Synonyms for shuntarō or Related words with shuntarō

tetsushi              fukutomi              yoshinori_okada              ichidaiki              tomikawa              yōhei              hirotami              yusuke_kamiji              ikki_sawamura              arimori              akimasa              yōichirō              takafumi              masaaki_sakai              keishi              muneyuki              masayo              ikkei              setsuo              sotaro              shuuhei              takio              fumiyo_kohinata              yūzō              shusuke              hiroharu              takabayashi              toshirō              takashi_tsukamoto              juichi              ikeuchi              宇佐美              shingo_tsurumi              ukaji              atsuhiko              yoshirō              shōichi              masuyama              fujishiro              sugaya              tomoaki              naohito              ootani              ishikura              sukegawa              ryuichiro              haruichi              shigeyuki              nagamori              hirosawa             

Examples of "shuntarō"
"Hope" composed by Toshiko Akiyoshi, Japanese Lyrics by Shuntarō Tanikawa, English translation by Monday Michiru.
Shuntarō or Shuntaro (written: 俊太郎 or 舜太郎) is a masculine Japanese given name. Notable people with the name include:
In 1989 "Writing the Riot Act in the Illiterate Hour: New and Selected Lyrics" (Shichosha) was published––an edition including additional poems from five Japanese poets (Shuntarō Tanikawa, Yoshimasu Gozo, Kazuko Shiraishi, Hiromi Ito and Makoto Oka) who gave their own personal poetic interpretations of Mosdell's lyrics.
The full-length film features interviews with Mosdell, Ryuichi Sakamoto, Shuntarō Tanikawa, Yukihiro Takahashi, Yoko Kanno, anime singer Maaya Sakamoto, calligraphy artist Junichi Yoshikawa and others, and debuted at the South by Southwest movie festival in Austin, Texas, in March 2009.
He has collaborated with an extensive array of musicians and artists, though he is especially known for his work with Yellow Magic Orchestra and the poet Shuntarō Tanikawa. His interactive audio-visual album "Equasian", featuring an experimentation with "VISIC" (visual music), melded his scientific background into a musical framework, and his "Oracles of Distraction", a set of poetic cards set to musical coordinates, further expanded his lyrical idiom.
The Center has held poetry readings with many readers, including Shuntarō Tanikawa, Naoko Kudo, Masayo Koike, Arthur Binard, and Kisako Ryō. It also successfully launched the bilingual journal "Poetry Kanto", and continued holding its annual conference until 2005, when the founding editors retired. Over the years, the Center’s annual conference, or Summer Institute Program, featured among the non-Japanese poet-readers-lecturers and seminar teachers James Kirkup, Gary Snyder, Harry Guest, William Stafford, Denise Levertov, W.S. Merwin, Seamus Heaney, Les Murray and Jon Silkin, with the preponderance of the logistics of the conference carried out by Kazuo Kawamura.
Takanoyama Shuntarō (born 21 February 1983 as Pavel Bojar) is a former sumo wrestler from Prague, Czech Republic. He is the first man from the Czech Republic to join the professional sport in Japan. He reached the third highest "makushita" division in 2004, but due to his light weight he had difficulty in regularly beating his opponents, despite his skill. However, in May 2011 he finally earned promotion to the "sekitori" ranks. After becoming only the third new "sekitori" since 1958 to pass through "jūryō" division in just one tournament, he made his debut in the top "makuuchi" division in September 2011. He retired on 24 July 2014.
Poetry Kanto is a Japan-based, English and Japanese bilingual poetry print journal founded and originally edited by award-winning translator William I. Elliott and internationally acclaimed poet Shuntarō Tanikawa. The annual journal, currently edited by Alan Botsford, is published by the Kanto Poetry Center at Kanto Gakuin University in Yokohama, Japan and showcases modern and contemporary Japanese poetry in English translation, as well as contemporary English-language poetry from the United States, the United Kingdom, New Zealand, Australia, Wales, South Africa, Hong Kong, Canada, Ireland, and other countries. Bridging East and West, "Poetry Kanto" features "outstanding poetry that navigates the divide of ocean and language from around the world."
"Poetry Kanto" was first published in 1968 to present to the participants of the Kanto Poetry Summer Institute Program. The second issue appeared in 1970, after which a dozen-year hiatus followed. The journal resumed publication again in 1984 and has been in continuous publication ever since, with Elliott and Tanikawa at the English and Japanese editorial helms, respectively. As of 2005, issue number 21, the "baton" was passed to co-editors Alan Botsford and Nishihara Katsumasa with an advisory board consisting of Shuntarō Tanikawa, Kazuo Kawamura and William I. Elliott, but in 2011, issue number 27, Botsford became sole editor.
Mosdell again collaborated with the calligraphy artist Juichi Yoshikawa, producing a bilingual publication, "The Erotic Odes: A Pillow Book". Erotic "shunga" woodcut prints were used to illuminate the 48 (the number of sexual positions in traditional Japanese society) "haiku"-like poems, as were new creations by Yoshikawa. Shuntarō Tanikawa, together with Rie Terada, translated the poems and the "shunga" themselves were selected from a collection of Tanikawa's father Tetsuzō Tanikawa. The full-color edition, originally published by Libroport in 1997, was reissued in 2008 by Seigensha. Yoshikawa and Mosdell further collaborated on the full text printing of "Shake the Whole World to Its Foundations".
Selected contributors: ("Trafika 1", autumn 1993): Bo Carpelan, Luis Cabalquinto, Don DeLillo, Miroslav Holub, Arnošt Lustig, Josef Škvorecký, Lukáš Tomin; ("Trafika 2", spring 1994): Yu Hua, Milan Milišić, Joyce Carol Oates, Drago Jančar, Jáchym Topol, Czesław Miłosz, Gilbert Sorrentino, György Konrád; ("Trafika 3", summer 1994): Aleš Debeljak, Do Phuoc Tien, Norma Cole, Yves Simon, Ludvík Vaculík, Shuntarō Tanikawa, Feride Çiçekoğlu, Yuriy Tarnawsky, Yang Lian, Jim Krusoe; ("Trafika 4", winter 1994): Lars Jakobson, Denis Johnson, Mia Couto, José Eduardo Agualusa, Paul Bowles, Kristien Hemmerechts, Roberto Tejada, John Barth; ("Trafika 5", autumn 1995): Zafer Şenocak, Javier Marías, Tomaž Šalamun, Stephan Eibel, Aamer Hussein, Joost Zwagerman, Pierre Martory, Tor Ulven; ("Trafika 6", autumn 1997): Slobodan Selenić, Ignacio Martínez de Pisón, Khaled Mattawa, Nina Bouraoui, Martin M. Šimečka, Dana Ranga, Yusef Komunyakaa, Steve Sem-Sandberg, Hatif Janabi; ("Trafika 7", autumn 1999): Natasza Goerke, Herberto Hélder, Marcin Świetlicki, Eleni Sikelianos, Mohammad Choukri, Uche Nduka, Amir Or, Miłosz Biedrzycki, Péter Nádas.
In 1988 Mosdell collaborated with the poet Shuntarō Tanikawa on a deck of 77 cards in the "omikuji" fortune-telling tradition of Shinto shrines. "The Oracles of Distraction," are similar in style to Brian Eno's "Oblique Strategies"; however, rather than being instructional they are intended to distract the reader with juxtaposed images and sound. Mosdell wrote a "distractive" poem for each "oracle" in English, while Tanikawa wrote the reverse side in Japanese. Jore Park and Wylci Fables created accompanying 77 "washi"-painted panels. Musician Yu Imai then worked alongside other studio performers with Mosdell to create 77 audio sketches using Mosdell's VISIC compositional method. The efforts were combined into a CD box set of text, audio and visual imagery intended to be used in conjunction. Users were instructed to randomly select a numbered card to read and view, and to simultaneously play the CD track of the same number.
Since 2005, "Poetry Kanto" has featured a wide and diverse range of poets such as Gwyneth Lewis, Ilya Kaminsky, Beth Ann Fennelly, Vijay Seshadri, Harryette Mullen, Ellen Bass, Rigoberto González, Ayukawa Nobuo, Tarō Kitamura, Akira Tatehata, Shuntarō Tanikawa, Gregory Orr, Michael Sowder, Ann-Fisher Wirth, Sarah Arvio, Michele Leggott, Saburō Kuroda, Rin Ishigaki, Kiyoko Nagase, Toriko Takarabe, Inuo Taguchi, Hiroshi Kawasaki, Mari L’Esperance, Ekiawah Adler-Belendez, William Heyen, Linda Ann Strang, J.P. Dancing Bear, Yasuhiro Yotsumoto, Kiriu Minashita, Chimako Tada, Masayo Koike, Naoko Kudō, Ryūichi Tamura, Kenji Miyazawa, Maiko Sugimoto, Junzaburō Nishwaki, Irene McKinney, Jane Hirshfield, Shinjirō Kurahara, Ryō Kisaka, Alicia Ostriker, Judy Halebsky, Hiromi Itō, Jeffrey Angles, Takako Arai, Libby Hart, Gregory Dunne, Niels Hav, William Heyen, and Adele Ne Jame.
A new wave came from the West when Japan was introduced to European and American poetry. This poetry belonged to a very different tradition and was regarded by Japanese poets as a form without any boundaries. "Shintai-shi" (New form poetry) or "Jiyu-shi" (Freestyle poetry) emerged at this time. They still relied on a traditional pattern of 5-7 syllable patterns, but were strongly influenced by the forms and motifs of Western poetry. Later, in the Taishō period (1912 to 1926), some poets began to write their poetry in a much looser metric. In contrast with this development, "kanshi" slowly went out of fashion and was seldom written. As a result, Japanese men of letters lost the traditional background of Chinese literary knowledge. Originally the word "shi" meant poetry, especially Chinese poetry, but today it means mainly modern-style poetry in Japanese. "Shi" is also known as "kindai-shi" (modern poetry). Since World War II, poets and critics have used the name "gendai-shi" (contemporary poetry). This includes the poets Kusano Shinpei, Tanikawa Shuntarō and Ishigaki Rin.