Dragon King = ryûô 
pmjs logs for October 2001. Total number of messages: 112
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Oxford workshop on Japanese linguistics (Bjarke Frellesvig)
"tezukuri" in classical texts (Morgan Pitelka, Wayne Farris, Richard Bowring. Lawrence Marceau, Rokuo Tanaka, John R. Bentley, Eric Rath , Lawrence Marceau) a.k.a. Hemp-making, tesarugaku and tezukuri
No Dragon Queen? (Royall Tyler, Anthony J. Bryant, Denise O'Brien, Wayne Farris, Hugh de Ferranti, Kazuko Suzuki, Rokuo Tanaka, William Bodiford, Peter David Shapinsky, Brian Ruppert, Susanne Nishimura-Schermann, Nobumi Iyanaga, Charlotte von Verschuer, Lawrence Marceau, Robert Khan, Roberta Strippoli, Robert Morrell) a.k.a. Ancient kinship
Looking for Oda Nobunaga episode (Mikael Adolphson)
Arare vs. Hyou (William J. Higginson, Rokuo Tanaka, Tim Kern)
--> shin - shin" (WAS hyou vs.arare) (William Bodiford, Stephen Miller, Rokuo Tanaka, Lawrence Marceau)
--> Poetess (WAS "shin-shin") (William J. Higginson, Rokuo Tanaka, Rein Raud, Sonja Arntzen)
Tale of Genji mentioned in the New Yorker (Lawrence Marceau) --> Tale of Genji (Michael Watson, Royall Tyler)
Development of samurai status and villages in Sengoku era (Susanne Nishimura-Schermann, Carol Tsang)
gesture [in Noh and kabuki] (Naoko Yamagata, David Pollack, Naoko Yamagata, Sonja Arntzen)
Question (gimon) about the list (Susanne Schermann)
the Japanese school year (William Londo, Anthony Bryant, Luke Roberts, Matthew Stavros, David Pollack, Melanie Trede, Michael Watson, Carole Cavanaugh, Barbara Nostrand)
Japan 2001 in Oxford [announcement of lecture series]
Some new utilities for the Mac (Nobumi Iyanaga)
otogi zoshi (Linda Letten, Christian Morimoto Hermansen, Keller Kimbrough))
Development of samurai status and villages in Sengoku era (Susanne Schermann)
Dragons of the World unite! (Andrey Fesyun)
[Japanese Computing] (Noel John Pinnington)
Pre-modern Japanese Literature Position (Karen Brazell)
Tenchi, Kamatari in the 16th c (Melanie Trede, Royall Tyler)
Xi Shi (Melanie Trede, Lawrence Marceau, Robert E Morrell)
Horse trappings (Wayne Farris, David Pollack)
Kumano kanjin jikkaizu (Keller Kimbrough, William Bodiford, Haruko Wakabayashi)
LC Symposium: From Cherry Blocks to Mulberry Paper (Lawrence Marceau)
Japanese Pre-modern Lit on CD (Noel Pinnington, Andrei Nakortchevski, Michael Watson, Yasuhiro Kondo)
Chu^jo^hime bibliographical reference help needed (Monika Dix)
Shakkyo (Yumiko Hulvey, Lawrence Marceau, Alan Cummings, Rokuo Tanaka, Robert Borgen)
more news from the culture front (David Pollack)
new members / profiles: Mary and Jackson Burke Foundation, Jessey Choo, Douglas Fuqua, Christian Hermansen, Douglas Lanam, Scott Langton, Sybil Thornton, Michael Wert, Wang Yong
[pmjs footer] NASCIS Webcat address change
[pmjs footer] Liza Dalby review of Royall Tyler's Genji
[pmjs footer] Tozai koryu to Nihon: International symposium in Tokyo, Nov. 16-17
pmjs footer: digital Saigyo-an (Saigyo's refuge)
Lightly edited (see "principles"). Editorial comments in italics. Page is in ISO (Western formatting). Some kanji images added. Links above indicate the thread is available in public archives (e-mail addresses and personal information omitted).
Date: Tue, 2 Oct 2001 20:18:45 +0900
From: "Bjarke Frellesvig" <bjarke.frelles...@...tford.oxford.ac.uk>
Subject: Oxford workshop on Japanese linguistics
Dear colleagues, please take note of the following workshop for doctoral
students which will take place in a year's time. The workshop is primarily
aimed at students from Europe (who tend to be quite isolated if they work on
Japanese linguistics), but if there are interested students from other parts
of the world they are welcome to apply.
Yours,
Bjarke Frellesvig
University of Oxford doctoral workshop on JAPANESE LINGUISTICS
A workshop for doctoral students working on Japanese linguistics (in a wide
sense) will be held 15-21 September 2002 in the University of Oxford. The
workshop will be open to up to 20 students.
Programme
Participants will present their projects in plenary sessions followed by
discussion. Each participant will also have at least one individual session
with one of the teachers. Each day will have a lecture by one of the
teachers. The working language of the workshop will be English.
Participants will be expected to submit a 5-10 page summary of their
research project to be circulated to the other participants and teachers
before the workshop.
Teachers
The teachers in the workshop will be:
Anthony Backhouse (University of Hokkaido)
Richard Bowring (Cambridge University)
Viktoria Eschbach-Szabo (Tubingen University)
Bjarke Frellesvig (University of Oxford)
Masayoshi Shibatani (University of Kobe)
John Whitman (Cornell University)
Funding
Accommodation and meals will be provided (in Hertford College). In addition, funding is being sought for transportation costs to and from England for students from Europe. Every effort will be made to secure such funding and no one should be discouraged from applying for financial reasons.
Application
Application for participation will take the form of submission by 15 March 2002 of: a short description of the research project, a short CV, including description of previous study and schedule for completion, and a letter of reference from the supervisor.
Interested students are, however, encouraged to express their interest as early as possible.
Acceptance will be advised by medio April 2002.
Contact:
Enquiries: bjarke.frelles...@...tford.ox.ac.uk
Applications:
Bjarke Frellesvig
Oriental Institute
University of Oxford
Pusey Lane
Oxford OX1 2LE
UK
Date: Mon, 8 Oct 2001 17:56:08 +0100
From: Morgan Pitelka <mpite...@...nsbury-institute.org>
To: Multiple recipients of pmjs <p...@...eijigakuin.ac.jp>
Subject: "tezukuri" in classical texts
Dear All,
I'm currently conducting research on the term "tezukuri" (literally "hand-made") for an essay on tea utensils that will be published in Japanese.
The term is clearly an old one. It appears three or four times (kunyomi) in _Manyoshu_(2647, 3373, 3791, 4008) modifying the character "nuno" or otherwise relating to cloth. (Sometimes read "tazukuri"). Likewise, I've found dozens of references in the document collection _Heian ibun_, mostly describing "nuno." It appears quite often from the sixteenth century in more variedcontexts, modifying various comestibles (natto, miso, sake, etc.), tools, and garments. The seventeenth-century diary _Kakumeiki_, for example, is full of references to "hand-made" objects, which seems to indicate specially made, home-made, or high-quality goods.
In early modern tea culture, I read the term as referring more to the mode of production than to the means. By this I mean that what is important is not whether or not tools, molds, or machines were used, but who the maker was. Most "tezukuri" tea bowls were made by tea practitioners rather than professional artisans.
In contemporary Japan, the term is most-often used as short-hand for "authentic." You can find just about everything "tezukuri" these days. I'm sure many of you have seen the ceramics in department stores that bear mass-produced stickers reading "tezukuri." Also common is "tezukuri" as "home-made," such as sushi made in one's kitchen and then given away as an informal gift.
It is less apparent to me what "tezukuri" means before the sixteenth century. Why describe something as "hand-made" in the 8th century when everything is hand-made? Likewise, how was "tezukuri nuno" different from just plain "nuno" in the Heian period?
If anyone has any thoughts on this, I would appreciate hearing from you. Likewise, if anyone knows of any uses of the term in other premodern documents or texts, please let me know. Thanks,
Morgan
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Morgan Pitelka
Sainsbury Institute for the Study of Japanese Arts and Cultures (until 12/2001)
SOAS, University of London
mailto:mpite...@...nsbury-institute.org
Asian Studies Department
(from 1/2002)
Occidental College
1600 Campus Road
Los Angeles, CA
mailto:mpite...@....edu
Date: Mon, 8 Oct 2001 19:21:06 -0400
From: Wayne Farris <wfar...@....edu>
Subject: Hemp-making
Dear Morgan,
I found your message interesting. Hemp, of course, was the preferred cloth for peasants until at least the late fifteenth century, when cotton entered from Korea. I have not looked at the references you cited, but to make hemp cloth, there was quite a lot of "tezukuri" necessary, as I understand. The stalks of the karamushi had to be stripped of their outer skin, and then those skins were pounded to make them softer. Then one could weave cloth. Unlike cotton, clothing made from hemp was cold and scratchy--thus cotton was a big advance when it did come in. I know of a few articles for you to refer to if you like, including an oldie but goodie by Nagahara Keiji.
See why studying commoners and their industries can be so valuable?
Best wishes,
Wayne Farris
Date: Tue, 09 Oct 2001 08:57:30 +0100
From: Richard Bowring <rb...@...mes.cam.ac.uk>
Subject: "tezukuri" in classical texts
The entry in Nihon Kokugo Daijiten suggests that the term means 'made by oneself' (made with one's own fair hands?') rather than just hand-made, which would answer your problem about everything being hand-made at the time. The Manyoshu examples all seem to be 'tezukuri no' which suggests that you might treat it as a makurakotoba for nuno; this would again explain the tautology.
Richard Bowring
Date: Tue, 9 Oct 2001 19:37:59 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: Shinto workshop in Vienna (cross-posting)
Cross-posting from the "J-studien-liste"
From: "Bernhard Scheid" <bernhard.sch...@...w.ac.at>
Subject: J-STUDIEN: Shinto workshop
Date: Tue, 9 Oct 2001 11:51:40 +0200
The Institute for Asian Studies of the Austrian Academy of Sciences
in cooperation with the Institute for East Asian Studies of Vienna University
invites to a series of lectures on
New Perspectives on Shinto
Time: Thu, Nov. 8, 2001. 14:00-18:00.
Place: Institut fuer Ostasienkunde, Japanologie (AAKH Campus, Hof 2, Spitalgasse 2-4, 1090 Wien)
Lectures:
14:00 Introduction (Bernhard Scheid, Wien)
14:15 Early occurrences of the term Shinto (Mark Teeuwen, Oslo)
15:15 Buddhist Shinto or Shinto Buddhism? Buddhist initiation rituals concerning the kami in medieval and early modern Japan (Fabio Rambelli, Sapporo)
16:15 Way of the Kami and Way of Japan: some reflections on the "innocence" of "Shinto" (Bernhard Scheid, Wien)
17:15 Sogen Senji: the Yoshida house and the identity-making of local tutelary shrines (Hiromi Maeda, Boston)
Topic:
Even today opinions in Japan vary greatly about the actual meaning and the religious contents of Shinto. Often called a religion without a dogma Shinto lacks a central authority capable of mandatory decisions in theological matters. Tradition seems to be the only determining factor that shapes Japan's reputedly native religion. Yet, if one traces the traditions of various Shinto institutions historically, one encounters in most cases influences that are all but of native origin. This perplexing picture becomes more understandable, when we realize that in contrast to general knowledge, the very idea of Shinto as an independent, indigenous religion is a comparatively recent conception. Based on this general assumption, the lectures refer to the development of "Shinto" in subsequent historical periods. Arranged in chronological order they cover a timeframe from the 8th to the 19th centuries.
The lectures will last for about for about 30 minutes, giving time for discussion and a coffee break. Apart from specific historical topics discussions will address the question to which extend the term "Shinto" itself is valuable as an analytical category of Japanese religious studies.
The contributors:
* Mark Teeuwen graduated from Leiden University and is professor for Japanese religion and history at the University of Oslo. He is author of Watarai Shinto: An Intellectual History of the Outer Shrine of Ise (Leiden, 1996) and editor (with John Breen) of Shinto in History: Ways of the Kami (London, 2000).
* Fabio Rambelli graduated from Venice University and is associate professor at the Department of Cultural Studies, Sapporo University. Known for his poignant semiotic analysis of Japanese esoteric Buddhism, he is preparing a book on Poetics and Politics of Mandala, which is now under review at Stanford University Press
* Bernhard Scheid graduated from Vienna University and is research fellow at the Institute for Asian Studies, Austrian Academy of Sciences. He recently published <http://www.oeaw.ac.at/ias/Pub_einzeln/Pb2_Scheid01.html>Der Eine und Einzige Weg der Goetter. Yoshida Kanetomo und die Erfindung des Shinto (Wien, 2001).
* Hiromi Maeda studied at Tokyo University and Harvard. She is about to finish her Ph.D. on Yoshida Shinto in the Edo period.
::::: pmjs footer:::::
Shinto Study Afternoon is to be held at the British Museum (Stevenson Lecture Theatre) from 2:30-4:30pm on Friday 19 October. Lectures will be given by Prof. Masatomo Kawai, Keio Gijuku University, Tokyo, and Victor Harris, Curator of the current exhibition 'Shinto: The Sacred Art of Ancient Japan'.
Date: Tue, 09 Oct 2001 03:14:04 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: "tezukuri" in classical texts
Morgan Pitelka:
I read your posting with much interest.
I start my day with breakfast consisting of a bowl of rice and soup which made of "'o-fukuro (mother) no' aji" and "'tezukuri no' aji" miso. The term "Tezukuri no" something seems to me to induce inherently warmheartedness and tender sentiment.
Sanseido's _Reikai Kogo Jiten_ (3rd ed., 1992) defines "tezukuri" as 1) To make something with (your) own hands, and finished products 2) hand-woven cloth. This Jiten quotes Manyo^ poem 3373 Azuma uta from Book 14 as an example, but does not explicitly say "Makura kotob." It explains, however, that "tezukuri" introduces or leads to the third line, "sara sara ni."
I will check Iwanami's and Kadokawa's _Kogo Jiten_ further. I don't find any poems including this word(s) in the twenty-one
Chokusenshu^. However, in addition to the Manyoshu^, the following two anthologies include some poems with "tezukuri...":
_Fuboku Waka Sho^_ (ca. 1309):
Book 23 Misc.5 # 10542 "tezukuri ni"
Book 21 Misc.3 # 9252 "tezukuri no koto"
Book 14 Autumn 5 #5732 "tezukuri no nuno"
Book 33 Misc.15 #15659 "tezukuri no nuno"
Book 33 Misc.15 #15657 "tezukuri ha (wa)"
Book 31 Misc.13 #14647 "tezukuri ya"
The poem #15657" "tezukuri ha (wa)" is also included in _ Shinsen Waka
Roku Jo_ (ca. 1243) Book 6 #1911.
I think "tezukuri" relates to "tenui" (hand-sewn), "teami" (hand-knitted), and "teori" (hand-woven). Things that follow these words with "no" (noun becomes adjective) give you spontaneously the impressions of "special," "one and only,"no duplicate," and "exquisite" specially made for you.
With Aloha from the Islands of Paradise.
Rokuo Tanaka
UH at Manoa
Date: Tue, 09 Oct 2001 12:25:14 -0500
From: "John R. Bentley" <jbentl...@....edu>
Subject: "tezukuri" in classical texts
Dear All,
Morgan has asked a very interesting question:
It is less apparent to me what "tezukuri" means before the sixteenth century. Why describe something as "hand-made" in the 8th century when everything is hand-made?
First we should note that tadukuri appears earlier than tedukuri (tadukuri appearing in Nihon shoki). I think the problem here is
in interpreting tadukuri to mean 'hand-made'.
This word only appears twice in the ancient corpus, as far as I can tell. Once in Nihon shoki, #106 where the word is the infinitive of
the verb 'to wear,' 'to put robes on for a trip.' I think the ta- here has NOTHING to do with 'hand'. The word appears to have been
reanalyzed in the Nara era as te-, when people then interpreted it to mean 'hand'. I think the meaning remained the same, however,
'to wear for a specific reason'. This came to mean a kind of cloth. Shinsen shoojiroku of the late ninth century says that tedukuri means
Indian mallow.
It should be also remembered that according to Myoogishoo of the late Heian era, the accent of tedukuri, Indian mallow, is LRHH-, while the noun tedukuri 'hand-made' is LLHL, so the accents are different, meaning the words are different.
John Bentley
Date: Tue, 09 Oct 2001 10:38:27 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: "tezukuri" in classical texts
Morgan Pitelka:
Here's another a half pennyworth of tidbit. And I am also speaking under correction.
Kadokawa's_Kogo Dai-Jiten (5 v., 1994) v.4, p.542, has two entries elaborating "tezukuri" and "tezukuri no nuno". The former is an abbreviation of the latter. "Tezukuri no nuno" is hand-woven cloth with a simple loom, and then is bleached under river water ( as in the Manyo^ poem #3373) and/or exposed under the sun, i.e., "sarasu". The finished piece is as refined as silk, hence, can be used as currency.
Another poem is quoted from _Shugyoku Shu^ (Kamakura period). Sonen Hosshinno^ compiled chronologically all the poems by Jien (1155-1225). Poem #1025 in Book One reads:
Kakine o ba/mina U no hana to miru bakari/taema ni sarase/tezukuri no nuno.
(I find this poem simple, easy to recite, but charming.)
"Tezukuri no nuno" are also entered in the following two dictionaries:
1) Shinsen Jikyo^ (ca. 901-923), 12 v of the oldest extant Kanji dictionary compiled by Priest Sho^jyu^ (b.d. unknown).
2) Wamyo^ Ruiju Sho^ (a.k.a. Wamyo^sho^, ca. 931-938) 10 v. and 20 v. compiled by poet Minamoto no Shitagau (911-983).
Kadokawa's Jiten does not mention "tezukuri" as one of "makura kotoba".
With Aloha
Rokuo Tanaka
From: Royall Tyler <ty...@....harvard.edu>
Date: Tue, 9 Oct 2001 12:43:20 -0400
Subject: No Dragon Queen?
At the bottom of the sea (not to speak of lakes, rivers, ponds, puddles) is the magnificent Dragon Palace inhabited by a/the Dragon King and his daughter. This extremely important motif is illustrated by the story of Hikohohodemi and Toyotama-hime, who gives birth to the future Jinmu Tenno.
Can anyone explain why nothing is ever said about a Dragon Queen? Wild speculation welcome.
Royall Tyler
Dragon Palace = ryûgû Dragon King = ryûô
Date: Tue, 09 Oct 2001 18:26:56 -0500
From: "Anthony J. Bryant" <ajbry...@...iana.edu>
Subject: No Dragon Queen?
Well, since we know from the "12-rui emaki" that the zodiacal dragon was married to the zodiacal serpent, it was obviously a mixed marriage and therefore in some other literature, especially that related to the future emperor, something that shouldn't be mentioned, so she (the wife/serpent) was probably off visiting the folks when the story took place.
Well, you welcomed wild speculation... <G>
Tony
Date: Tue, 09 Oct 2001 20:27:59 -0400
From: "Denise O'Brien" <obri...@...ro.temple.edu>
Subject: No Dragon Queen?
What a terrific question!! The Dragon King's daughters have certainly eclipsed their mother's (OR mothers' , allowing for polygyny) identities. Perhaps that's because we don't know who the fathers of the Dragon King's wives are. Assuming that there was a continuous matrilineal/patrilineal squishing around of traditional genealogies in actual Japan culture---from say early times to the 6th or 7th C----by the time that the Devadatta chapter of the Lotus Sutra became popular in the late 10th/early 11th centuries-----there was a patrilineal overlay [as articulated against women's owning property that they had inherited from their mothers]----and so it was possible to ignore Dragon Queens. But, it remains an intriguing question---why did daughters survive but not mothers/wives/Queens? Who were the fathers of the potential wives of the Dragon King and the mothers of his daughters?
Regards, Denise O'Brien
Denise O'Brien, Ph.D.
Department of Anthropology
Temple University
Philadelphia, PA 19122, USA
FAX: 215-204-1410 E-Mail: obri...@...ple.edu
From: Hugh de Ferranti <hug...@...ite.co.jp
Date: Wed, 10 Oct 2001 00:03:21 -0700 (PDT)
Subject: No Dragon Queen?
Well if it's wild speculation you're after: In chuusei and kinsei performed narratives, dragons and serpents that live in lakes, ponds and the sea are strongly associated with Benzaiten, the only female among the shichi fukujin. The nature of that association is highly variable and obscure, but always tangible. Now She is renowned for her jealousy. (The musicians who treated her as their patron deity never bequeathed her a spouse, as they wanted her all for themselves, it seems ... But at a price: male musicians are still warned against going to a Benten shrine with their partners!) Perhaps she fooled everyone, having been wedded to the Dragon King all along. Or else, being the female aspect of Him, she was perfectly self-sufficient.
I'd be very interested to hear about how Myoo-on Bosatsu (Bodhisattva of Miraculous Sound), another Benzaiten alias - but a rather androgynous one in many sources - might be connected with the Dragon King.
Hugh de Ferranti
Asian Languages and Cultures/ Musicology
University of Michigan
...@...ch.edu/ hug...@...ite.co.jp
Date: Wed, 10 Oct 2001 03:57:36 -0400
From: Wayne Farris <wfar...@....edu>
Subject: Ancient kinship
Dear Royall and folks,
I don't know where Ms. O'Brien gets her info, but ancient kinship in most parts of the archipelago was neither patrilineal nor matrilineal. There is now a general consensus that it was bilateral, allowing the tracing of descent through EITHER the male or female line. So Royall's question stands: where is the mother? Since mothers were quite powerful and could inherit and hold property, it would not make sense to leave her out.
Just a point of information.
Regards,
Wayne Farris
From: Mikael Adolphson <musa...@....aiej.or.jp>
Date: Wed, 10 Oct 2001 19:13:32 +0900
Subject: Looking for Oda Nobunaga episode
Colleagues,
I am desperately looking for one episode of the recent NHK series on Oda Nobunaga. It is the one that dealt with the burning of Enryakuji (Hieizan no yakiuchi?). I believe it was episode 52, or something to that effect. If anyone happens to have a copy of that episode, please e-mail me off list. A digest of the entire series is available here in Japan for sale, but I am looking for this particular episode in its entirety.
Mickey Adolphson
adol...@....harvard.edu
Tokyo Academic Village, D-806
2-79 Aomi, Koto-ku
Tokyo 135-0064
Japan
PH: (03) 5520-6983
musa...@....aiej.or.jp
Date: Wed, 10 Oct 2001 19:40:13 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: new members
We welcome four new members to pmjs:
Mary and Jackson Burke Foundation
Scott Langton <slang...@...kwing.uoregon.edu>
East Asian Languages & Literatures, University of Oregon
Michael Wert <michael.w...@...oo.com>
Graduate student at University of California, Irvine
focusing on Japanese history.
Douglas Fuqua <fu...@...aii.edu>
I am a Ph.D candidate in Japanese History at the University of Hawaii. I am currently conducting research for my dissertation at the University of Tokyo's Historiographical Institute until March 31, 2002. My research topic is maritime exchange in East Asia during the time of the "kentoushi."
Wang Yong
Professor, Zhejiang University
Author or co-author of numerous books in Japanese including
_Chugokushi no naka no Nihon-zou_
_Shoutoku Taishi jikuu chouetsu - rekishi wo ugokashita Eshi [Hui Si] koushin-setsu_
[kanji here]
*Profile written by pmjs editor. While searching I came across a link to the "Internet Video" of a lecture given by Professor Wang entitled
"Silk Road and Book Road" (in Japanese). To my surprise, it worked perfectly.
http://www.nichibun.ac.jp/textversion/int_relay/librarye_t.html
Date: Wed, 10 Oct 2001 10:21:53 -0400
From: Royall Tyler <ty...@....harvard.edu>
Subject: No Dragon Queen?
[In response to Hugh de Ferranti]
No question about that. But Benzaiten is still all by herself, not one of a couple, and she tends to be a water's-edge land creature--a dry land serpent--rather than a dragon of the deep. In the noh play Chikubushima, and indeed in the Chikubushima engi, she's the serpent who inhabits the heights of the island and sometimes comes down to the water's edge; while the dragon-namazu may come up (at the same time) from the deep to sport at the surface. They're mirror images of each other. In Chikubushima art, Benten-san is a white serpent coiled around the summit of the island-rock. She has nothing to do with any Dragon Palace, which more a Buddhist matter and also a motif associated with ama. Moreover, she has no son or daughter.
These are deep waters!
Royall Tyler
Date: Wed, 10 Oct 2001 10:26:58 -0600 (MDT)
From: Laurel Rasplica Rodd <r...@...t.colorado.edu>
Subject: Art Historian position available
Please post (with apologies for cross-posting).
========================
Art Historian
UNIVERSITY OF COLORADO AT BOULDER
Seeking full-time energetic faculty member in East Asian art history, to begin in August 2002. Ability to teach all areas of East Asian art, with specialization in Japanese art preferred. Three-year non-tenure instructor appointment in Fine Arts, with crosslisting of some or all courses in East Asian Languages and Civilizations. Possibility for future tenure-track appointment. Salary is competitive with other institutions and commensurate with experience and qualifications. Ph.D. and college teaching experience preferred. Candidate must maintain active program of research. Course load is six (6) classes per year. Send letters of application addressing particular disciplinary and interdisciplinary fields of interest, CV, statement of teaching philosophy and three (3) letters of reference to:
Chair, Art History Search Committee, University of Colorado at Boulder, Campus Box 318, Boulder, Colorado 80309-0318.
Position open until filled. Review of applications will begin in December 2001. The University of Colorado is committed to diversity and equality in education and employment.
Date: Wed, 10 Oct 2001 12:02:42 -0500
From: Melanie Trede <m...@....edu>
Subject: No Dragon Queen?
Dragon Queens might not appear in written texts, but painters made up for the missing female part in later painting.
I am particularly thinking about pictorial narratives such as the Taishokan that deal with the dragon kings of the sea. In some 17th century depictions of that story--such as the one in the Cologne Museum of East Asian Art or the screens in the Chicago Art Institute-- the dragon king is supplemented by a dragon queen to form a gorgeous, exotic couple.
Obviously, we are not the first to miss the women.
Cheers!
melanie trede
Institute of Fine Arts
1 East 78th Street
New York, N.Y. 10021
m...@....edu
Tel. +1 - 212-992-5869
Fax: +1 - 212-992-5807
From: Eric Rath <er...@...edu>
Date: Wed, 10 Oct 2001 10:20:19 -0500
Subject: "tezukuri" in classical texts
Dear All,
John Bentley brought up an interesting point about "te" in "te-zukuri," namely that "te" did not originally refer to hand.
The expression "tesarugaku" used in the fifteenth and sixteenth centuries is similar in that regard. In this case, "te" referred to skill or ability; hence the expression tesarugaku implied a skilled sarugaku (noh) actor. Since this was a catch-all term for performers outside of groups (za) affiliated with religious institutions and/ or military patrons, by the sixteenth century it became a derogatory term indicating "amateur" status, disappearing in the 17th century around the time that the word "amateur" (shiroto) appears in noh discourse.
I hope this lends a hand (sorry I couldn't resist that one!).
Sincerely,
Eric Rath
Eric C Rath 1445 Jayhawk Blvd
Assistant Professor Department of History
University of Kansas Lawrence KS 66045-7590
(785) 864-9470
fax (785) 864-5046
er...@...edu
http://www.clas.ukans.edu/history/
Date: Thu, 11 Oct 2001 20:51:34 +0900
From: "Kazuko Suzuki" <ph8k-...@...hi-net.or.jp>
Subject: Dragon Queens
Hajime mashite.
It is very interesting to read the posts on PMJS, and I've been wondering how much I can contribute. Now some of you are talking about dragon queens, and I'd like to tell about female dragons, though I can remember only those in fiction in modern times, not pre-modern.
A female dragon appears in Orochi ga Ike by Kyoka Izumi(1873-1939). I need to do research to know when it was out, but the short story got famous some years ago when Tamasaburo played the dragon in a movie.
The other story I can tell without reference is Tatsu no Ko, Taro (Taro, the Child of a Dragon). His mother takes the shape of a dragon to help him when he had a huge problem. Both dragons come out of the deep. As you know, there still are many festivals all over Japan, where the deity is Ryujin, a dragon god who brings rain over rice paddies and fields.
Kazuko Suzuki
Mailto: <mailto:ph8k-...@...hi-net.or.jp>
Website: <http://www.ne.jp/asahi/ksuzuki/jomon/
(An English website on a prehistoric period of Japan, the Jomon Period)
Date: Thu, 11 Oct 2001 14:45:24 +0100
From: Morgan Pitelka <mpite...@...nsbury-institute.org>
Subject: tesarugaku and tezukuri
Dear Eric and All,
I was aware of the term tesarugaku and its association with amateur performers. I don't think, however, that this is directly related to John's point that tezukuri/tazukuri may not originally have had anything to do with the notion of "hand."
"Tesarugaku" actually returns us to the "tezukara" or "by one's own hand" meaning of "te," and has interesting parallels in the world of tea tezukuri. Most tea utensils labeled tezukuri are done so not because they are made by hand, but by amateur artisans (tea practitioners) outside of the standard craft organizational structures (guilds, workshops, artisan households, etc.). The makers of tezukuri utensils don't patronize professionals; they do it themselves. Likewise, tesarugaku performers aren't members of the za; they are outsiders or amateurs.
Thanks again for the many stimulating reponses.
Morgan
Date: Thu, 11 Oct 2001 11:38:08 -0400
From: "Denise O'Brien" <obri...@...ro.temple.edu>
Subject: Ancient kinship
We simply don't have the kind of information necessary for a cultural anthropologist to be happy making very definite statements about kinship and descent in ancient Japan---however one might define "ancient". I think the situation is pretty murky for premodern Japan in general, as it is for many premodern cultures. Anthropologists developed their theories about kinship and descent from intensive fieldwork with living peoples where one can obtain both good linguistic and behavioral evidence. Having made that caveat, I will engage in some wild speculation.
The most ancient inhabitants of Japan were hunters and gatherers who probably lacked any unilineal descent groups, had very shallow genealogies, and did indeed trace descent---or perhaps, more specifically---recognize kin relationships with both the mother's and father's sides of the family (assuming that paternity was recognized). I assume by "ancient" Japan, though, that Wayne Farris is referring to a later period when we begin to get some written records and references to uji. The usual translations of uji as lineage or clan often do not specify patri- or matri- and they could have been formed via cognatic or bilateral recruitment, though the more common assumption is that they were patrilineal. The debate now seems to be whether the 5th century uji was a basic kinship group at all or whether it was a more broadly defined group that used political factors, for example, to incorporate members.
"Assuming that there was a continuous matrilineal/patrilineal squishing around of traditional genealogies in actual Japan culture---from say early times to the 6th or 7th C----"---this hasty phrasing from my original message reflects the screening of actual Japanese usages by Chinese language and culture (patrilineal) and the evidence, despite this veiling, of elements that some scholars regard as
"matrilineal". The term is in quotes because like patrilineal/cognatic/bilateral it can refer to a range of behaviors that do not necessarily indicate the presence of corporate kin groups. A culture can transmit property from mothers to daughters (a kind of matrilineal inheritance) without having matrilineal descent.
By the mid-Heian lineage membership was patrilineal but this was not a very strong patrilineal system given the post-marital residence norms, some matrilineal inheritance, and the lack of lineage exogamy (e.g., a man's marriage with a brother's daughter or father's brother's daughter). {And these generalizations do not necessarily apply to the vast majority of the non-elite.}
Rather than trying to characterize any period of Japanese culture as uniformly patri-, matri-, or whatever, it makes more sense to be willing to look at specific behaviors and try to understand their constituent elements. That is why I'm interested in the Dragon Queen's father---if she had one.
Regards, Denise O'Brien
At 03:57 AM 10/10/2001 -0400, Wayne Farris wrote:
Dear Royall and folks,
I don't know where Ms. O'Brien gets her info, but ancient kinship in
most parts of the archipelago was neither patrilineal nor matrilineal. There
is now a general consensus that it was bilateral, allowing the tracing of
descent through EITHER the male or female line. So Royall's question stands:
where is the mother? Since mothers were quite powerful and could inherit and
hold property, it would not make sense to leave her out.
Just a point of information.
Regards,
Wayne Farris
Date: Thu, 11 Oct 2001 11:32:47 -0600
From: William J. Higginson <wordfi...@....net>
Subject: Arare vs. Hyou
Dear Colleagues,
While we're wrestling with various semantic issues, let me add one that puzzles me.
Virtually every J-E dictionary I know of makes no distinction between _arare_ [Nelson 5066] and _hyou_ [Nelson 5047], except perhaps to note that the former serves in a number of somewhat metaphorical expressions.
arare: 
(New Nelson 6546), hyô: 
(New Nelson 6523)
Yet, every haikai/haiku saijiki that I pick up makes clear that these are somewhat different phenomena, over and above the fact that they occur at different times of the year (_arare_ in winter, _hyou_ in summer).
Collating the descriptions in the saijiki with North American weather guides has led me to believe that "hail" is a bad translation of _arare_, which makes much better sense as "graupel" (technical meteorological name) or "snow pellets" (common name). _Hyou_, on the other hand, does seem to pair well with "hail".
Since I have not lived in Japan year-round since the 1960s, and have no access to mainstream Japanese media, I have not been able to note current popular usage. I wonder if any list members can tell me if the distinction between _arare_ and _hyou_ found in modern haiku saijiki (both as to season and nature of phenomena) is maintained in the popular media? (I realize that these are murky waters when dealing with classical texts, as these and other words, such as _mizore_ today relegated to "sleet" or sometimes confusingly used for mixed rain and snow, for example, are often conflated in earlier times.)
Sorry to bother you with a present-day usage question, but any help will be much appreciated.
Bless All,
Bill
------------------------
William J. Higginson
P. O. Box 2740
Santa Fe, NM 87504 USA
1-505-438-3249 tel & fax
Personal Web Pages:
http://renku.home.att.net
http://wordfield.home.att.net
Info for Program Chairpersons:
http://www.speakersonasiantopics.org/Bios/Bill_H.htm
Open Directory Project Editor:
http://www.dmoz.org/Arts/Literature/Poetry/Poetic_Forms/Haiku_and_Related_Forms/
wordfi...@....net
Date: Thu, 11 Oct 2001 16:21:19 -0400
From: Royall Tyler <ty...@....harvard.edu>
Subject: Ancient kinship
Thanks, Denise. I find it difficult, though, to think about the Dragon Queen's father when (except in the pictures mentioned by Melanie Trede) we don't seem to have a Dragon Queen in the first place. Maybe dragons reproduce by parthenogenesis, if that's the word. Seriously, I suspect that the absence of a female counterpart has something to do with the Dragon King's otherworldly power.
Royall Tyler
Date: Thu, 11 Oct 2001 10:58:23 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: Arare vs. Hyou
One Yen-worth reply.
[William Higginson wrote:]
Virtually every J-E dictionary I know of makes no distinction between _arare_ [Nelson 5066] and _hyou_ [Nelson 5047], except perhaps to note that the former serves in a number of somewhat metaphorical expressions.
The five-syllable-word -arare- as metaphorical expressions are used in _Manyo^shu^- poems and royal anthologies (since Tenth Chokusenshu^, _Shoku Goesen Wakashu^_ (1251) as one of the favorite topics depicting "sound" that breaks your dream at night, or an uprush of emotion, feelings of a crescendo of heart. From the association of its sound when falling, -arare-utsu- and -arare-furi- are used as "makura kotoba" in Manyo^shu^ poems.
I have, so far, never encountered with one waka (in pre-modern anthologies) that includes -hyou-.
My assumption is that for its size, i.e., _arare_ is about a size of the tip of your small finger, whereas -hyou- is about the size of a golf ball, and consequently the volume of sound each makes is different. If you stay in under the tin roof when -hyou- falls, you will hear timpani concerto. -Hyou- makes bumps on your car, and damages green leafy vegetables and fruits in the garden. Thus, _hyou_ is, I believe, a incongruous topic for haiku or tanka.
Yet, every haikai/haiku saijiki that I pick up > makes clear that these are somewhat different phenomena, over and above the fact that they occur at different times of the year (_arare_ in winter, _hyou_ in summer).
Yes, it is a seasonal meteorological phenomenon: _arare_ in winter and _hyou_ in summer.
Collating the descriptions in the saijiki with North American weather guides has led me to believe that "hail" is a bad translation of _arare_, which makes much better sense as "graupel" (technical meteorological name) or "snow pellets" (common name). _Hyou_, on the other hand, does seem to pair well with "hail".
I would choose "snow pellets" (if I must) for _arare_ and "hail" for _hyou_
Since I have not lived in Japan year-round since the 1960s, and have no access to mainstream Japanese media, I have not been able to note current popular usage. I wonder if any list members can tell me if the distinction between
_arare_ and _hyou_ found in modern haiku saijiki (both as to season and nature of phenomena) is maintained in the popular media? [...] Sorry to bother you with a present-day usage question, but any help will be much appreciated.
Here is a down-to-earth, modern usage of the word _arare_ in Hawaii. People here consider it as an English word. It is a package of
inexpensive snack, crunchy rice-cakes diced in the size of the tip of your small finger. _Arare_, locally made and imported from Japan, Korea, and Taiwan, are always available in supermarkets, Seven-11s, and any convenience stores here. Far from a usage of the poetic rhetoric, this is how the word has become commonly used here.
As a non-native, I have to rely on Kenkyu^sha or Sanseido^s J-E dictionaries. But I often feel that English translations in these
dictionaries do not convey the exact meaning of counter English words, but rather straight, 'literal' transliterations. I raised this issue once with the noted scholars/professors over internet.
With Aloha
Rokuo Tanaka
Date: Thu, 11 Oct 2001 17:45:07 -0400
From: "Denise O'Brien" <obri...@...ro.temple.edu>
Subject: Ancient kinship/Dragons
Does anyone else remember?---there was a session at the '99 Association for Asian Studies meetings on The Dragon Palace: Exoticism, Sexuality, and Power in Premodern Japan. Participants included Fabio Rambelli, X. Jie Yang, and Melissa McCormick. Robert Kahn was the discussant and one of his general points was that the Dragon Palace is an ambivalent place; reflects tensions in the sexual order. Perhaps there is no Dragon Queen because she would impinge on the King's power as Royall suggests. Also, perhaps we are seeing another example of Fujiwara cultural hegemony in that a key myth portrays the Dragon King whose daughter becomesthe mother of an emperor as analogous to all those proud Fujiwara papas who were the grandfathers of emperors. Maybe Michinaga thought of himself as a Dragon King (in the wild speculation realm).
Regards, Denise O'Brien
Roberta Strippoli points out below that "The discussant of that 1999 AAS panel (The Dragon Palace: Exoticism, Sexuality, and Power) was in fact Max Moerman. The panelists were Melissa McCormick, Fabio Rambelli, X. Jie Yang, and [Roberta Strippoli]."
Date: Thu, 11 Oct 2001 17:50:04 -0400
From: Lawrence Marceau <lmarc...@...l.Edu>
Subject: Tale of Genji mentioned in the New Yorker
"The PMJS's own" Royall Tyler's new translation of the Tale of Genji is now available, it seems. In "Book Currents" (New Yorker, October 15, 2001), William Cohen notes:
"The Origins of the Novel
'In a certain reign (whose can it have been?) someone of no very great rank, among all His Majesty's Consorts and Intimates, enjoyed exceptional favor.' so begins Royall Tyler's limpid new English translation--the first in
twenty-five years--of Murasaki Shikibu's eleventh-century work The Tale of Genji (Viking). Tyler's delicate ear for
the language of the original helps breath new life into the story of Genji, the illegitimate son of the emperor by his
favorite concubine, who becomes a rising star at court and a prolific seducer of women before his dalliances catch up with him. Murasaki's work, which some consider the world's first novel, provides an incomparable glimpse into the political, aesthetic, and erotic aspects of the Heian court..."
Cohen then goes on to mention Miyeko Murase's The Tale of Genji: Legends and Paintings, and finally Liza Dalby's The Tale of Murasaki. Quite a bit of space devoted to a woman who lived far, far from Manhattan a millenium ago!
Lawrence Marceau
Date: Thu, 11 Oct 2001 11:55:16 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: Dragon Queens
One Yen-worth of contribution.
The word association of 'Tamasaburo^' and 'Ryu^jin' in Ms.Suzuki's message incites me to write this:
One act Kabuki play, NARUKASMI, performed by Tamasaburo^ and Danju^ro commbi, was/is an absolutely superb one. This one act play, first performed in 1742, is one of the Ichikawa family's 'The Kabuki Ju^hachiban' (the eighteen repertoire), is very popular even today, more so when performed by Tamasaburo^/Danju^ro^ commbi.
The priest Narukami, who holds a grudge against the Emperor, cages up the Dragon god of rain in a cave beneath a waterfall and confines himself to a stone hut. As a result, a drought afflicts Japan; in order to save the suffering farmers, the Imperial court despatches the beautiful Princess Kumo no Taema (of course by Tamasabur^o!). She urges the priest to drink sake and seduce and arouse him sensually. The priest then is depraved and releases Ryu^jin from the cave. Ryu^jin mounts to heaven
and a cloudburst occurs. The highlights of this play is the seduction scene in the first half of the play, and the angry priest after his realization that he has been duped, acts in the bravura 'aragoto' style in the second
half. (quoted in part from _Samueal L. Leiter's _Kabuki Encyclopedia_, London: Greenwood Press, 1979, p269.)
I am cluttering your e-mail since this is not related to Prof. Tyler's initial issue. As I always say "You may always hit DELETE key without any guilt." But then my question is why is a spatial difference: The Dragon king in the Deep and The Dragon god of rain in Heaven?
With Aloha,
Rokuo Tanaka
Date: Thu, 11 Oct 2001 16:11:25 -0700
From: William Bodiford <bodif...@...a.edu>
Subject: No Dragon Queen? (from Royall Tyler)
Since this discussion has branched out to concern Dragon Queens in general, let me add that Dragon Queens are healthy and well. I have seen many of them in Japan. Buddhist temples that offer rituals for making it rain frequently enshrine sacred dragons. I have seen talismans that I have seen from several such temples and, as far as I can remember, they always depict an anthropomorphic pair ---- husband and wife ----- of dragons. They are labeled as the dragon king and the dragon queen (i.e., Buddhist Naga).
.......William Bodiford
William Bodiford (bodif...@...a.edu)
Dept. of East Asian Languages and Cultures, UCLA
Los Angeles CA 90095-1540
Date: Fri, 12 Oct 2001 09:48:50 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: Tale of Genji
Thanks to Lawrence Marceau for spotting the New Yorker's "Book Currents" piece on Genji--short (three paragraphs) but prominent. The full text can be read at
http://www.newyorker.com/THE_CRITICS/BOOK_CURRENTS/
I am sure that I am not the only one interested in collecting examples of modern Genji reception to add to our collection of fading microfilm printouts and photocopies of reviews of earlier translations.
Several reviews are included on Amazon's page, one from Publisher's Weekly and a second from Library Journal, the latter written by a professor of comparative literature, with short but interesting comments on the style and language as compared to the Seidensticker and Waley versions. The note from Kirkus Reviews ends "There is nothing else on earth quite like The Tale of Genji. Utterly irresistible."
I understand that the official publication date is October 15th, next Monday, but as many of you may have seen, online booksellers like Amazon started shipping copies as of Oct. 11, so those of us who have ordered should see our copies soon.
U.S., Japan, and British pages, with the usual Amazon Associate links
http://www.amazon.com/exec/obidos/ASIN/0670030201/pmjsmailinglist
http://www.amazon.co.jp/exec/obidos/ASIN/0679729534/pmjsjp-22
http://www.amazon.co.uk/exec/obidos/ASIN/0670030201/pmjs
(Last year's commissions went toward the second annual pmjs bonenkai in Tokyo. Not too soon to start planning for this year's.)
A number of articles based on interviews areI of interest, one with Royall himself
http://www.anu.edu.au/pad/reporter/volume/31/04/opinion/royalltyler.html
"ANU scholar revisits a Japanese classic"
and one with Wendy Wolf, Royall's editor at Viking
http://publishersweekly.reviewsnews.com/
"Laboring for a Living Classic" (08/20/2001)
[no direct link, registration required to access site]
Royall will also be giving talks in a number of U.S. cities, e.g.
Boston - October 23, Harvard Information Center in The Holyoke Center, 1350 Mass. Ave. 6PM. Tickets available at Harvard Book Store.
http://www.harvard.com/events/detail/tyler.html
Washington -Thurs., Nov. 15, 6 p.m.
http://residentassociates.org/rap/otonov/genji.asp
I'd better stop there. There is sure to be much more after the official launch. Do let me know--off-list if you like (wat...@...eijigakuin.ac.jp)--if you come across any more interesting links or print reviews.
Michael Watson
Date: Fri, 12 Oct 2001 12:32:48 +0900
From: Tim Kern <timk...@...hibun.ac.jp>
Subject: hyou vs.arare
It is a little early to sharpen my ski edges but I found this very popular children's song on the net. If you want the melody please check it out.
<http://www.interq.or.jp/japan/k3j/>
[here given in romanization -->kanji]
Yuki ya konko arare ya konko
futte wa futte wa zunzun tsumoru
yama mo nohara mo watabôshi kaburi
kareki nokorazu hana ga saku
yuki ya konko arare ya konko
futte mo futte mo mada furi-yamanu
inu wa yorobobi niwa kake-mawari
neko wa kotatsu de maruku naru
[From Jinjô shôgaku shôka [Elementary School Song Book], vol. 2, Meiji 44, June
yuki ya konko = yuki yo koi koi]
--
Although Japanese doesn't have as many words for frozen H2O falling from the sky as the Inuit they do distinguish the phenomena. The problem seems that recently the Japanese aren't as acclimatized as they used to be. The song combines yuki and arare together which to a snow lover seems a bit strange in the context of the song itself. As someone already mentioned hyou or hail is usually a non-winter phenomenon and because of its destructive nature is not very poetic. When I first learned this song as a child I thought kon-ko was pronounced kon-kon like my fellow Japanese and that it was the sound of snow. But my good elementary teacher (Nakagawa sensei) told us as it says above that it is the abbreviation of koi-koi (come come/ or better fall fall). The actual onomatopoeia in the zun-zun to express the rate of snow accumulation. yuki usually takes an adjective like wata (cotton) ko (small) or oo(big). But I have problems with the definition in Kenkyusha that renders arare as hail or grauple? How can our canine friends run around the yard if so, or for that matter the mountains and meadows wear white cotton caps and hibernating trees seem to flower. The lyricist either used a different dictionary or went wild with poetic license. Anyway, if one takes the description of my friends in Nagano or some of the other heavy snow countries arare is the very small (smaller than the tip of ones pinky) pellets of snow that have a packed quality. the temperature is not as cold as when the kona yuki (powder) snow and it comes when the humidity is higher. arare will hurt if you look up into the sky but not damage things like hyou does. Has anyone come across any English words that can translate the onomatopoeia shin- shin , as in yuki ga shin shin to furu. Is it gitai or gion go? When I'm in Japanese mode I can hear shin- shin but when in Canada their really is no sound. Maybe Canadians have a hearing problem.
Timothy Kern (Associate Professor)
Office of Research Exchange
International Research Center for Japanese Studies
3-2 Oeyama-cho,Goryo,Nichikyo-ku, Kyoto 610-1192
Japan
Tel. +81-75-335-2222
2166(Office)
Fax. +81-75-335-2090
e-mail <timk...@...hibun.ac.jp>
URL <http://www.nichibun.ac.jp>
Date: Fri, 12 Oct 2001 13:41:44 +0900
From: Susanne Nishimura-Schermann <susa...@...c.meiji.ac.jp>
Subject: No Dragon Queen?
As for the missing Queen, it seems to me that from the point of view of storytelling and dramaturgy, it is convenient to have only one parent. It is easier to handle this one-to-one relation, and gives probably stronger results. Fairy tales, theater pieces, and films are full of this pattern. Of course, the pattern with both parents exist too, sometimes one parent is barely visible, sometimes one takes the good part, the other the bad part, more complex stories have elaborated parents. Conclusion? The Dragon Queen is missing because she is not
needed in the story. If she would be here, the Dragon King would be missing... (and the daughter would be probably a son)
Sorry for not speculating wildly
Susanne Schermann
Date: Thu, 11 Oct 2001 23:10:03 -0600
From: William J. Higginson <wordfi...@....net>
Subject: hyou vs.arare
Dear Tim,
Many thanks for your report, and the delightful
song.
As I said earlier, _arare_ as "hail" doesn't work. "Graupel" is the correct phenomenon, in meteorologist-jargon, but "snow pellets" seems to be the most common vernacular term in English.
The song combines yuki and arare together which to a snow lover seems a bit strange in the context of the song itself.
This accords well with haiku saijiki information, and with North American weather manuals. From what the saijiki say, and from my experience here in Santa Fe, arare is easily compressed or smushed into sort of tiny squashed snowballs, and so no problem to skiers, I imagine, though not quite as happy-making as powder.
As someone already mentioned hyou or hail is usually a non-winter phenomenon and because of its destructive nature is not very poetic.
Yes, this was Rokuo Tanaka--in Hawai'i! Thanks to him also for his thoughts on the subject.
When I first learned this song as a child I thought kon-ko was pronounced kon-kon like my fellow Japanese and that it was the sound of snow. But my good elementary teacher (Nakagawa sensei) told us as it says above that it is the abbreviation of koi-koi (come come/ or better fall fall). The actual onomatopoeia in the zun-zun to express the rate of snow accumulation.
Many thanks for the glosses. The song is quite delightful, as you say, and I may pass it along to friends who teach Japanese here to young people. It's really very appropriate to our Santa Fe, NM, winters.
yuki usually takes an adjective like wata (cotton) ko (small) or oo(big). But I have problems with the definition in Kenkyusha that renders arare as hail or grauple?
Meteorologists refer to what the Japanese poets call arare as graupel, which is two things: (1) the "snow pellets" aforementioned, and (2) the seed element in forming hail. As (1), it falls in winter, frequently just at the beginning of a snowstorm. As (2), it goes through several down-up cycles within wet cumulonimbus clouds, gathering more water-turns-to-ice in layers to become hail--larger and more dangerous than (1) and typical of summer, not winter.
In other words, "graupel" as experienced directly in itself is what commoners (should) call "snow pellets" in English, a winter phenomenon. This is arare.
Anyway, if one takes the description of my friends in Nagano or some of the other heavy snow countries arare is the very small (smaller than the tip of ones pinky) pellets of snow that have a packed quality. the temperature is not as cold as when the kona yuki (powder) snow and it comes when the humidity is higher. arare will hurt if you look up into the sky but not damage things like hyou does.
This accords exactly with the saijiki descriptions, in every respect.
Has anyone come across any English words that can translate the onomatopoeia shin- shin , as in yuki ga shin shin to furu. Is it gitai or gion go? When I'm in Japanese mode I can hear shin- shin but when in Canada their really is no sound. Maybe Canadians have a hearing problem.
This is quite interesting. The only resource I have that seems to bear even tangentially on the problem is the Hokuseido *A Practical Guide to Japanese-English Onomatopoeia and Mimesis* (actual English title). They give for just _shin_ "to be utterly quiet, without any sound at all." And for _jin-jin_ they give "a gradual, progressive condition" where the headword _jin_ is "to feel cold, pain, emotion, etc., so strongly as to be numbing." Not much help, though it may suggest that your Canadian experience is not wrong.
Seems to me there's a similar expression to your shin-shin in Russian, "shto-shto" or some such, meaning something like "quietly, quietly"--but that may be an invented memory from 40 years ago.
I'm still kind of wondering about colloquial usage of _arare_ and _hyou_ in Tokyo, Kansai, etc.
Anyway, many thanks for the song, it's a treasure, and for the thoughts on arare in yukiguni, which is precisely where one of my saijiki says it is most common.
Best wishes,
Bill
------------------------
William J. Higginson
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Date: Fri, 12 Oct 2001 22:25:45 +0900
From: Nobumi Iyanaga <n-iya...@....bekkoame.ne.jp>
Subject: No Dragon Queen?
My wild guess is that dragon symbolism has a strong erotic connotation -- so that, while male dragons are to be married with (or, perhaps rather, they commit adultery with...??) human girls, female dragons are to be married with human guys. This would be why there is no room for dragon wifes (queens)...??
Best regards,
Nobumi Iyanaga
Tokyo,
Japan
Date: Fri, 12 Oct 2001 10:38:14 -0400
From: Royall Tyler <ty...@....harvard.edu>
Subject: Ancient kinship/Dragons
Many thanks to all the dragonophiles who have have responded. The evidence that people imagined a queen anyway (Melanie Trede's illustration, William Bodiford's paired rain dragons) is helpful, and Susanne Nishimura's suggestion has a convincing ring. Rats! No parthenogenesis, just happy dragon families--dragon moms and dads, as George Bush would say.
But I doubt that the MichiNAGAs of the day would not have thought of themselves as dragons. They were, so to speak, latter day bearers of Kamatari's fuji-wrapped kama, given him as a baby by a fox (Dakini).
Royall Tyler
Date: Fri, 12 Oct 2001 10:43:43 -0400
From: Royall Tyler <ty...@....harvard.edu>
Subject: Tale of Genji
Thanks to Michael for spreading the Genji word so fast. But please, folks, don't bother with this one:
A number of articles based on interviews areI of interest, one with Royall himself
http://www.anu.edu.au/pad/reporter/volume/31/04/opinion/royalltyler.html
"ANU scholar revisits a Japanese classic"
I was made to do it terribly prematurely by a Dean desperate to "lift the profile of the Faculty of Asian Studies."
Royall Tyler
Date: Fri, 12 Oct 2001 17:17:47 -0400
From: Lawrence Marceau <lmarc...@...l.Edu>
Subject: "tezukuri" in classical texts
Before "tedukuri" gets too cold, I'd like to share what I've found.
In Sanseidou's _Jidai-betsu Kokugo daijiten: Joudai-hen_, the item for "tedukuri" says, "Tezukuri no mono. Teori no asanuno." It then gives an example from MYS 3373(old)/3390(new) that clearly refers to fabric that has been treated in the waters of the Tama River, Musashi Province. It then provides an example from _Nihon ryoui ki_, and examples from _Shinsen jikyou_ and _Wamyou shou_, that identify "tedukuri" as 
("cho," "ichibi, a type of hemp, or "asanuno," the fabric woven from hemp); and 
("wo," "karamushi," a type of hemp; also thread or rope made from "wo"). I assume from John Bentley's message that these characters refer to "Indian mallow."
The same _Jidai-betsu_ dictionary does not have "tadukuri" but it does have the verb, "tadukuru." The definition goes, "Ryosou (travel attire) wo totonoeru i (meaning) ka. "Ta" wa "te" (hand) ka." Then follows an example from NS-kayou #106, and from MYS 4008 (old)/4031 (new). The fourth and fifth lines of #106 "ayoi tadukuri / koshi dukurou mo" clearly refer to tying ones legging cords and tightening ones waistband. The usage is similar in the MYS poem as well.
Well, after all that, it doesn't seem that I've said any more than John Bentley has already said. The NS usage is, as a verb, "to prepare ones travel attire" while the other, a noun, refers to a type of woven fabric, related to hemp. I guess I could add that the _Nihon kokugo daijiten_ (1st edition) has a reference to "tatsukuri" as an ancient name for Choufu (now a city in Tokyo Prefecture), where cloth ("nuno," "fu") was treated in the Tama River and presented as "tribute" ("chou") to the Court. The example given, however, dates from the eighteenth century, so it could be anachronistic.
Lawrence Marceau
Date: Fri, 12 Oct 2001 17:29:24 -0400
From: Lawrence Marceau <lmarc...@...l.Edu>
Subject: Ancient kinship/Dragons
I always connected the Urashima legend with the Dragon King and Dragon Princess. I know that in the Tango Fudoki
version, Urashima goes to the island/mountain of Penglai on a tortoise/princess, where he meets the princess' father and
mother both. This doesn't seem to be the Dragon Palace, though. However, in the MYS version by Takahashi no
Mushimaro, he meets the daughter of the mighty deep (Watatsumi no kami no otome=Cranston translation). They go
hand in hand to the Realm of Everworld (Tokoyo), the palace of the god of the great deep (Watatsumi no kami no miya).
No mother here.
I agree that for the purposes of the narrative, no mother is necessary.
Lawrence Marceau
Date: Sat, 13 Oct 2001 10:44:33 -0700
From: William Bodiford <bodif...@...a.edu>
Subject: Re: "shin - shin" (WAS hyou vs.arare)
Hello.
Regarding "shin - shin," Ono Hideichi's *A Practical Guide to Japanese-English Onomatopoeia & Mimesis; Nichi-Ei gion - gitaigo katsuyo jiten (Hokuseido, 1984), p. 156, defines "jin-jin" as "a gradual, progressive condition." He gives the following example:
Hitchcock wa kyakkan o hara hara saseru *jin jin* kuru, thrill to suspense no kyoshou = "Hitchcock keeps the audience in suspense: (he is) a master of *gradually building* thrill and suspense."
............William Bodiford
******At 2001-10-12 , Tim Kern wrote:
Has anyone come across any English words that can translate the onomatopoeia
shin- shin , as in yuki ga shin shin to furu. Is it gitai or gion go? When
I'm in Japanese mode I can hear shin- shin but when in Canada their really
is no sound. Maybe Canadians have a hearing problem.
Date: Sat, 13 Oct 2001 11:33:32 -0700
From: "stephen d. miller" <smil...@...t.colorado.edu>
Subject: Re: "shin - shin" (WAS hyou vs.arare)
Greetings,
In the most comprehensive giseigo/gitaigo dictionary I've seen yet--"Dictionary of Iconic Expressions" published by Mouton De Gruyter and edited by Hisao Kakehi, Ikuhiro Tamori and Lawrence Schourup [two volumes, 1431 pp.]--there is no listing for "shin shin". There is, however, "shin" which in the form "shin to" and "shin to suru" means "the state of being perfectly quiet and still". "Jin-jin" is given as "the manner in which emotions or physical sensations are strongly felt."
Stephen Miller
Date: Sat, 13 Oct 2001 22:57:18 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: Re: "shin - shin" (WAS hyou vs.arare)
Greetings from the Islands of Paradise (-where no snow falls.)
I might have missed some messages from the contributors on the subject,
I have never encountered the usage of "jin-jin" for describing the scene of snow fall.
My assumption is that it comes from a Chinese compound noun "shen shen" (apply kanji for "fukai [deep]) which you can locate Chuang Tzu's article and Du Fu's poetry, describing the sense of "profound and untangible atmosphere" and "profound quietness." Contemporary usage is to express the permeating chill you feel at cold, snowy night". There is no sound of wind outside and a stir of mouse inside your house, and you only have a hand warmer (hibachi) to keep you warm. The snow falls incessantly falls.The night progresses. That is when you would have the sense of "yuki wa (or ga) shin shin to furu. "
With Aloha
Rokuo Tanaka
Date: Sun, 14 Oct 2001 08:52:46 -0400
From: Lawrence Marceau <lmarc...@...l.Edu>
Subject: Re: "shin - shin" (WAS hyou vs.arare)
This isn't "shin - shin," but I found in _Nihon douyou shuu_ (Iwanami Bunko) a song, "Hanako no kuma," by Yosano Akiko, in which the first line goes, "Yuki ga shito - shito futte kita." For "shito - shito," the _Nihon kokugo daijiten_ gives, "Ame nado ga shimeyaka ni furu sama wo arawasu go."
As for "shin - shin," the same "daijiten" gives, "Ame ya yuki nado ga shikiri ni furu sama. Mata Namida ya ase nado ga shikiri ni ochiru sama." In this sense it would seem to translate as "steadily." It does not seem to be "giongo," since tears and perspiration flow silently, but rather "gitaigo."
Lawrence Marceau
From: "von Verschuer Charlotte" <versc...@....jussieu.fr>
Date: Sun, 14 Oct 2001 22:05:52 +0900
Subject: No Dragon Queen?
For the Dragon, do not miss the following title:
Yasuda Yoshinori, Ryuu no bunmei, taiyou no bunmei
PHP Shinsho, 2001 (September)
Charlotte von Verschuer
* (Watson adds)
for a short but intriguing summary of this bunkobon (600 yen) see
http://www.amazon.co.jp/exec/obidos/ASIN/4569617352/
Note that the number in the url is the ISBN
Date: Sun, 14 Oct 2001 09:33:15 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: Re: "shin - shin" (WAS hyou vs.arare
"YUKI ga shito shito to furu" - No.
"Yuki ga shin shin to furu" - Yes
"AME ga shin shin to furu" - No.
"AME ga shito shito o furu" - Yes.
I am positive.
Yosano Akiko is noted for her challenge to the established, conventional poetic diction. Her verse in a children's song referred by Prof. Marceau cannot be considered, in my humble opinion,to fall into the category of the standard poetic rhetorics, even for do^yo.
Speaking of Yosano Akiko, I am off this week to the 2001 WCAAS at UM in Missoula to present my paper on a Mid-Tang poetess--Oops--Woman Poet (Why the feminism advocate makes such a pretty word obsolete, beyond my comprehension!) who is famous for her unconventional, boldly sensual poems. I will compare Akiko's equally famous poem -"Yawahada no atsuki chishio
ni.furemosede......" in the Midaregami collection- to this Tang woman poet's work. But that's another issue.
With Aloha
Rokuo Tanaka
___________________________________________________________________
Date: Mon, 15 Oct 2001 09:12:04 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: Tyler Genji
With Royall Tyler's kind permission I have added two pages to the pmjs site.
http://www.meijigakuin.ac.jp/~pmjs/resources/tyler-genji.html
http://www.meijigakuin.ac.jp/~pmjs/resources/tyler-genji-rom.html
The first gives a list of all 54 chapters (plus no. 41.5 "Kumogakure") with titles in kanji, modern romanization, and in Royall's translation, with the page numbers. The second omits kanji, but adds circumflex for Yugao, Kocho, etc. Each chart print out as one page, giri giri. A handy bookmark, perhaps, as you begin to read the new translation.
To whet your curiosity, here are Royall's translations of the titles.
The Paulownia Pavilion
The Broom Tree
The Cicada Shell
The Twilight Beauty
Young Murasaki
The Safflower
Beneath the Autumn Leaves
Under the Cherry Blossoms
Heart-to-Heart
The Greeen Branch
Falling Flowers
Suma
Akashi
The Pilgrimage to Sumiyoshi
A Waste of Weeds
At the Pass
The Picture Contest
Wind in the Pines
Wisps of Cloud
The Bluebell
The Maidens
The Tendril Wreath
The Warbler's First Song
Butterflies
The Fireflies
The Pink
The Cressets
The Typhoon
The Imperial Progress
Thoroughwort Flowers
The Handsome Pillar
The Plum Tree Branch
New Wisteria Leaves
Spring Shoots I
Spring Shoots II
The Oak Tree
The Flute
The Bell Cricket
Evening Mist
The Law
The Seer
Vanished into the Clouds
The Perfumed Prince
Red Plum Blossoms
Bamboo River
The Maiden of the Bridge
Beneath the Oak
Trefoil Knots
Bracken Schoots
The Ivy
The Eastern Cottage
The Drifting Boat
The Mayfly
Writing Practice
The Floating Bridge of Dreams
Happy reading to all of you,
Michael Watson
Date: Mon, 15 Oct 2001 15:46:22 +0900
From: Susanne Nishimura-Schermann <susa...@...c.meiji.ac.jp>
Subject: Development of samurai status and villages in Sengoku era
Dear Pre-Meijis.
I am writing an article on Kurosawa's "Seven Samurai", a film set in the Sengoku era. I have two questions about this film.
First: one main point in the film is the sharp distinction between farmers and samurai. However, in my (shallow) knowledge of Japanese history, this sharp distinction started later, at the beginning of the Tokugawa era, and I have read somewhere that before that,
samurais also used to work as farmers. How did the samurai status develop?
My second question concerns the structure of the village. The house of the choro is a little bit away from the village, and I
wonder if this was normal. Are there any researches on how people used to build their villages in the Sengoku era?
I would be grateful for any informations about books and articles on these subjects. I was not able to detect something
in the university computer, since or the computer finds 500 books, or none. English, Japanese, German, Italian sources are
welcome. Thank you very much.
Susanne Schermann
Meiji University, Japan
Film researcher
Date: Sun, 14 Oct 2001 21:37:13 -0600
From: William Higginson <wordfi...@....net>
Subject: "Poetess" (was shin-shin)
Dear Rokuo,
Speaking as a male poet married to a female poet, regarding "poetess":
We don't need it, as the word "poet" has no gender in English (compare doctor, teacher, writer,
etc.). And, it is offensive to my ear. At 62, I have no particularly feminist ax to grind (I don't like true believers of whatever stripe too much), but I am particular about language. I class "poetess" and "haikuist" in the same, put-down language dustbin. (Yes, I know about the Asahi column.) And I felt that way about these words before the upsurge of feminism in the 1970s. Technically, there is nothing "wrong" with them, I suppose, but as a careful writer, conscious of their negative effects on my own ear and the ears
of other careful writers I know, I avoid them. Needlessly antagonizing part of the audience does not seem to be part of the job of a writer.
However, as a one-time Methodist, therefore aware of the business of those who are put-down adopting the pejorative term applied to them and turning its meaning around, I can't get too excited about all of this.
So, for what it's worth, I'd say the bottom line here is just that really careful writers avoid such terms.
Bless All,
Bill Higginson
Date: Mon, 15 Oct 2001 00:39:28 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: Re: "shin - shin" (WAS hyou vs.arare)
On Sun, 14 Oct 2001, Lawrence Marceau wrote:
> This isn't "shin - shin," but I found in _Nihon douyou shuu_ (Iwanami Bunko) a song,
> "Hanako no kuma," by Yosano Akiko, in which the first line goes, "Yuki ga shito - shito
> futte kita." For "shito - shito," the _Nihon kokugo daijiten_ gives, "Ame nado ga shimeyaka
> ni furu sama wo arawasu go."
Il pleut doucement sur la ville - "Chimata ni wa shimeyaka ni
ame ga furu."
(Charles Rambaud)
Rambaud's one line induced Paul Verlaine his ever popular poem, especially in Japan, entitled "Il pleut dans mon coeur":
Il pleut dans mon coeur Chimata* ni ame no furu gotoku
Comme il pleut sur la ville, Waga kokoro nimo ame** zo furu
Quelle est cette langueur Kokoro no soko ni nijimi iru
Qui penetre mon coeur? Kono wabishisa wa nan naramu.
Japanese translation is by Ueda Bin from my memory. Suzuki Shintaro^ translates * miyako ni, **namida furu.
Japanese audiences, even rank and file, owe the above poem along with another poem "Chanson d'Automne" to Ueda Bin's meiyaku,his excellent translations into Japanese.
"Shimeyaka ni" cannot be replaced with "shin shin" for Rambaud's one line--Il pleut DOUCEMENT sur la ville. Don't you agree?
With Aloha
Rokuo Tanaka
Date: Mon, 15 Oct 2001 01:30:08 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: Re: "Poetess" (was shin-shin)
Dear Professor Higginson:
You have challenged the editors--David Dilworth, J. Thomas Rimer--, and the contributors-- Richard Bowring, Darcy Murray, Edmund R. Skrzypszak, and William R. Wilson-- in _The Incident at Sakai and other stories Volume I: Of the Historical Literature of Mori O^gai_ (University Press of Hawaii, 1977) in which I remember clearly that I have come across "poetess, and told myself "Well, it has a far better sound than a 'woman poet' (for that matter a 'female poet' sounds to my ear like a biological term).
By the way, I have left four volumes of _Saijiki_ (Spring, Summer, Autumn, and Winter) at home in Japan, I cannot see myself any examples on the topic of "hyou" in haiku. So I cannot stand correction yet.
Sincerely and with Aloha
Rokuo Tanaka
Date: Mon, 15 Oct 2001 15:57:42 +0300
From: "Rein Raud" <Rein.R...@...sinki.Fi>
Subject: Re: "Poetess" (was shin-shin)
Do we really have to have arguments like this on this list? I agree that words matter, but perhaps we should limit at length discussions of the "correctness" of an English term on this list only if it refers to a cultural phenomenon specific to Japan.
Rein Raud
Date: Mon, 15 Oct 2001 08:47:54 -0500 (CDT)
From: Carol Tsang <cts...@....edu>
Subject: Re: Development of samurai status and villages in Sengoku era
Perhaps the easiest way to get started don this is to look at the series Nihon Sonraku-shi Koza, put out by Yusankaku. It's not the most recent work, but it's very helpful, especially at the beginning. There are volumes on the landscape of villages, and on most other aspects of village life.
I think you're not so much interested in the origin of "samurai" as you are of the clear distinction between them and "farmers". (Forgive the quotation marks--I'm working on the ikko ikki and am getting to find these terms too broad to be comfortable with, though...)
Another book you should absolutely look at is Fujiki Hisashi's _Sengoku no saho: mura no funso no kaiketsu, pub. Heibonsha, 1987, and also his Toyotomi heiwa rei to sengoku shakai, Tokyo Daigaku shuppankai, 1985. Fujiki's work is not universally accepted--is anyone's?--but it's important if you want to read things on this topic written after his works.
I could go on, and will off-list if you'd like, but I think these are a good place to start.
Carol Tsang
University of Illinois at Chicago
cts...@....edu
Date: Tue, 16 Oct 2001 11:51:43 +0100
From: N.Yamag...@...n.ac.uk
Subject: gesture
Dear All,
Would anybody be kind enough to respond to the following query on gesture in Noh and Kabuki? This is from my Open University colleague who specialises in Greek theatre. Any help on this will be grately appreciated. I shall forward any of your responses to him. He does not read Japanese, but I can help him with that at least, so please do include Japanese materials, if any, in your answer.
Yoroshiku onegaishimasu.
Naoko Yamagata
Dr. Naoko Yamagata
Staff Tutor in Arts/ Lecturer in Classical Studies
The Open University
Parsifal College
527 Finchley Road
London NW3 7BG
UK
[N.Yamagata] Here is the message from Lloyd, my colleague:
Dear Colleagues -
I'm asking for help. I'm a classicist working on aspects of the performance of Greek tragedy. I am particularly interersted in the use of
gesture on the Greek stage (natural and abstract) and I want to carry out some research into theatre anthropology. Can anyone here offer me advise on where I can find material (books, articles, videos etc) relating to the use of gesture in noh and kabuki (or any other oriental tradition for that matter). More specifically, is there anything I can consult on female gesture on the Japanese/oriental stage?
Your help will be most appreciated.
Sincerely,
Dr Lloyd Llewellyn-Jones
The Open University, UK.
Date: Tue, 16 Oct 2001 21:35:11 +0900
From: "Susanne Schermann" <susa...@...c.meiji.ac.jp>
Subject: Question (gimon) about the list
Dear Pre-Meijis,
I heard by chance, that one of our list members has been told by the list manager that he/she has to stop posting for a while, because he/she sends too many mails to the list.
(I want to add that the person concerned did not complain about it, nor ask me to write this mail.)
Now, I wonder if this is a right thing to do. A mailing list is alive because everybody contributes to it. Especially since the pmjs-list is so
kind to give digest versions, too, I do not see a problem in posting much. Everybody is free to complain about things that do not work well in the list, and actually sometimes this happens. And after all, every computer has a delete button, and we all know how to use it, since we had to learn how to deal with too much information. However, telling somebody to stop posting for a while sounds to me close to censorship.
How does everybody think about it?
Susanne Schermann
Date: Tue, 16 Oct 2001 10:43:36 -0400
From: David Pollack <poll...@...l.rochester.edu>
Subject: Re: gesture
Two works that deal with comparative Greek and Japanese drama might offer some help.
David Pollack
1. Dramatic representations of filial piety : five noh in translation, with an introduction /
Author: Smethurst, Mae J., 1935- Publication: Ithaca, N.Y. : East Asia Program, Cornell
University, 1998 Document: English : Book/Text Libraries: 74
2. The artistry of Aeschylus and Zeami : a comparative study of Greek tragedy and no /
Author: Smethurst, Mae J., 1935- Publication: Princeton, N.J. : Princeton University Press,
1989 Document: English : Book/Text Libraries: 367
Date: Tue, 16 Oct 2001 16:15:49 +0100
From: Naoko Yamagata <N.Yamag...@...n.ac.uk>
Subject: Re: gesture
Dear David,
Thank you! That is a thought. I believe Lloyd has read 2, but not 1. I will pass this onto him.
Many thanks again.
Best wishes,
Naoko
Date: Tue, 16 Oct 2001 11:57:39 -0400
From: Sonja Arntzen <sonja.arnt...@...ronto.ca>
Subject: Re: poetess
A reflection rather than a weighing in to the debate.
Reading the exchange over "poetess" on PMJS, I was struck by how almost random and yet intensely felt are the ricocheting of sounds and meanings in our minds. Recently, I assigned to a survey course in Japanese classical literature a piece of web-list homework to compare six English translations of Ki no Tomonori's "hisakata no/ hikari nodokeki..." poem. One student dismissed Clara Walsh's translation in "Master Singers of Japan" (1912) because the word "vernal" to that student's ear evoked words with a somewhat similar sound, "venereal" and "vermin." Another student countered that he liked the word vernal because he knew that it was related
to the Latin word for spring and hence elevated the diction. Tonight reading Koji Kawamoto's recent book, "Poetics of Japanese Verse" (which I find myself reading in a kind of rapture), I had a similar experience. It was occasioned by a translation of the Basho poem, arigata ya/ yuki o kaorasu/ Miamidani, which goes "How wondrous/ snow-embalming/ South Valley." At first, I was taken aback by "embalming" for kaorasu. Then, in the explanation, the root meaning of embalming, "to make fragrant" came out.
Of course, to embalm is to make the dead fragrant. Tiger balm and Balm of Gilead came to mind. How difficult it is in this multi-cultural, multi-lingual world to have the courses of associations run straight. At any rate, while agreeing with Bill Higginson, I found myself at the same time being seduced by Rokuo Tanaka into finding the sound of poetess charming. Alas, (or hurrah) no closure.
Date: Tue, 16 Oct 2001 12:16:34 -0400
From: "Sonja Arntzen" <sonja.arnt...@...ronto.ca>
Subject: Re: gesture
There is also Monica Bethe and Karen Brazell's No as Performance: An Analysis of the Kuse Scene of Yamamba. Cornell East Asia Series 16. Ithaca, NY: Cornell University EA Program, 1978 that includes two videos. Looking up the reference above, I noticed that they also have Dance in the Noh Theater 3 vols, Cornell East Asia Series 16. Ithaca, NY: Cornell University EA Program, 1982, I have not used this one so I am not sure whether it has videos or not. Perhaps other members have more information on it.
For Onnagata there is the wonderful video, Portrait of an Onnagata video, Journal of Japanse Studies, Winter, 1996 available through the Films for the Humanities and Sciences, www.films.com.
Good luck to your colleagues project.
Sonja Arntzen
Date: Wed, 17 Oct 2001 00:19:00 +0100
From: N.Yamag...@...n.ac.uk
Subject: Re: gesture
Dear Sonja,
Thank you very much. It all sounds very promising.
Many thanks for your good luck wishes, too, which will be much appreciated.
Naoko
Date: Wed, 17 Oct 2001 17:33:44 +0100
From: Robert Khan <rok...@...l.utexas.edu>
Subject: Re: No Dragon Queen?
Regarding the Dragon Queen, the actual submarine Dragon Queen that is, she does at least appear in folktales if we are to believe Yanagita Kunio, and even in a thirteenth-century setsuwa anthology.
I just this afternoon opened the anthology translated by Geneviève Seiffert, 'Yanagita Kunio: Les Yeux précieux du serpent' (Publications Orientalistes de France, 1983; rpt. Paris: Le Serpent à Plumes, 1999) - apologies if the accents are not coming through properly - and the second tale is 'La méduse désossée' ['The deboned jellyfish'].
According to the tale, 'Sa Majesté la Reine, épouse du Dragon-Roi dont le Palais se trouve au fond des mers' ['Her Majesty the Queen, spouse of the Dragon King whose Palace is located at the bottom of the seas'], being about to give birth, has an extraordinary urge to eat monkey liver.
A hapless monkey is lured there under false pretences through the agency of the turtle, but the jellyfish tips the monkey off, and he cleverly devises a ruse to return him to dry land ('sorry, just remembered I left my liver hanging up to dry on a tree'), and then makes good his escape. The jellyfish is deprived of her skin and bones as a punishment, thereby explaining her present appearance.
The original source is apparently the thirteenth-century setsuwa anthology 'Shaseki shû', vol. 5 (Seiffert's reference).
Interesting, in the light of the discussion on this list, that the Queen makes an appearance in association with imminent childbirth.
Forgive me if I have failed to notice that someone has already pointed this tale out on this list - I have tried to check as many of the messages with 'Dragon Queen' in their titles as I could.
Best wishes,
Robert Khan
(not the discussant referred to in Denise O'Brien's message)
----------
Robert O. Khan
Assistant Professor of Japanese
Department of Asian Studies
University of Texas at Austin
(Currently on leave in England)
Date: Wed, 17 Oct 2001 11:10:27 -0700
From: Roberta Strippoli <rober...@...nford.edu>
Subject: Re: No Dragon Queen?
The discussant of that 1999 AAS panel (The Dragon Palace: Exoticism, Sexuality, and Power) was in fact Max Moerman. The panelists were Melissa McCormick, Fabio Rambelli, X. Jie Yang, and myself.
Just to set the record straight :)
Roberta
Date: Wed, 17 Oct 2001 13:50:26 -0500
From: Robert E Morrell <rober...@...sci.wustl.edu>
Subject: Re: No Dragon Queen?
The original source is apparently the thirteenth-century setsuwa anthology 'Shaseki shu, vol. 5
(Seiffert's reference).
Yes, it's there all right. Cute story. See WATANABE Tsunaya, Shasekishuu NKBT 85 (Iwanami Shoten, 1966), pp. 216-217. The creature is referred to as a kiku (with a lengthy note to the Wamyoushou).
Also, FWIMBW, in my translation in Sand and Pebbles (SUNY, 1985), p. 160. I can't swear that this "kiku" is our Dragon Queen, but see note 243 for additional info on possible sources: the Fa-yuan chu-lin (Houonjurin, T 2122) as Chinese source, and Japanese folk variants in Yanagita's Japanese Folk Tales (Mayer, tr.), pp. 202-21, "Why the Jellyfish Has No Bones," cf., Ichinose, Nihon mukashibanashi kou, pp. 214-17; Seki, Nihon mukashibanashi shuusei, pp. 229-34.
Bob M
Date: Wed, 17 Oct 2001 18:10:20 -0400
From: William Londo <...@...ealbox.com>
Subject: the japanese school year
A colleague asked me a question today that I couldn't answer, and I'd like to pass it along to all of you. The question is: why does the Japanese school year begin in the spring rather than the fall? Many years ago, I asked a high school teacher I worked with this question, and her answer was that the spring was chosen because everything is blooming, you have cherry blossoms, etc., and so its a good time for new beginnings. I appreciated the sentiment but held serious doubts about this explanation.
Perhaps this is not a premodern history question, but I thought perhaps the origins of this custom might date back to at least the Tokugawa.
Thanks in advance. ---Billi
William Londo
...@...ealbox.com
Date: Wed, 17 Oct 2001 17:59:00 -0500
From: "Anthony J. Bryant" <ajbry...@...iana.edu>
Subject: Re: the japanese school year
An interesting question, but to me, there seems to be a bit of "and why not in the fall like everyone else"...
Well, to that, I want to know: Who decided that September was when school should begin? The end of winter or start of spring makes more sense to me, it would follow the calendar year.
Who made fall the standard? Why should it be assumed to be so? (I wonder if people in Japan don't wonder, "Why does the American school year start in the fall and not in the spring?")
<shrug>
Tony
Date: Wed, 17 Oct 2001 16:19:10 -0700
From: "Luke S. Roberts" <luker...@...tory.ucsb.edu>
Subject: Re: the japanese school year
I have a vague memory that this choice was modeled on the German education system and schedule of the time. Hebert Passin's book probably treats the issue. I'll check when I visit the library in a couple of days.
Luke Roberts
Date: Wed, 17 Oct 2001 19:58:15 -0400
From: Matthew Stavros <mstav...@...nceton.EDU>
Subject: Re: the japanese school year
It probably has something to do with the football calender...
In jest,
Matthew
Date: Wed, 17 Oct 2001 19:51:21 -0400
From: David Pollack <poll...@...l.rochester.edu>
Subject: Re: the japanese school year
I always thought that the Japanese school year began in April because it did so in the German system that became the basis for Japan's in the Meiji period. But I don't know where I got this idea -- the joys of received wisdom. The explanation you cite has the advantage of according with a native sense of poetry as the most important thing. We start in the fall because the harvest is supposed to be over then, but of course farming work goes on all summer and doesn't end until the first hard freeze in late October or early November. We all have our lovely myths.
David Pollack
Date: Wed, 17 Oct 2001 19:18:23 -0500
From: Melanie Trede <m...@....edu>
Subject: Re: the japanese school year
I agree with Tony, that Spring would be the more "natural" of choices to begin a school year.
And here is a wild guess:
isn't the Japanese school system modelled on European schools, and most of them begin in the Spring?
melanie trede
Date: Wed, 17 Oct 2001 20:59:55 -0400
From: "Denise O'Brien" <obri...@...ro.temple.edu>
Subject: No Dragon Queen/Mistaken Identity
Many thanks to Roberta and Robert for clarifying the identity of the Dragon Palace session discussant. I have already apologized to Robert off-list for confusing him with someone else and for putting words in his mouth. My only excuse is that there seemed to be a substitution of the listed discussant (Bernard Faure) with someone that I assumed to be Robert (whom I've not had the pleasure of meeting) because he spoke fluently and enthusiastically about Ariake no Wakare as well as the Dragon Palace.
Regards, Denise O'Brien
Date: Thu, 18 Oct 2001 10:32:15 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: the Japanese school year
If your censorious list-master may interject a gentle call-to-order here, we need a bit more supporting evidence. We were rightly encouraged not to shy from "wild speculation" in the Dragon Queen thread--and what a lively, informed discussion that has been. Here, though, we should be on firmer historical ground. That being said, my evidence here comes entirely from a quick trawl of the Japanese Web!
For all intents and purposes, the origins of the official school year lie in the Meiji period, as several of you have said already. Early modernists here can tell us if there were anything like "school years" in tera koya during the Tokugawa period, but in any case there would surely have been very different arrangements in each han.
The "why" of the question is interesting, and I find much speculation on Japanese web pages, as on this list. But first one should note how long it took for April 1 to become the start of the Japanese school and accounting year:
* April 1 start adopted in 1886 for koutou shihan gakkou, 1892 for elementary schools, but not at Tokyo imperial university until 1921. Universities long adopted a September start for the convenience of foreign teachers, it is alleged.
* While the financial year beginning in April 1, but this was not always so. In early Meiji it was January 1, then for a time October or July, until April 1 was finally adopted in 1886.
The clearest explanation found was by a non-fiction writer, Noguchi Yukio:
http://www.noguchi.co.jp/archive/diary/010414.html
For those liking a more sinister explanation, try this one.
http://www.butaman.ne.jp/~jklys/PLUS-ONE/sinsou/kyouiku/4gatunyugaku.html
"gunkoku nihon no bourei wo hikizuru shigatsu shingakkki"
* Meiji gov't tried Sept start, but found this meant a drop in applications to officer school beginning in April, so moved all schools to April.
Japanese mailing list discussion can be read at:
http://homepage2.nifty.com/osiete/s542.htm
Michael Watson
Date: Fri, 19 Oct 2001 11:56:36 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: Japan 2001 in Oxford
News of a lecture series to be held in Oxford.
[Information cross-posted from the Japan Art History Forum]
Japan 2001 in Oxford
Japan at the Millennium: Questions and Continuities
October 22:
Tony Smith, CBE, President of Magdalen College
Introduction to the series: Magdalen College and the Imperial Household
and
Dr Oliver Impey
Skill and style: the work of the cloisonne artist Namikawa Yasuyuki
The Auditorium, Magdalen College, High Street, 5pm
November 1:
Professor Donald Keene
The world of the Silver Pavilion
Merton College, Merton Street, 5pm
November 8:
Professor Ronald Dore, FBA
How long can the Japanese stay Japanese?
Keble College, Parks Road, 5pm
November 15:
Professor Arthur Stockwin
Reshaping Japanese politics and the question of democracy
St Antony's College, 62 Woodstock Road, 5pm
November 22:
Dr Carmen Blacker, FBA
Shinto: ancient or invented?
Balliol College, Merton Street, 5pm
November 29:
Dr James McMullen, FBA
Is Japan Confucian?
Pembroke College, St Aldate's, 5pm
All lectures will be followed by a sherry reception. The series is sponsored by Ueno Gakuen University, Tokyo.
_____________________________________________________________________
Date: Sun, 21 Oct 2001 14:39:04 +0900
From: Nobumi Iyanaga <n-iya...@....bekkoame.ne.jp>
Subject: [pmjs] Some new utilities for the Mac
Greetings,
I am glad to announce the release of some utility scripts that may be useful for some of you Mac users.
I uploaded to my web site two little utilities that may be useful for researchers using Mac: Muller's DDB Lookup System for Mac (
http://www.bekkoame.ne.jp/~n-iyanag/researchTools/mullerdiclookup.html), and Hobogirin Style Reference to CBETA Text (
http://www.bekkoame.ne.jp/~n-iyanag/researchTools/hobogirintocbeta.html). Here are extracts from the ReadMe pages:
Muller's DDB Lookup System for Mac
Why I wrote this script set
These last days, I was writing a paper in English. It was the first time I wrote a paper of this length (20-30 pages...) in English, and I could experience myself how the DDB (Charles Muller's Online Digital Dictionary of Buddhism) is useful and indispensable for quickly looking up Buddhist terms.
The new "search page" (http://www.acmuller.net/ddb/search-ddb3.html) in this site is a very advanced search tool, using Unicode data. These is a good page describing the tips for the search (http://www.acmuller.net/ddb/ddb-search-help.html).
Unfortunately, for Mac users like me, it is not easy to search terms in this dictionary, because there is, as far as I know, no input method able to output Unicode data for the MacOS (perhaps with the newer OS, it is possible, but I don't know...).
By the way, although the pages of DDB are written in Unicode, Netscape Communicator 4.7 or Internet Explorer 4.5 can display almost all the text, if your system has JLK, CLK and KLK; the long vowels can be displayed (although the shape of the glyphs is very ugly!) -- the only characters that cannot be displayed are the diacritical characters such as "s" with acute accent, "r" with a dot below, etc. (I use OS 7.6.1J).
This is why, I tried to make a scripting system that enables me to quickly looking up a term.
How it works
This system consists of the following steps:
1. I type the term to search in my Word-processor (Nisus Writer in my case) in Shift-JIS encoding [in the version released this time, we use the editor named "Style" as "interface" application for this system...];
2. my looking up system grabs this term, converts it to Big5 with the conversion table made by Kitahara-san for his utility Kctrans (it converts simplified kanji to the appropriate Big5 characters);
3. it converts the Big5 string to Unicode;
4. it converts it to a hexadecimal string;
5. it generates the needed URL for the search, launches the web browser, and opens that URL.
The generated URL is, for example:
http://www.acmuller.net/cgi-bin/xpr-ddb.pl?89.xml+id('b89c0-4e16-97f3')
for "Kanzeon" in the simplified form of Shift-JIS characters.
---------
Hobogirin Style Reference to CBETA Text
What is this tool for...?
Now that all the texts of Indian and Chinese sections of the Taisho Canon are available online, thanks to the GIGANTIC efforts of the Cbeta team, we -- researchers of Buddhism -- often want to look up some text from this huge collection of e-texts.
Unfortunately, the process is not very simple... (at least for Mac users who don't have the CD from CBETA...) Suppose that you have all the needed reference of the text you want to look up: the Taisho volume, the number of the work, the number of the juan/kan (fascicule) if necessary, the page number, the column (a/b/c) and the line numbers -- you will have to open first the folder that corresponds to the Taisho volume, the file that corresponds to the work's (and juan/kan's) number, then search the page, column and the line numbers...
The tool provided here is intended to simplify this process. You will have to enter the needed reference, in a document of the editor named Style, in the Hobogirin style, for example:
T. XXV 1506 ii 20b8-c29
or
Ttt. XLIX 2035 i 129a8-b15
and choose the menu-item named "Hobogirin2Cbeta" in the "Scripts" menu of that editor, and..., after some seconds
Voila!
A new window will open, and you will see all the text that you wanted in the Taipei font (if your system has the CLK installed...!).
---------
On the other hand, I updated my page:
East Asian Diacritical Fonts and Unicode: Tables and converting scripts (
http://www.bekkoame.ne.jp/~n-iyanag/researchTools/diacriticalfontsandunicode .html
). It includes now conversion tables for Appeal and ITimesSkRom (a transliteration font that I made myself).
--------
Finally I uploaded a new page on the "n-gram analysis", where you can find a basic description of what "n-gram analysis" is and for what it may be interesting to researchers of classical texts, and where you can download a very simple MacJPerl script which enables you to do some n-gram analysis on your Mac(all this page is in Japanese). The URL is:
http://www.bekkoame.ne.jp/~n-iyanag/researchTools/ngram.html
--------
I hope that some of you will find these pages and scripts useful.
Best regards,
Nobumi Iyanaga
Tokyo,
Japan
P.S. I cross-posted the contents of this message to H-Buddhism also. Apologies for those who received it more than once.
_____________________________________________________________________
Date: Mon, 22 Oct 2001 17:08:33 +1000
From: "Linda Letten" <l.let...@...robe.edu.au>
Subject: [pmjs] otogi zoshi
Dear list,
Please forgive a question that has probably been answered before. I am seeking advice on the best method for downloading material to enable my computer to read Japanese characters. I have achieved mixed results thus far.
To otogi zoshi aficionados,
Any suggestions on Japanese scholars with recently published work on otogi zoshi in general and Yokobue in particular.
Many thanks,
Linda Letten.
_____________________________________________________________________
Date: Mon, 22 Oct 2001 21:37:41 +0900
From: "Susanne Schermann" <susa...@...c.meiji.ac.jp>
Subject: Development of samurai status and villages in Sengoku era
Dear Carol,
thank you very much for your useful tips. I found it without any difficulty
in our library (you have to know what you are looking for!!). It will take
me more time to work through these books, so I just cannot tell if I can
swallow (and digest...) more information afterwards! I suppose if I really
start studying that, there is no end in it, on the other hand, I feel
ashamed as a complete shiroto to just drag out the information I need... I
will see how far I will go.
Maybe I would like to ask you for more books in the future, but for the
moment I just want to thank you very much for your help!
Best wishes
Susanne Schermann
----------
From: Carol Tsang <cts...@....edu>
Perhaps the easiest way to get started don this is to look at the series
Nihon Sonraku-shi Koza, put out by Yusankaku. It's not the most recent
work, but it's very helpful, especially at the beginning. There are
volumes on the landscape of villages, and on most other aspects of
village life.
I think you're not so much interested in the origin of "samurai" as you
are of the clear distinction between them and "farmers". (Forgive the
quotation marks--I'm working on the ikko ikki and am getting to find
these
terms too broad to be comfortable with, though...)
Another book you should absolutely look at is Fujiki Hisashi's _Sengoku
no saho: mura no funso no kaiketsu, pub. Heibonsha, 1987, and also his
Toyotomi heiwa rei to sengoku shakai, Tokyo Daigaku shuppankai, 1985.
Fujiki's work is not universally accepted--is anyone's?--but it's
important if you want to read things on this topic written after his
works.
I could go on, and will off-list if you'd like, but I think these are a
good place to start.
Carol Tsang
University of Illinois at Chicago
cts...@....edu
_____________________________________________________________________
From: Andrey Fesyun <t...@...l.tcnet.ru>
Date: Mon, 22 Oct 2001 15:18:43 +0400
Subject: Dragons of the world, unite!
Dear colleagues,
Can anybody recommend any research of dragons in the European tradition?
I think it would be very interesting to compare those creatures with
Far-Eastern beasts (described so thoroughly by W.M.deVisser).
Regards,
Andrey Fesyun
_____________________________________________________________________
Date: Mon, 22 Oct 2001 09:41:35 -0400
From: "Cavanaugh, Carole" <cavan...@...uar.middlebury.edu>
Subject: [pmjs] Re: the japanese school year
Akutagawa Ryunosuke's letters indicate that, at the time he attended First
Higher School and Tokyo Imperial University (1910 - 1916), the school year
began in mid-September. Exams were in June and graduation was in July. Most
departments at the university were run by German and British academics.
Could it be that higher education followed the western academic calendar? Or
that all schools follow that calendar until changes were made later?
_____________________________________________________________________
From: "Noel John Pinnington" <no...@...rizona.edu>
Subject: [pmjs] Re: otogi zoshi
Dear Linda,
It all depends on what kind of operating system you have, and whether it is Macintosh or Windows. If you let me know these details, I may be able to help.
Noel Pinnington
East Asian Studies, University of Arizona
_____________________________________________________________________
Date: Mon, 22 Oct 2001 17:09:49 -0400
From: Karen Brazell <k...@...nell.edu>
Subject: [pmjs] Pre-modern Japanese Literature Position
Position Announcement
Japanese Literature:
Cornell University: Department of Asian Studies invites applications for a tenure-track position at the assistant professor level in pre-modern Japanese literature starting July 1, 2002. Ph.D. required. Candidates will teach courses on the undergraduate level, as well as train graduate students to do research with classical literary texts. While the area and period (prior to the 18th century) of specialization are open, we welcome candidates whose work crosses conventional boundaries, exploring relations between textual studies and, for example, the performing arts, visual studies, gender studies, or other areas of scholarly interest. Evaluation of application begins November 1, 2001. Send letter of application, c.v., three letters of reference, and thesis chapter or published article to:
Brett de Bary
Chair, Japanese Literature Search Committee
Cornell University
Department of Asian Studies
388 Rockefeller Hall
Ithaca, NY 14853-2506
e-mail: b...@...nell.edu
Cornell University is an Equal Opportunity Employer.
_____________________________________________________________________
Date: Mon, 22 Oct 2001 14:11:45 -0400
From: Barbara Nostrand <nostr...@....org>
Subject: [pmjs] Re: the japanese school year
Tony.
I once read that the North American academic year was set up so that
the students could work in the fields during the Summer. Having the
school year start in the Fall allows the academic year to be
comparatively uninterrupted.
_____________________________________________________________________
Date: Tue, 23 Oct 2001 07:31:27 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
To: Multiple recipients of pmjs <p...@...eijigakuin.ac.jp>
Subject: [pmjs] new members/profiles
Welcome back to Christian Hermansen and Sybil Thornton, returning to to pmjs after a leave of absence. And welcome to Jessey Choo and Douglas Lanam, new to pmjs.
Christian M. Hermansen <Christian_Herman...@...mail.com>
Researcher at the NCC (National Christian Council of Japan) Center for the Study of Japanese Religions. Co-editor of the center's journal _Japanese Religions_. I have completed my Ph.D. in Japanese history with a dissertation on hinin in early modern Osaka which was accepted by the University of Copenhagen, Denmark. I am interested in the social and political history of Japan and the relation with religion and religious practices, not only in the premodern but certainly also in the modern era.
*"The Hinin Associations in Osaka, 1600-1868." Copenhagen Journal of Asian Studies 15 (2001).
* "On the Translation of God," English translation of " Kami no honyaku kou" by Suzuki Norihisa (part one) in Japanese Religions vol. 26 no. 2 (July 2001)
* "Rashomon - Daemonernes Port," Danish translation of Kurosawa Akira's manuscript for "Rashomon" in Asiatiske skrifter no. 8
Sybil Thornton <sathorn...@...avista.com>
Associate professor of premodern Japanese history at Arizona State University.
My field of research is the Jishuh/Yugyoh ha. I teach courses in premodern Japanese
history, Asian civilizations, women, film, and oral tradition. My introduction to
and translation of _Kohnodai senki_ (Record of the battle of Kohnodai; 16th c.)
will appear in the next _Oral Tradition_ (2000).
Jessey J.C. Choo <jc...@...nceton.edu>
I am a Ph.D student in the East Asian Studies Department at Princeton University. I received my MA in East Asian Studies from the University of Toronto. I am interested in comparative political history of Nara Japan and T'ang China, focusing on the following aspects: 1. The marriage institution and the transference of (material or non-material) property through daughters; 2. The pattern in which royal women ascended to the throne and the reasons for the decline of female ruler-ship; 3. Women's participation in religious/Confuican rites, especially those held in the interest of the nation
Douglas Lanam <dougl...@...oo.co.jp>
I am in the MA program at San Francisco State University in Comparative Literature.
While my main interest is postwar modern Japanese literature, I also study
classical Japanese literature, and classical and modern Chinese literature.
_____________________________________________________________________
Date: Tue, 23 Oct 2001 01:42:34 +0000
From: "Christian Morimoto Hermansen" <christian_herman...@...mail.com>
Subject: [otogi zoshi]
Linda Letten wrote
Any suggestions on Japanese scholars with recently published work on otogi zoshi in general and Yokobue in particular.
The July 2001 issue of Japanese Religions (vol. 26 no.2) has an English annotated version of Yokobue, translated by Yoshiko Dykstra (Kansai University) and Yoko Kurata. Maybe the translation or ms. Dykstra can be of some help.
Christian Hermansen
NCC Center for the Study of Japanese Religions, Kyoto.
_____________________________________________________________________
_____________________________________________________________________
Date: Tue, 23 Oct 2001 19:47:02 -0500
From: Melanie Trede <m...@....edu>
Subject: [pmjs] Tenchi, Kamatari in the 16th c
Here is a question about a quote from the Sanmyakuin-ki (Konoe
Nobutada's diary) that mentions Tenchi tenno and Kamatari as a
reason not to dedicate a clean copy of two freshly composed
poems to the Kaimon myojin in Satsuma.
The passage reads: "... Tenchi tennou to Kamatari nado no koto
wo omoidashi sourou yue, ..." (Bunroku 3/5/20)
Would anyone know what Nobutada is referring to when quoting
Tenchi / Kamatari?
Thanks very much for any help,
melanie trede
Institute of Fine Arts
1 East 78th Street
New York, N.Y. 10021
_____________________________________________________________________
Date: Tue, 23 Oct 2001 20:18:04 -0500
From: Melanie Trede <m...@....edu>
Subject: [pmjs] Xi Shi
Another question, this time about a Chinese legendary beauty, Xi
Shi of Yue who was presented to king Fucha (496-473) of the
rivaling state Wu and managed to topple his rule.
Her fate is quoted in a Japanese narrative. Where would I find the
Chinese source that began legendizing her or that might have
been known to pre-Tokugawa Japanese?
Thanks for any hints,
melanie trede
_____________________________________________________________________
Date: Wed, 24 Oct 2001 07:44:18 -0400
From: Lawrence Marceau <lmarc...@...l.Edu>
Subject: [pmjs] Re: Xi Shi
Melanie,
The Xi Shi story was well known to the Japanese literati. The
Zhuangzi refers to her great beauty in Chapter 14 (Watson translation,
pp. 160-61), and, in the Tang, this story becomes one of the famous
aphorisms found in the Mengqiu (again Watson translation "Meng ch'iu",
p. 102). In verse, Wang Wei, Li Bo, and Lou Ying all left poems on
her, which were anthologized often in Japan. (Check the item on "Sei
Shi" in the Chuugoku gakugei daijiten, Taishuukan Shoten, 1978.)
Lawrence Marceau
_____________________________________________________________________
Date: Wed, 24 Oct 2001 03:49:51 -0400
From: Wayne Farris <wfar...@....edu>
Subject: [pmjs] Horse trappings
Dear all,
I have gotten another question from an Ottomanist colleague that I
cannot answer. Does anyone know if the Ottoman Empire sent horse trappings to
Japan, say from 1400 on? Where would one look to answer such a question?
We've tried scroll paintings, with little luck.
Thanks,
Wayne Farris
_____________________________________________________________________
Date: Wed, 24 Oct 2001 08:56:18 -0400
From: David Pollack <poll...@...l.rochester.edu>
Subject: [pmjs] Re: Horse trappings
Several scholars have done histories of the complex movements and lives
of material objects in Western, Central, and East Asia. Your colleague
might find what he's looking for in the writings of the prolific
Berthold (Sino-Iranica) Laufer, or in those of his epigone Edward
(Golden Peaches of Samarkand) Schafer.
David Pollack
_____________________________________________________________________
Date: Wed, 24 Oct 2001 09:48:12 -0400
From: Royall Tyler <ty...@....harvard.edu>
Subject: [pmjs] Re: Tenchi, Kamatari in the 16th c
I've done some work on the Kamatari legend, but this doesn't ring a bell. Could the problem have anything to do with the nature of Kaimon Myojin? What is Kaimon Myojin?
Royall Tyler
_____________________________________________________________________
Date: Wed, 24 Oct 2001 12:08:03 -0500
From: Robert E Morrell <rober...@...sci.wustl.edu>
Subject: [pmjs] Re: Xi Shi
You might try Shasekishuu 7:1, NKBT 85, p. 294, ln. 7 and note 8. Watanabe mentions _Sugyouroku_ 34 (Taisho v.48 (for some reason I have the 8 circled?) , p. 62; also my _Sand and Pebbles_ tr. p. 197, Hsi Shih.
Bob M
At 08:18 PM 10/23/01 -0500, Melanie Trede wrote:
Another question, this time about a Chinese legendary beauty, Xi
Shi of Yue who was presented to king Fucha (496-473) of the
rivaling state Wu and managed to topple his rule.
Her fate is quoted in a Japanese narrative. Where would I find the
Chinese source that began legendizing her or that might have
been known to pre-Tokugawa Japanese?
_____________________________________________________________________
Date: Wed, 24 Oct 2001 12:47:41 -0500
From: Melanie Trede <m...@....edu>
Subject: [pmjs] Re: Tenchi, Kamatari in the 16th c
I've done some work on the Kamatari legend, but this doesn't
ring a bell.
Could the problem have anything to do with the nature of Kaimon
Myojin? What is Kaimon Myojin?
Royall Tyler
Thanks for your reply!
I think the Kaimon myojin (written with the characters for 'hiraku'
and 'kiku', Nobutada writes the 'mon' as 'mon' for 'gate') refers to
the Kaimon jinja located at the vulcano Kaimon-dake in Ibusuki
gun, Satsuma where Nobutada was exiled to at that time.
In my Shinto jiten (Koobundo 1999, 673 where the shrine is
referred to as "Hirakiki jinja"), a number of deities are listed as
being revered there, but more importantly it mentions that
according to divine powers of the Hossoshu, a Kaimon shrine
maiden was given to Tenchi tenno as a consort.
Unfortunately, this doesn't help to explain the Tenchi/Kamatari
quote, or does it?
Thanks anyway,
melanie trede
_____________________________________________________________________
Date: Wed, 24 Oct 2001 18:13:39 -0700
From: Randle Keller Kimbrough <rkkim...@...by.edu>
Subject: [pmjs] Re: otogi zoshi
Hello Everyone,
Linda's query about otogizoshi gives me an excuse to announce that there will be an otogizoshi / Buddhism panel at the upcoming AAS conference in Washington D.C. The panel title is "Otogizoshi and the Dharma: Popular Buddhism in the Literature of Medieval Japan," and paper presenters will be Hank Glassman, Maggie Childs, Steven Nelson and I. We are particularly excited that Tokuda Kazuo, who wrote "the book" on Buddhism and otogizoshi (_Otogizoshi kenkyu_ [Miyai Shoten, 1988]) will be the panel discussant.
On another subject, can anyone tell me the significance of the painted character for "heart" ("kokoro") at the center of the various "Kumano sankei mandara"? Is this in reference to the so-called "Heart Sutra" (_Hannya shingyou_), or does it have some other meaning?
Best,
Keller Kimbrough
Colby College
_____________________________________________________________________
Date: Wed, 24 Oct 2001 19:24:33 -0700
From: Randle Keller Kimbrough <rkkim...@...by.edu>
Subject: [pmjs] Kumano kanjin jikkaizu
Dear PMJS Members,
After sending out my last message, I realized that I wrote "Kumano sankei madara" when I should have written "Kumano kanjin jikkaizu." (There is no "kokoro" at the center of the "Kumano sankei mandara.") Like the "Kumano sankei mandara," "Kumano kanjin jikkaizu" paintings were used as props by Kumano bikuni in their etoki performances in the medieval period (photographs are reproduced in Osaka Shiritsu Hakubutsukan, ed. _Shaji sankei mandara_, plates 6 and 34, and in Hayashi Masahiko, _Nihon no etoki_, plate 3). Again, if anyone knows the significance of the "kokoro" at the center of these works, please let me know.
Best wishes,
Keller Kimbrough
_____________________________________________________________________
Date: Wed, 24 Oct 2001 21:29:54 -0700
From: William Bodiford <bodif...@...a.edu>
Subject: [pmjs] Re: Kumano kanjin jikkaizu
Dear Keller Kimbrough:
The jikkai are the ten worlds, all of which are merely projections of
the One Mind (isshin) of reality (or, according to other traditions, of our
heart/minds). Either way, our transmigration through these worlds, therefore,
totally depends on our own heart/minds.
For a history of this kind of diagram from India to China & Tibet, and
to Japan and to Europe, see:
Hagiwara Tatsuo. 1983. Miko to bukkyo shi. Tokyo: Yoshikwawa Kobunkan.
I hope this helps,
......William Bodiford
_____________________________________________________________________
Date: Thu, 25 Oct 2001 18:03:47 +0900
From: Haruko Wakabayashi<hw...@...iij4u.or.jp>
Subject: [pmjs] Re: Kumano kanjin jikkaizu
Dear Keller,
Kuroda Hideo wrote an article on Kumano kanjin jikkai mandara
titled "Kanshin jikkai mandara no uchuu" in Taikei Bukkyo to
Nihonjin, vol. 8: sei to mibun (Shunjuusha, 1989). He does
discuss about the "kokoro" character in the article, too.
Best,
Haruko Wakabayashi
_____________________________________________________________________
Date: Thu, 25 Oct 2001 11:19:04 -0400
From: Lawrence Marceau <lmarc...@...l.Edu>
Subject: [pmjs] LC Symposium: From Cherry Blocks to Mulberry Paper
As always, apologies for cross-postings:
I am pleased to announce that the Library of Congress
has been given a 100% clean bill of health, and the planned
Symposium: From Cherry Block to Mulberry Paper: Japanese
Ukiyo-e Prints and Picture Books, will proceed according to
schedule. Please note the dates, times, locations, and
speakers below:
Friday, October 26, 2001, 5:00--6:15 pm, at the Arts &
Sociology Building, University of Maryland, College Park
Saturday, October 27, 2001, 9:00 am--5:00 pm at the Mumford
Room, Madison Building, Library of Congress
Speakers are:
Suzuki Jun, National Institute of Japanese Literature, Tokyo
Sandy Kita, University of Maryland, College Park
Louise Virgin, Museum of Fine Arts, Boston
Lawrence Marceau, University of Delaware
(new!) P. Ellis Tinios, University of Leeds
For additional information about the symposium, contact
Susan Mordan at mailto:smor...@....gov
For information about travel, dining and lodging in
Washington go to http://www.loc.gov/loc/visit/travel
If you would like more information about the ongoing
exhibition visit
http://www.loc.gov/today/pr/2001/01-095.html
The online exhibit is at:
http://www.loc.gov/exhibits/ukiyo-e/
The events calendar for October with the symposium schedule
on it is found at: http://www.loc.gov/loc/events/
I look forward to an exciting exchange of ideas and
information as we celebrate diversity, art, and scholarship
Friday and Saturday.
Lawrence E. Marceau
_____________________________________________________________________
Date: Thu, 25 Oct 2001 17:07:29 -0500
From: Melanie Trede <m...@....edu>
Subject: [pmjs] Re: Xi Shi
Dear Bob Morrell,
Thank you very much for your valuable
suggestions. They look very useful indeed.
Best,
melanie trede
Institute of Fine Arts
1 East 78th Street
New York, N.Y.
10021
_____________________________________________________________________
Date: Fri, 26 Oct 2001 09:20:04 -0700
From: "Noel John Pinnington" <no...@...rizona.edu>
Subject: [pmjs] Japanese Pre-modern Lit on CD
Dear PMJS members,
One of my students has heard rumours of a CD bearing the corpus of pre-modern Japanese literary texts on the market. Is there such a CD? Is it our friend the digitalized Nihon Koten Bungaku Taikei? Will there be anything like it for Nihon Shiso Taikei one day?
Noel Pinnington
_____________________________________________________________________
Date: Sat, 27 Oct 2001 08:22:11 +0900
From: Andrei Nakortchevski <and...@....att.ne.jp>
Subject: [pmjs] Re: Japanese Pre-modern Lit on CD
Dear Noel and all members!
I have not heard about CD, but there is online possibility to download e-texts from site of
The National Institute of Japanese Literature (Kokubungaku kenkyu- shiryo-kan)
<http://www.nijl.ac.jp/e/>http://www.nijl.ac.jp/e/
The collection is based on [Nihon] Kotenbungaku taikei, but you need to send them an application and receive an authorization code before using it. Follow the link above.
Andrei Nakortchevski
_____________________________________________________________________
Date: Sat, 27 Oct 2001 11:05:30 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: [pmjs] Re: Japanese Pre-modern Lit on CD
One of my students has heard rumours of a CD bearing the corpus of pre-modern Japanese literary texts on the market. Is there such a CD? Is it our friend the digitalized Nihon Koten Bungaku Taikei? Will there be anything like it for Nihon Shiso Taikei one day?
It is possible that Noel Pinnington's student was misled by overly general titles used by two publishers
Kodansha is using the title "Koten Taikan" for its ruinously expensive Genji CD-ROM
http://www.koka.ac.jp/taniguti96M/0/20/NDK/GenjiCD/GenjiDemo/DemoMain.html
edited by Ii Haruki. Plenty on this one if your library can afford it.
"Koten collection" is used by Iwanami for its CD-ROM series. All those currently available have been announced to this list:
http://www.iwanami.co.jp/hensyu/degi/title/title.html
Koten collection: Azuma Kagami (Kan'eiban-bon)
Koten collection: 21-dai shu (Shohoban-bon)
Koten collection: Genji monogatari (e-iri) (Shohoban-bon)
Windows only (most of their other dictionaries are Win/Mac).
These were produced by the National Institute of Japanese Literature (Kokubungaku kenkyu shiryokan) who have digitized the entire NKBT collection. No sign of that being available commercially on CD-ROM, but I will ask around. (Two NIJL conferences coming up--info below.)
I have used the Azuma Kagami CD-ROM. . Good for searches, but no access to full text, just one entry at a time. Fast and reasonably priced, however. Here is convenient page of information about currently available CD-ROMs, including the Kokka Taikan and Heian ibun.
http://www.kogakkan-u.ac.jp/users/fukatsu/cdrom.htm
Another publisher of e-texts on CD-ROM is Shinchosha, but they do not seem to have added classics yet to their series (now Meiji no bungou, Taishou no bungou, zeppan, Shincho bunko no 100 satsu).
Many thanks to Andrei Nakortchevski for alerting us that the NIJL databases are again online (www.nijl.ac.jp)
For those of you in Tokyo, note that the two regular autumn NIJL conferences are coming up
http://www.nijl.ac.jp/events/events.html
11/15-16 25th
International Conference on Japanese Literature in Japan
Topic "zoukei to nihon bungaku"
Brian Ruppert of this list is among the speakers.
12/7
"Computer to kokubungaku"
I hope to see some of you there--perhaps the second can again be combined with the annual pmjs bonenkai.
Michael Watson
_____________________________________________________________________
Date: Sat, 27 Oct 2001 12:12:39 +0900
From: Yasuhiro Kondo <yhko...@...aoyama.ac.jp>
To: Multiple recipients of pmjs <p...@...eijigakuin.ac.jp>
Subject: [pmjs] Re: Japanese Pre-modern Lit on CD
Dear Members,
I have learned about a new CD-ROM publication in today's newspaper.
Masatoshi Kinoshita (ed.), Man'you-shuu Honbun Hen, Hanawa shobo
publishing, Tokyo
contains man'you-gana text and yomikudasi text, 2 CD-ROMs, \27,000
I am happy if this information is useful.
----
Yasuhiro Kondo
Aoyama Gakuin University
yhko...@...aoyama.ac.jp
_____________________________________________________________________
Date: Sun, 28 Oct 2001 17:10:13 -0800
From: "Monika Dix" <monika...@...mail.com>
Subject: [pmjs] Chu^jo^hime bibliographical reference help needed
Status: RO
Please excuse cross-postings.
I received a reference to Chu^jo^hime (íÜè´ïP) but, unfortunately, the last character of the title is missing.
The book seems to be an instructional manual for women and dating to the Edo/ probably late Edo period (?). The page relating to Chu^jo^hime shows text on the top and a nun holding a rosary seated on the veranda of a hut.
The title is: êî äÔ âÆ ïwèó ïÛ ?
su^kiyafujoho^?____________________________________________________________________
Date: Tue, 30 Oct 2001 13:08:01 -0500
From: Yumiko Hulvey <yhul...@...l.ufl.edu>
Subject: [pmjs] Shakkyo
Dear Members,
I am seeking information on the No play Shakkyo (Stone Bridge) and the
Kabuki play Renjishi (Lion Dance). I found the text for Shakkyo in NKBZ, but I
haven't been able to track down Renjishi. If anyone knows where I could locate
it, I would really appreciate it. (I will probably have to use the
interlibrary loan services since my library is limited.)
I translated a narrative (Sumie botan) by Enchi Fumiko in which there are
intertextual allusions to the No play Shakkyo, the Kabuki play Renjishi, and
the ghost story sometimes known as the Peony Lantern in which a man stays the
night with a woman only to find a white skelton in her place the next morning.
I want to explore the significance of the flower, botan (red and white),
in Shakkyo and of course, in Enchi's narrative. Also there is a reference to
Oe no Sadamoto and his love for a courtesan named Fuyo that is probably a
variant of the Peony Lantern I mentioned above. Any help you can offer will be
welcome.
Best regards,
Yumiko Hulvey
University of Florida
_____________________________________________________________________
Date: Tue, 30 Oct 2001 13:57:18 -0500
From: Lawrence Marceau <lmarc...@...l.Edu>
Subject: [pmjs] Re: Shakkyo
Yumiko,
Renjishi isn't a full-fledged play, but rather a shosagoto, or nagauta dance.
There are two versions, one from 1861 and the other from 1872 (Iwanami Nihon koten
bungaku daijiten). It is available from the following sources:
ìñ{âã»ëSèWÅwíâSëSèWÅx
ìñ{âÃówèWê¨ 9
ìñ{ñºíòëSèW 28ÅwâÃówâã»èWÅx
ñÿà¢ñÌëSèW 20
The story of Ooe no Sadamoto kissing the lips of his dead lover and realizing
mujou from her stench is recounted in ç°êÃï®åÍèW Vol. 19 and âFé°èEà,ï®åÍ 58
(Nihon denki densetsu daijiten).
Lawrence M.
_____________________________________________________________________
romanization of titles:
nihon onkyoku zenshuu "naga-uta zenshuu"
nihon kayou shuusei
nihon meicho zenshuu 29 "kayou onkyoku shuu"
mokuami zenshuu 28
konjaku monogatari shuu 19
uji shui monogatari 58
_____________________________________________________________________
Date: Wed, 31 Oct 2001 09:18:32 +0000
From: Alan Cummings <cummi...@...hiro.demon.co.uk>
Subject: [pmjs] Re: Shakkyo
dear yumiko
definitive texts of kabuki plays do present problems (in that they don't
exist!), but there are texts for Renjishi available in the Mokuami
Zenshu Åiñà¢ñÌëSèWÅjvol. 20. also, though i don't have the volume
reference here, but also in the Meisaku Kabuki Zenshu. if you are
interested in the dance aspects of the play, props and so on, then there
should also be a version in the Nihon Buyo Zenshu.
i believe that the kabuki version of this play has been translated
recently, as part of a multi-volume set of kabuki translations due to be
published by the Univ of Hawaii Press, and edited by Jim Brandon and Sam
Leiter. i could probably put you in touch with whoever translated it, if
you were interested in seeing an advance translation.
best regards,
alan cummings
_____________________________________________________________________
For more information of the set of kabuki translations, see
http://www.meijigakuin.ac.jp/~pmjs/trans/kabuki-51.html
_____________________________________________________________________
_____________________________________________________________________
Date: Wed, 31 Oct 2001 10:19:22 -0500
From: David Pollack <poll...@...l.rochester.edu>
Subject: [pmjs] more news from the culture front
After reading the item submitted by Karen Mack on the sunken Mongol
warship, I was perusing the Asahi's bunka listings and it occurred to me
that this item on the coming opening of the newly restored Reizei
compound in Kyoto (corner of Karasuma-Imadegawa?) might be of interest
to PMJS types, especially since it will apparently only be open to the
public for all of five days (Nov. 5-10, closed on the 7th). Restoration
of this 1790 structure apparently cost the equivalent of about
$5,625,000, if I haven't misplaced a zero or two. I'm curious where such
largesse comes from in these mappou days of The Money? I'd also love to
see a detailed breakdown of how much each item cost. That's a heap o
simoleans for wood and paper....
David Pollack
http://www.asahi.com/culture/bunka/K2001100200433.html
...@...ÇÇÈóBàÍÇÃåââÆï~ÇÅAçëÇÃèdóvïâªç¦ÇéwíËÇ>ÇÍÇ
Ç¢ÇÈó,êÚâèZëÓÅiãûìsésè"ãûãÊÅjÇÃèCïúçHéñÇ™èIÇÌÇËÅAÇQ
ìÅAìØèZëÓÇèvçHÅiǵÇ"ÇÒDZǧÅjç'Ç™äJÇ©ÇÍÇÅBÇPÇPåéÇÇÕ
èâÇÃàÍî åäJÇ™ÇÝÇÈÅ...@...ÚâèZëÓÇÕÇPÇVÇXÇOîNÇÃåöízÅBòVãÄâªÇ™åÉǵÇÅAÇPÇXÇX
ÇTîNÇ©ÇÁÇUâÇVÇTÇOÇOñúâ~ÇÇ©ÇØÇèCïúǵÇÇ¢ÇÅBïÍâÆÇÃç¿
ï~ÅAëèäÅAåïåÅAëèäëÝÅAï\ñÂÇ™êVǵÇǻǡÇÅBí<çÇÅA
à»ëOÇ©ÇÌÇÁÇ'Ç´ÇæÇ¡Çç¿ï~ÇÃâÆç™ÇÕÅADZÇØÇÁÇ'Ç´ÇæÇ¡ÇDZÇ
Ç™ÇÌÇ©Ç¡ÇÇÇþÅAÇ"ǴǩǶÇÁÇÍÇÅ...@... åäJÇÕÅAÇPÇPåéÇTìÇ©ÇÁÇPÇOìÇÐÇÇÅiÇVìãxÇðÅjÅA
êVǵÇǻǡÇèZëÓÇíÎÇ©ÇÁå©äwÇÇ´ÇÈÅB
_____________________________________________________________________
The message by Karen Mack referred to was to the Japan Art History Forum
Recovery of Ship from Mongol Invasion
with reference to the following article
http://www.asahi.com/culture/bunka/K2001102000081.html
_____________________________________________________________________
Date: Wed, 31 Oct 2001 18:06:22 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: [pmjs] Re: Shakkyo
A full text of Renjishi by Mokuami is in _Mokuami Zenshu^_ Vol.20,
pp.865-74 (Tokyo: Shunyo^do^, 1926).
Mokuami wrote this script for promotion of Hanayagi Yoshisaburo^
(1893 -?), a son of Hanayagi Jusuke I(1821-1903), the founder of
Hanayagi School of Japanese dance. They danced as a father lion (white
head) and a cub lion (red head).
In the text, propagation of Buddhism doctrine, Jo^do sect and Hokke
sect, is blended with a legendary, didactic story of a parent lion pushes
his cub down to the thousands feet gorge to test the cub's bravery and
strength.
A compact information on Renjishi can be also found in _Engeki Hyakka
Daijiten, Vol.6_ eds. Waseda Daigaku Engeki Hakubutsukan (Tokyo:
Heibonsha, 1962) p.20.
As for a ghost story "Botan Do^ro^" (The Peony Lantern), Kana zo^shi
writer/Monk, Asai Ryo^i (? - 1691) published thirteen volumes of Kana
zo^shi entitled _Otogi Bo^ko_ (1666). One of his representative short
stories is "Botan Do^ro^." It is not, however, Asai's original story; he
translated a short story "Mu dan deng ji (Botan To^ki)" in "Jian deng xin
hua (Sento^ Shinwa)," written by Ming novelist Qu You (1341-1427).
Rakugoka Sanyu^tei Encho First (1839-1900) further wrote his version,
"Kaidan Botan Do^ro^" which had become his signature kaidan mono, ghost
story.
Japanese translation of Qu You's "Sento^Shinwa" including "Botan To^ki
(Botan do^ro^) is in _Chu^goku Koten Bungaku Zenshu^_, Vol 20. Tr. Iizuka
Akira and Imamura Yoshio (Heibonsha, 1958) pp.29-33.
Rokuo Tanaka
UH at Manoa
_____________________________________________________________________
Date: Wed, 31 Oct 2001 22:36:22 -1000 (HST)
From: Rokuo Tanaka <ro...@...aii.edu>
Subject: [pmjs] Re: Shakkyo
On Tue, 30 Oct 2001, Yumiko Hulvey wrote:
I want to explore the significance of the flower, botan (red and white),
in Shakkyo,
In China, botan has been appreciated since Tang period under another name
"hua wang" (kao^, hana no o^sama [king]. Botan presumably imported from
Japan by Kento^shi and has been much favored since Heian. In Kinsei, renga
poet/critic Sho^haku (1443-1529) even made his pen name as "Botanka."
Basic colors of the botan are red and white. There are variations
cultivated such as purple one which is not favored by Japanese.
A combination of "botan ni shishi or (karajishi)" is a set phrase, an
allegory of "a good combination" or "a good arrangement". This combination
has been used for paintings, sculptures, and dyed goods in China and
Japan (may be some other Asian countries too). For example, Chikamatsu
Monzaemon quotes in jo^ruri Shusse Kagekiyo "Matsu ni karatake, botan ni
shishi" which he describes sculptures made on the gate of To^daiji Temple
in Nara (_Chikamatsu Zenshu^, Vol.2_ ed. Fujii Shiei [Tokyo: Asahi Simmbun-sha,
1926] p.604.).
Rokuo Tanaka
UH at Manoa
_____________________________________________________________________
_____________________________________________________________________
::::: pmjs footer:::::
Nihon bungaku gakujutsuteki denshi toshokan
http://www.j-text.com
Particularly strong in medieval texts.
Tozai koryu to Nihon
International symposium in Tokyo, Nov. 16-17
Speakers include Donald Keene, Kabayama Koichi, Murai Shosuke, Ronald Toby,
and Tzvetana Kristeva.
http://www.l.u-tokyo.ac.jp/tmp/symposium.touzaikouryuu.html
NACSIS Webcat users reminded that the old domain name will be terminated on
Oct 31. New address is:
http://webcat.nii.ac.jp
Latest pmjs discussions now available online
http://www.meijigakuin.ac.jp/~pmjs/archive.html
A long review by Liza Dalby of Royall Tyler's Genji can be read at
http://www.latimes.com/
(Scroll to bottom of page and click "When Poetry Mattered")
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