Reception and Commentary of Nihon Shoki, Japan's First Official History
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Regular Exhibition "History of Japanese Literature Based on Books" Materials List, Part I 名 称 名称ふりがな 解 説
別紙2 Regular Exhibition "History of Japanese Literature Based on Books" Materials List, Part I 名 称 名称ふりがな 解 説 I Literature in Jodai じょうだいのぶんがく (Ancient Times) While Japanese history often uses the term "kodai" to mean ancient times, the history of literature generally calls the times before the Heian period "jodai." Its beginning is uncertain, but its end is defined as the end of the 8th century. Politically, the state had progressed to unity and completion of its regime during this period. From the perspective of literature, this period was the time when Japanese people—who had not had characters for writing—first met kanji or Chinese characters and attempted various ways to express themselves using kanji. Literature in the period primarily when the capital was at Yamato before it was transferred to Heian-kyo in 794. While the categories range from myths to legends, songs, waka or Japanese poetry, Chinese poetry, Literature in Jodai じょうだいのぶんがく biographies, histories and topographies, there were not so many works as a whole. Every extant work containing ancient contents was actually compiled into a book in the Nara period (710–794). Some of those books were established against the background of the regime establishment of the state. Kojiki was established in 712. O no Yasumaro composed this book by writing down the ancient history inherited by Hieda no Are. Kojiki contains the history from the age of the gods to the reign of Empress Suiko (reign: 593–629). Nihon Shoki was established in 720 through a compilation carried out by Prince Myths and History しんわ・れきし Toneri. -
Speech by Ōno Genmyō, Head Priest of the Horyu-Ji Temple “Shōtoku Taishi and Horyu-Ji” (October 20, 2018, Shinjuku-Ku, Tokyo)
Speech by Ōno Genmyō, Head Priest of the Horyu-ji Temple “Shōtoku Taishi and Horyu-ji” (October 20, 2018, Shinjuku-ku, Tokyo) MC Ladies and gentlemen, thank you for coming today. The town of Ikaruga, where the Horyu-ji Temple is located, is very conveniently located: just 10 minutes by JR from Nara, 20 minutes from Tennoji in Osaka, and 80 minutes from Kyoto. This historical area is home to sites that include the Horyu-ji , the Horin-ji, the Hkki-ji, the Chugu- ji, and the Fujinoki Kofun tumulus. The Reverend Mr. Ōno will be speaking with us today in detail about the Horyu-ji, which was founded in 607 by Shotoku Taishi, Prince Shotoku, a member of the imperial family. As it is home to the oldest wooden building in the world, it was the first site in Japan to be registered as a World Heritage property. However, its attractions go beyond the buildings. While Kyoto temples are famous for their gardens, Nara’s attractions are, more than anything, its Buddhist sculptures. The Horyu-ji is home to some of Japan’s most noted Buddhist statues, including the Shaka Sanzon [Shaka Triad of Buddha and Two Bosatsu], the Kudara Kannon, Yakushi Nyorai, and Kuse Kannon. Prince Shotoku was featured on the 10,000 yen bill until 1986, so there may even be people overseas who know of him. Shotoku was the creator of Japan’s first laws and bureaucratic system, a proponent of relations with China, and incorporated Buddhism into politics. Reverend Ōno, if you would be so kind. -
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. -
Old Japan Redux 3
Old Japan Redux 3 Edited by X. Jie YANG February 2017 The cover painting is a section from 弱竹物語, National Diet Library. Old Japan Redux 3 Edited by X. Jie YANG, February 2017 Content Poem and Stories The Origins of Japan ……………………………………………… April Grace Petrascu 2 Journal of an Unnamed Samurai ………………………………… Myles Kristalovich 5 Holdout at Yoshino ……………………………………………………… Zachary Adrian 8 Memoirs of Ieyasu ……………………………………………………………… Selena Yu 12 Sword Tales ………………………………………………………………… Adam Cohen 15 Comics Creation of Japan …………………………………………………………… Karla Montilla 19 Yoshitsune & Benkei ………………………………………………………… Alicia Phan 34 The Story of Ashikaga Couple, others …………………… Qianhua Chen, Rui Yan 44 This is a collection of poem, stories and manga comics from the final reports submitted to Japanese Civilization, fall 2016. Please enjoy the young creativity and imagination! P a g e | 2 The Origins of Japan The Mythical History April Grace Petrascu At the beginning Izanagi and Izanami descended The universe was chaos Upon these islands The heavens and earth And began to wander them Just existed side by side Separately, the first time Like a yolk inside an egg When they met again, When heaven rose up Izanami called to him: The kami began to form “How lovely to see Four pairs of beings A man such as yourself here!” After two of genesis The first-time speech was ever used. Creating the shape of earth The male god, upset Izanagi, male That the first use of the tongue Izanami, the female Was used carelessly, Kami divided He once again circled the land By their gender, the only In an attempt to cool down Kami pair to be split so Once they met again, Both of these two gods Izanagi called to her: Emerged from heaven wanting “How lovely to see To build their own thing A woman like yourself here!” Upon the surface of earth The first time their love was matched. -
Abstracts # DIJ-Mono 65 Blecken ENGLISH.Fm
LAURA BLECKEN “SELF-RESPONSIBILITY” IN JAPANESE SOCIETY: A CONCEPTUAL HISTORY AND DISCOURSE ANALYTIC STUDY APPLYING TOOLS FROM THE DIGITAL HUMANITIES * (ENGLISH SUMMARY) * This text is a summary of the PhD thesis on “‘Selbstverantwortung’ in der japa- nischen Gesellschaft: Eine begriffsgeschichtliche und diskursanalytische Unter- suchung mit Methoden der Digital Humanities”, composed under the supervision of Prof. Dr. Christian Oberländer at Martin-Luther-University Halle-Wittenberg. “Self-responsibility” in Japanese Society “SELF-RESPONSIBILITY” IN JAPANESE SOCIETY A CONCEPTUAL HISTORY AND DISCOURSE ANALYTIC STUDY APPLYING TOOLS FROM THE DIGITAL HUMANITIES (ENGLISH SUMMARY) Hostages in war zones, nuclear refugees from Fukushima and workers in pre- carious conditions are just a few examples of the many Japanese assigned per- sonal responsibility for their situation by the word jikosekinin. The term – lit- erally translated as “self-responsibility” – has become a keyword in contem- porary Japanese society. But what does jikosekinin mean, and how was it es- tablished in the Japanese language? This study examines this multi-faceted concept by combining methods of conceptual history and discourse analysis with tools from the digital humanities. It traces the word back to its roots and creates a model for different meanings of jikosekinin, through which various discourses converge. Finally, the study investigates how the word is used to- day by analyzing almost 40,000 blog posts. This procedure allows the omni- presence of jikosekinin in everyday life to be broken down and this concept, torn as it is between traditional moral values and the impacts of global neolib- eralism, to be discussed. 1) INTRODUCTION Around the year 2000, the word jikosekinin started to be called the “keyword of the era” (TAKIKAWA 2001: 32) and was described as “circulating with terrify- ing momentum” (ISHIDA 2001: 46). -
Full Download
VOLUME 1: BORDERS 2018 Published by National Institute of Japanese Literature Tokyo EDITORIAL BOARD Chief Editor IMANISHI Yūichirō Professor Emeritus of the National Institute of Japanese 今西祐一郎 Literature; Representative Researcher Editors KOBAYASHI Kenji Professor at the National Institute of Japanese Literature 小林 健二 SAITō Maori Professor at the National Institute of Japanese Literature 齋藤真麻理 UNNO Keisuke Associate Professor at the National Institute of Japanese 海野 圭介 Literature KOIDA Tomoko Associate Professor at the National Institute of Japanese 恋田 知子 Literature Didier DAVIN Associate Professor at the National Institute of Japanese ディディエ・ダヴァン Literature Kristopher REEVES Associate Professor at the National Institute of Japanese クリストファー・リーブズ Literature ADVISORY BOARD Jean-Noël ROBERT Professor at Collège de France ジャン=ノエル・ロベール X. Jie YANG Professor at University of Calgary 楊 暁捷 SHIMAZAKI Satoko Associate Professor at University of Southern California 嶋崎 聡子 Michael WATSON Professor at Meiji Gakuin University マイケル・ワトソン ARAKI Hiroshi Professor at International Research Center for Japanese 荒木 浩 Studies Center for Collaborative Research on Pre-modern Texts, National Institute of Japanese Literature (NIJL) National Institutes for the Humanities 10-3 Midori-chō, Tachikawa City, Tokyo 190-0014, Japan Telephone: 81-50-5533-2900 Fax: 81-42-526-8883 e-mail: [email protected] Website: https//www.nijl.ac.jp Copyright 2018 by National Institute of Japanese Literature, all rights reserved. PRINTED IN JAPAN KOMIYAMA PRINTING CO., TOKYO CONTENTS -
Kofun Period: Research Trends 20111 Higashikage Yū2
Kofun Period: Research Trends 20111 Higashikage Yū2 Introduction Kofun period research in the 2011 Fiscal Year was conducted in wide-ranging fashion. In particular, the publication of overviews and comprehensive treatments was rich, and new perspectives were presented alongside syntheses of Kofun period research to date. There was also active research on individual types of artifacts, and based on various regional perspectives. 1. General treatments Shiraishi Taiichirō’s Kofun to Kofun jidai no bunka (Tombs and the Culture of the Kofun Period) is a compilation of previously published articles, which touches not only on the political but also the cultural aspects of the tombs.3 Tsude Hiroshi’s Kodai kokka wa itsu seiritsu shita ka (When Did the Ancient State Emerge?) is a new development of his previously stated arguments for the Kofun period and the early state, and incorporates the results of research of recent years. 4 In a special issue edited by Hirose Kazuo of Kikan kōgaku (Archaeological Quarterly) on the theme of “Looking Systematically at the Kofun Period,” a wide range of perspectives are presented for examining the Kofun period, including not only views from within Japan but also those based in China and the Korean peninsula, as 1 [Trends in Japanese Archaeological Research, 2011, is a partial translation of “Nihon kōkogaku kenkyū no dōkō” 日本考古学研究の動向, in Nihon kōkogaku nenpō 64 (2011 nendoban) 日本考古学年報 64(2011 年度版) [Archaeologia Japonica 64 (2011 Fiscal Year Issue)] (Nihon Kōkogaku Kyōkai, 2013), pp. 1-65. This essay appears on pp. 40-46, under the Japanese title “Kofun jidai kenkyū no dōkō” 古墳 時代研究の動向. -
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 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. -
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). -
The Establishment of State Buddhism in Japan
九州大学学術情報リポジトリ Kyushu University Institutional Repository The Establishment of State Buddhism in Japan Tamura, Encho https://doi.org/10.15017/2244129 出版情報:史淵. 100, pp.1-29, 1968-03-01. Faculty of Literature, Kyushu University バージョン: 権利関係: - 1 - THE ESTABLISHMENT OF STATE BUDDHISM IN JAPAN Encho Tamura In ancient times, during the Yamato period, it was the custom for each succeeding emperor at the beginning of his reign to seek some site on which to build a new imperial palace and relocate himself. In other words, successive emperors neither inherited their palaces from the previous emperor nor handed them down to the following emperor. Hardly any example is to be found of the same palace being used by more than two emperors successively. The fact that the emperor in ancient times was called by the name of the place where his palace was located* is based on this custom of seeking new sites and founding new palaces. < 1 > This custom was strictly adhered to until the 40th Emperor, Temmu (672-686 A. D.).** The palaces, though at times relocated at Naniwa (the present Osaka Prefecture), or at Cmi (Shiga Prefecture), in most cases were built in different locations within the boundary of the Yamato area (Nara Prefecture). It is true that there is a theory denying the existence of emperors previous to the 14th Emperor, Chuai, but it is clearly stated in both the Kojiki and the Nihonshoki that all of the emperors including Jimmu, the 1st Emperor, strictly adhered to this custom of relocating the palace. This reflects the fact *For example, Emperor Kimmei was called "Shikishima no Kanazashi no Miya ni Arne ga shita Shiroshimesu Sumeramikoto" (The Emperor who rules the whole area under heaven at his Kanazashi Palace in Shikishima). -
©Copyright 2012 Sachi Schmidt-Hori
1 ©Copyright 2012 Sachi Schmidt-Hori 2 Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Paul S. Atkins, Chair Davinder L. Bhowmik Tani E. Barlow Kyoko Tokuno Program Authorized to Offer Degree: Department of Asian Languages and Literature 3 University of Washington Abstract Hyperfemininities, Hypermasculinities, and Hypersexualities in Classical Japanese Literature Sachi Schmidt-Hori Chair of the Supervisory Committee: Associate Professor Paul S. Atkins Asian Languages and Literature This study is an attempt to elucidate the complex interrelationship between gender, sexuality, desire, and power by examining how premodern Japanese texts represent the gender-based ideals of women and men at the peak and margins of the social hierarchy. To do so, it will survey a wide range of premodern texts and contrast the literary depictions of two female groups (imperial priestesses and courtesans), two male groups (elite warriors and outlaws), and two groups of Buddhist priests (elite and “corrupt” monks). In my view, each of the pairs signifies hyperfemininities, hypermasculinities, and hypersexualities of elite and outcast classes, respectively. The ultimate goal of 4 this study is to contribute to the current body of research in classical Japanese literature by offering new readings of some of the well-known texts featuring the above-mentioned six groups. My interpretations of the previously studied texts will be based on an argument that, in a cultural/literary context wherein defiance merges with sexual attractiveness and/or sexual freedom, one’s outcast status transforms into a source of significant power.