The Myth of the Goddess of the Undersea World and the Tale of Empress Jingu’S Subjugation of Silla
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Regular Exhibition "History of Japanese Literature Based on Books" Materials List, Part I 名 称 名称ふりがな 解 説
別紙2 Regular Exhibition "History of Japanese Literature Based on Books" Materials List, Part I 名 称 名称ふりがな 解 説 I Literature in Jodai じょうだいのぶんがく (Ancient Times) While Japanese history often uses the term "kodai" to mean ancient times, the history of literature generally calls the times before the Heian period "jodai." Its beginning is uncertain, but its end is defined as the end of the 8th century. Politically, the state had progressed to unity and completion of its regime during this period. From the perspective of literature, this period was the time when Japanese people—who had not had characters for writing—first met kanji or Chinese characters and attempted various ways to express themselves using kanji. Literature in the period primarily when the capital was at Yamato before it was transferred to Heian-kyo in 794. While the categories range from myths to legends, songs, waka or Japanese poetry, Chinese poetry, Literature in Jodai じょうだいのぶんがく biographies, histories and topographies, there were not so many works as a whole. Every extant work containing ancient contents was actually compiled into a book in the Nara period (710–794). Some of those books were established against the background of the regime establishment of the state. Kojiki was established in 712. O no Yasumaro composed this book by writing down the ancient history inherited by Hieda no Are. Kojiki contains the history from the age of the gods to the reign of Empress Suiko (reign: 593–629). Nihon Shoki was established in 720 through a compilation carried out by Prince Myths and History しんわ・れきし Toneri. -
Old Japan Redux 3
Old Japan Redux 3 Edited by X. Jie YANG February 2017 The cover painting is a section from 弱竹物語, National Diet Library. Old Japan Redux 3 Edited by X. Jie YANG, February 2017 Content Poem and Stories The Origins of Japan ……………………………………………… April Grace Petrascu 2 Journal of an Unnamed Samurai ………………………………… Myles Kristalovich 5 Holdout at Yoshino ……………………………………………………… Zachary Adrian 8 Memoirs of Ieyasu ……………………………………………………………… Selena Yu 12 Sword Tales ………………………………………………………………… Adam Cohen 15 Comics Creation of Japan …………………………………………………………… Karla Montilla 19 Yoshitsune & Benkei ………………………………………………………… Alicia Phan 34 The Story of Ashikaga Couple, others …………………… Qianhua Chen, Rui Yan 44 This is a collection of poem, stories and manga comics from the final reports submitted to Japanese Civilization, fall 2016. Please enjoy the young creativity and imagination! P a g e | 2 The Origins of Japan The Mythical History April Grace Petrascu At the beginning Izanagi and Izanami descended The universe was chaos Upon these islands The heavens and earth And began to wander them Just existed side by side Separately, the first time Like a yolk inside an egg When they met again, When heaven rose up Izanami called to him: The kami began to form “How lovely to see Four pairs of beings A man such as yourself here!” After two of genesis The first-time speech was ever used. Creating the shape of earth The male god, upset Izanagi, male That the first use of the tongue Izanami, the female Was used carelessly, Kami divided He once again circled the land By their gender, the only In an attempt to cool down Kami pair to be split so Once they met again, Both of these two gods Izanagi called to her: Emerged from heaven wanting “How lovely to see To build their own thing A woman like yourself here!” Upon the surface of earth The first time their love was matched. -
Kojiki Family Sagas
Chapter 9 Kojiki Family Sagas Whom Do You Love More? Princess Saho became the Empress of Emperor Suinin. e Empress’s elder half-brother, Prince Saho, asked the Empress, “Whom do you love more, the Emperor or me?” She responded, “I adore you more.” Prince Saho then revealed that he was plotting to overthrow Emperor Suinin and handed the Empress a knife to kill the Emperor. Following Prince Saho’s plan, the Empress resolved to kill the Emperor in his sleep. Yet she could not bring herself to stab him. e Empress’s tears fell upon the face of Emperor Suinin, and the Emperor woke up, saying that he just had a frightful dream. e Empress confessed Prince Saho’s sinister plot to kill the Emperor. e Emperor raised an army to attack Prince Saho. Meanwhile, the Empress, who was pregnant, snuck out of the palace to join Prince Saho in his fortress. In the fortress, surrounded by the Emperor’s army, the Empress gave birth to a son. Emperor Suinin still felt strongly for the Empress, despite the treachery of her half-brother. Emperor Suinin tried to get Empress to return to him with their newborn son, but the Empress only handed over the child. e Empress chose to die together with her elder half-brother. Traumatized by this tragedy, their son was never able to speak, even as he grew up to become an adult. Emperor Suinin had a dream in which the Deity of Izumo told him that if he made Izumo Taisha Shrine as splendid as his palace, his son would be able to speak. -
The Establishment of State Buddhism in Japan
九州大学学術情報リポジトリ Kyushu University Institutional Repository The Establishment of State Buddhism in Japan Tamura, Encho https://doi.org/10.15017/2244129 出版情報:史淵. 100, pp.1-29, 1968-03-01. Faculty of Literature, Kyushu University バージョン: 権利関係: - 1 - THE ESTABLISHMENT OF STATE BUDDHISM IN JAPAN Encho Tamura In ancient times, during the Yamato period, it was the custom for each succeeding emperor at the beginning of his reign to seek some site on which to build a new imperial palace and relocate himself. In other words, successive emperors neither inherited their palaces from the previous emperor nor handed them down to the following emperor. Hardly any example is to be found of the same palace being used by more than two emperors successively. The fact that the emperor in ancient times was called by the name of the place where his palace was located* is based on this custom of seeking new sites and founding new palaces. < 1 > This custom was strictly adhered to until the 40th Emperor, Temmu (672-686 A. D.).** The palaces, though at times relocated at Naniwa (the present Osaka Prefecture), or at Cmi (Shiga Prefecture), in most cases were built in different locations within the boundary of the Yamato area (Nara Prefecture). It is true that there is a theory denying the existence of emperors previous to the 14th Emperor, Chuai, but it is clearly stated in both the Kojiki and the Nihonshoki that all of the emperors including Jimmu, the 1st Emperor, strictly adhered to this custom of relocating the palace. This reflects the fact *For example, Emperor Kimmei was called "Shikishima no Kanazashi no Miya ni Arne ga shita Shiroshimesu Sumeramikoto" (The Emperor who rules the whole area under heaven at his Kanazashi Palace in Shikishima). -
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. -
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. -
Amaterasu - Wikipedia, the Free Encyclopedia
אמאטרסו أماتيراسو آماتراسو Amaterasu - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Amaterasu Amaterasu From Wikipedia, the free encyclopedia Amaterasu (天照 ), Amaterasu- ōmikami (天照大 神/天照大御神 ) or Ōhirume-no-muchi-no-kami (大日孁貴神 ) is a part of the Japanese myth cycle and also a major deity of the Shinto religion. She is the goddess of the sun, but also of the universe. The name Amaterasu derived from Amateru meaning "shining in heaven." The meaning of her whole name, Amaterasu- ōmikami, is "the great august kami (god) who shines in the heaven". [N 1] Based on the mythological stories in Kojiki and Nihon Shoki , The Sun goddess emerging out of a cave, bringing sunlight the Emperors of Japan are considered to be direct back to the universe descendants of Amaterasu. Look up amaterasu in Wiktionary, the free Contents dictionary. 1 History 2 Worship 3 In popular culture 4 See also 5 Notes 6 References History The oldest tales of Amaterasu come from the ca. 680 AD Kojiki and ca. 720 AD Nihon Shoki , the oldest records of Japanese history. In Japanese mythology, Amaterasu, the goddess of the sun, is the sister of Susanoo, the god of storms and the sea, and of Tsukuyomi, the god of the moon. It was written that Amaterasu had painted the landscape with her siblings to create ancient Japan. All three were born from Izanagi, when he was purifying himself after entering Yomi, the underworld, after failing to save Izanami. Amaterasu was born when Izanagi washed out his left eye, Tsukuyomi was born from the washing of the right eye, and Susanoo from the washing of the nose. -
Chinese Culture Themes and Cultural Development: from a Family Pedagogy to A
Chinese Culture themes and Cultural Development: from a Family Pedagogy to a Performance-based Pedagogy of a Foreign Language and Culture DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nan Meng Graduate Program in East Asian Languages and Literatures The Ohio State University 2012 Dissertation Committee: Galal Walker, Advisor Mari Noda Mineharu Nakayama Copyright by Nan Meng 2012 Abstract As the number of Americans studying and working in China increases, it becomes important for language educators to reconsider the role of culture in teaching Chinese as a foreign language. Many American learners of Chinese fail to achieve their communicative goals in China because they are unable to establish and convey their intentions, or to interpret their interlocutors’ intentions. Only knowing the linguistic code is not sufficient; therefore, it is essential to develop learners’ abilities to be socialized to Chinese culture. A working definition of culture theme as a series of situated acts associated with cultural values is proposed. In order to explore how children acquire culture themes with competent social guides, a quantitative comparative study of maternal speech and a micro-ethnographic discourse analysis of adult-child interactions are presented. Parental discourse patterns are shown to be culturally specific activities that not only foster language development, but also maintain normative dimensions of social life. The culture themes are developed at a young age through children’s interactions with Chinese speakers under the guidance of their parents or caregivers. In order to communicate successfully people have to do things within the shared time and space provided by the culture. -
JAPANESE HISTORY Paul Clark, Ph.D
HUMANITIES INSTITUTE JAPANESE HISTORY Paul Clark, Ph.D Course Description: This course offers an introduction to the history of Japan from pre-history to the present. We will trace the history of Japan in several different epochs. First, we will investigate how Japanese civilization emerged and how early governments were constituted. Second, we will consider the Yamato Clan and the Nara and Heian periods. Third, we will study the rise of the period dominated by warriors, the first shōgunate and the feudal era. Fourth, we will consider how and why the bakufu (tent government--shōgunate) lost its vitality in the late 18th century and why it was unable to deal with the international crisis which led to its demise. We will discuss the irony of how a military coup d’état, initiated by samurai, led to the dissolution of a samurai-based society and to the construction of the modern Japanese state. Along the way we will study how democracy in the Meiji, Taishō and Shōwa eras failed and led to the militarism of the Pacific War. Fifth, we will discern whether or not the American occupation of Japan led to substantive changes within Japanese culture, economics and government. Finally, we will discuss Japan today. In particular, we will examine modern Japanese society, the government and the enduring problem of the economic recession. About the Professor The course was prepared by Paul Clark, Ph.D. who is an East Asia area specialist and Associate Professor of History at West Texas A&M University. Dr. Clark is the author of The Kokugo Revolution: Education, Identity and Language Policy in Imperial Japan (2009) and is the recipient of a 2006 Fulbright-Hays Faculty Research Abroad Fellowship. -
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"). -
Visual and Material Culture at Hōkyōji Imperial Convent: the Significance of “Women’S Art” in Early Modern Japan
Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Gregory P. A. Levine, Chair Professor Patricia Berger Professor H. Mack Horton Fall 2010 Copyright by Sharon Mitsuko Yamamoto 2010. All rights reserved. Abstract Visual and Material Culture at Hōkyōji Imperial Convent: The Significance of “Women’s Art” in Early Modern Japan by Sharon Mitsuko Yamamoto Doctor of Philosophy in History of Art University of California, Berkeley Professor Gregory Levine, Chair This dissertation focuses on the visual and material culture of Hōkyōji Imperial Buddhist Convent (Hōkyōji ama monzeki jiin) during the Edo period (1600-1868). Situated in Kyoto and in operation since the mid-fourteenth century, Hōkyōji has been the home for women from the highest echelons of society—the nobility and military aristocracy—since its foundation. The objects associated with women in the rarefied position of princess-nun offer an invaluable look into the role of visual and material culture in the lives of elite women in early modern Japan. Art associated with nuns reflects aristocratic upbringing, religious devotion, and individual expression. As such, it defies easy classification: court, convent, sacred, secular, elite, and female are shown to be inadequate labels to identify art associated with women. This study examines visual and material culture through the intersecting factors that inspired, affected, and defined the lives of princess-nuns, broadening the understanding of the significance of art associated with women in Japanese art history. -
Ghenko, the Mongol Invasion of Japan
1 GHENKO THE MONGOL INVASION OF JAPAN HOJO TOKIMUNE. GHENKO THE MONGOL INVASION OF JAPAN BY NAKABA YAMADA, B.A. (Cantab.) WITH AN INTRODUCTION BY LORD ARMSTRONG WITH ILLUSTRATIONS AND MAPS LONDON SMITH, ELDER & CO., 15 WATERLOO PLACE 1916 [All rights reserved] *L\ 3 Y PREFACE evening in the summer before last, I ONEwas sitting in the reading-room of my College in Cambridge, when a small " " book entitled Westward Ho ! caught my eye. I was greatly attracted by its contents. In the mellowing light of the sun, I perused the book page after page, until my attention was diverted by the dining-bell from the hall. Ending my perusal, however, I stood a while with the pleasant memory of what I had read. One of my friends told me at table that that book was one of the great works of Charles Kingsley, and well worth reading. Having ob- tained a new copy, I finished the reading before long. It was from this reading that I acquired the idea of writing this book. My first intention was " to describe the historical event of the Mongol " " Invasion of Japan in such a novel as Westward " Ho ! But I have found it better to write an authentic, straightforward history rather than to use the medium of fiction. For the facts, which v 348467 PREFACE would be used as the basis of an historical novel, are not known to our Western friends as a whole, as the Chino-Japanese war or the Russo- war has been this is Japanese ; probably owing both to the remoteness of the events and the difficulties of research work, in a field so far removed in time and place.