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The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
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. -
The Story of IZUMO KAGURA What Is Kagura? Distinguishing Features of Izumo Kagura
The Story of IZUMO KAGURA What is Kagura? Distinguishing Features of Izumo Kagura This ritual dance is performed to purify the kagura site, with the performer carrying a Since ancient times, people in Japan have believed torimono (prop) while remaining unmasked. Various props are carried while the dance is that gods inhabit everything in nature such as rocks and History of Izumo Kagura Shichiza performed without wearing any masks. The name shichiza is said to derive from the seven trees. Human beings embodied spirits that resonated The Shimane Prefecture is a region which boasts performance steps that comprise it, but these steps vary by region. and sympathized with nature, thus treasured its a flourishing, nationally renowned kagura scene, aesthetic beauty. with over 200 kagura groups currently active in the The word kagura is believed to refer to festive prefecture. Within Shimane Prefecture, the regions of rituals carried out at kamikura (the seats of gods), Izumo, Iwami, and Oki have their own unique style of and its meaning suggests a “place for calling out and kagura. calming of the gods.” The theory posits that the word Kagura of the Izumo region, known as Izumo kamikuragoto (activity for the seats of gods) was Kagura, is best characterized by three parts: shichiza, shortened to kankura, which subsequently became shikisanba, and shinno. kagura. Shihoken Salt—signifying cleanliness—is used In the first stage, four dancers hold bells and hei (staffs with Shiokiyome paper streamers), followed by swords in the second stage of Sada Shinno (a UNESCO Intangible Cultural (Salt Purification) to purify the site and the attendees. -
Rites of Blind Biwa Players
ASIA 2017; 71(2): 567–583 Saida Khalmirzaeva* Rites of Blind Biwa Players DOI 10.1515/asia-2017-0034 Abstract: Not much is known about the past activities of blind biwa players from Kyushu. During the twentieth century a number of researchers and folklorists, such as Tanabe Hisao, Kimura Yūshō,KimuraRirō,Nomura(Ga) Machiko, Narita Mamoru, Hyōdō Hiromi and Hugh de Ferranti, collected data on blind biwa players in various regions of Kyushu, made recordings of their performances and conducted detailed research on the history and nature of their tradition. However, despite these efforts to document and publicize the tradition of blind biwa players and its representatives and their repertory, it ended around the end of the twentieth century. The most extensively docu- mented individual was Yamashika Yoshiyuki 山鹿良之 (1901–1996), one of the last representatives of the tradition of blind biwa players, who was known among researchers and folklorists for his skill in performing and an abundant repertory that included rites and a great many tales. Yamashika was born in 1901 in a farmer family in Ōhara of Tamana District, the present-day Kobaru of Nankan, Kumamoto Prefecture. Yamashika lost the sight in his left eye at the age of four. At the age of twenty-two Yamashika apprenticed with a biwa player named Ezaki Shotarō 江崎初太郎 from Amakusa. From his teacher Yamashika learned such tales as Miyako Gassen Chikushi Kudari 都合戦筑紫 下り, Kikuchi Kuzure 菊池くづれ, Kugami Gassen くがみ合戦, Owari Sōdō 尾張 騒動, Sumidagawa 隅田川 and Mochi Gassen 餅合戦. After three years Yamashika returned home. He was not capable of doing much farm work because his eyesight had deteriorated further by then. -
The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
Japanese Journal of Religious Studies 1993 20/2-3 The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’s Subjugation of Silla Akima Toshio In prewar Japan, the mythical tale of Empress Jingii’s 神功皇后 conquest of the Korean kingdoms comprised an important part of elementary school history education, and was utilized to justify Japan5s coloniza tion of Korea. After the war the same story came to be interpreted by some Japanese historians—most prominently Egami Namio— as proof or the exact opposite, namely, as evidence of a conquest of Japan by a people of nomadic origin who came from Korea. This theory, known as the horse-rider theory, has found more than a few enthusiastic sup porters amone Korean historians and the Japanese reading public, as well as some Western scholars. There are also several Japanese spe cialists in Japanese history and Japan-Korea relations who have been influenced by the theory, although most have not accepted the idea (Egami himself started as a specialist in the history of northeast Asia).1 * The first draft of this essay was written during my fellowship with the International Research Center for Japanese Studies, and was read in a seminar organized by the institu tion on 31 January 199丄. 1 am indebted to all researchers at the center who participated in the seminar for their many valuable suggestions. I would also like to express my gratitude to Umehara Takeshi, the director general of the center, and Nakanism Susumu, also of the center, who made my research there possible. -
Harai-Kiyome Di Kuil Takekoma Takekoma Jinja De No Harai
HARAI-KIYOME DI KUIL TAKEKOMA TAKEKOMA JINJA DE NO HARAI-KIYOME SKRIPSI Skripsi ini diajukan kepada panitia ujian Fakultas Ilmu Budaya Universitas Sumatera Utara Medan untuk melengkapi salah satu syarat ujian Sarjana dalam Bidang Ilmu Sastra Jepang Oleh: M. BRAWIJAYA NIM: 140708100 PROGRAM STUDI SASTRA JEPANG FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Puji dan syukur penulis ucapkan kepada Allah SWT karena dengan rahmat dan hidayah-Nya penulis diberikan kesehatan selama mengikuti perkuliahan hingga penulis dapat menyelesaikan skripsi ini. Usaha yang diiringi dengan doa merupakan dua hal yang membuat penulis mampu menyelesaikan skripsi ini. Penulisan skripsi yang berjudul “HARAI-KIYOME DI KUIL TAKEKOMA” ini penulis susun sebagai salah satu syarat untuk meraih gelar sarjana pada Departemen Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. Dalam penulisan skripsi ini penulis tidak terlepas dari bimbingan, dukungan, dorongan serta bantuan dari berbagai pihak. Oleh karena itu, pada kesempatan ini penulis ingin menyampaikan rasa terima kasih yang sebesar- besarnya kepada: 1. Bapak Dr. Budi Agustono, M.S selaku Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara. 2. Bapak Prof. Hamzon Situmorang, M.S, Ph.D., selaku ketua Program Studi Sastra Jepang Fakultas Ilmu Budaya Universitas Sumatera Utara. 3. Bapak Drs. Amin Sihombing.,M.Si selaku dosen pembimbing sekaligus Dosen Penasehat Akademik, yang telah ikhlas memberikan dorongan dan meluangkan banyak waktu, pikiran, serta tenaga dalam membimbing penulis sehingga skripsi ini dapat penulis selesaikan dengan baik. 4. Bapak Alimansyar, SS,M.A.,Ph.D selaku dosen Bahasa Jepang yang bersedia membimbing, meluangkan waktu, pikiran serta memberikan i UNIVERSITAS SUMATERA UTARA sumber-sumber data untuk penulis sehingga skripsi ini dapat penulis selesaikan dengan baik. -
Der Reisbau Und Seine Rituale in Japan
10 Feature Der Reisbau und seine Rituale in Japan Ulrich Pauly Abb.1: Bauer pflügt mit einem auch in Japan jahrhundertelang verwendeten Pflugtyp. Der Weg des Reises nach Japan – Der Reis ist mit rund 50% weltweit und mit 80% in Asien das wichtigste Getreide. Auch in Japan ist er nach wie vor das wichtigste Grund- nahrungsmittel und das wird der Reis trotz des in den letzten Jahrzehnten stark ge- stiegenen Weizenkonsums vermutlich auch bleiben, weil Japan mit seinen Klimazo- nen zwar gut für den Reisbau, aber für den Weizenanbau nur sehr bedingt geeignet ist. Im Unterschied zum feinkörnigen, länglichen indischen Reis (lat. Oryza sativa indi- ca) ist der in Japan bevorzugte japanische Reis (lat. Oryza sativa japonica) rundkörnig und wegen seines hohen Stärkeanteils klebrig. In China wurde der Reis in den frucht- baren Ebenen entlang des Jangtse (ch. Yangzi) schon ab etwa 8000 v. Chr. kultiviert und auf bewässerten Feldern angebaut. Dieser ostasiatische Reis gelangte später auch nach Japan und wuchs dort vermutlich ab 2000 v. Chr. auf vereinzelten Trockenfeldern. Er wird heute meist kurz „Japonica“ genannt. In der Yayoi-Zeit (300 v. – 300 n.Chr.) OAG Notizen 11 brachten politische Wirren chinesisch-stämmige sowie koreanische Einwanderer von der koreanischen Halbinsel auf die Insel Kyūshū in Südjapan. Neben fortschrittlichen Trockenfeldbau-Technologien hatten die Einwanderer die für den Nassreisbau erfor- derlichen Bewässerungstechniken und Technologien sowie mit ihm verbundene chine- sisch-koreanische Glaubensvorstellungen im Gepäck (Abb.1). Von Kyūshū aus breitete sich der Nassreisbau im Laufe der Jahrhunderte langsam bis nach Nordjapan aus, wo er schließlich 1865 auf der Insel Hokkaidō anlangte. -
The Making of an American Shinto Community
THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 -
Creating Modern Japanese Subjects: Morning Rituals from Norito to News and Weather
religions Article Creating Modern Japanese Subjects: Morning Rituals from Norito to News and Weather Wilburn Hansen Department of Religious Studies, San Diego State University, 5500 Campanile Drive, CA 92182-6062, USA; [email protected] Academic Editor: Lawrence W. Snyder Received: 8 November 2015; Accepted: 4 February 2016; Published: 11 March 2016 Abstract: This original research on Restoration Shinto Norito seeks to explain the rhetorical devices used in the composition of a morning prayer ritual text. The nativist scholar, Hirata Atsutane, crafted this ritual to create a Japanese imperial subject with a particular understanding of native identity and national unity, appropriate to the context of a Japan in the shadow of impending modernity and fear of Western domination. The conclusions drawn concerning Hirata’s rhetoric are meant to inform our understanding of the technique and power of the contemporary Japanese morning television viewing ritual used to create post-modern Japanese citizens with an identity and unity appropriate to a global secular context. Keywords: Hirata Atsutane; Restoration Shinto; religious ritual; Norito; modernity; identity construction; NHK 1. Introduction This article is an attempt to explicate modern Japanese identity by examining in detail a Shinto morning Norito, a prayer ritual that originated in the 19th century just a few decades before the vaunted modernization and Westernization that occurred after American ships forced the opening of Japan in 1854. Morning prayer rituals are still conducted today by practitioners of the several forms of Japanese Buddhism, Shinto, and New Religions; of course, the complexity and level of focus and dedication depend upon the individual practitioner, as well as the demands of the tradition being practiced. -
Kotodama in Ancient Sociolinguistic Concepts
View metadata, citation and similar papers at core.ac.uk brought to you by CORE 目白大学 人文学研究 第9号 2013年 141−150 141 Kotodama in Ancient Sociolinguistic Concepts 薬師 京子 Kyoko YAKUSHI Abstract Kotodama, the spirit of language, and its mysterious powers were believed in in ancient times as revealed in Man’yōshū(759) poems. People’s belief in kotodama is evident in the practices of name taboo, divination, avoidance of tabooed expressions, and various cultural aspects of their life. Man’yōshū poems were written in the Yamato language, the Old Japanese in which kotodama was considered to dwell. This paper draws on poems from the Man’yōshū and other classical literature to explore how kotodama is evinced in name taboo practices and norito, ritual invocations. Keywords: kotodama, Man’yōshū, name taboo, norito キーワード: 言霊、万葉集、名前の禁忌、祝詞 Introduction People in ancient Japan firmly believed in the power of kotodama, “the spirit of language”. It was thought that simple verbalization of words with kotodama could invoke that power and influence events in the world. As Yakushi(2008) has illustrated, the ancient anthology of Japanese poetry known as Man’yōshū(1) (759) contains references to kotodama. Man’yōshū poems were written in the Yamato language which was intertwined with kotodama of ancient times. The word appears in poems composed by Kakinomoto Hitomaro(Vol.13, No.3254) and Yamanoue Okura (Vol.5, No.894), which wish a safe journey to the Ambassadors to China and employ kotodama in a worshipful attitude toward the deities and the sovereigns. The poem of yūke (evening divination) by Hitomaro(Vol.11, No.2506) demonstrates the common practice among the Man’yō people of seeking the mystic power of kotodama. -
Around Tokyo from Narita Airport Model Course Depart Narita Airport ➡ Nikko ➡ Chichibu ➡ Narita ➡ Arrive Narita Airport (A Model Course)
Nikko Area Nikko Area *Please be aware that transport and the time required for a model course may vary depending on the weather and/or traffic conditions *Please note that Chichibu 2-Day Pass does not cover the Red Arrow Limited Express fare Around Tokyo from Narita Airport Model course Depart Narita Airport ➡ Nikko ➡ Chichibu ➡ Narita ➡ Arrive Narita Airport (A model course) Keisei Skyliner & Tokyo Subway Ticket NIKKO ALL AREA PASS Keisei Skyliner & Tokyo Subway Ticket Chichibu 2-Day Pass Keisei Skyliner & Tokyo Subway Ticket Narita-Kaiun Pass Keisei Tokyo Metro Tobu Limited Express Tobu Limited Express Tokyo Metro Ginza Line / Tozai Line / Red Arrow Red Arrow Tokyo Metro Marunouchi Line / Tozai Line / Keisei Skyliner Ginza Line SPACIA, Revaty SPACIA, Revaty Marunouchi Line Limited Express Limited Express Ginza Line Skyliner Keisei Main Line Keisei Main Line Narita Airport Ueno Sta. Asakusa Sta. Tobu Nikko Sta. Asakusa Sta. Ikebukuro Sta. Seibu Chichibu Sta. Ikebukuro Sta. Ueno Sta. Narita Airport Keisei Narita Sta. Narita Airport About 44 minutes About 5 minutes About 110 minutes About 110 minutes About 29 minutes About 78 minutes About 78 minutes About 16 minutes About 44 minutes About 10 minutes About 10 minutes Nikko Area Narita Area Chichibu Area Narita Area Chichibu Area Use the Use the Use the Chichibu 2-Day pass Narita-Kaiun pass Experience the mysterious charm of Nikko NIKKO ALL AREA PASS Try Sanja Meguri (visiting three shrines) to feel nature and history for sightseeing in Chichibu! Multifarious places well worth visiting near the airport! for sightseeing in Narita! for sightseeing in Nikko! Please refer to the back of the brochure for details. -
Salvation of the Snake, the Snake of Salvation : Buddhist-Shinto Conflict and Resolution
Salvation of the Snake, The Snake of Salvation : Buddhist-Shinto Conflict and Resolution W. Michael K e lse y INTRODUCTION Buddhism and ohinto have had a remarkably harmonious coex istence over the past fourteen centuries. This is most probably due to two factors: on the one hand, Shinto lacked a formal struc ture from which to organize resistance, and on the other, Buddhism had always assimilated the traditions native to the countries it entered. Even so, it is not realistic to maintain that the first period of contact between these two religions was completely free of strife. Indeed, one senses a sometimes violent conflict lurking beneath the surface of certain Japanese Buddhist stories. This conflict which accompanied Buddhism’s entry to the gates of the Japanese spirit also provided the basis for the Buddhist- Shinto syncretization that was to prove so remarkable in later years; what was first a minus was later to become a plus. This essay will examine Buddhist-Shinto relationships as seen in a single cluster of stories, namely, those having to do with snakes. In brief, my thesis is that we can find in these stories first conflict between Buddhism and Shinto, and then, as the relationships be tween the two settle down, a creative Buddhist use of those ancient Shinto aeities that appeared as reptiles. The malevolent reptilian deity existed in Japan before the in troduction of Buddhism, and it is initially regarded by the Bud dhists, as well as by other Japanese, as being an evil creature. As Buddhism took a deeper hold on the Japanese consciousness, how ever, the image of the violent snake—which never completely died out—came to be supplemented by that of a snake of salvation.