When Tokumitsu Kanada was alive, he once admonished his followers when they called him Founder, by saying, Im not a founder of our teaching. The founder is God. He was a very humble person, so if were to call him the founder of our teachings in this biography, he may not be pleased. However, weas his followerswere saved from our sufferings and were guided by him, so he is unmistakably the founder of this teaching. We do not think its impolite to his departed soul to refer to him in this way. Also, with our love and respect for him, we his followers dont know how else to refer to him other than as the founder of this teaching. There are some religious leaders who refer to themselves as so-called founders and behave as though they are above others. Therefore, we would like to acknowledge that by calling him Founder it is not our intention to confuse him with some of these people.
I just have to do my best!" One year ago, internal clashes in the Kokuyodani girl's volleyball team made it difficult to even field a full side. But that's all in the past, as Neri and her faithful group of finely-honed teammates conquer the autumn tournament. The real battle starts with the spring regionals, but before they can focus on them, a contact from Neri's old high school reaches out to the Kokuyodani school principal. They're out to court her back, and the conditions they suggest might be an offer Neri can't refuse...
In this fascinating and wide-ranging book, Yoko Kawaguchi explores the Western portrayal of Japanese women—and geishas in particular—from the mid-nineteenth century to the present day. She argues that in the West, Japanese women have come to embody certain ideas about feminine sexuality, and she analyzes how these ideas have been expressed in diverse art forms, ranging from fiction and opera to the visual arts and music videos. Among the many works Kawaguchi discusses are the art criticism of Baudelaire and Huysmans, the opera Madama Butterfly, the sculptures of Rodin, the Broadway play Teahouse of the August Moon, and the international best seller Memoirs of a Geisha. Butterfly’s Sisters also examines the impact on early twentieth-century theatre, drama, and dance theory of the performance styles of the actresses Madame Hanako and Sadayakko, both formerly geishas.
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