{"title":"Expanding the Web of Intertextuality / Table: “Man’yōshū Poems” in Selected Secondary Sources, 772–1439","authors":"","doi":"10.7221/sjlc06.001.0","DOIUrl":"https://doi.org/10.7221/sjlc06.001.0","url":null,"abstract":"","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116900464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Clustering Occurrence Patterns in “Red Sign” Auroral Events throughout Japanese History","authors":"","doi":"10.7221/sjlc06.119.0","DOIUrl":"https://doi.org/10.7221/sjlc06.119.0","url":null,"abstract":"","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"14 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125762738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sakura Sōgorō between Kabuki and Kōdan","authors":"","doi":"10.7221/sjlc05.087.0","DOIUrl":"https://doi.org/10.7221/sjlc05.087.0","url":null,"abstract":"","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129854649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The word heritage has been the object in recent decades of growing interest both from the general public as well as from policy makers and local and national institutions. Specifically, the concept of cultural heritage has assumed an implicitly positive meaning among the public. This positive view has been furthered by the popularity of UNESCO’s World Heritage List, instituted in 1972 with the Convention Concerning the Protection of World Cultural and Natural Heritage.1 Attracted by the possibility of reinforcing their symbolic capital and soft power, a growing number of countries have ratified the convention, investing a remarkable amount of funding and other resources into heritage safeguarding. Nonetheless, because the parameters for inscribing a site on the UNESCO World Heritage List are based overwhelmingly on European and Western values and principles, the struggle to have one’s items inscribed therein has always been biased in favor of Western countries. As of this writing, more than half of all World Heritage List sites are located in Europe or North America. This imbalance and unfairness in the UNESCO rules has been criticized by non-Western countries, as well as by postcolonial scholars, especially since the mid-1980s.2 Partly as a consequence of this criticism and largely as a result of non-Western countries’ demands for a fairer and more inclusive definition of heritage, UNESCO promoted the new category of intangible cultural heritage through the Convention for the Safeguarding of the Intangible Cultural Heritage (hereafter the ICH Convention) in 2003.3 With the Textual Heritage Embodied: Entanglements of Tangible and Intangible in the Aoi no ue utaibon of the Hōshō school of Noh
近几十年来，遗产一词已成为公众、政策制定者、地方和国家机构越来越感兴趣的对象。具体而言，文化遗产的概念在公众中具有隐含的积极意义。随着1972年《保护世界文化和自然遗产公约》的通过，联合国教科文组织的《世界遗产名录》越来越受欢迎。越来越多的国家被增强其象征资本和软实力的可能性所吸引，批准了该公约，为遗产保护投入了大量的资金和其他资源。然而，由于将一处遗址列入联合国教科文组织《世界遗产名录》的参数绝大多数是基于欧洲和西方的价值观和原则，因此，在争取将自己的项目列入《世界遗产名录》的过程中，总是倾向于西方国家。在撰写本文时，超过一半的世界遗产位于欧洲或北美。教科文组织规则中的这种不平衡和不公平受到非西方国家以及后殖民学者的批评，特别是自1980年代中期以来部分是由于这种批评，主要是由于非西方国家要求对遗产进行更公平、更包容的定义，联合国教科文组织在2003年通过《保护非物质文化遗产公约》(以下简称《非物质文化遗产公约》)推广了非物质文化遗产的新类别。3.3文本遗产的体现:Hōshō能派的《Aoi no ue utaibon》中物质和非物质的纠缠
{"title":"Textual Heritage Embodied: Entanglements of Tangible and Intangible in the Aoi no ue utaibon of the Hōshō School of Noh","authors":"Edoardo Gerlini","doi":"10.7221/sjlc05.055.0","DOIUrl":"https://doi.org/10.7221/sjlc05.055.0","url":null,"abstract":"The word heritage has been the object in recent decades of growing interest both from the general public as well as from policy makers and local and national institutions. Specifically, the concept of cultural heritage has assumed an implicitly positive meaning among the public. This positive view has been furthered by the popularity of UNESCO’s World Heritage List, instituted in 1972 with the Convention Concerning the Protection of World Cultural and Natural Heritage.1 Attracted by the possibility of reinforcing their symbolic capital and soft power, a growing number of countries have ratified the convention, investing a remarkable amount of funding and other resources into heritage safeguarding. Nonetheless, because the parameters for inscribing a site on the UNESCO World Heritage List are based overwhelmingly on European and Western values and principles, the struggle to have one’s items inscribed therein has always been biased in favor of Western countries. As of this writing, more than half of all World Heritage List sites are located in Europe or North America. This imbalance and unfairness in the UNESCO rules has been criticized by non-Western countries, as well as by postcolonial scholars, especially since the mid-1980s.2 Partly as a consequence of this criticism and largely as a result of non-Western countries’ demands for a fairer and more inclusive definition of heritage, UNESCO promoted the new category of intangible cultural heritage through the Convention for the Safeguarding of the Intangible Cultural Heritage (hereafter the ICH Convention) in 2003.3 With the Textual Heritage Embodied: Entanglements of Tangible and Intangible in the Aoi no ue utaibon of the Hōshō school of Noh","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126795270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Physical Imitations of the Deva King Statue","authors":"","doi":"10.7221/sjlc05.047.0","DOIUrl":"https://doi.org/10.7221/sjlc05.047.0","url":null,"abstract":"","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128699852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Shutendōji 酒呑童子 legend prototype is believed to have taken shape during the Nanbokuchō 南北朝 period (1336–1392). The oldest known surviving text containing the legend is the Ōeyama emaki 大江山絵巻 (Illustrated Scroll of Ōeyama), produced in the latter half of the fourteenth century and now held at the Itsuō Museum of Art 逸翁美術館. The legend was thereafter widely disseminated through numerous other later emaki versions (e.g., Ōeyama emaki, Ōeyama ki 大江山記, and Shutendōji ezōshi 酒顚童子絵草子).1 It was also presented in formats ranging from Muromachi monogatari 2 室町物語 (i.e., otogi-zōshi 御伽草子) to illustrated manuscripts among the group of texts known as Nara ehon 奈良絵本 (e.g., Ōeyama 大江山). It is also one of the twenty-three short works collected in the famous Otogi bunko 御伽文庫 series by Shibukawa Seiemon 渋川清右衛門, published in illustrated woodblock-print editions during the early modern period.3 However, the Shutendōji story, which was reworked into various depictions in illustrated scrolls and books, did not take only visual forms. It was also brought to three-dimensional life through the performing arts, including noh, puppet Intertextuality and Corporality in Chikamatsu Monzaemon’s Shutendōji makurakotoba
{"title":"Intertextuality and Corporality in Chikamatsu Monzaemon’s Shutendōji makurakotoba","authors":"Bonaventura","doi":"10.7221/sjlc05.001.0","DOIUrl":"https://doi.org/10.7221/sjlc05.001.0","url":null,"abstract":"The Shutendōji 酒呑童子 legend prototype is believed to have taken shape during the Nanbokuchō 南北朝 period (1336–1392). The oldest known surviving text containing the legend is the Ōeyama emaki 大江山絵巻 (Illustrated Scroll of Ōeyama), produced in the latter half of the fourteenth century and now held at the Itsuō Museum of Art 逸翁美術館. The legend was thereafter widely disseminated through numerous other later emaki versions (e.g., Ōeyama emaki, Ōeyama ki 大江山記, and Shutendōji ezōshi 酒顚童子絵草子).1 It was also presented in formats ranging from Muromachi monogatari 2 室町物語 (i.e., otogi-zōshi 御伽草子) to illustrated manuscripts among the group of texts known as Nara ehon 奈良絵本 (e.g., Ōeyama 大江山). It is also one of the twenty-three short works collected in the famous Otogi bunko 御伽文庫 series by Shibukawa Seiemon 渋川清右衛門, published in illustrated woodblock-print editions during the early modern period.3 However, the Shutendōji story, which was reworked into various depictions in illustrated scrolls and books, did not take only visual forms. It was also brought to three-dimensional life through the performing arts, including noh, puppet Intertextuality and Corporality in Chikamatsu Monzaemon’s Shutendōji makurakotoba","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"127 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127074486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The early modern period in Japan (approximately the seventeenth to the mid-nineteenth century) was an era during which a lively publishing culture flourished, and books produced then enjoyed an avid readership. Texts introduced from China and Korea also came to be re-printed in Japan, first in old moveable-type editions (kokatsuji-ban 古活字版) and later in woodblock-printed editions (seihan 整版) with glosses added. A notable standout among all this mass of publications is the morality book Dai-Min Jinkō kōgō kanzensho 大明仁孝皇后勧善書 (The Ming Empress Renxiao’s Book of Exhortations, hereafter called Book of Exhortations), which was originally published in China in 1407, during the Ming dynasty (1368–1644). This twenty-volume Chinese work opens with a collection of edifying passages (kagen 嘉言) selected from Confucian, Buddhist, and Daoist scriptures; these are then followed by a number of illustrative stories featuring various characters, adventures, and experiences. Sakai Tadao 酒井忠夫1 was the first scholar to write about the appreciation of Book of Exhortations in Japan. Since then, Hwang Soyeon 黃昭淵 and Hanada Fujio 花田富二夫 have also published comprehensive discussions relating to Book of Exhortations. Hwang pointed out that the original Chinese version of Book of Exhortations influenced the development of ghost stories in Japan, as can be seen in Otogi-bōko 伽婢子 (1666). However, he states that it is doubtful whether the Japanese reproductions of Book of Exhortations had such a direct impact themselves: The Reception and Reworking of Empress Renxiao’s Book of Exhortations: Chinese Works in Japan as Mediated through Printed Buddhist Texts
{"title":"The Reception and Reworking of Empress Renxiao’s Book of Exhortations","authors":"Michiko","doi":"10.7221/sjlc05.167.0","DOIUrl":"https://doi.org/10.7221/sjlc05.167.0","url":null,"abstract":"The early modern period in Japan (approximately the seventeenth to the mid-nineteenth century) was an era during which a lively publishing culture flourished, and books produced then enjoyed an avid readership. Texts introduced from China and Korea also came to be re-printed in Japan, first in old moveable-type editions (kokatsuji-ban 古活字版) and later in woodblock-printed editions (seihan 整版) with glosses added. A notable standout among all this mass of publications is the morality book Dai-Min Jinkō kōgō kanzensho 大明仁孝皇后勧善書 (The Ming Empress Renxiao’s Book of Exhortations, hereafter called Book of Exhortations), which was originally published in China in 1407, during the Ming dynasty (1368–1644). This twenty-volume Chinese work opens with a collection of edifying passages (kagen 嘉言) selected from Confucian, Buddhist, and Daoist scriptures; these are then followed by a number of illustrative stories featuring various characters, adventures, and experiences. Sakai Tadao 酒井忠夫1 was the first scholar to write about the appreciation of Book of Exhortations in Japan. Since then, Hwang Soyeon 黃昭淵 and Hanada Fujio 花田富二夫 have also published comprehensive discussions relating to Book of Exhortations. Hwang pointed out that the original Chinese version of Book of Exhortations influenced the development of ghost stories in Japan, as can be seen in Otogi-bōko 伽婢子 (1666). However, he states that it is doubtful whether the Japanese reproductions of Book of Exhortations had such a direct impact themselves: The Reception and Reworking of Empress Renxiao’s Book of Exhortations: Chinese Works in Japan as Mediated through Printed Buddhist Texts","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121211718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The celebrated noh play Izutsu 井筒 (The Well Curb) is widely considered to be one of Zeami’s 世阿弥 (1363?–1443?) masterpieces. In general its underlying story is based on Episode 23 of the Ise monogatari 伊勢物語 (The Ise Stories, late ninth–mid-tenth century), yet scholars have long recognized that the play also departs significantly from the original. For example, the play’s setting in Isonokami 石上 in Yamato 大和 Province, as well as the identification of the main character (shite シテ) as Ki no Aritsune’s 紀有常 (815–877) daughter, are both derived from medieval commentaries on the Ise monogatari, and not the Ise monogatari itself. Also, the play cuts Episode 23’s last scene, which focused on the figure known as “the woman in Takayasu” (Takayasu no onna 高安の女), the secret lover of the male protagonist. Furthermore, the plot of the play reverses the narrative’s time axis, ending with a scene focused on the shite’s childhood. In Act 1, as the main female character reminisces about the past, it is revealed that her husband, Ariwara no Narihira 在原業平 (825–880), had desisted from further visits to his lover after clandestinely overhearing his wife’s poem. The Ise monogatari gives the poem as follows:
著名的能剧《井缘》被广泛认为是泽米的代表作之一。总的来说，它的基本故事是基于伊势故事集的第23集(伊势故事集，9世纪末至10世纪中期)，然而学者们早就认识到该剧也与原著有很大的不同。例如,游戏的设置Isonokami石上在大和大和省,以及识别的主要人物(屎シテ)作为Ki没有Aritsune紀有常(815 - 877)的女儿,都是源自中世纪的评论在伊势物语》,而不是《伊势物语》本身。此外，该剧还删减了第23集的最后一场戏，这一场戏的主角是男主角的秘密情人，被称为“Takayasu no onna”的女人。此外，该剧的情节颠倒了叙事的时间轴，以一个聚焦于什叶派童年的场景结束。在第一幕中，当女主角回忆起过去时，她的丈夫Ariwara no Narihira(825-880)在秘密听到妻子的诗后，不再去看望他的情人。伊势一夫一妻制是这样描述这首诗的:
{"title":"The Water Mirror Motif in the Noh Play Izutsu","authors":"Sagiyama Ikuko, M. Burtscher","doi":"10.7221/sjlc05.027.0","DOIUrl":"https://doi.org/10.7221/sjlc05.027.0","url":null,"abstract":"The celebrated noh play Izutsu 井筒 (The Well Curb) is widely considered to be one of Zeami’s 世阿弥 (1363?–1443?) masterpieces. In general its underlying story is based on Episode 23 of the Ise monogatari 伊勢物語 (The Ise Stories, late ninth–mid-tenth century), yet scholars have long recognized that the play also departs significantly from the original. For example, the play’s setting in Isonokami 石上 in Yamato 大和 Province, as well as the identification of the main character (shite シテ) as Ki no Aritsune’s 紀有常 (815–877) daughter, are both derived from medieval commentaries on the Ise monogatari, and not the Ise monogatari itself. Also, the play cuts Episode 23’s last scene, which focused on the figure known as “the woman in Takayasu” (Takayasu no onna 高安の女), the secret lover of the male protagonist. Furthermore, the plot of the play reverses the narrative’s time axis, ending with a scene focused on the shite’s childhood. In Act 1, as the main female character reminisces about the past, it is revealed that her husband, Ariwara no Narihira 在原業平 (825–880), had desisted from further visits to his lover after clandestinely overhearing his wife’s poem. The Ise monogatari gives the poem as follows:","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"9 2-4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134051174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Sound, the Body, the Classics","authors":"","doi":"10.7221/sjlc05.107.0","DOIUrl":"https://doi.org/10.7221/sjlc05.107.0","url":null,"abstract":"","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122575135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sōgi’s Problem Passages","authors":"","doi":"10.7221/sjlc05.131.0","DOIUrl":"https://doi.org/10.7221/sjlc05.131.0","url":null,"abstract":"","PeriodicalId":197397,"journal":{"name":"Studies in Japanese Literature and Culture","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123960697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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