pmjs logs for April 2004. Total number of messages: 38
* Noh Training Project 2004 (Richard Emmert)
* Post in Japanese language (Richard Bowring)
* new members, new/updated profiles: Michael Bathgate, Umberto Bresciani, Louise Allison Cort, Carolina Negri, Uehara Sakukazu, Yuchao Wu, Brecht Debackere, Hervieu Pascal, Maria Grazia Petrucci, Nicholas Teele, Yokomizo Hiroshi, Rolf Giebel, Wang Yong, Janick Wrona.
* English-Japanese Translation Jo (Roy Ron)
* AJLS call for papers (Eiji Sekine)
* Chicago symposium (Hans Bjarne Thomsen)
* Osaka (Linda Letten)
* court diaries (Jacqueline Stone)
* Kokinshu and Shinkokinshu Commemorative Year (Asada Toru)
* Jinno shotoki (Richard Bowring, Noel Pinnington, Bob Leutner, Michael Wachutka, Lewis Cook, Bernhard Scheid, Mark Teeuwen, Ken Bryson, Karel Fiala)
* --> Bohner (Richard Bowring, Lawrence Marceau, Karel Fiala, Michael Wachutka, Bernhard Scheid)
* --> kun vs. on (William Bodiford, Andrew Goble, Noel Pinnington, Karel Fiala, Thomas Howell, Lewis Cook)
* temple/shrine origin stories and sarugaku (Monika Dix, Noel Pinnington)
* In Memoriam: Earl Miner (1927-2004) (Paul Atkins)
* Kyoto Lectures April 30: Carpenter on Heian calligraphy (Roberta Strippoli)
Date: Thu, 1 Apr 2004 16:55:15 +0900
From: Richard Emmert .....mm...@....com>
Subject: [pmjs] Noh Training Project 2004
Dear List,
I wish to once again announce our annual summer noh workshop in Pennsylvania. I would appreciate it if you can pass this information along to interested parties. And if there are any questions, please feel free to direct them to me or to our Producing Director Elizabeth Dowd. My apologies for cross postings.
Thanks you,
Rick Emmert
=============================================================
Announcing: Noh Training Project 2004
Dates: July 19-August 7
Place: Bloomsburg, Pennsylvania
Host: Bloomsburg Theatre Ensemble
Special events: A final recital of the work of all students on August 6th followed by an outdoor torchlight noh performance on August 7th in the Bloomsburg Town Park.
Information: www.bte.org/Programs/noh.html
Contact: Elizabeth Dowd, Producing Director .....te...@....net>
The Noh Training Project will hold its annual summer intensive workshop from mid-July through early August in Bloomsburg, Pennsylvania hosted by the Bloomsburg Theatre Ensemble. This summer, to celebrate the10th anniversary of the workshop, there will be a special program featuring a full torchlight noh performance in the Bloomsburg Town Park next to the Susquehanna River on Saturday, August 7th, the final day of the workshop.
NTP is a three-week intensive, performance-based training program in the dance, chant, musical instruments and performance background of classical Japanese Noh drama. This summer NTP will conduct the usual traditional training in noh performance techniques including a final week which features special sessions in creating experimental pieces using those techniques and culminating in a final recital on August 6th. In addition, NTP will for the first time present a final full noh performance in mask and costume with advanced NTP students and performers from Japan. The latter will involve members of Theatre Nohgaku as well as include NTP master/performer/teacher Akira Matsui, hayashi instrument teacher Mitsuo Kama, NTP director and main instructor Richard Emmert, as well as three other instrumentalists from Japan. The piece featured will be the traditional noh Kurozuka performed in Japanese with an interlude in English.
NTP daily training sessions last from 9-4:30 M-F under the guidance of Mr. Matsui (for the final two weeks only), Mr. Emmert, Mr. Kama and teaching assistants including head teaching assistant John Oglevee. Evening sessions are also held twice weekly to view noh videos and discuss the history, literature and performance techniques of the art. Students are divided into beginner and intermediate/advanced sections. New students will learn several dances and chants from noh plays, learn about the musical instruments associated with noh, and work briefly with a noh mask. Intermediate/Advanced students will work on longer dance pieces and direct new students in a non-traditional piece.
Musical elements are particularly important in noh training. Classes specifically in noh chant and noh instruments will introduce these elements of the art. Again this summer, Mr. Kama and Mr. Emmert will offer individual lessons in the four instruments of the noh ensemble.
Cost for the three weeks is $1750 and includes tuition, housing in the comfortable graduate school dorms of Bloomsburg University, a rehearsal noh fan, a videotape of the final recital, and a group and recital photo. Board is not included. Students must also supply their own pair of white tabi (split-toe socks).
Those wishing to apply should send a resume and written narrative describing why they are drawn to the study of noh and what they hope to gain from the experience. Please include a photo if possible. No previous experience with noh is required. Final application deadline is May 1, 2004. Upon acceptance, a non-refundable deposit of $750 is due by May 28, 2004 to secure your position. The balance is due by June 30, 2004 although a payment schedule may be negotiated if needed.
--
Richard Emmert
Artistic Director, Theatre Nohgaku (www.theatrenohgaku.org)
Director, Noh Training Project (www.bte.org/Programs/noh.html)
Professor of Asian Theater and Music, Musashino University
Home:
Hon-cho 2-27-10, Nakano-ku
Tokyo 164-0012 Japan
tel: 81-3-3373-0553
fax: 81-3-3373-4509
email: emm...@....com
Date: Fri, 02 Apr 2004 18:52:35 +0100
From: Richard Bowring .....b...@...mes.cam.ac.uk>
Subject: [pmjs] Post in Japanese language
I would be grateful if members could draw the attention of any Japanese
friends and colleagues to the following vacancy at Cambridge. It is a
'bottom of the rung' post at present but with prospects.
http://www.oriental.cam.ac.uk/jobvacancies.html
Richard Bowring
Date: Sun, 4 Apr 2004 15:11:56 +0100
From: Michael Watson .....at...@...eijigakuin.ac.jp>
Subject: [pmjs] new members
We welcome the seven new members to pmjs.
Michael Bathgate .....athg...@....edu>
affiliation = Religious Studies Department, Saint Xavier University
profile = My primary interest revolves around the meanings and uses of narrative and imagery in religious discourse, especially folklore and tale literature (setsuwa, ojoden, etc). By extension, I have become increasingly interested in the intersection of elite and popular religious discourse, in their conflicts as well as their complementarity. One area that I would particularly like to explore in more detail is the early-modern movement to identify and eliminate religious ideas and practices described as "superstition" (meishin). A much-revised version of my dissertation (at the University of Chicago) was published as The Fox's Craft in Japanese Religion and Folklore: Shapeshifters, Transformations and Duplicities (Routledge, 2004).
Umberto Bresciani .....resc...@...d.net.tw>
affiliation = College of Foreign Languages, Fujen University, Taipei Xian, Taiwan
profile = I have a Ph.D. in Chinese Literature from National Taiwan University. In 2001, I completed a research on "Reinventing Confucianism: The new Confucian Movement", published by the Ricci Institute, Taipei.
Presently, among others, I am teaching Italian literature in Fujen University (Taipei).
I am quite interested to explore Japanese culture, especially its Confucian side.
Louise Allison Cort .....ouise.c...@...a.si.edu>
affiliation = Freer and Sackler Galleries, Smithsonian Institution
profile = I am a craft historian and curator with a particular interest in Japanese ceramics of the medieval and early modern periods.
Carolina Negri .....arne...@...na.it>
affiliation = Universita'degli studi di Napoli "l'Orientale"
profile = Lecturer, Universita'degli studi di Napoli, "l'Orientale", Napoli, Italy.
My field of study is Japanese classical literature, especially Heian monogatari and nikki. At the moment I am working on the Italian translation and critical study of Sarashina nikki.
Recent Publications:
La principessa di Sumiyoshi, (Sumiyoshi monogatari), introduction and translation, Venezia, Marsilio, 2000;
"Marriage in the Heian Period (794-1185). The Importance of Comparison with Literary Texts", Annali dell'Istituto Universitario Orientale, vol. 60-61 (2000-2001), Napoli, 2003, pp. 467-493
"La vicenda di Tamakazura nel Genji monogatari", (The story of Tamakazura in the Genji monogatari) in Atti del XXVI Convegno di studi sul Giappone, (Torino, 26-28 settembre 2002) Venezia, Cartotecnica Veneziana Editrice, 2003, pp. 337-353;
Uehara Sakukazu (上原 作和) .....QL01...@...ty.com>
affiliation = Aoyama Junior College 青山学院女子短期大学
profile = Heian period literary history. Narrative literature. History of early music.
Publication: Hikaru Genji monogatari no shisoushiteki henbou "koto" no yukue (Yuuseidou, 1994)
研究分野：平安時代文学成立史。物語文学。古代音楽表現史。
著書論文：『光源氏物語の思想史的変貌 《琴》のゆくへ』有精堂, 1994
Yuchao Wu .....ucha...@...oo.com>
affiliation = Graduate student at UMass Amherst
profile = Mostly classical studies, late Heian and Muromachi --prose and poetry, translation and script reading.
Date: Tue, 13 Apr 2004 15:10:32 +0900
From: jm...@...u-tokyo.ac.jp
Subject: [pmjs] English-Japanese Translation Job
ロン・ロイ
史料編纂所＠東京大学です。
Dear List Members:
I am looking for translators to translate short academic papers from English to Japanese.
The papers will be presented at the Japan Memory Project Conference 2004 (Historiographical Institute,
University of Tokyo), and published later in the Conference Proceedings. The topics include Japanese history,
religion, and literature. The translators should be able to produce academic level Japanese in the respected
fields. For specific information about remuneration, schedule and topics, please contact me at jm...@...u-tokyo.ac.jp.
Yoroshiku onegai itashimasu,
Roy RON, Ph.D.
Historiographical Institute,
The University of Tokyo
Date: Fri, 16 Apr 2004 00:57:06 -0500
From: eiji sekine .....sek...@...izon.net>
Subject: [pmjs] AJLS call for papers
Dear Netters,
Our apologies for cross-listings. Here is a reminder of the AJLS Call for
Papers. The deadline is coming near. We are sending again the call for
papers previously announced on these lists and are looking forward to your
responses.
E.S.
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THIRTEENTH ANNUAL MEETING
Landscapes Imagined and Remembered
October 22-24, 2004
University of Washington, Seattle
Call for Papers
The organizers invite paper and panel proposals that explore the broad topic
of landscape as it applies to Japanese literature. This conference will
explore the ways in which landscape is an "annexation of nature by culture,"
as Simon Schama has written, focusing on the perceptual relationship between
human beings and their environments, both natural and artificial, in texts
from earliest times to the present. Such literary depictions, whether rich
landscapes or barren anti-landscapes, are never free from the imprint of
culture and cognition.
Japanese critics from Fujiwara no Shunzei to Karatani Kojin have stressed
the impossibility of perceiving an unmediated external world. The former
insists that "without poetry, one would not know the color and scent" of
blossoms, while the latter claims that landscapes involve "an extreme
interiorization" through which subjects and objects construct one another.
Presenters are encouraged, then, to explore similarly diverse
interpretations of landscape in Japanese literature.
Topics that might be addressed include:
- How literary landscapes contribute to the creation of regional and
national identities
- How writers fuse the natural world with the subjective world of cultural
and historical memory
- Changes in the Japanese relationship to nature wrought by
industrialization, modernization, and Westernization
- The concept of kokudo in imagining Japan as a nation
- Japanese literary landscapes in East Asian and Western comparative
contexts
- The relation of setting to character and plot in Japanese literary works
- Hokkaido as "frontier"; Okinawa as "periphery"
- Nostalgia and remembered landscapes (pristine, pastoral pasts)
- Fantasy and imagined landscapes (the colonies, the West)
- Shasei and tanka reform
- Environmental literature in Japan
- The ruined postwar cities, especially Hiroshima and Nagasaki
- Seascapes, soundscapes, cityscapes
- Intersections between literature and landscape painting
- The recurring argument that climate (fuudo) determines national character
- The effect of the Great Kanto Earthquake on the "death" of Tokyo
- The role of poetic places (utamakura) in cultural memory
- Recourse to nature as an alternative, or antidote, to modern civilization
By exploring these and other pertinent topics, this conference will draw
attention to the concept of landscapes and their function in Japanese
literature. The organizers particularly welcome proposals that reflect a
variety of perspectives, and participation from scholars around the world.
Deadline for receipt of abstracts of no more than 250 words is May 1, 2004.
To facilitate maximal participation, there will be no formal discussants.
Conference languages are English and Japanese.
Proposals should be submitted electronically to the conference website:
http://depts.washington.edu/ajls04.
All other correspondence may be directed to the organizers via the contact
information listed below:
AJLS 2004
c/o Department of Asian Languages and Literature
University of Washington
Box 353521
Seattle, WA 98195-3521
Date: Sat, 17 Apr 2004 11:48:57 -0500
From: thom...@...icago.edu
Subject: [pmjs] Chicago symposium
For all who are interested and in the Chicago area, there will be a two-day
symposium on Japanese and Chinese history and art history on the University of
Chicago campus on April 23-24, 2004. Please read below for details.
********
Center of the Art of East Asia in the Art History Department at the
University of Chicago is pleased to announce its second annual
symposium.
Looking Modern: East Asian Visual Culture from the Treaty Ports to World
War II
This symposium examines multiple dimensions of visual modernity in East
Asia from the end of the nineteenth century through the early decades of
twentieth. We hope to throw new light on previously understudied aspects
of the visual culture of this crucial period in recent history and
encourage new perspectives for future work. The symposium will coincide
with the opening of the exhibition, Taisho Chic: Japanese Modernity,
Nostalgia, and Deco at the David and Alfred Smart Museum of Art at the
University of Chicago.
Looking Modern symposium will be held on April 23-24, 2004 at the Franke
Institute for the Humanities, University of Chicago, 1100 E. 57th
Street, Chicago, IL 60637.
Admission to the symposium will be free; however we strongly encourage
registration in advance, as seating will be limited. For registration,
please provide your name, address, and contact information to Wei-Cheng
Lin at w...@...icago.edu
Other symposium related information, the updated program, and paper
abstracts are available at the Center website,
http://caea.uchicago.edu/News.htm
The symposium is co-sponsored by The David and Alfred Smart Museum of
Art, the Japan Committee and the China Committee of the Center for East
Asian Studies, and the Adelyn Russell Bogert Fund of the Franke
Institute for the Humanities at the University of Chicago.
********
Hans Bjarne Thomsen
Department of Art History
University of Chicago
5540 South Greenwood Avenue
Chicago, IL 60637
(773) 702-0266
thom...@...icago.edu
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From: l.let...@...robe.edu.au
Subject: Osaka
Date: Mon, 19 Apr 2004 16:40:34 +1000
Dear List,
I would appreciate any information anyone may have regarding accommodation near the Toyonaka campus of Osaka University for June 2004 - January 2005 and schools that accept foreign children (year 3/4 and year 6/7).
Kind regards,
Linda Letten.
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From: jst...@...nceton.EDU
Subject: re: court diaries
Date: Mon, 19 Apr 2004 17:09:52 -0400
Dear Colleagues:
Does anyone know of any court diaries from roughly the late tenth through thirteenth centuries that are available in searchable electronic databases? I know of the CD version of Gyokuyo and also the databases maintained by the Historiographical Institute of the University of Tokyo and the Kokubungaku Kenkyu Shiryokan. Are there others?
Thanks very much for your assistance.
Jacqueline Stone
Princeton University
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From: Asada Toru .....s...@...ocha.ac.jp>
Subject: Kokinshu and Shinkokinshu Commemorative Year
Date: Tue, 20 Apr 2004 19:54:38 +0900
(Please scroll down for the original Japanese.)
Next year, 2005, will mark the 1100th anniversary of the production of the "Kokin wakashu" and the 800th anniversary of then "Shinkokin wakashu." The "Waka bungakkai" (Association of WAKA Poetry Studies) has given 2005 the name "Year of Kokinshu and Shinkokinshu." To commemorate these two imperial anthologies central to the field of classical poetry, waka-related events will be held in different parts of Japan. The web site of the Waka bungakkai (http://wwwsoc.nii.ac.jp/waka/ ) gives details in Japanese of the planned events, but allow me to give a brief overview here.
1. Academic conferences
The Waka bungakkai will hold a commemorative conference (Kinen taikai) in October in Tokyo and special meetings (Tokubetsu reikai) in June in Tokyo and December in Osaka. Lectures and presentations will focus on the Kokinshu and Shinkokinshu.
2. Exhibitions at art galleries and museums
Exhibitions of ancient manuscripts containing waka will be exhibited at the Tokugawa Art Museum (Nagoya, January), the Goto Museum (Tokyo, Oct-Nov), the National Museum of Japanese History (Chiba, Oct-Nov), the Kyoto National Museum (Kyoto, December), and other places. There will be exhibitions on related themes at a number of universities and research institutions.
In addition, commemorative publications are also being planned. "Kokinwakashu kenkyu shusei" (3 vols.) has already been published by Kazama shobo （http://www.kazamashobo.co.jp). Related books and special issues of journals will be published during the course of the next two years.
Best wishes,
ASADA Toru (Ochanomizu University)
古今集・新古今集の年について
来る２００５年は『古今和歌集』が作られてから１１００年、『新古今和歌集』が作
られてから８００年に当たります。「和歌文学会」ではこの年を「古今集・新古今集
の年」と名付けました。古典和歌の領域を代表する二つの勅撰和歌集を記念して、日
本各地で和歌に関する催しが開かれます。
詳細は今後和歌文学会のホームページ（http://wwwsoc.nii.ac.jp/waka/ 日本語の
み）に掲載されてゆく予定ですが、簡単にその内容を紹介します。
１、講演会・研究発表会
和歌文学会の記念大会（１０月＝東京）、特別例会（６月＝東京、１２月＝大
阪）において古今集・新古今集に関する講演・研究発表が特集されます。
２、美術館・博物館での展観
徳川美術館（１月＝名古屋）、五島美術館（１０月～１１月＝東京）、国立歴史
民俗博物館（１０月～１１月＝千葉）、京都国立博物館（１２月＝京都）ほかで、和
歌を書いた古い写本の展観が行われる予定です。いくつかの大学・研究機関でも関連
の資料展示が行われます。
そのほか記念出版なども企画されています。すでに出版されたものでは、風間書房
（http://www.kazamashobo.co.jp）『古今和歌集研究集成』全三巻があります。２０
０５年にかけて、関連の単行本、雑誌特集号などがいくつか刊行されます。
以上です。よろしくお願いいたします。
浅田徹
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Links for museums and galleries mentioned in Prof. Asada's announcement
http://www.cjn.or.jp/tokugawa/index-j.html
http://www.gotoh-museum.or.jp.html
http://www.rekihaku.ac.jp/
http://www.kyohaku.go.jp/
--------------------------------------------------------------------------------------------
Date: Tue, 20 Apr 2004 22:15:05 +0100
From: Richard Bowring .....b...@...mes.cam.ac.uk>
Subject: [pmjs] Jinno shotoki
Status: RO
Dear all.
I have two questions about Jinno shotoki.
1. How would you translate the title? Shoutouki I can just about handle, but
is Jinnou two nouns in tandem or adjective plus noun? Varley goes for 'Gods
and Sovereigns', Tsunoda (Sources of Japanese Tradition) seems to have
preferred 'Divine Sovereigns', as does Bohner with 'Gott-Kaiser', although
you might think that skirts round the problem nicely. Varley would seem to
be non-standard but I can see his point. 'Divine Sovereigns' seems to be
tendentious in a way that Chikafusa may not have actually intended. Does
anyone know of any discussion about this (apart from R.A. Miller's vicious
review of Varley in JJS 7.2.
2. The first line. The Iwanami Taikei edition has 'Ooyamato wa kami no kuni
nari', a reading that would seem to come straight from Yamada Yoshio's much
earlier edition. But everyone else who writes in English seems to quote it
as 'shinkoku'. Why? There is a lot of difference in English between 'Japan
is the land of the gods' and 'Japan is a divine land', but I am unsure which
way to go. Varley has 'the divine land' which seems to me to be over the
top. Bohner reads it Shinkoku and has 'Japan ist Gottheits-Reich'. Is their
a French version?
I would appreciate your comments and advice.
Richard Bowring
University of Cambridge
Date: Tue, 20 Apr 2004 17:28:18 -0700
From: Noel John Pinnington .....o...@...rizona.edu>
Subject: [pmjs] Re: Jinno shotoki
I wonder if you would mind me adding another question to point number 2,
something that has bothered me for a long time.
There seem to be widespread references in the 13th and 14th centuries to the
province of Yamato being the province of a god, using the phrase again
usually read: "Yamato wa shinkoku de aru." This is generally mentioned in
terms of the fact that the Kasuga deity was made the shugo of Yamato
province, so that it had a special status among the other provinces from the
point of view of Kamakura.
What is the connection between this and the "Ooyamato" sentence? It seems
unlikely that there is no link at all, but then they are clearly talking
about something quite different. There are obvious ways in which these two
sentences can be confused, with yamato and ooyamato being written with the
same characters, and with kuni having two meanings.
On question number one, Varley seems to be directly following Morohashi, who
defines Jinnou as "the gods and human kings who succeeded to the imperial
lineage."
Noel Pinnington
Date: Tue, 20 Apr 2004 21:26:40 -0500
From: Bob Leutner .....leut...@...e.weeg.uiowa.edu>
Subject: [pmjs] Re: Jinno shotoki
Some hard questions here!
As to jinnou, I would guess we all could find all sorts of things to clarify or
muddy the issue. I would offer shinbutsu, for instance. I don't think anyone
would venture "Divine Buddhas" for that, as opposed to "Gods and Buddhas." That
said, I don't have any other confounding example to offer. I incline, I guess,
to something like "gods and sovereigns," but only because Kojiki seems to
understand a difference between kami no yo and later human times. Still, it
seems undeniable that from Man'youshuu forward, there is a lot of language out
there to suggest that sovereigns were also kami.
As to shinkoku/kami no kuni, a browse of several dictionaries yields the
unhelpful fact that waei lexicographers don't seem to care very much about the
"divine blahblah" versus "blahblah of the gods" distinction, offering both kinds
of translation indifferently as synonyms.
I wonder if a look at Chinese usage might help here, as also a time-sensitive
consideration of how kanji compounds of the shin[xx] sort might have been read
in Japanese. I have most recently been reading a lot of Bakin, but can't offer
anything useful since any of his -- and likely any of his contemporaries' --
versions of these words would have been in a sense corrupted by their
self-cosciousness in matters of language (and political thought).
Maybe a question to ask here is what the difference is in English between
something like "divine land" and "land of the gods," to say nothing of things a
little trickier like "Divine" versus "divine," "gods" versus "Gods," or for that
matter--"Japan, Land of the Gods" versus, say, "Japan, a land of gods." All of
those English things could come from "ooyamato wa kami no kuni," independent of
any distinction (as of the time of the work in question) between "kami no kuni"
and "shinkoku."
Ugh.
Best of luck, Richard!
Bob Leutner
Iowa
Date: Wed, 21 Apr 2004 05:42:31 +0000
From: "Michael Wachutka" .....ichaelwachu...@...mail.com>
Subject: [pmjs] Re: Jinno shotoki
I am not aware of any French translation of Jinno shotoki, but I might add how Wolfram Naumann renders the title and sentence mentioned in his (German) description of Kitabatake's work in Jens, Walter: _Kindlers neues Literatur Lexikon_. Muenchen: Kindler, 1988-92 [vol. 9, pp. 435-36].
He translates the title similar to Bohner as: "Aufzeichnungen ueber die legitime Linie der Gottkaiser".
The first sentence of the work is rendered as: "Gross-Japan ist ein Land der Goetter."
Naumann does not specify if he reads that word as shinkoku or kami no kuni, but his translation as "Land der Goetter" might hint at the latter reading.
You might also want to have a look how Bruno Lewin, who is usually very precise, renders and explains the title and introductory passage in his "Japanische Chrestomathie", which I unfortunately don't have at my desk right now.
So much for what I can offer at the moment.
Best regards,
Michael Wachutka
Date: Wed, 21 Apr 2004 05:00:01 -0400
From: "Lewis Cook" .....c...@...thlink.net>
Subject: [pmjs] Re: Jinno shotoki
If you don't mind speculation in lieu of authoritative answers...
> .... 'Divine Sovereigns' seems to be tendentious in a way that Chikafusa may not have actually intended. Does anyone know of any discussion about this (apart from R.A. Miller's vicious
> review of Varley in JJS 7.2.
"Gods and sovereigns" -- treated as parallel nouns -- goes against the grain of Chikafusa's none-too-subtle ideological interest in fusing (or conflating) the terms. It is not gods here (first) and humans there (later) but divine and human beings in an appositive sense in which (to quote, out of context, E. Bruce Brooks, from a note to a recent discussion of the binome 'guojia' / 'kokka' on the [pre-Han Chinese] Warring States list), "each element in the set [of nouns in apposition] refers to the same one thing (not to two complementary things), but under a different rubric."
There does remain the problem under this schema that the gods only partake of incarnation retroactively and indeed vicariously through their progeny. The workaround is pressumably that (in lieu of a Trinity?) the gods are sovereign (temporally omnipotent), the sovereigns divine (not mere mortals), and everyone is happy enough in the long run. If so the least bad recourse of the translator might be "divine sovereigns" after all. (Wasn't tendentiousness what Chikafusa was after, if not in just this way close enough?)
Speaking of intentions have you looked into _Gengenshuu_ or Hirata Toshiharu's _Gengenshuu no kenkyuu_ (Yamaichi shobou, 1944), in the supplements to which an investigation of "sources" begins with a consideration of the opening sentence of _Shoutouki_? (Hirata suggests that the latter text is a kind of tora no maki for GGShu, which in turn is said to lean heavily on _Ruiju shigi hongen_, and you won't find any support at all for an 'on' reading of "kami no kuni" there). Just for context, might even be worth checking Chikafusa's commentary on the Kana Preface to KKS (available in ZGunshoruiju).
> 2. The first line. The Iwanami Taikei edition has 'Ooyamato wa kami no kuni
> nari', a reading that would seem to come straight from Yamada Yoshio's much
> earlier edition. But everyone else who writes in English seems to quote it
> as 'shinkoku'. Why? There is a lot of difference in English between 'Japan
> is the land of the gods' and 'Japan is a divine land', but I am unsure which
> way to go. Varley has 'the divine land' which seems to me to be over the
> top. Bohner reads it Shinkoku and has 'Japan ist Gottheits-Reich'. Is their
> a French version?
The oft-cited locus classicus for "shinkoku / kami no kuni" (from Nihonshoki I assume, though I wouldn't really know) calls for the "on" reading, no? (But is it at all likely that Chikafusa could have _meant_ "shinkoku" rather than 'kami no kuni' here?)
That said, it seems unlikely that the differences in English noted above map onto those in Japanese with any precision.
Meanwhile, where are those list-members with expertise in these matters?
Lewis Cook
Date: Wed, 21 Apr 2004 11:57:19 +0200
From: "Bernhard Scheid" .....ernhard.sch...@...w.ac.at>
Subject: [pmjs] Re: Jinno shotoki
It is a while ago that I have dealt with the Jinno shotoki, but recently
I re-examined a few writings by Bohner in the prewar volumes of
Monumenta Nipponica and my conclusion is: Whatever you do, don't take
Bohner as a serious authority! All his interpretations tend towards
mysticism and romantic nationalism that went far beyond a mere lip
service to the Zeitgeist. As for Jinnou - isn't it possible to maintain
the original ambivalency of the term by using two adjectives, something
like "divine-imperial"?
Best regards
Bernhard Scheid
Date: Thu, 22 Apr 2004 10:26:56 +0200
From: Mark Teeuwen ......j.teeu...@...t.uio.no>
Subject: [pmjs] Re: Jinno shotoki
The Jinno in Jinno shotoki has a history in a genre that is called koodaiki, records of the generations of emperors. Chikafusa was heavily influenced by Watarai texts; among these are texts with titles such as Jinnoo keizu, Jinnoo jitsuroku. These texts link a genealogy of gods (starting with Kunitokotachi or Ame no Minakanushi) with the imperial dynasty through Jinmu. It would seem that these texts spread to shrines and temples from the court; the oldest preserved example is from the late 11th c. (it runs to 1084), and was handed down by the Chidori house of priests at Kasuga Wakamiya. These texts were extremely important because they served as a template, a framework into which the traditions of particular shrines were inserted. The Watarai texts are a typical example of this, as is a large part of the Reikiki: they all use some form of koodaiki to structure the text. They originated as koodaiki with added notes (and more added notes, and yet more...). A very enlightening article on this process, and its importance for the development of so-called medieval shintoron, is Mitsuhashi Tadashi, Chuusei zenki ni okeru Shintooron no keisei, in Oosumi Kazuo, ed., Bunkashi no shosoo (Yoshikawa koobunkan 2003).
The problem 'deity -- divine' is a classical one. In an article in JJRS 29/3-4, I myself try to show how kami/jin/shin can be used both in the meaning 'a deity', in the sense of a concrete and localised entity, and 'the divine', as a more abstract concept. Bernhard Scheid (in his book on Yoshida Kanetomo) has also pointed out the room that this created for linking abstract cosmological categories to particular cults of particular deities at particular sites -- and for enhancing the importance of rites by explaining their 'deities' as manifestations of 'the Divine' (definitely intended with a capital D). The word shinto itself became such a productive focus for speculation because it could mean both things: the realm of very particular deities, and the Way of the Divine. Shinkoku was a useful concept for exactly the same reason.
I imagine that the translation of the Jinno shotoki title should ideally reflect the degree to which this open-endedness of the word kami/jin/shin was put to good use by Chikafusa. But since his text, too, is at bottom (based on) the genre of koodaiki, I would say that you can't go wrong with Varley's solution.
Mark Teeuwen
Date: Thu, 22 Apr 2004 20:57:18 -0400
From: "Ken and Terri Bryson" .....uckho...@...dspring.com>
Subject: [pmjs] Re: Jinno shotoki
Some words from an amateur on this subject:
1. Our language seems to suffer from the absence of divine lineage as a
cultural construct in western religion (which I might expand to include all
the monotheistic traditions). I have always seen the title as conveying the
idea of divine ancestry, however, as opposed to distinguishing between gods
and human emperors.
2. In the text immediately following the opening phrase, the writer asserts
that the imperial lineage was founded by its ancestors in heaven and has
long been sustained by the sun goddess. I submit that neither "land of the
gods" nor "divine land" adequately conveys or supports the imagery which
these phrases would have conjured in the Japanese mind. I hasten to add
that I cannot with authority suggest a better, succinct rendition. However,
I would have chosen to render it "Japan is a sacred land". I realize that
the "god" image is not foremost in that construction, but then again I
submit that we may be over-emphasizing the picture of "god" or "gods"
through our cultural bias toward personification.
Kenneth J. Bryson
Date: Fri, 23 Apr 2004 11:30:18 +0900
From: "Karel Fiala" .....i...@...l.fpu.ac.jp>
Subject: [pmjs] Re: Jinno shotoki
I think Mr. Teeuwen has expressed exactly the continuum between the
concrete category of Gods and the abstract category of Divine, which
seems to have been present in Kodaiki without clear distinction.
Whatever was related to Gods might be called Divine, which is of
course a different term in English, but the degree of abstraction did
not matter so much in the semi-animistic polytheism of the ancient
Kodaiki. It is quite dfifferent from Roman emperors who became Divine
by a crazy self-declaration and were reinforced in this thought by
superficial compliments. There was no philosophical or mythological
background behind it, for rational Romans it might be at most a kind
of metaphor.
The Sovereigns in old Japan were Divine just bacause they were
believed to be direct descendants of Gods, and expression of these
things in Kango was principally semantically identical to expressing
it in Yamato kotoba.
Perhaps the best translation should consider all these points. But is
it even possible when the conscience of the contrast is so persistent
that the discussion returns again and again to arguing that the
concepts of "Divine" and "directly related to Gods". or the concepts
of "Kami no kuni" and "Shinkoku" are not the same thing ?
You can hardly be completely right or completely wrong with any of
the translations, which are quoted in this discussion.
K.Fiala
Date: Wed, 21 Apr 2004 07:57:38 -0700
From: "Dix Monika" .....onika...@...mail.com>
Subject: [pmjs] temple/shrine origin stories and sarugaku
Dear PMJS Members,
I am trying to locate sources which deal with the relationship between sarugaku and temples/shrines in medieval Japan. I am particularly looking for sources that address the influence of temple/shrine origin stories on sarugaku performances.
Your assistance would be greatly appreciated.
Monika Dix
Date: Thu, 22 Apr 2004 18:33:46 -0700
From: Noel John Pinnington .....o...@...rizona.edu>
Subject: [pmjs] Re: temple/shrine origin stories and sarugaku
I can make some suggestions for materials relating to the early
institutional history of sarugaku, but I am afraid that I know of little
that connects this up to the use of origin stories in plays, beyond simply
discussions of the plays themselves, for example in Ito Masayoshi's
collection in Shincho Nihon Koten Shusei (Yokyokushu).
On the first matter, for a simple outline: Iwanami Koza: No.Kyogen 1
For close discussion of early records:
Nose Asaji: Nogaku Genryuko is excellent, but needs a lot of ploughing
through.
For a number of discussions of the relations between sarugaku troupes and
Nara institutions, see various articles by Omote Akira in the journal:
Nogaku Kenkyu. There are interesting discussions of relations with temple/shrines outside
Yamato in Yamaji Kozo: Okina no Za. I recall that Hattori Yukio, too, in his discussions of Ushironodo (Bungaku, 41:7, and 42:10, 43:1), mentions a certain amount about sarugaku at the six "shouji" temples and elsewhere that might be useful.
A very good bibliography for articles and books on early sarugaku discussed
in the context of the origins of Okina (Shikisanban) is given in Geinoshi
Kenkyu 109 (1990) pages 58-60. That issue itself has good articles on the
topic.
Noel Pinnington
Date: Thu, 22 Apr 2004 11:20:11 -0700
From: Paul Atkins .....atk...@...ashington.edu>
Subject: [pmjs] In Memoriam: Earl Miner (1927-2004)
Many members of this list will be familiar with the works of Professor Earl Roy Miner, perhaps most of all with his classic 1961 study (co-authored with Robert Brower), "Japanese Court Poetry." He passed away last week. Please see the following page for a news release from Princeton:
http://www.princeton.edu/pr/news/04/q2/0420-miner.htm
With apologies for cross-posting--
Paul Atkins
*************
Paul S. Atkins
Assistant Professor of Japanese
Department of Asian Languages & Literature
University of Washington
Seattle, WA 98195-3521 USA
E-mail: patk...@...ashington.edu
http://depts.washington.edu/asianll/
Date: Thu, 22 Apr 2004 04:49:06 -0700
From: Roberta Strippoli .....ober...@...nford.edu>
To: Multiple recipients of pmjs ........@...eijigakuin.ac.jp>
Subject: [pmjs] Kyoto Lectures April 30: Carpenter on Heian calligraphy
Status: RO
Dear friends,
Here is another juicy lecture scheduled in Kyoto by ISEAS and EFEO.
I hope many PMJS members will be able to attend.
Cheers,
Roberta Strippoli
Stanford University
University of Naples "L'Orientale"
----------
Scuola Italiana di Studi sull'Asia Orientale ISEAS
Ecole Francaise d'Extreme-Orient EFEO
KYOTO LECTURES 2004
Friday April 30th 18:00h
John T. Carpenter will speak on
Rewriting the History of Heian Court Calligraphy:
Emperor Fushimi as Collector and Copyist
Emperor Fushimi (1265-1317), who occupied the throne for over a decade at
the end of the 13th century, acquired renown for bringing together a number
of the most important models of Heian calligraphy and his intensive study of
them, in a manner reminiscent of Taizong, the second Tang emperor. Both
sovereigns went to great lengths to acquire the finest examples of noted
calligraphy of previous generations and, through their own scribal
enthusiasm, helped promote a highly refined, but decidedly archaic manner of
handwriting. Fushimi was also an expert copyist, as evidenced by his
transcriptions of Heian manuscripts, including most notably a skilled
freehand copy of Byoubu dodai (Draft of Poems for a Screen) by Ono no
Michikaze (894-966). This lecture will address issues of calligraphic
copying and the special reverence accorded imperial calligraphy (shinkan) in
the history of Japanese brush-writing.
John T. Carpenter is Donald Keene Lecturer in Japanese Art at the School of
Oriental and African Studies (SOAS), University of London, and also serves
as Head of the London Office of the Sainsbury Institute for the Study of
Japanese Arts and Cultures. He assisted in the editing and translating of
Hokusai Paintings (1994) and the forthcoming sequel volume, Hokusai and His
Age. He is co-author of The Frank Lloyd Wright Collection of Surimono (1995)
and Jewels of Japanese Printmaking: Surimono of the Bunka-Bunsei Era,
1804-1830 (2000). During the 2003-04 academic year he is based at the Art
Research Center, Ritsumeikan University, Kyoto, where he is working on a
book project dealing with Heian court calligraphy and its reception in the
early medieval period.
Italian School of East Asian Studies (ISEAS)
Ecole Francaise d'Extreme-Orient (EFEO)
4, Yoshida Ushinomiya-cho, Sakyo-ku
Kyoto 606-8302 JAPAN
ISEAS
Phone: 075-751-8132
Fax: 075-751-8221
e-mail: is...@...lcult.or.jp
EFEO
Phone: 075-761-3946
e-mail: efe...@...x.kyoto-inet.or.jp
Date: Sat, 24 Apr 2004 17:30:08 +0100
From: Richard Bowring .....b...@...mes.cam.ac.uk>
Subject: [pmjs] Jinno shotoki - thank you
Dear All.
Many thanks for these answers. They have been helpful. It is very useful to have Bernhard Scheid's reaction to Bohner's work in general, because I now realise that I have been misled by R. A. Miller's penchant for believing that anything translated into German must be better than anything translated into English.
Given how Chikafusa actually deals with the human sovereigns in the work, I had already decided to go with 'gods and sovereigns', but it is good to have backing for this. 'Divine sovereigns' is potentially more interesting, of course, but sounds much more 1930s than 1330s.
Which brings me to 'kami no kuni' or 'shinkoku'. (Let me preface this by saying that since I am in the middle of the first volume of a history of Japanese religions that goes to the late sixteenth century and must be finished by September, I cannot dig as I would wish.) Iwasa's Iwanami edition has 'kami no kuni', which certainly comes from Yamada Yoshio's work in the 1930s but may well go back to a Tokugawa kokugakusha-type reading. It sounds like it, anyway. One might assume that the 'kun' reading would carry the nationalist bias, as it often did with Norinaga et al., but this is not the case here. It is when it is read in the 'on' as 'shinkoku' that it immediately becomes a concept (pace Mark Teeuwen) leading to 'divine land' as a translation. This does not surprise me, because Sino-Japanese simply has that effect, but it is interesting that in this case it is the 'on' reading that suggests nationalism.
Or is the reading immaterial? Could it be that the visual effect of the compound minus any intervening kana already suggests a concept, come what may?
I suppose I am fussing here because Chikafusa is often used as one of the markers that point to when shinkoku became a concept. I would like to avoid a circular argument, if possible.
Richard Bowring
Date: Sat, 24 Apr 2004 14:42:00 -0400
From: Lawrence Marceau .....marc...@...l.Edu>
Subject: [pmjs] Re: Jinno shotoki
Just for the record, in the supplementary notes (hochuu) to Iwasa's edition of the JSK published in the Iwanami Bunko series in 1975, Iwasa specifically identifies the Watarai Shinto work, Yamato-hime no mikoto seiki (倭姫命世記, included in Nihon Shisou Taikei, vol. 19--Chuusei Shintou ron and elsewhere) as the source for the kun reading of "Ohoyamato no kuni ha kami no kuni nari". This work, found in the mid-Kamakura compilation, Shintou gobusho, probably dates from the early to mid 13th c., in spite of the fact that it is purported to date back to pre-Nara times. Chikafusa may well have assumed the work was authentic, and thus borrowed the phrase and it's reading into his compilation. (However, checking the NST edition, pp. 31-32, we find that the relevant characters are left unglossed... Perhaps it was assumed, being a Shinto text, that the characters would be read according to their kun rather than their on readings.)
Best wishes,
Lawrence Marceau
Date: Sun, 25 Apr 2004 10:39:46 +0900
From: "Karel Fiala" .....i...@...l.fpu.ac.jp>
Subject: [pmjs] Re: Jinno shotoki
Prof. Bowring's observation that the "on" reading has often led to a
different translation than the "kun" reading is quite important. It
implies that some translators project their experience with
modern "wakan konkou bun" into the interpretation of terms which came
into existence when both writing Kanbun and its Japanese reading
(kundoku) were usual, and even original Japanese words were sometimes
read like Sino-Japanese words, The way of reading was not supposed to
affect the meaning of the terms.
K.Fiala
P.S. Of course, I do not deny that the difference was inherent already
since "Wakan konkou bun" came into existence, but each occurence of
a possible abstract term must be considered very carefully.
K.Fiala
Date: Sun, 25 Apr 2004 15:02:49 +0000
From: "Michael Wachutka" .....ichaelwachu...@...mail.com>
Subject: [pmjs] Re: Jinno shotoki - thank you
Many thanks for these answers. They have been helpful. It is very useful to have Bernhard Scheid's reaction to Bohner's work in general, because I now realise that I have been misled by R. A. Miller's penchant for believing that anything translated into German must be better than anything translated into English.
I don't think that anything translated into German must necessarily be better than anything translated into English, although there are many superb German translations out there the English-(only)-speaking/using world is hardly aware of. Anyway, this is true for many other languages as well...
Nevertheless, I think I have to take up the cudgels for Bohner. Bernhard Scheid is certainly correct that his *interpretations* somewhat tend towards mysticism and romantic nationalism, but that does in my opinion not automatically qualify his *translations* as such. To say "Whatever you do, don't take Bohner as a serious authority!" goes much too far I think.
The introductions or annotations to his works and the words and images he uses therein of course have to be seen in the context of his times (and sometimes may even go beyond the Zeitgeist), but as for let's say the grammatical structures or the original's underlying concepts, Bohner usually translates them very precise, correct and reliable.
I have to admit, I am only speaking here for the Jinno shotoki and his huge tome on documents relating to Shotoku-taishi as I have not read his articles in MN.
To make it short:
"German translations must be better than anything translated into English"... no.
"Whatever you do, don't take Bohner as a serious authority!"... neither.
The truth, as so often, is probably somewhere in between.
Just my two Yen on that...
Michael Wachutka
P.S. Nicht's fuer ungut Bernhard! ;-)
Date: Mon, 26 Apr 2004 18:08:55 +0200
From: "Bernhard Scheid" .....ernhard.sch...@...w.ac.at>
Subject: [pmjs] Re: Jinno shotoki - and Bohner
Just a short reply to Michael: I admit that Bohner's translations may be
correct as regards grammar, but I am still under the "Blut-und-Boden"
rhetoric I found in the MN articles (not only by Bohner, of course).
Thus, since the discussion here is mainly on the ideological
implications of this or that possible translation, I repeat my warning
regarding Bohner: judging from his interpretations of Japanese history,
he was anything but ideologically unbiased, and his translations reflect his
views. Of course, this should not encourage a possible tendency to
disregard German scholarship on these topics altogether...
Date: Mon, 26 Apr 2004 20:34:55 +0100
From: Richard Bowring .....b...@...mes.cam.ac.uk>
Subject: [pmjs] Bohner
Perhaps now is the time to draw an end to this particular string. But just
to clarify. My overly cryptic remark seems to have been misinterpreted. It
was not actually aimed at Bohner, whose translations and notes I found to be
of considerable interest, but at Roy Miller's vicious JJS review of Varley's
English translation, where (among other things) he subjects Varley's
translation of the title as 'gods and sovereigns' (which is where we came
in) to ridicule, quoting Bohner as the authority.
Zum Wohl.
Richard Bowring
Date: Mon, 26 Apr 2004 21:09:02 -0700
From: William Bodiford .....odif...@...a.edu>
Subject: [pmjs] Re: kun vs. on (WAS Jinno shotoki - thank you)
At 04/04/24, Karel Fiala wrote:
The way of reading was not supposed to
effect the meaning of the terms.
I do not know why we should not suppose just the opposite: The way of reading most definitely effects the meaning of the words. So-called "kun" reading actually is a technique for translating Chinese words into Japanese. Like all forms of translation, it definitely introduces some foreign elements and obscures others. By the medieval period (if not earlier) Japanese authors cleverly exploited this process to consciously generate new meanings out of old Chinese words. They were not "misreading" the Chinese, but purposefully manipulating Chinese in ways that the well understood would have been impossible outside of Japanese linguistic norms. Unfortunately, we know very little about how Chinese language worked in pre-Tokugawa Japanese contexts.
________________________
William M. Bodiford (bodif...@...a.edu)
Dept. of East Asian Languages and Cultures
290 Royce Hall; Box 951540
University of California (UCLA)
Los Angeles CA 90095--9515
Date: Wed, 28 Apr 2004 11:07:16 -0400
From: Michael Watson .....at...@...eijigakuin.ac.jp>
Subject: [pmjs] new members, new/updated profiles
We welcome the following new members: Brecht Debackere, Hervieu Pascal, Maria Grazia Petrucci, Nicholas Teele, Yokomizo Hiroshi.
There are new and updated profiles from: Rolf Giebel, Wang Yong, Janick Wrona.
I have translated or summarized profiles of the following subscribers to the Japanese-language digest, but give the original profiles in full.
--------
Brecht Debackere .....re...@...2.hku.nl>
affiliation = Art Media and Technology Academy Hilversum (Netherlands)
profile = I am a video artist, currently researching the intrinsic characteristics of 3d virtual reality. For my masters thesis I want to link the Japanese Mu and Ma concepts to propose an alternative perception of time and space, as opposed to a more classical western remediation of film and animation in 3d.
Hervieu Pascal ...@...do.plala.or.jp>
affiliation = translator & management consultant
profile = I am a graduate of INALCO (French oriental languages institute, BA in Japanese 1981) and studied for 2 years in Tokyo University (sociology dept reseach institute on journalism and freedom of speech). I have been working in Japan for 16 years (I also graduated from management science / business school)
I have published 2 books of translations in France (Arfuyen edition)
(1) short stories by Shiga Naoya 志賀直哉 ("Kinosaki ni te" 城崎にて and "Han no Hanzai" 范の犯罪)
(2) poems by Ishikawa Takuboku 石川啄木 from "Ichiaku no suna" 一握の 砂 and "Wasuregataki hitobito" 忘れがたき人々)
I am now working on a translation of "Shitchuu" 疾中 by Miyazawa Kenji 宮沢賢治（publication end 2004 or beginning 2005). Next year I want to launch again my project of the translation of "Shisha no sho" 死者の書 by Orikuchi Shinobu 折口信夫. My main interests are in works by Natsume Soseki and Mori Ogai , and in modern and pre-modern poetry. In history I am very interested in the Meiji-Taisho period
Maria Grazia Petrucci .....uras...@...us.net>
University of British Columbia, MA student
Specialized on The period of Japanese Civil Wars (Sengoku Jidai) and Christianity, international trade and tea politics in that period.
Nicholas Teele .....ickte...@...oo.com>
affiliation = Doshisha Women's College
profile = Have long been interested in waka, focusing on the Kokinshu.
In the last couple of years I have become fastinated with the
Saikoku-sanjusan-sho pilgrimage, and the goeika associated with it.
Yokomizo Hiroshi .....zn00...@...ty.ne.jp>
Fellow of the Japan Foundation for the Promotion of Science
Researching monogatari literature of Heian and Kamakura periods.
Publications: papers on the monogatari "Iwade shinobu"
横溝 博 (よこみぞ ひろし)
affiliation = 日本学術振興会特別研究員
profile = 平安～鎌倉時代の物語文学について研究しております。
『いはでしのぶ』について、いくつか論文を書いております。
NEW OR UPDATED PROFILES
Rolf Giebel .....olf.gie...@...adise.net.nz>
profile = My chief interest is in Tantric/Esoteric Buddhism (not necessarily confined to Japan), but my work as a free-lance translator involves a considerable amount of work related to premodern Japan, and so I have a strong interest in all fields of premodern Japanese studies. Recent publications:
_Two Esoteric Sutras_ (BDK English Tripitaka 29-II, 30-II). Berkeley: Numata Center for Buddhist Translation and Research, 2001.
(co-translator) _Shingon Texts_ (BDK English Tripitaka 98-I~VII). Berkeley: Numata Center for Buddhist Translation and Research, 2004.
Wang Yong .....angyong...@...mail.com>
affiliation = Institute for Japanese Culture, Zhejiang University, China
profile = Specialization: ancient Chinese-Japanese relations. Have looked particularly at figures like Shoutoku Taishi, Ganjin, and Saichou, and focussed on topics such as Japanese envoys to Tang China (kentoushi), children of mixed Chinese and Japanese parentage of the Tang and Sui periods, and written exchanges between China and Japan. PhD thesis (Graduate School for Advanced Studies, Japan) "Shoutoku Taishi and Chinese Culture." Main Japanese-language publications include: _Shoutoku Taishi jikuu chouetsu_ (Taishuukan, 1994), _Tendai no ryuuten_ (co-author, Yamakawa shuppan, 1997), "Tou kara mita kentoushi_ (Koudansha, 1998), _Chuugokushi no naka no Nihon-zou_ (Noubunkyou, 2000), _Onme no shizuku nuguwabaya: Ganjin wajou shinden_ (Noubunkyou, 2002). Editor of ten volume _Nitchuu bunka kouryuushi sousho_ (Taishuukan, 1996-97), _Nara Heianki no nitchuu bunka kouryuu_ (Noubunkyou, 2001), and other publications.
Recently involved in an international, interdisciplinary research project that argues for a "Book road" as a special feature of East Asian cultural exchange, in contrast to the East-West "Silk road."
* Personal home page: http://shinjuku.cool.ne.jp/jiangnanke
* Web master of Japanese Cultural Institute pages giving an overview of Japanese studies in China: http://japanologe.hp.infoseek.co.jp
* Both sites in Japanese language.
王勇（オウユウ）
（中国浙江大学）日本文化研究所
○専門は古代の中日交渉史、人物としては聖徳太子・鑑真・最澄を主として取 りあげ、分野別には遣唐使・隋唐期の中日混血児・中日書籍交流を重点的に研 究している。
○博士論文（日本国立総合大学院大学）は「聖徳太子と中国文化」。主な日本 語著書には『聖徳太子時空超越』（大修館、1994）、『天台の流伝』（共著、 山川出版、1997）、『唐から見た遣唐使』（講談社、1998）、『中国史のなか の日本像』（農文協、2000）、『おん目の雫ぬぐはばや--鑑真和上新伝』（農 文協、2002）などがある。そのほかに、10巻本「日中文化交流史叢書」（大修 館、1996-1997）や『奈良平安期の日中文化交流』（農文協、2001）などの編 著もある。
○近ごろは東西間のシルクロードに対して、東アジア世界の文化交流を特徴づ けるブックロードを提唱して、国際・学際共同研究を進めている。
○個人のHPは（http://shinjuku.cool.ne.jp/jiangnanke）、日本文化研究所 は中国の日本研究を総合的に紹介する HP(http://japanologe.hp.infoseek.co.jp)を運営している。いずれも日本語 のHPである。
Janick Wrona .....r...@....ku.dk>
Department of Asian Studies
University of Copenhagen
(DPhil, University of Oxford, 2004)
Research interests: Complement clauses and relative clauses in Old and Early Middle Japanese, syntactic changes in Old and Early Middle Japanese
Date: Wed, 28 Apr 2004 15:47:38 +0900
From: "Wang Yong" .....angyong...@...mail.com>
Subject: [pmjs] online diary database (Modified by Michael Watson)
Database of Joujin ajari's "San tendai godaisan ki" (Pilgrimage to the Tendai and Godai mountains)
Jacqueline Stone asked about databases of noblemen's diaries from the 10th to 13th centuries. Although it cannot be called a nobleman's diary, the late eleventh century diary in eight volumes of Joujin's visit to Sung China is a related work, and is available as a full-text database on the site I manage at the Institute for Japanese Culture, Zhejiang University, China. Please see:
http://www.zdrbs.com
http://shinjuku.cool.ne.jp/jiangnanke
Wang Yong
-- note from pmjs editor: As "court diaries" was translated in the Japanese
-- digest as "kizoku nikki," it appears as "noblemen's diaries" above.
-- original message from Professor Wang --
成尋『参天台五臺山記』データベース
Jacqueline Stone氏は10世紀から13世紀にかけての貴族日記データベースにつ いての問い合わせがありました。貴族日記とはいえないが、それと関連のある ものとして、わたしの所属する中国浙江大学日本文化研究所は11世紀後半の成 尋の入宋日記『参天台五臺山記』全八巻をデータベース化して、下記のHPに公 開しています。ご参考になればと思います。
http://www.zdrbs.com
http://shinjuku.cool.ne.jp/jiangnanke
王勇（wang yong）
2004.04.28
Date: Wed, 28 Apr 2004 08:05:10 -0700
From: Andrew Goble .....laty...@...kwing.uoregon.edu>
Subject: [pmjs] Re: kun vs. on (WAS Jinno shotoki - thank you)
I'm intrigued by the broader assertions about new words and clever
manipulation.
I can certainly imagine that the nuances of ideographs could be creatively
employed. I would assume that that process occurred in China as well as Japan
(Korea also?) - what were those Song intellectuals doing with their new
historiography, neo-Confucianism, and perhaps even Buddhist writings? So, are
we looking at something clever and manipulated in places other than Japan as
well? And thus can we remove the implied criticism of nationalist Japanese
authors promoting nefarious topics?
As to knowing little about how Chinese worked in pre-modern Japan - I guess
reading some of it would help. I think a lot is known.
Just to help me as I work with pre-Tokugawa texts that use kanbun and/or
Chinese (not the same, and Japanese did continue to read contemporary Chinese
works): beyond the broad claims, does somebody have some actual examples of
the Japanese authors and the words that they consciously exploited?
Andrew Goble
Date: Wed, 28 Apr 2004 10:07:37 -0700
From: William Bodiford .....odif...@...a.edu>
Subject: [pmjs] Re: kun vs. on (WAS Jinno shotoki - thank you)
Dear Andrew Goble and colleagues:
***At 04/04/28, Andrew Goble wrote:
. . . . And thus can we remove the implied criticism of nationalist Japanese
authors promoting nefarious topics?
It was not my intention to imply any such criticism.
Just to help me as I work with pre-Tokugawa texts that use kanbun and/or
Chinese (not the same, and Japanese did continue to read contemporary Chinese
works): beyond the broad claims, does somebody have some actual examples of
the Japanese authors and the words that they consciously exploited?
Since this is a broad topic, I will try to clarify what I had in mind when I wrote my original remarks. When I wrote "Unfortunately, we know very little about how Chinese language worked in pre-Tokugawa Japanese contexts," I did so because this is a topic which seems to be discussed frequently in passing but rarely addressed directly or at length.
I do not have time just now to provide precise citations, but the topic of manipulation of Chinese passages has been discussed, for example, by: (1) Maeda Eun in relation to Shinran, (2) Kagamishima Genryu in relation to Dogen, (3) Asai Endo in relation to Nichiren, (4) Hagiwara Tatsuo in relation to Watarai Shinto, and by many other scholars of medieval religion. All of the above people also cite a few parallel examples of similar textual techniques found in medieval Buddhist commentarial traditions within Shingon and Tendai lineages. The medieval Shingon and Tendai texts they cite, however, for the most part have not been published. Some of them are in library collections where people outside of Japan cannot easily access them. Others are still esoteric, so that even people in Japan cannot easily obtain copies. I know of no language studies or dictionaries that focus on these kinds of medieval religious texts. (Both Jackie Stone in her book on Original Enlightenment and Susan Klein in her book on Allegories of Desire discuss the ways that language was manipulated in esoteric commentaries.)
The examples of Zen studies illustrates some of the issues involved. Thanks to specialists in Chinese linguists like Iriya Yoshitaka (etc.) we now interpret many passages and vocabulary from Song and Yuan Chan (Zen) texts very differently from the way that they are explained in Tokugawa and Meiji-period commentaries. Today, no one relies on those traditional interpretations. Less well known, is that specialists in Japanese linguistics also have published a large number of late medieval Zen texts of the "shomono" genre. These texts frequently contain explanations of Chinese Song and Yuan Chan (Zen) texts that differ yet again from what either the so-called traditional Tokugawa commentaries or modern linguists say. I know of no studies or dictionaries, though, that have systematically surveyed these shomono texts for their interpretations of Chinese language.
At UCLA we teach students how to read Song and Yuan Chan texts according to our current understanding of Chinese linguistics. When our same students read premodern Japanese texts in which those Song and Yuan Chan texts are quoted, though, it would be a mistake for them to interpret those Chinese passages in that same manner. We can point our students to various Japanese commentaries that show how Japanese read Chinese Zen passages in other ways. Thus, it is very easy to demonstrate the linguistic differences in the case of Zen. It is less easy to demonstrate the same linguistic issues in the case of Tendai, Shingon, Pure Land, Nichiren, Watarai Shinto, etc. Many more medieval Zen texts have been published than have medieval texts in those other traditions.
I hope this helps,
William M. Bodiford (bodif...@...a.edu)
Phone: 310--206-8235; FAX 310--825-8808
Dept. of East Asian Languages and Cultures
290 Royce Hall; Box 951540
University of California (UCLA)
Los Angeles CA 90095--9515
Date: Wed, 28 Apr 2004 13:46:09 -0700
From: Noel John Pinnington .....o...@...rizona.edu>
Subject: Re: [pmjs] Re: kun vs. on (WAS Jinno shotoki - thank you)
Perhaps the most well-known example of the exploitation of the on-kun axis
as an interpretative technique is found in the two introductions to the
Kokinshu written in "Chinese" and Japanese. They both allude to the rikugi,
six technical poetic terms taken from the Major Preface to the Mao version
of the Book of Odes. In the Japanese introduction, the six terms are given
Japanese readings which make it look as if they 1) constituted a poetic
typology (not clear in the original usage) 2) were applicable to poetry
written in Japanese. It is widely thought that the primary intent behind
this problematic and forced analysis was the legitimation of waka as courtly
poetry.
Noel Pinnington
Date: Thu, 29 Apr 2004 13:53:14 +0900
From: "Karel Fiala" .....i...@...l.fpu.ac.jp>
Subject: Re: [pmjs] Re: kun vs. on (WAS Jinno shotoki - thank you)
By writing "was not supposed to" I do not mean that this was not what
actually happened.I mean only that the written form was the primary
accessible information, the primary fixed point, which defies
Saussurean linguistics in a way (as Saussure himself admitted).
Fiala
Date: Thu, 29 Apr 2004 23:08:58 -0700
From: Thomas Howell .....howel...@...thlink.net>
Subject: [pmjs] Re: kun vs. on
I want to add another element to William Bodiford 's interesting discussion of
"how Chinese language worked in pre-Tokugawa Japanese contexts."
A fair amount of information can be gleaned from setsuwa texts as to how Chinese sources were read, by looking at how sentences and vocabulary units were broken into pieces and rephrased when quoted in non-kanbun environments. I read an interesting article on how the Lotus Sutra was quoted in setsuwa and related texts, comparing examples over time.
The author, Kobayashi Yoshinori, concludes that in moving from early Heian up to the insei period:
Grammatical particles were stabilized and standardized, longer sentences were shortened, kun readings of words were replaced by the on readings. In early Heian, LS sentences were subject to free rephrasings using contemporary vocabulary, in the later period, there was more of attempt to literally give the original word by word (though reformulating in Japanese word-order) .
An example he gives is the verb "sugu," to pass, elapse, etc. In earlier quotes the graph 過 was given in numerous kun readings, watasu, michiyuku, itaru, yogiru, etc., but in the later quotes these disappeared, and it was always "sugu."
From all the emphasis on how texts were altered or nativized, this is an interesting counter example, and from an earlier period.
Date: Fri, 30 Apr 2004 09:05:28 +0200
From: Janick Wrona .....r...@....ku.dk>
Subject: [pmjs] Any formal syntacticians out there?
Dear all,
I was wondering whether anyone on the list is working with formal syntax
(e.g. Minimalism) and pre-modern Japanese.
It is one of my great interests, but I know only one or two other people
working on it, so it would be great to get in touch with more people.
Interested pmjs'ers can contact me off-list so as not to clutter everyone's
inboxes.
Cheers,
Janick
Date: Fri, 30 Apr 2004 11:58:21 -0400
From: "Lewis Cook" .....c...@...thlink.net>
Subject: [pmjs] Re: kun vs. on
One or two comments on subjects of considerable interest. I'm entirely sympathetic to William Bodiford's response to Andrew Goble's query, and hope this provokes continued discussion.
>Just to help me as I work with pre-Tokugawa texts that use kanbun and/or
>Chinese (not the same, and Japanese did continue to read contemporary Chinese
>works): beyond the broad claims, does somebody have some actual examples of
>the Japanese authors and the words that they consciously exploited?
It would help to know what (in reference to Andrew Goble's post) is meant by 'consciously exploited.' (as opposed to?)
Since this is a broad topic, I will try to clarify what I had in mind when
I wrote my original remarks. When I wrote "Unfortunately, we know very
little about how Chinese language worked in pre-Tokugawa Japanese
contexts," I did so because this is a topic which seems to be discussed
frequently in passing but rarely addressed directly or at length.
I do not have time just now to provide precise citations, but the topic of
manipulation of Chinese passages has been discussed, for example, by: (1)
Maeda Eun in relation to Shinran, (2) Kagamishima Genryu in relation to
Dogen, (3) Asai Endo in relation to Nichiren, (4) Hagiwara Tatsuo in
relation to Watarai Shinto, and by many other scholars of medieval
religion. All of the above people also cite a few parallel examples of
similar textual techniques found in medieval Buddhist commentarial
traditions within Shingon and Tendai lineages. The medieval Shingon and
Tendai texts they cite, however, for the most part have not been published.
Some of them are in library collections where people outside of Japan
cannot easily access them. Others are still esoteric, so that even people
in Japan cannot easily obtain copies. I know of no language studies or
dictionaries that focus on these kinds of medieval religious texts. (Both
Jackie Stone in her book on Original Enlightenment and Susan Klein in her
book on Allegories of Desire discuss the ways that language was manipulated
in esoteric commentaries.)
The idea of manipulation here is no less than troubling than that of "exploited" (if that means what I imagine, though I'd better wait to find out). The presupposition seems to be that there is a usual sense of words or passages from or against which manipulators (authors) deviate, and indeed that there are specific techniques involved.
To verify this, we would have to know, at least, (1) what the passages were intended or expected to mean as authored in the context under manipulation, (2) what the passages were understood to mean by the manipulators (presumed to have cited them for other purposes) before they diverted them to their purposes, and (3) what the manipulators expected their readers to understand of their (diverted or deviant) purposes in using said passages. And perhaps (4) to what extent readers understood (3) (and maybe (3) as opposed to (2) and so on, but I think the problems are clear).
I don't doubt that that all of these complications and more occur whenever difficult texts (and conceptual terms, etc.) are translated and reinterpreted (or simply read), but given that much, the claim that 'manipulation,' or (quoting Bodiford) identifiable "textual techniques" -- _as opposed to_ 'business as usual' (reader/translator at work, text under reconstruction, and so on)? -- is [are] involved in such proceedings, seems questionable, and I wonder if the answers could be supplied through lexicographical research.
My own experience of difficulties understanding medieval Japanese writers who exploit or manipulate 'kanbun' texts (in the areas of secular literary commentary, mostly) leads me to believe that they sought a degree of license in doing so (I often wonder whether they didn't think they could thereby get away with things that obedience to standard hentaikanbun [if there ever was such a thing] would not allow?) I suppose this is what persuades us we have work to do.
The examples of Zen studies illustrates some of the issues involved.
Thanks to specialists in Chinese linguists like Iriya Yoshitaka (etc.) we
now interpret many passages and vocabulary from Song and Yuan Chan (Zen)
texts very differently from the way that they are explained in Tokugawa and
Meiji-period commentaries. Today, no one relies on those traditional
interpretations. Less well known, is that specialists in Japanese
linguistics also have published a large number of late medieval Zen texts
of the "shomono" genre. These texts frequently contain explanations of
Chinese Song and Yuan Chan (Zen) texts that differ yet again from what
either the so-called traditional Tokugawa commentaries or modern linguists
say. I know of no studies or dictionaries, though, that have
systematically surveyed these shomono texts for their interpretations of
Chinese language.
There are people working on such lexicographical tasks (cf. the _Shomono shiryou syuusei_, and indices, etc., much of which has to do with secular texts, as you must know) But I agree absolutely, one cannot (Morohashi being useless here) yet find systematic resources for looking up much less interpreting medieval kanbun /sino-japanese lexemes, etc. And this is a hindrance to reading texts we should be able to read with more confidence by now, after all.
Lewis Cook