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#especially if there are appendices and footnotes
prokopetz · 1 year
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It's often been proposed that diary-style epistolary fiction is the historical literary equivalent of the "found footage" film, but I've gotta believe that pretending your story that you wrote is merely your translation of an historical document that you uncovered is at least in the same ballpark.
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silenthillmutual · 1 year
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For the send a character ask game; since you just finished House of Leaves, how about Johnny Truant
First impression Oh there is something wrong with this guy. For real. He's got some kind of mental illness for sure.
Impression now I still think there's something wrong with him... but what? How much of what happens in his narration happened in reality? He admits at the beginning of the novel that he lies a lot. And that in and of itself is something wrong with him, but it would be difficult to decipher where the truth bends and straightens. What a character!
Favorite moment I don't know why this particular footnote stood out to me, but there's a moment when Zampano cites a passage from the Bible. Johnny proudly corrects him. And then the editors correct Johnny. Something about that was just hilarious. Runner up though is the last time we hear from him, and he's telling that story about the baby, and I just felt like... like it was talking about how this whole thing never existed to begin with, and we knew that, but now he's telling us it never existed. That really hit me. Like the nature of stories and how invested we get in them really struck me and I had to take a break before I read through the appendices.
Idea for a story What would I even tack onto House of Leaves? A Pathologic-style mindfuck where Johnny truly realizes he's a character in a story and has a conversation with the author? At that point it wouldn't even be Danielewski, it would be me. That could be a fun exercise... but honestly I'd probably stick to fleshing out his thoughts about his mother, his reactions to the incident that led to her institutionalization, the stories he created for her... that sort of thing. (Or fleshing out Thumper, I think she's interesting.)
Unpopular opinion Hoooo boy. I haven't gone looking for opinions on House of Leaves because I feel like they'll just make me angry. The only person I've really listened to talk about it is May Leitz because I didn't want to be too spoiled in case I missed something. I just feel like if I read some opinions about Johnny I'd get really defensive of him. Kinda in the same way I get defensive of the Evangelion kids or the Capsules. He's definitely fucked up and not a reliable narrator by any stretch of the imagination, but he is very utterly human in a way that sometimes feels frightening to read, especially when he starts to describe losing control of himself. It's gross and it's horrific. But it's still human. (What can I say, I love bastard characters.)
Favorite relationship I actually really liked watching his relationship to Thumper change over time. There's a part of me that wants to know what his whole situation looked like to her.
Favorite headcanon The reading that the whole novel was entirely Johnny's creation is really interesting to me. I think the appendices really sort of... complicate matters? More than they illuminate them. Maybe that's just me. I'd have to go looking for someone I trust to talk to about it because I just know there are going to be people out there with opinions I don't like because literary criticism is always filled with people whose ideas are just out of whack.
send me a character!
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lluvia-otsana · 1 year
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2,13,20 (book ask)
I got an ask, time to overshare -w-
If you make it to the end, you get a cookie (or you can cheat and scroll to the end!)
2. Top 5 books of all time:
Harrow is def no.1 by far for me, as much as I loved and devoured GtN in one sitting. Both of those books I've reread a million times and hold such a grip on me I can recite so many lines word for word, I can repeatedly open the books just to revisit scenes, I'm so invested in what will happen next in the series, and somehow they're even better on reread. There is always a portion of my mind now possessed by this series lol.
Ugh I'm bad at top 5 tho. I love the Murderbot series too but there's so many novellas in that series that if I include them TLT and Murderbot could take all the top 5 slots. It's sci fi action packed but also the narration is just such fun snark a bit like GtN.
In the same vein of the above books with their dark humor and banter I really enjoyed Nevernight. Probably also cuz the sidekick was a magical sarcastic cat made of shadows. And horny bi girl rep.
Also love When Women Were Warriors - it's my cheesy wholesome romance go to series. It's enemies to friends to lovers ish but soft.. except the swords.
Since the question says of all time, I will include that when I was a little weird kid I was obsessed with the Silverwing series and reread those a million times. Including and *especially* the very strange Firewing book that took place in bat hell lol. One of the main characters gets burned to death in the beginning! Great books for kids.
13. Do you have a goodreads?
Yeah, I've mostly been using that one lately. Trying to combine books/manga/webcomics in one site even tho goodreads isn't always great for shelving manga/webcomics.
If you wanna snoop and spend a second harshly scrutinizing me I think the link is:
goodreads.com/lluvia_otsana
Haven't been using it to keep track of books read per year as much until recently cuz I usually read physical books* and wasn't updating times before.
(*I live close to a gigantic indie bookstore I love to support. A dangerous place to live.)
20. What are things you look for in a book?
I like authors with a crazy imaginative mind. I wanna be thrown into a really different universe and experience the passion they put into the details of their beloved story. Bonus points for funny world building footnotes and appendices - I don't care that it detracts from the plot. I don't care if I don't know wtf is going on and I need to think and squint for foreshadowing and to understand the truth of what the characters are feeling - I like biting thru the layers of thick plot and characterization tbh. I love humor interwoven into the series and want to care about a diverse cast of characters. Not cuz it's forced in there but especially if it's SFF if you're gonna write an entirely different world why not put that care into writing different perspectives rather than the default usually cishet and male ones. I care more about the characters' motives and feelings and actions feeling real than them being morally correct. I don't need romance in it I can read diverse relationships, platonic or hateful or whatever (more fun if it's still intense in some way) But truthfully I am a sucker for deep monog romance if it fits somewhere in there.
Here 🍪 („• ᴗ •„)
(And thx for the excuse to ramble at myself @ghostlament)
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wordlesspoemtree · 1 year
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We are Here to be Told.
I am and you are and we are a story told through time, we are spoken word to word voice to voice person to person family to family, we are, you and me floating in our own story walking our eyes down page 1 to wherever you land on today.      #1 Don’t let today be your “the end” it isn’t meant to be when it’s you deciding the ending, you’re the story itself, you don’t choose your own end, Not because you can’t but because you shouldn’t, your story deserves to be told.    #2 You and I mean everything to each other and nothing and something all at once, this is up to your discretion to an extent, but also mine.     #3 It IS up to you whether or not you end up in my appendices as a notable figure or as a footnote of a moment of a line in a page of people i ever met, the same goes for me in your story. The world, as it is, is ours and it isn’t. We control some small measure of it. Today is trans day of visibility, and I am trans. I am non-binary in the sense of the word that means I don’t belong to a gender, and especially if you consider non-binary as a third gender. I use they/them pronouns, and I’m scared all the time, I think I have been my whole life. You don’t need to know all these things to care about me, but it sure does help doesn’t it? To know pieces of me? You see my face, you hear my voice and each discrete disclosure make me just a little more real in your story.    I was always real before we entered each others’ story and you before mine, this should be respected for what it is, as a truth, not a reverence for my place in the story, just a simple acknowledgement that we are both extant. We remain.
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chanoyu-to-wa · 2 years
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Regarding the Next Posts (6/9).
Dear Followers and Readers,
     First, I would like to mention that this notice is being published after this morning’s regular post (which is the fourth part of the translation of entry 20, the Setchin [雪隱] in the Roji), so if you have not yet read that post, please look on your dashboard shortly before this one appeared to find that installment in the on-going translation.
     The next post is scheduled to be be published on Sunday (6/12), as usual.  However, on that day I will post two appendices that are connected with entry 20.
     The first appendix contains two entries from the Books of Secret Teachings that were appended to the Nampō Roku.  The material in those books was collected by Tachibana Jitsuzan, and the early Enkaku-ji scholars, starting even before the Nampō Roku was officially presented to the Enkaku-ji.  These two books provide not only background material, but also further explanations that make the text of the Nampō Roku intelligible (I have occasionally had recourse to these books when writing my comments on the various translations; though, except when I have decided that it would be best to translate the entire entry, I have usually not made any special mention of my sources -- since directing the readers to those books would certainly result in more confusion than help, since the entries were apparently made in the order in which the teachings that they reveal were discovered, so the illogicality of the arrangement is even worse than what we often find in the Nampō Roku itself).
     The second appendix contains the complete Enkaku-ji manuscript text of entry 20, with the four parts reassembled into one, and without any footnotes or other explanatory interpolations.  While you have already read this same translation, I would recommend that you take the time to read through it once again in that post, because I suspect that you will gain further insights by doing so.  (Yes, as Elmar once wrote, it is certainly possible for the readers to cut and paste by themselves; but, from what other people have written, it seems that few are inclined to “waste” their time doing so -- and, since others have indicated that it was useful, I decided that it would be a good idea to do it in this case as well.)
     Finally, and regrettably, I find it necessary to mention that (in light of the huge disbursement that I was forced to make on May 25th), the little money that was left for food has now completely run out.  I managed to borrow some additional food (after what I had purchased at the end of May was gone), but there are no other people to whom I may turn here at this time.  So I have to beg, once more, from the readers of this blog.  Long or short, interesting or relevant or not, every post takes nearly the same amount of time and energy and research to create (the big difference is usually just a matter of how long past midnight I have to stay awake each day in order to get everything ready by the projected date of publication for each post).  This month Elmar will be going away on vacation, so, while he said he might try to transfer what money has accumulated to me just before he leaves, the remainder of the money will not get to me until the last days of the month (hopefully in time to pay my rent, though I have no idea what I will have to do about the utility bills) -- yet, with the additional $140 that I will have to pay each month (which will continue as long as my visa is valid), things are going to continue to be difficult.  Hopefully not as difficult as they are right now, though.
     I suppose that I should close this notice here.  Thank you all for your time, and an especial thanks to those of you who continue to support this work.  Please have a good weekend.
Sincerely yours,
Daniel M. Burkus <[email protected]>
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“Roses are red – footnotes 1, 2, 3, 4, 5,” Adam read the first sheet in the stapled packet of papers aloud. “Footnote 1: Not always roses are red. Please see Appendix 1.0 for a physiological derivation of roses as related to breeding and resultant colorings. Footnote 2: The symbolism of the color red and its association with roses has varied across human cultures. Please see Appendices 2.0 – 2.8 for red roses and their historical significance and cultural connotations. Footnote 3: As well, roses maintain an integral component of many modern-human mating rituals-“
Adam paused in his reading to regard the angel standing before him.
“Michael, is this a poem or a thesis?” Adam teased.
Adam’s angel cocked his head. “It is a poem,” Michael asserted. “This is clearly indicated by the title Poem displayed on the front cover page.”  
“Yeah, I see the title,” Adam acknowledged. He offered his angel a fond smile. “It’s just that usually, you don’t have an Appendices section in a poem. Especially an Appendices section that is 32 pages long typed in 12-point font and single-spaced front and back.”
Michael nodded. “Yes. However, this is information you find interesting,” he contested. “As this poem is for you, therefore, I have composed it to be as enjoyable as possible for you. You enjoy learning new information that you find interesting. I have included such information within the Appendices.”
Adam grinned. “You know me so well.”
“Yes. I do.”
“Yeah, you really do. Thanks for this.”
“You are welcomed.”
 .
.
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lifeisjustablurblog · 3 years
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The Secret Series Non-Spoiler Review:
🌟🌟🌟🌟🌟/5 As you may already know from my reel, bookshelf post, or comments I make a lot on other posts, I absolutely love this series. Not only do I have a soft spot for it because it’s some of the books that got me into reading, but I reread it last year and they are objectively, fricking fantastic. My favorite thing about this series has and always will be the narrator/author (see second picture for example). Just like the sass and the jokes and the occasion defining of words in the footnotes: I cannot get enough. Like there’s another whole plot there (that - mini spoiler - ends up being tied into the main story). The characters are also amazing. Cass the young survivalist who plans for everything and Max-Earnest the puzzle-solver who is terrible at jokes but somehow still funny. The plot is so good in each book I can’t choose a favorite or least favorite of the bunch (unlike every other series I’ve read that usually at least has one book that is worst than the others). These books are like the definition of “it’s about the journey not the destination” as from book 1 we are searching for a secret we’re not sure if we will ever find, and yet it is never slow. You get to watch the characters grow and change, becoming more confident in who they are. And it doesn’t even end when the book is over because my other favorite thing about these books, especially when I was young, is the appendices (learned that word from book 4). I had so much fun testing to see if I was a super-taster, making disguises for the book (mine from a kid in pic 3), and learning the magic tricks. These books also have some really great full page art for each chapter. Not only did I immensely enjoy these books (this review might honestly just be a test to see how many positive words I can use to describe these books), but as a kid I learned a lot from them. I will never stop recommending these books to people no matter how old you are because I think they are something every mystery/adventure book-lover should experience. Please just read them. 🥺 #thesecretseries #bookreviews #bookreview #fivestarreview #fivestarrating🌟🌟🌟🌟🌟 #fivestars #favbook #favbooks #favoritebooks #favoritebook #favoriteseries #favoritebookseries #middlegradebooks #middlegradefantasy #middlegradefiction #middlegradereads #thenameofthisbookissecret #ifyourereadingthisitstoolate #thisbookisnotgoodforyou #thisisntwhatitlookslike #youhavetostopthis #maxernst #cass #badmagic #badluck #badnews #thebadseries 
https://www.instagram.com/p/CO-twJknZAd/?igshid=owm8sdcb1a3g
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House of Leaves--Mark Z. Danielewski
This book was amazing. I haven’t gotten that hooked by something in a long time.
The book basically has four narratives--Johnny, the ‘main’ character/narrator, Zampano/his manuscript, and the story within the Navidson record, along with the editor’s notes to the story. How the author merged these three narratives was just great. I had a little trouble getting into it at first, because I didn’t care for Johnny’s narrative, but I think that the way he was written was intentional by the author (I mean I guess all writing is intentional by the author, but what I mean is, certain descriptions of things/improper uses of grammar.) I didn’t care for his description of women in the book, because it was apparently impossible to not mention a woman’s body, especially her breasts. But, I think this was intentional, as we see Johnny turn into ‘the beast’ throughout the book. I loved the overarching theme of labyrinths (I’m also just a huge mythology nerd, so that probably ties into it a lot), but just how the book itself was a labyrinth, a maze of narratives, footnotes, repetition, flipping back and forth to various appendices, referencing past footnotes/chapters, checking dates of entries to make sure that yes, a year has passed but its still the same date. You question yourself/what you read every step of the way. Is this real? Was the Navidson Record a thing that happened or is it just Zampano’s story? But then how did other people know about it? Did other people know about it, or is Johnny just making stuff up? Is Johnny really Zampano? Are they separate people, or just one? 
The book is about a labyrinth, yet the book itself is also a labyrinth, due to the unrealiable narration, the footnotes, the different perspectives. I loved it.
I would absolutely recommend this book, as it is a fun and engaging read, but it also makes you think, and breaks the typical structure of how books are written. (See: the changing narratives, the footnotes, how some of the book is formatted--reading things backwards, upside down, stretching the text over pages and pages, writing in different colors, the appendices, writing in code (see: the SOS chapter)), the questionable reliability of the narration, how it leaves you wondering at the end of the book what you really read.
So anyway, read this.
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maiji · 6 years
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Thoughts on Grasses of Remembrance (The Tale of Genji through its poetry)
Finally had some time this weekend to sit down with A Waka Anthology, Volume 2: Grasses of Remembrance Part B by Edwin A. Cranston. This book is the last in an impressive and intimidating collection translating a number of major classical poetry anthologies. It’s basically a speedrun through Tale of Genji (if such a thing were possible) filtered through all 795 waka poems written or uttered by the characters over the course of the novel.
Poetry was a Really Big Deal during the Heian era. If you were an aristocrat, not only were you expected to compose decent poetry, you had to be able to do it off-the-cuff appropriate to the occasion. AND to do this properly, you were expected to be able to recognize and respond cleverly to references to a ton of other existing classic poems from memory that people would just mention casually in conversation or writing (kinda like how people quote the Simpsons today lol). This was a prime marker of how intelligent/competent and - no joke - how sexy you were. So not surprisingly, these poems are extremely important to the development of character interactions and themes in the Tale of Genji which has a lot of romance and relationship plotlines. 
However. Translating Heian era Japanese into modern Japanese is already challenging. Rendering Heian era Japanese waka poetry into modern English is, as you might imagine, harder for a bunch of reasons. Considering how dense the actual novel already is, it’s super easy to gloss over the poetry, and some modern translations simply integrate the basic intent of the poems right into the main text/dialogue.
I was really interested in finding something specifically focusing on and analyzing the poetry, and this book appeared to fit the bill.
Short review: IT TOTALLY DOES. If you’re into Tale of Genji, Heian era, classical Japanese history, classical Japanese literature, Japanese poetry, or just love reading translators articulating eloquently while sassing characters or flailing through linguistic complexities, I RECOMMEND THIS BOOK
Long review: blah blah blah thoughts follows, including some quotes/poem for reference.
The book starts with a quick 2 page intro setting the context of the Tale of Genji, then goes straight into the poems. TBH I personally found it more flowery and redundant than necessary (it repeats a few poems that are then explained later). But it’s only 2 pages, we’ll live.
Then, the poems. For every poem (or poems, in the case of an exchange - sometimes a flurry of them with multiple characters speaking or dashing letters off to each other) there’s an intro and summary of context followed by an analysis, including notes on meaning, narrator and character intent, structure, symbols and wordplay. The original Japanese is included in romaji alongside the English translation. The commentary also flags known references to other classic poems (WITH those poems in-line! This is awesome because I don’t have the rest of these books!), and even mentions poem and folk song quotations from the rest of the novel where the characters have not composed new poetry, but are reciting other existing known pieces.
Overall, I have only three real “warnings” about Grasses of Remembrance Vol 2b:
1) It’s very academic and flowery in tone. If you’re not used to it, it can be hard to read. But then again, if you’re not willing to get past that, how are you reading Tale of Genji? lol. In any case, I personally thought the commentary was a lot of fun. Cranston definitely has opinions and can get pretty sarcastic in places, which I found hilarious. Here are a few sample quotes:
“Tamakazura has remarked to herself how superior the Emperor [Reizei] was in looks to all the courtiers in his train (It is a principle with this author that superior people be dashingly handsome or ravishingly beautiful).” 
“The ruefully witty poems exchanged between Yugiri and To no Naishi [Koremitsu’s daughter, the Gosechi Dancer] are rather more to my taste than the soggy ones Yugiri and Kumoi no Kari exchanged on their wedding night. Might it be the case that a totally sanctioned relationship is literarily uninspiring?”
“The old lady reaches for the melodramatic ultimate and dies just as Yugiri’s letter arrives.”
The overall effect is like an exceedingly well-educated, gossipy and sassy ride through the entire novel hahaha. 
2) Minor typos. I noticed some speckled throughout the text every so often (e.g., Tamakazura being rendered Takakazura, Akashi as Asashi, instances of accidental extra letters, etc.). It was pretty clear what the correct spelling was supposed to be, and TBH considering this is the last of a huge-ass series of over 1300 pages I think it’s forgiveable. Maybe a few that spell-check should have caught, but oh well.
3) This book is NOT CHEAP. As I mentioned in a previous post, not only did I not buy the entire collection, I didn’t even buy a complete Volume 2 - I only bought the last half of the second volume lmao. And the Tale of Genji translations are only HALF of this half of a book. The rest is actually the footnotes, appendices, notes to poems, glossary, bibliography and indices (including indices for every poem by author and by first line) for this beast of a translation/compilation project. This includes a lot of additional commentary and other poems and makes for pretty interesting reading itself, even without the rest of the volumes/parts. The price can definitely be scary and an issue for a lot of people, so if you’re interested in it, I suggest try checking it out at your library or on Google Books first. (In fact, Google Books is how I learned of this book in the first place.)
For me, the depth of insight for the poems was fantastic. It gave me a lot more appreciation for the scenes, including the mental state of the characters, plus a million more symbols, metaphors and ideas for my own creative works like the Genjimonogatari illustration series, North Bound and other original stuff. 
It also clarified several fuzzy translation questions I had that relied on specific knowledge of Heian culture and history/evolution of the use of the language and wasn’t easily found in Google searches or online language resources. And even if you’re already familiar with common allusions, metaphors and puns/homophones in Japanese poetry, it’s still helpful to see them all summarized. And sometimes lamented by the book’s author too. SO MANY PONIES EATING GRASS. SO MANY PINES. Especially the pines. (It IS an amazing pun though, especially because it works in both English and Japanese. Pine [tree] -> to pine, matsu/pine tree -> matsu/to wait)
In term of the actual translations themselves, you may still find them coming off a bit roundabout in some cases when comparing to the original Japanese. But overall I find Cranston’s translations more direct/flavourful than how they were rendered in the Tyler translation, partly because of how Tyler chose to juggle his set of translator’s challenges for rendering not only meaning but also more technical aspects of the poetic form. So the imagery ends up being, to me, a lot more vivid. The overall effect usually ends up more colourful, more emotional, more erotic, more cutting, more entertaining, and whatnot. 
For example, Kashiwagi’s suitor’s poem in the Kocho/Butterflies chapter. When reading the novel, I was like, uh-huh, yah, OK. When I read it here, I was like whoa, dude, that’s a little intense lol. Cranston’s translation amps up the connotation of the heat of the water based on the rest of the line. For comparison:
(The original non-romaji Japanese in the samples following are thanks to the Japanese Text Initiative from the University of Virginia Library Etext Centre and the University of Pittsburgh East Asian Library. Their Tale of Genji page has a FREAKING AMAZING side-by-side comparison of the novel in original Japanese, modern Japanese and romaji. Bless them and the people who had to organize and wrangle that text together.)
Original Japanese: 思ふとも君は知らじなわきかへり 岩漏る水に色し見えねば Omou to mo / Kimi wa shiraji na / Wakikaeri Iwa moru misu ni / Iro shi mieneba
Tyler version: You can hardly know that my thoughts are all of you, for the stealthy spring welling from the rocks leaves no colour to be seen.
Cranston version: Hardly can you know / Of the longing that I feel, / For the boiling wave / Is merely colorless water / As it drains away from the rock.
Here’s another example. Oigimi (Agemaki in the book, as Cranston used Wayley’s names for the sisters) telling Kaoru that he’s the only one who’s been actually visiting them and Kaoru is like all riiiight :Db! From Shii ga Moto / Beneath the Oak chapter:
Oigimi’s poem 雪深き山のかけはし君ならで またふみかよふ跡を見ぬかな Yuki fukaki / Yama no kakehashi / Kimi narade Mata fumikayou / Ato o minu kana
Tyler: No brush but your own has marked the steep mountain trails buried deep in snow / with footprints, while back and forth letters go across the hills.
Cranston: Over the bridges / Clinging to the cliffs along / Our deep-snow mountains / No letter-bearer leaves his trace: / Those footprints are yours alone.
Kaoru’s reply つららとぢ駒ふみしだく山川を しるべしがてらまづや渡らむ Tsurara toji / Koma fumishidaku / Yamakawa o Shirube shigatera / Mazu ya wataramu
Tyler: Then let it be I who firsts ride across these hills, though on his mission, / where ice under my horse’s hooves crackles along frozen streams.
Cranston: In the sheets of ice / Covering the mountain streams / My steed crushes / Such letters as form my reason, / My first, to cross as a guide.
In other examples, Genji’s “*throws hands in the air* I give up” poetic reply to Suetsumuhana about how she keeps using Robes of Cathay/Chinese cloak imagery in her poems in the original Japanese alongside the translation cracked me up even more. And one of my favourites is a pair of poems between the future Akashi Empress (as a child) and her birth-mother the Akashi lady. It’s really sad, sweet and cute all at the same time and completely flew under my radar when I read the novel originally.
The poetry analysis for the Uji chapters is especially intriguing. The plot pointedly pits Niou against Kaoru as opposing personalities with particular similarities and contrasts that drive their relationship with each other and with the woman they’re competing for. Especially in the latter half of the story, a lot of their poems, even ones written independently (i.e., to Ukifune), are specifically composed to highlight those attributes and play off of each other.
Finally, it’s also super interesting to see my experience with the narrative changes through the lens of the poems. Obviously, as I mentioned, some things I easily missed without paying as much attention to the poems in between the rest of the story. But also, some prominent characters have very few poems, so the narrative shifts away from them. Meanwhile, a number of otherwise very minor or usually overlooked characters stand out even more, thanks to the fineness, loveliness, resonance, and sometimes just sheer consistent presence of their poetry. This book definitely gave me a lot of additional perspective on the Tale of Genji, and enhanced my appreciation of the novel and the skill behind its crafting!
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5 Considerations for Financial Projections in a Business Plan or Information Memorandum
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The financial projections in your business plan or confidential Information Memorandum (CIM) are often one of the most important components of your document. Your entire plan or CIM is important, of course, but when it comes to business it usually all comes down to numbers in the end. There are a number of things you can do to ensure that this vital piece of your document is the best representation of your business as possible.
Do Not Overinflate Your Numbers
It is natural to want to paint the best picture of the business possible via the Financial Projections Business Plan or information memorandum. There is a tendency to want to show the highest revenue and the lowest expenses possible. You should resist this urge at all costs. No matter your audience or the purpose of your plan or CIM you should include reasonable numbers. External professionals will know when you are trying to oversell.
Include Background and Backup
The financial projections in your Business Plan or information memorandum will likely raise more questions than any other component of the document. You should stive to answer as many questions as possible – before they are even asked – by including backup for your financials in the appendices. This will include details on the assumptions included and any financial models you may have used.
Anticipate Obvious Questions
Beyond just including backup, try to put yourself in the shoes of your audience and anticipate what information they need so the financial projections in the business plan or information memorandum are easy to understand. Do all aspects of any charts and graphs have labels? Are your financial statements in a format that is easy to read within the context of your document? These are all the types of questions you should consider before sharing your business plan or information memorandum with outside parties.
Footnotes are Your Friend
One way to proactively answer questions without your audience needing to look at the detailed backup in an appendix is to include some detail in footnotes. Just be careful not to use too many as they can become a distraction if they take up too much of the page.
Include Visual Elements
There will be specific points of the Financial Projections in your business plan or information memorandum that you are going to want your audience to pay special attention to. Sometimes the best way to highlight certain things is in a chart or a graph. You may also be able to effectively do this through the use of formatting and headers. Including visual elements not only can make your projections easier to understand but, it gives you some control over what information stands out.
Crafting the financial projections for a business plan or information memorandum can be overwhelming, especially if you do not have experience with such things. Don’t be afraid to reach out to professionals for help if you are able. Even if you choose to write your business plan or CIM on your own, often times business plan writers will do specific aspects like the Market Research or financial projections. Given how important the financial projections are, it is worth considering this if financials are not your forte.
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Nampō Roku, Book 7 (20d):  the Setchin [雪隱] in the Roji (part 4).
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20 [conclusion]) After examining [the body] with a te-shoku [手燭], [Toda] minbu [declared that he] certainly recognized the man¹.
    Sansuke’s wonderfully impressive skill was deeply moving; so he was called into [Toda] minbu’s presence² -- [who declared] “from this occasion forward, you will wear a sword, and be known as Toda Sansuke³!”  (Now, after taking the tonsure, [Toda Sansuke] is [known] as Sannyū⁴.  Though, even in this case, it should be understood that he was still numbered among the group of [Toda Katsutaka's] personal attendants⁵.)
    This [inspection of the setchin by the guests] is especially important during gatherings held at dawn, dusk, and at night⁶.
    Such was [Ri]kyū’s account:  and, even though this [practice of inspecting the setchin] has been done for a long time, [it seemed best] to write it down here⁷.
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    As for Sōkyū’s setchin in the old style, the doorway measured 5-shaku 3-sun [in height], with a 4-shaku door [installed] in it.  Attached to the upper crosspiece [of the door] was a kake-gane [カケガネ].  The height of the door [above the stepping stone that was placed in the entrance] was 4-shaku 3-sun; and above and below [the door] there were open spaces⁸.
    [Because] one has to reach in over [the top of the door] in order to access the lock, [a locking mechanism] might also be affixed to the middle  crosspiece [of the door].  This is certainly a possibility -- and Rikyū  also shared the same opinion⁹.
_________________________
◎ As was the case in the previous sections of this entry, much additional information is found in Shibayama Fugen’s teihon [底本]; though, for the most part, since these comments are primarily of academic interest, I have decided not to include them in the translation that is printed above.
    While this post concludes the translation of the original entry, it will be followed by two appendices:  in the first, I will translate two relevant entries from the Book of Secret Teachings (as suggested by Shibayama Fugen), while the second will restore the Enkaku-ji text into a single unit (without any footnotes or other explanatory material).  These two final installments will be published on the same day.
¹Te-shoku ni te mirare-shi ni, minbu ha ika ni mo mi-shiritaru-mono nari [手燭ニテ見ラレシニ、民部ハイカニモ見知タル者也].
    A te-shoku [手燭] is a candlestick.  Usually made of some sort of (relatively lightweight) metal*, it has three legs, one of which is elongated into a handle (of varying lengths).
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    Putting aside the (unjustifiable) teachings of certain schools (which say that the te-shoku should be handled by the two short legs), the longer leg was always intended to serve as the handle; and it is by means of this that the candle flame is brought near whatever it is that the holder wishes to examine closely.
    Ika ni mo [如何にも] means things like really, truly, genuinely, indeed, certainly, and so on.
    Mi-shiritaru-mono [見知りたる者] means a person (mono [者]) who can be recognized (mi-shiritaru [見知りたる]).  That is, someone who is (visually) known (to the observer).
    Shibayama Fugen’s teihon adds a phrase to the beginning of this statement:  ryō-nin kake-tsukete, te-shoku ni te mirare-shi ni, minbu ha ika ni mo ken-chi ni yashin no hodo kokoro-e-taru-mono nari [兩人カケ附ケ、手燭ニテ見ラレシニ、民部ハイカニモ見知ニ野心ノ程心得タル者也].  This means, “the two men rushed out to [offer their] assistance; and after examining [the body] with a te-shoku, [Toda] minbu certainly recognized the man.”
    It seems that the two guests brought a te-shoku with them from the genkan of the tearoom (where the teishu leaves the te-shoku that he used when walking through the roji†).
    Here, kake-tsuke [カケ附] seems to be the word kake-tsuke [驅けつけ], meaning hastening to assist (someone). __________ *Jōō’s te-shoku (the one seen in the photo) was made of Korean cast bronze, but today sheet-copper (subsequently painted with dull black lacquer) is more commonly used.  Iron te-shoku were also made, but they tend to be too heavy to be handled comfortably in the roji.  These seem to have been used in military expeditions, where their added weight could be important (they could be used as a weapon).
†Two te-shoku are usually involved.  One is brought out from the tearoom by the host, while the other is placed in the koshi-kake prior to the arrival of the guests.
    Most modern schools teach that, when he approaches the koshi-kake (or passes through the middle gate), the shōkyaku should come forward carrying the te-shoku that was left in the koshi-kake, and then he and the teishu exchange te-shoku.  The host brings the te-shoku he is carrying back to the genkan (where he places it on the ground near the guests’ entrance, so its light can help the guests remove their footwear and enter the tearoom), while the shōkyaku carries his to the tsukubai (its light helping the guests to wash their hands).
    The last guest usually brings that te-shoku to the genkan as well (since if it is left out in the garden, it will burn away needlessly -- or else be blown out by a gust of wind).
    At any rate, in the episode being narrated here, the two guests would have picked up the te-shoku that was in the genkan, and rushed out with that in their hands.
²Sansuke shin-myō no hataraki kanshin-shi, sunawachi Sansuke wo minbu yobi-dashi [三介神妙ノハタラキヲ感心シ、則三介ヲ民部ヨビ出シ].
    Shin-myō no hataraki [神妙の働き]:  while shin-myō [神妙] means something like divinely-inspired wonder (or, the sense of wonder one feels in the face of the divine)*, here the expression seems to be used to mean extremely impressive†; hataraki [働き] would mean skill or effort.
    Yobi-dashi [呼出し] means to be summoned (into Toda Katsutaka’s presence).
    While this second phrase is usually interpreted to simply mean that Toda Katsutaka called Sansuke to him, his reason for doing so seems to demand that Katsutaka assume a more dignified position than squatting down on the ground in front of a setchin.  (We must not forget that Katsutaka was one of the two men who rushed out of the tearoom upon hearing the loud shout from the garden -- so, that being the case, there would be no reason for Sansuke to be called, if what follows took place immediately afterward in the same location.)
    Therefore, after recognizing the miscreant, Toda Katsutaka probably went to the tsukubai to purify himself (from having been in the presence of death), and then went into the tearoom (and explained things to the host).  And, if the tearoom had a tokonoma that was large enough for a man to sit in comfortably, likely took his seat there.  Meanwhile, Sansuke and Kumagai Hanji would have dealt with the removal of the body, before purifying themselves and then returning to the tearoom.  To make sure that Sansuke did so‡, Katsutaka issued his summons. __________ *Using exaggeratedly florid language was characteristic of the heroic genre.  This narrative is written in a typical Edo period style commonly used for popular heroic literature.
    It is certainly possible -- indeed, perhaps even likely -- that Rikyū, speaking about the setchin with Nambō Sōkei, may have included some such story as an illustration of why the guests should undertake an examination of the setchin.  Sōkei, as the shuso [首座] of the Nanshu-ji would have already been aware of the Zen aspect of the matter (since the shuso was the overseer of the monks, and the direct overlord of the monks assigned to clean the setchin, the bath-house, and the kitchen), and it may have been this that prompted him to question why the setchin is inspected during the tea gathering:  indeed, this may have been why the three positions were mentioned in the first sentence of Shibayama Fugen’s manuscript (roji no setchin ha san-i no ichi to ii [露地ノ雪隱ハ三位ノ一ト云ヒ]), with the present form of that sentence being the result of a deterioration of the original text (which probably compared the setchin in the roji directly to the tō-su [東司], the corresponding entity within the Zen-rin, making the comment seem less out of place).
    But this also hints that Sōkei’s notes (which were probably not originally part of his final memoir) was edited by certain machi-shū (as I have mentioned before, the language of the Nampō Roku suggests that at least two different entities revised or augmented portions of the Shū-un-an documents prior to their review by Tachibana Jitsuzan:  one group, acting on the orders of the bakufu, and the other from among the machi-shū followers of the Sen family) when they attempted to restore the text (in this case, the responsibility seems to belong to the latter group, as suggested by an otherwise undocumented townsman being the hero of the tale) -- and the early Edo language used here clearly shows that such was the case.
    There are other examples from history where an assassin secreted himself in the outhouse in order to remove someone who, for whatever reason, was considered a threat to the established order; but what makes this particular tale unique is that the protagonist is a townsman (whereas in other historical examples, he is usually a samurai -- albeit usually a samurai of one of the lower ranks who sees his station improved markedly on account of his valor).
†As was mentioned before, Sansuke was a townsman.  He is competing against an enraged samurai warrior.  So, the outcome of the conflict -- that the townsman was victorious over the samurai (and achieved his victory by not only parrying his highly trained assailant's vicious thrust, but then sinking home his own rather insignificant weapon in a death blow) -- seemed like some sort of divine intervention.  And engendered the same sense of wonder in the narrator.
‡Since Sansuke had just committed murder, it would have been incumbent on him to present himself to the authorities as soon as possible.  And since he, as a townsman, had killed a samurai in cold blood, he must have been very worried about the ramifications of his action (since he would likely have to forfeit his life, and possibly may have brought about the ruin of his house as well).
³Sono-za yori katana wo sasase, Toda Sansuke to na-noraseraruru [其座ヨリ刀ヲサヽセ、戸田三介ト名ノラセラルヽ].
    Sono-za yori [その座より] means from that occasion*, beginning with that gathering.
    Katana wo sasaseru [刀を差させる] means to gird oneself with a sword (literally, insert a sword [into ones obi]).
    Na-noraseraruru [名乗らせらるる]:  today this would be na-noraserareru [名乗らせられる].  The expression means to give a name (to someone).
    In other words, Toda Katsutaka has promoted Sansuke to the rank of samurai, and adopted him into his clan, as one of his retainers (this is the significance of bestowing the name Toda on Sansuke).
    Since he was now a samurai, and a member of an important family (and under the personal protection of a daimyō and court official), any worries he might have had about killing Toshima Daishin were now moot. __________ *Sono-za [その座] literally means from that seat.  However za [座] is used as a counting word for gatherings or assemblies, and for places where such may occur.
⁴Ima hōtai-shite Sannyū kore nari [今法躰シテ三入コレナリ].
    Hōtai-suru [法躰する] means to invoke the Law, “put on” (attire oneself in) the Law -- that is, assume the appearance and form of a monk.  In other words, shave ones head, attire ones body in the prescribed monkish robes, and become a nyūdō [入道] (a lay monk).
    The name Sannyū [三入] combines the first character from his former personal name (Sansuke [三助; or, according to Shibayama's text, 三介]) with the first character of nyū-dō [入道].  This was a common formula used for the creation of such names.
    Shibayama Fugen’s text has ima hōtai-shite Sannyū to iu kore nari [今法躰シテ三入ト云是也].
    The English translation, however, actually requires the sort of idea that Shibayama’s version adds to make sense:  ima hōtai-shite Sannyū kore nari literally means “now, [having] invoked the Law, [he] is Sannyū;” while Shibayama’s version literally translates, “now, [having] invoked the Law, he is called Sannyū.”
    The next sentence suggests that this taking of the tonsure seems to have occurred not long after the above episode took place, suggesting that doing so was perhaps an act of repentance for the taking of Toshima Daishin’s life.
⁵Kayō no koto mo areba, shōban-shū nado besshite kokoro-e kan-yō nari [カヤウノコトモアレバ、相伴衆ナド別而心得肝要也].
    Kayō no koto mo areba [斯様のこともあれば] means something like “even though such was the case....”  This is referring to Sansuke having taken the tonsure.
    Shōban-shū nado [相伴衆など]:  shōban-shū means the group (shū [衆]) of personal attendants (shōban [相伴]) who accompanied a daimyō, both publicly and in private.  Nado [など], “and the like,” alludes to the various duties that this group of people performed for the daimyō.  The meaning is that even though Sansuke had now become a nyūdō, taking the name Sannyū, he still participated fully as a member of the official retinue attending on Toda minbu-no-shō Katsutaka.
    This sentence concludes the (likely intercalated) narrative that was intended to illustrate why an inspection of the setchin was necessary, even during a purely secularized tea gathering.
⁶Akatsuki-kai・yū-kai・yo-kai, koto-sara nari [曉會・夕會・夜會、コト更也].
    Akatsuki-kai [曉會] means a dawn gathering*.
    Yū-kai [夕會] means an evening gathering.
    In his teihon, Shibayama notes that the word is yū-zari [夕ザリ]†, which specifically indicates a gathering that begins while the sun is still above the horizon, and continues on into the night‡.
    Yo-kai [夜會] means a chakai held at night**.
    Koto-sara nari [殊更なり] means should be especially (done).
    This is referring to the inspection of the setchin, and this sentence probably continued the train of thought that was interrupted by the interpolation of the story of Sansuke’s heroic defeat of Toda minbu’s would-be assassin††. __________ *In Jōō's and Rikyū's day, this meant a gathering where the guests arrived at the host's house as dawn was breaking (while the host was drawing water from the well), with their being ushered into the tearoom to watch the initial laying of the charcoal (on top of a bed of scattered embers, rather than a shita-bi consisting of three burning gitchō [毬杖]), over which a cold, wet kama was then arranged.
    Since the Edo period, however, following the machi-shū practices (which were based on Imai Sōkyū's teachings), the guests arrive at the host’s residence while it is still dark (usually an hour or so before dawn), and the host uses the remains of a fire left burning in the ro overnight as the shita-bi for his sumi-temae, with dawn breaking during the naka-dachi.  (However, since one of the features of this kind of gathering was supposed to be the use of dawn-fresh water, it is not entirely clear how this is to be achieved when the sumi-temae was performed perhaps an hour before the dawn-water was technically supposed to be drawn from the well -- the modern schools have their own methods; but, in fact, these are all after-the-fact attempts to rectify a fundamental error in the machi-shū’s approach).  As a result, the effect is very different -- and old writings that address the akatsuki-no-chakai cannot usually be applied to, or used to understand, this later kind of gathering.
†Yu-sari [夕さり] is certainly the preferred pronunciation today.  Indeed, I have only seen yu-zari [夕ざり] in Shibayama’s text.
‡At this kind of gathering, the chabana is usually arranged for the shoza, so that the flowers can be appreciated while there is still some natural light available (most tearooms have the guests’ entrance on the north side of the building, with the tokonoma opposite, meaning that the bokuseki-mado is in the wall that faces west).  During the naka-dachi, the flowers are removed and the scroll is hung.
**In Jōō’s and Rikyū’s day, particularly in the small room, the scroll was hung during the shoza, and, during the naka-dachi, rather than a chabana, a kake-tōdai [掛燈臺] (an L-shaped object on which a saucer-like oil-lamp was rested) was hung from the hook in the middle of the back wall -- with the flame (ka [火]) taking the place of the flowers (ka [花 or 華]).  This was called tō-ka [燈華], and it was one of Jōō's most secret practices.
††In other words, it seems that the original text of this entry may have read:
     Sate mata yashin-no-mono, setchin ni kakurete ada wo nashi-taru koto kan-wa sono tagui ari, akatsuki-kai・yū-kai・yo-kai, koto-sara nari [サテ又野心ノモノ、雪隱ニカクレテアタヲナシタルコト漢和其類アリ、曉會・夕會・夜會、コト更也].
    “Then again,  a person intent on doing harm [sometimes] hid in the setchin, in order to further his evil designs -- in both Japan, as well as on the continent, there are numerous examples.  Thus, [the inspection of the setchin by the guests] is especially important at gatherings held at dawn, dusk, and at night.”
⁷Migi Kyū no monogatari, naga-naga shi-keredomo, kaki-shirushi-oku [右休ノ物語、長〻シケレドモ、書記シヲク].
    Migi Kyū no monogatari [右休ノ物語] means the foregoing (literally, what is [written] at the right) was Rikyū’s story; this was Rikyū’s account of the origins of the practice of inspecting the setchin).
    Naga-naga shi-keredomo [長々しけれども] means to continue doing (suru, shi [爲る, 爲]) for a long time time (naga-naga [長々]), even though (keredomo [けれども]) -- that is, even though (we) have continued doing this* for many years....
    Kaki-shirushi-oku [書記し置く] means to set (something) down in writing.
    In other words, even though people have been accustomed to inspecting the suna-setchin during the chakai for a long time, (the author) still felt it was best to write it down here (for the sake of preserving the history of the practice). __________ *Made a practice of inspecting the suna-setchin during the chakai -- even though most people have no intention of ever using it.
⁸Sōkyū ha ko-rai no setchin ha, kuchi go-shaku san-sun ni, yon-shaku no to ni te, ue no san ni gake-kane aru wo, to no takasa yon-shaku san-sun-yo ni shite, ue-shita no ake sukunaku [宗及ハ古來ノ雪隱ハ、口五尺三寸ニ、四尺ノ戸ニテ、上ノサンニガケカネアルヲ、戸ノ高サ四尺三寸餘ニシテ、上下ノアケ少ク].
    Sōkyū [宗及] refers to Tennoji-ya Sōkyū [天王寺屋宗及; ? ~ 1591], Rikyū’s good friend.  His chanoyu was conservative*, though enlivened with surprisingly innovative touches.
    Ko-rai no setchin [古來の雪隱] means an antique setchin; a setchin constructed in the old style.
    Kuchi go-shaku san-sun ni yon-shaku no to ni te [口五尺三寸に四尺の戸にて]:   "the doorway (kuchi [口]†) measured 5-shaku 3-sun [五尺三寸], with a 4-shaku [四尺] door (to [戸]).”
    Ue no san [上の棧] means the upper crosspiece.  The door of the setchin was made of a series of thin boards, with four horizontal san [棧] (crosspieces), as can be seen in the following period sketch of the façade of the setchin.
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    Gake-gane [ガケカネ] is a miscopying.  The word should be kake-gane [カケガネ = 掛金].
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     Kake-gane means a hook that fits into an eye, to lock the door.  This kind of lock is also seen on the nijiri-guchi (and this is where most students of chanoyu would more likely have seen it).  The text says that the kake-gane was attached to the upper crosspiece, and this location is indicated in the above sketch.  It is attached on the inside of the door (which is why the kake-gane in the sketch is dashed).  Therefore, when closing the door (after cleaning the setchin, or after it has been inspected, or used), one has to reach through the opening above the door in order to secure the lock‡.
    To no takasa yon-shaku san-sun-yo ni shite [戸の高さ四尺三寸餘にして]:  this means the height of the upper edge of the door was approximately 4-shaku 3-sun (probably measured from the top of the stepping stone that was placed in the entry), not the length of the door panel itself (which was described above as being 4-shaku).  Since the entry was 5-shaku 3-sun high, while the upper surface of the stepping stone was usually around 2-sun above the ground, this means that there was a space of around 8-sun above the top edge of the door.  This space was necessary both for ventilation, and so that one could reach through and lock or unlock the kake-gane.  This left 3-sun at the bottom, which was high enough to easily clear the stepping stone (which was usually set so that the upper surface was 2-sun above the surface of the ground).
    Ue-shita no ake sukunaku [上下の明け少しく]  this refers to the openings above and below the door -- the upper of which was around 8-sun, while that below was around 3-sun, as mentioned above**.   These details can all be recognized in the above sketch. __________ *Both his tearoom and the outbuildings -- such as the setchin -- were in the old style that had prevailed since the late fifteenth century.
†Kuchi literally means mouth or orifice, and refers to the opening in the façade of the setchin into which the hinged door was installed.
‡Assuming that the setchin in Rikyū’s story of the assassination attempt on Toda minbu was of the same sort, this fact makes Nara-ya Sansuke’s act of nonchalantly locking the miscreant into the setchin all the more daring.
**Literally, this sentence means above (and) below there was only a very little open space, but this more accurately describes the situation at the bottom of the door (where the space was just sufficient to clear the stepping stone easily).  Above the door, the open space measured 8-sun.
⁹Ue-yori te wo koshite kake-gane irawarenu-yō ni, naka no san ni kake-gane utare-tari, mottomo no koto to Kyū mo dō-shin nari [上ヨリ手ヲ越テカケガネイラハレヌヤウニ、中ノサンニカケガネ打レタリ、尤ノコトト休モ同心ナリ].
    Kosu [越す] means to (reach) through (the open space above the door).
    Irawarenu-yō [弄われぬよう]:  irawareru [弄われる] means to finger or touch* (the hook piece of the latch); the suffix -nu [-ぬ] means that one is unable to touch it; while -yō [-よう] means that this is referring to the case (where one is unable to find the latch after reaching through the opening above the door).
    Naka no san ni kake-gane utaretari [中の棧ニ掛金打たれたり].  According to Kanshū oshō-sama, this is referring to a completely different kind of locking mechanism -- a sliding bolt lock -- which consists of a wooden bar that slides back and forth in a track carved into the inner side of a crosspiece that was located in the middle of the door (with the end of the bar fitting into a hole carved in doorjamb to lock the door), with an elongated hole bored all the way through (so that a peg-like handle projected through the hole could be used to manipulate the lock from the outside†).
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    In the above sketch, the doorjamb (with the hole to receive the sliding bolt) is on the right, and the door is on the left.  The sliding wooden bolt is seen resting in a track carved into the horizontal crosspiece.
    Mottomo no koto to Kyū mo dō-shin nari [尤ものことと休も同心なり] means this is also a possibility, and one with which Rikyū agreed.
    Shibayama Fugen’s teihon contains a very long section of additional material (inserted between the final two sentences that we considered above).  Probably because nothing said is really all that useful (and because it is likely spurious in any case). Tacibana Jitsuzan omitted most of this passage from the Enkaku-ji version of the Nampō Roku.
    Nevertheless, in the interests of making a complete record of these comments (since they are never included in any of the popular editions of the Nampō Roku), I will quote the entire passage below, and then translate it sentence by sentence after that.
    Ue-yori te wo koshite kake-gane irawarenu-yō ni, naka no san ni kake-gane utare-tari, kaku no gotoku-shite itsu mo itsu mo kake-gane kakete yoshi, uchi-uchi yashin-no-mono hairite kake-gane hazushi-taraba, kyaku kokoro-tsukete yu-dan aru-bekarazu, kono to-guchi no kamae naraba, kake-gane sae kakarite araba,  hitotsu no ando nari, dō-rui arite soto yori kakete-yaru toki ha to iu-hito ari, hoka no koto nari, Sōkyū no kamae ichi-dan mottomo no koto nari to Kyū mo dō-shin nari-shi.
    [上ヨリ手ヲ越シテ掛ガネイラハレヌヤウニ、中ノ棧ニカケガネ打タレタリ、如此シテイツモ〻〻カケガネカケテヨシ、内〻野心ノ者入リテカケガネハヅシタラバ、客心附テ油斷アルベカラズ、此戸口ノ構ナラバ、掛ガネサヘ掛リテアラバ、一ツノ安堵ナリ、同類アリテ外ヨリ掛テヤル時ハト云フ人アリ、ホカノコトナリ、宗及ノカマヘ一段尤ノコトナリト休モ同心ナリシ].
    We will now look at this passage sentence by sentence (the translations are bounded by quotation marks).
﹆ Ue-yori te wo koshite kake-gane irawarenu-yō ni, naka no san ni kake-gane utare-tari [上ヨリ手ヲ越シテ掛ガネイラハレヌヤウニ、中ノ棧ニカケガネ打タレタリ].
    “[Because] one has to reach in over [the top of the door] in order to reach the lock, [the lock] might also be affixed to the middle crosspiece [of the door].”
    This is the same as in the Enkaku-ji manuscript.    
﹆ Kaku no gotoku-shite itsu mo itsu mo kake-gane kakete yoshi [如此シテイツモ〻〻カケガネカケテヨシ].
    “Doing it like this, [you] will always be able to lock [the door].”
﹆ Uchi-uchi yashin-no-mono hairite kake-gane hazushi-taraba, kyaku kokoro-tsukete yu-dan aru-bekarazu [内〻野心ノ者入リテカケガネハヅシタラバ、客心附テ油斷アルベカラズ].
    “If a person with evil intentions has entered [the setchin] and [a guest] then unlocks [the door], the guest should be very careful, and never [behave in a] careless [manner].”
    Since this person has secreted himself in the setchin, it follows that he is most likely bent on doing no good -- and probably has armed himself accordingly.  Consequently, if a guest unlocks the door and finds someone hiding inside who should not be there, the guest should be very careful and cautious (and certainly never act out in a show of bravado like Nara-ya Sansuke).
    The guest should probably act as if he had not noticed anything out of the ordinary, and then quietly inform the host, so appropriate measures can be taken.
﹆ Kono to-guchi no kamae naraba, kake-gane sae kakarite araba,  hitotsu no ando nari [此戸口ノ構ナラバ、掛ガネサヘ掛リテアラバ、一ツノ安堵ナリ].
    “With this kind of door arrangement, so long as the latch can be locked, this will be one less thing about which one needs to worry.”
    A lockable door will always provide a certain level of security, since even if a miscreant is present, the locked door will slow him down, thus helping to thwart his purpose.
﹆ Dō-rui arite soto yori kakete-yaru toki ha to iu-hito ari, hoka no koto nari [同類アリテ外ヨリ掛テヤル時ハト云フ人アリ、ホカノコトナリ].
    “There are some people who describe a situation that is similar [to the original hook-latch], but where the kake-gane is locked from the outside.  However, this is different.”
    In other words, this kind of arrangement should not be employed in the sukiya (this kind of lock is generally used on things like storage sheds and other such outbuildings, situations where a person never remains inside with the door locked).
﹆ Sōkyū no kamae ichi-dan mottomo no koto nari to Kyū mo dō-shin nari-shi [宗及ノカマヘ一段尤ノコトナリト休モ同心ナリシ].
    “[Nevertheless,] Sōkyū's arrangement is even better [that these other options], and Rikyū was of a mind to do the same.”
    That is, Sōkyū's old-style setchin was, and remains, the best example of this kind of building; and that is the kind that Rikyū also constructed in his own roji. ___________ *In other words, find the hook with ones fingers, in order to lift it out of the eye.  The hook and eye of this kind of latch are attached on the inside of the door, and it was generally preferred that the door be locked whenever it is closed -- even when nobody is inside -- to keep the door from moving (or even banging) in the wind (as well as to keep larger vermin out).
†Once again, even when the setchin is unoccupied, the door should be locked, to prevent it moving or banging when the wind blows, as well as to keep cats and rats from getting inside.
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mohanmekap · 4 years
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(via COVER PAGE for on line job training report) Last updated on December 21st, 2019 at 11:01 am ACKNOWLEDGEMENT: *Express gratitude to Company officials I take this opportunity to place on record my grateful thanks and sincere gratitude to Mr——————————–,(include designation and company name) who gave me valuable advice and inputs for my study. My study could not have been completed if I had not been able to get the reference materials from the company. *Express gratitude to Guide I am immensely grateful to my esteemed guide Prof——————–whose Continued and invaluable guidance can never be forgotten by me but for whom, this study could not have got present shape. *Express gratitude to others who helped you during the research Last but not least, I would also like to express my thanks to my family members who inspired me to put in my best efforts for the Research/Project Report                        Sign. Of CandidateNote: – *  = The headings are not required to be given.Before any chapter begins, insert one page with borders mentioning only the Chapter no and Title of the chapter (in large fonts). Begin a chapter with chapter number & chapter title. Introduction Chapter: Introduction should explain the concept of the problem studied along with the background and the history. It should also include the review of literature (in the format discussed below) and scope and research methodology of the studied. Review of Literature: While reviewing the previous study, the scholar should focus on the objectives of such studies, concepts used, methodologies adopted, conclusions arrived at. The scholar should normally classify this chapter in to four parts viz, i)    Review of Journal articles ii)    Review of Books iii)    Review of thesis iv)    Review of Reports. The scholar should take care to avoid duplication and inclusion of irrelevant literature. Always every article reviewed should be backed by the source. Review of literature is essential in the research Project report (Fourth Semester). The students must refer to 8 – 10 reference books dealing the concept and theoretical background of the problem as well as empirical studies related to the problem studied in the research project. Further they must also refer to 5  10 journals related to the topic. Articles in financial newspapers published and unpublished documents and reports must also be consulted. Footnotes and References: Footnotes and References should be inserted whenever any material from other sources as books, journal, thesis, article etc. is referred to the report. The format of footnotes and references is similar as in Bibliography (Explained later).READ  Free Online Service Offers alternative to Powerpoint Foot notes are placed at the bottom of each page to give additional information on the source wherefrom the material used in the text is borrowed. The purpose of the footnote is to indicate the source of information used. Sometimes the material concerned may be elaboration of the reference used in the text, but not required to be produced in the body of the text. Acknowledgement of the sources may also be given in the form of foot notes .Usually the footnote number should correspond with the number assigned for the matter in the text of the thesis. The number should be placed slightly above the footnote text. The letter size of the footnote will be lesser than that of the letter size used in the body of the thesis   .Footnote is always typed in single line spacing and double line space is given in between footnotes. Scope and Methodology: Scope and Methodology should state the objectives and hypothesis of the study. It should detail the source of data as well as research methodology used. Hypothesis, objectives, research design, Sample design and other research method techniques should be implemented positively and hence mentioned in the report, especially in the MBA IV Sem. Research Project report. Data analysis and Interpretation: Table should precede graphs, charts and diagrams. Students must use a good numbers of graphs and charts-as well as diagrams. Effort should be made wherever possible to present data in terms of pie – chart and multi dimensional diagrams for effective presentation. All tables, data, maps, Charts and diagrams must be followed by effective analysis of the same. It has been commonly observed that students do not mention the source of data at the base of tables, graphs etc. This must be taken note of. Use of Quantitative analysis: Students are expected compulsory to make the use of computerized statistical, software packages like SPSS for the purpose of quantitative analysis for the summer training report (Second Semester) as well as research project report (Fourth Semester. If possible, their use in the product survey report will be appreciated as well. It must be noted, for the M.B.A. IV Semester research project, specially, the secondary data used should be relevant to the study and it should relate to not less than 5 to 10 years. In case of trend analysis or period analysis, data relating to the same period should be considered for all variables for e.g. if you are discussing about the growth of the company in the last 10 years say 1994,2004, then all the data analyzed for e.g. net value added, turnover, sales or employment should relate to the same period i.e. 1994 – 2004. READ  How to Stay Safe Walking on the sidewalk, path, or Road?A deviation of one or two years here or there in a few variables may be accepted, but no substantial disparity of period is allowed. List of Tables- The scholar provides the Tales that are used in the body of the Report. Usually the table number is given continuously in roman numerals right from the first chapter till the last chapter of the thesis. For example, 3.16 means 16th table in the third chapter. Some scholars give Arabic number for the Table in serial order from 1st to last chapter. Whatever be the numbering style used, in the list of Tables, the scholar would indicate the Table number, title of the Table and the page number in which the Table is indicated. List of Figures This is page in which the scholar would present the list of Figures/diagrams used in the thesis. If the Tables are numbered in roman then the figures Are numbered in Arabic numerals. The chapter number is followed by the figures. Diagram number. For example, III.4 means the fourth figure in chapter III. Like tables, the figures or diagrams are numbered continuously, if no chapter number is indicated continuously. Photographs / Maps: Short term project, especially (product study report) should be supported with relevant photographs in appropriate number. All photographs should be followed with details. For e.g. an advertisement photograph should be supported with over comments. Maps should be inserted, wherever relevant for e.g. if there is a locational study on bank branches, town map showing the location of branches should be included. Similarly maps showing retail outlets, dealers, if they are in large numbers can be used in case of product study. Bibliography: Bibliography (for e.g. on topic of product study of computers) should include references related to computer or IT. It should also include reference from general Mgmt areas, the functional areas, for e.g. if the study is on advertisement then it should include advertisement related reference. National newspapers and financial dailies like Economic Times; Financial Express should be consulted and referred to. Name of at least 5 management journals must be included an e.g. of right way of making an entry in the Bibliography: Kotler, P.(l999) : ‘Marketing Management’ ‘Prentice Hall of India Pvt. Ltd., New Delhi. (For reference of books) Gartner Report, 2000. (For Journals)  All names should be alphabetically listed Appendix/Annexure: READ  Bhilai Steel Plant Is Rightly Considered As The Jewel In The Crown Of SAILHe should specify items in serial order, its title page, and the page number where it is found. For example, 1.Bibliography 2.Questionnaire/schedule used for the study, 3.Govt.policy relating to topic of the thesis. 4.Explanatory notes for the mathematical/econometric models used in the study etc. Whenever the students use questionnaire, schedule, case analysis, structured questionnaire, the detail should be mentioned and the questionnaire should be compulsorily put in the annexure. Binding: Summer training projects and Research Project Repots should be leather bound in black, with golden embossing. While the product survey report should have spiral binding with Yellow plastic covers in back and front. The cover page should be screen printed on the yellow cover. NOTE: 1.    No fraud or manipulation of space and / or font size should be undertaken in order to increase the volume of the report otherwise the report will be rejected all. 2.    Pages must be serially numbered [printed and not hand written]. 3.    There should be no spelling/grammatical mistakes in the entire report. 4.    Draft Reports must be got checked from respective guide well in time before finalisation. 5.    No two reports can be the same. Therefore, individual effort will be required even if the students have worked as a team during their Research Work. 6.    Please note that if the above-mentioned instructions are not fully adhered to, the project report will not be accepted for evaluation/ Viva. 7.    Dates for submission of respective Research/Project Reports will be notified from time to time and strict adherence is solicited. 8.    The declaration and acknowledgement should be signed by the scholar. 9.    Appendices and Annexure should be serially numbered and not at random. Appendices can be numbered A,B,C and the Annexure should be numbered 1,2,3.. 2.    While downloading from the Internet, only relevant contents of the article should be taken and not the whole length. The source should be given as footnote.Sources & References:https://medium.com/@ParaphraseToolNet/definition-of-a-footnote-and-everything-you-need-to-know-for-proper-usage-f68a9e1145c1https://libguides.murdoch.edu.au/Footnote/text
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bookramblings · 4 years
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Ayoade on Ayoade
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Author: Richard Ayoade
Published by: Faber & Faber
Pages: 320
Format: Paperback
My Rating ★★★
“Once in every generation, a man writes a book. This is that book. I am a man.”
Over ten insightful and often erotic interviews, the author examines himself fully and without mercy, leading a breathless investigation into this once-in-a-generation visionary.
My thoughts
Richard Ayoade is an English comedian, actor, writer, TV presenter and director, best known for his roles in Darkplace and the Emmy Award-winning The IT Crowd, director of the movies Submarine and The Double. In this book Richard Ayoade - actor, writer, and director - reflects on his cinematic legacy as only he can: in conversation with himself.
Richard Ayoade is basically a treasure. His comedic style is pretty much unrivalled on television today. So how well does his unique branch of humour translate to the page? The truth is, I’m still not entirely sure it did.
Ayoade on Ayoade is ultimately a series of interviews given by Richard Ayoade to Richard Ayoade, hence the title. His quick-witted and subtle humour flows well throughout the interviews, and the book is designed to be held together by a series of footnotes. In fact, nearly half of the book is purely just footnotes. The footnotes are made up of letters and diary entries and strange short film scripts.
The book is, in parts, laugh out loud funny, however it is also quite disjointed, especially with those lengthy footnotes which, whilst still good, felt a little boring and repetitive after a while.  
The book has received mix reviews from readers, and I can understand why it's not got universal appeal.
I wanted so much to like it. I tried so hard to like it. The humour is so specific and reflects Ayoade’s voice quite well in the interviews, but the appendices were honestly just too much. After a while it became a bit irritating, particularly in the second half of the book. Fortunately, however, there were enough truly funny moments to allow me to give this a three-star rating, and to mostly enjoy it overall. I think this was quite enjoyable but more as a comedy book to dip into every now and again.
To read it as I did in a short amount of time resulted in mild disappointment as it's quite samey throughout. On the other hand, I have to confess to laughing a fair bit while reading.  
I still have mixed feelings on this one. I was told that in order to get the most from this book, you must love British humour, appreciate Ayoade’s quirky humour, and ideally have a good knowledge of philosophical filmmakers. Even though I feel I can tick these boxes pretty confidently, I wasn’t as impressed as I’d hoped. I just felt that Ayoade really wasn’t as funny or interesting in printed form. Disappointed overall, but I’m still glad I checked this one out of my local library and gave it a go. All in all, I found this book mostly pointless but in a charming way.
Overall reaction:
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Introduction
Romance, Gender, and Sexuality in the Middle Ages
For this Anthology, the authors have decided to focus on romance, gender, and sexuality in the Medieval Ages, specifically from the years 400-1575. They chose this topic because it isn’t very often explicitly talked about in stories or plays, but when reading closely there are some references that would be interesting to expand on. For example, in the “Gawain and the Green Knight” folio, the author is very detailed in the way that the Green Knight’s armor is described to the point where it borders on erotic. That along with the matching of the day’s activities (ie: kissing the lord of the manor’s wife) it seems like the Green Knight wants Gawain in more ways than one. These kinds of themes are easier to pick up on in stories about women, such as with the lyric titled “Women” where the different kinds of women are explicitly laid out in a very misogynistic way. Comparing and contrasting these pieces of medieval poetry for deeper meaning could provide an audience of both academic peers and the average Tumblr user, a better understanding of the deeper workings of medieval romance, gender, and sexuality.
Sexuality, especially in the internet age is a vibrant many-armed beast. It’s at turns hotly debated, vilified, celebrated and in many circles newly researched. We’ve just begun to scratch the surface of how truly fluid human sexuality is so as researchers the authors thought it would be interesting to dig into how sexuality was expressed in much earlier times, this earlier time of course being the Medieval period. Why the Medieval period? It essentially came down to the increasing feeling that despite the physical time separating 21st century individuals from that period the people then at least from their literature, seem to have been pretty open about sexuality. Now the researchers understand that what they view as sexual might be skewed by more modern sensibilities but there is a level of sexual frankness and sensuality that can’t be ignored. The authors want to unpack that and maybe even show that humans and human desires really haven’t changed that much. In truth, humanity probably just has different hang ups depending on the era. This ties in nicely with the writer’s platform of choice: Tumblr. Tumblr may appear to be a strange online community but it’s increasingly become a platform for free expression of differing sexualities, norm breaking, and gender exploration to such an extent that this Anthology could be poised to be a perfect addition.
The authors  have chosen to utilize Tumblr to display this anthology because of the simplicity to create multiple pages and links as well as widening the audience to Tumblr. In today’s pop culture environment the topics of  gender, sexuality, and romance are a constant talking point even more so on Tumblr because of the anonymity. Nobody uses their real names on Tumblr, and that gives users a new platform to discover ideas that used to be taboo like the ever widening topic of gender or the explicitness of sexuality without fear of being judged. As writers they feel like having the anthology open to the public depths of Tumblr would not only help educate those who are interested in medieval literature, but those who are interested in expanding their views on topics that may otherwise be overshadowed on other social media platforms. That being said, by expanding the audience to the average tumblr user influences anthology decisions heavily when writing footnotes and translations because as writers the contributors want anybody to be able to read this anthology and really understand it. There will be footnotes to explain certain parts of stories that may be confusing or complicated as well as appendices to enrich the included texts and  help the audience understand how gender, romance, and sexuality was treated in Medieval times.
Using Tumblr as the platform for this anthology project also allows for the contributors to reach a broader audience, with different levels of education and understanding of gender and sexuality in medieval romances. Despite this, the language and style chosen for this project will not be affected. It is important to be as academically concise as possible because even though this information will be accessible to a wide range of people, the authors still want to maintain a level of respect among academic scholars for their work. Just because Tumblr can be accessed by a large array of people doesn’t mean that they should lessen their level of academia to appease all viewers, but instead they would like to make it available to them as well. Because Tumblr is a free website, it gives many people access to a topic that they may not have had the opportunity to fully explore in the past. Posting this anthology on Tumblr will allow the opportunity for other people to not only share this project with others, but it will also allow for Tumblr users to comment on the pages, and hopefully will spark a light debate in the comment section, which will connect people even more.
The diversity of Tumblr users and of the people that would be inherently interested in this topic is another exciting aspect of using Tumblr as this anthology’s online platform. Since everybody comes from a different background, reactions to this anthology project will be varied, which is one of the more exciting aspects of social media; the opportunity to connect, share, and communicate with people an individual wouldn’t get a chance to interact with in their everyday life. The prospect of having a wide range of different people engage with not only the anthology but also being able to engage amongst themselves is one of the more admirable components of using Tumblr. Most Tumblr users have a similar understanding of gender and sexuality, and more often than not are extremely liberal in their moral view of society. So in presenting this anthology to a community that is already well-versed in areas of sexuality and gender bodes well for the contributors because not everybody is aware of how sexuality and gender was viewed in medieval times. This allows for the individuals that have studied medieval literature to interact with a group that is already prepared to have a discussion on sexuality and gender, which will hopefully peak the interests of the Tumblr community to engage more seriously with this anthology project.
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