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The Basic Structure of Tanka Prose
The Elements of Tanka Prose by Jeffrey Woodward Introduction: Basic Definition The marriage of prose and waka, the forerunner of modern tanka, occurred early in the history of Japanese literature, from the 8th to 11th centuries, with rudimentary beginnings in the Man’yōshū and later elaboration as an art in the Tales of Ise and Tale of Genji. One aspect of the proliferation of prose with waka forms is that practice moved far in advance of theory. Japanese criticism to this day lacks consensus on a name for this hybrid genre. The student, instead, is met with a plethora of terms that aspire to be form-specific, e.g., preface or headnote (kotobagaki), poem tale (uta monogatari), literary diary (nikki bungaku), travel account (kikō), poetic collection (kashū), private poetry collection (shikashū) and many more [Konishi, II, 256-258; Miner, 14-16] The first problem one must address, therefore, in any discussion of tanka plus prose is terminology. While Japanese waka practice and criticism afford no precedent, the analogy of tanka with prose to the latter development of haibun does. The term haibun, when applied to a species of literary composition, commonly signifies haiku plus prose written in the ―haikai spirit.‖ It would not be mere license to replace haibun with haiku prose or haikai prose as proper nomenclature. Upon the same grounds, tanka prose becomes a reasonable term to apply to literary specimens that incorporate tanka plus prose – a circumstance which may lead one to inquire, not unreasonably, whether tanka prose also indicates prose composed in the ―tanka spirit.‖ Fundamental Structure of Tanka Prose Tanka prose, like haibun, combines the two modes of writing: verse and prose. -
Biblio:Basho-27S-Haiku.Pdf
Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging in Publication Data Matsuo Basho¯, 1644–1694. [Poems. English. Selections] Basho¯’s haiku : selected poems by Matsuo Basho¯ / translated by David Landis Barnhill. p. cm. Includes bibliographical references and index. ISBN 0-7914-6165-3 — 0-7914-6166-1 1. Haiku—Translations into English. 2. Japanese poetry—Edo period, 1600–1868—Translations into English. I. Barnhill, David Landis. II. Title. PL794.4.A227 2004 891.6’132—dc22 2004005954 10 9 8 7 6 5 4 3 2 1 Basho¯’s Haiku Selected Poems by Matsuo Basho¯ Matsuo Basho¯ Translated by, annotated, and with an Introduction by David Landis Barnhill STATE UNIVERSITY OF NEW YORK PRESS for Phyllis Jean Schuit spruce fir trail up through endless mist into White Pass sky Contents Preface ix Selected Chronology of the Life of Matsuo Basho¯ xi Introduction: The Haiku Poetry of Matsuo Basho¯ 1 Translation of the Hokku 19 Notes 155 Major Nature Images in Basho¯’s Hokku 269 Glossary 279 Bibliography 283 Index to Basho¯’s Hokku in Translation 287 Index to Basho¯’s Hokku in Japanese 311 Index of Names 329 vii Preface “You know, Basho¯ is almost too appealing.” I remember this remark, made quietly, offhand, during a graduate seminar on haiku poetry. -
Matsuo ■ Basho
; : TWAYNE'S WORLD AUTHORS SERIES A SURVEY OF THE WORLD'S LITERATURE ! MATSUO ■ BASHO MAKOTO UEDA JAPAN MATSUO BASHO by MAKOTO UEDA The particular value of this study of Matsuo Basho is obvious: this is the first book in English that gives a comprehen sive view of the famed Japanese poet’s works. Since the Japanese haiku was en thusiastically received by the Imagists early in this century, Basho has gained a world-wide recognition as the foremost writer in that miniature verse form; he is now regarded as a poet of the highest cali ber in world literature. Yet there has been no extensive study of Basho in Eng lish, and consequently he has remained a rather remote, mystical figure in the minds of those who do not read Japanese. This book examines Basho not only as a haiku poet but as a critic, essayist and linked-verse writer; it brings to light the whole range of his literary achievements that have been unknown to most readers in the West. * . 0S2 VS m £ ■ ■y. I.. Is:< i , • ...' V*-, His. -.« ■ •. '■■ m- m mmm t f ■ ■ m m m^i |«|mm mmimM plf^Masstfa m*5 si v- mmm J 1 V ^ K-rZi—- TWAYNE’S WORLD AUTHORS SERIES A Survey of the World's Literature Sylvia E. Bowman, Indiana University GENERAL EDITOR JAPAN Roy B. Teele, The University of Texas EDITOR Matsuo Basho (TWAS 102) TWAYNES WORLD AUTHORS SERIES (TWAS) The purpose of TWAS is to survey the major writers — novelists, dramatists, historians, poets, philosophers, and critics—of the nations of the world. -
C:\Users\Denis\Documents\MET PRESS\Journal MET\2. Current Issue\SUBMISSIONS to MET6\Articles\The Road Ahead for Tanka in Englis
The Road Ahead for Tanka in English by Jeffrey Woodward Introduction: Five Lines in Search of a Context Contemporary tanka practice in English displays a marked tendency to combine and integrate discrete units and thereby extend and amplify its abbreviated form. This desire for a larger structure has centered itself, to date, on the elaboration in poetic composition and theory of the tanka sequence. The sketchy properties of tanka—understatement, suggestion and emphasis on what is not said as well as what is—invite such expansion (Garrison, 4-5). These evolving poetic forms approximate the schematic organization of Western stanzaic verse yet may allow or demand—though this is a matter in dispute—greater autonomy to the individual tanka than a stanza might possess in the Occident (McClintock, 23 and Kei, 193-194). A parallel process is evident in the classical and medieval history of Japanese waka, the forerunner of English tanka, where integration of individual poems into larger cohesive works advanced roughly contemporaneously along two separate lines: adaptation to certain prose genres and incorporation in imperial anthologies. Even after it is clear to us intellectually that we should not consider Japanese literary works in terms of our own genres, we may find it difficult emotionally to accept the fact that the same work may be called a tale (monogatari), a diary (nikki), or, significantly, a poetic collection (kashû). The shorter Japanese poetic units are quite simply more adhesive to fictional—or even nonfictional—strands of prose than our own discrete, autonomously conceived poems. To a very considerable extent, then, a court poem is five lines in search of a context. -
Basho's Haikus
Basho¯’s Haiku Basho¯’s Haiku Selected Poems by Matsuo Basho¯ Matsuo Basho¯ Translated by, annotated, and with an Introduction by David Landis Barnhill STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging in Publication Data Matsuo Basho¯, 1644–1694. [Poems. English. Selections] Basho¯’s haiku : selected poems by Matsuo Basho¯ / translated by David Landis Barnhill. p. cm. Includes bibliographical references and index. ISBN 0-7914-6165-3 — 0-7914-6166-1 1. Haiku—Translations into English. 2. Japanese poetry—Edo period, 1600–1868—Translations into English. I. Barnhill, David Landis. II. Title. PL794.4.A227 2004 891.6’132—dc22 2004005954 10 9 8 7 6 5 4 3 2 1 for Phyllis Jean Schuit spruce fir trail up through endless mist into White Pass sky Contents Preface ix Selected Chronology of the Life of Matsuo Basho¯ xi Introduction: The Haiku Poetry of Matsuo Basho¯ 1 Translation of the Hokku 19 Notes 155 Major Nature Images in Basho¯’s Hokku 269 Glossary 279 Bibliography 283 Index to Basho¯’s Hokku in Translation 287 Index to Basho¯’s Hokku in Japanese 311 Index of Names 329 vii Preface “You know, Basho¯ is almost too appealing.” I remember this remark, made quietly, offhand, during a graduate seminar on haiku poetry. -
Display and Disguise in Ukiyo-E Bijinga
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Books, pamphlets, catalogues, and scrapbooks Collections, Digitized Books 2013 Beneath the Printed Pattern: Display and Disguise in Ukiyo-e Bijinga Anna Moblard Meier Bryn Mawr College Follow this and additional works at: https://repository.brynmawr.edu/bmc_books Part of the History of Art, Architecture, and Archaeology Commons Let us know how access to this document benefits ou.y Citation Moblard Meier, Anna, "Beneath the Printed Pattern: Display and Disguise in Ukiyo-e Bijinga" (2013). Books, pamphlets, catalogues, and scrapbooks. 25. https://repository.brynmawr.edu/bmc_books/25 This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/bmc_books/25 For more information, please contact [email protected]. Beneath the Printed Pattern: Display and Disguise in Ukiyo-e Bijinga During the summer of 2013, I was awarded the McPherson Curatorial Fellowship by the Graduate Group in Archaeology, Classics, and History of Art to curate a fall exhibition at Bryn Mawr. This fellowship allowed me to continue research in the Special Collections department begun during the previous academic year under the guidance of the college curator, Brian Wallace. My initial interest was guided by the focus of my research, the influence of Japanese art on western modernism. I began by studying the college’s Japanese prints from the Edo period (1615-1868), a key source for the late nineteenth century conception of Japan in the west. As in many collections of ukiyo-e, bijinga, “pictures of beautiful people,” make up the majority of Bryn Mawr’s holdings of Japanese prints. -
He Arashina Iary
!he "arashina #iary h A WOMAN’S LIFE IN ELEVENTH-CENTURY JAPAN READER’S EDITION ! ! SUGAWARA NO TAKASUE NO MUSUME TRANSLATED, WITH AN INTRODUCTION, BY SONJA ARNTZEN AND ITŌ MORIYUKI Columbia University Press New York Columbia University Press Publishers Since New York Chichester, West Sussex cup .columbia .edu Copyright © Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Names: Sugawara no Takasue no Musume, – author. | Arntzen, Sonja, – translator. | Ito, Moriyuki, – translator. Title: *e Sarashina diary : a woman’s life in eleventh-century Japan / Sugawara no Takasue no Musume ; translated, with an introduction, by Sonja Arntzen and Ito Moriyuki. Other titles: Sarashina nikki. English Description: Reader’s edition. | New York : Columbia University Press, [] | Series: Translations from the Asian classics | Includes bibliographical references and index. Identifiers: LCCN (print) | LCCN (ebook) | ISBN (electronic) | ISBN (cloth : alk. paper) | ISBN (pbk. : acid-free paper) Subjects: LCSH: Sugawara no Takasue no Musume, —Diaries. | Authors, Japanese—Heian period, –—Diaries. | Women— Japan—History—To . Classification: LCC PL.S (ebook) | LCC PL.S Z (print) | DDC ./ [B] —dc LC record available at https://lccn.loc.gov/ Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America Cover design: Lisa Hamm Cover image: A bi-fold screen by calligrapher Shikō Kataoka (–). CONTENTS Preface to the Reader’s Edition vii Introduction xi Sarashin$ Diar% Appendix . Family and Social Connections Appendix . Maps Appendix . List of Place Names Mentioned in the Sarashina Diary Notes Bibliography Index PREFACE TO THE READER’S EDITION he Sarashina Diary: A Woman’s Life in Eleventh-Century Japan was published in . -
Special Issue 7 7 6 9 9 - 8 6 5 2
SPECIAL ISSUE 7 7 6 9 9 - 8 6 5 2 N S S I Sebastian Balmes (ed.) NARRATOLOGICAL PERSPECTIVES ON PREMODERN JAPANESE LITERATURE WWW.ERZAEHLFORSCHUNG.DE SPECIAL ISSUE 7 Sebastian Balmes (ed.) Narratological Perspectives on Premodern Japanese Literature Published August 2020. BmE Special Issues are published online by the BIS-Verlag Publishing House of the Carl von Ossietzky University of Oldenburg (Germany) under the Creative Commons License CC BY-NC-ND 4.0. Senior Editors: PD Dr. Anja Becker (Munich) and Prof. Dr. Albrecht Hausmann (Oldenburg). http://www.erzaehlforschung.de – Contact: [email protected] ISSN 2568-9967 Suggested Citation: Balmes, Sebastian (ed.): Narratological Perspectives on Premodern Japanese Literature, Oldenburg 2020 (BmE Special Issue 7) (online). Painting used on the cover taken from: ‘Genji kokagami’ (17th c.), vol. 1, Munich, Bayerische Staatsbibliothek, Cod.jap. 14(1, fol. 17v. For further details on the scene depicted, see the contribution by Midorikawa Machiko in this volume. Contents Sebastian Balmes Discourse, Character, and Time in Premodern Japanese Narrative. An Introduction .................................................................................................... 1 Jinno Hidenori Monogatari Literature of the Heian Period and Narratology. On the Problem of Grammatical Person and Character .............................................................. 25 Sebastian Balmes Linguistic Characteristics of Premodern Japanese Narrative. Issues of Narrative Voice and Mood ................................................................. -
Beyond the Tale of Genji: Murasaki Shikibu As Icon and Exemplum in Seventeenth- and Eighteenth- Century Popular Japanese Texts for Women Satoko Naito
Early Modern Women: An Interdisciplinary Journal Vol. 9, No. 1 • Fall 2014 Beyond The Tale of Genji: Murasaki Shikibu as Icon and Exemplum in Seventeenth- and Eighteenth- Century Popular Japanese Texts for Women Satoko Naito n the long, rich, and exceedingly complex history of The Tale of Genji I(Genji monogatari 源氏物語 ca. 1008), a major tendency has been to label the classic as “female.” And it is perhaps only to be expected: its author Murasaki Shikibu (紫式部 d. ca. 1014) was lady-in-waiting to an empress and wrote prose in the Japanese syllabic script kana (仮名), sometimes called the “woman’s hand” (onnade 女手). The Tale of Genji’s readership too has been naturalized female, at times discussed as if women were the exclusive audience of the tale, not least because by Murasaki’s time in the Heian period (平安 794–1185) fictional tales (monogatari 物語) had long been identified as a generic category for women.1 Indeed, although there remain early records of prominent male readers, The Tale of Genji seems to have been initially read most widely by women of the highest echelons of 1 The Three Jewels (Sanbōe 三宝絵 ca. 984) by Minamoto no Tamenori (源為憲 941?–1011) characterizes monogatari as being favored by female readers. Minamoto Tamenori, The Three Jewels: A Study and Translation of Minamoto Tamenori’s Sanbōe, trans. Edward Kamens (Ann Arbor: Center for Japanese Studies, University of Michigan, 1988), 93. The Tale of Genji itself depicts monogatari as being read primarily by women: in the “Fireflies” (Hotaru 蛍) chapter, the character Genji (源氏) teases Tamakazura (玉鬘) as being a typical woman, willfully deceived by fictional tales. -
Ancient Japanese Poetry in Early Medieval Poetic Discourse 1
Ancient Japanese Poetry in Early Medieval Poetic Discourse 1 ACTA ASIATICA VARSOVIENSIA No. 27, 2014 PL ISSN 08606102 MA£GORZATA CITKO Ancient Japanese Poetry in Early Medieval Poetic Discourse Appropriation of the Manyôshû in Selected Poems of Princess Shikishi1 Abstract The paper analyzes several poems by the Princess Shikishi (11491200) from the viewpoint of Manyôshû appropriation. Despite relative scarcity of allusions to Manyôshû, some features in her appropriation style are found in the poetry of other contemporary poets, e.g. frequent appropriation of volumes XXI and well-known Manyôshû lines, utilization of secondary sources rather than Manyôshû manuscripts, etc. This demonstrates complexity of channels through which Manyôshû was appropriated. Simultaneously, there are features of her Manyôshû appropriation that distinguished her from other contemporary poets, which evidences that Princess Shikishi was not only a participant in but also a significant contributor to early medieval poetic discourse. The poetry of Princess Shikishi (11491200) has been well researched in both Japanese and Anglophone academia.2 There are, however, some aspects of her poetry that have attracted less attention in the field of Japanese literary studies, e.g. the appropriation of Chinese or ancient Japanese poetry. The Chinese intertext in this early medieval3 female 1 This article is based on research conducted in National Institute of Japanese Literature and at Waseda University in Tokyo in 20122014 thanks to Japan Foundation Japanese Studies Fellowship program and University of Hawaii Center for Japanese Studies Graduate Fellowship. I would like to thank those academic institutions and sponsors for access to resources and financial support during the process of researching and writing. -
Print This Article
Japanese Language and Literature Journal of the American Association of Teachers of Japanese jll.pitt.edu | Vol. 55 | Number 1 | April 2021 | https://doi.org/10.5195/jll.2021.154 ISSN 1536-7827 (print) 2326-4586 (online) The Ise-e Tradition and Ise Manga Joshua S. Mostow Introduction The Ise monogatari 伊勢物語 (The Ise stories, aka Tales of Ise, tenth century)—read historically as the adventures of the poet and lover Ariwara no Narihira 在原業平 (825−880)—is the oldest continuously illustrated secular narrative in Japanese history. An illustrated version makes an appearance in the “Picture Contest” (E-awase 絵合) chapter of the Genji monogatari 源⽒物語 (The tale of Genji, early eleventh century). We know from the diary of its author, Murasaki Shikibu 紫式部 (978? −1016?), that a substantial part of Genji was written by 1008, providing some idea of how far back Ise-e 伊勢絵, or “Ise-pictures,” go.1 This paper will eXamine where contemporary manga-versions of the Ise fit within this long visual tradition. There are any number of educational manga—so-called gakushū manga 学習マンガ—series devoted to classical Japanese literature, for example, Komikku sutōrī watashi-tachi no koten (Comic story, our classics, コミックストーリーわたしたちの古典). Curiously, we shall see that they rarely avail themselves of the rich illustrative traditions associated with such classics as the Genji or the Ise. This is all the more puzzling since a connection between premodern illustrated scrolls (emaki 絵巻) and modern manga and anime has been asserted by some scholars since the 1920s.2 I would like to review three of the five manga versions that have been produced of Ise monogatari to date, demonstrating how, perhaps surprisingly, only one genre—“gag” (gyagu ギャグ), or comic, manga— can fully respond to the rich visual tradition of Ise illustration.3 “Our Classics” The first manga version of the Ise that I am familiar with appeared in the fifteen-volume series Komikku sutōrī Watashi-tachi no koten in 1991 New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. -
Encoding “The Capital” in Edo Encoder « La Capitale» À Edo
Extrême-Orient Extrême-Occident 30 | 2008 Du bon usage des images: Autour des codes visuels en Chine et au Japon Encoding “The Capital” in Edo Encoder « la Capitale» à Edo Timon Screech Electronic version URL: http://journals.openedition.org/extremeorient/100 DOI: 10.4000/extremeorient.100 ISSN: 2108-7105 Publisher Presses universitaires de Vincennes Printed version Date of publication: 30 October 2008 Number of pages: 71-96 ISBN: 978-2-84292-220-7 ISSN: 0754-5010 Electronic reference Timon Screech, « Encoding “The Capital” in Edo », Extrême-Orient Extrême-Occident [Online], 30 | 2008, Online since 01 October 2011, connection on 19 April 2019. URL : http://journals.openedition.org/ extremeorient/100 ; DOI : 10.4000/extremeorient.100 © PUV Extrême-Orient, Extrême-Occident, 30 – 2008 Encoding “The Capital” in Edo Timon Screech This paper will engage with the theme of “codes” and “encoding” by considering how Edo (modern Tôkyô), the shogunal capital during the Edo or Tokugawa period (1603-1867), a new city created out of a military encampment, built itself into a fine and dignified metropolis, worthy of the shogunal regime. I shall maintain that it did this by imbricating into its plan and structure aspects of the prior city, then called Miyako or Kyô, which both mean “capital” (modern Kyôto), home of the dairi (emperor). Although the planning of Edo has been intensively studied, this matter of urban borrowings from the older cultural heartland of Kamigata (modern Kansai) has not previously been comprehensively addressed. 1 Defining Edo As is well known, when the Tokugawa, under their head Ieyasu (1542- 1616) arrived in the Kantô Plain in 1590, there was little there.