Kokoro As Ecological Insight
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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. -
Japanese Studies at Manchester Pre-Arrival Reading Suggestions For
Japanese Studies at Manchester Pre-arrival Reading Suggestions for the 2020-2021 Academic Year This is a relatively short list of novels, films, manga, and language learning texts which will be useful for students to peruse and invest in before arrival. Students must not consider that they ought to read all the books on the list, or even most of them, but those looking for a few recommendations of novels, histories, or language texts, should find good suggestions for newcomers to the field. Many books can be purchased second-hand online for only a small price, and some of the suggestions listed under language learning will be useful to have on your shelf throughout year one studies and beyond. Japanese Society Ronald Dore City Life in Japan describes Tokyo society in the early 1950s Takie Lebra's book, Japanese Patterns of Behavior (NB US spelling) Elisabeth Bumiller, The Secrets of Mariko Some interesting podcasts about Japan: Japan on the record: a podcast where scholars of Japan react to issues in the news. https://jotr.transistor.fm/episodes Meiji at 150: the researcher Tristan Grunow interviews specialists in Japanese history, literature, art, and culture. https://meijiat150.podbean.com/ Japanese History Andrew Gordon, A Modern History of Japan Marius B. Jansen, The Making of Modern Japan John W. Dower Embracing Defeat: Japan in the Wake of World War II Christopher Goto-Jones, Modern Japan: A Very Short Introduction (can be read in a day). Religion in Japan Ian Reader, Religion in Contemporary Japan Japanese Literature The Penguin -
Kigo-Articles.Pdf
Kigo Articles Contained in the All-in-One PDF 1) Kigo and Seasonal Reference: Cross-cultural Issues in Anglo- American Haiku Author: Richard Gilbert (10 pages, 7500 words). A discussion of differences between season words as used in English-language haiku, and kigo within the Japanese literary context. Publication: Kumamoto Studies in English Language and Literature 49, Kumamoto University, Kumamoto, Japan, March 2006 (pp. 29- 46); revised from Simply Haiku 3.3 (Autumn 2005). 2) A New Haiku Era: Non-season kigo in the Gendai Haiku saijiki Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (4 pages, 1900 words). Introduction to the Muki Saijiki focusing on the muki kigo volume of the 2004 the Modern Haiku Association (Gendai Haiku Kyôkai; MHA). This article contains the translation of the Introduction to the volume, by Tohta Kaneko. Publication: Modern Haiku 37.2 (Summer 2006) 3) The Heart in Season: Sampling the Gendai Haiku Non-season Muki Saijiki – Preface Authors: Yûki Itô, with Richard Gilbert (3 pages, 1400 words). An online compliment to the Introduction by Tohta Kaneko found in the above-referenced Muki Saijiki article. Within, some useful information concerning the treatments of kigo in Bashô and Issa. Much of the information has been translated from Tohta Kaneko's Introduction to Haiku. Publication: Simply Haiku Journal 4.3 (Autumn 2006) 4) The Gendai Haiku Muki Saijiki -- Table of Contents Authors: Richard Gilbert, Yûki Itô, Tomoko Murase, Ayaka Nishikawa, and Tomoko Takaki (30 pages, 9300 words). A bilingual compilation of the keywords used in the Muki Saijiki Table of Contents. -
Kokoro and the Agony of the Individual
Kokoro and the Agony of the Individual NICULINA NAE In this article I examine changes in the concept of identity as a result of the upheaval in relationships brought about by the Meiji Restoration. These changes are seen as reflected in Sôseki’s novel Kokoro. I discuss two of the most important concepts of modern Japanese, those of individual (個人 kojin)andsociety (社会 shakai), both of which were introduced under the influence of the Meiji intelligentsia’s attempts to create a new Japan following the European model. These concepts, along with many others, reflect the tendency of Meiji intellectuals to discard the traditional Japanese value systems, where the group, and not the individual, was the minimal unit of society. The preoccupation with the individual and his own inner world is reflected in Natsume Sôseki’s Kokoro. The novel is pervaded by a feeling of confusion between loyalty to the old values of a dying era and lack of attachment towards a new and materialistic world. The novel Kokoro appeared for the first time in the Asahi Shimbun between 20 April and 11 August 1914. It reflects the maturation of Sôseki’s artistic technique, being his last complete work of pure fiction (Viglielmo, 1976: 167). As McClellan (1969) pointed out, Kokoro is an allegory of its era, an idea sustained also by the lack of names for characters, who are simply “Sensei”,“I”,“K”,etc.Itdepictsthetormentofaman,Sensei,whohasgrownupina prosperous and artistic family, and who, after his parents’ death, finds out that the real world is different from his own naive, idealistic image. -
POETRY Haikai, the Poetics of Intensity and Perception
Haikai, the poetics of intensity and perception Arlindo Rebechi Junior Professor of the School of Architecture, Arts and Communication (FAAC), of the São Paulo POETRY State University (UNESP), and of the Graduate Program in Communication – UNESP. PhD in Brazilian Literature from the School of Philosophy, Letters and Human Sciences (FFLCH) of the University of São Paulo (USP). E-mail: [email protected] Abstract: This short article has the purpose Resumo: Este breve artigo tem o propósito of presenting the Japanese poetry known de apresentar a poesia japonesa conheci- as haikai. Its most prevalent representative da como haikai. Seu principal mestre foi was Matsuo Bashô (1644-1694) and he was Matsuo Bashô (1644-1694), responsável responsible for providing a new status to por dar um novo estatuto ao haikai ao the haikai, creating a school called Shômon criar uma escola chamada Shômon, em where he made many disciples. que formou muitos discípulos. Keywords: Matsuo Bashô; Japanese poetry; Palavras-chave: Matsuo Bashô; poesia haikai. japonesa; haikai. 127 comunicação & educação • Year XXIV • issue 1 • Jan/Jun 2019 Haikai is simply what is happening here, now. Matsuo Bashô1 1. HAIKAI: THE LITTLE JAPANESE POETIC COMPOSITION To understand the poetic form of the haikai, we need to know its antecedents. Present in a central position in Japanese poetry of classical tradition, the tanka is a kind of short poem whose metric composition follows the 5-7-5-7-7 scheme, alternating its verses sometimes with five syllables, sometimes with seven syllables. 1. Bashô, in response to Over time, a division between the first three verses (the 5-7-5 triplet) and the his zen master Bucchô, apud FRANCHETTI, last two verses (the 7-7 couplet) – respectively, the upper stanza (kami-no-ku) and Paulo. -
Spiritual Discernment in Soseki Natsume's Kokoro Daniel Wright
Spiritual Discernment in Soseki Natsume's Kokoro Daniel Wright, Auburn University The Orient—from the European borders of the old Ottoman Empire to the archipelago of Japan—often has been regarded by the West as a land of mys tery, enigma, and alien sensibility. Such an attitude and its attendant postures towards cultures of the Orient, which are as diverse as they are rich, reflect a failure of studied appreciation for these societies. Such misinformed opinion also sometimes betrays a not-too-well-disguised jingoism and xenophobia that occasionally permit the West to conveniently, simplistically, and erroneously classify the peoples of the Pacific Rim and the interior of Asia as inhabitants of cultures which are altogether removed from the psychological, religious, and social experiences of life as these are understood and lived in the West. This misapprehension of the East may, in part, be based on the two hemispheres' relative lack of common recognition points of reference in language, metaphor, and story, but this misapprehension can be corrected in part by a close examination of the literature of the East—especially when the author un der review is someone like Soseki Natsume, a Japanese writer with more than passing familiarity with the West. Soseki Natsume, one of Japan's most significant contributors to the litera ture of the twentieth century, effects a bridge between the philosophical and religious traditions of East and West which not even Mishima Yukio, for all of his Western affectations of style and habit, could achieve. In all of Soseki's works, but most especially in Kokoro ("The Heart"), Soseki explores the nature of evil and man's fundamental "alone-ness," alienation, and existential sense of "separate-ness" in categories which at once are distinctively Japanese and which yet are accessible to the Western reader by Soseki's presentation of per sons and events which accommodate our recognition of those elements of per sonality and behavior which inhere within man's universal being. -
Observe the Japanese Consciousness of Beauty by Kigo
Advances in Social Science, Education and Humanities Research, volume 85 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics (MSETASSE 2016) Observation of the Japanese Consciousness of Beauty by Kigo Study Shen Wen, a 1Jiangxi college of foreign studies,NanChang,330099, China [email protected] Keywords: Kigo; Haiku; Consciousness; Beauty; Religious customs Abstract. Season language is the soul of haiku. The natural geographical environment and traditional farming production make the Japanese nation forms the genesis of life, cultural psychological structure of the nation that bears a unique way of thinking, emotions, values and aesthetic appeal in depth. Kigo in haiku implies the natural aesthetics that Japanese people interact with nature communion, which conveys the profound nature of the Japanese people's unique aesthetic view and philosophy of language likes season’s word. 1. Introduction Haiku is a traditional form of Japanese literature rhyme, it is not only the shortest metrical poetry in the world's literature, but also is unique to Japanese Literature Poetry. Traditional haiku requires seventeen syllables, as かとにま つははたちあふ よ ちいさし. This haiku is to the effect that: before the door stand tall sunflower, old mother stand still under it, expecting the child back, I am so eager to go home. In addition, the haiku also requires the existence of a season word. Kigo is an important factor in the haiku sentence, it is like "Poetry eye" in the poem, which is the key to understanding haiku. So, in this first sentence of haiku, kigo is "Li Kui”, a kind of ornamental flowers. -
Rape in the Tale of Genji
SWEAT, TEARS AND NIGHTMARES: TEXTUAL REPRESENTATIONS OF SEXUAL VIOLENCE IN HEIAN AND KAMAKURA MONOGATARI by OTILIA CLARA MILUTIN B.A., The University of Bucharest, 2003 M.A., The University of Massachusetts Amherst, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 ©Otilia Clara Milutin 2015 Abstract Readers and scholars of monogatari—court tales written between the ninth and the early twelfth century (during the Heian and Kamakura periods)—have generally agreed that much of their focus is on amorous encounters. They have, however, rarely addressed the question of whether these encounters are mutually desirable or, on the contrary, uninvited and therefore aggressive. For fear of anachronism, the topic of sexual violence has not been commonly pursued in the analyses of monogatari. I argue that not only can the phenomenon of sexual violence be clearly defined in the context of the monogatari genre, by drawing on contemporary feminist theories and philosophical debates, but also that it is easily identifiable within the text of these tales, by virtue of the coherent and cohesive patterns used to represent it. In my analysis of seven monogatari—Taketori, Utsuho, Ochikubo, Genji, Yoru no Nezame, Torikaebaya and Ariake no wakare—I follow the development of the textual representations of sexual violence and analyze them in relation to the role of these tales in supporting or subverting existing gender hierarchies. Finally, I examine the connection between representations of sexual violence and the monogatari genre itself. -
An Analysis of Characteristics of Realism Portrayed in Natsume Soseki's Novel Kokoro a Thesis by Novegi Arya Samudera Reg
AN ANALYSIS OF CHARACTERISTICS OF REALISM PORTRAYED IN NATSUME SOSEKI’S NOVEL KOKORO A THESIS BY NOVEGI ARYA SAMUDERA REG. NO. 130705073 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL SCIENCES UNIVERSITY OF SUMATERA UTARA MEDAN 2020 UNIVERSITAS SUMATERA UTARA i UNIVERSITAS SUMATERA UTARA ii UNIVERSITAS SUMATERA UTARA iii UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I, NOVEGI ARYA SAMUDERA, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION. Signed : Date : January 4th 2020 i UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION NAME : NOVEGI ARYA SAMUDERA TITLE OF THESIS : AN ANALYSIS OF CHARACTERISTICS OF REALISM PORTRAYED IN NATSUME SOSEKI’S NOVEL KOKORO QUALIFICATION : S-1/SARJANA SASTRA DEPARTMENT : ENGLISH I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA. Signed : Date : January 4th 2020 ii UNIVERSITAS SUMATERA UTARA ACKNOWLEDGEMENTS First of all, I would like to express my deepest gratitude to Allah SWT, the Almighty God and Most Beneficial for His Blessing, Grace, Guidance, and Mercy that have made this thesis come to it’s completion. -
Japanese Studies Review, Vol. XX (2016), Pp
ISSN: 1500-0713 ______________________________________________________________ Article Title: Performing Prayer, Saving Genji, and Idolizing Murasaki Shikibu: Genji Kuyō in Nō and Jōruri Author(s): Satoko Naito Source: Japanese Studies Review, Vol. XX (2016), pp. 3-28 Stable URL: https://asian.fiu.edu/projects-and-grants/japan-studies- review/journal-archive/volume-xx-2016/naito-satoko- gkuyojoruri_jsr.pdf ______________________________________________________________ PERFORMING PRAYER, SAVING GENJI, AND IDOLIZING MURASAKI SHIKIBU: GENJI KUYŌ IN NŌ AND JŌRURI1 Satoko Naito University of Maryland, College Park Introduction The Murasaki Shikibu daraku ron [lit. “Story of Murasaki Shikibu’s Fall] tells that after her death Murasaki Shikibu (d. ca. 1014) was cast to hell.2 The earliest reference is found in Genji ipponkyō [Sutra for Genji] (ca. 1166), which recounts a Buddhist kuyō (dedicatory rite) performed on her behalf, with the reasoning that the Heian author had been condemned to eternal suffering in hell for writing Genji monogatari [The Tale of Genji] (ca. 1008). Though Genji ipponkyō makes no explicit claim to the efficacy of the kuyō, its performance is presumably successful and saves the Genji author. In such a case the earliest extant utterance of the Murasaki-in-hell story is coupled with her subsequent salvation, and the Genji author, though damned, is also to be saved.3 It may be more accurate, then, to say that the Murasaki Shikibu daraku ron is about Murasaki Shikibu’s deliverance, rather than her fall (daraku). Through the medieval period and beyond, various sources recounted the execution of kuyō rites conducted for The Tale of Genji’s author, often initiated and sponsored by women.4 Such stories of Genji kuyō 1 Author’s Note: I thank those who commented on earlier versions of this paper, in particular D. -
Saigyo • a Search for Religion
SaigyO • A Search for Religion T a k a g i Kiyoko SAIGYO, POET a n d /o r P RIEST That the warrior Sato Norikiyo of the hokumen guard in the service of retired emperor Toba suddenly decided to “go out from his house” and enter religion is a well-known fact. After entering the sacred life, he took the Buddhist name of En,i; he also had the title of Daikakubo, and was further styled Saigyo. To enter religion usually means a casting away of the things of this earthly world and immersing oneself in a Buddhist religious environment. But it is not clear to what extent En’i,after enter ing, became really “Buddhist” . It is rather as the celebrated poet Saigyo that his name and fame have been passed on to aftertimes. It remains unclear what distinction the man him self made between use of the names En’i and Saigyo, but there are extremely few records that give the name of En’i.1 Already within a short time of his death, Sato Norikiyo was well known to the world as “priest Saigyo”; this fame however was not of the priest,but of the poet. Saigyo is one of the representative poets of the Shinkokinshu anthology, but the excellencies of his poetry had already at tracted attention during his lifetime. What had decided this was the inclusion of eighteen of his poems in the Senzaishu com piled by Fujiwara no Shunzei. This gave him his start, and we can see in the Gokuden of cloistered emperor Gotoba the following appraisal of Saigyo: Translated by Eileen Kato from “ Saigy6 no shukyoteki kikyuM 西行の宗教的希求 in Sanko bunka kenkyusho nenpd 三康文化研究所年報,no. -
Kigo: Seasonal Words Four-Monthly Poetry
Issue 1 New Year / Spring April 2014 Kigo: Seasonal Words Four-Monthly Poetry TABLE OF CONTENTS EDITOR’S WELCOME ...............................................p.1 100 HAIKU ...............................................p.2 CONTRIBUTORS .............................................p.34 A FEW KIGO .............................................p.44 CALL FOR SUBMISSIONS .............................................p.45 Kigo: Seasonal Words Four-monthly Poetry ISSN 2055-3420 © Chuffed Buff Books Ltd., 2014 Editorial and design by S Philip Cover image © Knumina Studios / shutterstock.com, 2014 All haiku appear under copyright of their respective authors. No work may be republished or used in any way without written permission. Published by Chuffed Buff Books Ltd., London, UK www.chuffedbuffbooks.com Issue 1 New Year / Spring April 2014 Kigo: Seasonal Words Four-Monthly Poetry elcome to the inaugural issue of Kigo: Seasonal Words! This three-times-a-year poetry e-zine is Wdedicated to the art of haiku. A project fuelled by a passion for the poetic, it is free to submit to and free to download. A new issue will be available in PDF format each April, August and December. The focus of this first issue is ‘New Year/Spring’. Transition, emergence and rebirth. From the dark days of winter to the fresh blossoming of spring, the following 100 haiku reflect the nature, feeling and tone of these seasons. Also included are brief biographical notes of the forty international contributors whose work adorns these pages. I guarantee you will find interesting