Capacity of Chushingura
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Sakata Tojuro, Nakamura Shichisaburo and the Creation Of
SAKATA TOJURO, NAKAMURA SHICHISABURO AND THE CREATION OF WAGOTO KABUKI IN THE GENROKU ERA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE August 2004 By Holly A. Blumner Dissertation Committee: James R. Brandon, Chair Robert Huey Tamara Hunt Montgomery Julie A. Iezzi Kirstin Pauka Acknowledgements The research for this dissertation was made possible through the very generous support of the Monbusho and the Crown Prince Akihito Scholarship Foundation. I would like to thank the managers and theatre attendants at Shochiku's Minami-za, Naka-za, and Shochiku-za theatres for granting me access to numerous performances. I wish to thank Asahi Earphone Guide Service and the Asahi English Earphone Guide staff. I am grateful to Hamatani Hiroshi at the National Theatre of Japan for his advice during my field study in Japan. I wish to thank Nakamura Ganjiro III and Kataoka Nizaemon IV for speaking with me about the current state of wagoto kabuki and nimaime acting. I am indebted to Torigoe Bunzo at Waseda University for his guidance during my two years of research at Waseda University, and to Ikawa Mayuko who tirelessly answered my questions about play texts and acting critiques. In Hawai'i, I would like to acknowledge my graduate student colleagues for their encouragement along the way. I wish to thank my committee members for their advice and assistance during the writing of this III dissertation. I am especially grateful to Dr. James R. Brandon who continues to be a great source of knowledge, inspiration, and encouragement. -
Rethinking the Ako Ronin Debate the Religious Significance of Chushin Gishi
Japanese Journal of Religious Studies 1999 26/1-2 Rethinking the Ako Ronin Debate The Religious Significance of Chushin gishi John Allen T ucker This paper suggests that the Tokugawa Confucian debate over the Ako revenge vendetta was, in part, a religious debate over the posthumous sta tus of the forty-six ronin who murdered Lord Kira Yoshinaka as an act of revenge for the sake of their deceased master, Asano Naganori. At issue in the debate was whether the forty-six ronin were chushin gishi, a notion typ ically translated as “loyal and righteous samurai. ” The paper shows, how ever, that in Tokugawa discourse the term chushin gishi had significant religious nuances. The latter nuances are traceable to a Song dynasty text, the Xingli ziyi, by Chen Beixi, which explains that zhongchen yishi (Jpn. chushin gishi) could be legitimately worshiped at shrines devoted to them. The paper shows that Beixi text was known by those involved in the Ako debate, and that the religious nuances, as well as their sociopolitical impli cations, were the crucial, albeit largely unspoken, issues in the debate.1 he paper also notes that the ronin were eventually worshiped, by none other than the Meiji emperor, and enshrined in the early-twentieth century. Also, in prewar Japan, they were extolled as exemplars of the kind of self- sacrijicing loyalism that would be rewarded, spiritually, via enshrinement at Yasukuni Shrine. Keywords: Ako ronin — chushin gishi (zhongchen yishi)—しhen Beixi — Xingli ziyi — Yamasra Soko — Bakufu —apotheosis Chushin gishi 忠、臣義 士 was the pivotal notion in the eighteenth-century controversy among Confucian scholars over the Ako 赤穂 revenge vendetta of 1703. -
Guts and Tears Kinpira Jōruri and Its Textual Transformations
Guts and Tears Kinpira Jōruri and Its Textual Transformations Janice Shizue Kanemitsu In seventeenth-century Japan, dramatic narratives were being performed under drastically new circumstances. Instead of itinerant performers giving performances at religious venues in accordance with a ritual calendar, professionals staged plays at commercial, secular, and physically fixed venues. Theaters contracted artists to perform monthly programs (that might run shorter or longer than a month, depending on a given program’s popularity and other factors) and operated on revenues earned by charging theatergoers admission fees. A theater’s survival thus hinged on staging hit plays that would draw audiences. And if a particular cast of characters was found to please crowds, producing plays that placed the same characters in a variety of situations was one means of ensuring a full house. Kinpira jōruri 金平浄瑠璃 enjoyed tremendous though short-lived popularity as a form of puppet theater during the mid-1600s. Though its storylines lack the nuanced sophistication of later theatrical narra- tives, Kinpira jōruri offers a vivid illustration of how theater interacted with publishing in Japan during the early Tokugawa 徳川 period. This essay begins with an overview of Kinpira jōruri’s historical background, and then discusses the textualization of puppet theater plays. Although Kinpira jōruri plays were first composed as highly masculinized period pieces revolving around political scandals, they gradually transformed to incorporate more sentimentalism and female protagonists. The final part of this chapter will therefore consider the fundamental characteristics of Kinpira jōruri as a whole, and explore the ways in which the circulation of Kinpira jōruri plays—as printed texts— encouraged a transregional hybridization of this theatrical genre. -
Honor and Violence: Perspectives on the Akō Incident
Honor and Violence: Perspectives on the Akō Incident Megan McClory April 4, 2018 A senior thesis, submitted to the East Asian Studies Department of Brandeis University, in partial fulfillment of the Bachelor of Arts degree. Table of Contents Introduction………………………………………………………………………………………1 Law and Morality………………………………………………………………………………...4 Kenka Ryouseibai…………………………………………………………………………5 House Codes……………………………………………………………………………....8 Loyalty as Propaganda…………………………………...………………………………..9 Filial Piety………………………………………………………………………………13 Evolution into Legend……………………………………………………………………………15 Dissemination……………………………………………………………………………15 Audience…………………………………………………………………………………18 Akō as an Example………………………………………………………………………19 Modern Day……………………………………………………………………………...20 Sengaku-ji………………………………………………………………………………. 22 Chūshingura as a Genre………………………………………………………………… 25 Ukiyo-e………………………………………………………………………………...…25 Appeal and Extension to Non-Samurai………………………………..…………………………28 Gihei the Merchant………………………………………………………………………28 Injustice…..………………………………………………………………………………35 Amae …………………………………………………………………………………….38 Collective Honor…………………………………………………………………………41 Women in Chūshingura………………………………………………………………….44 Conclusion……………………………………………………………………………….47 List of Names and Characters Adapted from David Bell Chushingura and the Floating World: The Representation of Kanadehon Chushingura in Ukiyo-e Prints Enya Hangan A young provincial noble and Lord of the castle of Hoki under the shogun Ashikaga Takauji. Asano Takuminokami Naganori, Lord of Akō in the province of Harima. -
Bushidō and the Samurai
Bushidō and the Samurai Martha Chaiklin “Fujiyama-geisha” is a common English expression that refers to the stereotypical images that foreigners hold of Japan. Since the 1980s and Japanese economic dominance, however, most Westerners have become much more knowledgeable about the Land of the Rising Sun. Where once Japanese food could only be obtained on the West Coast or New York, now you can buy sushi in the supermarket. Nevertheless, certain types of stereotypes have persisted. A pervasive one, supported by Japanese film and animation, is the samurai as an elite warrior who lives by a strict code. This idealized and romanticized image has only the most tenuous connection to historical reality. The word samurai is derived from the verb saburau, to serve. In the Heian period (794–1185) the original samurai by title were people who directly served the upper echelons of the aristocracy. It could refer to a wide variety of positions, including the armed guards who protected the members of the Imperial family. In the case of the emperor, sometimes this samurai was even a family member and thus a member of the aristocracy. This broad usage continued even into the Kamakura period (1185–1333), the first warrior-led government. It was not until the breakdown of imperial rule and the rise of the warrior class that led to the establishment of the Kamakura shogunate that this term came to refer to warriors. The origins of the warrior class in Japan are debated. Some scholars believe they evolved from regional militias, and others emphasize the aristocratic origins of the upper echelons. -
Rules and Options
Rules and Options The author has attempted to draw as much as possible from the guidelines provided in the 5th edition Players Handbooks and Dungeon Master's Guide. Statistics for weapons listed in the Dungeon Master's Guide were used to develop the damage scales used in this book. Interestingly, these scales correspond fairly well with the values listed in the d20 Modern books. Game masters should feel free to modify any of the statistics or optional rules in this book as necessary. It is important to remember that Dungeons and Dragons abstracts combat to a degree, and does so more than many other game systems, in the name of playability. For this reason, the subtle differences that exist between many firearms will often drop below what might be called a "horizon of granularity." In D&D, for example, two pistols that real world shooters could spend hours discussing, debating how a few extra ounces of weight or different barrel lengths might affect accuracy, or how different kinds of ammunition (soft-nosed, armor-piercing, etc.) might affect damage, may be, in game terms, almost identical. This is neither good nor bad; it is just the way Dungeons and Dragons handles such things. Who can use firearms? Firearms are assumed to be martial ranged weapons. Characters from worlds where firearms are common and who can use martial ranged weapons will be proficient in them. Anyone else will have to train to gain proficiency— the specifics are left to individual game masters. Optionally, the game master may also allow characters with individual weapon proficiencies to trade one proficiency for an equivalent one at the time of character creation (e.g., monks can trade shortswords for one specific martial melee weapon like a war scythe, rogues can trade hand crossbows for one kind of firearm like a Glock 17 pistol, etc.). -
Kanadehon Chtshingura
CHAPTER FIVE Kanadehon Chtshingura MonB rHeN fusr e ThLB op Fnuoel Loverrv Modern lmages of Chúshingura Í7 anadehon Chashinqura 1The TreasrLry of Loyal Relain- .N.rr1 i, so deeply ro"uen into the cullrrral fabric o[ lapan llrat until quite recently there was hardly anyone who didn't lrrow the story. Based on a historical vendetta known as the Akrj Incident that occurred in r7oz, the play has spawned spin- r'lT works in many other genres, including a stoýelling series lrrlled Gishi Meimei Den (Biographies of Loyal Retainers)1 tlurt was popular in the second half of the eighteenth century. 'l'lrcse and other variants often developed subsidiary storylines tlrat had very little to do with the original play. After the Russo-Japanese War of r9o4-o5, the popular aníwa-bushi narrative singer Tochuken Kumoemon2 scored ir lrit with úte song Gishiden (Legend of the Loyal Retainers). 'I his entertainer had the backing of a right-wing group called llrc Black Ocean Society, which tinged his Chtishingura slrlry with ultra'nationalistic ideals of loyalty and patríotism. lrr tl-re lead up to World War II, thís nationalistic flavor had t.volved to the point where the story was featured prominently irr government-mandated textbooks for elementary schools. It 65 ChúshinlurL MoRE TEAN Jusr A Thrs o! FeuoAl LovAr,Ty extolled as the "revenge of loyal retainers that lifted our irrrllrropology focused on carnival practices, Maruya brilliantly hearts," providing an "antidote" to a complacency that had r.lrrcidated the secÍet to Chúshíngurd's enduring populariý. supposedly set in during the Genroku era because of pro- On a practical level, Chashingura inspired such a vast longed peace. -
Download a PDF Version of the Official
“To Open Minds, To Educate Intelligence, To Inform Decisions” The International Academic Forum provides new perspectives to the thought-leaders and decision-makers of today and tomorrow by offering constructive environments for dialogue and interchange at the intersections of nation, culture, and discipline. Headquartered in Nagoya, Japan, and registered as a Non-Profit Organization 一般社( 団法人) , IAFOR is an independent think tank committed to the deeper understanding of contemporary geo-political transformation, particularly in the Asia Pacific Region. INTERNATIONAL INTERCULTURAL INTERDISCIPLINARY iafor The Executive Council of the International Advisory Board Mr Mitsumasa Aoyama Professor June Henton Professor Baden Offord Director, The Yufuku Gallery, Tokyo, Japan Dean, College of Human Sciences, Auburn University, Professor of Cultural Studies and Human Rights & Co- USA Director of the Centre for Peace and Social Justice Southern Cross University, Australia Lord Charles Bruce Professor Michael Hudson Lord Lieutenant of Fife President of The Institute for the Study of Long-Term Professor Frank S. Ravitch Chairman of the Patrons of the National Galleries of Economic Trends (ISLET) Professor of Law & Walter H. Stowers Chair in Law Scotland Distinguished Research Professor of Economics, The and Religion, Michigan State University College of Law Trustee of the Historic Scotland Foundation, UK University of Missouri, Kansas City Professor Richard Roth Professor Donald E. Hall Professor Koichi Iwabuchi Senior Associate Dean, Medill School of Journalism, Herbert J. and Ann L. Siegel Dean Professor of Media and Cultural Studies & Director of Northwestern University, Qatar Lehigh University, USA the Monash Asia Institute, Monash University, Australia Former Jackson Distinguished Professor of English Professor Monty P. -
Storehouse of Loyalty (Chushingura), 1806, by Hokusai (1760–1849)
Scene from The Storehouse of Loyalty (Chushingura), 1806, by Hokusai (1760–1849). Japan. Edo period (1615–1868). Woodblock print, ink and colors on paper. Gift of Japanese Prints from the Collection of Emmeline Johnson, Donated by Oliver and Elizabeth Johnson, 1994.45. What is depicted here? The men climbing the roof of this snow-covered building are disenfranchised samurai (ronin) bent on exacting revenge for the death of their lord. Drawn from a popular narrative known as the Chushingura (The Storehouse of Loyalty), the story was based on historical events that occurred in the early eighteenth century. The former samurais’ grievance originates when their master, Asano Naganori, is ordered to the palace to receive instruction from an official, Kira Yoshinaka. Goaded by Kira into drawing his sword, Asano lightly wounds the official. For the capital offence of drawing his sword at the palace, Asano is ordered to commit ritual suicide (seppuku) by disembowelment, while Kira goes free. Upon his death, Asano’s lands are confiscated, and the forty-seven samurai who served him are dismissed, becoming ronin (masterless samurai). In an act of loyalty to avenge their master’s death, the men go under cover, spending almost two years carefully plotting their vendetta. They eventually meet to attack Kira’s mansion on a snowy, moonlit night. The scene shown here is the moment before they discover Kira, hiding in a shed behind a bundle of firewood. After taking him prisoner, the ronin decapitate Kira and parade his severed head through the streets of the capital. The tale ends with the ronin turning themselves in; Asian Art Museum Education Department they are sentenced to death by the authori- ties, but are allowed to take their own lives (seppuku), an honorable death according to the warrior code of Japan. -
Analecta Nipponica
5/2016 Analecta Nipponica JOURNAL OF POLISH ASSOCIATION FOR JAPANESE STUDIES Analecta Nipponica JOURNAL OF POLISH ASSOCIATIOn FOR JapanESE STUDIES 5/2016 Analecta Nipponica JOURNAL OF POLISH ASSOCIATIOn FOR JapanESE STUDIES Analecta Nipponica JOURNAL OF POLISH ASSOCIATIOn FOR JapanESE STUDIES Editor-in-Chief Alfred F. Majewicz Nicolaus Copernicus University, 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© 2015 by Polish Association for Japanese Studies and Contributing Authors. ANALECTA NIPPONICA: Number 5/2015 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) Order No. 1312/2015 Contents Editor’s preface ...............................................................7 ARTICLES Iijima Teruhito, 日本の伝統芸術―茶の美とその心 .............................11 English Summary of the Article Agnieszka Kozyra, The Oneness of Zen and the Way of Tea in the Zen Tea Record (Zencharoku) .............................................21 -
Style and Meaning Anthropology’S Engagement with Art Has a Complex and Uneven History
NICHOLAS THOMAS THOMAS NICHOLAS & CLARK ALISON style and meaning Anthropology’s engagement with art has a complex and uneven history. While style and material culture, ‘decorative art’, and art styles were of major significance for ( founding figures such as Alfred Haddon and Franz Boas, art became marginal as the EDS meaning discipline turned towards social analysis in the 1920s. This book addresses a major ) moment of renewal in the anthropology of art in the 1960s and 1970s. British Essays on the anthropologist Anthony Forge (1929-1991), trained in Cambridge, undertook fieldwork among the Abelam of Papua New Guinea in the late 1950s and 1960s, anthropology of art and wrote influentially, especially about issues of style and meaning in art. His powerful, question-raising arguments addressed basic issues, asking why so much art was produced in some regions, and why was it so socially important? style ANTHONY FORGE meaning Fifty years later, art has renewed global significance, and anthropologists are again considering both its local expressions among Indigenous peoples and its new global circulation. In this context, Forge’s arguments have renewed relevance: they help and edited by scholars and students understand the genealogies of current debates, and remind us of fundamental questions that remain unanswered. ALISON CLARK & NICHOLAS THOMAS This volume brings together Forge’s most important writings on the anthropology anthropology of art Essays on the of art, published over a thirty year period, together with six assessments of his legacy, including extended reappraisals of Sepik ethnography, by distinguished anthropologists from Australia, Germany, Switzerland and the United Kingdom Anthony Forge was born in London in 1929. -
E-Phaïstos, IX-1 | 2021 La Critique Théâtrale De Chikamatsu Monzaemon Et Sa Relation À La Vallée De L
e-Phaïstos Revue d’histoire des techniques / Journal of the history of technology IX-1 | 2021 Autour de Léonard de Vinci La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l’étrange Traduction et commentaire de la préface de Naniwa Miyage Chikamatsu Monzaemon’s Theater Criticism and its Relation to The Uncanny Valley. A translation and commentary on the preface to Naniwa Miyage Karl F. MacDorman Édition électronique URL : http://journals.openedition.org/ephaistos/8706 ISSN : 2552-0741 Éditeur IHMC - Institut d'histoire moderne et contemporaine (UMR 8066) Référence électronique Karl F. MacDorman, « La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l’étrange », e-Phaïstos [En ligne], IX-1 | 2021, mis en ligne le 27 avril 2021, consulté le 28 avril 2021. URL : http://journals.openedition.org/ephaistos/8706 Ce document a été généré automatiquement le 28 avril 2021. Tous droits réservés La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l... 1 La critique théâtrale de Chikamatsu Monzaemon et sa relation à la Vallée de l’étrange Traduction et commentaire de la préface de Naniwa Miyage Chikamatsu Monzaemon’s Theater Criticism and its Relation to The Uncanny Valley. A translation and commentary on the preface to Naniwa Miyage .Karl MacDorman F 1 Chikamatsu Monzaemon 近松 門左衛門 (1653–1724) est parfois appelé le Shakespeare japonais. Durant sa vie, il bénéficia d’une telle aura que ses contemporains allèrent jusqu’à le nommer dieu gardien de leur profession (sakusha no ujigami 作者の氏神 ; Kawatake 1988 ; Yuda 1975). La contribution artistique de Chikamatsu comprend la transformation et la popularisation, au début du XVIIe siècle, du ningyō jōruri 人形浄瑠 璃, une forme traditionnelle de théâtre musical de marionnettes originaire d’Osaka au Japon.