My favourite actor is Jhonny Depp. He is a famous American actor. The Power Point is a structured guide to the lesson with timings which can be used alongside the planning page and other activities. I used this as a follow up to a solo talk the children prepared on a famous person for their 1960's topic. The Power Point and Planning Page were created by myself. The biography example is a photocopiable example from the Time For Kids website which I adapted to meet the Success Criteria I was teaching. My favourite actor is Jhonny Depp. My favourite actor is Jhonny Depp. He is a famous American actor.
Biography Essay Mla Format - Off Topic - catalyst- , and the political leader of the 1979 Islamic Revolution of Iran which overthrew Mohammad Reza Pahlavi, the last Shah of Iran. Following the Revolution, Imam Khomeini became Grand Leader of Iran — the paramount figure in the political system of the new Islamic Republic — until his demise. Imam Khomeini was considered a to many Muslims, and in Iran was officially addressed as Imam rather than Grand Ayatollah; his supporters adhere to this convention. Imam Khomeini was also a highly-influential and innovative Islamic political theorist, most noted for his development of the theory of Family and early years Ruhollah Mousavi was born to Ayatollah Seyyed Mostafa Musavi and Hajieh Agha Khanum, also called Hajar, in the town of Khomein, about 300 kilometers south of the capital Tehran, Iran, possibly on May 17, 1900 or September 24, 1902. He was a Seyyed from a religious family that are descendants of Prophet Mohammad, through the seventh Imam, (Imam Mousa Kazem). His paternal grandfather was Seyyed Ahmad Musavi, whose third wife, Sakineh, gave birth to Mostafa in 1856. Imam Khomeini's maternal grandfather was Mirza Ahmad Mojtahed-e Khonsari, a high-ranking cleric in central Iran whose Fatwa for banning usage of Tobacco in opposition to a monopoly granted by Shah to a British company, led to cancellation of the concession. Imam Khomeini's father was murdered when he was five months old, and he was raised by his mother and one of his aunts. Later, when he was 15, his mother and aunt died in the same year. At the age of six he began to study the Quran, Islam's holy book. He received his early education at home and at the local school, under the supervision of Mullah Abdul-Qassem and Sheikh Jaffar, and was under the guardianship of his elder brother, Ayatollah Pasandideh, until he was 18 years old. Arrangements were made for him to study at the Islamic seminary in Esfahan, but he was attracted, instead, to the seminary in Arak, which was renowned for its scholastic brilliance under the leadership of Ayatollah Sheikh Abdol-Karim Haeri-Yazdi (himself a pupil of some of the greatest scholars of Najaf and Karbala in Iraq). In 1921, Imam Khomeini commenced his studies in Arak. The following year, Ayatollah Haeri-Yazdi transferred the Islamic seminary to the holy city of Qom, and invited his students to follow. Imam Khomeini accepted the invitation, moved, and took up residence at the Dar al-Shafa school in Qom before being exiled to the holy city of Najaf in Iraq. After graduation, he taught Islamic jurisprudence (Sharia), Islamic philosophy and mysticism (Irfan) for many years and wrote numerous books on these subjects. Although during this scholarly phase of his life Imam Khomeini was not politically active, the nature of his studies, teachings, and writings revealed that he firmly believed from the beginning in political activism by clerics. First, his interest in Islamic studies surpassed the bounds of traditional subjects of Islamic law (Sharia), jurisprudence (Fiqh), and principles (Usul) and the like. Second, his teaching focused often on the overriding relevance of religion to practical social and political issues of the day. Third, he was the first Iranian cleric to try to refute the outspoken advocacy of secularism in the 1940s. His now well-known book, Kashf-e Asrar (Discovery of Secrets) was a point by point refutation of Asrar-e Hezar Saleh (Secrets of a Thousand Years), a tract written by a disciple of Iran's leading anti-clerical historian, Ahmad Kasravi. Also he went from Qom to Tehran to listen to Ayatollah Hassan Modarres —the leader of the opposition majority in Iran's parliament during 1920s. Imam Khomeini became a in 1963, following the death of Grand Ayatollah Seyyed Hossein Borujerdi. Early Political Activity In this time he could represent his religious-political ideas openly. Because the deaths of the leading, although quiescent, Shia religious leader, Ayatollah Seyyed Mohammad Borujerdi (1961), and of the activist cleric Ayatollah Abol-Ghasem Kashani (1962) left the arena of leadership open to Imam Khomeini, who had attained a prominent religious standing by the age of 60. In addition, although ever since the rise of Reza Shah Pahlavi to power in the 1920s the clerical class had been on the defensive because of his secular and anticlerical policies and those of his son, Mohammad Reza Shah, these policies reached their peak in the early 1960s with "White Revolution." Opposition to White Revolution Imam Khomeini first became politically active in 1962. When the White Revolution proclaimed by the Shah's government in Iran called for land reform, nationalization of the forests, the sale of state-owned enterprises to private interests, electoral changes to enfranchise women, profit sharing in industry, and an anti-illiteracy campaign in the nation's schools. Most of these initiatives were regarded as dangerous, Westernizing trends by traditionalists, especially the powerful and privileged religious scholars () who felt keenly threatened. The Ulama instigated anti-government riots throughout the country. They found the White Revolution a sustainable ideological framework to support a particular relation of domination, in this case the monarchy of Mohammad Reza Shah Pahlavi. This was above all a hegemonic project intended to portray the Shah as a revolutionary leader through the utilization of social and historical myths reinterpreted through the prism of contemporary, often conflicting ideological constructs, such as nationalism and modernism. In January 1963, the Shah announced a six-point program of reform called the White Revolution, an American-inspired package of measures designed to give his regime a liberal and progressive facade. Imam Khomeini summoned a meeting of his colleagues (other Ayatollahs) in Qom to press upon them the necessity of opposing the Shah's plans. Imam Khomeini persuaded the other senior Marjas of Qom to decree a boycott of the referendum that the Shah had planned to obtain the appearance of popular approval for his White Revolution. Imam Khomeini issued on January 22, 1963 a strongly worded declaration denouncing the Shah and his plans. Two days later Shah took armored column to Qom, and he delivered a speech harshly attacking the ''ulama'' as a class. Imam Khomeini continued his denunciation of the Shah's programs, issuing a manifesto that also bore the signatures of eight other senior scholars. In it, he listed the various ways in which the Shah allegedly had violated the Constitution, condemned the spread of moral corruption in the country, and accused the Shah of comprehensive submission to America and Israel. He also decreed that the Nowruz celebrations for the Iranian year 1342 (March 21, 1963) be cancelled as a sign of protest against government policies. In the afternoon of Ashura (June 3, 1963), Imam Khomeini delivered a speech at the Feiziyeh Madreseh seminary in which he drew parallels between Yazid and the Shah and warned the Shah that if he did not change his ways, the day would come when the people would offer up thanks for his departure from the country. Following Imam Khomeini's public denunciation of Shah Mohammad Reza Pahlavi as a "wretched miserable man" and his arrest, on June 5, 1963 (Khordad 15, on the Iranian calendar), three days of major riots erupted throughout Iran with nearly 400 killed. Imam Khomeini was kept under house arrest for 8 months and was released in 1964. Also this was a turning point in political viewpoint of Islam. The clergies had supported Shia monarchy since establishment of Safavids and this was the main source of legitimacy of monarchs. Shia clergies had advised them to be just and obey Ja'fari jurisprudence. Also monarchs didn't enforce religious rules which restricted or threatened religious life and institutions and defended the Shia territory of Iran. But Reza Shah transformed the Iranian monarchy into a modern dictatorship. The modernizing programs of Pahlavi dynasty restricted and threatened religious life and made clergies be against monarchy and finally Imam Khomeini decide to fight with them and build another state comparable to religious rules. Opposition to capitulation During November of 1964, Imam Khomeini made a denunciation of both the Shah and the United States, this time in response to the "capitulations" or diplomatic immunity granted to American military personnel in Iran by the Shah. 1964 Imam Khomeini was re-arrested and sent into exile. Life in exile Imam Khomeini spent over 14 years in exile, mostly in the holy city of Najaf in Iraq. Initially, he was sent to Turkey on 4 November 1964, where he stayed in the city of Bursa for less than a year. He was hosted by a Turkish Colonel named Ali Cetiner in his own residence, who couldn't find another accommodation alternative for his stay at the time. Later in October 1965 he was allowed to move to Najaf, Iraq, where he stayed until being forced to leave in 1978, after then-Vice President Saddam Hossein forced him out (the two countries would fight a bitter eight year war 1980-1988 only a year after the beginning of Imam Khomeini’s leadership in Iran and the start of Saddam Hussein’s term in Iraq) after which he went to Neauphle le Château in France. Logically, in the 1970s, as contrasted with the 1940s, he no longer accepted the idea of a limited monarchy under the Iranian Constitution of 1906-1907, an idea that was clearly evidenced by his book Kashf-e Asrar. In his Islamic Government (Hokumat-e Islami) — which is a collection of his lectures in Najaf published in 1970 — he rejected both the Iranian Constitution as an alien import from Belgium and monarchy in general. He believed that the government was an un-Islamic and illegitimate institution usurping the legitimate authority of the supreme religious leader (Faqih), who should rule as both the spiritual and temporal guardian of the Muslim community (Umma). In early 1970 Imam Khomeini gave a lecture series in Najaf on Islamic Government which later was published as a book titled variously Islamic Government or Guardianship of the Islamic Jurists (velayat-e faqih). This was his most famous and influential work and laid out his ideas on governance (at that time): A modified form of this Velayat-e Faqih system was adopted after Imam Khomeini and his followers took power, and he became the Islamic Republic's first "Guardian" or Grand Leader. In the meantime, however, Imam Khomeini was careful not to publicize his ideas for clerical rule outside of his Islamic network of opposition to the Shah which he worked to build and strengthen over the next decade. Cassette copies of his lectures fiercely denouncing the Shah as, for example, "the Jewish agent, the American snake whose head must be smashed with a stone," became common items on the markets of Iran, helped to demythologize the power and dignity of the Shah and his reign. As protest grew, so did Imam Khomeini’s profile and importance. During the last few months of his exile, Imam Khomeini received a constant stream of reporters, supporters, and notables, eager to hear the spiritual leader of the revolution. Grand Leader of Islamic Republic of Iran Return to Iran Only two weeks after the Shah fled Iran on January 16, 1979, Imam Khomeini returned to Iran triumphantly, on Thursday, February 1, 1979, invited by the anti-Shah revolution which was already in progress. Conservative estimates put the welcoming crowd of Iranians at least three million. When Imam Khomeini was on plane on his way to Iran after many years in exile, a reporter, Peter Jennings asked him: "What do you feel? " and surprisingly Imam Khomeini answered "Nothing! " In a speech given to a huge crowd on the first day of returning to Iran, Imam Khomeini attacked the government of Shapoor Bakhtiar promising "I shall punch their teeth in." He also made a variety of promises to Iranians for his coming Islamic regime: A popularly elected government that would represent the people of Iran. Establishment of new government On February 11, Imam Khomeini declared a provisional government. On March 30, 1979, and March 31, 1979, the provisional government asked all Iranians sixteen years of age and older, male and female, to vote in a referendum on the question of accepting an Islamic Republic as the new form of government and constitution. Through the ballot box, over 98% voted in favor of replacing the monarchy with an Islamic Republic. Subsequent elections were held to approve of the newly-drafted Constitution. Along with the position of the Grand Leader, the constitution also requires that a president be elected every four years, but only those candidates approved indirectly by the Council of Guardians may run for the office. Imam Khomeini himself became instituted as the Grand Leader for life, and officially decreed as the "Leader of the Revolution." After assuming power, Islam was made the basis of Iran's new constitution and obedience to Islamic laws made compulsory. Relationship with other Islamic nations Imam Khomeini intended to reconstruct Muslim unity and solidarity, so he declared the birth week of Prophet of Islam (the week between 12th to 17th of Rabi'al-Awwal in Islamic Hegira calendar) as the Unity Week. Then he declared the last Friday of the fasting month of Ramadan as the International Day of Quds in 1979. But because of Islamic ideology of Islamic Republic of Iran, most rulers of other Muslim nations turned against him and supported Iraq in the imposed war against Iran, even though most of Islamic parties and organizations supported his idea. Iran-Iraq War Saddam Hussein, Iraq's secular Arab nationalist Ba'athist leader, was eager to take advantage of Iran's weakened military and (what he assumed was) revolutionary chaos, and in particular to occupy Iran's adjacent oil-rich province of Khuzestan and undermine attempts by Iranian Islamic revolutionaries to incite the Shia majority of his country. With what many believe was the encouragement of the United States, Saudi Arabia and other countries, Iraq soon launched a full scale invasion of Iran, starting what would become the eight-year-long Iran-Iraq War (September 1980 - August 1988). A combination of fierce patriot resistance by Iranians and military incompetence by Iraqi forces soon stalled the Iraqi advance and by early 1982 Iran regained almost all the territory lost to the invasion. The invasion rallied Iranians behind the new regime, enhancing Imam Khomeini's stature and allowed him to consolidate and stabilize his leadership. Although outside powers supplied arms to both sides during the war, the West (America in particular) became alarmed by the possibility of the Islamic Revolution spreading throughout the oil-exporting Persian Gulf oil and began to supply Iraq with whatever help it needed. The war continued for another six years, with 450,000 to 950,000 casualties on the Iranian side and the use of chemical weaponry by the Iraqi military. As the costs of the eight-year war mounted, Imam Khomeini, in his words, "drank the cup of poison" and accepted a truce mediated by the United Nations. As the war ended, the struggles among the clergy resumed and Imam Khomeini’s health began to decline. Rushdie Fatwa In early 1989, Imam Khomeini issued a fatwa calling for the killing of Salman Rushdie, an Indian-born British author. Imam Khomeini claimed that Rushdie's murder was a religious duty for Muslims because of his alleged blasphemy against Prophet Mohammad in his novel, The Satanic Verses. Rushdie's book contains passages that some Muslims — including Ayatollah Imam Khomeini — considered offensive to Islam and the Prophet. Though Rushdie publicly apologized, the fatwa was not revoked, Imam Khomeini explaining that "even if Salman Rushdie repents and becomes the most pious man of all time, it is incumbent on every Muslim to employ everything he has got, his life and wealth, to send him to Hell." Letter to Mikhail S. Gorbachev In December 1988 (before the fall of the Berlin Wall), Ayatollah Imam Khomeini sent a letter to USSR President Mikhail Gorbachev predicting the fall of Communism and inviting him to study and research Islam. In his historical letter he wrote: "It is clear to everyone that Communism should henceforth be sought in world museums of political history." Life under Imam Khomeini Under Imam Khomeini's rule, Sharia (Islamic law) was introduced, with the Islamic dress code enforced for both men and women. Women had to cover their hair, and men were not allowed to wear shorts. Life for religious minorities has been mixed under Imam Khomeini and his successors. Shortly after his return from exile in 1979, Imam Khomeini issued a fatwa ordering that Jews and other minorities (except Bahai) be treated well. By law, several seats in the Parliament are reserved for minority religions. Imam Khomeini also called for unity between Sunni and Shia Muslims (Sunni Muslims are the largest religious minority in Iran). Death and funeral After eleven days in a hospital for an operation to stop internal bleeding, Imam Khomeini died of cancer on Saturday, June 3, 1989, at the age of 89. Many Iranians mourned Imam Khomeini's death and poured out into the cities and streets. More than 10 million people from across the country attended Imam Khomeini’s funeral to form one of the largest ever funerals in the world. Following Imam Khomeini’s demise, Ayatollah Seyyed Ali Khamenei came to be selected on June 4, 1989 by the Assembly of Experts to be his successor, in accordance with the Constitution. Political thought and legacy Imam Khomeini adamantly opposed monarchy, arguing that only rule by a leading Islamic jurist would insure Sharia was properly followed (Velayat-e Faqih). Imam Khomeini believed that Iran should strive towards self-reliance. He viewed certain elements of Western culture as being inherently decadent and a corrupting influence upon the youth. His ultimate vision was for Islamic nations to converge together into a single unified power, in order to avoid alignment with either side (the West or the East), and he believed that this would happen at some point in the near future. Imam Khomeini expressed support for the Universal Declaration of Human Rights; in Sahifeh Nour (Vol. 2, page 242), he states: "We would like to act according to the Universal Declaration of Human Rights. We would like independence." Imam Khomeini led an ascetic lifestyle, being deeply interested in mysticism, and was against the accumulation of land and wealth by the clergy. Many of Imam Khomeini's political and religious ideas were considered to be progressive and reformist by leftist intellectuals and activists prior to the Revolution. Imam Khomeini's definition of democracy existed within an Islamic framework. His last will and testament largely focuses on this line of thought, encouraging both the general Iranian populace, the lower economic classes in particular, and the clergy to maintain their commitment to fulfilling Islamic revolutionary ideals. Family and descendants In 1929, Imam Khomeini married Batol Saqafi Khomeini, the daughter of a cleric in Tehran. They had seven children, though only five survived infancy, 3 daughters and 2 sons. The elder son, Mostafa, was murdered in 1977 while in exile with his father in Najaf, Iraq and SAVAK (the Imperial-era secret police) was accused of his death by Imam Khomeini. Imam Khomeini's grandson Seyyed Hassan Khomeini, son of the late Seyyed Ahmad Khomeini, is also a cleric and the trustee of Imam Khomeini's shrine. Biography Essay Mla Format - posted in Off Topic. Current Ethical issue cheap research proposal ghostwriter site for masters.
View topic - Favorite _? Write your favorite thing! In the late 1970s, Masako Natsume recorded a song called "Oh! Cookie Face" that is available to buy from CD Japan on the Ai to Seisyun no Hit Story 1977 CD. Click on the following 2 pictures to see larger versions of them. for converting the song lyrics from Japanese script (see the 2nd picture above) into romanised characters (romanji) to enable non-Japanese to read / sing the lyrics: oh! cookie face yaketasunayorimo atsuianatanoai mitsumenaide sawaranaide watashi mou yakedosihsou anatawawatashiwodakishimete sukidatoamakusasayaita kimiwa cookie face tabeteshimaoukana namerudakejatsumaranai koino cookie cookie kuku cookie face natsunosorayorimo moeruanatanoai afuresouyo koboresouyo watashi mou maketemoii anatawananigenaikaode watashinisotto tsubuyaita * bokuno cookie face tabeteiidaroune natsugasugerusonomaeni koino cookie cookie kuku cookie face *ref She was born on 17th December 1957 in Roppongi, Tokyo. From primary school until junior college, she studied at the Tokyo Jogakukan. While at junior college in 1976, she took part in the selection for the heroine of Nihon TV's AI GA MIEMASU KA? Cookie Face", and it's available to buy from CD Japan on the Ai to Seisyun no Hit Story 1977 CD. She was chosen from about 4000 girls and acted under her real name (this was her acting debut). In the summer of 1977, she was chosen as 'Campaign girl' for Kanebo Cosmetics and appeared as the topless "Kooky Face" girl, baring her sunburned skin in public. Also in 1977, she made her screen debut as a bit player in Toho's ORE NO SORA. She appeared in Toei's TRUCK YARO: OTOKO IPPIKI MOMOTARO (Masaaki Sakai was also in this film) as the hero's inamorata. Afterwards, she continued to perform on TV but in Toei's 1980 film, NIHYAKU SAN KOCHI, she gave a good performance as Teruhiko Aoi's wife. She should be worth watching for her later maturation as an actress. On TV she has appeared as Tripitaka in Nihon TV's SAIYUKI in 1978; as the Christian, 'Monica', in NHK's OGON NO HIBI and acted with distinguished actor, Sengoro Ichikawa, in Fuji TV's KIBA BUGYO in 1979. She had her first starring role in 1980 in Television Asahi's NIJIKO NO BOKEN. Recent work includes NHK's THE SHOSHA in 1980 and ONNA TAIKOKI in 1981. In 1980, she made her stage debut in the Tokyo Takarazuka Gekijo in KIKAISHI NAPOREON NO TAISHOKU. Tragically, Masako Natsume died of leukaemia on 11 September 1985, aged 27, just over 6 years after finishing work on Monkey. Falsehoods: 1) The series didn't end because of her illness - she became ill years after she finished work on Monkey 2) She wasn't bald because of the leukaemia - it was a bald head "wig". She is still a popular actress in Japan, and is idolised by her many fans. Her picture books and calendars are still on sale in Japan, and are very popular. The general public didn't think much about her acting talent. This image changed in her movie "Onimasa" and drama "Shousha". In June 1997, after a recent television commercial for Canon Inc.'s colour-copy machine featured her photocopy images, the company received about 230,000 applications for 100 free copies of a book featuring photographs of her. In "Onimasa" she played the daughter of a Yakuza leader. In "Shousha" Masako Natsume was a wicked and ambitious woman, like Sharon Stone. Her romance with a certain TV producer ended up in a love triangle with another famous actress. They were married for no less than six months when they found out Masako had leukemia. This husband, a former TV producer, became a writer. Her dialogue "I'm the daughter of the fearless Onimasa. It took him a decade to write about his wife, though. Ten years after Masako's death, he published a novel "Breast" in which showed a heroine that remarkably resembles Masako. "I always seem to be too late in anything" is what he wrote in the forword. In Japan, there is the Masako Natsume Sunflower Foundation. They offer wigs to people who lost their hair due to radiation treatment. Apparently, the real Tripitaka who went to India to collect the Buddhist scriptures was said to have been a very good looking monk (don't laugh! ) and that his looks were akin to the beauty of a woman (hence female Masako Natsume plays him). After "Monkey" was aired, everyone got the impression that Tripikata has to be played by a (pretty) girl. So Tripitaka is played by one in all the remakes of "Monkey"! A Japanese fan wrote the following about Masako Natsume: "I respect Masako Natsume. Because she was very beautiful and her performance was wonderful. She died in 1985 from leukemia when I was three years old. For example "Saiyuki" and "Kiryuin-Hanako no Shougai". Her charms have caused Masako Natsume's boom again. So she was introduced in the CM of a copy machine and "Odoroki Momonoki in twentieth century", the TV program. She lived hard herself during twenty seven years." There was a "Forever Masako Natsume" photo exhibition between Thursday 11 September to Wednesday 17 September 2003 on the 7th floor of Tokyu department store in Shibuya, Tokyo (location map). Note: 11 September 2003 was the 18th anniversary of her death. See the Ėډq It BV z[y[W page for more information (read it in English). The following photo books of Masako Natsume are available from Japan: 1) Memories of Masako 2) Natsume Masako (Japanese info and cover picture) 3) HIMAWARI, 1957-1985 (Japanese info) 4) Photos of Natsume Masako, flashback (Japanese info and cover picture) 5) Hosihanabi: Star fires-Photos of Natume Masako (Japanese info) They can be bought online via the "Overseas Bookshop" web site. To order any of these books, first of all just fill in the book enquiry form on the Overseas Bookshop_Inquiry Sheet page, and they will reply to it with prices and ordering instructions (you don't need to give any card details on this page - it's just the enquiry form). To make your order, you then need to send them a fax. Just to give you an idea of what the prices are like, the quotation I received from them in July 2002 said that book 1 "Memories of Masako" costs around 11 British pounds, with postage an extra 7 British pounds. To go to the main page of their web site, go to Overseas Bookshop (English Home) or Overseas Bookshop (Japanese Home). Also, note that you can order some of these books via jp in Japan - see the following links: FLASHBACK (jp) On each of these pages, click on "Display in English" near the top right of the page, and it will let you place your order in English, paying securely by credit/debit card online. Apparently there's a few photos of Masako Natsume as Tripitaka in one of the photo-books dedicated to her - but I don't know which one. If you know, please tell me using the Monkey Feedback page. Every year, a Masako Natsume calendar is available in Japan, and in the 2000 one, apparently it contained a few Tripitaka photos. If you know how to order Masako Natsume calendars on the internet, please tell me using the Monkey Feedback page. In mid-September 1999, I found a very comprehensive Masako Natsume tribute web site (which no longer exists). One of the pages on this site ( looked like it might contain information about where Masako Natsume is buried in Japan. Well, thanks to Nikki Brown and several members of the Nippon-Culture mailing list, I've now got complete details of where Masako Natsume is buried (translated by various people from the above web page): Masako Natsume's grave is at Dairakuji Temple in Bofu (which can also be spelt Hofu or Houfu) City, Yamaguchi Prefecture, in the Chugoku region of Japan (the temple 'Dairakuji' is located in Kuwayama, Bofu-shi, Yamaguchi-ken, Japan). It does not give the specific address except that the temple is at the foot of the hill/mountain called Kuwayama. Her real family name is Nishiyama, and the family name is engraved on her tombstone. You will find the tombstone very easily, if you ask the priest of the temple. I am sure the local people would know exactly where once you get to the city. The temple [or Natsume's grave] appears to be a big tourist attraction. Yamaguchi prefecture is the west most prefecture in the main island (Honshu) of Japan. The closest Shinkansen station must be Ogouri City. The closest airport is Yamaguchi-Ube Airport and the only major airline using this airport is ANA or All Nippon Airways. The photo of the sunflowers on this page is 'Masako's Sunflower garden', I think this is just next to the temple. Someone else said that Dairakuji is a Jodoshu Sect Cemetery. Look at the following map of Japan: Japan Travel Updates | Map Yamaguchi City is (obviously) in Yamaguchi prefecture marked on this map, just to the right of Kyushu island (directly North of Fukuoka). For a close-up view of Yamaguchi prefecture, indicating where Hofu City is within the prefecture, click on "Yamaguchi" on the above map, and keep clicking for a more detailed map. I'm sorry if this topic seems morbid to any of you, but I'm writing it so that, if like me, any of you would like to go and pay your respects to Masako Natsume while in Japan, you now have all full information on where you need to go. Here's some other Masako Natsume information I've received recently: There is a web site dedicated to the Sunflower Foundation (which was set up in Masako Natsume's memory to help cancer patients in Japan). This site contained lots of Masako Natsume pictures, and also had an online shop where you could buy Masako Natsume merchandise. On Friday 1 June 2001, while visiting Japan, I visited Masako Natsume's grave, to pay my respects. I left a single yellow rose, and a short note in Japanese saying about the fans that she has around the world because of Monkey. The Dairakuji temple, where she's buried, is a small, beautiful temple in Hofu City, surrounded by mountains. I felt very sad while I was there; but I'm glad I went - I just had to go there and pay my respects. Other people had left gifts around her gravestone - a glass with the picture of a sunflower on it (a reference to the Masako Natsume Sunflower Foundation), some nail polish, a tin of peaches (could this be a reference to eternal life, as with the peaches in Monkey? It seemed a little strange that someone had left cookies, but I decided to follow their example. I had a cute little box of French biscuits that I'd bought in Paris on my way to Japan, so I left this, with my note attached to it. 'The Shousha' (produced by NHK) 'Kazenohayato' 'Onnataikouki' 'Tokugawaieyasu' (also NHK) 'Nonomurabyouinmonogatari' (By TBS) 'Dokkiritenmasensei' 'Dauntaunmonogatari' (NHK) AI-GA-MIEMASUKA ("Can you see love? ") It is the story which the girl who witnessed a robbery criminal is run over by their car, and become blind. She played a difficult position with initial work, and it was evaluated. AKUM-NO-TEMARIUTA ("devil") A counting song at hit a ball, and playing. It is one part of a Japanese famous detective story. Murder gets up a thing of a meaning of a text of a song in sequence. She plays a singer coming back in a cursed village. Y-NO-HIGEKI ("Tragedy of Y") This work turned an in the world famous Ellery Queen's whodunit into a television play for the first time in the world. Truck Yaro: Otoko Ippiki Momojiro (1977) (not "Momotaro" as I stated previously) Momo = "peach", Taro = "eldest son", and Jiro = "second son". OUGON-NO-HIBI ("Platinum age") It is a TV saga of NHK inational broadcasting. She plays a daughter of an assistant police inspector. This is the sixth in a series of 10 films altogether. "SAIYUUKI" An actress was to play a position of the Buddhist priest (Actually, a young man) whom Ms. "NIJIKO-NO-BOUKEN" ("Adventure of NIJIKO") It is a story of a woman becoming a hostess in order to return borrowing of a younger brother. Yoshiko Tanaka of a costar is a wife of the oldest brother of Ms. Masako Natsume plays the part of the female college student who excelled in kendo. Masaaki Sakai plays the part of a motorcycle policeman. Nihyakusan 203 Kochi (1980) ("The 203rd high ground") It is a story of Russo-Japanese War. Onimasa Kiryuin Hanako no shogai (1982) ("The life of Hanako Kiryuin") / Onimasa (1983) (director: Hideo Gosha) (Toei) (lead actor: Tatsuya Nakadai) Masako Natsume plays an adopted daughter of a yakuza. When her movie is introduced, there are many cases that this work is introduced. Dai Nihon Teikoku (1982) ("Great Japanese Empire") It is a story of World War II. A student who is going to become a painter having a lung illness, and a Philippine woman. Future War 198X (1982) Masako Natsume voices the character of a woman pilot of an American air force in this cartoon film. Jidai-ya no Nyobo (1983) ("A wife of Jidai-ya") "Jidai-ya" is a name of a curio shop. Masako Natsume plays the woman whom wife of a curio shop and she look just like. Shosetsu Yoshida Gakkou (1983) (Novel "Yoshida school") It is a story of the Japanese Prime Minister just after World War II. Masako Natsume plays a wife of an elementary school teacher with an activist of a political organization. Masho no Natsu (1981) ("Summer of evil spirit") This is the ghost story which is the most famous in Japan. A Japanese fan told me "The other drama 'two persons??? I assume he was taking about this film, but I don't know for sure. Masako Natsume plays a daughter of the Prime Minister Shigeru Yoshida. Nankyoku Monogatari (1983) / Antarctica (1984) There was a scene in Kyoto. This is a movie which achieved record box office success. [Internet Movie Database] [movies.reviews] [Videoflicks] [E! Online] [TV Guide Online - Movie Database] [Reel] Details of the Antarctica soundtrack album can be found on the CD/LD Collection (Index A) web page. Gyoei no Mure (1983) ("A group of a fish") Masako Natsume plays a wife of a fisherman. Setouchi Shonen Yakyu Dan (1984) ("'Setouchi' boy baseball team") / Mac Arthur's Children (1986) Setouchi is one inland sea between Japanese Honshu and Shikoku. Masako Natsume plays a teacher of an elementary school of Awaji island just after World War II. It is the impressive movie that it expressed association of a woman teacher and children of Awaji island. Online] [TV Guide Online - Movie Database] [Childhood Visions Movie Club] [Reel] Notes 1. Antarctica became the second most successful film in Japanese film history, after Steven Spielberg's ET (1982). Those movies with Videoflicks and Reel links may be bought or rented by following the links. My favourite holiday I ever went on was France 2008. snowywolf101 wroteThis topic you can write anything that is your favorite thing, animal, word.
Encyclopedia Britannica "I was getting tired of hearing the complaint, 'My kid could do this' and 'We don't get it. Blah, blah, blah.' And I wondered what would really happen if you gave people what they wanted, something they always looks at." "I guess a lot of it's just lashing out, because I didn't know how to be an artist, and all this time spent alone in the dark in these studios and importing my culture and constant questions. Conceptual art has shaped his interest in exploring how photographic images communicate, yet his work has little of the austerity usually associated with that style; instead he works with light humor, and with materials and motifs that also reflect the influence of Baldessari first began to move away from gestural painting when he started to work with materials from billboard posters. But by the end of the decade he had begun to introduce text and pre-existing images, often doing so to create riddles that highlighted some of the unspoken assumptions of contemporary painting - as he once said, "I think when I'm doing art, I'm questioning how to do it." And in the 1970s he abandoned painting altogether and made in a diverse range of media, though his interests generally centered on the photographic image. Painting was important to his early work: when he emerged, in the early 1960s, he was working in a gestural style. It prompted him to analyze how these very popular, public means of communication functioned, and it could be argued that his work ever since has done the same. He invariably works with pre-existing images, often arranging them in such a way as to suggest a narrative, yet the various means he employs to distort them - from cropping the images, to collaging them with unrelated images, to blocking out faces and objects with colored dots - all force us to ask how and what the image is communicating. A crucial development in Baldessari's work was the introduction of text to his paintings. It marked, for him, the realization that images and texts behave in similar ways - both using codes to convey their messages. Text began to disappear from his work in the early 1970s, and since then he has generally relied on collage, but his work has continued to operate with the same understanding of the coded character of images. Typically, he collages together apparently unrelated categories of image or motif, yet the result is to force us to recognize that those images often communicate similar messages. On a visit to the Metropolitan Museum in New York in 1965, Baldessari was struck by the use of unpainted plaster to fill in missing shards of Greek vases. This prompted his interest in how images are effected by having portions removed or blotted out, and he has continued to explore this ever since. Often, the result of his alterations to photographs is to render them generic, suggesting to us that rather than capturing a special moment, or unusual event, photographs often communicate very standardized messages. In this video piece, Baldessari makes several arm movements, reciting the phrase, "I am making art," after each gesture. Baldessari has always been conscious of the power of choice in artistic practice - like choosing to paint something red rather than blue, for example. Here, he carefully associates the choice of arm movements with the artistic choices that a painter or sculptor may make, concluding that choice is a form of art in itself. But he also confronts one of the fascinating problems that unpinned the work of many early Conceptual artists: how much can art be reduced and simplified before it stops being art at all? Baldessari offers no definitive answer, but he suggests that the gap between art and the ordinary, between art and life, may be imperceptible. Born in 1931 in National City, California, John Baldessari grew up in relative isolation during the Great Depression. His mother, a Lutheran of Danish descent, was a nurse, and his father was a Catholic from the Dolomites in what is now Italy. His father's entrepreneurial attitude to supporting his family likely had a profound impact on Baldessari's decision to become an artist. His father worked in various trades, from crop-picking to building, and he would recycle and reuse everything from old faucets to cigarettes, cultivating and repurposing as many objects as he could to make money. From a young age, Baldessari would assemble and dismantle his father's materials, questioning why one object was chosen over another. In 1949, Baldessari entered San Diego State College, where he studied art education at the encouragement of his sister. Following this, he decided to turn his attention to art history, so he went to study at the University of California, Berkley. Baldessari developed an interest for more contemporary art, as opposed to the heavily weighted Renaissance coursework offered at Berkeley. He ultimately chose to return to San Diego State College where he obtained an MA in painting in 1957. After an instructor at San Diego had taken ill, Baldessari was encouraged to serve as a replacement for one term. He proved to be an excellent mentor and went on to teach high school classes in life drawing and lettering. Here, he worked in relative isolation from the Los Angeles art scene, experimenting with new concepts and approaches without the fear of rejection. As evident in Art Lesson (1964), his early painted works often satirized traditional rules featured in art instruction manuals, such as how to create a proper composition and perfect perspective. In 1970, Baldessari incinerated all of his paintings prior to 1966 for a new piece titled 'The Cremation Project', where he baked the ashes into cookies and placed them in an urn. This conceptual work relates to the continuous cycle of life, everything is created, destroyed, and renewed. Baldessari's approach was radical, mocking the absurdity of art making, and this encouraged him to abandon the hand-painted quality of his paintings and adopt elements of found text and photography. He exploited appropriated text and photographs from newspapers and magazines in his work, believing that people are able to relate to words and images that are familiar. His first breakthrough works featured only text, as exemplified in Tips For Artists Who Want To Sell (1966-1968), where he sardonically explains the "necessary" formal elements for a painting to sell. Baldessari often employed local sign painters to complete the lettering, pointing them to remove the handcrafted quality entirely. In 1970 he took the concept of 'pointing' to a new level with his Commissioned Paintings series. In this he commissioned amateur artists to complete the painting, adding the caption "A painting by..." to each work. This body of work questioned the notion of artistic authorship, a highly criticized topic concerning conceptual art. During this time, Baldessari created several video pieces, such as I Am Making Art (1971) and Baldessari Sings Le Witt (1972), where he makes humorous commentary on the decisions of the creative process as seen in contemporary conceptual art. In the 1970s, Baldessari took a more 'artless' approach to image making by appropriating stills from B-movies to create synthesized photomontages. The photographs were cheap and easy to acquire, allowing him to systematically juxtapose various images to create a new narrative context. Influenced by early Hollywood cinema, the work suggested movement, similar to a storyboard grid, allowing him to document actions rather than monumentalizing his subject matter. As seen in Frames and Ribbon (1988), he incorporated stickers to conceal individual faces, thus veiling emotional content and drawing attention to minor details and the negative space between frames. The pricing stickers serve as a minimalist painting technique, creating a new depth within a flat field of color, breaking up the realistic black and white photo content. Baldessari continued to examine parts of the body through the series Noses and Ears (2006-2007) and Arms and Legs (2007-2008). Both series expose isolated features on a minimal field of color, allowing the viewer to interpret the work through sensual precepts. Baldessari viewed his own features as separate entities, rather than belonging to a whole face or body. Working in nearly every artistic media, including painting, collage, printmaking, performance art, and video, Baldessari exhibits his work around the world, including his first major U. retrospective at the Metropolitan Museum of Art in October 2010. Today, he continues to live and work in Santa Monica, California. John Baldessari has been an important influence on a generation of younger artists whose interests combine Conceptual art and Pop. He has also demonstrated how humor can be combined with more serious investigations into language and photography. Explore the fact-checked online encyclopedia from Encyclopaedia Britannica with hundreds of thousands of objective articles, biographies, videos, and images from experts.
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