Memory, History, and Autobiography in Early Modern Towns in East and West
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Nihonbashi: Edo's Contested Center Marcia Yonemoto
, East Asian History NUMBERS 17/18· JUNE/DECEMBER 1999 Institute of Advanced Studies Australian National University 1 Editor Geremie R. Barme Assistant Editor Helen Lo Editorial Board Mark Elvin (Convenor) John Clark Andrew Fraser Helen Hardacre Colin Jeffcott W. ]. F. Jenner Lo Hui-min Gavan McCormack David Marr Tessa Morris-Suzuki Michael Underdown Design and Production Helen Lo Business Manager Marion Weeks Printed by Goanna Print, Fyshwick, ACT This double issue of East Asian History, 17/18, was printed in FebrualY 2000. Contributions to The Editor, East Asian History Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra ACT 0200, Australia Phone +61 26249 3140 Fax +61 26249 5525 email [email protected] Subscription Enquiries to Subscriptions, East Asian History, at the above address Annual Subscription Australia A$45 Overseas US$45 (for two issues) iii CONTENTS 1 Whose Strange Stories? P'u Sung-ling (1640-1715), Herbert Giles (1845- 1935), and the Liao-chai chih-yi John Minford and To ng Man 49 Nihonbashi: Edo's Contested Center Marcia Yonemoto 71 Was Toregene Qatun Ogodei's "Sixth Empress"? 1. de Rachewiltz 77 Photography and Portraiture in Nineteenth-Century China Regine Thiriez 103 Sapajou Richard Rigby 131 Overcoming Risk: a Chinese Mining Company during the Nanjing Decade Ti m Wright 169 Garden and Museum: Shadows of Memory at Peking University Vera Schwarcz iv Cover calligraphy Yan Zhenqing M.c�J�n, Tang calligrapher and statesman Cover illustration Talisman-"Passport for wandering souls on the way to Hades," from Henri Dore, Researches into Chinese superstitions (Shanghai: T'usewei Printing Press, 1914-38) NIHONBASHI: EDO'S CONTESTED CENTER � Marcia Yonemoto As the Tokugawa 11&)II regime consolidated its military and political conquest Izushi [Pictorial sources from the Edo period] of Japan around the turn of the seventeenth century, it began the enormous (Tokyo: Chikuma Shobo, 1975), vol.4; project of remaking Edo rI p as its capital city. -
Meisho Zue and the Mapping of Prosperity in Late Tokugawa Japan
Meisho Zue and the Mapping of Prosperity in Late Tokugawa Japan Robert Goree, Wellesley College Abstract The cartographic history of Japan is remarkable for the sophistication, variety, and ingenuity of its maps. It is also remarkable for its many modes of spatial representation, which might not immediately seem cartographic but could very well be thought of as such. To understand the alterity of these cartographic modes and write Japanese map history for what it is, rather than what it is not, scholars need to be equipped with capacious definitions of maps not limited by modern Eurocentric expectations. This article explores such classificatory flexibility through an analysis of the mapping function of meisho zue, popular multivolume geographic encyclopedias published in Japan during the eighteenth and nineteenth centuries. The article’s central contention is that the illustrations in meisho zue function as pictorial maps, both as individual compositions and in the aggregate. The main example offered is Miyako meisho zue (1780), which is shown to function like a map on account of its instrumental pictorial representation of landscape, virtual wayfinding capacity, spatial layout as a book, and biased selection of sites that contribute to a vision of prosperity. This last claim about site selection exposes the depiction of meisho as a means by which the editors of meisho zue recorded a version of cultural geography that normalized this vision of prosperity. Keywords: Japan, cartography, Akisato Ritō, meisho zue, illustrated book, map, prosperity Entertaining exhibitions arrayed on the dry bed of the Kamo River distracted throngs of people seeking relief from the summer heat in Tokugawa-era Kyoto.1 By the time Osaka-based ukiyo-e artist Takehara Shunchōsai (fl. -
Inventing the New Through the Old: the Essence Of
EARLY MODERN JAPAN SPRING 2001 Inventing the New other is the Song scholar Lin Xiyi’s ᨋᏗㅺ2 annotations of the Zhuangzi, which stress that the Through the Old: entire Zhuangzi is a parable. While scholarly The Essence of Haikai opinion differs on which factor or factors played and the Zhuangzi a key role behind the phenomenon, they agree Peipei Qiu that the Danrin’s enthusiasm for the Zhuangzi lies primarily in imitating the gugen in the work.3 Asian Studies Vassar College Introduction meaning, according to Burton Watson, is words put into the mouth of historical or fictional persons to make them more compelling. The Zhuangzi scholars The latter half of the seventeenth century have also used the term to refer to the general writ- witnessed an innovative phenomenon in Japanese ing style of the text. Watson has rendered the haikai େ⺽ (comic linked verse) circles. A meaning of the term into “imported words” in his group of haikai poets who called themselves the translation of the Zhuangzi. The title of Konishi Danrin ⺣ᨋ enthusiastically drew upon the Jin’ichi’s ዊ↟৻ study on Basho and Zhuangzi’s Daoist classic Zhuangzi ⨿ሶ (The works of gugen, “Basho to gugensetsu” ⧊⭈ߣኚ⸒⺑ Master Zhuang), setting off a decade-long trend [Nihon gakushiin kiyo ᣣᧄቇ჻㒮♿ⷐ no. 18 of using the Zhuangzi in haikai composition. In (1960) 2 and 3] is translated into “Basho and assessing the causes and significance of this Chuang-tsu’s Parabolical Phraseology.” The term in phenomenon previous studies give much atten- modern Japanese and Chinese is often translated as tion to the intellectual, philosophical and reli- “fable,” “apologue,” or “parable,” but these transla- gious climates, noting two major factors that in- tions are not suitable to the present study. -
Obiya Ihei, a Japanese Provincial Publisher^
OBIYA IHEI, A JAPANESE PROVINCIAL PUBLISHER^ p. F. KORNICKI COMMERCIAL publishing came of age in Japan during the Tokugawa period (1600- 1868). Both at the beginning and at the end of this period there was a vogue for experimenting with movable type, but from the middle of the seventeenth century the burgeoning publishing industry relied almost exclusively on wood-block printing, and it continued to do so until the 1870s. The industry developed to such an extent that there was by the early nineteenth century a national, albeit informal, network of publishers and distributors and a national market for the printed book. So at the time of the opening of Japan in 1854 and the subsequent Meiji Restoration of 1868 there already existed in Japan the means of publishing and communication which could serve to inform the inhabitants of Japan about the world from which they had long been cut off. The first newspapers and magazines were predominantly wood-block publications, but soon after the Meiji Restoration wood-block printing began to lose ground rapidly to printing with movable type, which enjoyed the stimulus of newly imported Western technology. There can be no doubt, however, that the foundations of the Meiji publishing industry were laid in the Tokugawa period. Until recently, studies of the publishing history of the Tokugawa period have concentrated exclusively on the so-called 'three capitals', Kyoto, Osaka, and Edo, the last of which was designated the capital in 1868 and renamed Tokyo, The received opinion is that commercial publishing began in Kyoto and rapidly developed in Kyoto and Osaka in the seventeenth century but that in the course of the eighteenth century Edo gradually assumed ever greater importance, until in the nineteenth century it achieved a dominating position that was further strengthened in the Meiji period, when Tokyo had no serious rivals. -
Article Full Text
Volume IX Number 1 CONTENTS Spring 2001 Articles ⺰ᢥ Inventing the New Through the Old: The Essence of Haikai and the Zhuangzi Peipei Qiu 2 At Wit’s End: Satirical Verse Contra Formative Ideologies in Bakumatsu and Meiji Japan Dean Anthony Brink 19 Book Reviews ᦠ⹏ James L. McClain and Wakita Osamu, eds. Osaka: The Merchants' Capital of Early Modern Japan Marcia Yonemoto 47 Gerald A. Figal, Civilization and Monsters : Spirits of Modernity in Meiji Japan Hosea Hirata 51 Document Translation ᢥᦠ⧷⸶ Translation of the Memorial of Imakita Sakubei to the Lord of Tosa, Yamauchi Toyochika Luke Roberts 53 EARLY MODERN JAPAN SPRING 2001 Inventing the New other is the Song scholar Lin Xiyi’s ᨋᏗㅺ2 annotations of the Zhuangzi, which stress that the Through the Old: entire Zhuangzi is a parable. While scholarly The Essence of Haikai opinion differs on which factor or factors played and the Zhuangzi a key role behind the phenomenon, they agree Peipei Qiu that the Danrin’s enthusiasm for the Zhuangzi lies primarily in imitating the gugen in the work.3 Asian Studies Vassar College Introduction meaning, according to Burton Watson, is words put into the mouth of historical or fictional persons to make them more compelling. The Zhuangzi scholars The latter half of the seventeenth century have also used the term to refer to the general writ- witnessed an innovative phenomenon in Japanese ing style of the text. Watson has rendered the haikai େ⺽ (comic linked verse) circles. A meaning of the term into “imported words” in his group of haikai poets who called themselves the translation of the Zhuangzi. -
The History of Australian Haiku and the Emergence of a Local Accent
The History of Australian Haiku and the Emergence of a Local Accent Author: Rob Scott, B.A. Dip Ed. College of the Arts, Writing, Communication and Culture Discipline Group, Victoria University Submitted in fulfillment of the requirements of the degree of Masters by Research March, 2014. Table of Contents The History of Australian Haiku and the Emergence of a Local Accent ....................................................... i Table of Contents ............................................................................................................................................................... ii Abstract .................................................................................................................................................................................iv Acknowledgements ........................................................................................................................................................... v Student Declaration .........................................................................................................................................................vi Prologue to Thesis ............................................................................................................................................................. 1 Australia’s First Haiku? ............................................................................................................................................... 1 Chapter 1 – Introduction to Thesis ............................................................................................................................ -
Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854)
Artifacts of Diplomacy: Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854) CHANG-SU HOUCHINS SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY • NUMBER 37 SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through trie years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Smithsonian Contributions to the Marine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Folklife Studies Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the world of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the world. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where the manuscripts are given substantive review. -
Biblio:Basho-27S-Haiku.Pdf
Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging in Publication Data Matsuo Basho¯, 1644–1694. [Poems. English. Selections] Basho¯’s haiku : selected poems by Matsuo Basho¯ / translated by David Landis Barnhill. p. cm. Includes bibliographical references and index. ISBN 0-7914-6165-3 — 0-7914-6166-1 1. Haiku—Translations into English. 2. Japanese poetry—Edo period, 1600–1868—Translations into English. I. Barnhill, David Landis. II. Title. PL794.4.A227 2004 891.6’132—dc22 2004005954 10 9 8 7 6 5 4 3 2 1 Basho¯’s Haiku Selected Poems by Matsuo Basho¯ Matsuo Basho¯ Translated by, annotated, and with an Introduction by David Landis Barnhill STATE UNIVERSITY OF NEW YORK PRESS for Phyllis Jean Schuit spruce fir trail up through endless mist into White Pass sky Contents Preface ix Selected Chronology of the Life of Matsuo Basho¯ xi Introduction: The Haiku Poetry of Matsuo Basho¯ 1 Translation of the Hokku 19 Notes 155 Major Nature Images in Basho¯’s Hokku 269 Glossary 279 Bibliography 283 Index to Basho¯’s Hokku in Translation 287 Index to Basho¯’s Hokku in Japanese 311 Index of Names 329 vii Preface “You know, Basho¯ is almost too appealing.” I remember this remark, made quietly, offhand, during a graduate seminar on haiku poetry. -
The Wakan Dialectic As Polemic
Purple Displaces Crimson: The Wakan Dialectic as Polemic The cultural phenomenon known as wakan, the creative juxtaposition of Japanese (wa)and Chinese (kan) elements, can be difficult to articulate given the ambiguity involved in defining the boundaries of what makes something Chinese or Japanese, especially over time, or according to the unique perspectives of any given individual. Even at the seemingly irreducible level oflanguage, the apposition oflogographs expressing Chinese poems (kanshi), for example, and syllabic kana script expressing Japanese waka poems are not without nuances that render them fluid, interdependent, and aesthetically unified. Consider a 1682rendition of the Wakan roeishu (FIG.1), the famous eleventh-century anthology of Chinese and Japanese poetry, in which four columns of darkly inked logo graphs render fragments of Chinese poems nearly twice the size of the attenuated columns of kana to the left.' While the powerful Chinese graphs brushed in an assertive running script may at first seem clearly distinct and visually dominant, a closer look reveals an underlying merging of wa and kan in the work through, among other things, the paper decoration. Images of Chinese-style dragons contained within horizontal lines studded with golden dots roil across the upper register of the paper, breathing life into the design suggestive of a variety of associations, from Chinese emperors to serpentine kings beneath the sea. On the other hand, forms reminis cent ofblue clouds, invoking Japanese methods of paper manufacture, encroach toward the center, spilling over and neutralizing the visual force of the dragons, whose golden hue harmonizes with golden hills below. Beneath the calligraphy gold designs ofJapanese bush clover create a local setting for this synesthetic theater of poetic performance. -
Japanese Prints of the Floating World
James Madison University JMU Scholarly Commons Senior Honors Projects, 2020-current Honors College 5-8-2020 Savoring the moon: Japanese prints of the floating world Madison Dalton James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors202029 Part of the Acting Commons, Art Education Commons, Asian Art and Architecture Commons, Buddhist Studies Commons, Fine Arts Commons, History of Religions of Eastern Origins Commons, Japanese Studies Commons, Modern Art and Architecture Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Dalton, Madison, "Savoring the moon: Japanese prints of the floating world" (2020). Senior Honors Projects, 2020-current. 10. https://commons.lib.jmu.edu/honors202029/10 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2020-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Savoring the Moon: Japanese Prints of the Floating World _______________________ An Honors College Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ by Madison Britnell Dalton Accepted by the faculty of the Madison Art Collection, James Madison University, in partial fulfillment of the requirements for the Honors College. FACULTY COMMITTEE: HONORS COLLEGE APPROVAL: Project Advisor: Virginia Soenksen, Bradley R. Newcomer, Ph.D., Director, Madison Art Collection and Lisanby Dean, Honors College Museum Reader: Hu, Yongguang Associate Professor, Department of History Reader: Tanaka, Kimiko Associate Professor, Department of Sociology Reader: , , PUBLIC PRESENTATION This work is accepted for presentation, in part or in full, at Honors Symposium on April 3, 2020. -
Travel Is Home Travel and Landscape in Japanese Literature, Art, and Culture
TRAVEL IS HOME TRAVEL AND LANDSCAPE IN JAPANESE LITERATURE, ART, AND CULTURE Paper Abstracts (in alphabetical order): Sonia Favi, John Rylands Research Institute, The University of Manchester Meisho as Spaces of Contested Social Meaning in Edo Japan: The Case of Mount Fuji My paper discusses the role of maps and commercial prints of meisho as ways to re-discuss the meaning of space, and consequently the social and geographical boundaries imposed by the bakuhan state, in Edo Japan. The contested nature of the centralized social system imposed by the Tokugawa bakufu has been the object of a lively debate in studies on Edo Japan (see Tsutsui, 2007). Travel studies may provide fresh insight into this debate, as travel, a common practice within the bakuhan state (Ashiba, 1994; Vaporis, 1994; Vaporis, 1995; Nenzi, 2008; Funck and Cooper, 2013), was and is strictly entwined with social mobility, in a way that alters and marks social and cultural landscapes (Lean and Staiff, 2016). This process of transformation is reflected in travel literature, including disposable culture such as commercial prints and maps: these materials, in fact, “mirror and reproduce a whole range of taken-for-granted notions [about] understandings of history and culture.” (Hogan, 2008, 169) Representations of meisho are particularly interesting when analyzed in this perspective, as they were invested with (different, contested) meanings by a wide range of social actors: they were part of a new “official” landscape – a controlled landscape strategically devoid of travelers – in Tokugawa sponsored maps; they were invested with both religious and commercial meaning in religious maps; they were projected into a lyrical past in representations meant for a cultured audience; they were used as a way to reclaim spaces that for practical or normative reasons could not materially be experienced in other popular, commercial representations – that became “virtual” ways to defy boundaries and social conventions. -
Beyond the Haiku Moment: Basho, Buson and Modern Haiku Myths
http://www.haikupoet.com/definitions/beyond_the_h... Beyond the Haiku Moment: Basho, Buson and Modern Haiku myths Modern Haiku, XXXI:1 (winter-spring 2000) Haruo Shirane Shincho Professor of Japanese Literature, Columbia University What does North American haiku look like when observed from Japan? What kind of advice might haiku masters such as Basho and Buson give to English haiku poets? What would Basho and Buson say if they were alive today and could read English and could read haiku done by North American poets? I think that they would be delighted to find that haiku had managed to cross the Pacific and thrive so far from its place of origin. They would be impressed with the wide variety of haiku composed by North American haiku poets and find their work most innovative. At the same time, however, they would also be struck, as I have been, by the narrow definitions of haiku found in haiku handbooks, magazines, and anthologies. I was once told that Ezra Pound's famous metro poem first published in 1913, was not haiku. The apparation of these faces in the crowd: Petals on a wet, black bough . If I remember correctly, the reason for disqualification was that the metro poem was not about nature as we know it and that the poem was fictional or imaginary. Pound's poem may also have been ruled out since it uses an obvious metaphor: the petals are a metaphor for the apparition of the faces, or vice versa. This view of the metro poem was based on the three key definitions of haiku - haiku is about direct observation, haiku eschews metaphor, and haiku is about nature - which poets such as Basho and Buson would have seriously disputed.