Sino-Japanese War

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Sino-Japanese War

  1. 1. Sino-Japanese War <ul><li>Fought between China and Japan </li></ul><ul><li>1894-1895 </li></ul><ul><li>Resulted in Japan controlling Korea </li></ul>
  2. 2. Utagawa Kokunimasa Illustration of His Imperial Majesty, Commander-in-Chief of the Army and Navy, Arriving in the Capital in Triumph Ukiyo-e print 1895 (Meiji 28), printed April 20, published April 26. Woodblock print (nishiki-e); ink and color on paper. Vertical ôban triptych; 37.5 x 74.8 cm (14 3/4 x 29 7/16 in.) Museum of Fine Arts, Boston 2000.401a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  3. 3. Tatsuta(?) Seizo Scouting Enemy Movements on Ice near Yingkou (Eikô fukin hyôtô tekijô teisatsu) Ukiyo-e print 1895 (Meiji 28). Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 35.6 x 71.3 cm (14 x 28 1/16 in.) Museum of Fine Arts, Boston 2000.424a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  4. 4. Kobayashi Kiyochika Battle at Jinzhoucheng on the Road to Port Arthur (Ryojun michi Kinshûjô sen) Ukiyo-e print 1894 (Meiji 27), November 28. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 35 x 71.5 cm (13 3/4 x 28 1/8 in.) Museum of Fine Arts, Boston 2000.185a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  5. 5. Ogata Gekkô General Ôdera Attacking the &quot;Hundred-Foot Cliff&quot; with All His Might (Ôdera shôgun zenryoku o furuite Hyakusekigai o shûgeki suru no zu) Ukiyo-e print 1895 (Meiji 28). Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 37.9 x 72.8 cm (14 15/16 x 28 11/16 in.) Museum of Fine Arts, Boston 2000.406a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  6. 6. Watanabe Nobukazu Illustration of the Phoenix Carriage Leaving Nishi-no-maru of the Imperial Palace to Attend a Military Review at Aoyama Ukiyo-e print 1892 (Meiji 25), printed January, published February. Woodblock print (nishiki-e); ink and color on paper. Vertical ôban triptych; 37.1 x 73.2 cm (14 5/8 x 28 13/16 in.) Museum of Fine Arts, Boston 2000.398a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  7. 7. Migita Toshihide Captain Sakuma Raising a War Cry at the Occupation of the Pescadores (Hôkôtô senryô Sakuma taii tôtsukan no zu) Ukiyo-e print 1894-1895 (Meiji 27-28). Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 35.4 x 70 cm (13 15/16 x 27 9/16 in.) Museum of Fine Arts, Boston 2000.134a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  8. 8. Artist unknown Illustration of the Maple Leaves at the New Palace (Shin kôkyo kôyô no en) Ukiyo-e print 1888 (Meiji 21), printed November 20, published December 20. Woodblock print (nishiki-e); ink and color on paper. Vertical ôban triptych; 37.8 x 75.8 cm (14 7/8 x 29 13/16 in.) Museum of Fine Arts, Boston 2000.237a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  9. 9. Ogata Gekkô Officers and Men Worshipping the Rising Sun While Encamped in the Mountains of Port Arthur (Ryôjun no sankan ni roei shôshi nikkô o haisu zu) Ukiyo-e print 1894 (Meiji 27), December. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych Museum of Fine Arts, Boston 2000.154a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  10. 10. Watanabe Nobukazu Flight of the Chinese Army: Capturing Weapons (Shingun haisô gunki bundori no zu) Ukiyo-e print 1894 (Meiji 27), August 18. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych Museum of Fine Arts, Boston 2000.118a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  11. 11. Adachi Ginkô Having Destroyed Magongcheng with Their Own Hands, the Enemy Soldiers Flee. Our Army's Great Victory (Tekihei mizukara Bakôjô o bakuhatsu shite tonsô su waga gun daishôri) Ukiyo-e print 1895 (Meiji 28), May 4. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 35.6 x 69.5 cm (14 x 27 3/8 in.) Museum of Fine Arts, Boston 2000.442a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  12. 12. Artist unknown Great Rear Attack by Our Second Army at Weihaiwei (Dai nigun Ikaiei haimen daikôgeki) Ukiyo-e print 1895 (Meiji 28), February 20. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych Museum of Fine Arts, Boston 2000.113a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  13. 13. Ogata Gekkô Sino-Japanese War: Picture of the Great Victory at Jiuliancheng (Nisshin sensô Kyûrenjô daishô no zu) Ukiyo-e print November 1894 (Meiji 27). Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 35.4 x 70.2 cm (13 15/16 x 27 5/8 in.) Museum of Fine Arts, Boston 2000.187a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  14. 14. Taguchi Beisaku Foreign-looking Manchurian Horsemen on an Expedition to Observe the Japanese Camp in the Distance Near Sauhoku (Sôkakô fukin Nichijin enbô Manshû kihei isô shutsujin no zu) Ukiyo-e print probably late 1894 (Meiji 27). Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 37 x 71.2 cm (14 9/16 x 28 1/16 in.) Museum of Fine Arts, Boston 2000.255a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  15. 15. Toyohara Chikanobu Kagoshima News: Great Battle at Daimyôjin Okatake Mountain (Kagoshima shinbun, Daimyôjin Okatakeyama ôsensô) Ukiyo-e print 1877 (Meiji 10), July 24. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 34.9 x 70.2 cm (13 3/4 x 27 5/8 in.) Museum of Fine Arts, Boston 2000.487a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  16. 16. Toyohara Chikanobu Illustration of the Command Performance of the Great Chiarini's Circus (Chiyarine daikyokuba goyûran no zu) Ukiyo-e print registered November 1886 (Meiji 19). Woodblock print (nishiki-e); ink and color on paper. Vertical ôban triptych; 34 x 71.2 cm (13 3/8 x 28 1/16 in.) Museum of Fine Arts, Boston 2000.493a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  17. 17. Utagawa Kokunimasa Chinese Peace Negotiators Come to Japan for Talks (Shinkoku kôwashi raichô danpan no zu) Ukiyo-e print 1895 (Meiji 28), March. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 35.7 x 69.1 cm (14 1/16 x 27 3/16 in.) Museum of Fine Arts, Boston 2000.514a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  18. 18. Tsuneshige The Courage and Might of Our Army Overwhelm the Fortress of Pyongyang (Wagagun no yûi Heijô no rui o ubau) Ukiyo-e print 1894 (Meiji 27), September. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych Museum of Fine Arts, Boston 2000.151a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  19. 19. Toyohara Chikanobu Admiral Kabayama Fights Furiously in the Great Sino-Japanese Naval Battle off Takushan in China (Shinkoku Daikôsan oki Nisshin daikaisen Kabayama shôgun funsen no zu) Ukiyo-e print 1894 (Meiji 27), October. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 36 x 72.5 cm (14 3/16 x 28 9/16 in.) Museum of Fine Arts, Boston 2000.243a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  20. 20. Sekisai Kuniyasu The Emperor Reviewing the Troops (Kanpeishiki miyuki zu) Ukiyo-e print 1887 (Meiji 20), January. Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 36.8 x 75.6 cm (14 1/2 x 29 3/4 in.) Museum of Fine Arts, Boston 2000.393a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  21. 21. Kobayashi Kiyochika Taiwanese Natives Resist Japanese Troops at Takuhsuan (Taiwan Takukan sôzoku teikô no zu) Ukiyo-e print 1895 (Meiji 28). Woodblock print (nishiki-e); ink and color on paper Vertical ôban triptych; 35.6 x 71.5 cm (14 x 28 1/8 in.) Museum of Fine Arts, Boston 2000.249a-c Click here to see the image in the Visualizing Cultures Image Database Massachusetts Institute of Technology © 2006 Visualizing Cultures
  22. 22. Newspaper Article Homework Due: 5/3
  23. 23. Instructions *There’s a specific formula that newspaper journalists should follow when authoring a news story *The “lead” of a news story, typically the first paragraph, should provide a clear and concise overview of the main point(s) (who, what, when, where, how and why) * The “lead” should tell the reader what he/or she will be learning about in the article
  24. 24. Instructions (cont.) * The content of a news story should be unbiased, and completely fact-based. * Sentences should be clear, concise and worded in a manner that is appropriate for the audience. * Another important concept to keep in mind when writing a news story is the pyramid format. Place the most important facts at the beginning of the broadcast and additional information in order of descending importance so that readers get the most important information 1st * Using the pyramid style of reporting ensured that the most important information would be disseminated first.

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