曾根崎心中 Sonezaki Shinjū?
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Sakata Tojuro, Nakamura Shichisaburo and the Creation Of
SAKATA TOJURO, NAKAMURA SHICHISABURO AND THE CREATION OF WAGOTO KABUKI IN THE GENROKU ERA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE August 2004 By Holly A. Blumner Dissertation Committee: James R. Brandon, Chair Robert Huey Tamara Hunt Montgomery Julie A. Iezzi Kirstin Pauka Acknowledgements The research for this dissertation was made possible through the very generous support of the Monbusho and the Crown Prince Akihito Scholarship Foundation. I would like to thank the managers and theatre attendants at Shochiku's Minami-za, Naka-za, and Shochiku-za theatres for granting me access to numerous performances. I wish to thank Asahi Earphone Guide Service and the Asahi English Earphone Guide staff. I am grateful to Hamatani Hiroshi at the National Theatre of Japan for his advice during my field study in Japan. I wish to thank Nakamura Ganjiro III and Kataoka Nizaemon IV for speaking with me about the current state of wagoto kabuki and nimaime acting. I am indebted to Torigoe Bunzo at Waseda University for his guidance during my two years of research at Waseda University, and to Ikawa Mayuko who tirelessly answered my questions about play texts and acting critiques. In Hawai'i, I would like to acknowledge my graduate student colleagues for their encouragement along the way. I wish to thank my committee members for their advice and assistance during the writing of this III dissertation. I am especially grateful to Dr. James R. Brandon who continues to be a great source of knowledge, inspiration, and encouragement. -
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. -
E-Phaïstos, IX-1 | 2021 La Critique Théâtrale De Chikamatsu Monzaemon Et Sa Relation À La Vallée De L
e-Phaïstos Revue d’histoire des techniques / Journal of the history of technology IX-1 | 2021 Autour de Léonard de Vinci La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l’étrange Traduction et commentaire de la préface de Naniwa Miyage Chikamatsu Monzaemon’s Theater Criticism and its Relation to The Uncanny Valley. A translation and commentary on the preface to Naniwa Miyage Karl F. MacDorman Édition électronique URL : http://journals.openedition.org/ephaistos/8706 ISSN : 2552-0741 Éditeur IHMC - Institut d'histoire moderne et contemporaine (UMR 8066) Référence électronique Karl F. MacDorman, « La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l’étrange », e-Phaïstos [En ligne], IX-1 | 2021, mis en ligne le 27 avril 2021, consulté le 28 avril 2021. URL : http://journals.openedition.org/ephaistos/8706 Ce document a été généré automatiquement le 28 avril 2021. Tous droits réservés La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l... 1 La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l’étrange Traduction et commentaire de la préface de Naniwa Miyage Chikamatsu Monzaemon’s Theater Criticism and its Relation to The Uncanny Valley. A translation and commentary on the preface to Naniwa Miyage .Karl MacDorman F 1 Chikamatsu Monzaemon 近松 門左衛門 (1653–1724) est parfois appelé le Shakespeare japonais. Durant sa vie, il bénéficia d’une telle aura que ses contemporains allèrent jusqu’à le nommer dieu gardien de leur profession (sakusha no ujigami 作者の氏神 ; Kawatake 1988 ; Yuda 1975). La contribution artistique de Chikamatsu comprend la transformation et la popularisation, au début du XVIIe siècle, du ningyō jōruri 人形浄瑠 璃, une forme traditionnelle de théâtre musical de marionnettes originaire d’Osaka au Japon. -
KOJIKI to HARUKI
2018 Fall Semester KOJIKI to HARUKI Section 1 Instructor/Title Ghosh Dastidar, Debasrita 【Course Outline / Description】 This course will facilitate students to discover the beauty of Japanese Literature. Students will analyze the literary works from each period of Japanese history and identify with the distinctive features. The course would be divided into five sections namely, ancient, classical, medieval, modern and post war period. The lectures will focus on key aspects of each period and the representative works followed by in-class discussion. Students will be given take home readings or asked to explore and analyse the particular topic. Active student engagement and participation is encouraged for critical analysis and understanding of each module. Students will involve in individual, pair or group work. Each week there will be one out-of -class compulsory reading or other suggested readings. Basic knowledge of Japanese society and culture would be an advantage but not a requirement for the course. Section 2 【Course Objectives/Goals/Learning Outcomes】 Students should be able to; Name representative writers and works of each period of Japanese literary history. Describe how Japanese literature develops with time. Identify the key literary features of Japanese history. Recognize the socio-political background of each period and how it affects individuals and subsequently influence literary works. Summarize own opinion on the development of Japanese literature. Section 3 【Class Schedule/Class Environment, Literature and Materials】 -
UBC Dissertation 2012 Vermot
THE ROLE OF URBAN REAL ESTATE IN JESUIT FINANCES AND NETWORKS BETWEEN EUROPE AND CHINA, 1612-1778 by Frederik Vermote A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2013 © Frederik Vermote, 2013 Abstract This dissertation examines the role of urban real estate in the finances and networks of the Jesuit missions in China. Starting in 1612, when Jesuit missionaries working in China envisioned for the first time a strategy for making the missions financially independent from Europe, I will investigate how and why it took until the second half of the eighteenth century for the Christian communities in China to become financially self-sustaining. The procurators and their subordinate treasurers, the Jesuits primarily in charge of the financial management of the missions, are the subject of this dissertation. How did they combine the resources and personnel extracted from Europe, India, and China to establish an autonomous financial foundation for the missions in China? This dissertation argues that their most reliable source of income was revenue from investments in urban real estate. The arc of this dissertation spans both the seventeenth and eighteenth centuries examining the Portuguese and the French Jesuit missions in China. Through a close analysis of Jesuit procurators’ activities and personal networks this dissertation will assert that while they realized the necessity of economic integration in the global missions early on, procurators encountered great problems in realizing this goal. As such, this dissertation recognizes the limitations of global networks by exploring the role of global contact and the circulation of missionaries, money, and mail and by looking at the Jesuit search for financial opportunities in the local and regional economy to become self-sustaining communities. -
In Paradise Lost and Shitsurakuen
A Comparative Study of‘the Ultimate Love’ in Paradise Lost and Shitsurakuen Yuko Kanakubo Noro* 1. In 1997, a Japanese film based on a Japanese novel, Shitsurakuen, was very popular among Japanese. The title of the film, Shitsurakuen, was identical with one of the traditional Japanese titles of Paradise Lost, but the content of the former was completely different from that of original English epic. While in Paradise Lost, the ultimate love is that of God incarnated in the matrimonial love between Adam and Eve, the theme of Shitsurakuen is illicit love between a man and a woman. Each of them has his/her own family, but in the end they commit‘shin-ju’, a kind of suicide, which is strictly forbidden in the Christian world. While at the end of Paradise Lost, Adam and Eve bravely leave Eden, and go into this world, believing in God’s Providence, Kuki and Rinko, the hero and heroine of Shitsurakuen, leave this world and commit double suicide, believing in the next life after death. The ultimate love in Paradise Lost is active, life-oriented, and backed by the love of the Christian God, while the ultimate love in Shitsurakuen is pessimistic, death-oriented, and backed by the secularized, or misunderstood, Johdo faith. Facing the long-run of the film and strong sales of the book, most Japanese Miltonists and readers of Paradise Lost became bewildered and wondered why the author of Shitsurakuen chose that title for his book, and in what sense the immorality of the theme and the obscenity of repetitive sexual depictions of Shitsurakuen are equalized with the sublimity and the holy matrimonial love in Paradise Lost. -
Monumenta Nipponica Style Sheet
Monumenta Nipponica Style Sheet Completely revised edition SOPHIA UNIVERSITY, TOKYO Monumenta Nipponica Style Sheet Completely revised edition (May 2017) Sophia University 7–1 Kioi-chō, Chiyoda-ku Tokyo 102-8554 Tel: 81-3-3238-3543; Fax: 81-3-3238-3835 e-mail: [email protected] Website: http://dept.sophia.ac.jp/monumenta Copyright 2017 by Sophia University, all rights reserved. CONTENTS 1 GENERAL DIRECTIONS 1 1.1. Preparation of Manuscripts 1 1.2. Copyright 1 2 OVERVIEW OF STYLISTIC CONVENTIONS 2 2.1. Italics/Japanese Terms 2 2.2. Macrons and Plurals 2 2.3. Romanization 2 2.3.1. Word division 3 2.3.2. Use of hyphens 3 2.3.3. Romanization of Chinese and Korean names and terms 4 2.4. Names 4 2.5. Characters (Kanji/Kana) 4 2.6. Translation and Transcription of Japanese Terms and Phrases 4 2.7. Dates 5 2.8. Spelling, Punctuation, and Capitalization of Western Terms 5 2.9. Parts of a Book 6 2.10. Numbers 6 2.11. Transcription of Poetry 6 3 TREATMENT OF NAMES AND TERMS 7 3.1. Personal Names 7 3.1.1. Kami, Buddhist deities, etc. 7 3.1.2. “Go” emperors 7 3.1.3. Honorifics 7 3.2. Names of Companies, Publishers, Associations, Schools, Museums 7 3.3. Archives and Published Collections 8 3.4. Names of Prefectures, Provinces, Villages, Streets 8 3.5. Topographical Names 9 3.6. Religious Institutions and Palaces 9 3.7. Titles 10 3.7.1. Emperors, etc. 10 3.7.2. Retired emperors 10 3.7.3. -
Koxinga, Un Héros Aux Multiples Facettes
0 Faculté de philosophie, arts et lettres (FIAL) Koxinga, un héros aux multiples facettes Mémoire réalisé par Bastien Muyle Promoteur(s) Paul Servais Année académique 2016-2017 Master en langues et lettres anciennes, orientation orientales 1 Table des matières PREFACE .......................................................................................................................................... 2 OBJECTIF DU TRAVAIL ............................................................................................................................... 2 DE MULTIPLES APPELLATIONS .................................................................................................................... 3 KOXINGA DANS LES OUVRAGES OCCIDENTAUX ............................................................................... 6 LES DERNIERS OUVRAGES DE REFERENCES .................................................................................................... 6 LE KOXINGA HISTORIQUE EXISTE-T-IL ? ........................................................................................................ 8 LE PIRATE QUI A OSE TENIR TETE A L’OCCIDENT ............................................................................................ 17 KOKUSENYA DANS LE MONDE JAPONAIS....................................................................................... 22 CONTEXTUALISATION HISTORIQUE ............................................................................................................ 22 L’INFLUENCE DU THEATRE JAPONAIS ........................................................................................................ -
Volume 20 (2013), Article 3
Volume 20 (2013), Article 3 http://chinajapan.org/articles/20/3 Hedberg, William C. “The Chinese Afterlives of Coxinga and the Forty-Seven Rōnin of Akō: Japanese Puppet Theatre and Cultural Encounter in Edo-Period Nagasaki” Sino-Japanese Studies 20 (2013), article 3. Abstract: Few works of Japanese literature are better-known than Chikamatsu Monazaemon’s 近松門左衛 門 (1653-1724) Kokusen’ya kassen 国性爺合戦 (The Battles of Coxinga, 1715) and Takeda Izumo’s 竹田 出雲 (1691-1756) Kana dehon Chūshingura 仮名手本忠臣蔵 (A Treasury of Loyal Retainers, 1748). Both works center on the heroic exploits of Japanese (or half-Japanese) warriors, and the plays’ celebration of honor, duty, and self-sacrifice have made them ideal vehicles for various discourses of nationhood, identity, and literary representation in the Meiji and post-Meiji eras. This essay focuses on two little- known Chinese-language translations of the play by the Japanese translator Shū Bunjiemon 周文次右衛門 (d. 1825). Shū was an official translator at the Nagasaki customhouse and a sixth-generation descendant of Chinese immigrants from Quanzhou. Shū drafted a partial translation of Kokusen’ya kassen and a full translation of Chūshingura that recast the Japanese-language plays in the style of late imperial Chinese prose fiction works such as Sanguo zhi yanyi 三國志演義 (Romance of the Three Kingdoms) and Shuihu zhuan 水滸傳 (The Water Margin). Both translations remained in manuscript form, and the lack of a preface or any paratextual commentary by Shū makes speculation about their intended purpose difficult. In my study, I argue that the internal features of the Chūshingura translation suggest that Shū desired to circulate the text among Chinese readers—an entirely plausible scenario considering both Shū’s profession as a translator and documented interest in Japanese-language texts among Chinese travelers to Nagasaki. -
Act II, Signature Xwix - (1)
Well, couldn't they have just fired some itsy-bitsy warning shots [Matthew Bogdanos, Thieves of Baghdad, with William Patrick (New York: Bloomsbury, 2005), p. 210]? II — xwix — Who Cannot Cope with Allegory? While the ghost riders swirl around the temporal realm, the Ossianian Minister Ahem interrogates Lt. Col. Simic in the Impersonal Terrace. The range fire subsides and Lothar’s party treks across the desert. Park’s telephone conversation fades to the discoverer (all too busy) in distant space. As Charles’ exposé surfaces, principals of the Founders’ League consider methods of damage control. The Hermitage is looted by mobs while Sergei and Talitha escape from the catacombs beneath Ossian and whisk the trek bash through customs. Split from Lothar’s party, Mantissa wanders down a dirty old road. Soundman of Ossian offers Lt. Col. Simic a tour of wishram as coalition forces surge into the capitol. ~ page 239 ~ balkanize Act II, Signature xwix - (1) Main Entry: bal£kan£ize Pronunciation: ‚b•l-k„-ƒnˆz Function: transitive verb Inflected Form: -ized ; -iz£ing Usage: often capitalized Etymology: Balkan Peninsula Date: 1919 : to break up (as a region or group) into smaller and often hostile units –bal£kan£i£za£tion \ƒb•l-k„-n„- ‚z†-sh„n\ noun , often capitalized. [Following text courtesy of Wikipedia]: Balkanization, or Balkanisation, is a geopolitical term, originally used to describe the process of fragmentation or division of a region or state into smaller regions or states that are often hostile or non-cooperative with each other [Merriam-Webster Online Dictionary , "1. to break up (as a region or group) into smaller and often hostile units," http://www.m-w.com/dictionary/balkanized], and it is considered pejorative [Vidanović, Ivan, "Rečnik socijalnog rada Udruženje stručnih radnika socijalne zaštite Srbije: Društvo socijalnih radnika Srbije," Asocijacija centra za socijalni rad Srbije (Unija Studenata socijalnog rada, 2006)]. -
The Love Suicide at Amijima As a Performance: the Construction of Chikamatsu’S Characters
The Love Suicide at Amijima as a Performance: the construction of Chikamatsu’s characters. Kirsten Groot S1842625 1 June 2019 BA3 MACH Afstudeerseminar Words: 9,995 1 Table of Contents Introduction ................................................................................................................................................ 3 1. Interpretations of The Love Suicide at Amijima ......................................................................... 5 2. Empathetic characters ....................................................................................................................... 12 Heads, shadows and gestures ............................................................................................................... 12 Types, music and empathy ............................................................................................................... 16 Ethics, mitate and irony ................................................................................................................. 17 3. A critical samurai ................................................................................................................................ 21 Osan – the failing ideal .......................................................................................................................... 21 Jihei and Koharu – the empty ideal ................................................................................................. 22 In the middle – a question of representation ........................................................................... -
Sukeroku's Double Identity: the Dramatic Structure of Edo Kabuki
THE UNIVERSITY OF MICHIGAN CENTER FOR JAPANESE STUDIES MICHIGAN PAPERS IN JAPANESE STUDIES NO. 6 SUKEROKU'S DOUBLE IDENTITY: THE DRAMATIC STRUCTURE OF EDO KABUKI Barbara E. Thornbury Ann Arbor Center for Japanese Studies The University of Michigan 1982 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. ISBN 0-939512-11-4 Copyright © 1982 by Center for Japanese Studies The University of Michigan Printed in the United States of America ISBN 978-0-939512-11-9 (paper) ISBN 978-0-472-12794-8 (ebook) ISBN 978-0-472-90190-6 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ TABLE OF CONTENTS Acknowledgements vii Introduction ix PART ONE: EDO KABUKI Chapter 1 The Calendar of Kabuki 3 Opening the theater year: the kao-mise production 3 The long-run spring production: the Soga tradition 8 Winding down the theater year: the bon and farewell productions 13 Chapter 2 The Principles of Edo Kabuki 17 The multi-part structure of kabuki 17 The link between the old and new orders 19 Sekai and shuko: tradition and innovation 20 PART TWO: SUKEROKU'S DOUBLE IDENTITY Chapter 3 Sukeroku as Soga Goro, a God-hero of the Nation: The Development of the Soga Tradition 33 The Soga brothers1 revenge 33 The origins of the Soga tradition in no, kowaka, and ko-joruri 37 Ichikawa Danjuro I and the representation of Soga Goro in kabuki 46 vi Sukerokurs