Take Five Introduction (PDF)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Hyakunin Isshu Translated Into Danish
The Hyakunin Isshu translated into Danish Inherent difficulties in translation and differences from English & Swedish versions By Anna G Bouchikas [email protected] Bachelor Thesis Lund University Japanese Centre for Languages and Literature, Japanese Studies Spring Term 2017 Supervisor: Shinichiro Ishihara ABSTRACT In this thesis, translation of classic Japanese poetry into Danish will be examined in the form of analysing translations of the Ogura Hyakunin Isshu. Difficulties will be surveyed, and ways of handling them will be suggested. Furthermore, differences between the Danish translations and those of English and Swedish translations will be noted. Relevant translation methods will be presented, as well as an introduction to translation, to further the understanding of the reader in the discussion. The hypothesis for this study was that when translating the Hyakunin Isshu into Danish, the translator would be forced to make certain compromises. The results supported this hypothesis. When translating from Japanese to Danish, the translator faces difficulties such as following the metre, including double meaning, cultural differences and special features of Japanese poetry. To adequately deal with these difficulties, the translator must be willing to compromise in the final translation. Which compromises the translator must make depends on the purpose of the translation. Keywords: translation; classical Japanese; poetry; Ogura Hyakunin Isshu; Japanese; Danish; English; Swedish ii ACKNOWLEDGEMENTS First of all, I would like to thank both of my informants for being willing to spend as much time helping me as they have. Had they not taken the time they did to answer all of my never- ending questions, surely I would still be doing my study even now. -
Haiku in Romania by Vasile Moldovan
Haiku in Romania by Vasile Moldovan Romanian poets expressed their interest in Japanese culture as early as at the very beginning of the 20th century. Two classics of Romanian literature, Alexandru Macedonski and Vasile Alecsandri, were fascinated by the beauty of Japanese landscape poems, and wrote several poems inspired by classical Japanese literature. First Romanian essays on haiku and tanka appeared in the Iasi-based Literary Event magazine in 1904. In the same year, the poet Al Vlahuta published an essay titled “The Japanese Poetry and Painting” in the By the Fireside magazine; this essay contained a number of tanka and haiku poems. Poet Al. T. Stamatiad published the first haiku poems in Romanian language, 12 in total, in the anthology titled Tender Landscape, which won the Romanian Academy Prize. In the 1930s, the poet Ion Pillat experimented with one-line poems, many of which resembled haiku. His best miniatures appeared in his collection that he called- One-line Poems (1935). These poems usually had a caesura and comprised of thirteen to fourteen syllables. In the preface he claimed that even if his poems differ from mainstream haiku they should be regarded as a form of haikai poetry. Pillat’s book proved to be influential, and nowadays many Romanian poets follow this trend. At approximately the same time poet Traian Chelariu published Nippon soul, an anthology of classical Japanese poetry in his translations (incidentally, he translated it through German). Chelariu adhered to the 5-7-5 pattern, which afterwards influenced many Romanian authors of haiku. In 1942, Al. T. Stamatiad published Nippon Courtesan Songs. -
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. -
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. -
Tsugiki, a Grafting: the Life and Poetry of a Japanese Pioneer Woman in Washington Columbia Magazine, Spring 2005: Vol
Tsugiki, a Grafting: The Life and Poetry of a Japanese Pioneer Woman in Washington Columbia Magazine, Spring 2005: Vol. 19, No. 1 By Gail M. Nomura In the imagination of most of us, the pioneer woman is represented by a sunbonneted Caucasian traveling westward on the American Plains. Few are aware of the pioneer women who crossed the Pacific Ocean east to America from Japan. Among these Japanese pioneer women were some whose destiny lay in the Pacific Northwest. In Washington, pioneer women from Japan, the Issei or first (immigrant) generation, and their Nisei, second-generation, American-born daughters, made up the largest group of nonwhite ethnic women in the state for most of the first half of the 20th century. These women contributed their labor in agriculture and small businesses to help develop the state’s economy. Moreover, they were essential to the establishment of a viable Japanese American community in Washington. Yet, little is known of the history of these women. What follows is the story of one Japanese pioneer woman, Teiko Tomita. An examination of her life offers insight into the historical experience of other Japanese pioneer women in Washington. Beyond an oral history obtained through interviews, Tomita’s experience is illumined by the rich legacy of tanka poems she wrote since she was a high school girl in Japan. The tanka written by Tomita served as a form of journal for her, a way of expressing her innermost thoughts as she became part of America. Indeed, Tsugiki, the title Tomita gave her section of a poetry anthology, meaning a grafting or a grafted tree, reflects her vision of a Japanese American grafted community rooting itself in Washington through the pioneering experiences of women like herself. -
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. -
Windfall Apples: Tanka and Kyoka by Richard Stevenson
Windfall_Apples_Interior.indd 1 2/12/10 1:18:59 PM Mingling Voices SerieS editor: Manijeh Mannani Give us wholeness, for we are broken But who are we asking, and why do we ask? Phyllis Webb National in scope, Mingling Voices draws on the work of both new and established novelists, short story tellers, and poets. The series especially, but not exclusively, aims to promote authors who challenge traditions and cultural stereotypes. It is designed to reach a wide variety of readers, both generalists and specialists. Mingling Voices is also open to literary works that delineate the immigrant experience in Canada. Series Titles Poems for a Small Park by E.D. Blodgett Dreamwork by Jonathan Locke Hart Windfall Apples: Tanka and Kyoka by Richard Stevenson Windfall_Apples_Interior.indd 2 2/12/10 1:18:59 PM Windfall_Apples_Interior.indd 3 2/12/10 1:18:59 PM Windfall_Apples_Interior.indd 4 2/12/10 1:18:59 PM Windfall Apples tanka and kyoka by Richard Stevenson Windfall_Apples_Interior.indd 5 2/12/10 1:19:01 PM 2010 Richard Stevenson Library and Archives Canada Cataloguing in Publication Published by AU Press, Athabasca University Stevenson, Richard, 1952– 1200, 10011 – 109 Street Windfall apples : tanka and kyoka / Richard Stevenson. Edmonton, aB t5j 3S8 (Mingling voices, iSSn 1917-9405) Also available in electronic format (978-1-897425-89-3). Cover and book design iSBn 978-1-897425-88-6 by Natalie Olsen, 1. Waka, Canadian (English). i. Title. ii. Series: www.kisscutdesign.com Mingling voices Printed and bound in Canada PS8587.t479W61 2010 C811’.54 C2010-900901-0 by Marquis Book Printing. -
1. Why Does Haiku Attract So Many People?
HPR2012 Keynote Speech Why Haiku is Popular? Akito Arima Good morning, ladies and gentlemen, my fellow haiku poets! It is my great honor and pleasure to be here at this beautiful Asilomar and to have this opportunity to talk about our traditional genre of literature called haiku. I would like to begin with a question, why so many people, not only in Japan, but people elsewhere in the world are attracted to haiku. Then I would like to talk about the subject and the form of haiku in Japan, my speculation on animism as the basis for haiku and mutual understanding among different cultures, and finally about the spread of haiku to the West and its influence on Western poetry. So let me begin. 1. Why Does Haiku Attract So Many People? There are millions of haiku poets in Japan. One or two teachers lead each of hundreds of groups of haiku poets and publish a monthly or bimonthly haiku journal. The largest journal is Hototogisu, which is said to have several hundred thousand subscribers, and the smaller groups or journals may have a hundred members or subscribers. Suppose each haiku group has 1,000 members. Since there are roughly 1,000 haiku groups in Japan, we can try a simple calculation: 1,000 multiplied by 1,000 makes one million. Besides that, many haiku poets write haiku without belonging to a group, and submit their haiku to newspaper columns and haiku magazines. Why are there so many haiku poets in Japan? The three greatest reasons are these: (1) Because haiku is short and has the fixed form of 5-7-5 Japanese syllables. -
Form__-Haiku-Tanka-Haynaku
Form: Haiku & Tankas Haiku A haiku is a compact poem of three lines divided into syllabic units of 5-7-5. It shares with the reader the experience or observations of a poet. It talks about a mood or a moment, by juxtaposing images. The poem is composed by using simple words. The haiku focuses on a single moment, usually giving a very brief description of some event or object belonging to nature. In a haiku there is a word related to a particular season. It is called a kigo in the Japanese language. There are three lines in a Haiku. Line one - 5 syllables An old silent pond... Line two - 7 syllables A frog jumps into the pond, Line three - 5 syllable splash! Silence again. 3 classical examples in translation: (syllabification may be lost) Autumn moonlight— Lightning flash— A summer river being crossed a worm digs silently what I thought were faces how pleasing into the chestnut. are plumes of pampas grass. with sandals in my hands! ~Basho Matsuo ~Basho Matsuo ~Yosa Buson Tanka Tanka are 31-syllable poems that have been a popular form of poetry in Japan for at least 1300 years. As a form of poetry, tanka is older than haiku, and tanka poems evoke a moment or mark an occasion with concision and musicality. In Japanese, tanka is often written in one straight line, but in English and other languages, they are usually divided into the five syllabic units: 5-7-5-7-7. Usually, each line consists of one image or idea. A tanka is lyrical in nature, and it provides room to the poet to share his feelings. -
Teika E L'eccellenza Poetica: Uno Sguardo Al Kokinshū Attraverso Lo Ogura Hyakunin Isshu
Corso di Laurea magistrale in Lingue e civiltà dell’Asia e dell’Africa mediterranea Ordinamento ex D.M. 270/2004 Tesi di Laurea Teika e l’eccellenza poetica: uno sguardo al Kokinshū attraverso lo Ogura hyakunin isshu Relatore Ch. Prof.ssa Carolina Negri Correlatore Dott. Edoardo Gerlini Laureando Luca D’Innocenzio Matricola 856178 Anno Accademico 2016 / 2017 RINGRAZIAMENTI Un sentito ringraziamento va, innanzitutto, alla mia relatrice, la Prof.ssa Negri, e al correlatore, Prof. Gerlini, che mi hanno fornito innumerevoli spunti di riflessione e guidato nella stesura del la- voro. Senza i loro consigli e la loro paziente collaborazione questa tesi non avrebbe mai preso forma. Ringrazio, inoltre, il Prof. Christian Ratcliff, docente dell’Università di Kanagawa che mi ha seguito durante il mio soggiorno di studio in Giappone, aiutandomi a rendere concreto un progetto di ricerca che era solo in embrione. Infine, la Prof.ssa Suzuki Masako, che ha gentilmente corretto l’introdu- zione in giapponese. Desidero esprimere la mia gratitudine anche verso tutti gli amici e i compagni che mi sono stati vicino in questi mesi, sopportandomi e supportandomi nei momenti critici. Fra i tanti, vanno menzio- nati Alex Rizzatello e Giovanni Cattaneo, il cui aiuto è stato costante ma in special modo fondamen- tale durante le fasi finali di revisione del lavoro. Infine, ringrazio i miei genitori, il cui sostegno, morale e materiale, non è mai venuto meno in questi anni di studi e mi ha permesso di portare a termine questo percorso. I 要旨 この卒業論文の対象は藤原定家によって編まれたとされている『小倉百人一首』という -
Poems of the Gods of the Heaven and the Earth Christina E
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2010 Poems of the Gods of the Heaven and the Earth Christina E. Olinyk University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the East Asian Languages and Societies Commons, and the History of Religions of Eastern Origins Commons Olinyk, Christina E., "Poems of the Gods of the Heaven and the Earth" (2010). Masters Theses 1911 - February 2014. 475. Retrieved from https://scholarworks.umass.edu/theses/475 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. POEMS OF THE GODS OF THE HEAVEN AND THE EARTH: AN ANNOTATED TRANSLATION OF THE JINGIKA BOOK OF THE SENZAISH Ū A Thesis Presented By CHRISTINA E OLINYK Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment Of the requirements for the degree of MASTER OF ARTS September 2010 Japanese Language and Literature Department of Languages, Literatures and Cultures © Copyright by Christina E Olinyk 2010 All Rights Reserved POEMS OF THE GODS OF THE HEAVEN AND THE EARTH: AN ANNOTATED TRANSLATION OF THE JINGIKA BOOK OF THE SENZAISH Ū A Thesis Presented By CHRISTINA E OLINYK Approved as to style and content by: ________________________________ Stephen Miller, Chair ________________________________ Stephen M. Forrest, Member _________________________________________ Amanda C. Seaman, Director Asian Languages and Literature Department of Languages, Literatures, and Cultures ABSTRACT POEMS OF THE GODS OF THE HEAVEN AND THE EARTH SEPTEMBER 2010 CHRISTINA E OLINYK, M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Stephen Miller This thesis analyzes the development of the Jingika book in the first seven Japanese waka anthologies ( chokusensh ū).