The Turning Tide
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The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
Japanese Journal of Religious Studies 1993 20/2-3 The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’s Subjugation of Silla Akima Toshio In prewar Japan, the mythical tale of Empress Jingii’s 神功皇后 conquest of the Korean kingdoms comprised an important part of elementary school history education, and was utilized to justify Japan5s coloniza tion of Korea. After the war the same story came to be interpreted by some Japanese historians—most prominently Egami Namio— as proof or the exact opposite, namely, as evidence of a conquest of Japan by a people of nomadic origin who came from Korea. This theory, known as the horse-rider theory, has found more than a few enthusiastic sup porters amone Korean historians and the Japanese reading public, as well as some Western scholars. There are also several Japanese spe cialists in Japanese history and Japan-Korea relations who have been influenced by the theory, although most have not accepted the idea (Egami himself started as a specialist in the history of northeast Asia).1 * The first draft of this essay was written during my fellowship with the International Research Center for Japanese Studies, and was read in a seminar organized by the institu tion on 31 January 199丄. 1 am indebted to all researchers at the center who participated in the seminar for their many valuable suggestions. I would also like to express my gratitude to Umehara Takeshi, the director general of the center, and Nakanism Susumu, also of the center, who made my research there possible. -
The Symbol of the Dragon and Ways to Shape Cultural Identities in Institute Working Vietnam and Japan Paper Series
2015 - HARVARD-YENCHING THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE CULTURAL IDENTITIES IN INSTITUTE WORKING VIETNAM AND JAPAN PAPER SERIES Nguyen Ngoc Tho | University of Social Sciences and Humanities, Vietnam National University – Ho Chi Minh City THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE 1 CULTURAL IDENTITIES IN VIETNAM AND JAPAN Nguyen Ngoc Tho University of Social Sciences and Humanities Vietnam National University – Ho Chi Minh City Abstract Vietnam, a member of the ASEAN community, and Japan have been sharing Han- Chinese cultural ideology (Confucianism, Mahayana Buddhism etc.) and pre-modern history; therefore, a great number of common values could be found among the diverse differences. As a paddy-rice agricultural state of Southeast Asia, Vietnam has localized Confucianism and absorbed it into Southeast Asian culture. Therefore, Vietnamese Confucianism has been decentralized and horizontalized after being introduced and accepted. Beside the local uniqueness of Shintoism, Japan has shared Confucianism, the Indian-originated Mahayana Buddhism and other East Asian philosophies; therefore, both Confucian and Buddhist philosophies should be wisely laid as a common channel for cultural exchange between Japan and Vietnam. This semiotic research aims to investigate and generalize the symbol of dragons in Vietnam and Japan, looking at their Confucian and Buddhist absorption and separate impacts in each culture, from which the common and different values through the symbolic significances of the dragons are obviously generalized. The comparative study of Vietnamese and Japanese dragons can be enlarged as a study of East Asian dragons and the Southeast Asian legendary naga snake/dragon in a broader sense. The current and future political, economic and cultural exchanges between Japan and Vietnam could be sped up by applying a starting point at these commonalities. -
Myths & Legends of Japan
Myths & Legends Of Japan By F. Hadland Davis Myths & Legends of Japan CHAPTER I: THE PERIOD OF THE GODS In the Beginning We are told that in the very beginning "Heaven and Earth were not yet separated, and the In and Yo not yet divided." This reminds us of other cosmogony stories. The In and Yo, corresponding to the Chinese Yang and Yin, were the male and female principles. It was more convenient for the old Japanese writers to imagine the coming into being of creation in terms not very remote from their own manner of birth. In Polynesian mythology we find pretty much the same conception, where Rangi and Papa represented Heaven and Earth, and further parallels may be found in Egyptian and other cosmogony stories. In nearly all we find the male and female principles taking a prominent, and after all very rational, place. We are told in theNihongi that these male and female principles "formed a chaotic mass like an egg which was of obscurely defined limits and contained germs." Eventually this egg was quickened into life, and the purer and clearer part was drawn out and formed Heaven, while the heavier element settled down and became Earth, which was "compared to the floating of a fish sporting on the surface of the water." A mysterious form resembling a reed-shoot suddenly appeared between Heaven and Earth, and as suddenly became transformed into a God called Kuni-toko- tachi, ("Land-eternal-stand-of-august-thing"). We may pass over the other divine births until we come to the important deities known as Izanagi and Izanami ("Male-who-invites" and "Female-who-invites"). -
Panthéon Japonais
Liste des divinités et des héros des légendes et de la mythologie japonaises Divinité Kami (m) Kami (f) Esprit Bouddhisme Monstre Animal Humain Acala Déité bouddhique du mikkyo, maître immuable associé au feu et à la colère; il est l'un des cinq rois du savoir. Agyo-zo Dans le bouddhisme japonais, Agyo-zo et Ungyo-zo se tiennent à la porte des édifices pour les protéger. Aizen myo-o Déité du bouddhisme japonais qui purifie les hommes des désirs terrestres et les libère de l'illusion. Il est représenté en rouge vif (passion), avec trois yeux, six bras et un air irritée, Il tient à la main un arc et des flèches ou un crochet. Ajisukitakahikone ou Aji-Shiki ou Kamo no Omikami Kami de l'agriculture, de la foudre et des serpents. Il créa la montagne Moyama dans la province de Mino en piétinant une maison de deuil parce qu'on l'avait pris pour le défunt. Akashagarbha Un des treize bouddhas de l’école tantrique japonaise Shingon Ama no Fuchigoma Cheval mythique de Susanoo qui est décrit dans le Nihon-Shoki . Ama no Kagaseo Autre nom de Amatsu Mikaboshi le kami du mal Ame no Tajikarao Kami des exercices physiques et de la force brutale qui dégagea l'entrée de la grotte où Amatersu s'était réfugiée. Amakuni Forgeron légendaire qui forgea le tachi, l'épée courbe ancêtre de Takana. Ama no Zako Monstrueuse kami née des vomissures de Susanoo Amaterasu Kami du soleil et reine des Hautes Plaines Célestes Amatsu mikaboshi Kami du mal Ame no Oshido Mimi Fils d'Amaterasu qui refusa d'aller gouverner la terre qu'il trouvait trop pleine de cMhaos. -
A History of the Japanese People
A History of the Japanese People Frank Brinkley A History of the Japanese People Table of Contents A History of the Japanese People......................................................................................................................1 Frank Brinkley.........................................................................................................................................2 FOREWORD...........................................................................................................................................4 AUTHOR'S PREFACE...........................................................................................................................5 CHAPTER I. THE HISTORIOGRAPHER'S ART IN OLD JAPAN.....................................................8 CHAPTER II. JAPANESE MYTHOLOGY.........................................................................................13 CHAPTER III. JAPANESE MYTHOLOGY (Continued)....................................................................20 CHAPTER IV. RATIONALIZATION.................................................................................................29 CHAPTER V. ORIGIN OF THE JAPANESE NATION: HISTORICAL EVIDENCES.....................34 CHAPTER VI. ORIGIN OF THE NATION: GEOGRAPHICAL AND ARCHAEOLOGICAL RELICS.................................................................................................................................................42 CHAPTER VII. LANGUAGE AND PHYSICAL CHARACTERISTICS...........................................50 -
Ōwatatsumi , Was the Tutelary Deity of the Sea in Japanese Mythology
Ry ūjin - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Ryujin Ry ūjin From Wikipedia, the free encyclopedia (Redirected from Ryujin) Ry ūjin or Ry ōjin (龍神 "dragon god" ), also known as Ōwatatsumi , was the tutelary deity of the sea in Japanese mythology. This Japanese dragon symbolized the power of the ocean, had a large mouth, and was able to transform into a human shape. Ry ūjin lived in Ry ūgū-j ō, his palace under the sea built out of red and white coral, from where he controlled the tides with magical tide jewels. Sea turtles, fish and jellyfish are often depicted as Ry ūjin's servants. Ry ūjin was the father of the beautiful goddess Otohime who married the hunter prince Hoori. The first Emperor of Japan, Emperor Jimmu, is said to have been a grandson of Otohime and Hoori's. Thus, Ry ūjin is said to be one of the ancestors of the Japanese imperial dynasty. Contents 1 Alternative legends ū 2 In Shinto Princess Tamatori steals Ry jin's jewel, by Utagawa Kuniyoshi. 3 In popular culture 4 References 5 External links Alternative legends According to legend, the Empress Jing ū was able to carry out her attack into Korea with the help of Ry ūjin's tide jewels. Upon confronting the Korean navy, Jing ū threw the kanju (干珠 "tide-ebbing jewel" ) into the sea, and the tide receded. The Korean fleet was stranded, and the men got out of their ships. Jing ū then threw down the manju (満珠 "tide-flowing jewel" ) and the water rose, drowning the Korean soldiers. -
Seres Fantásticos Japoneses En La Literatura Y En El Cine: Obakemono
Belphégor Cora Requena Hidalgo Seres fantásticos japoneses en la literatura y en el cine: Obakemono, yūrei, yōkai y kaidan A estas alturas del siglo XXI hablar de rasgos característicos en la cultura japonesa puede resultar repetitivo y cansino. En su deseo de aproximarse al mundo japonés, que invade hoy Occidente con sorprendentes formas de discurso que inyectan nueva energía a las ya cansadas y tradicionales formas del relato occidental, artistas y especialistas de esta parte del mundo intentan identificar y aislar las características que a priori parecen ser exclusivas de la cosmovisión nipona. De más está decir que la empresa es difícil, pues en la aproximación siempre interviene en mayor o menor medida “nuestra occidentalidad”, imposible de erradicar del todo; sin embargo, más que un obstáculo esta deficiencia debería ser causa y razón para intentar un acercamiento riguroso al mundo japonés por medio del conocimiento abierto y sin prejuicios que, en definitiva, es parte esencial del conocimiento científico de Occidente. En uno de sus textos más conocidos, el japonólogo greco-irlandés Lafcadio Hearn, escribe: “Sin el conocimiento de las fábulas populares y de las supersticiones del lejano Oriente, la comprensión de sus novelas, de sus comedias y de sus poesías continuará siendo imposible” (Hearn, El romance de la Vía Láctea: 56). La cita de Hearn es certera, y todo investigador que se haya acercado alguna vez a la literatura o al cine nipones sabrá hasta qué punto es imprescindible este conocimiento que traspasa todos los niveles de una cultura que se niega a abandonar un pasado mítico e histórico-literario del que continúa alimentándose. -
La Creación Del Mundo Japonés: Representaciones Mitológicas Y Literarias En Kojiki
La creación del mundo japonés: representaciones mitológicas y literarias en Kojiki Cora Requena Hidalgo Universidad Complutense de Madrid Resumen: Bajo una naciente concepción centralista del Imperio japonés, el emperador Tenmu, cuyo reinado se extendió de 673 a 686, ordenó a Hieda no Are la recopilación de Kojiki (Crónica de los acontecimientos antiguos). La obra, sin embargo, se publicó sólo décadas más adelante (712) bajo el mandato de la emperatriz Genmei del Período Nara, quien encargó, a su vez, a Ono Yasumaro que escribiera la obra a partir de las recitaciones anteriormente aprendidas de memoria por Hieda no Are. Cabe destacar que, aun cuando Yasumaro escribió Kojiki en chino, éste es el primer intento por transcribir las recitaciones en Yamato kotoba según las aprendiera Hieda no Are. La antología, por lo tanto, tiene una doble importancia dentro de la historia cultural japonesa, puesto que, por un lado, proporciona una idea clara de la necesidad (imperial) de construcción de un pasado en el que sostener un sistema político y cultural presente; y, por otro, da cuenta del nacimiento de la necesidad de escribir este pasado en palabras japonesas. Los acontecimientos relatados en Kojiki abarcan desde la creación y fundación de Yamato hasta la regencia de la emperatriz Suiko (592-628), y se agrupan en tres unidades bien diferenciadas: el primer grupo de historias narra los hechos de los dioses (cosmogonía y teogonía); el segundo refiere los hechos de los nuevos dioses que descienden del altiplano y forman su linaje en la tierra (siempre bajo protección de los dioses originales); el tercer grupo narra la historia y los hechos de los hombres. -
Reception and Commentary of Nihon Shoki, Japan's First Official History
Rewriting the Past: Reception and Commentary of Nihon shoki, Japan’s First Official History Matthieu Anthony James Felt Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Matthieu Anthony James Felt All rights reserved ABSTRACT Rewriting the Past: Reception and Commentary of Nihon shoki, Japan’s First Official History Matthieu Anthony James Felt This study traces the diverse interpretations of Japan’s oldest official history, the 720 Nihon shoki, from its earliest scholarly treatment in the ninth century until its enshrinement within the canon of Japanese national literature in the modern period. Elites in the early eighth century produced a number of texts that described the fundamental principles of the world and the contours of the Japanese empire, such as Kojiki (712), Kaifūsō (751), Man’yōshū (late 8th c.), and as the official court narrative, Nihon shoki. While each of these possesses its own “imperial imagination,” Nihon shoki is distinct because it heavily incorporates historical polities across Northeast Asia, especially on the Korean peninsula, in creating a narrative of ancient Japan in the world. Further, Nihon shoki, while written primarily in Literary Sinitic, also includes elements of the Japanese vernacular, and rather than delineating a single orthodox narrative, provides a number of alternative, conflicting accounts of Japanese mythology. These characteristics animated much of the debate surrounding the text’s proper reading and meaning as later commentators grappled with its exegesis. The dissertation comprises an introduction and five chapters. The first chapter analyzes the discourse surrounding the Nihon shoki in the eighth and ninth centuries, when lectures were periodically given on the text at court. -
Japanese Mythology a to Z
Japanese Mythology A to Z SECOND EDITION MYTHOLOGY A TO Z African Mythology A to Z Celtic Mythology A to Z Chinese Mythology A to Z Egyptian Mythology A to Z Greek and Roman Mythology A to Z Japanese Mythology A to Z Native American Mythology A to Z Norse Mythology A to Z South and Meso-American Mythology A to Z MYTHOLOGY A TO Z Japanese Mythology A to Z SECOND EDITION 8 Jeremy Roberts [ Japanese Mythology A to Z, Second Edition Copyright © 2010 by Jim DeFelice All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Chelsea House An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 ISBN-13: 978-1-60413-435-3 Library of Congress Cataloging-in-Publication Data Roberts, Jeremy, 1956– Japanese mythology A to Z / Jeremy Roberts. — 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-1-60413-435-2 (hc: alk. paper) 1. Mythology, Japanese—Encyclopedias. 2. Japan—Religion—Encyclopedias. I. Title. BL2202.R63 2009 299.5'6—dc22 2009008242 Chelsea House books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Chelsea House on the World Wide Web at http://www.chelseahouse.com Text design by Lina Farinella Composition by EJB Publishing Services Map by Patricia Meschino Cover printed by Bang Printing, Brainerd, Minn. -
Japanese Mythology a to Z
Japanese Mythology A to Z SECOND EDITION MYTHOLOGY A TO Z African Mythology A to Z Celtic Mythology A to Z Chinese Mythology A to Z Egyptian Mythology A to Z Greek and Roman Mythology A to Z Japanese Mythology A to Z Native American Mythology A to Z Norse Mythology A to Z South and Meso-American Mythology A to Z MYTHOLOGY A TO Z Japanese Mythology A to Z SECOND EDITION 8 Jeremy Roberts Contents 8 Acknowledgments vii Introduction ix Map of Japan xx Map of Asia xxi A-to-Z Entries 1 Major Shinto Gods and Goddesses 130 Major Buddhist Deities 132 Selected Bibliography 133 Index 134 Acknowledgments 8 I would like to thank my editors and the production staff at Chelsea House for their help. Debra Scacciaferro provided valuable research and organizational assistance. I would like to thank as well the people and ancestors of Japan for their inspiration. My humble effort is unworthy of their majestic spirit. vii Introduction 8 Where do we come from? What will happen to us when we die? How should we live our lives? We still ask these questions today. In fact, the desire to ask them may be one of the things that makes us human. All societies ask these questions, but not every society answers them in the same way. In most ancient human societies, the means of answering these important questions was religion. One way that ancient religions tried to answer basic questions about life and what it means to be human was through telling stories, specifically myths. -
Hoori Information File (PDF March ’16) 1 Tool Is Animated and Hence Unique)
Hoori From Wikipedia, the free encyclopedia (Redirected from Hohodemi) For other uses, see Hoori (disambiguation). Hoori (hoori no mikoto?), also known as Hikohohodemi no Mikoto, was, in Japanese mythology, the third and youngest son of the kami Ninigi-no-Mikoto and the blossom princess Konohanasakuya-hime. He is one of the ancestors of the Emperors of Japan. He is also called Hohodemi and is most frequently known as Yamasachihiko (literally the prince of the mountain of fortune). Myth Hoori's legend is told in both the Kojiki and the Nihonshoki. Hoori was a hunter, and he had an argument with his brother Hoderi, a fisherman, over a fish-hook that Hoori had forced his elder brother to lend him and had lost. Hoderi claimed that Hoori should give back the fish-hook, for he refused to accept another one (due to the belief that each Cor Hendriks: Hoori information file (PDF March ’16) 1 tool is animated and hence unique). Hoori then descended to the bottom of the sea to search, but was unable to find it. Instead, he found Toyotama-hime (Princess Toyotama), also known as Otohime, the daughter of the sea god, Ryūjin. The sea god helped Hoori find Hoderi's lost hook, and Hoori later married the sea god's daughter Toyotamahime. Hoori lived with his wife in a palace under the sea for three years, but after that Hoori became home-sick and wished to return to his own country. His brother forgave him after he returned the hook, and Toyotamahime gave birth to a son named Ugayafukiaezu.