Japanese Literature and Poetry of the Heian Period Sei Shōnagon - Makura No Sōshi and Murasaki Shikibu - Genji Monogatari

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Humanities 1B Lindahl Japanese Literature and Poetry of the Heian period Sei Shōnagon - Makura no sōshi and Murasaki Shikibu - Genji Monogatari (from last time) Japanese forms of Buddhim, Zen Bushido – “the way of the warrior” The Martial Arts: Budo – the way of war (Kendo, Kyodo, Judo, Aikido) Beyond combat – Buddhism and Art (mono no aware and the sakura) Miyamoto Musashi (1584-1645) Woodblock print of Miyomoto Musashi by Utagawa Kuniyoshi Self-Portrait, Miyomoto Musashi, 1640, Miyomoto Musashi – Shrike on a Withered Branch (1640ish) The Golden Pavilion of Rokuon-ji (Kinkaku), Kyoto, 1390 CE Tsukiyama – landscape garden Kare-sansui - dry garden (sometimes “zen garden”) Zen Garden, Ryoanji Temple, Kyoto, 15th c., Garden, Daisen-in Temple, Kyoto, 1513 Chaniwa – tea garden, Chado – the way of tea Wa = harmony, Kei – respect, Sei – purity, jaku – tranquility Tea Bowl (called "U-no-hana-gaki"), Shinoware, 3 2/3" 16th c., Tea bowl "mine-no-momiji" Kado – the way of flower arranging (Ikebana) Heian Period and/or Fujiwara Period (794-1158 CE), Heian-Kyo / Kyoto Literature and Poetry in 11th c. Kyoto Writing – Kana/Hiragana, The "Heian aesthetic" – “mujokan” and “mono no aware” Sei Shōnagon (966- sometime after 1017) Makura no sōshi – The Pillow Book Empress Teishi (977-1000) Kokinshū and the form of the Waka (57577) and Haiku (575) Shodo – the way of brush writing (Calligraphy) The Thirty-six Immortal Poets Scroll - Lady Kodai no kimi, color on paper, 13th c. Fujiwara Nobuzane Page from the Anthology of the Thirty-Six Poets, Nishi Honangan-ji, 12th c. Page from the Anthology of the Thirty-Six Poets, Sanjuroku-nin Kashu, fragment from the Ise-shu, ink on colored paper, 12th c. Decorative Fan, color on paper, 12th c. Ono no Komachi, Katushika Hokuichi, scroll painting on silk, 19th c. Okashi Murasaki Shikibu (973-1016) - Tale of Genji (Genji Monogatari) Fujiwara no Michinaga (995-1027 CE) - The World of Genji Michinaga’s daughter – Shōshi Court life and the role of women in 11th c. Kyoto The book - Genji Monogatari Tale of Genji scroll (detail), color on paper, 12th c. Yamato-e, Genji Scrolls, Takayoshi, 12th c. Tale of Genji Illustrations, Tosa Mitsuoki (1617-1691), 17th c. Evening Faces, Lavender, Heartvine, Suma, Fireflies The Waka in the Tale of Genji Genji as a heroic character .

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Katsushika Hokusai and a Poetics of Nostalgia
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Overcoming Distance Full Article Language: En Indien Anders: Engelse Articletitle: 0
_full_alt_author_running_head (neem stramien B2 voor dit chapter en dubbelklik nul hierna en zet 2 auteursnamen neer op die plek met and): 0 _full_articletitle_deel (kopregel rechts, vul hierna in): Overcoming Distance _full_article_language: en indien anders: engelse articletitle: 0 76 Bowring Chapter 7 Overcoming Distance Richard Bowring A recent book review reminded me once again of the strange things that can happen when alien cultures come into contact. The book being reviewed was a study of the Rezeptionsgeschichte (it sounds better in German) in Japan of the Japanese classic the Pillow Book (Jpn. Makura no sōshi), but the reviewer’s main interest was not in fact the book in question but the Pillow Book itself and, by extension, its putative author, the Heian court lady Sei Shōnagon (966?–1017?). The reviewer had clearly found Sei Shōnagon herself a fascinat- ing figure to such a degree that the editor of the highly respected journal in question had felt it appropriate to give the review the title “Shōnagon is Hot.” My heart sank, of course, but it is a good example of how reception and inter- pretation is always work in progress, whatever one might think of the direction of travel. The Pillow Book has enchanted and engaged readers abroad ever since it was first translated into English by Arthur Waley in 1928. How can you not be drawn to a passage such as the following? A night when the moon is very bright. You are crossing a stream and as the oxen tread along, water goes scattering through the air like a shatter- ing of crystal—how magnificent!1 A curious mélange of such descriptions, anecdotes, and vibrant vignettes of life at court, mixed in with a series of apparently random lists and catalogues, which recount likes and dislikes, annoying things, pretty things, the acceptable and the unacceptable, this work tells us much of life in the Heian court as seen through the sharp eyes of someone on the margins, a highly placed female companion/servant to an imperial consort.
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