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Analecta Nipponica Content | 目次 4/2014 r Editor’s Preface 4/2014 ARTICLES Analecta Nipponica r BEATA KUBIAK HO-CHI JOURNAL OF POLISH ASSOCIATION FOR JAPANESE STUDIES Dialog with a Ghost: Modern Nō Plays by Mishima Yukio on the Stages of the Polish Theatre r STEVEN TRENSON Cutting Serpents: Esoteric Buddhist Dimensions of the Classical Martial Art of Drawing the Sword r JOANNA KATARZYNA KRAWCZYK Setsuwa as a Unique Genre of Japanese Literature in Connection to Tachibana Narisue’s Kokonchomonjū r ANNA DINIEJKO ANALECTA NIPPONICA ANALECTA The Emergence of the New Woman in Korea under the Japanese Rule r MARCIN TATARCZUK 京都の「魔界観光」一条戻橋の歴史とイメージの変遷をめぐって INTERVIEWS r 松浦寿輝氏インタビュー 2013年6月4日 ワルシャワ大学中央図書館 懐庵にて 聞き手：ミコワイ・メラノヴィッチ、藤井カルポルク陽子 r 枡野俊明氏先生インタビュー 2014年5月14日 ワルシャワ大学中央図書館 懐庵にて 聞き手：アグニェシカ・コズィラ、 藤井カルポルク陽子 REPRINTED WORKS OF POLISH JAPANOLOGISTS r EWA PAŁASZ-RUTKOWSKA General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932–1936 – Part One r Notes About the Authors r List of Reviewers r Information for Authors ISSN 2084-2147 okl_Analecta_Nipponica_4_2014.indd 1 2015-05-19 19:22:24 Analecta Nipponica JOURNAL OF POLISH ASSOCIATION FOR JAPANESE STUDIES 4/2014 Analecta Nipponica JOURNAL OF POLISH ASSOCIATION FOR JAPANESE STUDIES Analecta Nipponica JOURNAL OF POLISH ASSOCIATION FOR JAPANESE STUDIES Editor-in-Chief Alfred F. Majewicz Adam Mickiewicz University in Poznań, Copernicus University in Toruń Editorial Board Agnieszka Kozyra University of Warsaw, Jagiellonian University in Kraków Iwona Kordzińska-Nawrocka University of Warsaw Editing in English Aaron Bryson Editing in Japanese Fujii Yoko-Karpoluk Editorial Advisory Board Moriyuki Itō Gakushūin University in Tokyo Mikołaj Melanowicz University of Warsaw Sadami Suzuki International Research Center for Japanese Studies in Kyoto Hideo Watanabe Shinshū University in Matsumoto Estera Żeromska Adam Mickiewicz University in Poznań The publication was financed by Takashima Foundation Copyright© 2012 by Polish Association for Japanese Studies and Contributing Authors. ANALECTA NIPPONICA: Number 4/2014 ISSN: 2084-2147 Published by: Polish Association for Japanese Studies Krakowskie Przedmieście 26/28, 00-927 Warszawa, Poland www.psbj.orient.uw.edu.pl University of Warsaw Printers (Zakłady Graficzne UW) Contents Editor’s Preface . .. 7 ARTICLES Beata Kubiak Ho-Chi, Dialog with a Ghost: Modern Nō Plays by Mishima Yukio on the Stages of the Polish Theatre . 11 論文概要 . 29 Steven Trenson, Cutting Serpents: Esoteric Buddhist Dimensions of the Classical Martial Art of Drawing the Sword . 31 論文概要 . 51 Joanna Katarzyna Krawczyk, Setsuwa as a Unique Genre of Japanese Literature in Connection to Tachibana Narisue’s Kokonchomonjū . 53 論文概要 . 73 Anna Diniejko, The Emergence of the New Woman in Korea under the Japanese Rule . 75 論文概要 . 100 Marcin Tatarczuk, 京都の「魔界観光」一条戻橋の歴史とイメージの変遷をめぐ って . 101 English Summary of the Article . 121 INTERVIEWS 松浦寿輝氏インタビュー 2013年6月4日 ワルシャワ大学中央図書館 懐庵にて 聞き手：ミコワイ・メラノヴィッチ、藤井カルポルク陽子 . 125 枡野俊明氏先生インタビュー 2014年5月14日 ワルシャワ大学中央図書館 懐庵に（スペース空ける）て聞き手：アグニェシカ・コズィラ、 藤井カルポルク陽子 . 135 REPRINTED WORKS OF POLISH JAPANOLOGISTS Ewa Pałasz-Rutkowska, General Masaki Jinzaburō and the Imperial Way Faction (Kōdōha) in the Japanese Army 1932–1936 – Part One ............................151 Notes About the Authors. 225 List of Reviewers ...........................................................229 Information for Authors ....................................................230 EDITOR’S PREFACE With volume 3 of Analecta we slightly departed from the formula of the journal proposed with the publication of volumes 1 and 2. It was decided that volume 3 would be dedicated to the late Professor Wiesław Kotański (1915–2005), the most outstanding figure in the field of academic-level Japanese studies in Poland and an excellent sensei of generations of Japanologists, from various countries in addition to Poland, in order to mark the tenth anniversary of his passing (August 8, 2005). For this purpose we chose to compile a representative selection of the late Profes- sor’s lesser-accessible works rather than a collection of articles by other authors. And it seems in fact that the Kotański volume, monographic in its nature, has been found attractive enough to perhaps encourage similar ventures in the future. With the present volume 4, however, we come back to the initial – and planned as definitely dominating – formula, more usual and typical of academic periodicals. In its first part, we print five papers ranging over varying topics from theater and literature, through religion and beliefs, to feminism emerging in Korea under Japanese rule, four of them are by Polish authors and one by a foreign guest author, a Kyoto-based Belgian. So far, this is only our second foreign writer but we encourage and invite further such contributors and we hope that this number will increase. The second part includes two interviews with Japanese visitors to Warsaw Uni- versity and the third part consists of a reprint of the first part of Professor Ewa Pałasz-Rutkowska’s 1987 PhD dissertation in history focusing on factionalism in the Japanese army in 1932–1936, published in a limited edition in 1990. Unfortunately, we still cannot initiate and develop a very much desired critical section to the journal and we feel that this is our serious disadvantage and in fact a failure. It is true that a general retreat from writing reviews, once the essence of academic dispute, can be observed but – it was, and still is, the leading Japano- logical journals that can, and should, with their expanded squib and review seg- ments set a good example for us. Stęszew-Toruń-Poznań, March 2015 ARTICLES Beata Kubiak Ho-Chi DIALOG WITH A GHOST: MODERN NŌ PLAYS BY MISHIMA YUKIO ON THE STAGES OF THE POLISH THEATRE Introduction The Japanese medieval Nō能 theatre – a poetic, song and dance performance, where demons, gods and ghosts dialog with humans on the border between the illusory and the real world – became an important source of inspiration for one of the greatest Japanese writers of the 20th century, Mishima Yukio 三島由紀夫 (1925–1970). In the years 1950–1962, on the basis of Nō plays, he wrote as many as nine dramas, altogether entitled “Modern Nō Plays” (kindai nōgaku 近代能楽)1. They are entitled as classical Nō plays, however, their action occurs in the 20th cen- tury, and the acting characters, contrarily to the archaic and often singing langu- age of the Nō theatre, speak a common everyday language, fully comprehensible for the contemporary spectator. Those plays gained popularity quickly not only in Japan, but abroad as well: some of them, translated into English, German, Spa- nish and French, have been successfully staged in the West since the 1950s. Also Polish theatre directors couldn’t resist the power of those short, one-act dramas and made Mishima’s plays appear and reappear on the stages of Polish theatres, just as ghosts in the classical Nō theatre. Already in 1965, Tadeusz Łomnicki sta- ged three of the modern Nō plays by Mishima, and nearly 30 years later, in 1994, Andrzej Wajda directed four of the Japanese writer’s plays. The younger generation of directors became interested in Nō plays as well: in 2007, unexpectedly as many as two of them, Agnieszka Olsten and Natalia Sołtysik, presented their visions of Mishima’s Nō theatre. 1 These plays are: Kantan 邯鄲 (The Magic Pillow, 1950), Aya no tsuzumi 綾の鼓 (The Dam- ask Drum, 1951), Sotoba Komachi 卒塔婆小町 (Komachi at the Stupa, 1952), Aoi no ue 葵上 (The Lady Aoi, 1954), Hanjo 班女 (The Waiting Lady with the Fan, 1955), Dōjōji 道成寺 (Dōjō Temple, 1957), Yuya 熊野 (Yuya, 1959), Yoroboshi 弱法師 (The Begging Monk, 1960), Genji kuyō 源氏供養 (Memorial Service of The Tale of Genji, 1962). Cf. Mishima 1975h,b,l, vol. 20; Mishima 1974a,e,c vol. 21; Mishima 1975n,m vol.22; Mishima 1974 vol. 23. All these plays have been trans- lated into English. 12 Beata Kubiak Ho-Chi It is quite surprising that plays written by a Japanese playwright using means of expression and poetics seemingly different from the Western ones, have been attracting the attention of Polish stage directors, beginning from such masters of classics and theatrical art as Andrzej Wajda, and ending with the youngest cre- atresses such as Natalia Sołtysik. Thanks to this fact, Mishima’s dialog with the classical Nō theatre has had the chance to develop into a dialog of Polish directors and actors with Mishima, and through him – with the medieval Nō theatre itself. The traditional Nō theatre vs Mishima and his modern Nō Fully formed at the turn of the 14th and 15th century, the Nō theatre constitu- tes one of the oldest Japanese theatre forms. Its great creators and codifiers were a father and a son: Kan’ami 観阿弥 (1333–1384) and Zeami 世阿弥 (1363–1443). The Nō convention was settled by the 18th century, including fixed, symbolic gestu- res and figures (kata 型). Nō is not a dramatic theatre in the Western meaning of the word. It can rather be defined as a poetic performance, where, apart from the actors (always men, regardless of the character performed), an important role was held by the orchestra (hayashi 囃子) and a choir composed of several people (jiutai 地謡). The actors appearing on the stage (shite シテ – the performing actor, wearing a mask, and waki ワキ – the secondary actor) narrate a story rather than play roles, and the text they melodiously recite is called yōkyoku 謡曲(a song, a melody), which indicates its direct connection with music. The stage movement, where a signifi- cant role is held by dance (mai 舞) and kata, is performed with the accompaniment of drums, the flute and the choir. The contents of around two hundred and forty known Nō plays (of which around a hundred are staged nowadays) are composed of legends, folk tales, themes taken from classical literature and Buddhist stories. This theatre, formed in the times of long-lasting civil wars caused by a fierce struggle for power, and very popular at that time especially among the samurai aristocracy, is steeped in an atmosphere of suffering and sorrow.
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