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The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Through the Case of Izumo Taishakyo Mission of Hawaii
The Japanese and Okinawan American Communities and Shintoism in Hawaii: Through the Case of Izumo Taishakyo Mission of Hawaii A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʽI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AMERICAN STUDIES MAY 2012 By Sawako Kinjo Thesis Committee: Dennis M. Ogawa, Chairperson Katsunori Yamazato Akemi Kikumura Yano Keywords: Japanese American Community, Shintoism in Hawaii, Izumo Taishayo Mission of Hawaii To My Parents, Sonoe and Yoshihiro Kinjo, and My Family in Okinawa and in Hawaii Acknowledgement First and foremost, I would like to express my deep and sincere gratitude to my committee chair, Professor Dennis M. Ogawa, whose guidance, patience, motivation, enthusiasm, and immense knowledge have provided a good basis for the present thesis. I also attribute the completion of my master’s thesis to his encouragement and understanding and without his thoughtful support, this thesis would not have been accomplished or written. I also wish to express my warm and cordial thanks to my committee members, Professor Katsunori Yamazato, an affiliate faculty from the University of the Ryukyus, and Dr. Akemi Kikumura Yano, an affiliate faculty and President and Chief Executive Officer (CEO) of the Japanese American National Museum, for their encouragement, helpful reference, and insightful comments and questions. My sincere thanks also goes to the interviewees, Richard T. Miyao, Robert Nakasone, Vince A. Morikawa, Daniel Chinen, Joseph Peters, and Jikai Yamazato, for kindly offering me opportunities to interview with them. It is a pleasure to thank those who made this thesis possible. -
Representations of Pleasure and Worship in Sankei Mandara Talia J
Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei mandara Talia J. Andrei Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2016 © 2016 Talia J.Andrei All rights reserved Abstract Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara Talia J. Andrei This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created— schematic, colorful and bold. We begin by locating sankei mandara’s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). -
SHINTO SYMBOLS (Continued from Vol
SHINTO SYMBOLS (Continued from Vol. VII, No.1) VI. SACRED VESSELS AND EQUIPMENT A great many articles are employed jn conducting Shinto rituals and worship. These are called ;~iif[b~ts~ ( sacred vessels) and are tokens of the kami, abodes of kami (kami-no-yorishiro), or decorations. They are almost all inseparable from Shinto. The articles employed in rituals are sanctified and treated as symbolic, or representative of Shinto. The term seikibutsu (sacred vessel) includes all the Shinto equipment and articles used in Shinto ceremonies. It is impos sible in this brief study to do more than to touch a few of the most significant ones. The order in which they are dis cussed is as follows: himorogi, tamagushi, gohei, onusa, shime nawa, goshiki-no-hata, shimp'll, the mirror, sword and jewels, kamidana, and mikoshi. Himorogi ( divine enclosure) generally consists of a gohei or a branch of the sakaki tree hung with strips of paper or hemp and set upon a table covered with a clean straw mat. Sometimes it is a fenced-in sakaki tree or some other specific kind of evergreen tree, hung with strips of paper, hemp, or possibly a mirror. Original Himorogi - 89- l Shinto Symbols The origin of himorogi has been the subject of much con troversy, but it is agreed that from earliest times it was a part of the ceremonial equipment. It is thought that himorogi may have originally signified: 1) a place1 enclosed by evergreen trees for invoking the kami; 2) sacred trees in a grove in which kami dwelt, 3) trees which protected the kami; 4) a sacred fence made of cypress for use III rituals.2 However, the following is the most Himorogi widely accepted theory. -
HIRATA KOKUGAKU and the TSUGARU DISCIPLES by Gideon
SPIRITS AND IDENTITY IN NINETEENTH-CENTURY NORTHEASTERN JAPAN: HIRATA KOKUGAKU AND THE TSUGARU DISCIPLES by Gideon Fujiwara A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2013 © Gideon Fujiwara, 2013 ABSTRACT While previous research on kokugaku , or nativism, has explained how intellectuals imagined the singular community of Japan, this study sheds light on how posthumous disciples of Hirata Atsutane based in Tsugaru juxtaposed two “countries”—their native Tsugaru and Imperial Japan—as they transitioned from early modern to modern society in the nineteenth century. This new perspective recognizes the multiplicity of community in “Japan,” which encompasses the domain, multiple levels of statehood, and “nation,” as uncovered in recent scholarship. My analysis accentuates the shared concerns of Atsutane and the Tsugaru nativists toward spirits and the spiritual realm, ethnographic studies of commoners, identification with the north, and religious thought and worship. I chronicle the formation of this scholarly community through their correspondence with the head academy in Edo (later Tokyo), and identify their autonomous character. Hirao Rosen conducted ethnography of Tsugaru and the “world” through visiting the northern island of Ezo in 1855, and observing Americans, Europeans, and Qing Chinese stationed there. I show how Rosen engaged in self-orientation and utilized Hirata nativist theory to locate Tsugaru within the spiritual landscape of Imperial Japan. Through poetry and prose, leader Tsuruya Ariyo identified Mount Iwaki as a sacred pillar of Tsugaru, and insisted one could experience “enjoyment” from this life and beyond death in the realm of spirits. -
Noh Theater and Religion in Medieval Japan
Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure. -
Rites of Blind Biwa Players
ASIA 2017; 71(2): 567–583 Saida Khalmirzaeva* Rites of Blind Biwa Players DOI 10.1515/asia-2017-0034 Abstract: Not much is known about the past activities of blind biwa players from Kyushu. During the twentieth century a number of researchers and folklorists, such as Tanabe Hisao, Kimura Yūshō,KimuraRirō,Nomura(Ga) Machiko, Narita Mamoru, Hyōdō Hiromi and Hugh de Ferranti, collected data on blind biwa players in various regions of Kyushu, made recordings of their performances and conducted detailed research on the history and nature of their tradition. However, despite these efforts to document and publicize the tradition of blind biwa players and its representatives and their repertory, it ended around the end of the twentieth century. The most extensively docu- mented individual was Yamashika Yoshiyuki 山鹿良之 (1901–1996), one of the last representatives of the tradition of blind biwa players, who was known among researchers and folklorists for his skill in performing and an abundant repertory that included rites and a great many tales. Yamashika was born in 1901 in a farmer family in Ōhara of Tamana District, the present-day Kobaru of Nankan, Kumamoto Prefecture. Yamashika lost the sight in his left eye at the age of four. At the age of twenty-two Yamashika apprenticed with a biwa player named Ezaki Shotarō 江崎初太郎 from Amakusa. From his teacher Yamashika learned such tales as Miyako Gassen Chikushi Kudari 都合戦筑紫 下り, Kikuchi Kuzure 菊池くづれ, Kugami Gassen くがみ合戦, Owari Sōdō 尾張 騒動, Sumidagawa 隅田川 and Mochi Gassen 餅合戦. After three years Yamashika returned home. He was not capable of doing much farm work because his eyesight had deteriorated further by then. -
Mimitaro” Piazza Omi 2Nd Flr
Information magazine in 8 languages SIA Volunteer Group “Mimitaro” Piazza Omi 2nd flr. 1-1-20 Nionohama, Otsu City Tel/Fax : 077-523-5646 Mimitaro E-mail : [email protected] : せんせい English version 英語版 No.126 January, 2018 URL http://www.s-i-a.or.jp : https://www.facebook.com/siabiwako I ’ve become a teacher! In this issue, Mimitaro interviewed Miss Toyoko Goya, an elementary teacher in the city of Nagahama. It has been 20 years since I became inspired to be one. I made a major decision. “Alright, I transferred to an elementary school in will work hard and be a teacher!” I went back to junior college and Nagahama City as a 4th grade student, continued studying and eventually got my teaching qualification. after my family and I came to Japan After working as a part-time Science teacher for 2 years in an from Peru. During those days, there elementary school, it is now my second year as a teacher, were but a few foreign students in Japan in-charge of my own class. I had some hesitations and made and the school was at a loss on how some detours along the way, but I am now doing a job I really they should handle someone like me who doesn’t understand the love, and this I owe to my teachers, friends and parents who language. I remember having felt lonely and helpless, then. The encouraged me to be persistent with my studies. When I was a Japanese language class that was created afterwards became a child, it seemed to me like I was the only one having a tough time, place of comfort for me because all the students here were in the but when I think about it now, I could not even imagine the same situation as I was. -
Traditions, Onsens, & Hiking the Kumano Kodo
JAPAN Traditions, Onsens, & Hiking the Kumano Kodo April 16 - 26, 2020 adventurewomen 14 mount auburn street, watertown ma 02472 t: (617) 544-9393 t: (800) 804-8686 www.adventurewomen.com 1 JAPAN Traditions, Onsens, & Hiking the Kumano Kodo April 16 - 26, 2020 TRIP HIGHLIGHTS ` Hike from village-to-village along the ancient pilgrimage route of the Kumano Kodo resting at night in traditional inns ` Hike with one of the few female “yamabushi”, or mountain ascetic priests and learn about the preservation of Japan’s regional traditions ` Meet Ama pearl divers, Japanese women who free-dive for pearl oysters ` Experience the etiquette and tradition of a formal Japanese tea ceremony ` Relax in the evening in natural hot spring baths with a soothing glass of wine TRIP ROUTE adventurewomen 14 mount auburn street, watertown ma 02472 t: (617) 544-9393 t: (800) 804-8686 www.adventurewomen.com 2 JAPAN Traditions, Onsens, & Hiking the Kumano Kodo April 16 - 26, 2020 QUICK VIEW ITINERARY Day 1: arrive Kyoto, welcome dinner Day 2: explore Ginkakuji Temple, walk the Philosopher’s Pathway, meet an apprentice Geisha Day 3: experience Todaiji Temple, walk in Nara Park, Japanese tea ceremony Day 4: hike on the Kumano Kodo from Takijiri to Takahara Day 5: hike from Takahara to Chikatsuyu Day 6: hike to Hongu with a female ascetic priest, make traditional washi paper Day 7: visit a tuna market, explore Nachi Taisha Day 8: take the train to Ise, visit the Geku, end the day in the inner shrine of Naiku Day 9: visit the Ama Divers, take the bullet train to Tokyo Day 10: walk in the Hama Rikyu Gardens, visit the Ginza district, explore Grand Meiji Shrine Day 11: depart for the US TRIP PRICE Main Trip: $8,390 Optional Single Accommodations: $1,500 adventurewomen 14 mount auburn street, watertown ma 02472 t: (617) 544-9393 t: (800) 804-8686 www.adventurewomen.com 3 JAPAN Traditions, Onsens, & Hiking the Kumano Kodo April 16 - 26, 2020 your adventure in depth DAY 1 Arrive in Kyoto Thursday Arrive in Osaka today and transfer to Kyoto. -
State Shinto”
Recent Research on “State Shinto” Okuyama Michiaki 奥山倫明 Nanzan Institute for Religion & Culture As a scholarly concept, the concept of State Shinto has been developing, especially after 1945, to refer to the prewar situation surrounding the sup- port and management shrine matters by the state. Academic works are accumulating, both on the concept of State Shinto itself and on the elements that concretely constituted State Shinto. This essay will first summarize the scholarly institutions surrounding the researches related to State Shinto developed in the past fifteen years or so. Then it will try to give an overview of the related sites and facilities of State Shinto, elements that concretely constituted prewar State Shinto. elen Hardacre published Shinto: A History in 2017. In this book she “tries to address the issue of continuity in Shinto history from a new vantage point,” after Kuroda Toshio’s theory on Shinto dismantled “the rhetoric of Shinto as ‘the indigenous religion of HJapan’” in the 1980s (5). Hardacre discusses the subject of modern Shinto in the following five chapters in this book: Chapter 12 entitled “Shinto and the Meiji State”; Chapter 13 “Shinto and Imperial Japan; Chapter 14 “Shinto from 1945 through 1989”; Chapter 15 “Shrine Festivals and Their Changing Place in the Public Sphere”; and Chapter 16 “Heisei Shinto.” These five chapters occupy approximately one-third of the main text of the volume (198 among 552 pages). In this book, “State Shinto” is not a main topic, but nevertheless she pays sig- nificant attention to it. In the introduction that summarizes the contents of each chapter, Hardacre comments on the term “State Shinto” in referring to Chapter 12. -
Linguistic Cubism — a Singularity of Pluralism in the Sanno Cult 一
Japanese Journal of Religious Studies 198714/2-3 Linguistic Cubism — A Singularity of Pluralism in the Sanno Cult 一 A lla n G. G r ap ar d “A text is not a text unless it hides from the first comer, from the first glance, the laws of its composition and the rules of its games•” [Jacques Derrida, Dissemination,p. 65.] Generally described as the center of the Tendai school of Buddhism in Japan, M t. Hiei has also been for much of its history the locus oi interactions be tween Buddhist propositions and the cultural discourse issued from Hie Taisha 日吉大社,the Shinto shrines located at its foot.1 Toward the middle of the Heian period these interactions gave birth to a system of Shinto- Buddhist comDinations known as the SannO cultic system, which formed one of the philosophical and ritual cores of Mt. Hiei throughout the medieval pe riod, and served as the basis for the deification of the Tokugawa shoguns at Nikko during the Edo period.2 The purpose of the following presentation is to attempt to throw light onto one corner (hitosumi wo terasu — 隅を照らす, as the Tendai saying goes), by postulating that one of the rationales for these combinations was expressed first in linguistic games such as puns and metaphors, and then in graphic puzzles grounded in complex meditational techniques described in several Tendai philosophical texts. I w ill then show how this rationale found what might be its ideal expression in the composition and structure of the Hie 1 Hie Taisha, also sometimes but improperly known as Hiyoshi Taisha, refers to seven major shrines conceived of as three units and located at the eastern foot of Mt. -
Kaempfer's Album of Famous Sights of Seventeenth Century Japan
KAEMPFER'S ALBUM OF FAMOUS SIGHTS OF SEVENTEENTH CENTURY JAPAN YU-YING BROWN WITHIN the covers of a large and weighty album bound in western style and preserved in The (Western) Manuscript Collections of the British Library (Add. MS. 5252; bearing Sloane's old classification 'Bibliothecae Sloanianae Min. 47') are to be found three groups of curiously varied material. The first consists of a series of fifty Japanese paintings executed in brilhant colours and in gold, each on paper measuring 215 x 322 mm. (ff. 1-50). They depict famous sights of Japan enlivened by vignettes of people engaged in a variety of activities, though mostly pleasure outings or pilgrimages to shrines, temples and scenic spots. The second comprises seven Japanese figure drawings mounted on ff. 53-59, together with three padded applique pictures (ff. 68-70), now identified as oshie (pressed pictures). The third group seems to be entirely Chinese in origin. It consists of twenty-six floral and figure pictures in silk brocade or embroidery (ff. 51, 52, 60-67, i00"i5)- These otherwise unrelated groups of items have one thing in common. They were all smuggled out of Japan in 1692 by the German physician and traveller, Dr Engelbert Kaempfer (1651-1716), and have all, until recently, lain dormant, in pristine condition, among the British Museum's foundation collections.^ This paper seeks to introduce the first and major part of the album only, namely the remarkable set of fifty miniature paintings. These are of unique importance for all historians of Japanese art and culture as well as for specialists in 'Kaempfer studies'.