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Japanese Demon Lore Noriko T
Utah State University DigitalCommons@USU All USU Press Publications USU Press 1-1-2010 Japanese Demon Lore Noriko T. Reider [email protected] Follow this and additional works at: http://digitalcommons.usu.edu/usupress_pubs Part of the Cultural History Commons, and the Folklore Commons Recommended Citation Reider, N. T. (2010). Japanese demon lore: Oni, from ancient times to the present. Logan, Utah: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Japanese Demon Lore Oni from Ancient Times to the Present Japanese Demon Lore Oni from Ancient Times to the Present Noriko T. Reider U S U P L, U Copyright © 2010 Utah State University Press All rights reserved Utah State University Press Logan, Utah 84322 Cover: Artist Unknown, Japanese; Minister Kibi’s Adventures in China, Scroll 2 (detail); Japanese, Heian period, 12th century; Handscroll; ink, color, and gold on paper; 32.04 x 458.7 cm (12 5/8 x 180 9/16 in.); Museum of Fine Arts, Boston; William Sturgis Bigelow Collection, by exchange, 32.131.2. ISBN: 978-0-87421-793-3 (cloth) IISBN: 978-0-87421-794-0 (e-book) Manufactured in the United States of America Printed on acid-free, recycled paper Library of Congress Cataloging-in-Publication Data Reider, Noriko T. Japanese demon lore : oni from ancient times to the present / Noriko T. Reider. -
Folktales and Other References in Toriyama's Dragon Ball
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositori d'Objectes Digitals per a l'Ensenyament la Recerca i la Cultura Folktales and Other References in Toriyama’s Dragon Ball Xavier Mínguez-López Valencia University, Spain ELCIS Group [email protected] Departament Didàctica de la Llengua i la Literatura Avgda. Tarongers 4 46022 València Tel. ++34 605288430 Published in Animation: an Interdisciplinary Journal, 9(1). 2014 Abstract: The aim of this article is to show the relationship between Japanese folktales and Japanese anime as a genre, especially how the intertextuality with traditional tales and myth subvert its conventional use. To meet this goal I have used Toriyama’s successful Dragon Ball series, which has enjoyed continued popularity right from its first publication in the 1980s. I analyse the parallelism between Dragon Ball and a classic Chinese novel, Journey to the West, its main source. However, there are many other folkloric references present in Dragon Ball connected to religion and folktales. The author illustrates this relationship with examples taken from the anime that correspond to the traditional Japanese Folklore but that are used with a subversive goal which makes it a rich source for analysis and for Literary Education. Keywords: animated TV series, anime, Dragon Ball, Japanese animation, Japanese folktales, Japanese religion, literary education, myth, narrative, subversion, Toriyama Corresponding Author: Xavier Mínguez López, Departament Didàctica de la Llengua i la Literatura, 1 Universitat de València Avgda. Tarongers 4, 46022 València, Spain. Email: [email protected] Pop culture is too pervasive, rampant, eclectic and polyglot to be unravelled and remade into an academic macramé pot holder[...] It's a cultural gulf defined by differences in view of how cultures are transforming and mutating through transnational activity. -
The Earliest Societies in Japan
CHAPTER 1 THE EARLIEST SOCIETIES IN JAPAN Japan's oldest extant chronicles, the Kojiki and the Nihon shoki, de- scribe the trek of Kamu-yamato-ihare-biko no Mikoto from south Kyushu to the Yamato plain accompanied by hand-chosen clan (uji) heads. He is referred to by later historians as the first emperor, posthu- mously called Jimmu. At every step he was opposed by well-entrenched people whose conquest often required ingenuity and guile. The degree of their decimation seems to have been determined by the degree of their physical abnormality. For the bulk of his adversaries, the killing of their chiefs was all that was needed to bring them into line. But in extreme cases, such as the Tsuchigumo (earth spiders) who were people too primitive even to have responsible chiefs, pockets had to be elimi- nated by a process that was not completed until at least the time of the ruler Keikd, sometime in the fourth century A.D. When the physical and social differences were too great, it seems that assimilation was inconceivable and neighborly relations impossible. These stories may look at first like an unnecessarily candid admis- sion of the presence of other peoples, as the Eight Island Country of Japan was implicitly created for the enjoyment of the descendants of the Sun Goddess (Amaterasu). But by stressing the existence of oth- ers, the chosen were sharply distinguished from the undeserving, and the Yamato people could legitimately place themselves at the top of a scaled social ladder. The right to rule was therefore not predicated on prior occupation or existing status but on the act of divine creation. -
Special Electronic Features Special Electronic
Asian Monsters is the latest specialty 5E bestiary from Legendary Games, bringing you richly detailed and evocatively described monsters for the 5th Edition of the world’s most famous roleplaying game, drawing upon the myths and legends of the real world and throughout the history of RPGs. You can check out the fantastic flair of these monster accessories in the companion volumes Mythos Monsters, Sea Monsters, Coldwood Codex, Boreal Bestiary, and Construct Codex! This volume brings you monsters from cultures across southern and eastern Asia and the Western Pacific, from India to Korea, Cambodia to China, Japan to Malaysia, Thailand to the Philippines, and more! This exciting monster supplement has been developed with care by our expert game designers in cooperation with Asian authors and artists and a team of cultural consultants to bring you over 90 magnificent monsters from the myths and legends of Asia to enrich your 5E campaign! The Legendary Games tradition is to combine rich story and background, innovative layout, beautiful aesthetics, and excellence in design that is second to none, allowing you to enliven and enrich your campaign in amazing and exciting ways. This product is the latest in that tradition, and we hope you enjoy using it as much as we enjoyed making it. Game on! - Jason Nelson SPECIAL ELECTRONIC FEATURES We’ve hyperlinked this product internally from the Table of Contents and externally with links to the official System Reference Document or 5eSRD. If it is in the core rulebook, we generally didn’t link to it unless the rule is an obscure one. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE JAPANESE FASCINATION TOWARDS THE LEGENDS OF THE CHINESE FIGURE YANG GUIFEI A thesis submitted in partial fulfillment of the requirements For the degree of MASTER OF ARTS in GEOGRAPHY, STANDARD PROGRAM by Jasmine Yu Ting Tung August 2018 1 The thesis of Jasmine Yu Ting Tung is approved: Dr. Steve Graves Date Dr. James Craine Date Dr. Ron Davidson, Chair Date California State University, Northridge ii TABLE OF CONTENTS SIGNATURE PAGE ii ABSTRACT iv CHAPTER 1: INTRODUCTION OF YANG GUIFEI 1 BACKGROUND CHINESE HISTORY 1 ACTUAL LIFE AND DEATH OF YANG GUIFEI 2 CHAPTER 2: JAPANESE LEGENDS OF YANG GUIFEI 6 LEGENDS OF HER AS HUMAN 6 LEGENDS OF HER AS DEITY 11 CHAPTER 3: JAPANESE LITERATURES ON YANG GUIFEI 15 HEIAN PERIOD LITERATURES 15 MEDIEVAL PERIOD LITERATURES 22 TOKUGAWA PERIOD LITERATURES 26 CHAPTER 4: JAPANESE RELIGIOUS ADAPTATIONS 32 SHINTOISM AND NAGOYA ATSUTA SHRINE 32 BUDDHISM AND KYOTO SENNYU JI 39 CHAPTER 5: PAINTINGS AND THEATRICAL PERFORMANCES 45 YANG GUIFEI IN PAINTINGS 45 YANG GUIFEI IN THEATRE 58 CHAPTER 6: JAPANESE REASONS FOR YANG GUIFEI ADORATION 71 RISE OF JAPANESE NATIONALISM 71 RISE OF JAPANESE ORIENTALISM 80 RISE OF JAPANESE RELIGIOUS REFORM 83 ROMANCE AND BEAUTY SYMBOL IN POP CULTURE 88 CHAPTER 7: CONCLUSIONS 102 REFERENCES 104 iii Abstract Why the Japanese Fascination towards the Legends of the Chinese Figure Yang Guifei By Jasmine Yu Ting Tung Master of Arts in Geography, Standard Program This thesis discusses the different versions of the historic Chinese figure Yang Guifei's legends that circulated in Japan, and her various appearances throughout Japanese literatures. -
Oni in Manga, Anime, and Film
University Press of Colorado Utah State University Press Chapter Title: Oni in Manga, Anime, and Film Book Title: Japanese Demon Lore Book Subtitle: Oni from Ancient Times to the Present Book Author(s): Noriko T. Reider Published by: University Press of Colorado, Utah State University Press. (2010) Stable URL: https://www.jstor.org/stable/j.ctt4cgpqc.14 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms This book is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License (CC BY-NC-ND 4.0). To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/. University Press of Colorado, Utah State University Press are collaborating with JSTOR to digitize, preserve and extend access to Japanese Demon Lore This content downloaded from 193.40.239.25 on Tue, 10 Dec 2019 13:28:48 UTC All use subject to https://about.jstor.org/terms 8 Oni in Manga, Anime, and Film In contemporary Japan, a virtual world of anime (Japanese anima- tion), film, and games offers oni and otheryōkai unlimited potential. Manga (graphic novels)—a close relative of anime and an essential component in contemporary Japanese pop culture—is also fertile soil for oni. -
Zeami's Demon Pacifying <I>Noh</I> and Nobumitsu's Demon Killing
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses Spring 6-13-2019 Confronting Noh Demons: Zeami's Demon Pacifying Noh and Nobumitsu's Demon Killing Noh Jitsuya Nishiyama Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the Japanese Studies Commons Let us know how access to this document benefits ou.y Recommended Citation Nishiyama, Jitsuya, "Confronting Noh Demons: Zeami's Demon Pacifying Noh and Nobumitsu's Demon Killing Noh" (2019). Dissertations and Theses. Paper 5132. https://doi.org/10.15760/etd.7011 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Confronting Noh Demons: Zeami's Demon Pacifying Noh and Nobumitsu's Demon Killing Noh by Jitsuya Nishiyama A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Japanese Thesis Committee: Laurence Kominz, Chair Jon Holt Suwako Watanabe Portland State University 2019 © 2019 Jitsuya Nishiyama i Abstract Noh is often described as a drama of the exploration of the soul. This focus on the human soul is largely attributed to Zeami Motokiyo 世阿弥元清 (c. 1363-c. 1443), the greatest playwright in the history of noh drama. This thesis, however, attempts a more comprehensive examination of the characteristics of noh plays by including works by Kanze Nobumitsu 観世信光 (1435-1516). Zeami and Nobumitsu wrote several demon noh plays, which are plays whose primary characters are demons. -
Back to Netsuke.Org
Back to netsuke.org This file will be updated quarterly to include the latest published issue. Each letter A-Z has a double asterisk and most nouns and artists’ names have a single asterisk to quickly maneuver throughout the index. Please report errors/omissions to Linda Meredith [email protected] INDEX INTERNATIONAL NETSUKE SOCIETY JOURNAL Vol. 21 to Vol. 34 (2001–2015) Updated to include Vol 34/4 (Winter 2015) A** wearing tengu mask, wood, ivory, by Sansho, Aarseth, Bjarte, pictured 24/3:58 32/1:19,19 Abel, David “Almost True,” fiction, 23/3:50 Rokurokubi, ivory, gold, ebony, 34/2:56 Adachigahara snail and kappa, ivory, gold, 34/2:56 legend, 25/2:46 Abel, Irene, pictured, 29/3:60 ivory manju, signed Kogyokusai, 25/2:46 Abe no Seimei Adameck, Ted, 23/4:4, 27/4:8 and Abe no Seimei’s daughter, ivory, 29/1:56,56 and daughter Sandra, pictured 24/3:59 startled by 9-tail fox, ivory manju, by Moritoshi, book review of The Art & Life of Michael Birch, 33/4:42,42 33/2:54 (see also Tamano no Mae) Adornment in Clay: Ceramic Netsuke from the acorn*, wood, by Sachiko, 24/3:38,38 Richard R. Silverman Collection, reviewed, 30/3:55 acrobat* Ainu* balancing on drum, wood, by Gyokumin, 25/3:41,41 Ainu or Mongolian?, conical hat, with dog, wood, 33/2:48,48 (see also Tokaido road porter) carrying fish, wood, by Hideyuki, 25/4:55,55 actor* Akira* in Usofuki mask; large shishi mask on back, ivory, by Gyokusai, 28/1:43,43 celestial globe, 26/4:52,52 impersonating Kiyohime, ivory, uns. -
Pippin 1 Geoffrey Pippin Easter 2014 Asian Studies Senior Thesis
Pippin 1 Geoffrey Pippin Easter 2014 Asian Studies Senior Thesis Monsters of Japan and the Globalization of Folklorism: Oni and Their Representations in Inuyasha and The Legend of Zelda Japanese monsters—or rather, their influence—have by now become an indelible part and easily recognizable feature of global culture. Whether they appear as a vengeful, longhaired woman like Sadako of Ringu (1998) or as a loveable, electric mouse like Pokémon’s Pikachu, these imaginary creatures have become the mortar for Japan’s “character empire” that has ingrained itself deep into the global marketplace. Indeed, as Allison postulates, “no country in the world has become as thoroughly inundated with character fetishism—both economically and cultural— as has Japan today.”1 In a world of high stress, exploding populations, and alienation, characters have come to serve as nodes of connection in the contemporary milieu; they connect us to one another, serving as the “lifeline of human relationships.”2 Originally, many of these characters were born from the influence of local folklore and mythology—combining with newer elements to form the unique amalgamations we find today—but eventually they were recognized as entities with 1 Allison, Anne. “New-Age Fetishes, Monsters, and Friends: Pokémon Capitalism at the Millennium.” Tokiko Yoda and Harry Harootunian. Japan after Japan: Social and Cultural Life from the Recessionary 1990s to the Present. Durham and London: Duke University Press, 2006. p. 353. 2 Hashino Katsume and Miyashita Makoto. Kyarakutā bijinesu [The Character Business], Tokyo, 2001, p. 4. Cited in Allison, “New-Age Fetishes, Monsters, and Friends,” p. 353. Pippin 2 potential commercial, ideological, or didactic value. -
Renata Iwicka: Ewolucja Postaci Yamata No Orochi – Od Wężowego Bóstwa Do Kobiecego Focha
KULTURA I HISTORIA nr 33 / 2018 Renata Iwicka: Ewolucja postaci yamata no orochi – od wężowego bóstwa do kobiecego focha Katedra Porównawczych Studiów Cywilizacji UJ [email protected] Abstrakt: W najstarszych zachowanych tekstach japońskich pojawia się postać yamata orochi – wężowego bóstwa, często utożsamianego później ze smokiem. W pierwszych legendach i mitach był postacią groźną, bóstwem autochtonicznym danego regionu, którego pokonanie w symboliczny sposób włączało dany teren do rozszerzającego się państwa Yamato. Rogaty wąż jest, obok tsuchigumo, czyli „pająków ziemnych” obrazem waldenfelsowskiego Obcego, czyli tego, który nie należy do nas, ponieważ Obce „wykluczone jest z kolektywnej sfery własnego i oddzielone od kolektywnej egzystencji (...) Obcość w tym sensie oznacza brak przynależności do pewnego ‘my’.”1. Jest zdemonizowaną etniczną innością. W późniejszych wiekach wąż ten został włączony w obieg kultury popularnej – pojawiając się jako motyw teatru lakowego bunraku oraz żywego aktora kabuki. Z czasem stracił swoją pierwotną, budzącą grozę potęgę, stając się ucieleśnieniem zazdrości kobiecej i jej pożądania, a jego resztki funkcjonują do dzisiaj – zachowały się w tradycyjnym stroju panny młodej. Słowa kluczowe: demon, Japonia, Obcy, yamata orochi, wąż Abstract: The Evolution of Yamata Orochi - From the Serpent Deity to the Woman Scorned Yamata orochi was the recurrent motif of the earliest Japanese legends and myths. The most famous story can be found in Kojiki, the chronicles of the ancestry of the Imperial family and their conquer of the Archipelago. The giant serpent was slain by the god Susanoo, tying this events in the land of Izumo to the mythology of the central family – the sword found in the tail of the killed serpent became one of three holy items of the Imperial family, bestowed onto them by the goddess Amaterasu. -
Spirited Away: Film of the Japanese Folk Symbols
SpiritedAway: Film of the Fantastic and Evolving Japanese Folk Symbols Noriko T. Reider Released in 2001, Miyazaki Hayao'sI (1941 - ) animated film entitled Sen to Chihiro no kamikakushi (Spirited Away) became the highest-grossing film of all time in Japan. It won a number of awards, including a 2003 Academy Award for Best Animated Feature Film and a Golden Bear at the Berlin International Festival in 2002. Derek Elley, a reviewer, writes, "It's almost impossible to do justice in words either to the visual richness of the movie, which m6langes traditional Japanese clothes and architecture with both Victorian and modem-day artifacts, or to the character-filled storyline with human figures, harpies and grotesque creatures" (72). Many critics have compared SpiritedAway with such western stories as Alice in Wonderland, The Wizard of Oz, or even Harry Potter. While the influence of western stories, art, and architecture is evident, as Miyazaki himself expressed, Spirited Away is replete with Japanese folklore, tradition, and symbolism. Indeed, the title itself, kamikakushi (hidden by kami/ deities), alludes to Japanese folk belief. Some of the film's principal characters such as Yubaba (a descendent of yamauba or mountain witch) and Kamaji (a tsuchigumo or earth spider) are reminiscent of characters found throughout Japanese folklore, their residence within the bathhouse offering a reflection of 4 Japan's vertical society. To this point, situating the film as an exemplary work of the fantastic, I shall examine covert and overt Japanese folk beliefs, imagery, and symbolism of the film as a text, which resonates with voices of Japanese past and present. -
The Teeth and Claws of the Buddha: Monastic Warriors and Sohei In
OF Japanese history THETEE A DOLPHSON “This is, in many ways, the best book we are likely to have on violence and its political and social origins T among the early medieval Buddhist/Shinto clergy for quite some time. Comprehensive, lucid, and HE authoritative, The Teeth and Claws of the Buddha examines the interconnections among the members of BUDDHA Japan’s ruling trifunctional elite in a way that contributes rich insights into the very nature of Heian and T THE TEETH AND CLAWS Kamakura society. This study is long overdue and establishes Adolphson as one of a handful of scholars HAND CLAWS who have dealt with religious protests and violence in an intelligent and captivating way.” —W. Wayne Farris, University of Hawai‘i OF THE BUDDHA “Mikael Adolphson has presented the first cogent explanation of the role of violence in Japanese monas- teries, interrogating the much-misunderstood role of the so-called warrior monks. Based on a wide and deep knowledge of primary sources, Adolphson has both advanced the scholarly understanding of the broader configurations of the samurai and has also done a fine job of dispelling many myths that persist in Japanese and Western popular culture. This is our first true picture of the various types of men who Monastic Warriors and Sōhei in Japanese History wielded arms on behalf of religious institutions—few of whom were actually monks.” —G. Cameron Hurst, University of Pennsylvania Mikael Adolphson is associate professor of Japanese history in the Department of East Asian Languages and Civilizations, Harvard University. Cover art: Mounted armed monks in the Kasuga gongen kenki e.