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Modern Yokai How Japan Embraced Their Monsters
Modern Yokai How Japan embraced their monsters. What are Yokai? The kanji used for Yokai doesn’t have a simple/exact English translation. Yokai are a class of supernatural entities and spirits in Japanese folklore. They range from dangerous and aggressive to helpful and fortuitous. Some are as strong as gods, others are spirits of nature, and others are just lil’guys…who want to give you tofu on a dark road at night. Forewarning: I am NOT a yokai expert. I have tried to stay as close to the official historical information on these guys as possible, but some less accurate things may pop up. Please don’t come at me. I’m very weak and insecure. ALSO there are some adult themes throughout. Kitsune (lit. fox/ fox spirit) Two major variations. *Zenko Holy foxes are servants of the Shinto deity Inari, shrines decorated with statues and images of foxes. These holy foxes act as messengers of the gods and mediums between the celestial and human worlds, protect humans or places, provide good luck, and ward evil spirits away. We are not talking about those ones. More common are the *Yako wild foxes which delight in mischief, pranks, or evil, wild foxes trick or even possess humans, and make them behave strangely. Kitsune are often associated with fire, “kitsunebi” or Fox-fire, similar in a way to “wil-o-wisps”, created by kitsune breathing fire into lanternlight orbs to light paths for other yokai or to trick humans. Kitsune are extremely intelligent and powerful shape-shifters. They frequently harass humans by transforming into fearsome monsters *giants, trains, oni etc. -
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. -
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. -
Dogū: from Prehistoric Figurines to Collectible Pocket Monsters
Dogū: from prehistoric figurines to collectible pocket monsters Rodrigo B. Salvador Museum of New Zealand Te Papa Tongarewa. Wellington, New Zealand. Email: [email protected] As an avid consumer of Japanese video with large round eyes (Fig. 1). I did not know its games during my early teens, particularly of the actual name and could not find information RPG sort, I could not help but notice that some about it anywhere.1 monsters would pop up in several games and typically had a pretty standard depiction. I have always been interested in mythology and could naturally identify the usual chimeras, griffins, phoenixes, and gorgons. Figure 2. The Pokémon Baltoy (left) and its evolution Claydol (right). Official artwork from the Pokémon series (The Pokémon Company, 1996–present). Source: Figure 1. The monster called “Pocus Poppet”, from the Bulbapedia. Dragon Quest series (Square Enix, 1986–present; artwork from the game). Other versions of this enemy (you know, Then, I forgot all about this monster when I those with different colors and more Hit Points) are switched my geek focus to tabletop RPGs and called “Clay Doll / Terracotta Warrior” and “Dirty Dogu”. my gaming preferences to Western hits Source: Dragon Quest Wiki. (Bioware RPGs, Gears of War, etc.). This lasted until some years ago when I played Persona 4 However, these monsters shared their and Pokémon: Alpha Sapphire for the first time screen time with more unusual ones (or (I had skipped Pokémon’s Gen III back in the unusual to me at least) from Japanese myths day); there and then, I re-encountered that and folklore. -
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. -
Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Laura Nuffer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the Medieval Studies Commons Recommended Citation Nuffer, Laura, "Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan" (2014). Publicly Accessible Penn Dissertations. 1389. https://repository.upenn.edu/edissertations/1389 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1389 For more information, please contact [email protected]. Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Abstract Interspecies marriage (irui kon'in) has long been a central theme in Japanese literature and folklore. Frequently dismissed as fairytales, stories of interspecies marriage illuminate contemporaneous conceptions of the animal-human boundary and the anxieties surrounding it. This dissertation contributes to the emerging field of animal studies yb examining otogizoshi (Muromachi/early Edo illustrated narrative fiction) concerning elationshipsr between human women and male mice. The earliest of these is Nezumi no soshi ("The Tale of the Mouse"), a fifteenth century ko-e ("small scroll") attributed to court painter Tosa Mitsunobu. Nezumi no soshi was followed roughly a century later by a group of tales collectively named after their protagonist, the mouse Gon no Kami. Unlike Nezumi no soshi, which focuses on the grief of the woman who has unwittingly married a mouse, the Gon no Kami tales contain pronounced comic elements and devote attention to the mouse-groom's perspective. -
Tsukumogami Ki付喪神記 (The Record of Tool Specters)
Japanese Journal of Religious Studies [Online-only supplement: 1–19] © 2009 Nanzan Institute for Religion and Culture Noriko T. Reider translation Tsukumogami ki 付喪神記 (The Record of Tool Specters) Noriko T. Reider is associate professor of Japanese Language and Literature in the Department of German, Russian, and East Asian Languages at Miami University in Ohio. 1 ccording to Miscellaneous Records of Yin and Yang,1 after a span of one hundred years, utsuwamono or kibutsu 器物 (containers, tools, and instruments) receive souls and trick people. They are called tsukumo- Agami. In view of that, every year people bring out the old tools from their houses and discard them in the alleys before the New Year. This event, called susuharai 煤払 (lit. “sweeping soot,” year-end house cleaning), is carried out to avoid mis- fortune caused by tsukumogami tool specters but a year short of a hundred. This custom of renewing the hearth fire, drawing fresh water, and renewing everything from clothing to furniture at the New Year is thought to have started from the proud extravagance of the well-to-do, but now we understand the cus- tom is meant to prevent the calamities caused by tsukumogami. Around the era of Kōhō 康保 (964–967) perhaps, according to the usual cus- tom of Sweeping Soot, old tools were thrown away from houses both inside the capital and in the surrounding area. Those abandoned instruments got together to discuss their fate: “We have faithfully served the houses as furniture and utensils for a long time. Instead of getting the reward that is our due, we are abandoned in the alleys to be kicked by oxen and horses. -
RONIN: MYTHICAL CREATURES AMANOJAKU Amanojaku Are a Smaller Type of Oni, Malicious Demons That Prey Upon Humans
RONIN: MYTHICAL CREATURES AMANOJAKU Amanojaku are a smaller type of oni, malicious demons that prey upon humans. Thanks to Alan, Bern, Josh and Rupert for their help in play-testing. Type Rank CP Initiative Fight Shoot Armour Points Oni 2 2 2 2 0 Light 16 BASIC RULES Weapons Claws and teeth, occasionally weapons (no effect on profile) Mythical creatures should only be used if both players agree. Attributes Tough, Fearless Options • None SUGGESTED BASE SIZES It is entirely up to players how they base their models, but for those who seek some direction, the following should help. All dimensions SWORDS-FOR-HIRE are for round bases, but square or rectangular are perfectly acceptable. Up to 3 Amanojaku can be hired by Peasants or Bandits. No other • Oni: 40–50mm Swords-for-Hire may be selected alongside Amanojaku. • Jorogumo: 25–40 mm • All others: 25–30mm ONI BUNTAI NEW ATTRIBUTES An Oni Buntai may contain up to 3 Oni and any number of With the exception of Formidable, these attributes should only be Amanojaku. If at least 2 Oni are selected, one may be upgraded used for mythical creatures. The points value for each Attribute is to a Greater Oni for +10 points. Greater Oni have a Rank and noted in brackets at the end of the entry. Fight of 4 and are considered to have the appropriate Weapon Bujutsu for their armament. Extra-powerful This model adds +2 to Attack Rolls. (6 points) This model moves as if it is mounted, and can make ride-by attacks. Fly It can move over intervening models. -
Amanita Muscaria) and The
FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida JAPANESE USE OF BENI-TENGU-DAKE (AMANITA MUSCARIA) AND THE EFFICACY OF TRADITIONAL DETOXIFICATION METHODS A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE in BIOLOGY by Allan Grady Phipps 2000 To: Dean Arthur W. Herriott College of Arts and Sciences This thesis, written by Allan Grady Phipps, and entitled Japanese use of Beni-tengu-take (Amanita muscaria) and the efficacy of traditional detoxification methods, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Kelsey R. Downum David N. Kuhn Bradley C. Bennett, Major Professor Date of Defense: March 23, 2000 The thesis of Allan Grady Phipps is approved. Dean Arthur W. Herriott College of Arts and Sciences Dean Richard L. Campbell Division of Graduate Studies Florida International University, 2000 ii DEDICATION To my parents... iii ACKNOWLEDGMENTS I thank the people of Sanada Town, Japan for their hospitality, friendliness, and invaluable assistance in the field. In particular, I am indebted to the Yamazaki family for generously providing me transportation, food, and lodging in Japan. I also must thank Mr. Shiozawa, Mr. Horiuchi, Mrs. Ookubo, and Mr. Satou for their assistance. Residents of Sanada Town recognized the efficacy of Amanita muscaria detoxification. My research owes everything to this original discovery. In addition, I would like to thank several organizations for their assistance. Sigma Chemical Company provided standards. The Tropical Biology Program at Florida International University (FIU) assisted me with preliminary travel expenses and laboratory equipment. -
Manga Vision: Cultural and Communicative Perspectives / Editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, Manga Artist
VISION CULTURAL AND COMMUNICATIVE PERSPECTIVES WITH MANGA ARTIST QUEENIE CHAN EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL MANGA VISION MANGA VISION Cultural and Communicative Perspectives EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL WITH MANGA ARTIST QUEENIE CHAN © Copyright 2016 Copyright of this collection in its entirety is held by Sarah Pasfield-Neofitou and Cathy Sell. Copyright of manga artwork is held by Queenie Chan, unless another artist is explicitly stated as its creator in which case it is held by that artist. Copyright of the individual chapters is held by the respective author(s). All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/mv-9781925377064.html Series: Cultural Studies Design: Les Thomas Cover image: Queenie Chan National Library of Australia Cataloguing-in-Publication entry: Title: Manga vision: cultural and communicative perspectives / editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, manga artist. ISBN: 9781925377064 (paperback) 9781925377071 (epdf) 9781925377361 (epub) Subjects: Comic books, strips, etc.--Social aspects--Japan. Comic books, strips, etc.--Social aspects. Comic books, strips, etc., in art. Comic books, strips, etc., in education. -
Japan Studies Review
JAPAN STUDIES REVIEW Volume Seven 2003 Interdisciplinary Studies of Modern Japan Steven Heine Editor John A. Tucker Book Review Editor Editorial Board Yumiko Hulvey, University of Florida John Maraldo, University of North Florida Mark Ravina, Emory University Ann Weymeyer, University of Florida Brian Woodall, Georgia Institute of Technology Copy and Production Shoshanah Del Greco Jessica Reyes JAPAN STUDIES REVIEW VOLUME SEVEN 2003 A Publication of the Southern Japan Seminar and Florida International University CONTENTS Editor’s Introduction i Re: Subscriptions, Submissions and Comments iii ARTICLES The Fifty-Year War: Rashomon, After Life, and Japanese Film Narratives of Remembering Mike Sugimoto 1 The Tanka Poetry of Yosano Akiko: Transformation of Tradition Through the Female Voice Harriet D. Grissom 21 Civil Servant or Obedient Servant? Ideal(ized) Officials in 16th Century Japan Ronald K. Frank 33 The Farce of the “Great Russian Salvation Tour”: The Legacy of Aum Shinrikyo in Mother Russia Daniel A. Metraux 47 Anime and Historical Inversion in Miyazaki Hayao’s Princess Mononoke John A. Tucker 65 BOOK REVIEWS Being Modern in Japan: Culture and Society from the 1910s to 1930s By Elise K. Tipton and John Clark Reviewed by Scott P. O’Bryan 103 A Bilingual Guide to the Japanese Economy By NHK International Reviewed by Kiyoshi Kawahito 106 Religious Violence in Contemporary Japan: The Case of Aum Shinrikyo By Ian Reader Reviewed by Daniel A. Metraux 108 Toyota-shiki Saikyono Keiei: Naze Toyota wa Kawaritsuzukeru no ka (The Toyota Style of Strongest Management: Why Toyota Keeps Changing) By Shibata, Masaharu and Hideharu Kaneda Reviewed by Kinko Ito 112 Neither Monk nor Layman: Clerical Marriage in Modern Japanese Buddhism By Richard M. -
Jolanta Tubielewicz Superstitions, Magic and Mantic Practices in the Heian Period - Part One
Jolanta Tubielewicz Superstitions, magic and mantic practices in the Heian period - part one Analecta Nipponica 1, 139-202 2011 REPRINTED WORKS OF POLISH JAPANOLOGISTS Jolanta Tubielewicz SUPERSTITIONS, Magic AND MANTIC Practices in the Heian PERIOD – Part One CONTENTS I. INTRODUCTION ...................................................................................... 141 1. The primary sources .............................................................................. 142 2. The scope of the work ............................................................................. 151 3. The historical background ...................................................................... 154 II. SUPERSTITIONS ........................................................................................ 159 1. Spirits of native derivation .................................................................... 159 1.1. The terminology .............................................................................. 160 1.2. Vengeful spirits (public enemies) ............................................... 161 1.3. Vengeful spirits (private enemies) .............................................. 165 1.4. Benevolent spirits .......................................................................... 169 1.5. Miscellaneous spirits ..................................................................... 170 1.6. Materialized powers of nature ..................................................... 172 2. Imported demons ...................................................................................