The Tale of Murasaki Pdf, Epub, Ebook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. -
©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. -
UNIVERSITY of CALIFORNIA, IRVINE Soteriology in the Female
UNIVERSITY OF CALIFORNIA, IRVINE Soteriology in the Female-Spirit Noh Plays of Konparu Zenchiku DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSPHY in East Asian Languages and Literatures by Matthew Chudnow Dissertation Committee: Associate Professor Susan Blakeley Klein, Chair Professor Emerita Anne Walthall Professor Michael Fuller 2017 © 2017 Matthew Chudnow DEDICATION To my Grandmother and my friend Kristen オンバサラダルマキリソワカ Windows rattle with contempt, Peeling back a ring of dead roses. Soon it will rain blue landscapes, Leading us to suffocation. The walls structured high in a circle of oiled brick And legs of tin- Stonehenge tumbles. Rozz Williams Electra Descending ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv CURRICULUM VITAE v ABSTRACT OF DISSERTATION vi INTRODUCTION 1 CHAPTER 1: Soteriological Conflict and 14 Defining Female-Spirit Noh Plays CHAPTER 2: Combinatory Religious Systems and 32 Their Influence on Female-Spirit Noh CHAPTER 3: The Kōfukuji-Kasuga Complex- Institutional 61 History, the Daijōin Political Dispute and Its Impact on Zenchiku’s Patronage and Worldview CHAPTER 4: Stasis, Realization, and Ambiguity: The Dynamics 95 of Nyonin Jōbutsu in Yōkihi, Tamakazura, and Nonomiya CONCLUSION 155 BIBLIOGRAPHY 163 iii ACKNOWLEDGEMENTS This dissertation is the culmination of years of research supported by the department of East Asian Languages & Literatures at the University of California, Irvine. It would not have been possible without the support and dedication of a group of tireless individuals. I would like to acknowledge the University of California, Irvine’s School of Humanities support for my research through a Summer Dissertation Fellowship. I would also like to extend a special thanks to Professor Joan Piggot of the University of Southern California for facilitating my enrollment in sessions of her Summer Kanbun Workshop, which provided me with linguistic and research skills towards the completion of my dissertation. -
Introduction This Exhibition Celebrates the Spectacular Artistic Tradition
Introduction This exhibition celebrates the spectacular artistic tradition inspired by The Tale of Genji, a monument of world literature created in the early eleventh century, and traces the evolution and reception of its imagery through the following ten centuries. The author, the noblewoman Murasaki Shikibu, centered her narrative on the “radiant Genji” (hikaru Genji), the son of an emperor who is demoted to commoner status and is therefore disqualified from ever ascending the throne. With an insatiable desire to recover his lost standing, Genji seeks out countless amorous encounters with women who might help him revive his imperial lineage. Readers have long reveled in the amusing accounts of Genji’s romantic liaisons and in the dazzling descriptions of the courtly splendor of the Heian period (794–1185). The tale has been equally appreciated, however, as social and political commentary, aesthetic theory, Buddhist philosophy, a behavioral guide, and a source of insight into human nature. Offering much more than romance, The Tale of Genji proved meaningful not only for men and women of the aristocracy but also for Buddhist adherents and institutions, military leaders and their families, and merchants and townspeople. The galleries that follow present the full spectrum of Genji-related works of art created for diverse patrons by the most accomplished Japanese artists of the past millennium. The exhibition also sheds new light on the tale’s author and her female characters, and on the women readers, artists, calligraphers, and commentators who played a crucial role in ensuring the continued relevance of this classic text. The manuscripts, paintings, calligraphy, and decorative arts on display demonstrate sophisticated and surprising interpretations of the story that promise to enrich our understanding of Murasaki’s tale today. -
Aoi No Ue” –The Tale of Genji – Sep 13, 2020 (SUN) 8:00Pm ~ Exclusive Online Event Archived Until Sep 16, 2020
Japanese Noh Theater at Odawara Castle “Aoi no Ue” –The Tale of Genji – Sep 13, 2020 (SUN) 8:00pm ~ Exclusive Online Event Archived until Sep 16, 2020 Program: 1. Japanese Drum Performance—Hojo Daiko 2. Japanese Noh Theater at Odawara Castle “Aoi no Ue” - The Tale of Genji - 3. FUMA NINJA Legend of ODAWARA The Tale of Genji is a classic work of Japanese literature dating back to the 11th century and is considered one of the first novels ever written. It was written by Murasaki Shikibu, a poet, What is Noh? novelist, and lady-in-waiting in the imperial court of Japan. During the Heian period women were discouraged from furthering their education, but Murasaki Shikibu showed great aptitude Noh is a Japanese traditional performing art born in the 14th being raised in her father’s household that had more of a progressive attitude towards the century. Since then, Noh has been performed continuously until education of women. today. It is Japan’s oldest form of theatrical performance still in existence. The word“Noh” is derived from the Japanese word The overall story of The Tale of Genji follows different storylines in the imperial Heian court. for“skill” or“talent”. The Program The themes of love, lust, friendship, loyalty, and family bonds are all examined in the novel. The The use of Noh masks convey human emotions and historical and Highlights basic story follows Genji, who is the son of the emperor and is left out of succession talks for heroes and heroines. Noh plays typically last from 2-3 hours and political reasons. -
The Reflection of the Concept of Marriage of Heian Japanese Aristocracy Revealed in Murasaki Shikibu's
PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI THE REFLECTION OF THE CONCEPT OF MARRIAGE OF HEIAN JAPANESE ARISTOCRACY REVEALED IN MURASAKI SHIKIBU’S THE TALE OF GENJI AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By YUNITA PRABANDARI Student Number: 084214081 ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2015 PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI THE REFLECTION OF THE CONCEPT OF MARRIAGE OF HEIAN JAPANESE ARISTOCRACY REVEALED IN MURASAKI SHIKIBU’S THE TALE OF GENJI AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By YUNITA PRABANDARI Student Number: 084214081 ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2015 ii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI iv PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI v PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma Nama : Yunita Prabandari Nomor Mahasiswa : 084214081 Demi pengembangan ilmu -
Japanese Studies Review, Vol. XX (2016), Pp
ISSN: 1500-0713 ______________________________________________________________ Article Title: Performing Prayer, Saving Genji, and Idolizing Murasaki Shikibu: Genji Kuyō in Nō and Jōruri Author(s): Satoko Naito Source: Japanese Studies Review, Vol. XX (2016), pp. 3-28 Stable URL: https://asian.fiu.edu/projects-and-grants/japan-studies- review/journal-archive/volume-xx-2016/naito-satoko- gkuyojoruri_jsr.pdf ______________________________________________________________ PERFORMING PRAYER, SAVING GENJI, AND IDOLIZING MURASAKI SHIKIBU: GENJI KUYŌ IN NŌ AND JŌRURI1 Satoko Naito University of Maryland, College Park Introduction The Murasaki Shikibu daraku ron [lit. “Story of Murasaki Shikibu’s Fall] tells that after her death Murasaki Shikibu (d. ca. 1014) was cast to hell.2 The earliest reference is found in Genji ipponkyō [Sutra for Genji] (ca. 1166), which recounts a Buddhist kuyō (dedicatory rite) performed on her behalf, with the reasoning that the Heian author had been condemned to eternal suffering in hell for writing Genji monogatari [The Tale of Genji] (ca. 1008). Though Genji ipponkyō makes no explicit claim to the efficacy of the kuyō, its performance is presumably successful and saves the Genji author. In such a case the earliest extant utterance of the Murasaki-in-hell story is coupled with her subsequent salvation, and the Genji author, though damned, is also to be saved.3 It may be more accurate, then, to say that the Murasaki Shikibu daraku ron is about Murasaki Shikibu’s deliverance, rather than her fall (daraku). Through the medieval period and beyond, various sources recounted the execution of kuyō rites conducted for The Tale of Genji’s author, often initiated and sponsored by women.4 Such stories of Genji kuyō 1 Author’s Note: I thank those who commented on earlier versions of this paper, in particular D. -
The Cross-Cultural Comparison of the Tale of Genji and a Dream of Red Mansions
Volume 5, No. 2-3 24 The Cross-cultural Comparison of The Tale of Genji and A Dream of Red Mansions Mengmeng ZHOU Department of Chinese Language and Literature, Jinan University, Guangzhou, 510632, China; Email: [email protected] Abstract: The Tale of Genji, and A Dream of Red Mansions are the classic work of oriental literature. The protagonists Murasaki-no-ue and Daiyu, as the representatives of eastern ideal female images, reflect the similarities and differences between Japanese culture and Chinese culture. It is worthwhile to elaborate and analyze from cross-cultural perspective in four aspects: a) the background of composition; b)the psychological character; c) the cultural aesthetic orientation; and d)value orientation. Key Words: Murasaki-no-ue; Daiyu; cross-cultural study 1. THE BACKGROUND OF COMPOSITION The Tale of Genji, is considered to be finished in its present form between about 1000 and 1008 in Heian-era of Japan. The exact time of final copy is still on doubt. The author Murasaki Shikibu was born in a family of minor nobility and a member the northern branch of the Fujiwara clan. It is argued that her given name might have been Fujiwara Takako. She had been a maid of honor in imperial court. As a custom in imperial court, the maid of honor was given an honorific title by her father or her brother‘s position. ―Shikibu‖ refers to her elder brother‘s position in the Bureau of Ceremony (shikibu-shō).―Murasaki‖ is her nickname, which is called by the readers, after the character Murasaki-no-ue in The Tale of Genji. -
"Geisha" As Cultural Criticism
TEACHING THE “Geisha” AS CULTURAL CRITICISM By Sarah J. Pradt and Terry Kawashima The Courtesan, Gorisei. Woodblock print by Keisai Eisen, 1790 – 1848. The Japanese Fan. By Claude Monet, 1840 – 1926. Source: www.degener.com, The Rolf M. Degener Gallery, Germany. Source:The Art of Japanese Prints. Copyright ©1997 Reed International Books Limited. 26 EDUCATION ABOUT ASIA Volume 6, Number 1 Spring 2001 S PECIAL he late 1990s marked an explosion in the popularity of the geisha icon in the United States and elsewhere, fueled by Arthur Golden’s 1998 best seller Memoirs of a Geisha. The novel has inspired spin-off vodka ads S ECTION ON and a specialty tea, and Steven Spielberg’s motion picture version, while repeatedly delayed, will reportedly T 1 begin production in 2001. Visually, the image of the geisha has become more and more prominent. An image of a woman in kimono appears on the dust jacket of the U.S. edition of Golden’s novel; this 1905 photograph is apparently 2 T in the public domain and has been reproduced on various knick-knacks. Celebrities such as Madonna and Björk don EACHING “geisha-inspired” fashions, as did the “queen of the Naboo” in George Lucas’s The Phantom Menace (1999). Even before the recent popularity of the geisha, however, one could find this figure represented in elements of popular cul- ture ranging from tuna fish labels and chocolates to X-rated Web sites. It is rare to find a student who has not come into J APANESE contact with one or more representations of the geisha. -
The Tale of Genji” and Its Selected Adaptations
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Anna Kuchta Instytut Filozo!i, Uniwersytet Jagielloński Joanna Malita Instytut Religioznawstwa, Uniwersytet Jagielloński Spirit possession and emotional suffering in „The Tale of Genji” and its selected adaptations. A study of love triangle between Prince Genji, Lady Aoi and Lady Rokujō Considered a fundamental work of Japanese literature – even the whole Japanese culture – !e Tale of Genji, written a thousand years ago by lady Murasaki Shikibu (a lady-in-waiting at the Imperial Court of the empress Shōshi1 in Heian Japan2), continues to awe the readers and inspire the artists up to the 21st century. %e amount of adaptations of the story, including more traditional arts (like Nō theatre) and modern versions (here !lms, manga and anime can be mentioned) only proves the timeless value and importance of the tale. %e academics have always regarded !e Tale of Genji as a very abundant source, too, as numerous analyses and studies have been produced hitherto. %is article intends to add to the perception of spiri- tual possession in the novel itself, as well as in selected adaptations. From poems to scents, from courtly romance to political intrigues: Shikibu covers the life of aristocrats so thoroughly that it became one of the main sour- ces of knowledge about Heian music3. Murasaki’s novel depicts the perfect male, 1 For the transcript of the Japanese words and names, the Hepburn romanisation system is used. %e Japanese names are given in the Japanese order (with family name !rst and personal name second). -
(Women of Court, Courtesans and Geisha) in the Japanese Societies from H
Hugvísindasvið Pleasure Women Court Ladies, Courtesans and Geisha, as seen through the eyes of female authors. Ritgerð til B.A.-prófs Svanhildur Helgadóttir Maí 2011 Háskóli Íslands Hugvísindasvið Japanskt Mál og Menning Pleasure Women Court Ladies, Courtesans and Geisha, as seen through the eyes of female authors. Ritgerð til B.A.-prófs Svanhildur Helgadóttir Kt.: 050171-4429 Leiðbeinandi: Gunnella Þorgeirsdóttir Maí 2011 1 Abstract Murasaki Shikibu and Masuda Sayo, though not born in the same century, have a common thread, of writing about pleasure women. The term “pleasure” is used loosely, as the women Shikibu wrote about, were aristocratic girls whose parents highest goal, was to get them accepted at court, preferably in service for the Emperor. Although having an honourable position at court, the services the ladies of court performed for the Emperor or noble men were not unlike the services of the “yujo” (or courtesan / prostitute during Edo period (1600-1868) and “geisha” (women entertainers and sex partners, first seen in the late eighteenth century), who appeared later unto the scene. The possibility that these women were in any way alike was perhaps unthinkable then, but in today’s modern societies the question may be valid, considering all the sexual innuendoes in advertisements and music videos. This question as well as other topics, such as the women’s regard for the profession, how society viewed them and their feelings about their status in life, regarding all three professions, the court lady, the yujo and the geisha 2 I. INTRODUCTION .............................................................................................................. 4 II. METHODOLOGY ............................................................................................................. 6 II. JAPANESE FEMALE AUTHORS AND THEIR ROLE IN JAPAN’S CULTURAL SOCIETY ................................................................................................................................ -
Poetry: the Language of Love in Tale of Genji
Poetry: The Language of Love in Tale of Genji YANPING WANG This article examines the poetic love presented by waka poetry in the Tale of Genji. Waka poetry comprises the thematic frame of Tale of Genji. It is the language of love. Through observation of metaphors in the waka poems in this article, we can grasp the essence of the poetics of love in the Genji. Unlike the colors of any heroes’ and heroines’ love in other literary works, Genji’s love is poetic multi-color, which makes him a mythopoetic romantic hero in Japanese culture. Love in Heian aristocracy is sketched as consisting of an elaborate code of courtship which is very strict in its rules of communion by poetry. Love is a romantic adventure without compromise and bondage of morality. The love adventure of Genji and other heroes involves not only aesthetic Bildung and political struggle but also poetic production and metaphorical transformation. The acceptance of the lover’s poetic courtship creates an artistic and romantic air to the relations between men and women. Love and desire are accompanied by a ritual of elegance, grace and a refined cult of poetic beauty. There are 795 poems (waka) in the Genji. They are used in the world of the Genji as a medium of interpersonal communication, as a means to express individual emotions and feelings, as an artistic narrative to poeticize the romance and as an artistic form to explore the internal life of the characters.1 Nearly 80 percent (624) of these 795 poems are exchanges (zotoka), 107 are solo recitals and 64 are occasional poems.2