when the chakai is held.

    Though not mentioned here, Shintō [神道] ceremonies are also yang.

    The reason is that things associated with life (and happy occasions) are yang, while things associated with death (both memorial services, and Buddhist ceremonies -- since the Buddha has entered nirvana) are yin.

⁵Sōan ha ko-zashiki no uchi [草菴ハ小座敷ノ内].

    Rikyū is saying, in this statement, that the sōan is unique even among the various kinds of small room for its minimalism.

    It is not exactly a question of size -- since both Jōō's Yamazato no iori [山里の庵] (below, on the left) and Rikyū's Jissō-an [實相菴] (on the right) were 2-mat daime rooms (whereas even smaller rooms were, and are, possible)  -- but a matter of the host's attitude.

    A sōan should be equivalent to a hermitage, and so the host should participate in the dedicated monk's renunciation of materialism.  Thus, nothing beyond what is absolutely necessary should ever be displayed, or done, in this setting.

    In an ordinary small room, on the other hand, the number of utensils (and their quality) should be in keeping with the space available (though there is no objection to the host's using meibutsu or other utensils of quality); but in the sōan, the utensils should always be of the simplest -- and least expensive -- sort.  In the modern day, the two settings -- which Rikyū appears to have preferred to keep distinctly separate -- have been conflated.

    When, in Book Two, Rikyū used his Shiribukura chaire [尻膨茶入], on its red-lacquered chaire-bon, that meant that he did not consider his two mat room to be considered a sōan.  (Indeed, a true sōan -- something like his Mozuno ko-yashiki [百舌鳥野小屋敷], perhaps -- would not have been appropriate to the reception of many of the guests whom Rikyū entertained on Hideyoshi’s behalf.  This was because part of the idea was to show important pieces from Hideyoshi’s personal collection of tea utensils on these occasions, thereby impressing the guests, while making unspoken reference to Hideyoshi’s authority.)

⁶The speaker of this monologue is presumed to be Rikyū.

⁷Shoza in, goza yo to sabetsu-suru koto nareba, kazu mo chō・han wo motte yoku-yoku ryōken subeshi [初座陰、後座陽ト差別スルコトナレバ、數モ調半ヲ以テ能〻料簡スベシ].

    Sabetsu-suru koto [差別すること] means to discriminate or segregate accordingly (i.e., in deference to the idea that the shoza is yin and the goza is yang).

    Chō・han [調半] should be understood, in this context, to mean “even” (chō [調]) and “odd” (han [半]) -- as has already been explained in the earlier books when dealing with the various arrangements in terms of kane-wari.  I will use “even” and “odd” in the rest of this translation.

⁸Toko ha toko, zaseki ha zaseki, tana ha tana, ni chō ichi han ni han ichi chō [床ハ床、座席ハ座席、棚ハ棚、二調一半二半一調].

    “The toko is the toko, the room* is the room, the tana is the tana:  two [are] even, one [is] odd; two [are] odd, one [is] even.” ___________ *The floor of the room, outside of the toko, covered with tatami mats.  This term includes things displayed on the utensil mat, as well as things that might have been arranged somewhere else (other than in the tokonoma or on the tana).

⁹Kore ni te toku-shin aru-beshi [コレニテ得心アルベシ].

    While toku-shin [得心] is translated “understand;” however, the word includes the nuance of consenting (to the argument expressed in the poem), or convincing oneself of (or being satisfied with) the correctness of this assertion.

    It is more than the passive absorption of a fact.

¹⁰Bokuseki [墨跡].

    This indicates that the example is referring to the sōan setting (since the rule, at that time, was that bokuseki* should only be hung in the sōan).

    With respect to the annotation, each location in the list is indicated by a large red dot [“﹆”], and each entry (indicating an object displayed in that location) is indicated by an upside-down red check-mark that brackets the upper-right corner of the word [“〽”]†.  The words, however, are written in black ink. ___________ *Bokuseki [墨跡] does not mean any calligraphic scroll, but specifically one written by a monk.

    At least originally, it referred to passages -- either admonitions (presented to a follower, usually as a sort of certificate of attainment, when he was “graduating” from his period of training, as above), or the text of a Buddhist lecture (below), rather than to scrolls displaying a single line of text.

†The symbol “〽” is called the ioriten [庵点], and technically is used to indicate the beginning of a song (that is, it sometimes indicates the entry of a new character, and sometimes separates the songs from the recitative passages, in the scores of performance arts like nō [能]).  It was also used in renga texts, to indicate a new ku [句], and this is likely the precedent for its use in the Nampō Roku -- where a similar symbol (written in red ink) is used to indicate sub-points.  In Book Five it was commonly seen, where it indicated the beginning of each kaki-ire [書入].

¹¹Literally, “on the right” -- which indicates something that was written previously (in this instance, Rikyū is referring to the poem).

¹²Ni chō ichi han mo migi ni te kokoroe-beshi [二調一半モ右ニテ心得ベシ].

    For example, if the number of objects in the room remains the same -- i.e., one (the kama in the ro, or the kama and furo) -- for two of the three locations to be even, both the toko and the tana would have had to have an even number of objects displayed there.

¹³Utsuwa no ta-shō ni arazu, shoin・daisu, sōan ni te mo, toko, tana, zaseki, mina chō mina han wo iya-beshi [器ノ多少ニアラズ、書院・臺子、草菴ニテモ、床、棚、座席、皆調皆半ヲ嫌ベシ].

    Utsuwa [器] means utensils, vessels, implements.

    Ta-shō ni arazu [多少に非ず]:  ta-shō [多少] means a greater or lesser (number); arazu [非ず] means “never mind.”  In other words, the number of objects is irrelevant.

    Shoin・daisu, sōan ni te mo [書院・臺子、草菴にても]:  this means that the entire range of situations is being considered -- from the shoin and daisu (where the number of objects is greatest), all the way down to the sōan (where the number of objects is reduced to the absolute minimum).

    Mina chō mina han wo iya-beshi [皆調皆半を嫌べし]:  mina chō [皆調] means for all of the locations to have an even count; mina han [皆半] means for all of the locations to have an odd count; iya-beshi [嫌べし] means “should be loathed,” “should be detested.”

¹⁴Soe-oki, kane hazushi nado ni te jiyū subeshi [ソヘヲキ、カネハヅシ等ニテ自由スベシ].

    Soe-oki [副置き] refers to a case where two objects are displayed on the same kane -- such as when the hishaku is placed on the shelf oriented on a diagonal, with the futaoki in front of (or on the far side of) its handle.

    Kane hazushi [カネ外し] means an object is disassociated from its kane.  When an object does not touch a kane, it is "not counted" when assessing the evenness or oddness of the za.

    Jiyū subeshi [自由すべし]:  jiyū [自由] means free, unrestricted; subeshi [すべし] is a contraction of suru beshi [爲るべし], should be done, ought to do.  In other words, when two objects occupy the same kane, they are counted together (when calculating the "value"); when an object has been displaced from the kane, it is not counted.  Thus, one is free to use either device, without the extra utensil violating the rules of chō and han, as expressed in Rikyū's poem.

    For example:

◦ if the hishaku is oriented on a diagonal, and the futaoki is placed together with it (either in front of, or on the far side of, the handle), these two objects are counted as one, so the tana is han [半], or odd;

◦ if the hishaku is placed in contact with a kane, with the handle parallel to the kane, and the futaoki is placed so that it contacts a (different) kane on one side of the hishaku, they are counted separately, and the result is chō [調];

◦ however, if the hishaku touches a kane, with the handle oriented parallel to that kane, but the futaoki, placed at its side, does not contact a kane*, the result is han [半].

     Another example:

◦ if a hanaire is displayed on the floor† of the toko, or suspended from the hook that is attached to the center of the back wall of the toko, then the toko is han [半];

◦ if the hanaire is suspended on the bokuseki-mado, or on a hook nailed into the pillar (on the outer-wall side of the toko‡), the toko is chō [調] -- because the hanaire has been disassociated from the kane. __________ *In other words, the futaoki is disassociated from the kane.

†When displayed on the floor of the toko, the hanaire should always be associated with the central kane.

‡In Rikyū’s day the hanaire was never hung on the toko-bashira.  The hook on the toko-bashira was for an oil-lamp, used primarily to illuminate the scroll (specifically the signature and seals of the writer) at night.

    The hook for the hanaire was originally nailed into the minor pillar, on the opposite side of the toko.  Later, after Furuta Sōshitsu moved the bokuseki-mado into the toko (a practice of Oribe’s that Rikyū also incorporated into his own rooms), a narrow strip of sheet-copper was twisted around one of the horizontal lattices, and the kake-hanaire was suspended there (when the intention was to give the toko a chō count).

    Whether in the middle of the toko or suspended on the side, the idea was that the flowers should arch toward the temae-za.