DOCSLIB.ORG

© in This Web Service Cambridge University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cambridge University Press 978-1-107-02903-3 - The Cambridge History of Japanese Literature Edited by Haruo Shirane and Tomi Suzuki Index More information Index Abbot Rikunyo (1734–1801), 465 Ukiyo monogatari (Tales of the Floating Abe Akira (1934–89), 736 World, 1661), 392 Abe Kazushige (b. 1968), 765, 767 Atsumori, 8, 336, 343 Abe Ko¯bo¯(1924–93), 701, 708, 709, 760 aware (pathos), 80, 138, 239, 299, 474, 486 Adachigahara, 339 Ayukawa Nobuo (1920–86), 717 akahon (red books), 510–22 Azuma nikki (Eastern Diary, 1681), 409 Akazome Emon, 135, 161, 170, 193–7 Azumakagami, 201 Akimoto Matsuyo (1911–2001), 708 azuma-uta (eastland songs), 77, 79, 82, 111 Akizato Rito¯(?–1830), 524 To¯kaido¯ meisho zue (Illustrated Sights of Backpack Notes. See Matsuo Basho¯ the To¯kaido¯, 1797), 524–5 Bai Juyi (or Bo Juyi, J. Haku Kyoi or Haku Akutagawa Ryu¯nosuke (1892–1927), 286, 630, Rakuten, 772–846), 124 639, 669, 684, 694–5, 700 Baishi wenji (Collected Works of Bai Juyi, ancient songs, 25, 26, 28–9, 37, 40–4, 52, 57–8, J. Hakushi monju¯ or Hakushi bunshu¯, 60; see also kiki kayo¯ 839), 184–6, 283 Ando¯ Tameakira (1659–1716), 138, 480 Changhen-ge (Song of Never-Ending Shika shichiron (Seven Essays of Sorrow, J. Cho¯gonka, 806), 152 Murasaki, 1703), 138 Baitei Kinga (1821–93), 530 anime, 729, 764 bakufu (military government), 95, 201, 211–12, Anzai Fuyue (1898–1965), 684, 714–15 215, 216, 295, 297, 309, 312, 314, 348–9, aohon (green books), 510–22 374–6, 377–8, 388, 389, 393–5, 419, 432–3, Aono Suekichi (1890–1961), 658–9 505–7, 520–2, 532–3 Arai Hakuseki (1657–1725), 4, 461, 546 banka (elegy), 54, 63–4, 76, 77, 83 Arakida Moritake (1473–1549), 326 banzuke (theater programs), 391, 425, 452 Arakida Reijo (1732–1806), 377 Battles of Coxinga. See Chikamatsu Arechi (Waste Land, 1947–58), 717 Monzaemon Ariake no wakare (Partings at Dawn), 153–5 Ben no Naishi (c. 1228–c. 1270), 278 Arishima Takeo (1878–1923), 632, 653 Ben no Naishi nikki (The Diary of Ben aristocrat, 4–6, 7, 8, 40–1, 71, 89–90, 102, 281–3, no Naishi, date unknown), 268–9, 289, 325, 334, 335–6, 343, 348, 373, 403, 272–3, 275 448, 471–2, 475–6, 653; see also chapters Benkei monogatari (The Tale of 7–19, 21–25 Benkei), 359 Ariwara no Narihira (825–80), 98, 99, 100, 115, benreibun (Chinese-style parallel prose, 123–5, 235, 277, 335, 337, 379 Ch. pianwen), 179 Ariyoshi Sawako (1931–84), 743 benshi (oral lecturer for silent film), 697 Asai Ryo¯i (c. 1612–91), 375, 398 Betsuyaku Minoru (b. 1937), 708 To¯kaido¯ meishoki (Famous Places of bibungaku (elegant writing or belles-lettres), the To¯kaido¯, c. 1661), 399, 447 565–6, 570 821 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02903-3 - The Cambridge History of Japanese Literature Edited by Haruo Shirane and Tomi Suzuki Index More information Index biwa ho¯shi (lute-playing minstrels), 9, 216, zange-mono, 419 290–3, 297, 302, 303–4, 308, 355, 363, in the ancient period, 15, 16–17, 20, 31, 373, 437 37–9, 58 Bo¯ken Dankichi (The Adventures of Dankichi, in the Heian period, 214 1933–9), 677 in the medieval period, 214–15 Buddhism, 3–4, 7–9, 33, 158, 235 bugaku (court dance), 347 and bukan (samurai directories), 387, 627 dengaku, 331 buke-mono (books on warrior life), 418 Fujiwara no Kinto¯, 120 bundan (literary establishment), 729–30, furyu¯, 448 760, 765 ganmon, 179–80 Bungakukai (Literary World, est. 1893), Genji monogatari, 20, 136–7 603, 729 Gozan bungaku. chapter 32 Bungei jidai (The Literary Age, 1924–7), 630, Gukansho¯, 201–5, 298 695, 697 gunki, 213, 290 Bungei sensen (The Literary Front, 1924–32), haikai, 403 630, 658–9, 664 Heike monogatari, 295, 299, 302, 303, 309 Bungo no kuni fudoki (Bungo Province Ise monogatari, 160 Gazetteer), 47 kana ho¯go, 399 bunjinga (literati painting), 410, 492 kanshi, 457 Bunka shu¯reishu¯ (Collection of Exquisite karon, 218, 253 Literary Flourish, 818), 88–9, 91 Konjaku monogatari shu¯, 100–1, 281 bunmei kaika (Westernization movement, Korai fu¯teisho¯, 226–7 “civilization and enlightenment”), 583 ko¯wakamai, 362 bunraku, 391, chapter 43 kyo¯gen, 347, 349, 350–1, 352 Bunsho¯ sekai (World of Writing, est. 1906), 570 Kyo¯goku Tamekane, 244 Bunsho¯so¯shi (Bunsho¯ the Saltmaker), 358 kyo¯sha, 503 burakumin, 602, 650–1, 689, 760, 765 Man’yo¯shu¯, 66, 68, 69, 71–4 Busu (Delicious Poison), 349 Motoori Norinaga, 486 buto¯, 709 Nanso¯ Satomi hakkenden, 549 byo¯bu-uta (screen poems), 99, 112–14, 119–20 Nihon ryo¯iki, 97, 281 no¯gakuron, 341, 345, 346 Cao Zhi (192–232), 58, 70 noh, 331–3, 336, 350–1 censorship otogizo¯shi, 358–61 and setsuwa, 284 printed texts, 382–3, 384–5, 386, 387, 389, in the Edo period, 348–9, 352–3, 374, 376, 380, 396, 398 388, 393–5, 440, 441, 444–5, 520–2, 523, recluse literature, 259–67 532–3, 535 renga, 319 in the modern period, 573, 581, 625, 647, 656, Ryo¯jin hisho¯, 207–8 661, 668, 706, 722, 723, 724, 748–9 Sakurahime zenden akebono so¯shi, 544 under US occupation, 700, 720–1, 724–7 Sarashina Nikki, 173–4 chaban (impromptu comedic “sketch” sekkyo¯, 365, 367 performances), 525, 530 setsuwa, 281, 282, 283–5 Changhen-ge. See Bai Juyi Shinkei, 322 Characters of Daughters in the World. See Ejima Shinkokinshu¯, 230, 237 Kiseki Shu¯ishu¯, 119 Characters of Sons in the World. See Ejima Shukke to sono deshi, 653 Kiseki Shuten Do¯ji, 359–60, 368–9 Chikamatsu Hanji (1725–83), 445 Soga monogatari, 307 Chikamatsu Kasaku, 445 So¯gi, 323 Chikamatsu Monzaemon (1653–1725), 4, 9, 10, Towazugatari, 277 369, 375, 381, 429–33, 439–44, 513, 704 Uji dainagon monogatari, 282 Goban Taiheiki (Chronicle of Great Peace, Wakan ro¯eishu¯, 186 Played on a Go Board, 1710), 440 822 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02903-3 - The Cambridge History of Japanese Literature Edited by Haruo Shirane and Tomi Suzuki Index More information Index Kokusen’ya kassen (Battles of Coxinga, 1715), cho¯nin (townsman), 9, 138, 373, 377–81, 402, 405, 432–3, 442, 453 415–16, 462 Meido no hikyaku (Courier for Hell, cho¯nin-mono (books on merchant life), 418 1711), 442 Cho¯ya gunsai (Collected Documents of the Shinju¯ Ten-no-Amijima (Love Suicides at Court and Country), 180, 181, 192 Amijima, 1720), 432, 442 Christianity, 384, 393, 562, 564, 594, 599, 600, Shusse Kagekiyo (Kagekiyo Victorious, 620–1, 654, 726 1685), 365, 438, 439 Chronicle of the Eight Dogs of the Nanso¯ Satomi Sonezaki shinju¯ (Love Suicides at Sonezaki, Clan. See Kyokutei (Takizawa) Bakin 1703), 440 Chronicles of Japan. See Nihon shoki Yotsugi Soga (The Soga Heir, 1683), 439 Chu¯o¯ko¯ron (Central Review, est. 1887), 630, chikushi (“bamboo branch” verse), 462 643, 647, 666, 668, 679, 729 China. See also Tang, Song, Ming, Qing chu¯sei Nihongi (medieval Chronicles of dynasties, Manchuria, Sino-Japanese Japan), 33 War, Second Sino-Japanese War class. See also aristocrat, burakumin, cho¯nin, ancient texts imported from, 19–20 daimyo¯, farmer, jige, merchant, and samurai, provincial governor bunjin, 379–80, 503, chapter 50 and genre, 567 Daigakuryo¯, chapter 16 and language, 557, 593–4 haishi-mono, 539, 541 and writing style, 561, 569 Kogaku, 379 four-class system, 373–4, 415, 419–20, 435, literary genre hierarchy, 3–4 553–4, 603 print culture in Japan, 389–90 in modern society, 582, 599, 603, 604, 643, Sugawara no Michizane. chapter 8 646, 655–68, 683, 707, 723, 732–3, 735–6, in 741, 745, 748 Hamamatsu Chu¯nagon monogatari, Collection of Myriad Leaves. See Man’yo¯shu¯ 145–6 colonialism, 553, 582, 653, 666, 714–15, chapters Matsura no miya monogatari, 151–3 69, and 71; see also Manchuria setsuwa-shu¯, 9, 281, 283–4 and influence on Japanese texts, 17–18, 26–30, Korea, 626, 638, 684 34, 39, 42, 45, 48, 51, 52, 54, 55, 57–9, 61, Okinawa, 753–4 64, 67–74, 80–1, 85, 97–9, 121–2, 127, 157, Taiwan and the South Sea, chapter 70 179–81, 215, 218, 219–20, 281, 290, 411, zainichi literature, chapter 79 473, 479–84, 522; see also hentai kanbun, commoner, 5, 9, 97, 100–1, 129, 133, 164, 214, kanbun, kanji, Kangaku, kango, kanshi, 215, 216–17, 282, 284–5, 286, 317, 318, kundoku, kyo¯bun, kyo¯shi, wakan-kon- 319, 323, 350–1, 357–8, 404, 406, 408, 432, ko¯bun, chapters 6, 17, 18, 32, 46, 47, 50, 433, 440, 449, 450, 469–70, 471–2, 475, and 57 486, 507, 523, 528, 533, 563, 704; see also influence on primary education, 389, 557–8 cho¯nin, jige influence on state system in Japan, 17, 18, Confucianism, 3–4, 7–9, 158; see also Gion 36, 52, 59–60 Nankai, Hattori Nankaku, Ogyu¯ printing technology of, 382–3 Sorai, chapter 49 Chinese, literary. See kanbun and chinkon (pacification of spirits), 293 Daigakuryo¯, 103, 178 chishi (geographical guidebooks to famous Edo kanshi, 457–8, 465, 466 sights), 524–5 Edo social hierarchy, 415 Chiun (d. 1448), 321 education in the Edo period, 384 Cho¯jakyo¯ (1627), 400 education in the Meiji period, 558, 562–3 cho¯ka (long poem), 6, 53, 54, 82, 112, 222, 231, fudoki, 48 275; see also references to individual Genji monogatari, 136–7, 138 poems in chapter 5 Gozan bungaku, 312 chokuto¯ (imperial responses), 189 gunki, 290 Chong Ch’u-wo˘l(1944–2011), 759 Ho¯jo¯ki, 191 823 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02903-3 - The Cambridge History of Japanese Literature Edited by Haruo Shirane and Tomi Suzuki Index More information Index Confucianism (cont.) premodern aristocratic women, 151, Honcho¯ niju¯ fuko¯, 420 163, 172 Ito¯ Jinsai, 416 women in the early modern period, 376, Kaifu¯so¯, 86, 87 390, 398 Kangaku, 379 women in the modern period, 588, 738, Kasho¯ki, 398 739, 748, chapters
Recommended publications
  • 1 Chapter 1 the Legal System and the Economic, Political and Social

    1 Chapter 1 the Legal System and the Economic, Political and Social

    Chapter 1 The Legal System and the Economic, Political and Social Development in Japan I Introduction In this course we will follow briefly the history of legal development in Japan and ask how legal reforms have influenced, and have been influenced by, economic development, which has also influenced, and has been influenced by, political and social development in Japan. It is a part of the complexity of mutual relations between legal, economic, political, and social development in a society, from which we will clarify the roles of legal reform for the development of the country. The way to development is not simple and single, but there are various routes to approach development. The well-known route which had occurred in the U.K. was that the Parliament finally succeeded in limiting the political power of the King by the Glorious Revolution in 1688, having the Bill of Rights to be guaranteed, and establishing the rule of law, which led to the industrial revolution since the 17th century. It was a typical pattern of mutual relation between political development (the popular revolution), legal development (the rule of law), and economic development (the industrial revolution). Then how was it in Japan? Acemoglu and Robinson analyzed the Japanese pattern as follows: By 1890 Japan was the first Asian country to adopt a written constitution, and it created a constitutional monarchy with an elected parliament, the Diet, and an independent judiciary. These changes were decisive factors in enabling Japan to be the primary beneficiary from the Industrial Revolution in Asia.1 According to Acemoglu and Robinson, the Japanese way seems to be similar to that of the U.K., for the political development (the Diet in constitutional monarchy), which was sustained by the legal development (the written constitution), led to the industrial revolution.
  • Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural

    Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural

    Japanese Journal of Religious Studies 32/: –33 © 2005 Nanzan Institute for Religion and Culture R. Keller Kimbrough Reading the Miraculous Powers of Japanese Poetry Spells, Truth Acts, and a Medieval Buddhist Poetics of the Supernatural The supernatural powers of Japanese poetry are widely documented in the lit- erature of Heian and medieval Japan. Twentieth-century scholars have tended to follow Orikuchi Shinobu in interpreting and discussing miraculous verses in terms of ancient (arguably pre-Buddhist and pre-historical) beliefs in koto- dama 言霊, “the magic spirit power of special words.” In this paper, I argue for the application of a more contemporaneous hermeneutical approach to the miraculous poem-stories of late-Heian and medieval Japan: thirteenth- century Japanese “dharani theory,” according to which Japanese poetry is capable of supernatural effects because, as the dharani of Japan, it contains “reason” or “truth” (kotowari) in a semantic superabundance. In the first sec- tion of this article I discuss “dharani theory” as it is articulated in a number of Kamakura- and Muromachi-period sources; in the second, I apply that the- ory to several Heian and medieval rainmaking poem-tales; and in the third, I argue for a possible connection between the magico-religious technology of Indian “Truth Acts” (saccakiriyā, satyakriyā), imported to Japan in various sutras and sutra commentaries, and some of the miraculous poems of the late- Heian and medieval periods. keywords: waka – dharani – kotodama – katoku setsuwa – rainmaking – Truth Act – saccakiriyā, satyakriyā R. Keller Kimbrough is an Assistant Professor of Japanese at Colby College. In the 2005– 2006 academic year, he will be a Visiting Research Fellow at the Nanzan Institute for Religion and Culture.
  • EARLY MODERN JAPAN 2008 Samurai and the World of Goods

    EARLY MODERN JAPAN 2008 Samurai and the World of Goods

    EARLY MODERN JAPAN 2008 Samurai and the World of Goods: vast majority, who were based in urban centers, could ill afford to be indifferent to money and the Diaries of the Toyama Family commerce. Largely divorced from the land and of Hachinohe incumbent upon the lord for their livelihood, usually disbursed in the form of stipends, samu- © Constantine N. Vaporis, University of rai were, willy-nilly, drawn into the commercial Maryland, Baltimore County economy. While the playful (gesaku) literature of the late Tokugawa period tended to portray them as unrefined “country samurai” (inaka samurai, Introduction i.e. samurai from the provincial castle towns) a Samurai are often depicted in popular repre- reading of personal diaries kept by samurai re- sentations as indifferent to—if not disdainful veals that, far from exhibiting a lack of concern of—monetary affairs, leading a life devoted to for monetary affairs, they were keenly price con- the study of the twin ways of scholastic, meaning scious, having no real alternative but to learn the largely Confucian, learning and martial arts. Fu- art of thrift. This was true of Edo-based samurai kuzawa Yukichi, reminiscing about his younger as well, despite the fact that unlike their cohorts days, would have us believe that they “were in the domain they were largely spared the ashamed of being seen handling money.” He forced paybacks, infamously dubbed “loans to maintained that “it was customary for samurai to the lord” (onkariage), that most domain govern- wrap their faces with hand-towels and go out ments resorted to by the beginning of the eight- after dark whenever they had an errand to do” in eenth century.3 order to avoid being seen engaging in commerce.
  • Treasures of Jodo Shinshu and the Hongwanji II —The Preservation of Beauty and Teachings—

    Treasures of Jodo Shinshu and the Hongwanji II —The Preservation of Beauty and Teachings—

    Special Exhibition Treasures of Jodo Shinshu and the Hongwanji II —The Preservation of Beauty and Teachings— March 4th to June 11th, 2017 at Ryukoku Museum List of Works Notes • The list numbers corespond to the exhibition labels. • Not all the works of this list will be exhibited at the same time because of the exhibition rotations. Chapter 1 Past Chief Priests of Hongwanji No. Title Artist or Author Materials Date Location and Owner [National Treasure] Inscription and Endorsed Muromachi period, 1 Colors on silk Hongwanji, Kyoto Portrait of Shinran (Anjō no Go'ei ) by Rennyo (1415-99) Bunmei 11 (1479) Momoyama period, 2 Portraits of Shinran (Hana no Go'ei ) Colors on silk Hongyō-ji, Shiga 16th-17th century Endorsed by Muromachi period, 3 Portraits of Shinran Colors on silk Konjōbō, Toyama Jitsunyo (1458-1525) Meiō 6 (1497) Endorsed by Muromachi period, 4 Portraits of Shinran Colors on silk Hōon-ji, Toyama Shōnyo (1516-54) 16th century Wood with Kamakura-Nambokuchō 5 Seated Image of Shinran pigments, Hongaku-ji, Fukui period, 14th century crystal Eyes Wood with toned Nambokuchō-Muromachi 6 Seated Image of Shinran repairs, Konkaikōmyō-ji, Kyoto period, 14th-15th century crystal Eyes Illustrated Biography of Shinran Nambokuchō period, 7 Colors on paper Kōraku-ji, Nagano (Hongwanji shōnin Shinran denne ) 14th century [Important Cultural Property] Inscription by Nambokuchō period, Jōsembō in Temma, 8 Illustrated Biography of Shinran Colors on paper Zonkaku (1290-1373) 14th century Osaka (Hongwanji shōnin Shinran denne ) by Tokuriki Zensetsu,
  • In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine

    In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine

    In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Patricia Shehan Campbell, Chair Jeffrey M. Perl Christina Sunardi Paul S. Atkins Program Authorized to Offer Degree: Music ii ©Copyright 2017 Michiko Urita iii University of Washington Abstract In Silent Homage to Amaterasu: Kagura Secret Songs at Ise Jingū and the Imperial Palace Shrine in Modern and Pre-modern Japan Michiko Urita Chair of the Supervisory Committee: Professor Patricia Shehan Campbell Music This dissertation explores the essence and resilience of the most sacred and secret ritual music of the Japanese imperial court—kagura taikyoku and kagura hikyoku—by examining ways in which these two songs have survived since their formation in the twelfth century. Kagura taikyoku and kagura hikyoku together are the jewel of Shinto ceremonial vocal music of gagaku, the imperial court music and dances. Kagura secret songs are the emperor’s foremost prayer offering to the imperial ancestral deity, Amaterasu, and other Shinto deities for the well-being of the people and Japan. I aim to provide an understanding of reasons for the continued and uninterrupted performance of kagura secret songs, despite two major crises within Japan’s history. While foreign origin style of gagaku was interrupted during the Warring States period (1467-1615), the performance and transmission of kagura secret songs were protected and sustained. In the face of the second crisis during the Meiji period (1868-1912), which was marked by a threat of foreign invasion and the re-organization of governance, most secret repertoire of gagaku lost their secrecy or were threatened by changes to their traditional system of transmissions, but kagura secret songs survived and were sustained without losing their iv secrecy, sacredness, and silent performance.
  • Japonica Humboldtiana 8 (2004)

    Japonica Humboldtiana 8 (2004)

    JAPONICA HUMBOLDTIANA 8 (2004) Contents MARKUS RÜTTERMANN Ein japanischer Briefsteller aus dem ‘Tempel zu den hohen Bergen’ Übersetzung und Kommentar einer Heian-zeitlichen Handschrift (sogenanntes Kôzanjibon koôrai). Zweiter und letzter Teil ............ 5 GERHILD ENDRESS Ranglisten für die Regierungsbeamten des Hofadels Ein textkritischer Bericht über das Kugyô bunin ............................. 83 STEPHAN KÖHN Alles eine Frage des Geschmacks Vom unterschiedlichen Stellenwert der Illustration in den vormodernen Literaturen Ost- und Westjapans .................... 113 HARALD SALOMON National Policy Films (kokusaku eiga) and Their Audiences New Developments in Research on Wartime Japanese Cinema.............................................................................. 161 KAYO ADACHI-RABE Der Kameramann Miyagawa Kazuo................................................ 177 Book Reviews SEPP LINHART Edo bunko. Die Edo Bibliothek. Ausführlich annotierte Bibliographie der Blockdruckbücher im Besitz der Japanologie der J. W. Goethe-Universität Frankfurt am Main als kleine Bücherkunde und Einführung in die Verlagskultur der Edo-Zeit Herausgegeben von Ekkehard MAY u.a............................................ 215 4 Contents REGINE MATHIAS Zur Diskussion um die “richtige” Geschichte Japans Steffi RICHTER und Wolfgang HÖPKEN (Hg.): Vergangenheit im Gesellschaftskonflikt. Ein Historikerstreit in Japan; Christopher BARNARD: Language, Ideology, and Japanese History Textbooks ...........................................................................
  • Ki No Tsurayuki a Poszukiwanie Tożsamości Kulturowej W Literaturze Japońskiej X Wieku

    Ki No Tsurayuki a Poszukiwanie Tożsamości Kulturowej W Literaturze Japońskiej X Wieku

    Title: Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku Author: Krzysztof Olszewski Citation style: Olszewski Krzysztof. (2003). Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku. Kraków : Wydawnictwo Uniwersytetu Jagiellońskiego Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku Literatura, język i kultura Japonii Krzysztof Olszewski Ki no Tsurayuki a poszukiwanie tożsamości kulturowej w literaturze japońskiej X wieku WYDAWNICTWO UNIWERSYTETU JAGIELLOŃSKIEGO Seria: Literatura, język i kultura Japonii Publikacja finansowana przez Komitet Badań Naukowych oraz ze środków Instytutu Filologii Orientalnej oraz Wydziału Filologicznego Uniwersytetu Jagiellońskiego RECENZENCI Romuald Huszcza Alfred M. Majewicz PROJEKT OKŁADKI Marcin Bruchnalski REDAKTOR Jerzy Hrycyk KOREKTOR Krystyna Dulińska © Copyright by Krzysztof Olszewski & Wydawnictwo Uniwersytetu Jagiellońskiego Wydanie I, Kraków 2003 All rights reserved ISBN 83-233-1660-0 Wydawnictwo Uniwersytetu Jagiellońskiego Dystrybucja: ul. Bydgoska 19 C, 30-056 Kraków Tel. (012) 638-77-83, 636-80-00 w. 2022, 2023, fax (012) 430-19-95 Tel. kom. 0604-414-568, e-mail: wydaw@if. uj. edu.pl http: //www.wuj. pl Konto: BPH PBK SA IV/O Kraków nr 10601389-320000478769 A MOTTO Księżyc, co mieszka w wodzie, Nabieram w dłonie Odbicie jego To jest, to niknie znowu - Świat, w którym przyszło mi żyć. Ki no Tsurayuki, testament poetycki' W świątyni w Iwai Będę się modlił za Ciebie I czekał całe wieki. Choć
  • UC Berkeley Electronic Theses and Dissertations

    UC Berkeley Electronic Theses and Dissertations

    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them.
  • HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon

    HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon

    SPIRITS AND IDENTITY IN NINETEENTH-CENTURY NORTHEASTERN JAPAN: HIRATA KOKUGAKU AND THE TSUGARU DISCIPLES by Gideon Fujiwara A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gideon Fujiwara, 2013 ABSTRACT While previous research on kokugaku , or nativism, has explained how intellectuals imagined the singular community of Japan, this study sheds light on how posthumous disciples of Hirata Atsutane based in Tsugaru juxtaposed two “countries”—their native Tsugaru and Imperial Japan—as they transitioned from early modern to modern society in the nineteenth century. This new perspective recognizes the multiplicity of community in “Japan,” which encompasses the domain, multiple levels of statehood, and “nation,” as uncovered in recent scholarship. My analysis accentuates the shared concerns of Atsutane and the Tsugaru nativists toward spirits and the spiritual realm, ethnographic studies of commoners, identification with the north, and religious thought and worship. I chronicle the formation of this scholarly community through their correspondence with the head academy in Edo (later Tokyo), and identify their autonomous character. Hirao Rosen conducted ethnography of Tsugaru and the “world” through visiting the northern island of Ezo in 1855, and observing Americans, Europeans, and Qing Chinese stationed there. I show how Rosen engaged in self-orientation and utilized Hirata nativist theory to locate Tsugaru within the spiritual landscape of Imperial Japan. Through poetry and prose, leader Tsuruya Ariyo identified Mount Iwaki as a sacred pillar of Tsugaru, and insisted one could experience “enjoyment” from this life and beyond death in the realm of spirits.
  • A.C. Ohmoto-Frederick Dissertation

    A.C. Ohmoto-Frederick Dissertation

    The Pennsylvania State University The Graduate School College of the Liberal Arts GLIMPSING LIMINALITY AND THE POETICS OF FAITH: ETHICS AND THE FANTASTIC SPIRIT A Dissertation in Comparative Literature by Ayumi Clara Ohmoto-Frederick © 2009 Ayumi Clara Ohmoto-Frederick Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2009 v The dissertation of Ayumi Clara Ohmoto-Frederick was reviewed and approved* by the following: Thomas O. Beebee Distinguished Professor of Comparative Literature and German Dissertation Advisor Chair of Committee Reiko Tachibana Associate Professor of Comparative Literature and Japanese Véronique M. Fóti Professor of Philosophy Monique Yaari Associate Professor of French Caroline D. Eckhardt Professor of Comparative Literature and English Head of the Department of Comparative Literature *Signatures are on file in the Graduate School iii Abstract This study expands the concept of reframing memory through reconciliation and revision by tracing the genealogy of a liminal supernatural entity (what I term the fantastic spirit and hereafter denote as FS) through works including Ovid’s Narcissus and Echo (AD 8), Dante Alighieri’s Vita Nuova (1292-1300), Yokomitsu Riichi’s Haru wa Basha ni notte (1915), Miyazawa Kenji’s Ginga tetsudo no yoru (1934), and James Joyce’s The Dead (1914). This comparative analysis differentiates, synthesizes, and advances upon conventional conceptions of the fantastic spirit narrative. What emerges is an understanding of how fantastic spirit narratives have developed and how their changes reflect conceptions of identity, alterity, and spirituality. Whether the afterlife is imagined as spatial relocation, transformation of consciousness, transformation of body, or hallucination, the role of the fantastic spirit is delineated by the degree to which it elicits a more profound relationship between the Self and Other.
  • The Selected Poems of Yosa Buson, a Translation Allan Persinger University of Wisconsin-Milwaukee

    The Selected Poems of Yosa Buson, a Translation Allan Persinger University of Wisconsin-Milwaukee

    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2013 Foxfire: the Selected Poems of Yosa Buson, a Translation Allan Persinger University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the American Literature Commons, and the Asian Studies Commons Recommended Citation Persinger, Allan, "Foxfire: the Selected Poems of Yosa Buson, a Translation" (2013). Theses and Dissertations. 748. https://dc.uwm.edu/etd/748 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FOXFIRE: THE SELECTED POEMS OF YOSA BUSON A TRANSLATION By Allan Persinger A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2013 ABSTRACT FOXFIRE: THE SELECTED POEMS OF YOSA BUSON A TRANSLATION By Allan Persinger The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Kimberly M. Blaeser My dissertation is a creative translation from Japanese into English of the poetry of Yosa Buson, an 18th century (1716 – 1783) poet. Buson is considered to be one of the most important of the Edo Era poets and is still influential in modern Japanese literature. By taking account of Japanese culture, identity and aesthetics the dissertation project bridges the gap between American and Japanese poetics, while at the same time revealing the complexity of thought in Buson's poetry and bringing the target audience closer to the text of a powerful and mov- ing writer.
  • The Goddesses' Shrine Family: the Munakata Through The

    The Goddesses' Shrine Family: the Munakata Through The

    THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA by BRENDAN ARKELL MORLEY A THESIS Presented to the Interdisciplinary Studies Program: Asian Studies and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts June 2009 11 "The Goddesses' Shrine Family: The Munakata through the Kamakura Era," a thesis prepared by Brendan Morley in partial fulfillment ofthe requirements for the Master of Arts degree in the Interdisciplinary Studies Program: Asian Studies. This thesis has been approved and accepted by: e, Chair ofthe Examining Committee ~_ ..., ,;J,.." \\ e,. (.) I Date Committee in Charge: Andrew Edmund Goble, Chair Ina Asim Jason P. Webb Accepted by: Dean ofthe Graduate School III © 2009 Brendan Arkell Morley IV An Abstract ofthe Thesis of Brendan A. Morley for the degree of Master ofArts in the Interdisciplinary Studies Program: Asian Studies to be taken June 2009 Title: THE GODDESSES' SHRINE FAMILY: THE MUNAKATA THROUGH THE KAMAKURA ERA This thesis presents an historical study ofthe Kyushu shrine family known as the Munakata, beginning in the fourth century and ending with the onset ofJapan's medieval age in the fourteenth century. The tutelary deities ofthe Munakata Shrine are held to be the progeny ofthe Sun Goddess, the most powerful deity in the Shinto pantheon; this fact speaks to the long-standing historical relationship the Munakata enjoyed with Japan's ruling elites. Traditional tropes ofJapanese history have generally cast Kyushu as the periphery ofJapanese civilization, but in light ofrecent scholarship, this view has become untenable. Drawing upon extensive primary source material, this thesis will provide a detailed narrative ofMunakata family history while also building upon current trends in Japanese historiography that locate Kyushu within a broader East Asian cultural matrix and reveal it to be a central locus of cultural production on the Japanese archipelago.