A Gazetteer of Myoshima

Total Page:16

File Type:pdf, Size:1020Kb

A Gazetteer of Myoshima A Gazetteer of Myoshima Agathokles September 2, 2007 Contents 1 Introduction 4 1.1 Motivation ...................................... ........ 4 1.2 ChallengesandInspirations . .............. 4 1.3 Sources ......................................... ....... 5 1.3.1 OD&DSourcebooks ............................... ...... 5 1.3.2 AD&DSourcebooks ............................... ...... 5 1.3.3 DragonMagazine................................ ....... 5 1.3.4 OD&DFanResources .............................. ...... 5 1.3.5 OrientalAdventuresLine . .......... 5 1.3.6 LiteratureandAnime . .. .. .. .. .. .. .. .. .. .. .. ........ 6 2 History of Myoshima 7 2.1 TimelineofPatera ................................ .......... 7 2.1.1 Prehistory.................................... ....... 7 2.1.2 TheGreatRainofFire ............................ ....... 8 2.1.3 RiseofGreatHouses............................. ........ 8 2.1.4 TheKamakuraShogunate. ........ 9 2.1.5 ThreeHundredYearsWar. ........ 9 2.1.6 RiseoftheMyoshimanEmpire . ......... 10 2.1.7 TimeofRetreat ................................. ...... 11 2.1.8 TheModernAge.................................. ..... 12 2.2 TheBloodlinesandtheNineGreatHouses . .............. 14 2.2.1 HouseYouseihito............................... ........ 14 2.2.2 HouseSennyo................................... ...... 14 2.2.3 HouseHanejishi ................................ ....... 15 2.2.4 HouseNueteki .................................. ...... 16 2.2.5 HouseRyuuko ................................... ..... 16 2.2.6 HouseShishikugi ............................... ........ 17 2.2.7 HouseKurohyou ................................. ...... 17 2.2.8 HouseUrumi .................................... ..... 18 2.2.9 HouseKakureshi ................................ ....... 18 1 3 Player Characters 20 3.1 CharacterRaces .................................. ......... 20 3.1.1 Rakasta ....................................... ..... 20 3.1.2 Pachydermions ................................. ....... 20 3.1.3 Aranea ........................................ .... 21 3.1.4 MonkeyFolk .................................... ..... 21 3.1.5 Tengu ......................................... .... 22 3.1.6 Fairies....................................... ...... 22 3.2 CharacterClasses................................ ........... 22 3.2.1 Warriors...................................... ...... 23 3.2.2 Wizards....................................... ..... 24 3.2.3 Priests....................................... ...... 26 3.2.4 Rogues ........................................ .... 27 3.3 SocialStatus .................................... ......... 30 3.3.1 PlayerCharacterfamily . .......... 31 3.3.2 MyoshimanRanksandTitles . ......... 31 3.4 MartialArtsSchools .............................. ........... 33 3.4.1 MartialSkills ................................. ........ 33 3.4.2 SampleSchools................................. ....... 35 3.5 MyoshimanEquipment. .. .. .. .. .. .. .. .. .. .. .. .. .......... 36 3.5.1 Weaponry...................................... ..... 36 3.5.2 Armor......................................... .... 39 4 A Tour of Myoshima 40 4.1 Government and Administration . ............. 40 4.1.1 TheImperialCourt .............................. ....... 40 4.1.2 Civilian Administration and Court Nobility . ................ 40 4.1.3 TheFeudalHierarchy . .. .. .. .. .. .. .. .. .. .. .. ........ 42 4.1.4 LocalAdministration . ......... 42 4.1.5 PoliticalFactions.. .. .. .. .. .. .. .. .. .. .. .. .......... 43 4.1.6 TheImperialArmy............................... ....... 43 4.2 Geography....................................... ........ 45 4.2.1 ClimateandLandscape . ........ 45 4.2.2 Economy ....................................... .... 46 4.2.3 TheProvincesofMyoshima . ......... 46 4.3 ReligionsofMyoshima . .. .. .. .. .. .. .. .. .. .. .. .. ........... 50 4.3.1 Kami-do....................................... ..... 50 4.3.2 Shima-do ...................................... ..... 52 4.3.3 Otherreligions ................................ ........ 53 4.4 TheProvinceofSenbei. .. .. .. .. .. .. .. .. .. .. .. .. ........... 54 4.4.1 Overview ...................................... ..... 54 4.4.2 TheRulingFamily ............................... ....... 54 4.4.3 ShrinesandMonasteries . .......... 55 4.4.4 MartialArtsSchools .. .. .. .. .. .. .. .. .. .. .. .. ......... 55 4.4.5 NotablesLocales ............................... ........ 56 2 5 Dwellers of Myoshima 58 5.1 MoversandShakers ................................ ......... 58 5.2 ShinobiClans.................................... ......... 62 5.2.1 Organization .................................. ....... 62 5.2.2 TheSixClans................................... ...... 62 5.3 MonstersofMyoshima.............................. .......... 63 5.3.1 Goblinoids .................................... ...... 64 5.3.2 Faeries....................................... ...... 64 5.3.3 Near-HumansandUnhumans . ........ 64 5.3.4 AnimalSpirits ................................. ....... 64 5.3.5 Undead ........................................ .... 64 5.3.6 Dragons....................................... ..... 66 5.3.7 Planeborns .................................... ...... 66 3 Chapter 1 Introduction The booklet you are reading details the Empire of the absence of humans. The almost entire popula- Myoshima, a Rakasta nation located on the moon tion of the hidden moon is composed of Rakasta and of Patera. The goal is to make the Empire a viable Pachydermions, so even traditional demihumans are setting for an OD&D or AD&D campaign. not available. This section introduces the motivations, challenges The choice taken in this work is to go fully with the and inspirations of the present work, as well as a furry fantasy genre – other PC races available include bibliography of the sources used in writing it. The therefore the birdlike Tengu, the spider shapechanger rest of the work describes the history and geography Aranea, and the apelike Sasquatch. Luckily, Rakasta of Myoshima, and presents the rules for Myoshiman behave more or less like humans in rule terms, while Player Characters. demihumans can be replaced by monstrous races (as per the Player Crucible books). One of the big problem with mixing a pseudo-Japanese setting with 1.1 Motivation furry fantasy is that many creatures of Japanese mythology and folklore are themselves based on an- The Empire of Myoshima is one of the largest na- imals (e.g., the tanuki, bakeneko, kitsune), and es- tions on Patera, the invisible moon that orbits around pecially shapechanging animals. So, we would have Mystara. It is also one of the most powerful rivals a lot of shapechanging animals who would actu- of the Known World empires, given its impressive ally shapechange into cat-headed humanoids... The army of Rakasta warriors mounted on flying sabre- choice here has been to drop the quasi-lycanthropic tooth tigers. species of AD&D Oriental Adventures, the Hengey- Yet, the entire amount of canon information on the oukai, avoid real lycanthropes (who have no oriental subject is limited to a single paragraph presentation feel at all), and use existing D&D shapechangers that of the nation, and a few NPCs appearing in the Voy- could more easily fit the setting, specifically Pooka, age of the Princess Ark series. In short, Myoshima Aranea and Drakes. is one of the most underdeveloped areas of the game As for inspiration, beyond the obvious AD&D world, yet one of the most promising. sources (covered in next section), Japanese anime had a lot of weight here – takes on some classes (e.g., the Shinobi are somewhat based on the Naruto anime) 1.2 Challenges and Inspira- or creatures (the Tanuki, for example) draw more or tions less explicitly from such sources. Last, but definitely not least, a number of existing One of the most striking issues with Myoshima as articles on Myoshima from the Vaults of Pandius has a campaign setting, and with Patera in general, is been taken into account. Specifically, the history of 4 Myoshima is based on the existing Timeline of Pa- 1.3.3 Dragon Magazine tera by Andrew Theisen, supplemented with infor- mation and characters from the Hollow Moon works Those listed below are just the Dragon Magazine arti- by Sharon Dornhoff and from the Heldannic Knights cles by Bruce Heard that are relevant to Myoshima. timeline by Bruce Heard. A number of other articles, mostly for AD&D, are relevant to Oriental Adventures and can be more or less easily adapted. 1.3 Sources Voyage of the Princess Ark 7, DM160 Voyage of the Princess Ark 28, DM181 Several sources have been used in the present attempt Voyage of the Princess Ark 30, DM183 to better detail the Empire of Myoshima. Rakasta of Mystara, DM247 Some of them are actually needed to use this gazetteer, especially those D&D sourcebooks that present the rules for Player Character of the 1.3.4 OD&D Fan Resources Hakomon and Shaman class and the Aranea and In addition to the resources listed here, a num- Rakasta races. Specifically, the GAZ 12 Golden Khan ber of articles from the Vaults of Pandius has been of Ethengar, GAZ F8 Streets of Landfall (for the used. These are referred to in the text. The Ital- Fence and Super Thief classes), and the Voyage of the ian resources have been used mostly for (handy) Princess Ark articles listed herebelow are required. reference, though the Manuale delle Armi e delle PC1 Tall Tales of the Wee Folk has the rules for fairy Maestrie (Manual of Weapons and Masteries) has all PCs, so it is needed if Pooka, Drake, or Sidhe char- the Weapon
Recommended publications
  • Game Play Mechanics in Old Monster Yarns Sugoroku
    LEAPING MONSTERS AND REALMS OF PLAY: GAME PLAY MECHANICS IN OLD MONSTER YARNS SUGOROKU by FAITH KATHERINE KRESKEY A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2012 THESIS APPROVAL PAGE Student: Faith Katherine Kreskey Title: Leaping Monsters and Realms of Play: Game Play Mechanics in Old Monster Yarns Sugoroku This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Professor Akiko Walley Chairperson Professor Glynne Walley Member Professor Charles Lachman Member and Kimberly Andrews Espy Vice President for Research and Innovation Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2012 ii © 2012 Faith Katherine Kreskey iii THESIS ABSTRACT Faith Katherine Kreskey Master of Arts Department of the History of Art and Architecture December 2012 Title: Leaping Monsters and Realms of Play: Game Play Mechanics in Old Monster Yarns Sugoroku Taking Utagawa Yoshikazu’s woodblock printed game board Monster Yarns as my case study, I will analyze how existing imagery and game play work together to create an interesting and engaging game. I will analyze the visual aspect of this work in great detail, discussing how the work is created from complex and disparate parts. I will then present a mechanical analysis of game play and player interaction with the print to fully address how this work functions as a game.
    [Show full text]
  • The European Bronze Age Sword……………………………………………….21
    48-JLS-0069 The Virtual Armory Interactive Qualifying Project Proposal Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for graduation by _____________________________ ____________________________ Patrick Feeney Jennifer Baulier _____________________________ Ian Fite February 18th 2013 Professor Jeffrey L. Forgeng. Major Advisor Keywords: Higgins Armory, Arms and Armor, QR Code 1 Abstract This project explored the potential of QR technology to provide interactive experiences at museums. The team developed content for selected objects at the Higgins Armory Museum. QR codes installed next to these artifacts allow visitors to access a variety of minigames and fact pages using their mobile devices. Facts for the object are selected randomly from a pool, making the experience different each time the code is scanned, and the pool adapts based on artifacts visited, personalizing the experience. 2 Contents Contents........................................................................................................................... 3 Figures..............................................................................................................................6 Introduction ……………………………………………......................................................... 9 Double Edged Swords In Europe………………………………………………………...21 The European Bronze Age Sword……………………………………………….21 Ancient edged weapons prior to the Bronze Age………………………..21 Uses of European Bronze Age swords, general trends, and common innovations
    [Show full text]
  • Illusionists: Illusionists Are a Special Class of Magic Light
    WARLOCK Rules for the Universe of 1999-2000 Credits Original Rules Robert Cowan; Basic Combat System Dave Clark; Basic Magic System Kenneth M. Dahl; Basic Clerical System Mike Lowry and Pat Shea; Thievish Rules Nick Smith; Other Systems and Rules Previous Version Bart Hibbs Current Version Mike Riley; Editor who actually do things in the world of your referee, but the Introduction players control them. We suggest you have only a small Several years ago, the first copies of a new game called number of player characters per player. In our games we Dungeons and Dragons appeared on the market. Fantasy allow any player to involve any 2 of his characters in any fans and gamers in general were enthralled at the one adventure or expedition. Whether these player possibilities. Most of them became hooked on the game, due characters are Fighters or Elves, Clerics or Dwarves, to its unusual and imaginative nature. You could actually do remember that in their own world, they are people, and treat unusual things: slay dragons, rescue the downtrodden, and them accordingly. just grab loot. Characteristics: There are eight things that are When our group first started playing the game, our determined for each character at his or her creation: overall reaction was that it had great ideas, "but“but maybe Strength, Intelligence, Wisdom, Constitution, Dexterity, we should change the combat system, clarify the Magic, and Agility, Charisma, and Size. These are called redo the monsters".monsters”. Warlock is not intended to ‘characteristics’. See the rules on ‘Creating Player replace D&D, and, indeed would not exist without that Characters’ for more.
    [Show full text]
  • Rules and Options
    Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.).
    [Show full text]
  • O Insólito E a Literatura Infanto-Juvenil
    O Insólito e a Literatura Infanto-Juvenil Anais do IX Painel Refl exões Sobre o Insólito na Narrativa Ficcional III Encontro Nacional O Insólito como Questão na Narrativa Ficcional Simpósios NÓSdoiNSÓlito Insólito Ficcional Flavio García Regina Michelli Marcello Pinto (Organizadores) Anais do IX Painel III Encontro Nacional O INSÓLITO E A LITERATURA SIMPÓSIOS 2011 O Insólito e a Literatura Infanto-Juvenil Anais do III Encontro Nacional O Insólito como Questão na Narrativa Ficcional Simpósios Instituto de Letras da Uerj - 19 a 20 de Abril de 2011 Coordenação Geral: Flavio García - Coordenação Adjunta: Flavio García - Regina Silva Michelli - [email protected] Marcello Pinto de Oliveira- [email protected] Parcerias: Apoios: CEH CENTRO DE EDUCAÇÃO E HUMANIDADES Realização: Articulações com grupos de pesquisa Estudos Literários: Literatura, outras linguagens, outros discursos. Estudos da Linguagem: discurso e interação. Semiótica, Leitura e produção de textos - Seleprot. Crítica Textual e Edição de Textos Copyright @2011 Flavio García/Regina Michelli /Marcello Pinto Publicações Dialogarts - www.dialogarts.uerj.br Coordenador do projeto: Darcília Simões - [email protected] Co-coordenador do projeto: Flavio García - Coordenador de divulgação: Cláudio Cezar Henriques – [email protected] Darcília Simões - [email protected] Organizadores : Flavio García - Regina Michelli - [email protected] Marcello Pinto - [email protected] Projeto de capa: Carlos Henrique Braga Brandão - [email protected] Marcos da Rocha Vieira - [email protected] Diagramação: Elisabete Estumano Freire - [email protected] Daniel Patricio - [email protected] [email protected] Revisão : Flavio García - Logotipo Dialogarts: Gisela Abad - [email protected] O teor dos textos publicados neste volume, quanto ao conteúdo e à forma, é de inteira e exclusiva responsabilidade de seus autores.
    [Show full text]
  • Shaping Darkness in Hyakki Yagyō Emaki
    Asian Studies III (XIX), 1 (2015), pp.9–27 Shaping Darkness in hyakki yagyō emaki Raluca NICOLAE* Abstract In Japanese culture, the yōkai, the numinous creatures inhabiting the other world and, sometimes, the boundary between our world and the other, are obvious manifestations of the feeling of fear, “translated” into text and image. Among the numerous emaki in which the yōkai appear, there is a specific type, called hyakki yagyō (the night parade of one hundred demons), where all sorts and sizes of monsters flock together to enjoy themselves at night, but, in the end, are scattered away by the first beams of light or by the mysterious darani no hi, the fire produced by a powerful magical invocation, used in the Buddhist sect Shingon. The nexus of this emakimono is their great number, hyakki, (one hundred demons being a generic term which encompasses a large variety of yōkai and oni) as well as the night––the very time when darkness becomes flesh and blood and starts marching on the streets. Keywords: yōkai, night, parade, painted scrolls, fear Izvleček Yōkai (prikazni, demoni) so v japonski kulturi nadnaravna bitja, ki naseljuje drug svet in včasih tudi mejo med našim in drugim svetom ter so očitno manifestacija občutka strahu “prevedena” v besedila in podobe. Med številnimi slikami na zvitkih (emaki), kjer se prikazni pojavljajo, obstaja poseben tip, ki se imenuje hyakki yagyō (nočna parade stotih demonov), kjer se zberejo pošasti različne vrste in velikosti, da bi uživali v noči, vendar jih na koncu preženejo prvi žarki svetlobe ali skrivnosten darani no hi, ogenj, ki se pojavi z močnim magičnim zaklinjanje in se uporablja pri budistični sekti Shingon.
    [Show full text]
  • Bloodlust Corsairs
    BLOODLUST CORSAIRS A Complete Variant Adventure Path for by Ron Lundeen Introduction Bloodlust Corsairs I like pirates, but I like werewolves more. The Pathfinder Adventure Card Game has a simple mechanic for lycanthropes (werewolves and Adventure Path such): if there’s a Blessing of the Gods atop Return to the pirate’s life as the legendary Bloodlust Corsairs! the blessings discard pile, the moon is right Old salts tell of a crew of bold privateers whose reckless greed for them to assume animal form and become earned them a dire curse—the curse of lycanthropy! much more murderous. This mimics the fact Weresharks prowl the Shackles, completely given over to the that lycanthropes in their moon-induced murder and evil in their blood. But the doomed adventurers hybrid form are powerful and dangerous. But called the Bloodlust Corsairs refused to lycanthropes classically lose control—and their succumb to their curse. Instead, they very humanity—if they succumb to the sought the impossible—the means to seductive strength of their animal side. While reverse their lycanthropy and strike back playing through the standard Skull and against the most fearsome wereshark in Shackles card game, I kind of wanted to play a the Shackles, Horrus Riptooth. Did the lycanthrope pirate, and a wereshark pirate Bloodlust Corsairs succeed at throwing seems the most awesome kind. I could have off their curse and defeating Riptooth? invented a character, but I’m more of a story- Find out for yourself, as you live the making guy than a character-making guy. So I legend of the Bloodlust Corsairs! thought, “what if I could make everybody wereshark pirates?” REQUIRED FOR PLAY The story of the Bloodlust Corsairs was born then, and from that point it was a long The Bloodlust Corsairs adventure path period of designing adventures and develop- requires the Pathfinder Adventure Card ing the lycanthropy mechanic.
    [Show full text]
  • Noh Theater and Religion in Medieval Japan
    Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure.
    [Show full text]
  • Supernatural Elements in No Drama Setsuico
    SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed.
    [Show full text]
  • 2020 H.C.Andersen Award Nominee from Japan
    Yoko Tomiyasu 2020 H.C.Andersen Award Nominee from Japan 1 CONTENTS Biographical information .............................................................3 Statement ................................................................................4 Translation.............................................................................. 11 Bibliography and Awards .......................................................... 18 Five Important Titles with English text Mayu to Oni (Mayu & Ogree) ...................................................... 28 Bon maneki (Invitation to the Summer Festival of Bon) ......................... 46 Chiisana Suzuna hime (Suzuna the Little Mountain Godness) ................ 67 Nanoko sensei ga yatte kita (Nanako the Magical Teacher) ................. 74 Mujina tanteiktoku (The Mujina Ditective Agency) ........................... 100 2 © Yoko Tomiyasu © Kodansha Yoko Tomiyasu Born in Tokyo in 1959, Tomiyasu grew up listening to many stories filled with monsters and wonders, told by her grandmother and great aunts, who were all lovers of storytelling and mischief. At university she stud- ied the literature of the Heian period (the ancient Japanese era lasting from the 8th to 12 centuries AD). She was deeply attracted to stories of ghosts and ogres in Genji Monogatari (The Tale of Genji), and fell more and more into the world of traditional folklore. She currently lives in Osaka with her husband and two sons. There was a long era of writing stories that I wanted to read for myself. The origin of my creativity is the desire to write about a wonderous world that children can walk into from their everyday life. I want to write about the strange and mysterious world that I have loved since I was a child. 3 STATEMENT Recommendation of Yoko Tomiyasu for the Hans Christian Andersen Award Akira Nogami editor/critic Yoko Tomiyasu is one of Japan’s most popular Pond).” One hundred copies were printed. It authors and has published more than 120 was 1977 and Tomiyasu was 18.
    [Show full text]
  • Ore Giapponesi: Giorgio Bernari E Adriano Somigli Lia Beretta
    COLLANA DI STUDI GIAPPONESI RICErcHE 4 Direttore Matilde Mastrangelo Sapienza Università di Roma Comitato scientifico Giorgio Amitrano Università degli Studi di Napoli “L’Orientale” Gianluca Coci Università di Torino Silvana De Maio Università degli Studi di Napoli “L’Orientale” Chiara Ghidini Fondazione Bruno Kessler Andrea Maurizi Università degli Studi di Milano–Bicocca Maria Teresa Orsi Sapienza Università di Roma Ikuko Sagiyama Università degli Studi di Firenze Virginia Sica Università degli Studi di Milano Comitato di redazione Chiara Ghidini Fondazione Bruno Kessler Luca Milasi Sapienza Università di Roma Stefano Romagnoli Sapienza Università di Rom COLLANA DI STUDI GIAPPONESI RICErcHE La Collana di Studi Giapponesi raccoglie manuali, opere di saggistica e traduzioni con cui diffondere lo studio e la rifles- sione su diversi aspetti della cultura giapponese di ogni epoca. La Collana si articola in quattro Sezioni (Ricerche, Migaku, Il Ponte, Il Canto). I testi presentati all’interno della Collana sono sottoposti a una procedura anonima di referaggio. La Sezione Ricerche raccoglie opere collettanee e monografie di studiosi italiani e stranieri specialisti di ambiti disciplinari che coprono la realtà culturale del Giappone antico, moder- no e contemporaneo. Il rigore scientifico e la fruibilità delle ricerche raccolte nella Sezione rendono i volumi presentati adatti sia per gli specialisti del settore che per un pubblico di lettori più ampio. Variazioni su temi di Fosco Maraini a cura di Andrea Maurizi Bonaventura Ruperti Copyright © MMXIV Aracne editrice int.le S.r.l. www.aracneeditrice.it [email protected] via Quarto Negroni, 15 00040 Ariccia (RM) (06) 93781065 isbn 978-88-548-8008-5 I diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento anche parziale, con qualsiasi mezzo, sono riservati per tutti i Paesi.
    [Show full text]
  • Myths & Legends of Japan
    Myths & Legends Of Japan By F. Hadland Davis Myths & Legends of Japan CHAPTER I: THE PERIOD OF THE GODS In the Beginning We are told that in the very beginning "Heaven and Earth were not yet separated, and the In and Yo not yet divided." This reminds us of other cosmogony stories. The In and Yo, corresponding to the Chinese Yang and Yin, were the male and female principles. It was more convenient for the old Japanese writers to imagine the coming into being of creation in terms not very remote from their own manner of birth. In Polynesian mythology we find pretty much the same conception, where Rangi and Papa represented Heaven and Earth, and further parallels may be found in Egyptian and other cosmogony stories. In nearly all we find the male and female principles taking a prominent, and after all very rational, place. We are told in theNihongi that these male and female principles "formed a chaotic mass like an egg which was of obscurely defined limits and contained germs." Eventually this egg was quickened into life, and the purer and clearer part was drawn out and formed Heaven, while the heavier element settled down and became Earth, which was "compared to the floating of a fish sporting on the surface of the water." A mysterious form resembling a reed-shoot suddenly appeared between Heaven and Earth, and as suddenly became transformed into a God called Kuni-toko- tachi, ("Land-eternal-stand-of-august-thing"). We may pass over the other divine births until we come to the important deities known as Izanagi and Izanami ("Male-who-invites" and "Female-who-invites").
    [Show full text]