幽霊屋敷レストラン (怪談レストラン (1))

幽霊屋敷レストラン (怪談レストラン (1))

Miyoko Matsutani 松谷みよ子 たかい よしかず / May 31, 2020

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  • Title: 幽霊屋敷レストラン (怪談レストラン (1))
  • Author: Miyoko Matsutani 松谷みよ子 たかい よしかず
  • ISBN: 9784494004676
  • Page: 168
  • Format: None
  • None

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      168 Miyoko Matsutani 松谷みよ子 たかい よしかず
    • thumbnail Title: Unlimited [Self Help Book] ↠ 幽霊屋敷レストラン (怪談レストラン (1)) - by Miyoko Matsutani 松谷みよ子 たかい よしかず ✓
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      Published :2020-02-18T04:22:07+00:00

    About "Miyoko Matsutani 松谷みよ子 たかい よしかず"

      • Miyoko Matsutani 松谷みよ子 たかい よしかず

        jap Born in 1926, Kanda, Tokyo Graduated from Toyo High School in 1942 Requisitioned by the Naval Hydrographic Department in 1944, when she started writing stories for children.Evacuating to Nagano in May 1945 to escape the war, she met Joji Tsubota, a famous writer for the young readers who was also there under the war evacuation, and showed him her works, asking for his advice After her return to Tokyo in 1948, Tsubota s recommendation enabled her Kaininatta Kodomo no Hanashi A Story of a Child turned into a Shell to appear in the magazine Dowa Kyoshitsu A Classroom of Children s Stories Later, the story was published by Akane Publishing Co as collected short stories entitled Kaininatta Kodomo A Child turned into a Shell, 1951 The work won the first Japan Juvenile Literature Association Award for New Writers.Married to Takuo Segawa, a folktale historian, with whom she establishment Taro Za, a puppet theater company, which broadened her social perspectives in her writingstyle With her husband she energetically collected oral stories and folktales through the interviews with the rural people in the Shinshu region, which inspired her to create a story Tatsunoko Taro Taro the Dragon Boy, 1960 in her unprecedented literary style Matsutani describes the story as a collaboration of ancestors and myself Interspersed with classical children s rhymes, her narrative style flows with a beautiful rhythm exquisitely resonant with the inherent power of story telling With its highly appreciated originality both in contents and form of expression that opened a new way in children s books, the work received the first Kodansha Award for Newcomers, the Sankei Juvenile Literature Publishing Culture Award, and the Hans Christian Andersen Award Honour List current IBBY Honour List in 1962.Along with her enthusiasm in creating children s fictions based on folktales, the autobiographical narrative in her Chisai Momo chan Little Momo chan, 1964 brought a fresh air to the genre The lively tone in the depiction of a child s daily life with her working mother captured readers hearts The work won the Noma Prize for Juvenile Literature and the NHK Juvenile Literature Encouragement Prize Subsequently, she worked on the series of Momo stories following the girl s growth,such as Momo chan to Pooh Momo chan and Poo, 1970 , Momo chan to Akane chan Momo chan and Akane chan, 1974 , Chisai Akane chan Little Akane chan, 1978 and Akane chan to Okyaku san no Papa Akane chan and Daddy as Guest, 1983 Particularly, Chisai Akane chan made a big challenge in dealing with a topic on a parent s divorce, a conventional taboo in the realm of children s literature, by putting the serious subject into focus in a touch of fairytale style.Matsutani has also been intent upon writing such fictions termed as so called protest literature, including Futari no Ida Another Little Girl Called Ida, 1969 , Shinokunikara no Baton From the Past World, 1976 , and Watashino Anne Frank Letters to Anne Frank, 1979 Her war stories for younger children such as Machinto A Little , 1978 and Oide Oide Come here, 1984 , for example, are written for those children in the next generation who do not have any experience of real war The scope of her activities has been extended to record and compile the modern folktales in a series such as Gendaiminwako Collection of Folktales in Modern times, 5 volumes, 1985 geup


    916 Comments

    1. As some other reviewer said, this is a fun book, good for people that are learning Japanese (and also for Japanese primary schoolers). The stories are not very long (around 10 pages) and all are about ghosts. The vocabulary is not difficult, but not easy either (you don't normally learn at your basic Japanese class words as "shudder" or "dust", and some sentence constructions show that this is a book intended for Japanese readers); on top of that, as the target reader is Japanese kids, it is wri [...]


    2. A good read. The plot line isn't too complicated yet at the same time it delivers interesting and comical plot twists. Not a super-high Japanese level required. The kanji used, although it can be unorthodox, always has the reading in Hiragana. Reading this is a great way to learn new and interesting vocabulary words for an intermediate level Japanese reader.



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