Japanese Hospitality “OMOTENASHI” - March Program of Events

Total Page:16

File Type:pdf, Size:1020Kb

Japanese Hospitality “OMOTENASHI” - March Program of Events Japanese Hospitality “OMOTENASHI” - March Program of Events - Tokyo, 18 February 2016: In March, we are hosting variety of events that highlight diverse Japanese culture for travelers from overseas to have an experience and to come visit Japan again. The program will include a parade by “Oiran” dressed in magnificent kimono costume, a live Koto and Shamisen performance at the “Traditional Japanese culture corner” offering visitors the chance to see, hear and experience the culture of Japan first hand. Please refer to the next pages for more detail. Oiran Kimono Parade Oiran, Edo period entertainer in kimono costume can be seen at Narita Airport. Last May, this event was very popular with travelers from overseas. The Lady will be dressed in magnificent costume and be escorted by young male companions as she goes around greeting passengers at the airport. Everyone is invited to have a close look at the elegant kimono, and to take pictures with her. Koto & Shamisen Concert A Koto and Shamisen concert will be staged with the cooperation of the Chiba Prefectural Cultural Promotion Foundation. Enjoy your time at the airport, listening to the beautiful Japanese traditional music before you depart as a fond memory of your trip to Japan. Traditional Japanese Culture Experience Corner This corner offers visitors from abroad a chance to experience traditional Japanese culture in casual settings. In March, we invite you to experience making daruma dolls, wearing kimono and taking part in a Japanese tea ceremony. The items you craft at the workshops may be taken home as a souvenir. Attachment Event Terminal Venues Dates and Event Details ①14,16,18 March 13:00~14:30 Terminal 1 ②15,17 March 16:00~17:30 Oiran Kimono After the departure Parade immigration area ①15, 17 March 13:00~14:30 Terminal 2 ②14,16,18 March 16:00~17:30 3F, before the departure Koto & Shamisen security area, South court, 17,18 March ①15:00~ Terminal 2 Concert Narita Airport Stage ②16:30~ SKYRIUM ■ Daruma making 29 February to 4 March 15:00~18:30 After the departure ■ Daruma making immigration area, Terminal 1 14 to 18 March* 15:30~18:30 satellite 5, * Except 15 March near the transit counters Traditional ■ Kimono wearing Japanese Culture 15 March 14:00~17:00 Experience Corner After the departure ■ Tea ceremony immigration area, 7 to 8 March 13:30~16:00 Terminal 2 event space, ■ Mizuhiki accessory making inside NARITA SKY LOUNGE 9 to 11 March 14:00~17:00 “WA” NARITA SKY LOUNGE “WA” Terminal 1, Terminal 2, Event after the after the area departure departure immigration immigration area, area, satellite 5, event space, near the inside NARITA transit SKY LOUNGE counters “WA” Near the transit counters Terminal 2, SKYRIUM 3F, before the departure security area, South court, Narita Airport Stage SKYRIUM .
Recommended publications
  • Mothership.SG
    Search Search Go S’porean Harvard scholar & equity fund associate takes to Tokyo streets as Japan’s 1st foreign oiran The most elegant performer there, if we do say so ourselves. By Yeo Kaiqi | 22 hours 184 Here’s something cool that you might not have heard about that happened late last month. While all of us were busy getting mad about the presidential (s)election, Singaporean Rachel Leng was getting out there and making a name for us in a pretty interesting way. According to The Japan News, one of Japan’s five national newspapers, the 27-year-old was selected to perform as one of five oiran of the annual Shinagawa Shukuba Matsuri festival, an annual cultural event held in Tokyo, Japan. Here she is, second from the left: Photo via Rachel Leng’s Facebook post Advertisement You can see her walking elegantly down the street in super high wooden platform clogs here. In this video in particular, she demonstrates a distinctive style called “soto hachimonji”, in which the walker’s feet trace a sideways arc on the ground: But first, what’s an oiran, and what’s this festival? An oiran is a Japanese prostitute who was very popular and highly regarded mostly for her beauty — not to be confused with the better-known term geisha, who is very skilled in song, dance, playing an instrument, and otherwise entertaining guests. Leng appears in the “Oiran Dochu”, one of the main attractions of the Shinagawa Shukuba Matsuri, which celebrates the history of Shinagawa during the Edo period and its role in making Tokyo the city it is today, by re- creating the din and bustle of the Shinagawa ward back then.
    [Show full text]
  • The Sexual Life of Japan : Being an Exhaustive Study of the Nightless City Or the "History of the Yoshiwara Yūkwaku"
    Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924012541797 Cornell University Library HQ 247.T6D27 1905 *erng an exhau The sexual life of Japan 3 1924 012 541 797 THE SEXUAL LIFE OF JAPAN THE SEXUAL LIFE OF JAPAN BEING AN EXHAUSTIVE STUDY OF THE NIGHTLESS CITY 1^ ^ m Or the "HISTORY of THE YOSHIWARA YUKWAKU " By J, E. DE BECKER "virtuous men hiive siitd, both in poetry and ulasslo works, that houses of debauch, for women of pleasure and for atreet- walkers, are the worm- eaten spots of cities and towns. But these are necessary evils, and If they be forcibly abolished, men of un- righteous principles will become like ravelled thread." 73rd section of the " Legacy of Ityasu," (the first 'I'okugawa ShOgun) DSitl) Niimrraiia SUuatratiuna Privately Printed . Contents PAGE History of the Yosliiwara Yukwaku 1 Nilion-dzutsumi ( 7%e Dyke of Japan) 15 Mi-kaeri Yanagi [Oazing back WUlow-tree) 16 Yosliiwara Jiuja ( Yoahiwara Shrine) 17 The "Aisome-zakura " {Chen-y-tree of First Meeting) 18 The " Koma-tsunagi-matsu " {Colt tethering Pine-tree) 18 The " Ryojin no Ido " {Traveller's Well) 18 Governmeut Edict-board and Regulations at the Omen (Great Gate) . 18 The Present Omon 19 »Of the Reasons why going to the Yosliiwara was called " Oho ve Yukn " ". 21 Classes of Brothels 21 Hikite-jaya (" Introducing Tea-houses"') 28 The Ju-hachi-ken-jaya (^Eighteen Tea-houses) 41 The " Amigasa-jaya
    [Show full text]
  • Poetic Constraints of Lyric by Nicholas Andrew Theisen a Dissertation
    Re[a]ding and Ignorance: Poetic Constraints of Lyric by Nicholas Andrew Theisen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in The University of Michigan 2009 Doctoral Committee: Professor E. Ramirez-Christensen, Chair Professor Marjorie Levinson Associate Professor Johanna H. Prins Associate Professor Joseph D. Reed © Nicholas Andrew Theisen 2009 For no one ii Acknowledgements The work concluded, tentatively, with this dissertation would not have been possible without the continued intellectual engagement with my colleagues within and without the Department of Comparative Literature at the University of Michigan, especially (in no particular order) Michael Kicey, Meng Liansu, Sylwia Ejmont, Carrie Wood, and Sharon Marquart. I have benefited much from Jay Reed’s friendly antagonism, Marjorie Levinson’s keen insight, Esperanza Ramirez-Christensen’s grounding levity, and Yopie Prins’s magnanimity. But beyond the academic sphere, more or less, I’m am deeply indebted to Kobayashi Yasuko for reminding me that, to some, poetry matters as more than a mere figure of academic discourse and to my wife Colleen for her wholly unexpected insights and seemingly infinite patience. I have likely forgotten to mention numerous people; consider this my I.O.U. on a free drink. iii Table of Contents Dedication ii Acknowledgements iii List of Abbreviations vi List of Figures vii Chapters 1. Introduction 1 2. The Edges of Anne Carson’s Sappho 24 The Fragments of [Anne] Carson 27 Mutilation 45 3. Chocolate Bittersweet: Tawara Machi Translating Yosano Akiko 69 Bitter 71 Sweet 97 4. Separate but Equal: [un]Equating Catullus with Sappho 110 Impar 115 Par 128 Silence 140 5.
    [Show full text]
  • PICTURES of the FLOATING WORLD an Exploration of the World of the Yoshiwara, 吉原
    Cherry Blossom in the Yoshiwara by Yoshikazu PICTURES OF THE FLOATING WORLD An exploration of the world of the Yoshiwara, 吉原 PICTURES OF THE FLOATING WORLD In the nightless city Floating free from life’s cares Picture memories Haiku Keith Oram INTRODUCTION Japanese woodblock prints that recorded the Ukiyo, the ‘Floating World’ of the Yoshiwara of Edo city were so numerous that during the nineteenth century they were used to wrap ceramics exported to Europe. This practice provided some European artists with their first proper encounter with these beautifully created images. The impact on western art of their bold colours and sensuous line was quite significant influencing many artists of the avant gard. The story of those prints, however, began much earlier in the seventeenth century. First a little background history. The battle of Sekigahara in 1600 and the fall of Osaka in 1615 allowed Tokugawa Ieyasu to gain complete control of Japan. He had been made Shogun, supreme military leader, in 1603, but the fall of Osaka was the final action that gave him complete control. Almost his first act was to move the capital from Kyoto, the realm of the Emperor, to Edo, now Tokyo. This backwater town, now the new capital, grew very quickly into a large town. Tokugawa Iemitsu, Shogun 1623-51, required the daimyo of Japan, local rulers and warlords, to remain in Edo every other year, but when they returned to their fiefs he made them leave their families in the capital. This ‘hostage’ style management, sankin tokai, helped to maintain the peace. The other affect was that the daimyo needed to build large homes in Edo for their families.
    [Show full text]
  • Pioneers of the Women's Movement in Japan: Hiratsuka Raichô and Fukuda Hideko Seen Through Their Journals, Seitô Andsekai Fujn
    PIONEERS OF THE WOMEN'S MOVEMENT IN JAPAN: HIRATSUKA RAICHÔ AND FUKUDA HIDEKO SEEN THROUGH THEIR JOURNALS, SEITÔ ANDSEKAI FUJN by Fumiko Horimoto A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of East Asian Studies University of Toronto O Copyright by Fumiko Horimoto 1999 National Library Bibliothèque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the excIusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïh, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thése. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT Master of Arts, 1999 Fumiko Horimoto Department of East Asian Studies Hiratsuka Raichô's (1886-1971) statement, "In the beginning woman was the Sun," in the opening editorial of Seitô is generally regarded as the first Japanese "women's rights declaration." However, in January 1907, more than four years before the publication of Seitô, Fukuda (Kageyama) Hideko (1865-1927), one of the most remarkable activists in Japan's early phase of feminism, also published a magazine, Sekai fujïn (Women of the World), aiming at the emancipation of women.
    [Show full text]
  • Extreme Japan
    Extreme Japan At its roots, Japan has two deities who represent opposite extremes – Amaterasu, a Nigitama (peaceful spirit), and Susanoo, an Aratama (wrathful spirit). The dichotomy can be seen reflected in various areas of the culture. There is Kinkaku-ji (the Golden Pavilion) to represent the Kitayama culture, and Ginkaku-ji (the Silver Pavilion) to represent the Higashiyama culture. Kabuki has its wagoto (gentle style) and aragoto (bravura style). There are the thatched huts of wabicha (frugal tea ceremony) as opposed to the golden tea ceremony houses. Japan can be punk – flashy and noisy. Or, it can be bluesy – deep and tranquil. Add to flash, the kabuki way. Subtract to refine, the wabi way. Just don’t hold back - go to the extreme.Either way, it’s Japan. Japan Concept 5 Kabuku Japan Concept 6 wabi If we awaken and recapture the basic human passions that are today being lost in each moment, new Japanese traditions will be passed on with a bold, triumphant face. Taro Okamoto, Nihon no Dento (Japanese Tradition) 20 kabuku Extreme Japan ① Photograph: Satoshi Takase ③ ② Eccentrics at the Cutting Edge of Fashion ① Lavish preferences of truck drivers are reflected in vehicles decorated like illuminated floats. ② The crazy KAWAII of Kyary Pamyu Pamyu. ③ The band KISHIDAN. Yankii style, characterized by tsuppari hairstyles and customized high ⑤ school uniforms. ④ Kabuki-style cosmetic face masks made by Imabari Towel. Kabuki’s Kumadori is a powerful makeup for warding off evil spirits. ⑤ Making lavish use of combs and hairpins, oiran were the fashion leaders of Edo. The “face-showing” event is a glimpse into the sleepless world of night.
    [Show full text]
  • Meet a Real Life Geisha with Ganapati
    /SPONSORED EDITORIAL/ 74 \ Ganapati Japanese culture Meet a real life geisha with Ganapati Nadia Adelstein, irst appearing in Japan around the there has not been as much exposure to Fturn of the 18th century, geisha Japanese courtesans – but that doesn’t of Ganapati, became a cultural zeitgeist, thanks to mean you have to miss out on meeting discusses their their exceptional sophistication and one. class. A geisha’s role involves entertain- In a very rare occurrence, geisha exciting plans for ing men with conversation, dance and will soon be making their way to west- ICE Totally Gaming song. As such, geisha’s are exceptional- ern shores. Thanks to Ganapati, geisha 2018 ly well-trained, skilled entertainers, will come from the small towns of Gion who also act as hostesses and courte- Higashi and Kamishichiken, Kyoto, in sans. And they remain one of Japan’s early February to convene at the ICE cultural icons in the modern day. Totally Gaming Convention in London, To become a geisha, many years of England. training is required. Starting as maiko Ganapati, a multinational gaming (apprentices), they may undergo years company with bases all around the of intensive training in order to reach world, including Tokyo, are bringing the high standards required to be a three genuine maiko, three authentic fully fledged geisha. geisha, and even an oiran all the way This long training period is spent from Kyoto. learning how to play various musical Ganapati is a specialist when it instruments, sing, dance and generally comes to egaming – combining tradi- learn how to be the best hostess possi- tional European egaming with an au- ble; the illusion of female perfection; thentic Japanese flavour to leave you the ultimate companion.
    [Show full text]
  • Ατελειωτη Εξερευνηση Travel & Tours 24821777
    TOKΙΟ ΑΤΕΛΕΙΩΤΗ ΕΞΕΡΕΥΝΗΣΗ ΘΑΥΜΑΣΙΟ ΤΟΚΙΟ - ΑΞΙΟΘΕΑΤΑ ΚΑΙ ΨΩΝΙΑ | ΟΛΟΗΜΕΡΗ ΕΚΔΡΟΜΗ ΣΤΟ ΒΟΥΝΟ FUJI & HAKONE | ΠΕΡΠΑΤΩΝΤΑΣ ΣΤΟ ΗΦΑΙΣΤΕΙΟ FUJI| TOKYO DISNEYLAND ΕΙΣΙΤΗΡΙΟ | ΤΑ ΑΠΟΛΥΤΑ ΙΑΠΩΝΙΚΑ ΑΞΙΟΘΕΑΤΑ | ΠΕΡΙΗΓΗΣΗ ΣΤΗ ΚΟΥΛΤΟΥΡΑ ΤΟΥ ΤΟΚΙΟ|ΜΙΑ ΣΑΡΩΤΙΚΗ ΠΕΡΙΗΓΗΣΗ ΤΗΣ ΠΟΛΗΣ| No.1 ΒΡΑΔΙΝΟ ΣΟΟΥ ΜΕ ΡΟΜΠΟΤ | Η ΚΑΛΥΤΕΡΗ ΠΡΑΚΤΙΚΗ ΣΟΥΜΟ |ΓΚΕΪΣΕΣ & ΣΑΜΟΥΡΑΪ SHOW ΣΤΟ ΕΣΤΙΑΤΟΡΙΟ | ΤΕΛΕΤΗ ΔΗΜΙΟΥΡΓΙΑΣ ΤΣΑΓΙΟΥ | ΜΟΝΟΗΜΕΡΗ ΕΚΔΡΟΜΗ ΝΙΚΚΟ - ΠΑΓΚΟΣΜΙΑ ΠΟΛΙΤΙΣΤΙΚΗ ΚΛΗΡΟΝΟΜΙΑ | ΚΡΟΥΑΖΙΕΡΑ & ΔΕΙΠΝΟ ΣΕ ΠΑΡΑΔΟΣΙΑΚΟ ΙΑΠΩΝΙΚΟ ΠΛΟΙΑΡΙΟ TRAVEL & TOURS 24821777 AMAZING TOKYO SIGHTSEEING & SHOP- Έναρξη: 08:30 PING Διάρκεια: 8 ώρες Γλώσσα: Αγγλικά Θα επισκεφθείτε ένα μεγάλο αριθμό ορόσημων που πρέπει να δείτε στο Τόκιο κατά τη διάρκεια του Amazing Tokyo Tour, συμπεριλαμβανομένου του αυτοκρατορικού παλατιού, του ναού Senso-ji στην Ασακούσα, της αγοράς ψαριών Tsukiji και της κρουαζιέρας του κόλπου του Τόκυο. Δεν θα χάσετε τα περίφημα σημεία στο Τόκιο, Kabuki-cho, National Diet Build- ΑΞΙΟΘΕΑΤΑ ing, Akihabara, Αγορά Ame-Yoko, Kappa-Bashi, Tokyo Tower, Shibuya, Omote-Sando, Harajuku. Ξεκινήστε το ταξίδι σας στα αξιοθέατα από το σημείο συνάντησης στο Shinjuku 8:30 π.μ. ΤΗΣ ΠΟΛΗΣ Προχωράμε στο Imperial Palace East Garden, όπου μπορείτε να απολαύσετε τον ιαπωνικό κήπο και τις χαρακτηριστικές κατασκευές στην εποχή του Edo. Αργότερα, θα πάμε στο Asakusa το καλύτερο σημείο αξιοθέασης στο Τόκιο. Μπορείτε ΚΑΙ ΨΩΝΙΑ να δείτε εξαιρετικές κατασκευές όπως η πύλη Kaminari-mon και ο ναός Senso-ji. Στη συνέχεια θα οδηγήσουμε από το Τόκιο Sky Tree, το Asahi Beer Head Quarter, το Ryogoku Kokugikan, το Bakuro-cho, το Nihon-bashi dist., Yaesu, Ginza και το θέατρο Kabuki-sa. Μετά από αυτό, ήρθε η ώρα να πάτε στην αγορά ψαριών που υπερηφανεύεται για τα καλύτερα αλιεύματα του κόσμου στην αγορά ψαριών Tsukiji και Tokyo Bay Cruise όπου μπορείτε να απολαύσετε σύντομη κρουαζιέρα στο Τόκιο και να περάσετε τη Γέφυρα του Ουράνιου Τόξου.
    [Show full text]
  • Burakumin and Shimazaki Toson's Hakai: Images of Discrimination in Modern Japanese Literature
    Burakumin and Shimazaki Toson's Hakai: Images of Discrimination in Modern Japanese Literature Andersson, René 2000 Link to publication Citation for published version (APA): Andersson, R. (2000). Burakumin and Shimazaki Toson's Hakai: Images of Discrimination in Modern Japanese Literature. Institutionen för Östasiatiska Språk,. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Burakumin and Shimazaki Tôson’s Hakai: Images of Discrimination in Modern Japanese Literature René Andersson 1 Published by: Dept. of East Asian Languages Lund University P.O. Box 713, SE – 220 07 Lund SWEDEN Tel: +46–46–222–9361 E-mail: [email protected] ISBN: 91-628-4538-1 TO MY FATHER AAGE 3 TABLE OF CONTENTS ACKNOWLEDGMENT ..................................................................................
    [Show full text]
  • Japón: Identidad, Identidades (III) ISSN: 2254- 8300
    Japón: Identidad, identidades (III) ISSN: 2254- 8300 LAS MUJERES DE YOSHIWARA: PLACER, POBREZA Y LUJO EN EL JAPÓN FEUDAL Carmen Álvarez González-Jubete Master Oficial en Estudios de Asia Oriental (Universidad de Granada) [email protected] Federico Fco. Pérez Garrido Máster en Asia Oriental/Estudios Japoneses (Universidad de Salamanca) [email protected] Resumen: La historia y la literatura japonesa están repletas de arquetipos masculinos que reflejan la evolución cultural y política de este país asiático: la tradición encarnada en el valiente samurái fiel a su señor, el difícil proceso de ruptura que sobrevino sobre escritores e intelectuales a partir de la época Meiji, o la vida anodina del oficinista dedicado en cuerpo y alma a su trabajo. En contraposición a esta variedad de perfiles masculinos, la figura femenina que nos ha sido transmitida presenta un rol aparentemente estático e inmutable en el tiempo: delicadas geishas sirviendo té, lolitas sonrientes posando para una foto, madres y esposas entregadas a la crianza y educación de sus hijos. La imagen de la mujer parece circunscribirse al espacio doméstico y estético de la historia japonesa. Sin embargo, si nos alejamos voluntariamente de estas imágenes tradicionales y ahondamos en la historia, se pueden descubrir otros modelos femeninos: mujeres fuertes que tuvieron que sobrevivir en un ambiente social hostil, y que jugaron un papel central en la vida cultural y política de la época. Dentro de la cultura de la armonía y la perfección, se encontraban las llamadas oiran: mujeres que ejercieron su actividad en el ya desaparecido barrio de placer de Yoshiwara, en la antigua Edo.
    [Show full text]
  • Look Inside for Our Cherry Blossom Tours!
    WWW.NONSTOP.TRAVEL | (808) 593-0700 | SEPTEMBER 2015 Look Inside for Our Cherry Blossom Tours! inside: JAPAN LAND TOURS › japan › LAND & SEA TOURS › new england › ALASKA › europe › & MORE Aloha, Just returned from a fun-filled and memorable group tour to Japan. Tour members ranged in age from 8 to 89 years old. Very heart-warming to see everyone bond with each other from the moment we boarded our Hawaiian Airlines flight. Experienced the natural beauty of Miyajima Island where we overnighted at the incomparable Iwaso Inn. Enjoyed the thrilling rapids of the downstream Hozu river boat ride. And in spite of the rain, we witnessed the glorious Gion Festival “yamaboko” floats. Eating matsuri (festival) food was my favorite! Grilled giant squid, Hokkaido sweet corn-on-the-cob, and Yakitori (grilled chicken) just for starters! Our team has created many new tours for you to enjoy! Look forward to discovering the world with you. Mahalo for your continued support! Gene Miyake Vice President Background Photo (Left): Cherry Blossoms | Background Photo (Right): Beautiful procession of floats. Inset Bottom Left: Street Festival | Inset Bottom Right: On our way to Gion Festival via subway. Table of Contents ›› 3 Photos: 2015 Round Hokkaido Cruise - Diamond Princess Cruise › 4 Cherry Blossoms – Hana Moyu – KIKU Tv › 6 Cherry Blossoms – Takayama Spring Festival › 8 Cherry Blossoms – Tohoku & Hokkaido › 10 Cherry Blossoms – Treasures of Southern Japan › 12 Cherry Blossoms – Grand Shikoku › 14 Cherry Blossoms – Taste of Tokyo › 16 2016 Diamond Princess
    [Show full text]
  • (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 ................................................................................................................................
    [Show full text]