Quotes About Japanese

Allo stesso tempo in giapponese ci sono due parole, wabi e sabi, che messe insieme significano bellezza effimera e fluttuante; estetica della decadenza, dei dettagli asimmetrici e dei colori naturali; gusto per il non finito, il transeunte, l'imperfetto. Per spiegare cosa significano queste quattro sillabe giapponesi nelle nostre lingue bisogna scrivere dei mini trattati.

professional expatriates; you could drink there for a week and never hear two words in Japanese. Ratz was tending bar, his prosthetic arm jerking monotonously as he filled a tray of glasses with draft Kirin. He saw Case and smiled, his teeth a webwork of East European steel and brown decay. Case found a place at the bar, between the unlikely tan

Big contrast: While the foreign media are obsessed with Apocalypses, the Japanese people are already talking of rebuilding.

Stonestreet producing a pack of cigarettes called Silk Cut, which Cayce, never a smoker, thinks of as somehow being the British equivalent of the Japanese Mild Seven. Two default brands of creatives.

If Chinese exceptionalism represented the claims of a universal empire, Japanese exceptionalism sprang from the insecurities of an island nation borrowing heavily from its neighbor, but fearful of being dominated by it.

Le geishe erano danzatrici, musiciste e conversatrici che occupavano una specifica nicchia nei massimi livelli della società nipponica. Non erano assolutamente prostitute, né di alto né di basso bordo.

Japanese chefs believe our soul goes into our knives once we start using them. You wouldn't put your soul in a dishwasher!

In the early 1940s, as a young teenager, I was utterly appalled by the racist and jingoist hysteria of the anti-Japanese propaganda. The Germans were evil, but treated with some respect: They were, after all, blond Aryan types, just like our imaginary self-image. Japanese were mere vermin, to be crushed like ants.

I always loved Japanese movies. And they had an enormous impact in France - the Nouvelle Vague took so much from them. It taught us how the camera was placed in the centre of the action.

It's a Japanese way of thinking, that I give value for my merchandise. So I don't want to sell unnecessarily expensive dresses and make just 10 or 20 and then feel satisfied. I want to design for real women who can afford my dresses.

The silence of metaphor accompanies the act of cruelty, as for example with the cannibalistic Japanese who moved directly from the metaphor of love to devouring that marvellous Dutch girl. Or the woman who made a present of her eye to the man who said he was so in love with her gaze. The effacement of metaphor is characteristic of the object and its cruelty. Words are left with only a literal, material tenor. They are no longer signs in a language. This is the silence of pure objectality.

Japanese people tend to be much better adjusted to the notion of work, any kind of work, as honorable.

The 'snakebot', which is a type of mechanized, biologically inspired robot, itself has roots in Japanese laboratories of the 1970s. What the team at Pittsburgh-based Carnegie Mellon is doing today under professor Howie Choset is making the 'snakebots' stronger, smaller, and more maneuverable than ever.

First, there is the bare beauty of the logs themselves with their long lines and firm curves. Then there is the open charm felt of the structural features which are not hidden under plaster and ornament, but are clearly revealed, a charm felt in Japanese architecture.

How are we doing in the electronics field as opposed to, you know, we hear how advanced the Japanese are? Do you think we're still pretty competitive? Oh, yes.

I've really taken on the order the Japanese people have... They are so organised and I think I've definitely taken that, I like things to be ordered.

I think I became an entrepreneur because I have my way of doing business... to do that, you have to have your own company. But if you have your own company, you're an outsider in the Japanese business world. It's difficult. But that's life.

When it comes to influences, we are influenced not just by Japanese and overseas metal acts, but J-pop acts too. One Japanese rock band we're particularly fond of is Seikima-II. We were attracted by their brand of devil imagery and of course, their high-quality musicianship.

a full-grown kitsune can often read minds, see the future, fly, possess people, and create illusions that mimic reality.

An old Japanese friend recently confided to me: ' I can't forgive to americans for the fact that Hiroshima wasn't an act of war, but an experiment'.

In Japanese art, space assumed a dominant role and its position was strengthened by Zen concepts.

The Japanese have a wonderful sense of design and a refinement in their art. They try to produce beautiful paintings with the minimum number of strokes.

and the refusal of the Roosevelt administration to recognise the Japanese government imposed on Manchuria.

Now at this very moment I knew that the United States was in the war, up to the neck and in to the death. So we had won after all! ... How long the war would last or in what fashion it would end no man could tell, nor did I at this moment care ... We should not be wiped out. Our history would not come to an end ... Hitler's fate was sealed. Mussolini's fate was sealed. As for the Japanese, they would be ground to a powder. All the rest was merely the proper application of overwhelming force.