日本文化介紹英文PPT學(xué)習(xí)教案

1、會計學(xué)1日本文化介紹英文日本文化介紹英文第1頁/共23頁Theblossomforecast,sakurazensen,literallycherryblossomfrontisannouncedeachyearbytheweatherbureau,andiswatchedcarefullybythoseplanninghanamiastheblossomsonlylastaweekortwo.第2頁/共23頁第3頁/共23頁InJapancherryblossomsalsosymbolizecloudsduetotheirnatureofbloomingenmasse,besidesbein

2、ganenduringmetaphorfortheephemeralnatureoflife,anaspectofJapaneseculturaltraditionthatisoftenassociatedwithBuddhisticinfluence,andwhichisembodiedintheconceptofmononoaware.Theassociationofthecherryblossomwithmononoawaredatesbackto18t hcenturyscholarMotooriNorinaga.Thetransienceoftheblossoms,theextrem

3、ebeautyandquickdeath,hasoftenbeenassociatedwithmortality;forthisreason,cherryblossomsarerichlysymbolic,andhavebeenutilizedofteninJapaneseart,manga,anime,andfilm,aswellasatmusicalperformancesforambienteffect.Thereisatleastonepopularfolksong,originallymeantfortheshakuhachi(bambooflute),titledSakura,an

4、dseveralpopsongs.TheflowerisalsorepresentedonallmannerofconsumergoodsinJapan,includingkimono,stationery,anddishware第4頁/共23頁第5頁/共23頁第6頁/共23頁第7頁/共23頁Thereareobviousdifferencesindressingkimonobetweenmanandwoman.Themankimonoissingularincolorandemphasizeblackwithlessstyle,thinwaistbandandsimpleaccessorie

5、ssothateasytowear,Whilewomankimonoarecolorfulwithwidewaistband,variousstyleandmanyaccessories.PeopleweardifferentKimonoinspecificsituationandtimetoshowprudence.Womenhavekimonosforwedding,adult,dinner,ceremonyandalsocommonkimonos.第8頁/共23頁InJapan,thereisstillapaintinggenrespecializeindrawingthewomenwe

6、aringkimono.Thesepaintingsnotonlykeepthecolor,texture,design,fashionandaccessoriesofkimonosindifferentperiod,butalsoreflectdressingrulesanddifferentposeswithdifferentexpressionswhenwearingit.Thepaintingsalsoexpresstheattitudeandfondnessofartistandthepeopleinthesameage.Besides,therearesomespecificrul

7、esandtabooinwearingit.ThearticlestatetheimportantmeaningofkimonoforJapaneseculturethroughtheintroductionofkimonoindetail,anddemonstratetheimportanceofmoderncostumeinnationalhistoryandculture.第9頁/共23頁Oten, Junichi Kouchi, and Seitar Kitayama. By the 1930s animation became an alternative format of sto

8、rytelling to the live-action industry in Japan. But it suffered competition from foreign producers and many animators, such as Nobur fuji and Yasuji Murata still worked in cheaper cutout not cel animation, although with masterful results.第10頁/共23頁第11頁/共23頁The1970ssawasurgeofgrowthinthepopularityofma

9、ngamanyofthemlateranimated.TheworkofOsamuTezukadrewparticularattention:hehasbeencalledalegendandthegodofmanga。RobotanimeliketheGundamandTheSuperDimensionFortressMacrossseriesbecameinstantclassicsinthe1980s,andtherobotgenreofanimeisstilloneofthemostcommoninJapanandworldwidetoday.Inthe1980s,animebecam

10、emoreacceptedinthemainstreaminJapan，andexperiencedaboominproduction.第12頁/共23頁第13頁/共23頁Nowanimehasbecomecommerciallyprofitableinwesterncountries,asearlycommerciallysuccessfulwesternadaptationsofanime,suchasAstroBoy,haverevealed.Sincethe19thcentury,manyWesternershaveexpressedaparticularinteresttowards

11、Japan.AnimedramaticallyexposedmoreWesternerstothecultureofJapan.Asidefromanime,otherfacetsofJapanesecultureincreasedinpopularity.Worldwide,thenumberofpeoplestudyingJapaneseincreased.Evendomesticanimationindustrieshadmadeattemptsatemulatinganime.Anime-influencedanimationreferstonon-Japaneseworksofani

12、mationthatemulatethevisualstyleofanime.Somecreatorsciteanimeasasourceofinspirationwiththeirownseries.Furthermore,aFrenchproductionteamforbanStar-RacersmovedtoTokyotocollaboratewithaJapaneseproductionteamfromHalFilmMaker.Criticsandthegeneralanimefanbasedonotconsiderthemasanime.第14頁/共23頁ONE PIECENARUTOREBON Vampire KnightDetective ConanBlack butler第15頁/共23頁buckwheat noodles, and soybean curd. 第16頁/共23頁第17頁/共23頁第18頁/共23頁第19頁/共23頁as sashimi is the raw fish component,