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Haiku Attunement & the “Aha” Moment
Special Article Haiku Attunement & the “Aha” Moment By Edward Levinson Author Edward Levinson As a photographer and writer living, working, and creating in Japan spring rain for 40 years, I like to think I know it well. However, since I am not an washing heart academic, the way I understand and interpret the culture is spirit’s kiss intrinsically visual. Smells and sounds also play a big part in creating my experiences and memories. In essence, my relationship with Later this haiku certainly surprised a Japanese TV reporter who Japan is conducted making use of all the senses. And this is the was covering a “Haiku in English” meeting in Tokyo where I read it. perfect starting point for composing haiku. Later it appeared on the evening news, an odd place to share my Attunement to one’s surroundings is important when making inner life. photographs, both as art and for my editorial projects on Japanese PHOTO 1: Author @Edward Levinson culture and travel. The power of the senses influences my essays and poetry as well. In haiku, with its short three-line form, the key to success is to capture and share the sensual nature of life, both physical and philosophical. For me, the so-called “aha” moment is the main ingredient for making a meaningful haiku. People often comment that my photos and haiku create a feeling of nostalgia. An accomplished Japanese poet and friend living in Hokkaido, Noriko Nagaya, excitedly telephoned me one morning after reading my haiku book. Her insight was that my haiku visions were similar to the way I must see at the exact moment I take a photo. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them. -
Shiki and Modernism
Anita Virgil JAPAN AND THE WEST: SHIKI AND MODERNISM Alone In the editorial department: Summer rain falling. Shiki 1 In the years between Issa’s death and Shiki’s birth, enormous change had wracked Japan politically, socially and culturally. At mid-19th century, after more than 200 years of isolation, Japan was torn by economic problems and beleaguered from without by foreigners seeking to open Japan to trade with the West. Her farmers and samurai were financially depleted, her merchants could not function without access to markets. Dissolute factions within the country jockeyed for dominance over the crumbling Tokugawa Shogunate to the extent that some Japanese called for restoration of the Emperor. The appearance of the Black Ships of Russia, England and America heightened the anxiety of an already troubled nation. Change was inevitable and necessary for the survival of Japan. With the arrival of Commodore Perry in Edo Bay in 1853, Japan was eventually forced into the modern world. It did not take long for the Japanese to recognize their defenselessness in the face of the military and technological superiority of the West. With dispatch, they sent emissaries abroad to obtain firsthand knowledge of their enemy, the “barbarians.” The result: the Japanese people were awash in a flood of ideas that conflicted with their ancient traditions. On September 17, 1867 in this time of ferment and cross-cultural exchange, Masaoka Tsunenori was born in Matusuyama on the island of Shikoku. (Later in his life, as was customary among Japanese poets, he adopted the name Shiki.) His father, Masaoka Hayata, was a samurai of lower rank who died of alcoholism. -
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REDISCOVERING BASHO ■i M ft . ■ I M S 0 N ;V is? : v> V,•• I 8 C: - :-4 5 1k: ; fly j i- -i-h. • j r-v?-- m &;.*! .! * sg ‘Matsuo Basho’ (Basho-o Gazo) painting by Ogawa Haritsu (1663-1747) (Wascda University Library, Tokyo) REDISCOVERING BASHO A 300TH ANNIVERSARY CELEBRATION f,:>; TED BY r.N HENRY GILL ' IDREW GERSTLE GLOBAL ORIENTAL REDISCOVERING BASHO A 300TH ANNIVERSARY CELEBRATION Edited by Stephen Henry Gill C. Andrew Gcrstlc First published 1999 by GLOBAL ORIENTAL PO Box 219 Folkestone Kent CT20 3LZ Global Oriental is an imprint of Global Boohs Ltd © 1999 GLOBAL BOOKS LTD ISBN 1-901903-15-X All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the Publishers, except for the use of short extracts in criticism. British Library Cataloguing in Publication Data A CIP catalogue entry for this book is available from the British Library Set in Bembo llpt by Bookman, Hayes, Middlesex Printed and bound in England by Bookcraft Ltd., Midsomer Norton, Avon Contents List of Contributors vii 1. Introduction - Shepherd’s Purse: A Weed for Basho 1 STEPHEN HENRY GILL 2. An Offering of Tea 13 MICHAEL BIRCH ; o and I: The Significance of Basho 300 Years after 16 his Death . - 'NEHIKO HOSHINO 4. ■ seiuation of Basho in the Arts & Media 24 : C HEN HENRY GILL 5. ri : ao has been Found: His Influence on Modem 52 Japanese Poetry VlIROFUMI WADA 6. Laughter in Japanese Haiku 63 NOBUYUKI YUASA 7. -
Special Article 2
Special Article 2 By Mukesh Williams Author Mukesh Williams Murakami’s fictional world is a world of elegiac beauty filled with mystical romance, fabulous intrigues and steamy sex where his stories race towards a dénouement hard to fathom. Within the wistful experience of this world people disappear and reappear recounting strange tales of mutants, alternate reality, cults, crime and loneliness. Occasionally with a sleight of hand Murakami switches the world that his characters inhabit and absolves them of any moral or legal responsibility. Much to the dislike of Japanese traditionalists, Murakami’s fiction has gained wide readership in both Japan and the West, perhaps making him the new cultural face of Japan and a possible choice for the Nobel Prize in Literature. Though some might dismiss him as a pop artist, eccentric lone wolf, or Americanophile, he represents a new Japanese sensibility, a writer who fuses Western and Japanese culture and aesthetics with unique Japanese responses. In this sense he is the first Japanese writer with a postmodernist perspective rooted within the Japanese cultural ethos, outdoing Junichiro Tanizaki’s modernist viewpoint. Impact of the Sixties composers such as Bach, Beethoven, Chopin, Debussy, Handel, Mozart, Schubert and Wagner, and jazz artists like Nat King Cole, Murakami’s fiction also returns to the powerful American era of the Bing Crosby and Frank Sinatra. Interestingly Murakami has rejected 1960s and its impact upon Japan in later decades. The literature, much of Japanese literature but likes to read a few modern Japanese attitudes, and music of the Sixties are just waiting to be told in writers such as Ryu Murakami and Banana Yoshimoto. -
The Literary Landscape of Murakami Haruki
Akins, Midori Tanaka (2012) Time and space reconsidered: the literary landscape of Murakami Haruki. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/15631 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Time and Space Reconsidered: The Literary Landscape of Murakami Haruki Midori Tanaka Atkins Thesis submitted for the degree of PhD in Japanese Literature 2012 Department of Languages & Cultures School of Oriental and African Studies University of London Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. -
Elephant Vanishes”
ISSN: 1500-0713 ______________________________________________________________ Article Title: “The Creature Disappears for Our Convenience”: An Analysis of Murakami Haruki’s “Elephant Vanishes” Author(s): Masaki Mori Source: Japanese Studies Review, Vol. XX (2016), pp. 115-138 Stable URL: https://asian.fiu.edu/projects-and-grants/japan-studies- review/journal-archive/volume-xx-2016/mori-masaki-elephant-mori- formatted.pdf ______________________________________________________________ “THE CREATURE DISAPPEARS FOR OUR CONVENIENCE”: AN ANALYSIS OF MURAKAMI HARUKI’S “ELEPHANT VANISHES” Masaki Mori University of Georgia The Elephant Vanishes came out in 1993 as the first English collection of short stories by Murakami Haruki 村上 春樹 (1949–). Selecting from existing Japanese pieces, it was “another new re-edited collection” that “an American publisher originally made.” 1 Among them, “Pan’ya saishūgeki パン屋再襲撃 [The Second Bakery Attack]” (1985) and “TV pīpuru TV ピープル [TV People]” (1989) mark the early stage of the author’s writing career in the sense that they were title pieces of Japanese collections respectively in 1986 and 1990. However, they do not receive special arrangement in the English version with seventeen pieces. In contrast, although originally positioned second after the title piece at the beginning of the Japanese book The Second Bakery Attack, the translated short story “Zō no shōmetsu 象の消滅 [The Elephant Vanishes]” (1985) assumes dual significance in the English edition as its eponymous text and with its placement at the very end. -
How Haruki Murakami Shapes Narratives and Their Methods in Creating and Understanding Trauma
The Teleology of Trauma: How Haruki Murakami Shapes Narratives and their Methods in Creating and Understanding Trauma Presented in partial fulfillment of the requirements for graduation with research distinction in English in the undergraduate colleges of The Ohio State University by Noah Ridley Blacker The Ohio State University April 2018 Project Advisor: Professor Amy Shuman, Department of English Blacker 1 Table of Contents Abstract .............................................................................................................................. 2 Introduction ....................................................................................................................... 3 Chapter 1 – Trauma and Genre ....................................................................................... 8 Chapter 2 – Trauma and Narrative............................................................................... 18 Chapter 3 – Trauma and Closure .................................................................................. 29 Chapter 4 – Trauma and Teleology ............................................................................... 39 Conclusion ....................................................................................................................... 49 References ........................................................................................................................ 52 Blacker 2 Abstract Haruki Murakami (1949-) is a contemporary Japanese author whose works present our world on the cusp of -
Paul D. Talcott Independent Scholar the Spread of Market Mechanisms
Paul D. Talcott Mary Evelyn Tucker Independent Scholar Yale, Senior Lecturer and Senior Research Scholar The spread of market mechanisms in health care policy in Religion and ecology; Book Thomas Berry and the Arc of Japan and East Asia; the relationship between economic History (2019) development, democracy, and the introduction of market [email protected] principles into social insurance systems [email protected] Timothy J. Van Compernolle Amherst, Prof. of Japanese Wako Tawa The creative exchanges between literature and cinema in Amherst, Prof. of Asian Languages and Civilizations; interwar Japan Director of Language Study [email protected] Japanese grammar for learners of Japanese as a foreign language Floris van Swet [email protected] Northumbria, Postdoctoral Research Fellow Social and political consequences of attainder in early Elizabeth ten Grotenhuis Tokugawa Japan BU, Prof. Emerita for Japanese Art; [email protected] Received start-up grant to construct middle-school curriculum on immigration from China and Japan which she Elena Varshavskaya taught at Birches School Rhode Island School of Design, Senior Lecturer [email protected] ukiyo-e prints as historic documents [email protected] Sarah Thompson MFA, Curator of Japanese Art Alexander M. Vesey Japanese prints in the MFA collection, especially ukiyo-e Meiji Gakuin, Assoc. Prof. of Global & Transcultural Studies woodblock prints Early modern Japanese Buddhist social history [email protected] [email protected] R. Kenji Tierney James Keith Vincent SUNY New Paltz, Lecturer. of Anthropology BU, Assoc. Prof. of Japanese and Comparative Literature Sumo; Food; Globalization; Sports; The Body; Japan Natsume Soseki and Masaoka Shiki; haiku and the novel [email protected] [email protected] Maria Toyoda Louise E. -
Santoka's Shikoku
Santōka’s Shikoku An introduction to and translation of the opening sections of the Shikoku Henro Diary of Japanese free-verse haiku poet and itinerant Buddhist priest Taneda Santōka (1882-1940) Ronald S. Green, Coastal Carolina University Of the many literary figures associated with Shikoku, Japan and the Buddhist pilgrimage to the 88 temples around the perimeter of that island, Taneda Santōka is the most visible to pilgrims and the one most associated with their sentiments. According to the newspaper Asahi Shinbun, each year 150,000 people embark on the Shikoku pilgrimage by bus, train, automobile, bicycles, or walking. Among these, nearly all the foreign visitors make the journey on foot, spending weeks or months on the pilgrimage. Those walking are likely to encounter the most poetry steles (kuhi) that display the works of Taneda Santōka (1882-1940) and commemorate his life and pilgrimage in Shikoku. This is because some of the kuhi are located halfway up steep stairway ascents to temples or at entrances to narrow mountain paths, places Santōka loved. This paper introduces English readers to Santōka’s deep connection with Shikoku. This will become increasingly important as the Shikoku pilgrimage moves closer to becoming a UNESCO World Heritage site and the prefectures eventually achieve that goal. Santōka was an itinerant Buddhist priest, remembered mostly for his gentle nature that comes through to readers of his free-verse haiku. Santōka is also known for his fondness of Japanese sake, which eventually contributed to his death in Shikoku at the age of 58. Santōka lived at a time when Masaoka Shiki was innovating haiku by untying it from some of the classical rules that young poets were finding to be a hindrance to their expressions. -
Dissection of the Haiku Tradition
http://fayaoyagi.wordpress.com/essay/ Dissection of the Haiku Tradition: Ten Short Essays on Japanese Kigo by Fay Aoyagi Flowers and Plants In this series of essay, I will discuss one of the traditional elements of haiku: the kigo. I would like to share the view of a non-traditionalist. My focus will be on how I use a kigo when I write a haiku in English. Though many of the samples I use will be the work of Japanese haiku poets, my main purpose is not to compare Japanese-language haiku with English-language haiku. Also, my intention is not to tell you how you should write a haiku. I believe in diversity and I trust the voice of a haiku poet. I hope that my approach to kigo will help you deepen your haiku experiences. This first article is about flowers and plants. I plan to write future installments about animals and birds, moon and wind, and holidays and observances. Comments are welcome, but I am not planning to seek haiku submissions for my articles. In American haiku, the linkage between nature and human has been emphasized. In most published haiku in the United States, the poet is invisible; one remains only an observer of nature. Many American haiku poets seem to believe that haiku should be a subdued sumi-e or a quiet still life. But haiku can be as colorful as van Gough’s paintings or as abstract as the work of Picasso. The core of my haiku is my emotion as a woman, as a Japanese person, and an immigrant. -
Frogpond 35.1 • Winter 2012
frogpond The Journal of the Haiku Society of America fr g Volume 35, Number 1 Winter, 2012 About HSA & Frogpond Subscription / HSA Membership: In the USA: adults $35; seniors (65+) & students (full-time) $30. In Canada and Mexico: $37; seniors & students $32. For all others: 47 USD. Payment by check on a USA bank or by In- ternational Postal Money Order. All subscriptions/memberships are annual, expire on December 31, and include three issues of Frogpond as well as three newsletters and voting rights. All correspondence regarding new and renewed memberships should be directed to the HSA Secretary (see p. 186). Make checks and money orders payable to Haiku Society of America, Inc. Single copies of back issues postpaid: In USA & Canada, $12; elsewhere, $15 seamail; $20 airmail. These prices are for recent issues. Older ones might cost more, depending on how many are left. Please enquire first. Make checks payable to Haiku Society of America, Inc. Send all orders to the Frogpond Edi- tor (see next page). Changes of Address and Requests for Information: Such concerns should be directed to the HSA Secretary (see p. 186). Contributor Copyright and Acknowledgments: All prior copyrights are retained by contributors. Full rights revert to contributors upon publication in Frogpond. Neither the Haiku Society of America, its officers, nor the editor assume responsibility for views of contributors (including its own officers) whose work is printed in Frogpond, research errors, infringement of copyrights, or failure to make proper acknowledgments. Frogpond Listing and Copyright Information: ISSN 8755-156X Listed in the MLA International Bibliography and Humanities Inter- national Complete © 2012 by the Haiku Society of America, Inc.