#hitomi segawa

[whoishotteranimepolls]

"Who's Hotter?" Pride Month Event: Canon/Coded Lesbian

[anime-to-the-t]

[miscellaneouscelebheights]

Takeshi Kaneshiro

Jun Murakami (Listed 5’9”)

Takuya Ishida (Listed 171cm)

Sumiko Fuji (Listed 5’4”) 

Hou Yong (Listed 178cm)

Jun Kunimura (Listed 170cm)

Sun Yizhou (Listed 181cm)

Tony Yang (Listed 177cm)

Kippei Shiina (Listed 5’10”)

Kyoko Fukada (Listed 5’4”)

Eiko Segawa (Listed 168cm)

Hitomi Kuroki (Listed 162cm)

[dailyjidols]

S - Idols

[WIP] List of jpop girl groups and soloists with names that begin with the letter S. Information concerning disbandment is accurate as of December 2017.

Saint Four (disbanded)

SAiNT SEX (WACK collab group)

Sakakibara Yui

Sakamoto Maaya

Saka-sama

Sakidori Hasshinkyoku

Saku

Sakura Cinderella

Sakura Ebis

Saku Love

Sakura Gakuin

Sakura Miyabi

Sakura Saori 

Sakurakko Club (disbanded)

Sakurakou K-ON Bu (disbanded)

SALT5 (Hello Project temporary group)

Sansanar

Sanspo Idol Reporter

Sasaki Eri

Sasaki Sayaka

Sasaki Yuuko (on hiatus)

Sashiahra Rino

Sato Mieko

Satonoakrai (H!P temporary group)

Sato Satomi

SAWA

Sawai Miku

Sawamura Minako (disbanded)

say-la

Sayuri

SCANDAL

Scoopers (Sakura Gakuin subgroup, inactive)

Screaming Sixties

SCK Girls

SDN48 (disbanded)

Sea A (disbanded)

Secret Girls (disbanded)

seeDream

Segawa Ayaka

Seno Sisters

SeiSHUN Gakuen

Seventeen Club (disbanded)

Sexy 8 (Hello Project temporary group)

Sexy All Sisters (unsure of status)

Sexy Otonajan (Hello Project temporary group)

SHANADOO (disbanded)

Sheki-Dol (disbanded)

sherry / CASSIS (disbanded)

Shibu3project

Shibuya P.R. (disbanded)

Shida Summer Arai Summer! (temporary group)

Shiga Mariko (retired, passed away)

Shiina Hekiru

Shiina Pikarin

Shikata Akiko

Shimotsuki Haruka

Shiny Milky Way (disbanded)

Shinozaki Ai

Shintani Ryoko

Shionoya Sayaka (retired)

Shiraishi Noria

Shiritsu Ebisu Chugaku

Shishido Kavka

SHiX

Shizukaza & Kizuna (unsure of status)

Shojotai (disbanded)

Shooting Star Girls (disbanded, moved to Zenryoku Shoujo R)

Shugo Chara Egg! (H!P Subunit - disbanded)

Shuuengo Buppan

Shuukaren

SiAM&POPTUNe

Silent Siren

SilQ

SINA (disbanded)

sinsekaisen

SiS (disbanded)

Sister Q (disbanded)

SKE48

Sketch

Skirt (disbanded)

sleepiece (Sakura Gakuin subgroup)

Slime Girls

Smile Gakuin

Snappeas (disbanded)

Snowdrop

soap (disbanded)

Soft Cream (disbanded)

Sola Sound

sora tob sakana

Soran Happies (disbanded)

Soup Girls (Alice Project sub unit, disbanded)

S☆uthern Cross/ Southern Cross

Sora Tob Sakana

Spatio

Spark Roadshow

Spark Speaker

Sparkling Point (disbanded)

Speaches (disbanded)

SPEED

Sphere

SPL∞ASH

Splash (disbanded)

SPLASH (disbanded)

Splash!

Springs (disbanded)

Spunky / The Spunky (disbanded)

SPY

SRAM

STARBERRY PAINKILLER

Starbow (disbanded)

Starmarie

Star☆T

Station

Steam Girls / Steamgirls (Alice Project Sub-unit)

Stella☆Beats

Stereo Japan (unsure of status)

Strawberry Syndrome

STU48

StylipS

Suara

SudaAnnaYuzuYully

Sugar (disbanded)

Sugar & Solt

Sugartrap

Suita Asuka (retired)

Suitei Shoujo (disbanded)

Summer Rocket

Sunmyu

Sun Fairies

Super☆Girls

Super Monkeys (disbanded)

Suppli Mode (disbanded)

Survive-Zero

Suzu (inactive)

Suzuki Konomi

Suzune Hitomi

SweetS (disbanded)

sweet ARMS

Sweet☆Pastel (unsure of status)

Synth De La Eve

S★Spicy

[afishtrap]

The article argues against the widely held modern understanding of birthing practices in premodern Japan: that birth took place in ubuya, or parturition huts, which were constructed away from the home in order to contain birth-related pollution; that this practice finds its historical origin and authentication in the ancient texts, the Kojiki and Nihon shoki; that the practice was universal and continuous from ancient times through the early twentieth century; and that birthing women, polluted and isolated as they were, were miserable and oppressed. Through the examination of writings from ancient through early modern times, we found that the "ubuya trope" proponents had misread and misinterpreted passages in historical texts. The ubuya in the Kojiki did not connote birth pollution. The term ubuya in aristocratic writings did not refer to an isolated birthing hut. The instances of ubuya that can be observed in early modern times were few and located specifically in coastal and mountainous regions. Moreover, far from turning women into passive victims of an oppressive "tradition," the ubuya structure sometimes seemed to have met purposes other than giving birth, such as committing infanticide and sexual liaison, and thus invited the warrior government's censure and order for its removal. Irrespective of ubuya, however, the notion of birth-related pollution developed and expanded in accordance with the evolving power relations of the imperial, aristocratic, religious, and warrior institutions. Not a simple story of female oppression, the actual history of the institution of ubuya points to the misconceived universality in the modernist construction of the "unchanging tradition" and to the need to appreciate women's agency in giving meanings to their birthing process. 

Hitomi Tonomura. "Birth-giving and Avoidance Taboo: Women's Body versus the Historiography of Ubuya." Japan Review. No. 19 (2007), pp. 3-45.

This image of the ubuya that shows women’s agency and autonomy dramatically differs from the usual representation, which emphasizes its oppressive physical isolation, the misery of its occupants, and by implication the polluted status of women. By displacing the notion of pollution (kegare 穢�� or fujō 不浄) with sacrality and that of isolation with restful solitude, the Ōbara ubuya website not only inverts the meaning of ubuya but also rescues women’s alternative voice from the dark history of birth-giving practices.

[...]

Based on her extensive research and oral interviews, Segawa concludes: “From these examples, we understand that the ubuya had to be built far away from human habitation (hito zato 人里). It was a separate and temporary building that would be destroyed in time. [Staying in the ubuya] was an excessively wretched and restricted life.”14 The ethnographer’s attitude toward her subject is extremely sympathetic, as expressed in her usage of dramatic phrases such as: “in a hut all by herself in true solitude; desolate and alone, amidst the field, as the cold wind blows down from the mountainside,” and “a solitary and wretched condition that keenly touches us.” She also comments on how she realized that “all women in the past spent nearly half of each month in this hut, and although I tried to feel their fate as they experienced it, I was simply shocked and dismayed (akirerubakari 呆れるばかり) by the appearance of lonely isolation and the subservience of the women of old who had accepted such wrongful treatment.”15

The miserable conditions described here must have been a reality for some women, but these examples come from island, coastal, or mountainous communities. Despite these limitations, Segawa eagerly generalizes from them in her other writings and claims a uniformity of cultural rules related to ubuya or kariya throughout the country.16 In Segawa’s construct, not only did ubuya cover the Japanese archipelago from corner to corner, but they also existed continuously from time immemorial. In seeking “the silent flow of the ways of living and thinking of the Japanese people from ancient times,” she considers that the “problem of ubuya should find its point of departure in the world of ancient myth.” She identifies “the myth of Toyotamahime 豊玉毘売 in the Kojiki 古事記 (Record of Ancient Matters; comp. 712)” in which the ubuya is a significant motif.17 Thus, in Segawa’s citation of Japan’s oldest extant writing, the work that chronicles the country’s origin from gods to the imperial line, is born a powerful trope of timeless ubuya that the inhabitants of the nation have commonly shared throughout Japan’s history. The ubuya trope is a totalizing discourse that fuses the analytically distinct notions of women, pollution (kegare), parturition, isolation, misery, and disempowerment into an unbroken circle of timeless Japaneseness that is tangibly confirmed by its very physical form and ontologically sustained by its imagined mythical origin.18

[...]

Ubuya, both real and imagined, played a crucial role in this modernist construction of tradition. Folkways researchers such as Yanagita’s followers sought out ubuya structures that remained and documented them. Once some had been found, their existence proliferated in the imagination of a universal folk. The ubuya, whether or not it still stood, was everywhere, and the same meaning and purpose were ascribed to it: to contain female-specific pollution. From this formulation, it was a short step to defining the universal female, whose undeniable biological essence was pollution. The analytical distinction between cultural interpretations of the essential quality and the essential physiological make-up itself often was blurred. Modern ethnologists constructed a “history” that was more normative than descriptive, and strongly influenced the way society viewed the female gender. Meanwhile historians of premodern Japan whose professional goal was to investigate premodern sources rarely discussed the topic of ubuya precisely because their sources scarcely mentioned it.

[...]

In one Niho n sho ki variant, the Heavenly Grandchild had been living under the sea with his wife Toyotamahime. She announces: “I have already conceived. I should not deliver the Heavenly Grandson’s child in the sea. Therefore when I give birth, I will go to your land. If you would build an ubuya for me on the beach and wait for me, that would be just what I wish.” Hiko hohodemi returns to his homeland, and applying cormorant feathers, builds an ubuya. Even before the roof is completed, Toyotamahime arrives on a tortoise, accompanied by her younger sister. Because her delivery time is imminent, she enters the structure without waiting for the thatching to be completed. She declares to her husband: “I beseech you not to look when I am in delivery.” The husband-prince becomes suspicious, peeks, and sees that she has transformed into a large crocodile (ōwani 大鰐). When Toyotamahime learns of this violation, she feels deeply ashamed. Nonetheless, the husband asks her “what name should be given to this child?” Having named the child, she leaves for the sea, and the prince writes a love poem and appoints various women as wetnurse, hot-water giver, food-giver, and bath-giver.26

The same story in the Kojiki, to which Segawa refers in establishing a lineage to contemporary ubuya, is more elaborate and graphic. It includes Toyotamahime’s initial observation that “All persons of other lands, when they bear their young, revert to the form of their original land and give birth. Therefore, I am going to revert to my original form (moto no mi 本の身) and give birth. Pray do not look at me.” The prince then sees her “crawling and slithering around.” Awe-struck, he runs away. Realizing that her “form has been seen, [Toyotamahime is] exceedingly ashamed” and returns to the sea, leaving the child on the shore and forever separating the land and sea. “Later, although she was bitter at him for having looked at her,” she still longed for him and sends her younger sister to nurse the child. 27

At both the descriptive and symbolic levels, the depiction of the ubuya in any version of the story differs greatly from the meaning given in NDK: “A house structure built separately in or der to avoid birth pollution and isolate the birthing woman.”28 In the story, the ubuya is a structure built to accommodate a birthing woman, away from outside elements and from peering eyes, and to allow her to return to her “original form” in her moment of delivery. Nowhere does the story state, or even suggest, that birth pollution was the reason why the ubuya was built. Moreover, it was Toyotamahime who requested that it be built. At variance with this, the dictionary’s definition situates the woman as an object of containment instead of as a constructive agent. In the source texts, Kojiki and Niho n sho ki, it was a self-initiated solitude, not an externally-imposed isolation, the purpose of which would be to protect the prince from contamination. Toyotamahime’s wish not to be seen is explained in the Kojiki version. Her comment on “returning to the original form” can be read in many ways, but considering that the words come from a woman about to go through the arduous labor of child delivery, and gauging from her later reaction to having been visually violated, her words in the original text likely expressed her desire for privacy in the hours of contraction and pain. Giving birth is an occasion that transforms a woman to a bodily condition that divests her of the physical qualities typically described as enticing to men. Interpreted from the birthing woman’s body-centered perspective, Toyotamahime’s request to secure what we would call privacy seems reasonable and sensible. Did she not want an undisturbed place to concentrate on her own bodily process and manage the pain, an act that is graphically expressed in terms of “crawling and slithering”? Did she not want to secure a place that keeps an outsider’s gaze away from bodily discharge and her exposed body parts—vagina and surrounding areas—that in other circumstances are the focus of male-directed sexual desire?

Perhaps a princess of the sea such as Toyotamahime is constructed differently from a human woman. Even so, instead of pollution, the ubuya in the myth accommodates the symbolic expressions of the practical and pragmatic needs of a woman facing moments of labor and delivery. Toyotamahime’s apprehension that her laboring form would frighten or repel the prince was indeed proven correct, as it astonished him so much so that he ran away.

The meaning attributed to the story by the dictionary’s reference misconstrues the broad implication of the source narrative. In the story, it is Toyotamahime who gives the ubuya its functional significance. The entire childbirth episode, from the building of the ubuya to the naming of the newborn, rests on her knowledge and authority. The story endows her with the authority to navigate the birth, create a baby who would carry the prince’s patrilineal line, and delimits the boundary of that rule by drawing the line between the worlds of the sea and the earth. The prince defers to Toyotamahime in the naming of the newborn, which reflects the ancient practice in which mothers named children, and magnifies the idea of a female-centered perspective that underlies the story.29 More prescriptive than descriptive, the twentieth-century dictionary reshapes the meaning of the story to fit the modern discursive agenda; it transforms Toyotamhime’s ubuya from a place of protection to the architectural proof that the ubuya isolated the birthing woman in order to protect others from her kegare.30

[truyenvn]

Top 5 Truyện Tranh H Với Độ Lãng Mạn “Maximum”

Truyện tranh H thì thường được hiểu là “xôi thịt”, nhưng thực tế là rất nhiều trong số chúng lại được nhớ đến không phải vì cảnh nóng mà vì tính chất lãng mạn, ngọt ngào quá đỗi. Bạn sẽ thấy, yếu tố H ở đây chỉ giúp “thêm muối” để những cuộc tình thêm “mặn mà”, còn bản thân câu chuyện đã có sức cuốn hút của riêng chúng. 

Dưới đây là một vài bộ truyện tranh H từ nhẹ đến nặng, gói ghém trong đó những chuyện tình quá đỗi mộng mơ.

Ano Koro No Aoi Hoshi

Bộ truyện Ano Koro No Aoi Hoshi là câu chuyện xoay quanh hai cô nàng nữ sinh Koumoto Umi và Segawa Shou. Truyện tranh H không nhiều cảnh, không chi tiết, chỉ có vài phân cảnh thân thiết ấm nồng một chút nhưng vẫn cực kỳ hấp dẫn. 

Chuyện là vào một ngày nọ, nữ sinh trung học có vẻ ngoài và tính tình rất tầm thường Koumoto Umi nhận ra mình đã phải lòng cô gái lớp kế bên – Segawa Shou. Tiến tới thẳng thắn bày tỏ tình cảm của mình với người mình thích vốn không phải là cách làm của Umi, nhưng đối với Shou là đặc biệt, Umi muốn có một mối quan hệ lãng mạn với người bạn gái này.

Kanchigai Kara Hajimeru Yankee To Jimi-Ko No Yuri Manga

Thuộc thể loại soft yuri, bộ truyện Kanchigai Kara Hajimeru Yankee To Jimi-Ko No Yuri Manga đem đến cho độc giả một bộ truyện tranh H không nhiều nhưng cực kỳ lãng mạn và đáng yêu giữa hai cô nữ sinh trung học.

Nhân vật chính của câu chuyện là Touno Hitomi, cô gái đang có ý đ��nh viết thư tỏ tình với chàng trai mà mình để ý từ lâu, nhưng cuộc đời trớ trêu, đưa đẩy thế nào cuối cùng cô nàng lại có được một người bạn gái hợp tính hợp gu và cực kỳ đáng yêu.

Koori Mamono Monogatari

Bộ truyện Koori Mamono Monogatari là một tác phẩm người đẹp và quái thú kiểu Nhật Bản, version truyện tranh H nhẹ nhàng. Đây là câu chuyện của một con quỷ khát máu và một chàng trai có trái tim thanh thuần trong sáng nhưng đoản mệnh.

Tương truyền rằng sâu trong một hang động nọ, là nơi giam cầm của một con quỷ khát máu, vì bị vướng một lời nguyền khủng khiếp mà giờ đây máu chính là thứ mà hắn cần nhất. Chỉ cần có người dám cả gan vào hang, hắn sẽ ăn thịt. Thế nhưng nếu hắn thật sự cảm động và rơi những giọt nước mắt thuần khiết nhất, lời nguyền sẽ được hóa giả.

Chàng trai Ishuca hiền lành thiện lương ấy vậy mà đã tìm đến hang đó, mục đích của hắn ngoài dự liệu của bất kỳ ai, chàng đến để được chết, bởi trái tim mà chàng đang mang không còn khỏe mạnh và mạng sống của chàng còn lại rất ngắn ngủi…

The Unfeeling Me 

Câu chuyện thú vị giữ một thây ma và một con người hoàn hảo “cool” ngầu. Truyện The Unfeeling me kể về anh chàng nam sinh bị biến thành thây ma, nhưng dù như vậy thì cũng không thể bỏ việc đến trường được. 

Ngày ngày phải đối diện với cơn đói và thèm thịt người, cậu đã vô tình phải lòng một người con trai có vẻ ngoài rất “cool”. Nhưng bất ngờ thay, anh chàng người yêu mới quen này còn biết vì sao cậu trở thành một zombie và đáng sợ hơn, hắn ta có thể là chủ mưu của mọi chuyện. 

Đây là một tác phẩm truyện tranh H tương đối “nặng đô” với nhiều cảnh SM sống động ngoạn mục.

Oko-Sama Box

Bộ truyện Oko-sama box là một câu chuyện thú vị giữa hai người bạn thanh mai – thanh mai Kawasaki và Fujita. Độc giả chỉ có thể thưởng thức các khung truyện tranh H nhẹ của truyện, nhưng bù lại là một cốt truyện rất dễ thương.

Kawasaki và Fujita là hai người bạn đã thân thiết với nhau từ khi còn rất nhỏ, họ như hình với bóng, dù là ở nhà hay ở trường. Dần dà khi lớn lên và Kawasaki đã phát hiện ra tình cảm khác thường của mình với người bạn thân duy nhất. 

Cậu đã âm thầm dõi theo Fujita nhưng rốt cuộc lại thất vọng rất nhiều lần, vì người bạn này mãi lo tìm kiếm bạn gái. Cho đến một ngày Kawasaki cũng có bạn gái, Fujita mới chợt nhận ra tình cảm thật sự trong đáy lòng mình dành cho Kawasaki là loại tình cảm gì.

Trên đây là các bộ truyện tranh H có cách dẫn dắt và cởi mở các nút thắt trong mối quan hệ của các nhân vật thật sự ấn tượng và đáng yêu. Không cần đến những màn H quay cuồng dày đặc, đây hẳn là danh sách những bộ truyện khá “trọn vị yêu” cho những bạn đọc vừa thích lãng mạn, ngọt ngào lại vừa muốn có một chút táo bạo vừa đủ. 

source https://truyenvn.com/tin/top-5-truyen-tranh-h-lang-man-maximum.html?utm_source=rss&utm_medium=rss&utm_campaign=top-5-truyen-tranh-h-lang-man-maximum

[recentanimenews]

Family Life Is the Cat's Pajamas in "Mameneko" TV Anime

  The main cast and staff have been revealed for Mameneko, an upcoming TV anime based on the "laidback, fluffy cat life" manga by Nekomaki that follows the everday lives of a 30 year old office lady, her two cats, and the rest of her extended family as they all share the same family home.

  The main staff for Mameneko includes:

  Director, series composition: Yuzo Yamamoto

Original characters: Muse Work

Sound director, music: Ryo Hayakawa

Sound production: A Craft x On:Lead

Music production: studioA-CAT

Theme song: "MIKE" by Ayaka Segawa

Advertising cooperation: Kyoei University, Ito Laboratory

Animation production: Charaction

Production: Mameneko Production Committee

    The cast for Mameneko includes:

    Suzuna Kinoshita as Azuki, a cat who seems caring and affectionate in a big-sisterly manner, but in actuality she's a bit of a fraidy-cat. Azuki loves tuna.

    Hitomi Ueda as Daizu, a cat who is always following around behind Azuki. Daizu has a laidback personality and is a bit of a glutton.

    Satomi Akesake as Kainushi-san ("Owner"), a 30 year old office lady who loves cats. She is Azuki and Daisuki's caretaker.

    Kōhei Mitoma as Hadairo ("Flesh-Toned"), Kainushi-san's grandfather. Amanattō (sugared red beans) is his favorite thing. In his youth, Hadairo was the town's number one dandy, but now he has to be careful about how he acts.

    Yō Taichi as Moja ("Shaggy"), a 62 year old housewife and also Kainushi-san's mother. If she had her way, Moja would get rid of the kitties, because she hates cats.

    Kato Wataru as Megane ("Glasses"), a 35 year old company employee and Kainushi-san's elder brother. Megane is an "herbivorous male" who is exceedingly interested in pretty girl anime and tokusatsu hero shows.

      No voice actors have yet been announced for Zashiki-oyaji and Mamenosuke, respectively. Zashiki-oyaji is Kainushi-san's father, a 59 year old company employee who doesn't make much of an impression in his own home. Mamenosuke is a shiba inu dog who was adopted by Megane when his previous owner passed away. Mamenosuke has spent all of his life among cats, and so he thinks he is also a cat.

    The original Mameneko manga is published in Japan by Sakurasha. The Mameneko TV anime will begin broadcasting on Tokyo MX in January of 2018. 

  Sources:

MoCa

Official Mameneko TV anime home page and Twitter feed (@anime_mameneko)

  Paul Chapman is the host of The Greatest Movie EVER! Podcast and GME! Anime Fun Time.

By: news+feed@crunchyroll.com

[figureskate-en]

What actors and actresses appeared in Kobayashi Hitomi no reijo monogatari - 1987?

#Figureskate #KotoeNagasawa [answers.com]The cast of Kobayashi Hitomi no reijo monogatari - 1987 includes: Hitomi Kobayashi as Natsuki Mizuho Nakagawa as Midori Chikura Yuji Nogami as Shinji Segawa The cast of Kobayashi Hitomi no reijo monogatari - 1987 includes: Hitomi Kobayashi as Natsuki ...