Terminology and Translations

Total Page:16

File Type:pdf, Size:1020Kb

Terminology and Translations Terminology and Translations In Japa nese studies, scholars within the same field frequently disagree on ap- propriate terminology and translations, perhaps much more so if they belong to different disciplines. In our view, this is not necessarily a prob lem, since varia- tions may in fact indicate the actual historical usage of a term and point out the differences more clearly between modern and premodern linguistic usages. Thus, while we recognize the importance of consistency and have indeed en- couraged it, the observant reader will also find variations within this book, al- though they are relatively few and should not prevent interested readers from engaging with the general arguments. Although Japa nese terms have, unavoid- ably, been used throughout this book, we have provided translations both in the individual chapters and in the glossary- index at the end of the book. We have followed common academic practices in citing Japa nese names with the sur- name first, followed by the given name. When appropriate, we have retained the genitive no in the names of individuals from large and high- ranking families (e.g., Fujiwara no Michinaga), since that was the practice during the Heian era. For years and dates, we use the generally accepted hybrid form, that is, giving the Western year followed by the month and day of the lunar calendar. Japa nese era names are consistently listed in the notes to facilitate the location of entries in diaries that are cited in this study. Readers may notice that the essays in this book avoid the use of the term clan, although it is commonly found in English- language scholarship on this period in Japa nese history. The term clan is problematic in its implication of large- scale corporate identity and extended- familial cohesion, conditions that were not found in the late Heian period. Smaller- scale social structures such as houses, lineages, and families, rather than large extended clans, wer e the meaning- ful po liti cal units in twelfth- century Japan. The people to whose action and memory this book is devoted were, specifically, the descendants of Taira no Masamori (?–1121), as opposed to members of the other several lineages that bear the Taira name (not all of whom were related by blood). This par tic u lar Taira lineage is referred to by several names interchangeably in the vari ous chapters of this volume: Ise Taira, Heishi, and Heike. “Ise Taira” reflects Masamori’s family’s recent origins as provincial officials in Ise Province xiii xiv Terminology and Translations (modern Mie Prefecture) and distinguishes them from other Taira lineages. Heishi is a Sino- Japanese term commonly used by historians to refer to the families bearing the name Taira who emerged in the early ninth cen tury and can be subdivided into vari ous lineages. These include the Kanmu Heishi, the lines descended from sons of Emperor Kanmu (737–806, r. 781–806), which in- clude Masamori and his fam ily group. While the term Heishi is used in Heian- period sources to refer to members of vari ous Taira lineages, Heike comes to be used to refer to Masamori’s descendants in par tic u lar as they rise in status; Takahashi Masaaki argues that the change from Heishi to Heike reflects the ascent of Kiyomori and his relatives into the social and po liti cal elite, the ke (“house”) ele ment of Heike indicating a higher status than the shi (“ family”) of Heishi. Thus the title of the war tale Heike monogatari (The Tale of the Heike, thirteenth century) indicates that it is about the Ise Taira rather than any other bearers of the Taira name. We have accordingly encouraged using Ise Taira before the rise of Kiyomori, and Heike from there on. We have aimed for a similar level of specificity when referring to the Kawa- chi Minamoto, the par tic u lar Minamoto lineage that took the lead in opposing the Heike during the Genpei War of 1180–1185. Just as the Ise Taira were in- cluded in the Kanmu Heishi, there were a number of Minamoto lineages descended from the imperial house, particularly Emperor Seiwa (850–880, r. 858–876). Among the Seiwa Genji, the Kawachi Minamoto (or Kawachi Genji) are descended from Minamoto no Yorinobu (968–1048), whose grandson Yo- shiie (1039–1106) was instrumental in establishing a Minamoto power base in the eastern provinces. The leading Minamoto commanders in the Genpei War, Yoritomo (1147–1199) and Yoshitsune (1159–1189), wer e Yoshiie’s great- great- grandsons; they and members of their line are thus referred to her e as the Kawachi Minamoto or Kawachi Genji. Map 1. Provinces and Highways of Heian Japan. Printed with permission from Bruce Batten and University of Hawai‘i Press. Map 2. Central Japan. Printed with the permission of Mikael Adolphson and University of Hawai‘i Press. Map 3. Kyoto (Heian- kyō) in the Twelfth Century. Adapted from volume 8 of Nihon no rekishi: Ōcho kizoku (Tokyo: Shōgakkan, 1974). Table 1: Abbreviated Genealogy of the Ise Taira Rokudai Koremori Shigemori Daughter Sukemori Motomori Yukimori Kiyomune Munemori Nobumune (Fukushō) Tomomori Tomoakira Kiyomori m. Tokiko Shigehira Tokushi (Kenreimon’in) Emperor m. Emperor Takakura Antoku Seishi, m. Motozane Emperor Masamori Tadamori Daughter, m. Takafusa Kanmu Tsunemasa Tsunemori Atsumori Michimori Noritsune Norimori Chūkai Daughter, m. Naritsune Yorimori Tadanori.
Recommended publications
  • Guts and Tears Kinpira Jōruri and Its Textual Transformations
    Guts and Tears Kinpira Jōruri and Its Textual Transformations Janice Shizue Kanemitsu In seventeenth-century Japan, dramatic narratives were being performed under drastically new circumstances. Instead of itinerant performers giving performances at religious venues in accordance with a ritual calendar, professionals staged plays at commercial, secular, and physically fixed venues. Theaters contracted artists to perform monthly programs (that might run shorter or longer than a month, depending on a given program’s popularity and other factors) and operated on revenues earned by charging theatergoers admission fees. A theater’s survival thus hinged on staging hit plays that would draw audiences. And if a particular cast of characters was found to please crowds, producing plays that placed the same characters in a variety of situations was one means of ensuring a full house. Kinpira jōruri 金平浄瑠璃 enjoyed tremendous though short-lived popularity as a form of puppet theater during the mid-1600s. Though its storylines lack the nuanced sophistication of later theatrical narra- tives, Kinpira jōruri offers a vivid illustration of how theater interacted with publishing in Japan during the early Tokugawa 徳川 period. This essay begins with an overview of Kinpira jōruri’s historical background, and then discusses the textualization of puppet theater plays. Although Kinpira jōruri plays were first composed as highly masculinized period pieces revolving around political scandals, they gradually transformed to incorporate more sentimentalism and female protagonists. The final part of this chapter will therefore consider the fundamental characteristics of Kinpira jōruri as a whole, and explore the ways in which the circulation of Kinpira jōruri plays—as printed texts— encouraged a transregional hybridization of this theatrical genre.
    [Show full text]
  • ©Copyright 2012 Sachi Schmidt-Hori
    1 ©Copyright 2012 Sachi Schmidt-Hori 2 Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Paul S. Atkins, Chair Davinder L. Bhowmik Tani E. Barlow Kyoko Tokuno Program Authorized to Offer Degree: Department of Asian Languages and Literature 3 University of Washington Abstract Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori Chair of the Supervisory Committee: Associate Professor Paul S. Atkins Asian Languages and Literature This study is an attempt to elucidate the complex interrelationship between gender, sexuality, desire, and power by examining how premodern Japanese texts represent the gender-based ideals of women and men at the peak and margins of the social hierarchy. To do so, it will survey a wide range of premodern texts and contrast the literary depictions of two female groups (imperial priestesses and courtesans), two male groups (elite warriors and outlaws), and two groups of Buddhist priests (elite and “corrupt” monks). In my view, each of the pairs signifies hyperfemininities, hypermasculinities, and hypersexualities of elite and outcast classes, respectively. The ultimate goal of 4 this study is to contribute to the current body of research in classical Japanese literature by offering new readings of some of the well-known texts featuring the above-mentioned six groups. My interpretations of the previously studied texts will be based on an argument that, in a cultural/literary context wherein defiance merges with sexual attractiveness and/or sexual freedom, one’s outcast status transforms into a source of significant power.
    [Show full text]
  • SENGAN-EN KAGOSHIMA Contents
    SENGAN-EN KAGOSHIMA Contents 03 Our Legacy 04 Our Promise 05 The House 06 The Gardens 07 The Volcano 08 The Museum & The Glassworks 09 Restaurants & Shopping 10 Luxury at Sengan-en 11 Dining in the House 13 Experience Sengan-en 20 Pricing and Options 22 Contact Us OUR LEGACY Descendants of the Seiwa Genji branch of the Minamoto clan, the Shimadzu ruled over the domains of Satsuma, Hyuga, and Osumi for over 700 years. The Shimadzu were the only family to have held their territory continuously since the Kamakura period (1185–1333), and at their peak were among the wealthiest and most powerful feudal lords in Japan. The Shimadzu family, now in their 32nd generation, continue to preserve the rich cultural heritage of a Kamakura period warrior family, while working to bring innovation and internationalisation to the hospitality they provide at their house and gardens at Sengan-en. SHIMADZU LTD. | 03 OUR PROMISE We are committed to preserving the 800-year legacy of the Shimadzu family and the Satsuma domain and providing truly authentic and memorable cultural and culinary experiences for our guests. SHIMADZU LTD. | 04 THE HOUSE Visit the house loved by generations of the Shimadzu family and enjoy the spectacular view over the gardens, Kinko Bay, and active volcano Sakurajima. Experience the lifestyle of Prince Shimadzu Tadayoshi during the late 19th century and join an exclusive set of distinguished guests from both Japan and overseas who were welcomed at Sengan-en by the Shimadzu family. WATCH THE VIDEO “This mansion shows that his Highness of Satzuma has a very good idea of domestic comfort in the fine warm weather of the summer season.
    [Show full text]
  • The Significance of the Atypical Samurai Image: A
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UC Research Repository THE SIGNIFICANCE OF THE ATYPICAL SAMURAI IMAGE: A STUDY OF THREE NOVELLAS BY FUJISAWA SHŪHEI AND THE FILM TASOGARE SEIBEI BY YAMADA YŌJI A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Japanese at the University of Canterbury by S. J. Albrow University of Canterbury 2007 Table of Contents Acknowledgments ........................................................................... …..……..…2 Abstract ........................................................................................................... …3 Author's Notes ................................................................................................ …4 Introduction ........................................................................... ….…….…….…..5 I Historical Background to the Samurai and their Ideals ......................... ..11 1.1. Emergence of the Samurai... ...................................................... ……..11 1.2. Samurai Ethics during the Tokugawa Period ........................... ……..20 1.3. Anxiety and Change .......................................................... …..…..…...29 1.4. Modern Adaptation of Samurai Ideals ............................................... ..42 1.5. Re-examining Samurai Traditions ............................................ ….…..46 II The Atypical Samurai Image ........................................................... ….…..51 2.1. Corporate Society .....................................................................
    [Show full text]
  • Du Rite Au Sport
    From Rite to Sport 0 From Rite to Sport 1 From Rite to Sport 2 Introduction Au printemps 1854, le commodore Matthew C. Perry de la Marine des Etats-Unis parvint à signer un traité de commerce et d’amitié avec le shogunat du Japon, entrouvrant ainsi une porte sur un pays exotique jusque là demeuré résolument fermé au monde occidental, depuis deux siècles et demi d’isolement volontaire. Après la signature des concessions, un échange mutuel et raffiné de cadeaux eut lieu : la maison du traité dans le port de Yokohama fut emplie de délicates pièces de mobilier laqué, de soies et de riches broderies, de porcelaines, d’éventails et de boîtes à pipes. L’interprète japonais traduisit la longue liste des cadeaux en néerlandais, et un membre de l’équipage de Perry se chargea de retranscrire le tout en anglais. Alors que le commodore s’apprêtait à repartir, les officiels japonais lui signalèrent qu’il restait encore un article destiné au Président des Etats-Unis qui n’avait pas encore été présenté, et ils le conduisirent sur la plage, où plusieurs centaines d’immenses sacs de riz étaient entassés, prêts à être chargés à bord des bateaux américains. « Alors que je contemplais ces preuves concrètes de la générosité japonaise », note Francis L. Hawkes, chroniqueur officiel des expéditions de Perry, dans son rapport à destination du Congrès américain, rédigé deux ans plus tard, « l’attention de tout le monde fut soudainement attirée par une masse de corps d’hommes monstrueux, qui déambulaient sur la plage comme une horde d’éléphants.
    [Show full text]
  • Sengoku Revised Edition E-Book
    SENGOKUSENGOKUTM CHANBARA ROLEPLAYING IN FEUDAL JAPAN Revised Edition CREDITS Authors: Anthony J. Bryant and Mark Arsenault Michelle Knight, Charles Landauer, Bill Layman, Greg Lloyd, Fuzion Roleplaying Rules: David Ackerman-Gray, Bruce Paradise Long, Steve Long, Jonathan Luse, Kevin MacGregor, Harlick, Ray Greer, George MacDonald, Steve Peterson, Mike Shari MacGregor, Paul Mason, John Mehrholz, Edwin Pondsmith, Benjamin Wright Millheim, Mike Montesa, Dale Okada, Arcangel Ortiz, Jr., Sengoku-specific Rules: Mark Arsenault Ken Pryde, Mauro Reis, David Ross, Arzhange Safdarzadeh, Project Developer & Revisions: Mark Arsenault Rick Sagely, Janice Sellers, Matt Smith, Susan Stafford, Editorial Contributions: David Carroll, Dorian Davis, Paul Patrick Sweeney, Simon Taylor, Andy Vetromile, Marissa Mason, Andrew Martin, Sakai Naoko Way, Paul Wilcox, Chris Wolf. Cover Illustration: Jason A, Engle Additional Thanks: To Paul Hume, and to everyone on the Interior Illustrations: Paul Abrams, Mark Arsenault, Heather Sengoku mailing list for their suggestions and encouragement, Bruton, Nancy Champion, Storn Cook, Audrey Corman, Steve especially Dorian Davis, Anthony Jackson, Dave Mattingly, Goss, John Grigni, Kraig Horigan, Bryce Nakagawa, J. Scott Mike Montesa, Simon Seah, and Paul Wilcox. Reeves, Greg Smith, Tonya Walden Revised Edition Thanks: To Peter Corless for helping us real- Layout Design & Graphics: Mark Arsenault ize the “new” dream, Sakai Naoko and David Carroll for edi- Cartography: Mark Arsenault & Anthony J. Bryant torial contributions, Kurosawa Akira and Mifune Toshirô for Playtesters: Margaret Arsenault, Mark Arsenault, Andrew feuling the fire, Margaret for continued support, and to all the Bordner, Theron Bretz, Matt Converse-Willson, Josh Conway, fans for keeing Sengoku alive! Mark Craddock, Dorian Davis, Paul Delon, Frank Foulis, Scott Sengoku Mailing List: To join the Sengoku e-mail list just Galliand, Steve B.
    [Show full text]
  • Volume 18 (2011), Article 1
    Volume 18 (2011), Article 1 http://chinajapan.org/articles/18/1 Ng, Wai-ming “Redefining Legitimacy in Tokugawa Historiography” Sino-Japanese Studies 18 (2011), article 1. Abstract: Due to the different historical developments and political traditions of China and Japan, Chinese concepts of legitimacy could not be applied to Japan without major modifications. Tokugawa historians demonstrated a high level of flexibility and creativity in their discussion of political legitimacy. Some Chinese concepts were reinterpreted to fit into the Tokugawa system. For instance, the mandate of heaven was used primarily to discuss the right to govern and denied a Chinese-style “revolution” and dynastic change. Using major Tokugawa historical writings as the main references and highlighting the legitimacy of the Southern or Northern Courts as well as the legitimacy of the Edo bakufu, this study examines the making of Japanized concepts of legitimacy in Tokugawa historiography. It sheds light on understanding how Tokugawa historians creatively modified and appropriated Chinese historical ideas and terms to accommodate Japanese tradition and the Tokugawa political system. Sino-Japanese Studies http://chinajapan.org/articles/18/1 Redefining Legitimacy in Tokugawa Historiography Wai-ming Ng Chinese University of Hong Kong Introduction Both the Chinese and the Japanese have a tradition of compiling and using history. Chinese historical writings, in particular, Sima Guang’s 司馬光 (1019-1086) Zizhi tongjian 資治通鑑 (Comprehensive Mirror for Aid in Government, 1084) and Zhu Xi’s 朱熹 (1130-1200) Tongjian gangmu 通鑑綱目 (Summary of the Comprehensive Mirror, 1172), were also influential in shaping historical critique and terminology in Japanese historiography. Legitimizing the current regime was a hidden political agenda in many historical writings in China and Japan in which the discussion of political “legitimacy” (正統 zhengtong in Chinese, seitō in Japanese) was passionately engaged.
    [Show full text]
  • Aikijujutsu.Pdf
    Aikijujutsu door Cees Freke 2 Aikijujutsu door Cees Freke Copyright © 2002 Cees Freke, Leiden, Nederland. Alle rechten voorbehouden. Uit deze uitgave mag niets worden verveelvoudigd en/of openbaar gemaakt worden door middel van fotokopie, microfilm of op welke andere wijze dan ook, zonder voorafgaande schriftelijke toestemming van de schrijver en/of uitgever. 3 Curriculum sensei Cees Freke. Geboren 09 juli 1941 te Katwijk a/d Rijn in Nederland. Cees Freke is rijksgediplomeerd docent martial arts A (F.O.G.), 4e dan aikido, 3e dan aikijujutsu, 3e dan police selfdefence, 2e dan aikibudo en instructeur kyusho jutsu. Cees Freke studeerde aikibudo en aikijutsu bij shihan Cees de Jongh en aikijujutsu bij shihan Jan Janssens in België. Ook volgde hij stages aikibudo bij Alain Floquet en M. Harmant in Frankrijk; en stages aikido bij meerdere bekende Japanse aikido sensei. Daarnaast beoefende Cees Freke het koryu wapenvechtsysteem Tenshin Shoden Katori Shinto Ryu. Zijn leraren daarbij waren Erik Louw, 5e dan Aikikai aikido en 7e dan en menkyo okuden Katori Shinto Ryu, in Amsterdam en Jan Janssens, 1e dan Katori Shinto Ryu, in België. Tevens volgde hij stages bij sensei Goro Hatakeyama, menkyo kaiden Katori Shinto Ryu en hoofdleraar in de dojo van wijlen Yoshio Sugino in Japan. Ook volgde Cees Freke stages kyusho jutsu (drukpunten jutsu) bij de bekende Engelse 7e dan karate P.M.V. (Vince) Morris en de Australier Patrick McCarthy 7e dan karate. Verder heeft Cees Freke lessen jujutsu en judo gevolgd bij de bekende budoka Louis Marchant in Boskoop, o.a. 5e dan judo en 5e dan jujutsu. Tenslotte volgde Cees Freke cursussen shiatsu therapie en beoefent hij “reiki” volgens de “Usui” methode 1e niveau.
    [Show full text]
  • (Red Suit of Armor), 309. Ake No Tamagaki 朱の
    INDEX A Azuchi 安土 (also Azuchiyama 安土山; castle), Aizen Myōō 愛染明王 (Wisdom King), 164/fn. 19, 28, 130, 130/fn. 289, 144–147, 225, 250, 386, 205. 291, 291/fn. 805, 295, 303, 303/fn. 832. akazonae 赤備え (red suit of armor), 309. Azuchi nikki 安土日記 (Diary of Azuchi), 145/fn. 331. ake no tamagaki 朱の玉垣 (“cinnabar fence”), Azuma kagami 吾妻鏡 (The Mirror of the East), 174/fn. 416. 218/fn. 577. Amaterasu Ōmikami天照大御神 (deity), 190, 214, fn. 551, 217. B Amida 阿弥陀 (Buddha), 121, 124, 125, 160/fn. basabasa ni naru バサバサニ成る (“to be cha- 377, 183–184, 186, 205/fn. 510, 227/fn. 614, otic,” “to degenerate”), 310/fn. 859. 330/fn. 896. basara 婆娑羅, 波佐羅 (extravagance), 180/fn. Amida kyō 阿弥陀経 (Scripture on Amida), 183/ 438, 310–314, 317, 318. fn. 453. Basara Taishō 伐折羅大将 (Thunderbold Gen- Arima Harunobu 有馬晴信 (also Protasio; 1567– eral, one of the jūni shinshō 十二神将, Twelve 1612), 56/fn. 139. Heavenly Generals), 310/fn. 859. armor (tōsei gusoku ), 131/fn. 291, 312–313; pl. bengara 弁柄 (red pigment), 174/fn. 415. 16. bettō 別当 (shrine/temple steward), 206, 225/fn. armor surcoat (jinbaori 陣羽織), 131/ fn. 291, 606, 345. 312; pl. 15. bird-like being, see karyōbinga. ashigaru 足軽 (foot soldiers), 258, 258/fn. 717. biwa ita 琵琶板 (board fillings), 94/fn. 193. Ashikaga Mochiuji 足利持氏 (1398–1439), 219/ Black Tortoise (genbu 玄武, also “black warrior;” fn. 581. one of the Four Divine Creatures), 108/fn. 224. Ashikaga Takauji 足利尊氏 (1305–1358), 130, Blue-Green Dragon (qinglong 青龍; one of the 130/fn.
    [Show full text]
  • Table Des Matières Nouvel Archétype
    Table des matières Nouvel archétype...............................................3 Archétype : On'Jin...........................................38 AKAZOME EMON....................................38 Archétype : Duelliste.........................................4 CHUJO HIME.............................................39 CHOEI TAKANO.........................................4 DOGEN.......................................................40 FUJIWARA NO MICHINAGA....................5 EISAI...........................................................41 GO FUKAKUSA IN NO NIJO.....................6 EKAKU.......................................................42 GORO NYUDO MASAMUNE....................7 HONEN.......................................................43 HIROMITSU HIKOSHIRO..........................8 KUKAI........................................................44 KANEHIRA IMAI........................................9 MATSUO BASHO......................................45 KASUGA NO TSUBONE..........................10 NICHIREN..................................................46 KONDO ISAMI..........................................11 OGATA KOAN...........................................47 MYAMOTO MUSASHI.............................12 RYOKAN....................................................48 SEN NO RIKYU.........................................13 SAICHO......................................................49 SHIBATA KATSUI.....................................14 SHINRAN...................................................50 SHOTOKU TAISHI....................................15
    [Show full text]
  • The Taiko in the Bugei by Roald Knutsen
    Editor: Well House, 13 Keere Street, Lewes, East Sussex, England No. 287 Winter 2007/08 The Taiko in the Bugei by Roald Knutsen Two drums being struck simultaneously during a ceremony at the famous Izumo Ōyashiro, western Shimane-ken, April 1998. The illustration shows the use of two drums being struck simultaneously at the Izumo ō-yashiro in western Shimane prefecture and was taken ten years ago when Ric Bithell and Roald Knutsen visited this famous shrine. Observing the formal use of the taiko in ritual situations is best done in the precincts of Shint ō shrines. This is necessary because while taiko are often found as part of the Kend ō d ōjō ‘furnishings’, they are rarely beaten as part of normal training. The technique of beating these drums by the taiko-yaku , or drummer, is very interesting, the ō-daiko is placed sideways on and the smaller drum, supported on its ingenious three-legged stand, faces the drummer to his right front. The ō-daiko is struck by the bachi , drumstick, grasped in the right hand while the smaller drum is struck by the stick held in the left hand. The respective drums are played with different rhythms. This is the Shint ō method. Where the ō-daiko is used by itself, the drum is still struck from the side with bachi in the right hand. In Shint ō shrines the drum is employed in the ceremony called ‘ kōshin’ , ‘begging the presiding deity to bestow his spirit on the spot’, or, putting this another way, ‘inviting the deity to be present’.
    [Show full text]
  • Karaito Sōshi
    University of Alberta Karaito s!shi: A Tale of Optimism and Good Fortune by Lora Gale Slobodian A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Japanese Literature East Asian Studies ©Lora Gale Slobodian Fall 2011 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. ABSTRACT .DUDLWRVǀVKL is a short narrative that falls within a genre of stories from fourteenth-century Japan known as otogi-]ǀVKLor ‘companion tales’. Karaito VǀVKL was included in the 1716 Otogi-bunko (Companion library) anthology and was advertised as educational reading for new brides, its didactic value lyingin the prominence it gives to the themes of female loyalty and filial piety. Taking the events of the Genpei War of 1180-85 as its setting, the tale also forms part of the reception of the Heike monogatari (The Tale of the Heike, thirteenth century). The transitional nature of .DUDLWRVǀVKL as a Muromachi-period work is brought to light when placed next to the tales of Shizuka and *Lǀ, which also act as Heike reception texts and which also existed during the Muromachi period (1336-1573).
    [Show full text]