イギリス生まれの日本文学研究者 RHブライス (Reginald Horace Blyth)
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Why an American Quaker Tutor for the Crown Prince? an Imperial Household's Strategy to Save Emperor Hirohito in Macarthur's
WHY AN AMERICAN QUAKER TUTOR FOR THE CROWN PRINCE? AN IMPERIAL HOUSEHOLD’S STRATEGY TO SAVE EMPEROR HIROHITO IN MACARTHUR’S JAPAN by Kaoru Hoshino B.A. in East Asian Studies, Wittenberg University, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Kaoru Hoshino It was defended on April 2, 2010 and approved by Richard J. Smethurst, PhD, UCIS Research Professor, Department of History Akiko Hashimoto, PhD, Associate Professor, Department of Sociology Clark Van Doren Chilson, PhD, Assistant Professor, Department of Religious Studies Thesis Director: Richard J. Smethurst, PhD, UCIS Research Professor, Department of History ii Copyright © by Kaoru Hoshino 2010 iii WHY AN AMERICAN QUAKER TUTOR FOR THE CROWN PRINCE? AN IMPERIAL HOUSEHOLD’S STRATEGY TO SAVE EMPEROR HIROHITO IN MACARTHUR’S JAPAN Kaoru Hoshino, M.A. University of Pittsburgh, 2010 This thesis examines the motives behind the Japanese imperial household’s decision to invite an American Christian woman, Elizabeth Gray Vining, to the court as tutor to Crown Prince Akihito about one year after the Allied Occupation of Japan began. In the past, the common narrative of scholars and the media has been that the new tutor, Vining, came to the imperial household at the invitation of Emperor Hirohito, who personally asked George Stoddard, head of the United States Education Mission to Japan, to find a tutor for the crown prince. While it may have been true that the emperor directly spoke to Stoddard regarding the need of a new tutor for the prince, the claim that the emperor came up with such a proposal entirely on his own is debatable given his lack of decision-making power, as well as the circumstances surrounding him and the imperial institution at the time of the Occupation. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
Living Zen Remindfully
Also by James H. Austin Zen-Brain Horizons (2014) Meditating Selflessly (2011) Selfless Insight (2009) Zen-Brain Reflections (2006) Chance, Chase, and Creativity (2003) Zen and the Brain (1998) Living Zen Remindfully Retraining Subconscious Awareness James H. Austin, M.D. The MIT Press Cambridge, Massachusetts London, England © 2016 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. This book was set in Palatino and Frutiger by Toppan Best-set Premedia Limited. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Names: Austin, James H., 1925– author. Title: Living Zen remindfully : retraining subconscious awareness / James H. Austin, M.D. Description: Cambridge, MA : MIT Press, 2016. | Includes bibliographical references and index. Identifiers: LCCN 2016015015 | ISBN 9780262035088 (hardcover : alk. paper) eISBN 9780262336451 Subjects: LCSH: Meditation—Zen Buddhism. | Awareness—Religious aspects— Zen Buddhism. | Consciousness—Religious aspects—Zen Buddhism. | Zen Buddhism—Psychology. Classification: LCC BQ9288 .A935 2016 | DDC 294.3/4435—dc23 LC record available at https://lccn.loc.gov/2016015015 ePub Version 1.0 In memory of Scott Whiting Austin (1953–2014) To my early teachers Nanrei Kobori-Roshi, Myokyo-ni, and Robert Aitken-Roshi for their inspiration; and to countless others whose contributions to Zen, to Buddhism, and to the brain sciences are reviewed in these pages The Zen Way is a demanding way, but it leads to the depths, to the light of clearly seeing what is when the veil is rent, and to the warmth of the heart that touches and engenders growth. -
The Influence of Politics and Culture on English Language Education in Japan
The Influence of Politics and Culture on English Language Education in Japan During World War II and the Occupation by Mayumi Ohara Doctor of Philosophy 2016 Certificate of Original Authorship I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Production Note: Signature removed prior to publication. Mayumi Ohara 18 June, 2015 i Acknowledgement I owe my longest-standing debt of gratitude to my husband, Koichi Ohara, for his patience and support, and to my families both in Japan and the United States for their constant support and encouragement. Dr. John Buchanan, my principal supervisor, was indeed helpful with valuable suggestions and feedback, along with Dr. Nina Burridge, my alternate supervisor. I am thankful. Appreciation also goes to Charles Wells for his truly generous aid with my English. He tried to find time for me despite his busy schedule with his own work. I am thankful to his wife, Aya, too, for her kind understanding. Grateful acknowledgement is also made to the following people: all research participants, the gatekeepers, and my friends who cooperated with me in searching for potential research participants. I would like to dedicate this thesis to the memory of a research participant and my friend, Chizuko. -
HAIKU in SWEDEN Lars Vargö
HAIKU IN SWEDEN Lars Vargö As was the case in many other European countries, the interest for haiku in Sweden was greatly stimulated by the books of Reginald Horace Blyth (1898 – 1964). His translations and interpretations are easily recognizable in some of the first Swedish books on haiku poetry. Another source of importance was Miyamori Asatarô (1869 – 1952), whose Masterpieces of Japanese Poetry, ancient and modern (1936) and An anthology of haiku, ancient and modern (1936) found their way to Swedish libraries. Yet other sources were the works by Lafcadio Hearn (1850 – 1904), and Basil Hall Chamberlain (1850 1935), where you could find several haiku in English translation. Swedish archeologists and explorers had for many years had a focus on China, leading to the establishment in 1926 of the Museum of Far Eastern Antiquities in Stockholm. Through the research by sinologists and linguists like Bernhard Karlgren (1889 – 1978), poetry from East Asia initially came to be interpreted as Chinese poetry. Tang poetry became greatly appreciated and the short poems by poets Li Bai (Li Po, 701 – 62) and Du Fu (712 – 70) had a far greater influence on Swedish readers and poets than Matsuo Bashō (1644 – 94) and Yosa Buson (1716 – 83), who were yet to be fully discovered in the early 20th century. This all changed with the publication of the book Haiku: japansk miniatyrlyrik (Haiku: Japanese miniature lyrics) by Jan Vintilescu (1923 –) in 1959. The book only contained a limited collection of the most representative Japanese haiku poets in Swedish translation, but it was published at the right time, when interest in traditional Japanese culture again was on the rise and no longer overshadowed by what had happened during the second world war. -
Var Är Göken?
JAPANSKA Var är göken? Översättning av japansk haiku Anna Stålhandske Handledare: Yasuko Nagano Madsen kandidatuppsats Examinator: VT 2014 Martin Nordeborg A Comparative Study of Haiku Translation Abstract The topic of the present paper is to investigate and identify how two translators, Reginald Horace Blyth and David Landis Barnhill, differ in their translation of Japanese haikus by Matsuo Bashô to English. Three focal points of the study are; the translation of haiku rythm, the translation of kireji (a word for separating the haiku) and the translation of kigo (seasonal word). These three components are fundamental parts of Japanese haiku poetry and haiku experience, however there are no set rules on how to translate these haiku components to English. This study contains a comparative detailed analysis of five of Bashô´s haikus, in translation by Blyth and Barnhill. Sample haikus were selected from Blyth´s books A History of Haiku Vol. 1 (1963) and A History of Haiku Vol. 2 (1964), and from Bashô´s Haiku - Selected Poems of Matsuo Bashô (2005) by Barnhill. In the analysis, focus was kept on the translation of rythm, kireji and kigo. Previous works in the field of translation of Japanese in general, and Japanese poetry in particular, was used as supporting data. Except the analysis, the paper also consists of an outline of the history of haiku, an explanation of the components of haiku and a chapter on the internationalisation of haiku. The results show that although both the translators claim to have had literal translation as a goal, Barnhill was closer to the original poems in rythm and placement of kireji. -
Transpacific Transcendence: the Buddhist Poetics of Jack Kerouac, Gary Snyder, and Philip Whalen
TRANSPACIFIC TRANSCENDENCE: THE BUDDHIST POETICS OF JACK KEROUAC, GARY SNYDER, AND PHILIP WHALEN BY Copyright 2010 Todd R. Giles Ph.D., University of Kansas 2010 Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chair, Joseph Harrington ______________________________ Kenneth Irby ______________________________ Philip Barnard ______________________________ James Carothers ______________________________ Stanley Lombardo Date Defended: September 8, 2010 ii The Dissertation Committee for Todd R. Giles certifies that this is the approved version of the following dissertation: TRANSPACIFIC TRANSCENDENCE: THE BUDDHIST POETICS OF JACK KEROUAC, GARY SNYDER, AND PHILIP WHALEN Committee: ______________________________ Chair, Joseph Harrington ______________________________ Kenneth Irby ______________________________ Philip Barnard ______________________________ James Carothers ______________________________ Stanley Lombardo Date Approved: September 8, 2010 iii Abstract "Transpacific Transcendence: The Buddhist Poetics of Jack Kerouac, Gary Snyder, and Philip Whalen," directed by Joseph Harrington, examines the influence of East Asian literature and philosophy on post-World War II American poetry. Kerouac's "Desolation Blues," Snyder's "On Vulture Peak," and Whalen's "The Slop Barrel" were all written one year after the famous Six Gallery reading in San Francisco where Allen Ginsberg -
Orientalism in the Works of Japan Scholar R. H. Blyth
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Orientalism in the Works of Japan Scholar R. H. Blyth Patrick Heller In his introduction to Orientalism, Edward Said explains “Orientalism is premised upon exteriority, that is, on the fact that the Orientalist, poet or scholar, makes the Orient speak, describes the Orient, renders its mysteries plain for and to the West.”1 This charge of deciphering Asian literature plainly “for and to the West” carries with it, on the one hand, the author’s admiration for a “foreign” culture along with his urge to share his excitement about it, while on the other hand, the author propagates implicit and explicit ethnocentric assumptions through translations, interpretations and/or creative work. This irony is precisely the case with British born author and translator Reginald Horace Blyth 1898-1964, whose literary productions were so clearly the result of his deep admiration for Japanese Literature and Zen Buddhism. However, in spite of his earnest attempts, Blyth often distorted the very aspects of Japan that he admired, and subsequently imparted misrepresentations and exotic conclusions to generations of “Japanologist” including such writers and poets as Gary Snyder, Richard Wright, and J.D. Salinger.2 Through the use of Edward Said’s introduction to Orientalism I will show how R. H. Blyth’s work exhibits a fundamentally distorted Orientalist view of Japanese literature and religion. Despite R. H. Blyth’s massive four volume collection on haiku rendered in English, his five volume collection Zen and Zen Classics, Zen in English Literature, and his A History of Haiku much of this inspired work tends to 1 Leitch, Vincent B. -
RH Blyth, Zen and English Poetry
(119) Translating Transcendence : R.H. Blyth, Zen and English Poetry James TINK In her book The Translation Zone, Emily Apter proposes a critical history of modern comparative literary studies that begins with an encounter between East and West. In this case, it was in Istanbul in the 1930s and 40s, the city where the German critics Leo Spitzer and Eric Auerbach are said to have inaugurated the modern European discipline of compara- tive literature through their encounter with the Turkish university system : it was where Auerbach wrote his book Mimesis, and Spitzer pioneered seminars on comparative philol- ogy. Moreover, Apter claims that their project retains a relevant, if controversial, legacy for contemporary literary studies. She credits Leo Spitzer in particular, with his interest in translation studies, as being the forerunner of a “transnational humanism” which attempts to explore cultural and linguistic differences in a spirit of a self-critical and secular inquiry (56). For Apter, writing after 9/11, comparative criticism must rethink the literary and cul- tural status of religious discourse (especially the transcendent claims of fundamentalism) from a perspective of an inclusive, and non-coercive, secularism (75). The lasting legacy of Istanbul is, then, the attempt to rethink the global position of the European : “As the status of European traditions within postcolonial studies continues to be negotiated, this transna- tional humanism may be construed as a critical practice that reckons with the uncertain sta- tus of European thought in the future global marketplace of culture” (46). Humanism here names that practice of cosmopolitan or intercultural exchange that is said to be the proper object of world literature. -
View Digital Version
JuxtaPOSITIONS 1.1 juxtatwo Research and Scholarship in Haiku 2016 The Haiku Foundation 1 JuxtaPOSITIONS 1.1 juxtatwo ISBN 978-0-9826951-3-5 Copyright © 2016 by The Haiku Foundation JUXTAtwo is the print version of Juxtapositions 2.1. A journal of haiku research and scholarship, Juxtapositions is published by The Haiku Foundation. The Haiku Foundation PO Box 2461 Winchester VA 22604-1661 USA www.thehaikufoundation.org/juxta Senior Editor Peter McDonald General Editors Stephen Addiss Randy M. Brooks Bill Cooper Review Editor Ce Rosenow Haiga Editor Stephen Addiss Managing Editor Jim Kacian Technical Manager Dave Russo Proofreader Sandra Simpson 2 JuxtaPOSITIONS 1.1 Contents Snapshots: Haiku in the Great War . Sandra Simpson …… 7 Haiga: “Christmas Eve” . Pamela A. Babusci ..… 47 Jo Ha Kyū and Fu Bi Xing . Judy Kendall ..… 49 Haiga: “first snow” . .Ion Codrescu ..… 85 Masaoka Shiki and the Origins of Shasei . Charles Trumbull ..… 87 Haiga: “coloring” . Terri L. French … 123 Deconstructing Haiku . Ian Marshall & Megan Simpson … 125 Haiga: “the first dip” . Ron C. Moss … 149 a stick over the falls: A Juxta Interview of Cor van den Heuvel … 151 Haiga: “on my own” . Marlene Mountain … 183 Do We Know What a Haiku Is? . Melissa Allen … 185 Cor’s Cores: Interpretations . Various Authors … 205 Unfolding Destiny . Michael DylanWelch … 217 Intertextual Poetics . Ce Rosenow … 233 Haiga: “Montauk IXX” . Ellen Peckham … 241 Haiku Theses and Dissertations . Randy. M. Brooks, Ph.D. … 243 Haiga: “willow fluff” . Stephen. Addiss … 281 Juxta Haiga Commentary . Stephen Addiss & Jim Kacian … 283 Juxta Contributors … 287 Juxta Staff … 291 3 JuxtaPOSITIONS 1.1 4 JuxtaPOSITIONS 1.1 Editor’s Welcome Welcome to JUXTATWO: Research and Scholarship in Haiku. -
The Pilgrim's Ideal in Basho's Oku No Hosomichi
VIEWS AND REVIEWS Awakening to the High/Retuming to the Low: The Pilgrim’s Ideal in Basho’s Oku no Hosomichi DENNIS G. HARGISS INTRODUCTION HERE is a tremendous disparity among scholars concerning the relationship between Matsuo Basho (1644-1694) and Buddhism. Many discus sionsT in this debate revolve especially around the nature and extent of Basho’s involvement in Z e n .1 On the one hand, R.H. Blyth and Heinrich Dumoulin point out Basho’s “deep interest in Zen”2 3or “Zen lifestyle”;2 the Japanese literary scholar Yagi Kametard describes Basho’s oeu vre as “permeated with the mind of Zen”;4 and 1 William LaFleur notes this situation in an article entitled “Japanese Religious Poetry" in The Encyclopedia of Religion when he states: “Scholarly opinion differs about the Zen involvement of the principal haiku poet, Matsuo Basho." William LaFleur, “Japanese Religious Poetry” in Mircea Eliade, ed., The Encyclopedia of Religion vol. 11 (New York: Macmillan, 1987), 381. 2 Reginald Horace Blyth, Haiku vol. 1 (Tokyo: Hokuseido Press, 1949), 27. Blyth not only notes the “flavour o f Zen” in some o f Basho’s poems, but even states that haiku are “a form o f Zen” which "are to be understood from the Zen point o f view” (i.e., from “that state o f mind in which we are not separated from other things, and yet retain our own individuality and personal peculiarities”). See Blyth, 26-27; iii-iv. 3 From Heinrich Dumoulin’s article “Zen” in Eliade, Encyclopedia o f Religion, vol. 15, 566. -
On the Difficulties of Translating Haiku Into English
On the Difficulties of Translating Haiku into English Alison Kirby Record and Adnan K. Abdulla The Japanese poetic form known as haiku consists of three lines of 5, 7, and 5 syllables respectively, and can be used to express a vast range of emotional subtleties. Because of its conciseness, haiku relies on the power of suggestion to induce an experience in the reader, rather than simply conveying a particular thought. The ‘meaning’ in many cases is primarily an intense feeling – not described by the poet, but actively constructed by the reader from a few spare images. The haiku aesthetic, that is to say, relying on noun-dominated language that predominantly denotes natural objects, works in an almost postmodern manner in the sense that its effect depends almost completely on the reader’s creative interpretation of the relations among its parts. It is not merely a collocation of related images, but generates an experience of a moment charged with emotional significance. Seasonal changes mark universal attitudes – Spring evokes rebirth; Summer, maturity; Autumn decay; and Winter death. Likewise, haiku evokes the seasons and the time of day as important, if not essential, aspects of a particular human experience. These elements of nature are often indistinguishable from, or analogous to, the human condition, but they are not enlisted to glorify nature or natural objects for their own sake. Haiku, like all literary forms, is closely linked to the culture that helped shape it, and hence knowledge of that culture and its different aspects – language, religion, geography, customs, and history – is necessary for its effective translation.