Tokugawa Period Essay

To begin with, the play was different in many small details. The character Sergeant-Major Morris, who was a man in the story and who gave the Whites the paw, was now switched with his wife, whom proclaims that he died. The story and play of the Monkey’s Paw were both alike and different in many ways. Both the play and the short story showed the stories excellent ways of literature. They both included the main theme of do not mess with fate.

Page 2 Plan of Investigation…………………………………………………………………... Page 4 Evaluation of Sources………………………………………………………………….Page 5 The fall of the Bakufu and the Choshu Rebellion ……………… …………………….

Circuses are fun to go to. They entertain an audience with attention-grabbing tricks and acts that involve a variety of individuals, animals, and props. One quintessential aspect of the circus is the juggler. Not only does a juggler juggle balls, they juggle bowling pins, sharp objects, fire, etc., while still trying to keep the audience engaged and intrigued. In Richard Wilbur’s poem, “The Juggler,” Wilbur describes a juggler through the use of poetic elements all the while revealing details about the speaker.

Medea: The River Runs Backwards Medea: The River Runs Backwards, performed by the actors of Zen Zen Zo, explores the use of dance, interactive programs, contemporary performances and song. All of which act as fundamental components to convey the real life emotions of Euripides primeval Greek Theatre tragedy, Medea. It is through the incorporation of the dramatic languages such as roles and relationships, space and mood that the primary themes are highlighted to the audience.

“Following his victory in the Battle of Sekigahara in 1600, however, Tokugawa Ieyasu swiftly consolidated power from his heavily fortified castle at Edo. From the beginning, the Tokugawa regime focused on re-establishing order in social, political and international affairs after a century of warfare.” (History.com). This example shows that he seized power after the battle of Edo Castle and that he was able to become Shogun and establish social order. This was the first step of ending the Sengoku Jidai when he created the shogunate.

Tokugawa Ieyasu was the founder and the first shogun of the Tokugawa shogunate of Japan, and has been one of the most significant figures in Japanese history. Besides being such a successful and powerful ruler, Ieyasu had immensely changed the way Japanese society was structured and organised. From 1603-1608, Tokugawa began the modernisation of Japan. He became the first shogun who had more power over the emperor, and started changing the ways of Japan’s trade, economy, agriculture and social hierarchy. Ieyasu’s ‘main political goal was to cut off the roots of potential dissent and rebellion’ (University of Colorado, 2015); he did so when his army was victorious at the Battle of Sekigahara in 1600.

Ieyasu triumphed in the Battle of Sekigahara in 1600 and became shogun to Japan’s imperial court in 1603. Tokugawa Ieyasu was a military leader who completed the final stage of reunification, he tried to invade china through Korea in the 1590s, and in the time period between 1612 and 1614 he tries to eliminate Christianity by ordering all foreign priest to leave the country. Tokugawa Ieyasu legacy was to complete the process of national reunification.in 1603 Ieyasu resigned and put his 26 year old son Hidetaka in his place. Japanese Christians were banned from practicing their religion to enforce this law, the shogunate required all citizens to sign up with their local Buddhist temple anyone who refused, were considered untrustworthy. The Shimabara Rebellion, made up mostly of Christian peasants, started in 1637-38, but was stamped out by the shogunate.

Aforetime, the Spanish word Joropo meant "a party or a soiree", but now the meaning of the word gained more power and is defined as a style of music and dance that identifies Venezuelans. Thereby, Joropo, a Venezuelan and Colombian genre, began as an ordinary activity that joined people around music and dances, food and socialization and later on it developed into popular music with both regional and national self-expression, traditional and entertaining significance, maintaining only some musical structures of the Llanero variant in tasca contexts, concerts, festivals, occasions and competitions. According to the parameters of defining a genre in Revista Musical de Venezuela, since the mid-1950s Joropo became wide spread in both private and public spaces and of high impact on social

It was in 1681 that King Louis XIV finally allowed women to perform in his theatre, the Palais Royale in Paris, though their heavier wardrobe limited their movement range and technique as compared to men performing in those days. While the men of the late Renaissance became obsessed with correct teaching of dance and being the one in charge, “women began to assume the roles of stars- glamorous brilliant dancers who won the acclaim of growing audiences” (History, 76). These talented women included Marie Anne de Camargo, Marie Salle, and Francoise Prevost. This was the rise of the ballerina, and these women originated many roles such as the lead in Pygmalion and The Love of Mars and Venus, and also became famous among the aristocracy and wealthy bourgeois, who showered the starlets with jewels and large sums of money.

“To guard against external influence, they also worked to close off Japanese society from Westernizing influences, particularly Christianity. When the Tokugawa shogunate grew increasingly weak by the mid-19th century, two powerful clans joined forces in early 1868 to seize power as part of an “imperial restoration” named for Emperor Meiji.” This restoration was the beginning of the end of feudalism, or the way of structuring society around relationships derived from the holding of land in exchange for service or labour, in Japan. The Tokugawa regime acted to exclude missionaries because of suspicion of foreign intervention and colonialism. Eventually, they issued a complete ban on Christianity in Japan.

Tokugawa Ieyasu, a Japanese warlord, victor of Japan’s civil war and the shogun of Japan in the early 16th century. Ieyasu “established his own alternate dynasty, and built a new capital… Edo (now Tokyo) (82).” Ieyasu did not challenge the emperors, for the shoguns held most of the power. During Ieyasu’s rein he issued a lot of decrees that provided the warrior and lower classes with the expectations and rules they should follow.

Morgan Pitelka’s article “The Empire of Things: Tokugawa Ieyasu's Material Legacy and Cultural Profile” is a piece which allows the reader to engage in an intellectually stimulating discussion about the material legacy of Tokugawa Ieyasu. This particular article paints Ieyasu in a positive light due to the fact that the cultural profile created is done so mainly through the use of a single source. Pitelka’s article discusses the life and legacy of Tokugawa Ieyasu. The article itself paints Ieyasu in a positive light due to the nature of the source used to create a cultural profile of the shogun.

Samurai were warrior class who lived by an unwritten code called “Bushido.” They fought for the large landowners called Daimyo, they worked for the Daimyo’s protection and against other powerful landowners. The Samurai was taught the values and traditions, and had to be educated in literature and writing. Therefor samurai were also trained in meditation and fighting techniques such as archery, swordsmanship, and martial arts.