DOCSLIB.ORG

Sino-Japanese Interplay in Linked Verse Compositions of Japan, 14Th to 17Th Centuries

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sino-Japanese Interplay in Linked Verse Compositions of Japan, 14Th to 17Th Centuries Remapping the Sino-Japanese Dialectic: Sino-Japanese Interplay in Linked Verse Compositions of Japan, 14th to 17th Centuries Kai Xie A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Paul S. Atkins, Chair Edward Mack Ping Wang Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2017 Kai Xie iii University of Washington Abstract Remapping the Sino-Japanese Dialectic: Sino-Japanese Interplay in Linked Verse Compositions of Japan, 14th to 17th centuries Kai Xie Chair of the Supervisory Committee: Professor of Japanese, Paul S. Atkins Asian Languages and Literature This dissertation examines the juxtaposition, interaction, and integration of what Japanese authors conceived of as “Japanese” and “Chinese” elements in linked verse compositions of Japan from the 14th to 17th centuries. Through examining un- or under-explored forms of linked verse, it shows the multiple dimensions of Japanese conceptions and representations of “China” and the complexity surrounding the Sino-Japanese relationship. A significant part of this dissertation is devoted to the discussion of Sino-Japanese interplay in wakan renku (linked verse in Japanese and Chinese) and wakan haikai (popular linked verse in Japanese and Chinese), in which verses written in vernacular Japanese and verses written in the form of classical Chinese (kanbun) were composed in alternating turns. In some cases, the Chinese verses comprehensively imitated precedents by Chinese authors, and they iv formed a very distinctive world from the one created by the Japanese verses that generally maintained Japanese poetic traditions. These linked verse sequences thus display a juxtaposition, confrontation, and integration of two entities that vary greatly in terms of poetic topoi, idea, sentiment, and style. In many cases, however, the so-called “Chinese” verses deviated from Chinese poetic traditions. Sometimes they draw upon vernacular Japanese poetry. Sometimes individual Chinese verses build on Chinese poetry but are linked in a Japanese way. Sometimes the Chinese verses do not make sense in Chinese; they only take the form of Chinese poetry but juxtapose it with vernacularized, Japanese content. These examples show the instability and hybridity embodied by the “Chineseness.” The boundary between Japanese and Chinese verses is greatly blurred and confused. Meanwhile, these examples reveal that the Sino-Japanese relationship within literary texts produced by Japanese authors is not unidirectional: vernacular Japanese texts also exerted influence on kanbun texts, making them diverge from Chinese poetic traditions. This dissertation also studies Japanese linked verse that heavily engaged with Chinese elements, focusing on compositions by the circle of Matsuo Bashō, the best-known poet in early modern Japan. On the one hand, I explore various ways Bashō’ circle appropriated Chinese literature in the “Chinese style” popular linked verse, demonstrating that their absorption of Chinese literature and thought on the spiritual level contributed to sublimating popular linked verse into a serious art. On the other hand, this dissertation seeks to demonstrate that Bashō’s reception of Chinese texts was sometimes mediated by Yamaguchi Sodō, who had profound knowledge in Chinese studies and was also a respected poet of popular linked verse. The existence of mediums between Chinese literature and Japanese reception casts doubt on a neat division of “Japan” and “China”. v Acknowledgement First, I am deeply indebted to the chair of my dissertation committee, Paul S. Atkins. Knowing my interests in linked verse and Sino-Japanese interactions, he showed me the volumes of wakan renku sequences transcribed and annotated by the scholars at Kyoto University, which planted seed for my dissertation project. He also designed and taught a graduate seminar on Japanese linked verse, which greatly deepened my understanding of the genre. Not to mention that he has provided professional guidance and insightful comments throughout the process. Edward Mack, who was also a committee member, has always been inspiring. His classes and conversations with me greatly fostered my skills of critical thinking. Wang Ping, although joining my dissertation committee relatively late, always offered help promptly when I needed. In addition, I would like to express my sincere gratitude toward David R. Knechtges, who was originally on my dissertation committee. I greatly benefited from learning classical Chinese literature from him. He has always been so supportive and encouraging, and his guidance and advice have been illuminating. He offered to help even after his retirement. I have also profited from taking classes from and having conversations with other professors at the University of Washington (UW), including but not limited to, Davinder Bhowmik, William Boltz, Kyoto Tokuno, and Zev Handel. Thanks are also due to my professors at the University of Massachusetts Amherst (UMass), especially Doris G. Bargen, Stephen D. Miller, and Stephen M. Forrest. Their classes inspired my interest in premodern Japanese literature, and their encouragement gave me confidence to pursue my research interests in a PhD program. I have greatly benefited from my correspondences with Sato Hiroaki on haiku, haikai, and Japanese literature and culture in vi general. I got to know him when he was an adjunct professor of UMass, but he has been so supportive even after I graduated from there. Besides constantly provided invaluable resources and advice, he also introduced me to poets and scholars who share an interest in haiku and haikai. I appreciate the help that librarians at UMass and UW provided. Whenever I have a question about how to find resources for my research, Sharon Domier always knows the answer. I thank Saeko Suzuki for obtaining copies of wakan haikai sequences for me from the Tenri University while she was participating a workshop in that area. I would also like to thank the Graduate School at the University of Washington Seattle for awarding me the Presidential Dissertation Fellowship, which released me from one semester of teaching. Moreoever, thanks are due to the generous financial support provided by the Elizabeth Kerr Macfarlane Endowed Scholarship. Last but not least, this dissertation would not have been possible without the love and support of my family. My husband, Tao Hu, supported my decision to go to Seattle for pursuing my PhD, and we overcame the difficulty of keeping a long-distance relationship for five years. My son, Asher, who just turned 10 months, is a miracle of my life. Although writing dissertation while taking care of him has not been easy, the joy he has brought to me and my family is limitless. Because of him, I am even more motivated to work hard for my career and my family. I cannot say enough thanks to my parents, who have always been there for me and have been patient and loving even when I was weakest and most frustrated. vii Table of Contents Introduction 1 1 Poetic Dialogue between the Elites and Zen Monks: Linked verse in Japanese and Chinese 11 Renku by Zen monks 12 Wakan Renku 16 “When Blowing Dew”: A 100-Verse Wakan Renku Sequence 24 Conclusion 47 2 Approaching Japanese Linked Verse: Linked Verse in Japanese and Chinese in the Court 51 Renku and Wakan Renku in the Court 52 Diary Entries about Wakan Renku Gatherings 54 Individual Wa and Kan Verses in Wakan Renku Compositions in the Court 60 Linking and Progression of Wakan Renku Sequences 68 Renku by Zen Monks after the 1500s 77 Conclusion 83 3 Hybridity, Visuality, and Play: Popular Linked Verse in Japanese and Chinese before the 1680s 85 A Brief History of Wakan Haikai 86 A Blurred Boundary between Wa and Kan Verses 90 Wakan Haikai as a Distinctive Poetic Form 97 Kanji as a Vehicle for Visual Textuality 100 Conclusion 112 4 From Form to Spirit: Infusing Chinese Elements in Japanese Popular Linked Verse 115 Creating Visual Impact 118 Infusing an Alien World 126 Absorbing Poetic Essence of Chinese Literature 139 Conclusion 159 5 Mediating Between Chinese Studies and Bashō: Yamaguchi Sodō and his Interactions with Bashō 163 Yamaguchi Sodō 164 Sodō and Bashō as Haikai Buddies 170 Sodō’s Kanshi in Correspondence with Bashō 178 A Poetic Dialogue between Wa and Kan: “Sunlight on Gable” 194 Sodō’s Role in the Establishment of the Bashō Style 202 Conclusion 216 Conclusion 219 Bibliography 223 1 Introduction “China,” or at least what Japanese authors conceived of as “China,” is ubiquitous in classical Japanese literature.1 There is abundant scholarship (especially in Japanese) that scrupulously examines how a specific Japanese text imitates, draws upon, or (and) transforms Chinese sources. In English language scholarship, David Pollack and Atsuko Sakaki think beyond the “‘objective’ facts of cultural influence” and focus on the general way the notions of Japan and China were conceptualized and represented in Japanese literature, which they analyze within the framework of a Sino-Japanese dialectic.2 Specifically, Pollack regards this Sino- Japanese relationship as a “dialectical relationship between the antitheses of alien form and native content.”3 Sakaki argues that “the China/Japan polarity, manifested in a variety of contrastive images, persists” from the tenth to the twentieth centuries.4 This dissertation also deals with the Sino-Japanese relationship as imagined in Japanese literature, but it tends to deconstruct the Sino-Japanese dialectic by presenting the multiplicity and instability embodied by the “Chineseness” and highlighting the complexity surrounding the Sino-Japanese relationship.5 It focuses on the genre of linked verse, a poetic form in which a 1 In this dissertation, “classical Japanese literature” refers to literary works produced before 1868 in Japan, regardless of the language in which the text is written. 2 David Pollack, The Fracture of Meaning: Japan's Synthesis of China from the Eighth through the Eighteenth Centuries (Princeton, N.J.: Princeton University Press, 1986) and Atsuko Sakaki, Obsessions with the Sino-Japanese Polarity in Japanese Literature (Honolulu: University of Hawai’i Press, 2006).
Load more

Recommended publications
  • 2012 Annual Report Pursuing Our Unlimited Potential Annual Report 2012
    For the year ended March 31, 2012 Pursuing Our Unlimited Potential Annual Report 2012 Annual Report 2012 EAST JAPAN RAILWAY COMPANY JR East’s Strengths 1 AN OVERWHELMINGLY SOLID AND ADVANTAGEOUS RAILWAY NETWORK The railway business of the JR East Being based in the Tokyo metro- Group covers the eastern half of politan area is a major source of our Honshu island, which includes the strength. Routes originating in the Tokyo metropolitan area. We provide Kanto area (JR East Tokyo Branch transportation services via our Office, Yokohama Branch Office, Shinkansen network, which connects Hachioji Branch Office, Omiya Tokyo with regional cities in five Branch Office, Takasaki Branch directions, Kanto area network, and Office, Mito Branch Office, and intercity and regional networks. Our Chiba Branch Office) account for JR EAST’S SERVICE AREA networks combine to cover 7,512.6 68% of transportation revenue. kilometers and serve 17 million Japan’s total population may be people daily. We are the largest declining, but the population of the railway company in Japan and one of Tokyo metropolitan area (Tokyo, TOKYO the largest in the world. Kanagawa Prefecture, Saitama Prefecture, and Chiba On a daily basis, about 17million passengers travel a network of 70 train lines stretching 7,512.6 operating kilometers An Overwhelmingly Solid and Advantageous Railway Network Annual Report 2012 SECTION 1 OVERALL GROWTH STRATEGY Prefecture) continues to rise, mean- OPERATING REVENUES OPERATING INCOME ing our railway networks are sup- For the year ended March 31, 2012 For the year ended March 31, 2012 ported by an extremely sturdy Others 7.9% Transportation Others 6.1% Transportation operating foundation.
    [Show full text]
  • 33 Buson Summer, Autumn and Winter Haiku
    33 Buson summer, autumn and winter haiku Key to translators mentioned — Addiss = Stephen Addiss. Haiga: Takebe Sōchō and the Haiku-Painting Tradition. Marsh Art Gallery, University of Richmond, 1995. (He is Professor of Art History at the University of Richmond in Virginia. His profile is at: http://www.americanhaikuarchives.org/curators/StephenAddiss.html . See also his Web site: http://stephenaddiss.com/ ) Cheryl A. Crowley — Professor of Japanese Language and Literature at Emory University. (Profile at: http://realc.emory.edu/home/people/faculty/cheryl_crowley.html ) Some of these poems, but not all, can be found in her Haikai Poet Yosa Buson and the Bashō Revival. Brill, 2007. Goldstein & Shinoda = Sanford Goldstein (poet) & Seishi Shinoda (translator) Kumano = hokuto77 [Shoji Kumano] (熊野祥司) Web site: “Living in the World of Buson” (http://www.hokuoto77.com/frame2-buson.html ) Retired Japanese teacher of English living in Yamaguchi / Miyazaki prefectures. (Profile at: http://www.hokuoto77.com/preface.html ) McAuley = Thomas McAuley at: http://www.temcauley.staff.shef.ac.uk/waka1801.shtml Professor at School of East Asian Studies, University of Sheffield (profile: http://www.shef.ac.uk/seas/staff/japanese/mcauley ) Merwin & Lento = Collected haiku of Yosa Buson, trans. by W.S. Merwin and Takako Lento. Copper Canyon Press, 2013. Merwin was born in 1927, has won numerous awards, and is our current poet laureate for the United States. Nelson & Saito = William R. Nelson & Takafumi Saito, 1020 Haiku in Translation: The Heart of Basho, Buson and Issa, 2006. (This is not the William Rockhill Nelson of the Nelson Museum of Art in Kansas.) Robin D Gill — From a wiki entry: “Robin Dallas Gill, born in 1951 at Miami Beach, Florida, USA, and brought up on the island of Key Biscayne in the Florida Keys, is a bilingual author in Japanese and English, as well as a nature writer, maverick authority on the history of stereotypes of Japanese identity and prolific translator of, and commentator on Japanese poetry, especially haiku and senryū.
    [Show full text]
  • Chapter 1 Chapter 2
    Notes Chapter 1 1. The translations of this verse and other Japanese poems quoted in this book, unless otherwise noted, are by Hakutani. 2. Donald Keene notes, “The humor in Chikuba Kyǀgin Shnj has been characterized as ‘tepid.’ The same might be said of the haikai poetry composed by Arakida Moritake (1473–1549), a Sinto priest from the Great Shrine at Ise who turned from serious to comic renga late in life, and has been customarily styled (together with Sǀkan) as a founder of haikai no renga” (Keene 13–14). 3. A certain group of poets, including Ito Shintoku (1634–98) and Ikeni- shi Gonsui (1650–1722) of the Teitoku school, and Uejima Onitsura (1661–1738), Konishi Raizan (1654–1716), and Shiinomoto Saimaro (1656–1738), of the Danrin school, each contributed to refining Basho’s style (Keene 56–57). 4. A detailed historical account of haikai poetry is given in Keene 337–57. 5. The original of “A Morning Glory” is quoted from Fujio Akimoto, Haiku Nyumon 23. 6. The original of “Were My Wife Alive” is quoted from Akimoto (200). 7. The original of “The Harvest Moon” is quoted from “Meigetsu | ya | tatami-no | ue | ni | matsu-no-kage” (Henderson 58). 8. Waley further shows with Zeami’s works that the aesthetic principle of yugen originated from Zen Buddhism. “It is obvious,” Whaley writes, “that Seami [Zeami] was deeply imbued with the teachings of Zen, in which cult Yoshimitsu may have been his master” (Nǀ Plays of Japan 21–22). 9. See Max Loehr, The Great Paintings of China 216.
    [Show full text]
  • Constrained Structure of Ancient Chinese Poetry Facilitates Speech Content Grouping
    Report Constrained Structure of Ancient Chinese Poetry Facilitates Speech Content Grouping Graphical Abstract Authors Xiangbin Teng, Min Ma, Jinbiao Yang, Stefan Blohm, Qing Cai, Xing Tian Correspondence [email protected] In Brief Teng et al. combine recurrent neural network and neurophysiology to investigate how the structured format of poetry aids speech perception. The structured poetic format renders poems predictable across multiple timescales and facilitates speech segmentation. Phase precession indicating predictive processes in speech segmentation is observed. Highlights d Listeners parse ancient Chinese poetry according to the poetic structures d Two neural timescales reflect the grouping of distinct poetic features d Phase precession is observed in speech segmentation, indicating predictive processes d Co-occurrence of words does not necessarily facilitate speech segmentation Teng et al., 2020, Current Biology 30, 1–7 April 6, 2020 ª 2020 Elsevier Ltd. https://doi.org/10.1016/j.cub.2020.01.059 Please cite this article in press as: Teng et al., Constrained Structure of Ancient Chinese Poetry Facilitates Speech Content Grouping, Current Biology (2020), https://doi.org/10.1016/j.cub.2020.01.059 Current Biology Report Constrained Structure of Ancient Chinese Poetry Facilitates Speech Content Grouping Xiangbin Teng,1,8 Min Ma,2,8 Jinbiao Yang,3,4,5,6 Stefan Blohm,1 Qing Cai,4,7 and Xing Tian3,4,7,9,* 1Department of Neuroscience, Max Planck Institute for Empirical Aesthetics, Frankfurt 60322, Germany 2Google Inc., 111 8th Avenue, New
    [Show full text]
  • A Second-Class Art by Kuwabara Takeo Translated by Mark Jewel
    Modern Haiku: A Second-Class Art by Kuwabara Takeo Translated by Mark Jewel Haiku by leading modern poets appear in the pages of our postwar magazines just as they did in magazines before the war. But until recently I hardly ever bothered to read them, in the same way that I never paid much attention to the little block illustrations the magazines carry. I have already had occasion to observe elsewhere that one reason for the insipidness of post-Meiji Japanese fiction is a lack of intellectual and social self-awareness on the part of our novelists, and that the most likely model for this casual approach to the creative process is haikai poetry (see the February issue of Humanity [Ningen] and the September issue of New Currents of Thought [Shincho]).1 Whenever I make this point at one of the lectures I am invited to give, I am always taken to task afterward-at least with respect to haiku-giving me fresh cause to appreciate just how deeply rooted the influence of haikai has become. It seems to me that if we are going to devote serious attention to the problems facing Japanese culture, there is a need to reassess the spirit of haikai as it has come down to us from the time of Bashō. Despite having come to this conclusion, however, I have not had the time to undertake the task myself. Or it would probably be more honest to say that I have not been interested in doing so. Then, not long ago, my daughter came home from elementary school and asked me to explain the meaning of two haiku she had studied in Japanese class: yuki nokoru a single peak
    [Show full text]
  • Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural
    Japanese Journal of Religious Studies 32/: –33 © 2005 Nanzan Institute for Religion and Culture R. Keller Kimbrough Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural The supernatural powers of Japanese poetry are widely documented in the lit- erature of Heian and medieval Japan. Twentieth-century scholars have tended to follow Orikuchi Shinobu in interpreting and discussing miraculous verses in terms of ancient (arguably pre-Buddhist and pre-historical) beliefs in koto- dama 言霊, “the magic spirit power of special words.” In this paper, I argue for the application of a more contemporaneous hermeneutical approach to the miraculous poem-stories of late-Heian and medieval Japan: thirteenth- century Japanese “dharani theory,” according to which Japanese poetry is capable of supernatural effects because, as the dharani of Japan, it contains “reason” or “truth” (kotowari) in a semantic superabundance. In the first sec- tion of this article I discuss “dharani theory” as it is articulated in a number of Kamakura- and Muromachi-period sources; in the second, I apply that the- ory to several Heian and medieval rainmaking poem-tales; and in the third, I argue for a possible connection between the magico-religious technology of Indian “Truth Acts” (saccakiriyā, satyakriyā), imported to Japan in various sutras and sutra commentaries, and some of the miraculous poems of the late- Heian and medieval periods. keywords: waka – dharani – kotodama – katoku setsuwa – rainmaking – Truth Act – saccakiriyā, satyakriyā R. Keller Kimbrough is an Assistant Professor of Japanese at Colby College. In the 2005– 2006 academic year, he will be a Visiting Research Fellow at the Nanzan Institute for Religion and Culture.
    [Show full text]
  • 2020-Commencement-Program.Pdf
    One Hundred and Sixty-Second Annual Commencement JUNE 19, 2020 One Hundred and Sixty-Second Annual Commencement 11 A.M. CDT, FRIDAY, JUNE 19, 2020 2982_STUDAFF_CommencementProgram_2020_FRONT.indd 1 6/12/20 12:14 PM UNIVERSITY SEAL AND MOTTO Soon after Northwestern University was founded, its Board of Trustees adopted an official corporate seal. This seal, approved on June 26, 1856, consisted of an open book surrounded by rays of light and circled by the words North western University, Evanston, Illinois. Thirty years later Daniel Bonbright, professor of Latin and a member of Northwestern’s original faculty, redesigned the seal, Whatsoever things are true, retaining the book and light rays and adding two quotations. whatsoever things are honest, On the pages of the open book he placed a Greek quotation from the Gospel of John, chapter 1, verse 14, translating to The Word . whatsoever things are just, full of grace and truth. Circling the book are the first three whatsoever things are pure, words, in Latin, of the University motto: Quaecumque sunt vera whatsoever things are lovely, (What soever things are true). The outer border of the seal carries the name of the University and the date of its founding. This seal, whatsoever things are of good report; which remains Northwestern’s official signature, was approved by if there be any virtue, the Board of Trustees on December 5, 1890. and if there be any praise, The full text of the University motto, adopted on June 17, 1890, is think on these things. from the Epistle of Paul the Apostle to the Philippians, chapter 4, verse 8 (King James Version).
    [Show full text]
  • Japonica Humboldtiana 7 (2003)
    JAPONICA HUMBOLDTIANA 7 (2003) Contents MARKUS RÜTTERMANN Ein japanischer Briefsteller aus dem ‘Tempel zu den hohen Bergen’ Übersetzung und Kommentar einer Heian-zeitlichen Handschrift (sogenanntes Kôzanjibon koôrai). Erster Teil ................................. 5 STEPHAN KÖHN Tradition und visuelle Narrativität in Japan Von den Anfängen des Erzählens mit Text und Bild....................... 55 CARL STEENSTRUP The Munakata Clan Code of 1313 How a Clan of Hereditary Shrine Priests with Warrior Status Modernized Their Rule and Survived in Power............................... 93 MICHAEL KINSKI Admonitions Regarding Food Consumption Takai Ranzan’s Shokuji kai Introduction, Transcription and Translation. Part One .................... 123 HARALD SALOMON Agnes Sappers Wirkung in Japan Zur Rezeption eines deutschen Familienbilds in der frühen Shôwa-Zeit ................................................................. 179 Review Article W. J. BOOT: James MCMULLEN: Idealism, Protest, and the Tale of Genji. The Confucianism of Kumazawa Banzan (1619–1691)..................................................................................... 239 Ein japanischer Briefsteller aus dem ‘Tempel zu den hohen Bergen’ Übersetzung und Kommentar einer Heian-zeitlichen Handschrift (sogenanntes Kôzanjibon koôrai). Erster Teil Markus Rüttermann, Kyôto 1. Zur Einführung 1.1 Überlieferung und Aufbau Zu den heute bekannten Briefstellern der Heian-Zeit werden neben dem berühmten, von C. Scharschmidt bearbeiteten Unshû shôsoku B&A* (“Kor- respondenzen des [Provinzverwesers] von Izumo”)1 des Fujiwara no Akihira + (?–1066) und – wir folgen mit großen Vorbehalten – den sogenannten 1 Auch B&P3 (“Briefe des Gouverneurs der Provinz Izumo”) bzw. Meigô ôrai +P 3 (“Korrespondenzen des Herrn Akihira”); Unshû shôsoku B&A*, HANAWA Hokiichi .[5 (Hg.): Gunsho ruijû U4E. [GR], Bd. 9 (bunpitsubu O?H, shôsokubu A 3 1 *H), Zoku Gunsho ruijû Kanseikai rev. 1968 ( 1928): 390–437; Meigô ôrai, ISHIKAWA Ken (Hg.): Nihon kyôkasho taikei @\49` [NKT] (ôraihen P3W), Bd.
    [Show full text]
  • The Poetic Theory and Practice of Huang Tingjian
    THE POETIC THEORY AND PRACTICE OF HUANG TINGJIAN BY LIANG DU B.A., HUNAN NORMAL UNIVERSITY, 1982 THESIS SUBMITTED IN PARTIAL FULFILMENT THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS i IN THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA JULY, 1991 (C) LIANG DU, 1991 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ^,A-A! S>Tc/P>/gS The University of British Columbia Vancouver, Canada DE-6 (2/88) ABSTRACT Huang Tingjian ffKpK<1045-1105) is one of the most important poets of the Song Dynasty. He is often associated with his contemporary Su Shi|||^ , just as the Tang Dynasty's most important poets Du Fu and Li Bai ^ are linked. Huang founded the Jiangxi School which exerted 150 years of influence _ i upon the creative theory and practice of succeeding generations of poets. Huang is also one of the most controversial poets in Chinese history. His position in poetic history and the controversy surrounding him, make it worthwhile to analyze his poetic theory and practice.
    [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]
  • Kigo-Articles.Pdf
    Kigo Articles Contained in the All-in-One PDF 1) Kigo and Seasonal Reference: Cross-cultural Issues in Anglo- American Haiku Author: Richard Gilbert (10 pages, 7500 words). A discussion of differences between season words as used in English-language haiku, and kigo within the Japanese literary context. Publication: Kumamoto Studies in English Language and Literature 49, Kumamoto University, Kumamoto, Japan, March 2006 (pp. 29- 46); revised from Simply Haiku 3.3 (Autumn 2005). 2) A New Haiku Era: Non-season kigo in the Gendai Haiku saijiki Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (4 pages, 1900 words). Introduction to the Muki Saijiki focusing on the muki kigo volume of the 2004 the Modern Haiku Association (Gendai Haiku Kyôkai; MHA). This article contains the translation of the Introduction to the volume, by Tohta Kaneko. Publication: Modern Haiku 37.2 (Summer 2006) 3) The Heart in Season: Sampling the Gendai Haiku Non-season Muki Saijiki – Preface Authors: Yûki Itô, with Richard Gilbert (3 pages, 1400 words). An online compliment to the Introduction by Tohta Kaneko found in the above-referenced Muki Saijiki article. Within, some useful information concerning the treatments of kigo in Bashô and Issa. Much of the information has been translated from Tohta Kaneko's Introduction to Haiku. Publication: Simply Haiku Journal 4.3 (Autumn 2006) 4) The Gendai Haiku Muki Saijiki -- Table of Contents Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (30 pages, 9300 words). A bilingual compilation of the keywords used in the Muki Saijiki Table of Contents.
    [Show full text]
  • An Explanation of Gexing
    Front. Lit. Stud. China 2010, 4(3): 442–461 DOI 10.1007/s11702-010-0107-5 RESEARCH ARTICLE XUE Tianwei, WANG Quan An Explanation of Gexing © Higher Education Press and Springer-Verlag 2010 Abstract Gexing 歌行 is a historical and robust prosodic style that flourished (not originated) in the Tang dynasty. Since ancient times, the understanding of the prosody of gexing has remained in debate, which focuses on the relationship between gexing and yuefu 乐府 (collection of ballad songs of the music bureau). The points-of-view held by all sides can be summarized as a “grand gexing” perspective (defining gexing in a broad sense) and four major “small gexing” perspectives (defining gexing in a narrow sense). The former is namely what Hu Yinglin 胡应麟 from Ming dynasty said, “gexing is a general term for seven-character ancient poems.” The first “small gexing” perspective distinguishes gexing from guti yuefu 古体乐府 (tradition yuefu); the second distinguishes it from xinti yuefu 新体乐府 (new yuefu poems with non-conventional themes); the third takes “the lyric title” as the requisite condition of gexing; and the fourth perspective adopts the criterion of “metricality” in distinguishing gexing from ancient poems. The “grand gexing” perspective is the only one that is able to reveal the core prosodic features of gexing and give specification to the intension and extension of gexing as a prosodic style. Keywords gexing, prosody, grand gexing, seven-character ancient poems Received January 25, 2010 XUE Tianwei ( ) College of Humanities, Xinjiang Normal University, Urumuqi 830054, China E-mail: [email protected] WANG Quan International School, University of International Business and Economics, Beijing 100029, China E-mail: [email protected] An Explanation of Gexing 443 The “Grand Gexing” Perspective and “Small Gexing” Perspective Gexing, namely the seven-character (both unified seven-character lines and mixed lines containing seven character ones) gexing, occupies an equal position with rhythm poems in Tang dynasty and even after that in the poetic world.
    [Show full text]