日本文化介紹英文PPT學(xué)習(xí)教案

1、會(huì)計(jì)學(xué)1日本文化介紹英文日本文化介紹英文第1頁(yè)/共23頁(yè)Theblossomforecast,sakurazensen,literallycherryblossomfrontisannouncedeachyearbytheweatherbureau,andiswatchedcarefullybythoseplanninghanamiastheblossomsonlylastaweekortwo.第2頁(yè)/共23頁(yè)第3頁(yè)/共23頁(yè)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(yè)/共23頁(yè)第5頁(yè)/共23頁(yè)第6頁(yè)/共23頁(yè)第7頁(yè)/共23頁(yè)Thereareobviousdifferencesindressingkimonobetweenmanandwoman.Themankimonoissingularincolorandemphasizeblackwithlessstyle,thinwaistbandandsimpleaccessorie

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

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

7、esandtabooinwearingit.ThearticlestatetheimportantmeaningofkimonoforJapaneseculturethroughtheintroductionofkimonoindetail,anddemonstratetheimportanceofmoderncostumeinnationalhistoryandculture.第9頁(yè)/共23頁(yè)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(yè)/共23頁(yè)第11頁(yè)/共23頁(yè)The1970ssawasurgeofgrowthinthepopularityofma

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

10、emoreacceptedinthemainstreaminJapan，andexperiencedaboominproduction.第12頁(yè)/共23頁(yè)第13頁(yè)/共23頁(yè)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(yè)/共23頁(yè)ONE PIECENARUTOREBON Vampire KnightDetective ConanBlack butler第15頁(yè)/共23頁(yè)buckwheat noodles, and soybean curd. 第16頁(yè)/共23頁(yè)第17頁(yè)/共23頁(yè)第18頁(yè)/共23頁(yè)第19頁(yè)/共23頁(yè)as sashimi is the raw fish component,