DOCSLIB.ORG

04. Poesia in Periodo Heian

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
04. Poesia in Periodo Heian IL WAKA IN PERIODO HEIAN LA SALITA ALLA PREMINENZA DELLA POESIA IN LINGUA AUTOCTONA Seconda metà del nono secolo : waka favorito da 1. L’ascesa dei Fujiwara , per • Il restringersi delle opportunità di una carriera fondata sulla erudizione in cinese • La politica matrimoniale dei Fujiwara e la fioritura della cultura dei “salotti”, con la salita alla ribalta di vari aspetti della cultura femminile (fra cui la scrittura in kana ) 2. L’attiva promozione da parte di alcune figure della corte, come l’imperatore Daigo COME SI SVILUPPÒ IL WAKA A PARTIRE DA QUESTA FASE? Identificazione finale fra waka e tanka (di 5- 7-5-7-7 more): dal X secolo, genere poetico giapponese per eccellenza Nascita di un discorso critico sul waka (soprattutto con i trattati sul waka , i karon 歌論) Sviluppo di una grande regolarità tematica nel repertorio, grazie anche alla pratica del daiei 題 詠 (composizione “a freddo” su un tema dato) Favorita anche da utaawase 歌合せ e byōbu uta 屏風歌 IL KOKIN(WAKA) SHŪ 古今(和歌)集 Primo chokusenwakashū Dopo il Kokinshū , vennero realizzate altre 20 antologie imperiali , fino al 1433. COMPILATORI E SCOPO DELL ’OPERA Compilatori: quattro autorevoli kajin (歌人) • Ki no Tsurayuki • Ki no Tomonori • Ōshikōchi no Mitsune • Mibu no Tadamine Il loro compito: operare una selezione della poesia giapponese dalla totalità della produzione di waka esistente, inclusa in raccolte • individuali (shikashū 私家集) • collettive non ufficiali (shisenshū 私撰集) DATAZIONE E FASI DI COMPILAZIONE DELL ’OPERA Datazione convenzionale: 905 , data menzionata • Nella prefazione in cinese dell’opera (il manajo 真 名 序 , di Ki no Yoshimochi) come data di compilazione della prefazione stessa • Nella prefazione in giapponese dell’opera (kanajo 仮 名 序 , di Ki no Tsurayuki) come data della “presentazione” dell’opera (forse, in realtà, data dell’ordine di compilazione, come suggerito anche in una raccolta privata di Ki no Tsurayuki) “[Sua maestà], il diciottesimo giorno del quarto mese del quinto anno dell’era Engi [905], dando l’ordine solenne al cancelliere superiore del Ministero degli Affari Imperiali Ki no Tomonori, al sovrintendente dell’Archivio di Corte Ki no Tsurayuki, al già funzionario della provincia di Kai Ōshikōshi no Mitsune e al caporale presso il Comando di Destra della Guardia di Corte Mibu no Tadamine, fece loro presentare delle poesie antiche non raccolte nel Man’yōshū nonché quelle composte da essi stessi.” Kanajo , traduzione di Ikuko Sagiyama Le fasi della compilazione dalla assegnazione dell’incarico non sono chiare È possibile che sia stato completato fra il 914 e il 920 . Probabilmente, ci furono più fasi: prima la collezione delle poesie, poi la selezione e la organizzazione antologica N.B.: Come per il Man’yōshū , vari manoscritti. Forma diffusa oggi: quella elaborata nel XII secolo da Fujiwara no Teika (1111 poesie per 20 maki ) COSA LO CARATTERIZZA RISPETTO AL MAN’YŌSHŪ? 1. Metrica Netta prevalenza del tanka : • Progressiva eliminazione dei tanka metricamente irregolari • Fortissima limitazione delle altre forme metriche (come chōka e sedōka e altre forme più antiche), confinate a maki miscellanei 2. Autori Drastica riduzione • delle poesie di anonimi • delle poesie in stile o tema popolare Definitiva professionalizzazione della pratica del waka . Di conseguenza, • Competizione per divenire autorità in poesia, anche da parte di membri dell’alta aristocrazia o della famiglia imperiale. Partecipazione ad antologia imperiale = legittimazione • Tendenza normativa (su tecniche/temi), con elaborazione di poetiche 3. Struttura dell’opera Struttura d’insieme più coesa : • Uniformità linguistica • Coerenza tematica fra le diverse sezioni, e fra le poesie incluse nelle sezioni Minore numero di componimenti (selezione più elaborata) Criteri di selezione delle poesie : non solo poesie più riuscite/di personalità poetiche consacrate, ma sempre poesie che ben si inseriscono nel tessuto intratestuale dell’opera • N.B.: conta la reinterpretazione dei compilatori , e non l’intenzione dei singoli autori GLI AUTORI La raccolta includeva due principali gruppi di poesie/autori: “Poesia moderna” : i compilatori stessi e altri poeti loro contemporanei “Poesia antica” : due principali strati cronologici : • 750-850 ca.: testi vicini per stile al Man’yōshū (in teoria, no ripetizioni, ma una decina ci sono) • Generazione immediatamente precedente a quella dei compilatori, attiva nel nono secolo (“sei geni poetici” rokkasen 六歌仙: Ōtomo no Kuronushi, i tre monaci Kisen, Henjō, Fun’ya no Yasuhide e Ono no Komachi e Ariwara no Narihira ) STRUTTURA TEMATICA DELL ’OPERA Le tematiche principali , codificate nel waka della seconda metà del nono secolo, sono: natura (stagioni) e amore: Sei maki dedicati alle stagioni • due alla primavera • uno all’estate • due all’autunno • uno all’inverno Cinque maki dedicati alle poesie d’ amore Nove maki dedicati a temi secondari : • poesie encomiastiche (ga no uta 賀歌), maki VII • poesie sul tema della separazione (ribetsu no uta 離別歌), maki VIII • poesie di viaggio (kiryo no uta 羇旅歌), maki IX • poesie sui nomi delle cose (mono no na もののな), maki X • elegie (aisho no uta 哀傷歌, maki XVI) • poesie miscellanee (zō no uta 雑歌), maki XVII- XVIII • poesie in forme varie (zattai 雑体), maki XIX • poesie liturgiche del repertorio dello Ōutadokoro ( 大 歌 所 ) e canzoni popolari “delle province orientali” (azumauta 東歌), maki XX Coerente progressione temporale/narrativa fra volume e volume e all’interno dei singoli volumi Es: volume XV, Amore (trad.: Ikuko Sagiyama) • Poesia 765: Avrei dovuto raccogliere/ il seme dell’erba d’oblio/ se avessi saputo/quanto disperatamente arduo/ è incontrare la persona amata • Poesia 766: Mi arde la brama, eppure/ non viene la notte dell’incontro ;/ l’erba d’oblio/ cresce, forse, e sommerge/ perfino il sentiero del sogno? • Poesia 767: Perfino nel sogno/ si fa sempre più arduo/ avere un incontro:/ è perché sono insonne,/ o mi ha dimenticato? • Poesia 767: Pur la remota terra di Cina,/ che vidi in sogno,/ la trovai vicina./ Grande, invero è la distanza/ fra le persone che non s’amano più Tematica che sottende all’intera opera: senso del tempo Da quando a fondo ho immerso il mio cuore senza colore nella tinta della passione d’amore, non mi sfiora il sospetto che possa sbiadire, eppure… (Ki no Tsurayuki – XIV -729) Con le maniche bagnate attinsi dell’acqua che, poi, si chiuse nel gelo. Oggi, primo giorno di primavera il vento lo starà sciogliendo (Ki no Tsurayuki – I-2) IL KANAJO La poetica del Kokinshū è espressa nella prefazione in kana dell’opera, il kanajo di Ki no Tsurayuki, che rappresenta : Una esplicita dichiarazione degli intenti estetico-poetici del Kokinshū Uno dei più antichi trattati organici di poesia classica. “La poesia giapponese [ Yamato uta ], avendo come seme il cuore [kokoro ] umano, si realizza in migliaia di foglie di parole [kotoba ]. La gente in questo mondo , poiché vive fra molti avvenimenti e azioni, esprime ciò che sta nel cuore affidandolo alle cose che vede o sente . Si ascolti la voce dell’usignolo che canta tra i fiori o della rana che dimora nell’acqua; chi, tra tutti gli esseri viventi, non compone poesie? La poesia, senza ricorrere alla forza, muove il cielo e la terra, commuove perfino gli invisibili spiriti e divinità, armonizza anche il rapporto tra l’uomo e la donna, pacifica pure l’anima del guerriero feroce.” Traduzione: Ikuko Sagiyama IDEE CENTRALI ESPRESSE NEL KANAJO: Celebrazione di una poesia giapponese che Si basi sulla proporzione armoniosa fra kokoro (cuore/contenuto) e kotoba (linguaggio) Abbia come oggetto principale l’espressione del sentimento attraverso le immagini del mondo naturale • Determinati elementi paesaggistici iniziarono a ricorrere in poesia essere regolarmente associati a determinati sentimenti Idea che il Kokinshū dovesse contribuire a far affermare un nuovo stile poetico (sama ) moderno per la poesia giapponese, atto a ridarle prestigio: • Intreccio fra la sfera umana e quella della natura • Uniformità linguistica (e predominanza dei wago 和 語 rispetto ai kango 漢語) • Artifici retorici, con un approccio “obliquo” all’oggetto della poesia, (uso di kakekotoba, engo e mitate , mentre l’uso di jokotoba e makurakotoba cade in declino) • Intellettualismo e sperimentalismo, soprattutto nelle poesie a tema stagionale Esempi (trad. Ikuko Sagiyama): Se in questo mondo non esistesse affatto il fiore di ciliegio, l’anima in primavera sarebbe serena (Ariwara no Narihira, I-53) Il vento d’autunno non è una lama che fende il corpo; eppure perché il cuore umano si stacca e va errando per l’aria? (Ki no Tomonori, XV-787) Legittimazione della poesia giapponese rispetto a quella cinese: origine divina della poesia nella forma del tanka , genere letterario per eccellenza “Nel periodo delle divinità possenti non era stabilito il numero delle sillabe della poesia, ci si esprimeva in maniera semplice e schietta e sembra che fosse arduo individuare le sostanze delle cose. Entrando nelle generazioni degli uomini, con l’augusto Susanoo s’iniziò a scandire trentun sillabe.” Traduzione: Ikuko Sagiyama IL KOKINSHŪ COME MODELLO STILISTICO E TEMATICO PER LA POESIA SUCCESSIVA Kokinshū : precedente normativo , che stabilì un canone per la poesia in giapponese successiva, in termini di • Stile (forme poetiche consentite, figure retoriche, lessico) • Temi • Immagini poetiche • In generale, intento poetico Il waka si afferma attraverso il Kokinshū come Poesia incentrata su un numero ristretto di temi • Eliminazione/marginalizzazione delle tematiche sociali
Load more

Recommended publications
  • 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]
  • Recent Scholarship on Japan
    Recent Scholarship on Japan Recent Scholarship on Japan: Classical to Contemporary Edited by Richard Donovan Recent Scholarship on Japan: Classical to Contemporary Edited by Richard Donovan This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Richard Donovan and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-4325-0 ISBN (13): 978-1-5275-4325-6 TABLE OF CONTENTS Introduction: Classical to Contemporary .................................................. vii About the Contributors ............................................................................... x Section One: Classical Literature and Its Reconfiguration How to Create a Legend? An Analysis of Constructed Representations of Ono no Komachi in Japanese Medieval Literature ................................. 2 Karolina Broma-Smenda Rewriting Her History: Enchi Fumiko’s Namamiko Monogatari as a Feminist Historiographical Metafiction ............................................. 23 Ka Yan Lam Section Two: Post-war and Contemporary Literature Life After Death? Writing the Alienated Self in Post-war Japan ............. 38 Mark Williams Circle
    [Show full text]
  • De Katai a Dazai: Apontamentos Para Uma Morfologia Do Romance Do Eu
    NEIDE HISSAE NAGAE DE KATAI A DAZAI: APONTAMENTOS PARA UMA MORFOLOGIA DO ROMANCE DO EU Tese apresentada como exigência parcial para obtenção do Grau de Doutor em Teoria Literária e Literatura Comparada à Comissão Julgadora da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, sob orientação do Prof. Dr. Homero Freitas de Andrade. FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS UNIVERSIDADE DE SÃO PAULO São Paulo - 2006 De Katai a Dazai; Apontamentos para uma Morfologia do Romance do Eu II Agradecimento AGRADECIMENTOS A realização deste trabalho só foi possível com o apoio e o incentivo, a compreensão e a colaboração e, acima de tudo, o carinho de pessoas preciosas que acompanharam a minha trajetória, e é com o mais profundo reconhecimento que agradeço a todos, em especial: Ao Prof. Dr. Homero Freitas de Andrade, meu orientador, que em todos os momentos soube me conduzir com sabedoria, dedicação e paciência; Aos Professores e funcionários do Departamento de Letras Modernas da Faculdade de Ciências e Letras da Universidade Estadual Paulista “Júlio de Mesquita Filho”, Campus de Assis; Aos Professores e funcionários do Departamento de Teoria Literária e Literatura Comparada da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo; Aos Professores e funcionários do Centro de Estudos Japoneses da Universidade de São Paulo; Às amigas e colegas da Área de Japonês da UNESP, Cecília Kimie, Eliza Atsuko e Mônica Setuyo; À Milana Satie, que auxiliou na elaboração de parte do Apêndice, à Graziela e Ana Luiza pela leitura do trabalho. Aos meus familiares; Aos meus pais Ricardo (in memorian) e Olga; E ao meu marido Kunio e às minhas filhas Charlene, Susana e Jéssica a quem dedico estas páginas.
    [Show full text]
  • The Thirty-Six Immortals of Poetry
    The Thirty-Six Immortal Poets of Japan Source: http://en.wikipedia.org/wiki/Thirty-six_Immortals_of_Poetry The Thirty-six Immortals of Poetry (三十六歌 仙 Sanjrokkasen?) are a group of Japanese poets of the Nara, Asuka and Heian periods (7th – 12th centuries) selected by Fujiwara no Kint2 as exemplars of Japanese poetic ability. There are five female poets among them. Sets of portraits (essentially imaginary) of the group were popular in Japanese painting and later woodblock prints, and often hung in temples. The thirty-six poets were favorite subjects of artists into the 21st century. The above web site has links to each individual with at least one portrait of the poet. Many links, such as for Awariwara no Narihira and Ono no Komachi have extensive information and a number of artworks. Helen’s favorite poems: Is there no moon? And is this springtime not the spring Of times gone by? Myself alone remaining Still the self it was before? Ariwara no Narihira http://en.wikipedia.org/wiki/Ariwara_no_Narihira While I've been waiting For the moon to rise toward dawn And shed its light, The night wherein I pass my days Has reached an hour sorely late. Fujiwara no Nakafumi http://en.wikipedia.org/wiki/Fujiwara_no_Nakafumi Who now remains For me to claim as one I know? For the ancient pine Of Takasago was not, alas, Among my childhood friends. Fujiwara no Okikaze http://en.wikipedia.org/wiki/Fujiwara_no_Okikaze In the world below Where it seems a hard day's work To get through our lives, How one envies the cool moon Dwelling so pure in the sky! Fujiwara no Takamitsu http://en.wikipedia.org/wiki/Fujiwara_no_Takamitsu 36 Immortal Poets’ Poems 1 How shall I wait Long enough to see him come To Miwa Mountain? I know well the years will pass And there will be no visitor.
    [Show full text]
  • Volume 23 (2016), Article 2
    Volume 23 (2016), Article 2 http://chinajapan.org/articles/23/2 Persiani, Gian-Piero “China as Self, China as Other: On Ki no Tsurayuki's Use of the wa- kan Dichotomy” Sino-Japanese Studies 23 (2016), article 2. Abstract: The article discusses Ki no Tsurayuki’s strategic othering of “China” (Kara, Morokoshi) in order to theorize an independent “Yamato” cultural identity. It opens with an overview of the debate on the wa-kan issue in Japanese and Anglo-American scholarship and then moves on to explore Tsurayuki’s use of the wa-kan dychotomy in such texts as the Kokinshū prefaces (905) and the Tosa nikki (935). Although Tsurayuki often appears to adopt a regionalist stance in his writings, I stress the strategic nature of these claims (his priority was to exalt his genre of choice, not to lambast Chinese forms), and argue against seeing the making of the Kokinshū as the beginning of a cultural move away from China. Rather, cases like Tsurayuki’s point to the multiplicity of functions that Kara played within Heian culture. With remarkable pliability, Heian Japan’s “China” was both unquestionably part of the Heian self and a convenient inner Other in opposition to which new personal, political, ethnic, and cultural identities could be fashioned. Keywords: wakan, Sino-Japanese interaction, East Asia, Heian period, ethnicity, self- fashioning, Ki no Tsurayuki, Kokinshū Sino-Japanese Studies http://chinajapan.org/articles/23/2 China as Self, China as Other: On Ki no Tsurayuki’s Use of the wa-kan Dichotomy Gian-Piero Persiani For Japan, the pre-Nara, Nara, and Heian periods were times of frantic, large-scale cultural import from the continent.
    [Show full text]
  • Three Major Poem Anthologies of Premodern Japan Man’Yô Shû / ჈ᅝୠ Collection of Ten Thousand Leaves First Major Poem Anthology of the Country; Massive and Various
    SAA Fall 2005 Lecture Series: Japanese poetry, memoirs & Noh drama handout #1 Three Major Poem Anthologies of Premodern Japan Man’yô shû / ჈ᅝୠ Collection of Ten Thousand Leaves first major poem anthology of the country; massive and various ◊◊◊ basics: 4,536 poems; compiled by Ôtomo no Yakamochi; after 759 ◊◊◊ poem types: chôka (“long poems” ෳݬ), tanka (“short poems” ඗ݬ), sedôka (a early, six-line poem in a 5- cadence, ಽຢݬ), butsusokuseki ka (Buddhist poems, ဗഫಒݬ), kanshi (“Chinese 7-7-5-7-7 poems” ࠛ૙), others ◊◊◊ script: vernacular Japanese written with man’yôgana (“Man’yô script” ჈ᅝݜშ) ◊◊◊ major technique: makura kotoba (Ⴙ૘) “pillowing words” (also called: pillow words) ◊◊◊ aesthetic values: makoto (“sincerity” ಁ); masurao (“manliness” ܗਃට); emotionally moving ◊◊◊ important individuals: first “professional” poet Princess Nukata (634?–690?); great lyricist and one of the greatest of Japanese poets Kakinomoto no Hitomaro (late 8th c.); expert at scenic beauty Yamabe no Akahito (early 8th c.); well-versed in the Chinese classics and social critic Yamanoue no Okura (660?–733?); courtly Ôtomo no Tabito Hitomaro (665–731); compiler and individual with greatest number of poems Ôtomo no Yakamochi (7th c.) (718?–785) Kokin waka shû (Kokin shû) / গ਱ሆݬୠ Collection of Japanese Poems Ancient and Contemporary first imperial collection; hugely influential ◊◊◊ basics: 1,100 poems; compiled by Ki no Tsurayuki; 905? ◊◊◊ poem types: tanka (“short ိ ”poems” ඗ݬ) ◊◊◊ script: vernacular Japanese written with hiragana (“smoothed-out script ݜშ) also called onnade
    [Show full text]
  • 100 Poems Imitating 100Translations Richard P.Gabriel
    100 Poems Imitating 100 Translations Richard P.Gabriel May 17, 2021 Contents What Is This?—An Introduction . ii ShelteredHarvest........................................ 1 WetandWhite ......................................... 2 MountainPast.......................................... 3 ChocoruaMountainHighway . 4 CrimsonLeaves......................................... 5 SuchColors........................................... 6 StoneDark ........................................... 7 Skaw............................................... 8 NarrowingRoad ........................................ 9 Hey ............................................... 10 PastOutSkerries ........................................ 11 SkyPaths ............................................ 12 ForkedRiver........................................... 13 Puzzle.............................................. 14 Herbs .............................................. 15 Mountainous .......................................... 16 LongRedRoad ......................................... 17 LightFall ............................................ 18 ImpossibleGap ......................................... 19 Grief! .............................................. 20 AsIfaPriest........................................... 21 StormandDestruction ..................................... 22 MoonViewing ......................................... 23 Brocade ............................................. 24 MountRendezvous ....................................... 25 PastSnowfall .........................................
    [Show full text]
  • The Zen Poems of Ryokan PRINCETON LIBRARY of ASIAN TRANSLATIONS Advisory Committee for Japan: Marius Jansen, Ear! Miner, Janies Morley, Thomas J
    Japanese Linked Poetry An Account unih Translations of Rcnga and Haikai Sequences PAUL MINER As the link between the court poetry of the classical period and the haiku poetry of the modern period, the rcnga and haikai which constitute Japanese linked poetry have a position of central im­ portance in Japanese literature. This is the first comprehensive study of this major Japanese verse form in a Western language, and includes the critical principles of linked poetry, its placement in the history of Japanese literature, and an analysis of two renga and four haikai sequences in annotated translation. “The significance of the book as a pioneering work cannot be overemphasized. .. We should be grateful to the author for his lucid presentation of this difficult subject.” — The Journal of Asian Studies Cloth: ISBN 06372-9. Paper: ISBN 01368-3. 376 pages. 1978. The Modern Japanese Prose Poem An Anthology of Six Poets Translated and with an Introduction by DENNIS KEENE “Anyone interested in modern Japanese poetry, and many in­ volved in comparative literature, will want to own this work.” — Montmenta Nipponica Though the prose poem came into existence as a principally French literary genre in the nineteenth century, it occupies a place of considerable importance in twentieth-century Japanese poetry. This selection of poems is the first anthology of this gcurc and, in effect, the first appearance of this kind of poetry in English. Providing a picture of the last fifty years or so of Japanese poetry, the anthology includes poems by Miyoshi Tat- suji and Anzai Fuyue, representing the modernism of the prewar period; Tamura Ryuichi and Yoshioka Minoru, representing the post-war period; and Tanikawa Shuntaro and Inoue Yashushi, representing the present.
    [Show full text]
  • Unpacking Puns: Translating Kakekotoba in the Hyakunin Isshu Honors Research Thesis Presented in Partial Fulfillment of the Requ
    Unpacking Puns: Translating Kakekotoba in the Hyakunin Isshu Honors Research Thesis Presented in partial fulfillment of the requirements for graduation with honors research distinction in Japanese in the undergraduate colleges of The Ohio State University by Zak Layfield The Ohio State University May 2011 Project Advisor: Professor Naomi Fukumori, Department of East Asian Languages and Literatures Introduction The world is full of different peoples and cultural traditions, all with something to teach those curious enough to want to learn from these traditions. Unfortunately, there is often a language barrier which separates the subject and the learner, and it is at this point that a translator becomes a necessity, particularly in situations involving literary works and even more so when the languages involved are as different as English and Japanese. In order to better understand what demands are placed on the translator, this thesis examines the subject of translation through looking at specific poems in a compilation from early thirteenth century Japan with a primary focus on a poetic device that is difficult to translate. Following the analyses of the poems, this thesis then looks at how each poem has been translated previously and then, through practical application, a new translation is offered up and used to explain translation complications based on personal trial-and-error. In essence, three methods are apparent in the handling of these classical Japanese poems: Stand-alone translation, annotated translation, and innovative interpretation. Before discussing the specifics of translating Japanese poetry, some additional information regarding translation will lay a ground from which an understanding can be more easily developed.
    [Show full text]
  • 2017 Paul Atkins
    Teika P Teika P The Life and Works of a Medieval Japa nese Poet Paul S. Atkins University of Hawai‘i Press Honolulu © 2017 University of Hawai‘i Press All rights reserved Printed in the United States of Amer i ca 22 21 20 19 18 17 6 5 4 3 2 1 Library of Congress Cataloging- in- Publication Data Names: Atkins, Paul S. (Paul Stephen). Title: Teika : the life and works of a medieval Japa nese poet / Paul S. Atkins. Description: Honolulu : University of Hawai‘i Press, [2017] | Includes bibliographical references and index. Identifiers: LCCN 2016032550 | ISBN 9780824858506 (hardcover ; alk. paper) Subjects: LCSH: Fujiwara, Sadaie, 1162-1241. | Poets, Japanese—1185-1600— Biography. Classification: LCC PL791.Z5 A85 2017 | DDC 895.61/22 [B]— dc23 LC rec ord available at https:// lccn . loc . gov / 2016032550 University of Hawai‘i Press books are printed on acid- free paper and meet the guidelines for permanence and durability of the Council on Library Resources. For Mikiyo Contents Acknowl edgments ix Introduction 1 Chapter One. A Documentary Biography 9 Chapter Two. The Bodhidharma Style and the Poetry Contest in Six Hundred Rounds 43 Chapter Three. Teika’s Poetics 88 Chapter Four. Spirit of Han, Genius of Yamato 124 Chapter Five. Teika after Teika: A History of Reception 164 Conclusion 210 Notes 215 Works Cited 245 Index 257 vii Acknowl edgments In researching and writing this book I have received help from many people and organ izations to whom I am deeply grateful. Professor Akase Shingo of Kyoto Prefectural University sponsored my stay there as a visiting researcher during academic year 2001–2002.
    [Show full text]
  • THE SOCIO-POLITICAL FUNCTIONS of JAPANESE “VENGEFUL SPIRIT” HANDSCROLLS, 1150-1230 by Sara Lorraine Sumpter Bachelor of Arts
    THE SOCIO-POLITICAL FUNCTIONS OF JAPANESE “VENGEFUL SPIRIT” HANDSCROLLS, 1150-1230 by Sara Lorraine Sumpter Bachelor of Arts, University of California, Davis, 2006 Master of Arts, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Sara L. Sumpter It was defended on March 21, 2016 and approved by Katheryn M. Linduff, UCIS Research Professor, History of Art and Architecture Josh Ellenbogen, Associate Professor, History of Art and Architecture Clark Chilson, Associate Professor, Religious Studies Dissertation Advisor: Karen M. Gerhart, Professor, History of Art and Architecture ii Copyright © by Sara L. Sumpter 2016 iii THE SOCIO-POLITICAL FUNCTIONS OF JAPANESE “VENGEFUL SPIRIT” HANDSCROLLS, 1150-1230 Sara Lorraine Sumpter, PhD University of Pittsburgh, 2016 The second half of the twelfth century witnessed a curious boom at the Heian Court in Japan— the production of illustrated handscrolls whose narratives centered on a specific type of historical figure. Within a span of fifty years or less, three such handscroll sets were produced: the Kibi Daijin nittō emaki, the Ban Dainagon emaki, and the Kitano Tenjin engi emaki. In each story, the protagonist is an aristocrat who had lived three-to-four-hundred years previous to the production of the handscroll set. Each of the men in question had died in exile, and each was—at one point or another—believed to have become a vengeful spirit.
    [Show full text]
  • French Journal of Japanese Studies, 2 | 2013 Male? Female? Gender Confusion in Classical Poetry (Waka) 2
    Cipango - French Journal of Japanese Studies English Selection 2 | 2013 Language and Literature Male? Female? Gender confusion in classical poetry (waka) Michel Vieillard-Baron Édition électronique URL : https://journals.openedition.org/cjs/270 DOI : 10.4000/cjs.270 ISSN : 2268-1744 Éditeur INALCO Référence électronique Michel Vieillard-Baron, « Male? Female? Gender confusion in classical poetry (waka) », Cipango - French Journal of Japanese Studies [En ligne], 2 | 2013, mis en ligne le 28 juin 2013, consulté le 08 juillet 2021. URL : http://journals.openedition.org/cjs/270 ; DOI : https://doi.org/10.4000/cjs.270 Ce document a été généré automatiquement le 8 juillet 2021. Cipango - French Journal of Japanese Studies is licensed under a Creative Commons Attribution 4.0 International License. Male? Female? Gender confusion in classical poetry (waka) 1 Male? Female? Gender confusion in classical poetry (waka) Michel Vieillard-Baron NOTE DE L’ÉDITEUR Original release: Michel Vieillard-Baron, « Homme ? Femme ? La confusion des genres (gender) dans la poésie classique (waka) », Cipango — Cahiers d’études japonaises, no 14, 2007, p. 7-44. 1 The Man’yōshū 万葉集, the oldest surviving anthology of Japanese poetry (completed in around 759), includes the following poem (book 4, no. 499): Momohe ni mo He could come Kishikanukamo to one hundred times or more, Omohekamo so I think! Kimi ga tsukai no Your messenger, never Miredo akazaramu will I tire of seeing him 2 This poem concludes a series of four pieces attributed to Kakinomoto no Hitomaro 柿本 人麻呂 (?-710): the first three lament the poet’s sadness at being separated from his wife; the fourth (quoted above) adopts the point of view of the wife impatiently awaiting news of her husband.
    [Show full text]