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Tra Storia E Leggenda “Kusanagi No Tsurugi” La Spada Falciatrice D’Erba
Tra storia e leggenda “Kusanagi no Tsurugi” la Spada Falciatrice d’Erba Si narra che il dio Haya Susanoo - figlio del dio Attorno alle spade giapponesi (alla loro origine, ai Izanagi, creatore, insieme alla dea Izanami, delle fabbri che le forgiarono, ai personaggi che ne furo- isole nipponiche - venne esiliato nella regione di no in possesso o ne subirono gli effetti) sono fiorite Izumo dalle otto centinaia di decine di migliaia nel tempo numerose storie e leggende come quella di dei. Qui egli uccise un drago con otto teste per di Susanoo, sospese tra mito e realtà storicamente salvare una vergine, offerta in sacrificio al mostro. documentate. Tramandati di padre in figlio in epoche Trafitta a morte la bestia, si affrettò a smembrarla con lontane, molti di questi racconti sono inverosimili la propria spada ma, arrivato alla coda, non riuscì a alla luce della pragmatica logica occidentale, ma un troncarla: il filo della spada si intaccava, cozzando tempo erano venerati in Giappone come indiscutibili contro un elemento prodigiosamente inscalfibile. verità rivelate: spade indistruttibili e prodigiosamente Squarciata la coda per tutta la lunghezza, il dio trovò affilate riparavano torti e scacciavano spiriti malvagi all’interno una grande spada, che venne chiamata in nome della giustizia. E portavano nomi propri, Tsumugari (La Ben Affilata). Susanoo la consegnò legati al possessore, al fabbro o, più frequentemente, alla dea solare Amaterasu, che la diede poi al nipote ad un particolare elemento della loro straordinaria Ninigi quando questi discese dal cielo per governare vicenda. il Giappone. La spada fu infine ereditata dagli impe- ratori, il decimo dei quali, Suigin, ordinò che fosse _ custodita nel tempio di Ise. -
The Literature of Kita Morio DISSERTATION Presented In
Insignificance Given Meaning: The Literature of Kita Morio DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Masako Inamoto Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Dissertation Committee: Professor Richard Edgar Torrance Professor Naomi Fukumori Professor Shelley Fenno Quinn Copyright by Masako Inamoto 2010 Abstract Kita Morio (1927-), also known as his literary persona Dokutoru Manbô, is one of the most popular and prolific postwar writers in Japan. He is also one of the few Japanese writers who have simultaneously and successfully produced humorous, comical fiction and essays as well as serious literary works. He has worked in a variety of genres. For example, The House of Nire (Nireke no hitobito), his most prominent work, is a long family saga informed by history and Dr. Manbô at Sea (Dokutoru Manbô kôkaiki) is a humorous travelogue. He has also produced in other genres such as children‟s stories and science fiction. This study provides an introduction to Kita Morio‟s fiction and essays, in particular, his versatile writing styles. Also, through the examination of Kita‟s representative works in each genre, the study examines some overarching traits in his writing. For this reason, I have approached his large body of works by according a chapter to each genre. Chapter one provides a biographical overview of Kita Morio‟s life up to the present. The chapter also gives a brief biographical sketch of Kita‟s father, Saitô Mokichi (1882-1953), who is one of the most prominent tanka poets in modern times. -
Representations of Pleasure and Worship in Sankei Mandara Talia J
Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). -
Powerful Warriors and Influential Clergy Interaction and Conflict Between the Kamakura Bakufu and Religious Institutions
UNIVERSITY OF HAWAllllBRARI Powerful Warriors and Influential Clergy Interaction and Conflict between the Kamakura Bakufu and Religious Institutions A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY MAY 2003 By Roy Ron Dissertation Committee: H. Paul Varley, Chairperson George J. Tanabe, Jr. Edward Davis Sharon A. Minichiello Robert Huey ACKNOWLEDGMENTS Writing a doctoral dissertation is quite an endeavor. What makes this endeavor possible is advice and support we get from teachers, friends, and family. The five members of my doctoral committee deserve many thanks for their patience and support. Special thanks go to Professor George Tanabe for stimulating discussions on Kamakura Buddhism, and at times, on human nature. But as every doctoral candidate knows, it is the doctoral advisor who is most influential. In that respect, I was truly fortunate to have Professor Paul Varley as my advisor. His sharp scholarly criticism was wonderfully balanced by his kindness and continuous support. I can only wish others have such an advisor. Professors Fred Notehelfer and Will Bodiford at UCLA, and Jeffrey Mass at Stanford, greatly influenced my development as a scholar. Professor Mass, who first introduced me to the complex world of medieval documents and Kamakura institutions, continued to encourage me until shortly before his untimely death. I would like to extend my deepest gratitude to them. In Japan, I would like to extend my appreciation and gratitude to Professors Imai Masaharu and Hayashi Yuzuru for their time, patience, and most valuable guidance. -
Discourses on Religious Violence in Premodern Japan
The Numata Conference on Buddhist Studies: Violence, Nonviolence, and Japanese Religions: Past, Present, and Future. University of Hawaii, March 2014. Discourses on Religious Violence in Premodern Japan Mickey Adolphson University of Alberta 2014 What is religious violence and why is it relevant to us? This may seem like an odd question, for 20–21, surely we can easily identify it, especially considering the events of 9/11 and other instances of violence in the name of religion over the past decade or so? Of course, it is relevant not just permission March because of acts done in the name of religion but also because many observers find violence noa, involving religious followers or justified by religious ideologies especially disturbing. But such a ā author's M notion is based on an overall assumption that religions are, or should be, inherently peaceful and at the harmonious, and on the modern Western ideal of a separation of religion and politics. As one Future scholar opined, religious ideologies are particularly dangerous since they are “a powerful and Hawai‘i without resource to mobilize individuals and groups to do violence (whether physical or ideological of violence) against modern states and political ideologies.”1 But are such assumptions tenable? Is a quote Present, determination toward self-sacrifice, often exemplified by suicide bombers, a unique aspect of not violence motivated by religious doctrines? In order to understand the concept of “religious do Past, University violence,” we must ask ourselves what it is that sets it apart from other violence. In this essay, I the and at will discuss the notion of religious violence in the premodern Japanese setting by looking at a 2 paper Religions: number of incidents involving Buddhist temples. -
Samurai Life in Medieval Japan
http://www.colorado.edu/ptea-curriculum/imaging-japanese-history Handout M2 (Print Version) Page 1 of 8 Samurai Life in Medieval Japan The Heian period (794-1185) was followed by 700 years of warrior governments—the Kamakura, Muromachi, and Tokugawa. The civil government at the imperial court continued, but the real rulers of the country were the military daimy class. You will be using art as a primary source to learn about samurai and daimy life in medieval Japan (1185-1603). Kamakura Period (1185-1333) The Kamakura period was the beginning of warrior class rule. The imperial court still handled civil affairs, but with the defeat of the Taira family, the Minamoto under Yoritomo established its capital in the small eastern city of Kamakura. Yoritomo received the title shogun or “barbarian-quelling generalissimo.” Different clans competed with one another as in the Hgen Disturbance of 1156 and the Heiji Disturbance of 1159. The Heiji Monogatari Emaki is a hand scroll showing the armor and battle strategies of the early medieval period. The conflict at the Sanj Palace was between Fujiwara Nobuyori and Minamoto Yoshitomo. As you look at the scroll, notice what people are wearing, the different roles of samurai and foot soldiers, and the different weapons. What can you learn about what is involved in this disturbance? What can you learn about the samurai and the early medieval period from viewing this scroll? What information is helpful in developing an accurate view of samurai? What preparations would be necessary to fight these kinds of battles? (Think about the organization of people, equipment, and weapons; the use of bows, arrows, and horses; use of protective armor for some but not all; and the different ways of fighting.) During the Genpei Civil War of 1180-1185, Yoritomo fought against and defeated the Taira, beginning the Kamakura Period. -
Nihontō Compendium
Markus Sesko NIHONTŌ COMPENDIUM © 2015 Markus Sesko – 1 – Contents Characters used in sword signatures 3 The nengō Eras 39 The Chinese Sexagenary cycle and the corresponding years 45 The old Lunar Months 51 Other terms that can be found in datings 55 The Provinces along the Main Roads 57 Map of the old provinces of Japan 59 Sayagaki, hakogaki, and origami signatures 60 List of wazamono 70 List of honorary title bearing swordsmiths 75 – 2 – CHARACTERS USED IN SWORD SIGNATURES The following is a list of many characters you will find on a Japanese sword. The list does not contain every Japanese (on-yomi, 音読み) or Sino-Japanese (kun-yomi, 訓読み) reading of a character as its main focus is, as indicated, on sword context. Sorting takes place by the number of strokes and four different grades of cursive writing are presented. Voiced readings are pointed out in brackets. Uncommon readings that were chosen by a smith for a certain character are quoted in italics. 1 Stroke 一 一 一 一 Ichi, (voiced) Itt, Iss, Ipp, Kazu 乙 乙 乙 乙 Oto 2 Strokes 人 人 人 人 Hito 入 入 入 入 Iri, Nyū 卜 卜 卜 卜 Boku 力 力 力 力 Chika 十 十 十 十 Jū, Michi, Mitsu 刀 刀 刀 刀 Tō 又 又 又 又 Mata 八 八 八 八 Hachi – 3 – 3 Strokes 三 三 三 三 Mitsu, San 工 工 工 工 Kō 口 口 口 口 Aki 久 久 久 久 Hisa, Kyū, Ku 山 山 山 山 Yama, Taka 氏 氏 氏 氏 Uji 円 円 円 円 Maru, En, Kazu (unsimplified 圓 13 str.) 也 也 也 也 Nari 之 之 之 之 Yuki, Kore 大 大 大 大 Ō, Dai, Hiro 小 小 小 小 Ko 上 上 上 上 Kami, Taka, Jō 下 下 下 下 Shimo, Shita, Moto 丸 丸 丸 丸 Maru 女 女 女 女 Yoshi, Taka 及 及 及 及 Chika 子 子 子 子 Shi 千 千 千 千 Sen, Kazu, Chi 才 才 才 才 Toshi 与 与 与 与 Yo (unsimplified 與 13 -
The Imperial Law and the Buddhist Law
Japanese Journal of Religious Studies 1996 23/3-4 The Imperial Law and the Buddhist Law Kuroda Toshio Translated by Jacqueline I. Stone Buddhism has often been regarded in purely intellectual or spiritual terms. However, especially in its institutional dimensions, Buddhism like other religious traditions has been closely associated with political authority, and to ignore this is to distort its history. To begin redressing scholarly neglect of this subject, the late Kuroda Toshio explores in this article the paired concepts of the obo (imperial law) and the buppo (Buddhist law) as an interpretive framework for investigating Buddhism's political role in the Japanese historical context. The doctrine of the mutual dependence of the imperial law and the Buddhist law (obo buppo sdiron) emerged toward the latter part of the eleventh century, in connection with the development of the estate system (shoen seido) of land tenure. As powerful landholders, the major temple-shrlne complexes of Japan's early medieval period consti tuted a political force that periodically challenged the authority of the emperor, the court, and the leading warrior houses, but on the other hand cooperated with these influential parties in a system of shared rule. This system actively involved Buddhist institutions in maintenance of the sta tus quo and was criticized in various ways by the leaders of the Kamakura new Buddhist movements, who asserted that the buppo should transcend worldly authority. However, such criticisms were never fully implemented, and after the medieval period, Buddhism came increasingly under the domination of central governing powers. The relationship of Buddhism to political authority is a troubling problem in Japanese history and remains unresolved to this day. -
No.729 (October Issue)
NBTHK SWORD JOURNAL ISSUE NUMBER 729 October, 2017 MEITO KANSHO: EXAMINATION OF IMPORTANT SWORDS Juyo Bunkazai Type: Tachi Mei: Chikakane Owner: Hayashibara Museum Length: 2 shaku 5 sun 3 bu 1 rin (76.7 cm) Sori: 7 bu 6 rin (2.3 cm) Motohaba: 9 bu 2 rin (2.8 cm) Sakihaba: 5 bu 6 rin (1.7 cm) Motokasane: 2 bu 3 rin (0.7 cm) Sakikasane: 1 bu 2 rin (0.35 cm) Kissaki length: 9 bu 9 rin (3.0 cm) Nakago length: 7 sun 5 bu 9 rin (23.0 cm) Nakago sori: 5 rin (0.15 cm) Commentary This is a shinogi zukuri tachi with an ihorimune, a standard width, and the widths at the moto and saki are different. The tachi is slightly thick for its width. There is a large koshi-zori with funbari and there is a small kissaki. The jihada is ko-itame mixed with itame and mokume, and the jihada is barely visible. There are ji-nie, fine chikei, and utsuri. The hamon is a wide suguha, At the koshimoto, it is mixed with ko-gunome with vertical undulations. There is a dense nioiguchi. Above the koshimoto there is a shallow and small notare with a tight nioiguchi. There are ashi and yo, mainly at the bottom half of the tachi, and the entire hamon is nioi-deki (based on nioi). The boshi is straght and almost yakizume, and the entire boshi is yaki-kuzure (composed of crumbled nie) with hakikake, and a very small return. The nakago is ubu, and the nakago tip is ha-agari kuri-jiri. -
The World of Japanese Chronicles. War Stories in the Japanese Historiography
West Bohemian Historical Review X | 2020 | 2 The World of Japanese Chronicles. War Stories in the Japanese Historiography Roman Kodet* The Japanese historiography had an early beginning. Its tradition started with the chronicles Kojiki and Nihongi compiled for the Imperial Court in Kyoto in the 8th century. There were created a lot of other historical works – official histories, biographies, diaries etc. – during the Heian Period. However, with the rise of the samurai class and its seizure of political power, the character of Japanese medieval historiography changed. The new type of chronicle (gunki monogatari) was a combination of official histories, war tales and historical anecdotes written in a high literary language. Their goal was not only to record history but also to serve as a model of behaviour for the members of the military class. These chronicles therefore combined reality with fiction quite freely and can be considered not only as scholarly but also as literary works. Their popularity was at its peak in the Kamakura and early Muromachi Periods. Since the 15th century the changes in political and cultural climate in Japan lead to their gradual decline. They were replaced by a new type of historical works more corresponding to the taste of contemporary readership. [Japan; Historiography; Chronicle; Samurai; Literature; Culture; Medieval Ages] Introduction The Japanese literature is by right considered as one of the richest and most varied of all national literary traditions.1 During the first millennium of its existence there developed a huge spectrum of genres in the Land of the Rising Sun corresponding to its opposites in other countries and civilizations. -
Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū
Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino Submitted in partial fulfillment of the Requirement for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Takuya Hino All rights reserved ABSTRACT Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino In this dissertation I provide a detailed analysis of the role played by the Tachikawa-ryū in the development of Japanese esoteric Buddhist doctrine during the medieval period (900-1200). In doing so, I seek to challenge currently held, inaccurate views of the role played by this tradition in the history of Japanese esoteric Buddhism and Japanese religion more generally. The Tachikawa-ryū, which has yet to receive sustained attention in English-language scholarship, began in the twelfth century and later came to be denounced as heretical by mainstream Buddhist institutions. The project will be divided into four sections: three of these will each focus on a different chronological stage in the development of the Tachikawa-ryū, while the introduction will address the portrayal of this tradition in twentieth-century scholarship. TABLE OF CONTENTS List of Abbreviations……………………………………………………………………………...ii Acknowledgements………………………………………………………………………………iii Dedication……………………………………………………………………………….………..vi Preface…………………………………………………………………………………………...vii Introduction………………………………………………………………………….…………….1 Chapter 1: Genealogy of a Divination Transmission……………………………………….……40 Chapter -
Asiatic Society of Japan
http://e-asia.uoregon.edu TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London TRANSACTIONS OF THE ASIATIC SOCIETY OF JAPAN VOL XLVI.-PART II 1918 THE ASIATIC SOCIETY OF JAPAN, KEIOGIJIKU, MITA, TŌKYŌ AGENTS KELLY & WALSH, L'd., Yokohama, Shanghai, Hongkong Z. P. MARUYA Co., L'd., Tokyo KEGAN PAUL,TRUEBNER & Co., L'd., London INTRODUCTION. Subject and Structure .---The Heike Monogatari, one of the masterpieces of Japanese literature, and also one of the main sources of the history of the Gempei period, is a poetic narrative of the fall of the Heike from the position of supremacy it had gained under Taira Kiyomori to almost complete destruction. The Heike, like the Genji, was a warrior clan, but had quickly lost its hardy simplicity under the influence of life in the Capital, and identified itself almost entirely with the effeminate Fujiwara Courtiers whose power it had usurped, so that the struggle between it and the Genji was really more one between courtiers and soldiers, between literary officials and military leaders. Historically this period stands between the Heian era of soft elegance and the Kamakura age of undiluted militarism. The Heike were largely a clan of emasculated Bushi, and their leader Kiyomori, though he obtained his supremacy by force of arms, assumed the role of Court Noble and strove to rule the country by the same device of making himself grandfather to the Emperor as the Fujiwara family had previously done.