pmjs logs for July 2004. Total number of messages: 39
* EAJS 2005, new website of the Vienna organising commitee (Bernhard Scheid)
* Kyoto Graduate Research Workshop
* The gender of Amaterasu (Melanie Trede, Joshua Badgley, Lawrence Marceau, Kate Wildman Nakai, Robin Gill, Emiko Ohnuki-Tierney, Loren Willamette, Richard Bowring, Michael Watson, Meyer Pesenson, Iyanaga Nobumi)
* J.L.Pierson (Michael Watson, Maureen Donovan, Charles De Wolf, Janick Wrona, Bjarke Frellesvig, Denise O'Brien, Chris Tillam)
* "memoirs," "secret," and "empire" (Morgan Pitelka, Elliot Berlin, Beatrice Bodart-Bailey, Barbara Nostrand)
* New French books (Iyanaga Nobumi, Janet Goodwin, Hideyuki Morimoto)
* summer arrangements for pmjs (Michael Watson)
* open position, University of Heidelberg (Melanie Trede)
* announcement of conference "New Gender constructs in Literature, Visual and Performing Arts of China and Japan" (Doris Croissant)
Date: Mon, 5 Jul 2004 13:49:53 +0200
From: "Bernhard Scheid" <.....nhard.sch...@...w.ac.at>
Subject: EAJS 2005, new website of the Vienna organising commitee
A new website with information on next year's EAJS conference in Vienna,
including all CALLS, can be found at:
http://www.univie.ac.at/eajs/index.htm
Sorry for cross postings and best regards
Bernhard Scheid
_________________________
Institute for the Cultural and Intellectual History of Asia Austrian
Academy of Sciences
Strohgasse 45/2/4
A-1030 Vienna
Austria
Tel +43-1-515 81-6424
Fax +43-1-515 81-6427
Internet: http://www.oeaw.ac.at/ias/
Date: Sat, 10 Jul 2004 20:45:18 +0900
From: Sharon Yamamoto <.....ro...@...ink4.berkeley.edu>
Subject: Kyoto Graduate Research Workshop
KYOTO GRADUATE RESEARCH WORKSHOP: First Meeting
Date: July 14, 3-5PM
Place: Stanford Center in Kyoto
We are pleased to announce the founding of the Kyoto Graduate Research Workshop (KGRW), a group intended to serve the needs of Kansai-based graduate students doing Ph.D. research primarily in the humanities and social sciences. This inter-disciplinary workshop was founded on the premise that it would greatly benefit graduate students, often working in relative isolation, to discuss their work while research is still in progress, thereby providing them with the chance to discover and adapt to problems while still in Japan.
The Workshop will convene monthly or possibly bi-monthly, (depending on the number of potential speakers), in order to serve two main purposes:
1) To afford graduate students an opportunity to talk informally about their work and their approach, to discuss problems of research, and to share possible solutions;
2) To provide graduate students the chance to speak at length (around 30-45 minutes) about a specific area of their research, and to receive critical feedback while still in the field.
The first presenter will be John Szostak (University of Washington, Art History), who will discuss his research on traditional painting (nihonga) reform in Taisho era Kyoto. We will meet on July 14, 2004, at 3PM at the Stanford Center in Kyoto (for a map with directions, please go to <.....p://www.stanford-jc.or.jp/about/contact.html>.
At this first meeting, we also plan to hold a brief discussion to help determine the needs of participants, and to establish a schedule for the rest of the year. A gathering over food and drinks at a local restaurant will follow. We encourage international graduate students, university academics, and other interested persons to join our gatherings.
Also, if you are currently a graduate student researcher or academic in the Kansai region (or soon to come), and would like to join our mailing list, please go to <.....p://groups.yahoo.com/group/KGRW/> and request to join. In your message, please include your name, affiliation (home institution and host institution in Japan) and field of study.
We look forward to a stimulating Workshop.
Best regards,
Todd Henry, UCLA, History
John Szostak, University of Washington, Art History
Sharon Yamamoto, UC Berkeley, Art History
Co-founders/organizers
Date: Thu, 15 July 1984 02:52:00 +0100
From: Melanie Trede <.......@...sino.uni-heidelberg.de>
Subject: The gender of Amaterasu
Apologies for cross-postings
Colleagues,
Here's a question regarding the gender of Amaterasu in word and image.
Beatrice Bodart-Bailey writes in her translation of "Kaempfer's Japan" (p. 462, footnote 9), "Amaterasu, described in Nihon shoki as female, but as was common at the time, Kaempfer refers to the god as male throughout."
Depictions of Amaterasu, together with Hachiman and the Kasuga deity (Sanja shinkei) of the Edo period show Amaterasu as gender-ambiguous [at least to my eyes, although one could read the image also as representing a young male, see e.g. the painting by Itcho, reproduced in Kobayashi Tadashi's "Hanabusa Itcho", Nihon no bijutsu 260 (April 1966)].
Paintings of Amaterasu of the Meiji period, however, represent her clearly as female (e.g. the painting by Matsumoto Fuuko, 1908 in the Hiroshima kenritsu bijutsukan).
Does anyone know when the gender switch of Amaterasu from female to male took place in the first place (i.e. before Kaempfer in the late 17th c, that is) and when exactly it was switched back again (e.g. the result of Kokugaku scholarship, or rather Meiji ideologues)?
Thanks for any suggestions,
melanie trede
******************************
Kunsthistorisches Institut
Abteilung Ostasien
Seminarstr. 4
69117 Heidelberg
GERMANY
Tel. +49-6221-543969
Fax:+49-6221-543384
tr...@...sino.uni-heidelberg.de
http://webcat.nii.ac.jp/cgi-bin/shsproc?id=BA67607991
*******************************
Date: Wed, 14 Jul 2004 19:33:30 -0800 (AKDT)
From: Josh Badgley <.......@...zer0.gi.alaska.edu>
Subject: Re: The gender of Amaterasu
I had always been under the impression that 'sun god/goddess' was
originally an amalgamation of different deities, brought together in the
pantheon under the person of Oho-hiru-me no muchi, aka Ama-terasu no Oho
kami, aka Ama-terasu-oho-hiru-me no Mikoto; however, different localities
tended to worship the 'sun god' as had been their practice.
Unfortunately, I can neither find nor recall my source for this, so I'd
appreciate it if anyone could confirm or deny it. Essentially, as I
remember it, the argue was that the sun was worshipped throughout the
islands, and as one family gained hegemony over the islands, their version
of the sun goddess became the one worshipped at all of the other places,
but gender never changed in the local areas. Since Japanese, in general,
places much less emphasis on male/female distinctions in pronouns and
descriptions, I would guess that they never really saw a conflict because
Amaterasu wasn't a 'he' or a 'she' as much as a 'kami'.
Out of curiosity, does anybody know if the male personification of
Amaterasu remains today in Japan? I would not be surprised if it did.
-Joshua B.
--------------------------------------------------------------------------------------------
Date: Thu, 15 Jul 2004 11:09:37 -0400
From: Lawrence Marceau <.....rc...@...l.edu>
Subject: Re: The gender of Amaterasu
I agree with Joshua Badgley that Amaterasu is an amalgamation of several deities that were conceived for different purposes. I don't have the sources at hand, but it seems that the honji suijaku notion of correlating Shinto deities with Buddhist ones plays a role, in equating Amaterasu with the Buddha Dainichi Nyorai (who is presumably beyond gender distinctions). There are also several issues which are taken up by Izawa Banryou (Nagahide) in his fascinating _Koueki Zokusetsu ben_ (found in the Heibonsha Touyou Bunko series, #503). Also, I don't believe it is accurate to suggest that Amatarasu's gender "switched" and then "switched back" over the course of Japanese history; what is more likely is that certain schools of thought resisted the notion of the "Sun" deity (yang = male) being female, while other schools more strictly followed the Nihon shoki and other texts, which clearly refer to Amaterasu as Susanoo's "elder sister."
Lawrence Marceau
Date: Fri, 16 Jul 2004 00:51:53 +0900
From: Kate Wildman Nakai <.....na...@...hia.ac.jp>
Subject: Re: The gender of Amaterasu
At the recent symposium on the culture of secrecy in Japanese religion held
in Vienna, Kadoya Atsushi introduced a fascinating catalogue of materials
figuring in secret transmissions in Miwa Shinto (Shintoo kanjoo:
Wasurerareta shinbutsu shuugoo no sekai, published by Gangooji bunkazai
Kenkyuujo in 1999). Among the illustrations were depictions dating from the
early nineteenth century of the so-called "seven generations of heavenly
deities" and "five generations of earthly deities." Of the first category,
the first three "single" deities, starting with Kuninotokotachi no mikoto,
are portrayed in the manner of multiheaded, multiarmed esoteric Buddhist
deities; the next three paired deities are depicted as entwined snakes with
human heads (male and female), and the seventh generation (Izanagi and
Izanami) as male and female in human form. The five generations of earthly
deities, starting with Amaterasu, are all depicted as males (with mustache
and beard) in court dress.
Satoo Hiroo provides some discussion of depictions of Amaterasu in his
Amaterasu no henboo: Chuusei shinbutsu kooshooshi no shiza (Hoozookan,
2000). He also lists an article on the subject: "Amaterasu no oomikami no
zooyoo no hensen ni tsuite," by Toba Shigehiro (?), in Koogakkan Daigaku
Shintoo Kenkyuujo kiyoo 13 (1997).
It is a fascinating subject, and I hope that someone with more knowledge
than I will continue the discussion.
Kate Wildman Nakai
Date: Thu, 15 Jul 2004 12:17:18 -0400
From: "robin d gill" <.....in...@...lsouth.net>
Subject: Sexing Amaterasu
Melanie Trede-sama,
What a wonderful question I hadn't known was a question!
I wish I had something re. the Sun Goddess I have wondered the same thing re. Kannon but, I do have an anecdote about a somewhat related problem.
The first song of Waley's Chinese "Book of Songs" has a young woman thrilled (and boasting) to have rolled a handsome man in the dew. Pound follows him. Both Japanese translations of the same song (I vaguely recall the #81) have a young MAN happy to have rolled a pretty girl. I thought the broad brow and bright eyes sounded like "our" knights and disagreed with a Chinese friend who supported the Japanese translators (for she thought the "bijin" a female). So, we took it to Shirakawa Shizuka, who sent me a marvelous letter (he wrote ballpoint and never picks up the pen, so a complex character looks like a tornado!!!) in which he came down in favor of Waley and Pound because he felt that women tended to take the lead in the utaigaki in ancient China . . .
What fun!
ps. I recall feeling bad at having disturbed Shirakawa sensei when I learned of his advanced age and the great book he was trying to finish. Does anyone know how he is doing?
robin d. gill
"Rise, Ye Sea Slugs!"
and soon "Topsy-turvy 1585."
uncoolwa...@...mail.com
http://www.paraverse.org
Date: Thu, 15 Jul 2004 12:01:39 -0500
From: emiko ohnuki-tierney <.....nu...@...c.edu>
Subject: Re: The gender of Amaterasu
A discussion hitting all these questions is in Saigoo's Kojiki no Sekai
(87-90). Amaterasu appears in Kiki as female -- wife of the male Sung God.
Much more in Saigoo. Saigoo's and other scholars' interpretations are
presented in endnote (p. 141) in my Rice as Self. I hope this is helpful.
Emiko Ohnuki-Tierney
Date: Thu, 15 Jul 2004 11:47:21 -0700
From: "Loren Willamette" <.....l...@...lamette.edu>
Subject: Re: The gender of Amaterasu
My master's thesis examined gender issues in the Kojiki, but I focused
primarily on Kojiki, Nihonshoki, Fudoki, and Kogoshui. I would also like
to find the answer to this question as I expand my research to a more
extensive study of the changing face of mythology throughout the
centuries.
As to the question of the evolution of Amaterasu's gender, an
ethnological approach points to a gender amalgamation. One theory is
that Amaterasu was originally the medium of Takami-musuhi, and as she
became the voice of the higher deity, she slowly became the object of
worship herself. In the same way, the alternate name Oho-hiru-me may be
a result of a medium of Amaterasu later becoming associated with
Amaterasu herself.
My research uses a textual approach to explore the issue of gender at
the time of the compilation of Kojiki and Nihonshoki. A clearer
understanding of gender relationships in the early 8th century would
also provide a basis from which to speculate why Amaterasu's gender and
position may have shifted.
As Lawrence Marceau pointed out, the Nihonshoki describes Amaterasu as
female, and a pronoun in the Kojiki also seems to refer to Amaterasu as
female. Still, although gender isn't always so clear in the language,
gender and sexuality were clearly central issues in myths such as the
creation of the land or in the case of Jingu Kogo, who offers service to
the unborn male heir in her womb.
I believe Hitomi Tonomura, in a short article for the Japan Foundation,
was on the right track when she pointed out that Amaterasu's sexuality
was much different than Izanami, noting that she does not have a body.
To state her conclusion in other terms, Amaterasu does not exert her
influence through her body, as do other deities and tenno, who act in
male-female unions. Konoshi Takamitsu has long described Amaterasu's
role in these terms.
This still doesn't answer Melanie Trede's question regarding Edo-period
scholarship. I believe that it would be Confucian scholars who would
have the biggest problem with a female Amaterasu. What does Hakuseki
have to say on the subject? Amaterasu's gender isn't such a big concern
for Norinaga. Sorry, this is on my to-do list, but I haven't gotten to
it yet. I look forward to seeing what others have to say.
Loren Waller
Date: Thu, 15 Jul 2004 21:19:36 -0700
From: "Morgan Pitelka" <.....te...@....edu>
Subject: "memoirs," "secret," and "empire"
Dear Colleagues,
I've been a bit buried in my own work for the past few months, but I don't think I would have missed mention of a major television series devoted to early modern Japan. Imagine my surprise when I turned on the tube and discovered Sekigahara unfolding before my eyes! Has there been any sustained scholarly discussion of the recent PBS series "Japan: Memoirs of a Secret Empire"? Isn't this a "big deal" for the field?
Although I completely understand the logic, I am a bit disappointed by the title of the program, which seems to pile a rather outdated stereotype (those inscrutable Japanese) on top of the _Memoirs of a Geisha_ craze, with a little ahistorical empire-bashing thrown in for fun. I guess "Early Modern Japan" would have been a bit too straightforward for TV?
The content is impressive, as far as these things go: I especially liked the diversity of historians assembled for interviews. At the end of the first episode, Michael Auslin, the recently hired Japanese historian at Yale, goes head-to-head with Michael Cooper! Eiko Ikegami, Beatrice Bodart-Bailey, Herbert Plutschow, Cecelia Segawa Seigle, and our own Luke Roberts all allso make appearances. The use of paintings and prints alongside dramatic reenactments of the action is also higher quality than many efforts in the past.
The website could be useful. It includes multimedia sections on Edo, the Tokkaido, a very flashy timeline, a decent bibliography, and a guide to each of the three episodes.
http://www.pbs.org/empires/japan/index.html
The Last Samurai, Lost in Translation, and now this! Would anyone care to comment?
Morgan
********************
Morgan Pitelka
Luce Assistant Professor of Asian Studies
Occidental College, M8
1600 Campus Road
Los Angeles, CA 90041
********************
Date: Fri, 16 Jul 2004 00:40:11 -0400
From: "Elliot Berlin" <.....r...@...jgroup.com>
Subject: Re: "memoirs," "secret," and "empire"
As a filmmaker I was pretty darn disappointed with the part I saw. I
couldn't stay with it. Much of the illustration, including reenactments and
art images, were only loosely related to what was being described.
In the end the narration and interviews provided the content in what I
witnessed. The imagery was diffuse and abstract and didn't move the story
forward in a filmic way. The content may have been well organized but it
struck me rather as a book pasted on "film."
EBerlin
Date: Fri, 16 Jul 2004 15:55:22 +0900
From: "B.M. Bodart-Bailey" <........@...uma.ac.jp>
Subject: Re: "memoirs," "secret," and "empire"
Morgan Pitelka wrote:
"Although I completely understand the logic, I am a bit disappointed by the
title of the program, which seems to pile a rather outdated stereotype
(those inscrutable Japanese) on top of the _Memoirs of a Geisha_ craze, with
a little ahistorical empire-bashing thrown in for fun. I guess "Early Modern
Japan" would have been a bit too straightforward for TV?"
Morgan is absolutely right "Early Modern Japan" would not have moved a wider
audience to turn on their sets, buy the DVD, or presumably got the producers
funding from PBS in the first place. A number of us who were asked to
comment on the script of course complained about the title (I suggested that
if Tokugawa Japan was still a secret to them, they better do a bit more
research), but to no avail.
You also don't get a choice as to which sentences of your interview are
reproduced and what is added as voice-over to your explanations, and so such
productions are never a hundred per cent satisfactory. On balance, however,
I think they do help as more people become interested in the topic.
Beatrice M. Bodart-Bailey
Date: Fri, 16 Jul 2004 09:55:38 -0400
From: "E Berlin" <.....r...@...jgroup.com>
Subject: Re: "memoirs," "secret," and "empire"
Regarding its title it's important to keep in mind the context of this
documentary in the broadcast industry. It was sold as part of the "Empires"
program "strand" distributed by a company called Devillier-Donegan
Enterprises. They have a long-standing arrangement with PBS for broadcast
of these (and other) programs. I imagine use of "Empire" in the name was
deemed important to connecting this show to the strand's concept, since few
people think of Japan as an empire as they do, say the Roman...
"Secret" is understandable from the point of view of Japan's isolation
during the time in question, while it seems plain enough that "Memoirs" is
an attempt to link this program to Golden's relatively familiar book and its
handy association with a popularized view of Japan. That latter point is
dubious from a scholarly perspective, but makes sense from a marketing one.
However, we must acknowledge the mantra of TV programming execs about what a
show title needs to achieve. It needs to say enough to a potential viewer
who's quickly scanning a program guide, to give them A.), a clue about what
they might see, and B.), something to pique their interest. There are not
many who consider this "appointment television," and will plan in advance to
watch such a program, so the marketing effort goes to attracting people who
may NOT otherwise watch the program.
I don't think programming execs should be blamed for doing what they think
best to attract who they can to a program. I only wish I thought "Japan:
Memoirs of a Secret Empire" was better from a filmmaking standpoint.
EBerlin
Date: Sun, 18 Jul 2004 08:28:57 +0100
From: Richard Bowring <.......@...mes.cam.ac.uk>
Subject: Re: The gender of Amaterasu
On the subject of Amaterasu/Tenshou daijin, can I suggest you look at Mark
Teeuwen's essay 'The Creation of a Honji Suijaku deity' in the recently
published book edited by Teeuwen and Rambelli, 'Buddhas and Kami in Japan',
Routledge, 2003.
Richard Bowring
Date: Sun, 18 Jul 2004 20:08:12 +0900
From: Iyanaga Nobumi <.....ya...@....bekkoame.ne.jp>
Subject: New French books
Dear Listers,
Here are two new French publications which may be of interest for some of you:
Dame Nijoo, Splendeurs et miseres d'une favorites, traduit et presente par Alain Rocher, Arles, Philippe Picquier, 2004, 713 p. (French translation of the Towazu-gatari);
Joseph A. Kyburz, Francois Mace, Charlotte Von Verschuer, dir., Eloge des sources. Reflets du Japon ancien et moderne, Arles, Philippe Picquier, 2004, 595 p. (Festschrift for Francine Herail: I don't have the details...)
Best regards,
Nobumi Iyanaga
Tokyo,
Japan
Date: Sun, 18 Jul 2004 12:58:32 -0800 (PST)
From: Janet R. Goodwin<......@...lux.csustan.edu>
Subject: New French books
I'd also like to call attention to the recent book by Jacqueline Pigeot,
Femmes galantes, femmes artistes dans le Japon ancien, Gallimard 2003,
ISBN 2-07-076633-0--concerning asobi, shirabyoushi & kugutsu in the
11th-13th centuries.
--Jan Goodwin
Date: Sun, 18 Jul 2004 19:01:01 -0400
From: Barbara Nostrand <.....tr...@....org>
Subject: Re: "memoirs," "secret," and "empire"
The Last Samurai, Lost in Translation, and now this! Would anyone care to comment?
Secret empire was possibly the least annoying of the bunch.
Date: Mon, 19 Jul 2004 08:15:24 -0400 (EDT)
From: Hideyuki Morimoto <........@...umbia.edu>
Subject: Re: New French books
As to ISBN 2877306895, the following annotation was published this spring in issue no. 16 of La lettre de la Bibliotheque (Maison de la culture du Japon a Paris).
- KYBURZ, Joseph A. et al. (dir.) Eloge des sources - Reflets du Japon ancien et moderne. Arles Philippe Picquier, 2004. 595 p.
Seize essais relevant de differents domaines (litterature, religion, pensee...) sont reunis dans cet ouvrage qui couvre plus de dix siecles de l'histoire du Japon jusqu'a la Restauration de Meiji (1868). Qu'il s'agisse de l'analyse d'un document ou d'une etude thematique, les auteurs ont choisi de privilegier les sources primaires, rendant hommage a la methode de travail de la grande japonologue Francine Herail. Une traduction commentee d'un des textes fondateurs du theatre no^ des sujets tels que la quete de la veridicite du fondateur de la secte zen Soto, le probleme des faux dans la poesie du Japon medieval ou encore l'evolution de l'image du personnage legendaire Bodhidharma (Daruma) sont autant d'exemples illustrant la variete des contributions organisees en quatre section "Le texte et son contexte", "l'oeuvre et sa reception", "le terme et ses acceptions", "le personnage et son image".
(La lettre de la Bibliotheque (Maison de la culture du Japon a Paris), no 16 (printemps 2004) 3.)
<.....ents removed>
===================================================================
Hideyuki Morimoto
Japanese Cataloger
C.V. Starr East Asian Library
300 Kent Hall, mail code 3901
Columbia University Voice: +1-212-854-1510
1140 Amsterdam Ave. Fax: +1-212-662-6286
New York, NY 10027
U.S.A. Electronic Mail: hm2...@...umbia.edu
Date: Mon, 19 Jul 2004 00:41:59 +0900
From: Michael Watson <........@...eijigakuin.ac.jp>
Subject: Re: The gender of Amaterasu
By chance I came across another reference to this in Gerry Yokota-Murakami's book on waki-no. She discusses why Amaterasu is represented in masculine form in the Hosho and Kita school versions of the play.
_The Formation of the Canon of No^: The Literary Tradition of Divine Authority_ (Osaka University Press, 1997), pp. 144-7.
Michael Watson
P.S. On the subject of noh, I would like to call attention to the pmjs "noh in translation" checklist:
http://www.meijigakuin.ac.jp/~pmjs/biblio/noh-trans.html
I have recently enlarged its scope somewhat and changed its format to Unicode.
I welcome any comments and suggestions to <........@...eijigakuin.ac.jp>
--------------------------------------------------------------------------------------------
Date: Tue, 20 Jul 2004 10:17:26 -0700
From: Meyer Pesenson <.......@...c.caltech.edu>
Subject: Re: The gender of Amaterasu
Similar issue regarding Avolakiteshvara/Kuan-yin transformation is addressed
in the book "Kuan-yin" by Chun-fang Yu, Columbia, 2000.
There is a chapter called "Princess Miao-shan and the feminization of
Kuan-yin" (pp 293-353).
This phenomenon of mixture of different deities is not unique to Buddhism.
There are examples of female saints and indigenous goddesses intersected
with Christian saints in colonial Mexico (for example, an indigenous love
goddess jointly with the Virgin Mary).
Despite all the differences, this transformation being less remote in time,
may reveal some generic patterns of the phenomenon.
-Misha Pesenson
Date: Wed, 21 Jul 2004 07:47:51 +0900
From: Michael Watson <........@...eijigakuin.ac.jp>
Subject: J.L.Pierson
A librarian in Australia has written to ask whether anyone on the list can provide more information about J.L.Pierson, whose complete translation in twenty volumes of the Man'yoshu was published in Leiden between 1929-1963. I realize that I also know nothing about his life beyond the fact of his unfortunate dedication in a volume published in the 1930s.
With time on my hands as I wait for a connecting flight, I did my own web search, but have come up only with his full name and birthdate:
Pierson, Jan Lodewijk 1893 -
Most libraries give no death date (although that is hardly unusual).
Can anyone help?
Michael Watson
On 2004/07/20, at 10:03, Chris Tillam wrote:
Some time ago your list members and yourself were kind enough to help with some basic queries about translators of the Manyoshu... I've returned lately to Dr Pierson, and am wondering whether anyone can supply his dates, and when he moved from Holland to Switzerland: my guess it was around the time the tide of battle turned in Europe, but that's just a guess. Also possibly sources for an image? Google has nothing, on any of these questions.
Regards
Chris Tillam
Access Services
Fisher Library
+61 2 9351 6692
C.Til...@...rary.usyd.edu.au
Date: Wed, 21 Jul 2004 09:03:30 +0900
From: Maureen Donovan <.....ova...@....edu>
Subject: Re: J.L.Pierson
Here is a citation (from the Bibliography of Asian Studies) to an article that should help --
Author: Shionozaki, Hiroshi
Title: The first translator into English of all the Manyoshu poetry [Jan Lodewijk Pierson]
Citation: Transactions of the Asiatic Society of Japan (Tokyo) 4th series, 9 (1994) 87-111
Greetings,
Maureen Donovan
Date: Wed, 21 Jul 2004 13:45:42 +0900
From: Iyanaga Nobumi <.....ya...@....bekkoame.ne.jp>
Subject: Re: The gender of Amaterasu
On Jul 21, 2004, at 2:17 AM, Meyer Pesenson wrote:
Similar issue regarding Avolakiteshvara/Kuan-yin transformation is addressed
in the book "Kuan-yin" by Chun-fang Yu, Columbia, 2000.
There is a chapter called "Princess Miao-shan and the feminization of
Kuan-yin"
As to the "feminization" of Avalokite'svara, I would like to mention my book Kannon-hen'yoo-tan (Hoozoo-kan, 2002) -- this is a shameless self-advertisement. Please see:
<.....p://www.amazon.co.jp/exec/obidos/ASIN/4831876720/>
and
<.....p://www.bekkoame.ne.jp/~n-iyanag/buddhism/mythbuddh/myth_bouddh_index.html>
For the problem of Amaterasu, in addition to the book by Satoo Hiroo mentioned by Kate Nakai, Amaterasu no henboo: Chuusei shinbutsu kooshooshi no shiza (Hoozookan, 2000):
<.....p://www.amazon.co.jp/exec/obidos/ASIN/483187129X/>
there is also a collective volume edited by Saitoo Hideki, Amaterasu Shinwa no henshin-fu, Shinwa-sha, 1996:
<.....p://www.amazon.co.jp/exec/obidos/ASIN/4916087038/>
(you will find the table of contents at:
<.....p://catalog.library.metro.tokyo.jp/> (enter "斎藤英喜" as the author's name in the search form))
The same Saitoo Hideki wrote also a book entitled "Amaterasu no fukami-e -- kodai-shinwa wo yomi-naosu", Shin'yoo-sha, 1996:
<.....p://www.amazon.co.jp/exec/obidos/ASIN/4788505789/>
Different "transformations" of Amaterasu seem certainly a topic which is very discussed currently in Japan.
Best regards,
Nobumi Iyanaga
Tokyo,
Japan
Date: Wed, 21 Jul 2004 10:51:07 +0200
From: Melanie Trede <.......@...sino.uni-heidelberg.de>
Subject: Gender of Amaterasu
Colleagues,
Apologies for cross-postings
On- and offline I received a great variety of resourceful replies to my query regarding the (ambiguous/changing) gender of Amaterasu in word and image. I am immensely grateful for each suggestion and thank all contributors (listed at the end of this email).
Below, please find a digest of the messages divided into images, publications, and comments.
Thanks again!
melanie trede
Images:
-- A sort of parallel would be the deity of Fujisan, Konohanasakuyahime, who transmogrified into Asama daigongen at some point. Japanese seem to have gotten uncomfortable with female deities.
-- An image of Amaterasu in male Sokutai-clothing is extant, e.g. in the Jisei-in in Nara, reproduced in the special issue Konjaku Monogatatri-shu, Ujishui monogatari (see below), p. 72.
--A drawing by Hokusai clearly shows Amaterasu with a mustache and beard
--Hanabusa Itcho's hanging scroll shows Amaterasu in her incarnation as Uho doji (written with ame/rain and horitsu no ho/law). Nagase Keiko discusses the "san sha taku sen" in relation to Itcho's painting in Nihon Bijutsu Kogei, 622 (July, 1990). She doesn't go into much detail, but includes references that might be helpful.
--please see Kate Wildman Nakai's comment below.
Publications:
--Brian Bocking: The oracle of the three shrines: Windows on Japanese religion, Richmond: Curzon, 2001
--Ito Satoshi, "Amaterasu no chusei shinwa," in the special issue "Nihon 2, Konjaku Monogatari-shu, Ujishui monogatari hokasetsuwa no jidai" of the journal "Shuukan Asahi Hyakka--Sekai no bungaku" 83 (Feb. 2001); Guest editor: Komine Kazuaki.
-- Saigoo, Nobutsuna, Kojiki no Sekai, Tokyo Iwanami shoten, 1967 (pp. 87-90).
--Satou Hiroki (ed). Amaterasu shinwa no henshinzu, 1996.
---Satou Hiroo. Amaterasu no henbou: Chuusei shinbutsu kooshooshi no shiza, Hoozookan, 2000.
-- Shintoo kanjoo: Wasurerareta shinbutsu shuugoo no sekai, Gangooji bunkazai Kenkyuujo, 1999
-- Teeuwen, Mark: Watarai Shinto: an intellectual history of the outer shrine in Ise. Leiden: Research School CNWS, 1996. (Teeuwen discusses legal disputes between the inner and outer shrine at Ise not even the name of Amaterasu, not to mention the gender, was general knowledge of the buke elite in the early Edo period; pp 273-289)
-- Teeuwen, Mark, 'The Creation of a Honji Suijaku deity" in Buddhas and kami in Japan honji suijaku as a combinatory paradigm / edited by Mark Teeuwen and Fabio Rambelli. London; New York: RoutledgeCurzon, 2003.
--TOBA Shigehiro
'Tenshoo Daijin no zoyo no hensen ni tsuite: nyotaizo, nantaizo kara, Uho dojizo ni itaru zuzogaku, Kogakukan daigaku shinto kenkyujo kiyo 13 (1997/3)
-- Yokota-Murakami, Gerry _The Formation of the Canon of No^: The Literary Tradition of Divine Authority_ (Osaka University Press, 1997), pp. 144-7 (She discusses why Amaterasu is represented in masculine form in the Hosho and Kita school versions of the play.)
--(the following publication is probably less trustworthy):
Torii Rei: Amaterasu Oomikami Ogami ron. Table of contents:
http://www.amazon.co.jp/exec/obidos/tg/detail/-/books/4894511290/
--websites that focus on this issue (inter alia):
**http://home.att.ne.jp/banana/history/Dai12-amaterasu.html
**http://simasiba.hp.infoseek.co.jp/hotuma-reisyou08.htm
(at the bottom, it mentions Enkuu the Buddhist sculptor, Ooe no Masafusa, and two Edo scholars, Hoashi Banri and Yamagata Bantou, who all write that Amaterasu was a male.)
Comments:
--Tim Screech: There is certainly room for debate about the gender of Amaterasu. Firstly, in the Edo Period, just about no-one knew the Nihon shoki and even if they had vaguely heard of the legend about the cave, it could have been told in such a way that Amaterasu appeared male. Of course, there would be no need to specify gender in normal discourse either. It was only Westernern like Kaempfer who linguistically had to fix a gender. Kannon has existed for milennia in a gender-gap. I doubt the question would have been relevant to a Tokugawa devotee. The normal Edo pronunciation of the name, Tenshou Daijin does have a male feel.
--Bernhard Scheid (this very rough translation is mine): Your question cannot be answered unambiguously since there have always been contradictory statements. But you can assume that in medieval Japan Amaterasu was generally conceived of as a male deity. However, you have to take into account that kami were first and foremost identified with their shrine (in this case Ise). Only specialists would know the name of Amaterasu and pronounced it mostly "Tenshou (kou)daijin". Most probably, Amaterasu was connected to Amaterasu Dainichi in medieval esoteric Buddhism. The earliest reference to this identification is unclear to me but dates certainly back to the Heian period. On the other hand, specialists of religions in medieval Japan knew about the gender of Amaterasu in myths. This led to the thesis of a double-gendered or trans-gendered nature of Amaterasu within the Buddhist discourse (see the article by Ito Satoshi above). I believe that the more recent change of gender [of Amaterasu] took place over a long period of time within the context of a general movement of independence of Shinto shrines, initiated--among others--by Yoshida Shinto and certainly before the Kokugaku movement [of the late 18th/early 19th c]. The spread of printed versions of myths played a crucial role here. Kaempfer's record proves that precise knowledge of the myths were obviously not part of Genroku lore. According to Mark Teeuwen's study on Watarai Shinto in which he discusses legal disputes between the inner and outer shrine at Ise not even the name of Amaterasu, not to mention the gender, was general knowledge of the buke elite in the early Edo period (Teeuwen 1996: 273-289)
-- Brian Bocking: I can't say when Amaterasu became 'male' from being 'female', if indeed that is a question that can be answered of a divinity, origin unknown, understood in so many diverse ways (via shrine, myth, etc.) and who was represented visually only after the confluence of kami and Buddhas. However at the other end of the historical period (Amaterasu 'becoming' female in Edo/Meiji periods) I can suggest two relevant sources - one my own study (see above) which attempts to document the changing image of Amaterasu as part of the sanja takusen motif over a period from approximately 1550 to present day, and secondly the detailed study of images
of Amaterasu by TOBA Shigehiru (see above). In summary, there were female as well as male images of Amaterasu produced during the Tokugawa period, when there was little if any regulation of such images, but after the Meiji restoration evidently it became unacceptable to represent Amaterasu in anything but female form, and a standard image of a young girl in flowing plain robes carrying sword, mirror and jewels has been used more or less unchanged since the 1870's.
The standard female form of Amaterasu seen today in scrolls and pictures is in fact a deliberate inversion (male>female, left>right, Buddhist regalia>imperial regalia, and so 'Buddhist'>'Shinto') of an image of the boy Buddhist divinity Sk: kumara] Uhoo Dooji, formerly worshipped as a form of Amaterasu at the Kongooshooji, Mt Asama, in the pilgrimage route to Ise.
There are examples of male (boy) images of Uho Dooji/Amaterasu which
'became' female (probably after Meiji, as an alternative to throwing the
images away) by the addition of two dots to the forehead, indicating
femaleness, and alteration of the regalia from staff and cintamani to sword
and mirror. This at least is my conclusion following my own research into this topic.
-- Joshua Badgley: I had always been under the impression that 'sun god/goddess' was originally an amalgamation of different deities, brought together in the pantheon under the person of Oho-hiru-me no muchi, aka Ama-terasu no Ohokami, aka Ama-terasu-oho-hiru-me no Mikoto; however, different localities tended to worship the 'sun god' as had been their practice.
--Lawrence Marceau: I agree with Joshua Badgley that Amaterasu is an amalgamation of several deities that were conceived for different purposes. I don't have the sources at hand, but it seems that the honji suijaku notion of correlating Shinto deities with Buddhist ones plays a role, in equating Amaterasu with the Buddha Dainichi Nyorai (who is presumably beyond gender distinctions). There are also several issues, which are taken up by Izawa Banryou (Nagahide) in his fascinating _Koueki Zokusetsu ben_ (found in the Heibonsha Touyou Bunko series, #503).
Also, I don't believe it is accurate to suggest that Amatarasu's gender "switched" and then "switched back" over the course of Japanese history; what is more likely is that certain schools of thought resisted the notion of the "Sun" deity (yang = male) being female, while other schools more strictly followed the Nihon shoki and other texts, which clearly refer to Amaterasu as Susanoo's "elder sister."
--Kate Wildman Nakai: At the recent symposium on the culture of secrecy in Japanese religion held in Vienna, Kadoya Atsushi introduced a fascinating catalogue of materials
figuring in secret transmissions in Miwa Shinto (Shintoo 1999, see above). Among the illustrations were depictions dating from the early nineteenth century of the so-called "seven generations of heavenly
deities" and "five generations of earthly deities." Of the first category,
the first three "single" deities, starting with Kuninotokotachi no mikoto,
are portrayed in the manner of multiheaded, multiarmed esoteric Buddhist deities; the next three paired deities are depicted as entwined snakes with human heads (male and female), and the seventh generation (Izanagi and
Izanami) as male and female in human form. The five generations of earthly
deities, starting with Amaterasu, are all depicted as males (with mustache and beard) in court dress.
-- robin d. gill: I do have an anecdote about a somewhat related problem.
The first song of Waley's Chinese "Book of Songs" has a young woman thrilled (and boasting) to have rolled a handsome man in the dew. Pound follows him. Both Japanese translations of the same song (I vaguely recall the #81) have a young MAN happy to have rolled a pretty girl. I thought the broad brow and bright eyes sounded like "our" knights and disagreed with a Chinese friend who supported the Japanese translators (for she thought the "bijin" a female).
So, we took it to Shirakawa Shizuka, who sent me a marvelous letter (he wrote ballpoint and never picks up the pen, so a complex character looks like a tornado!!!) in which he came down in favor of Waley and Pound because he felt that women tended to take the lead in the utaigaki in ancient China . . .
-- Emiko Ohnuki-Tierney: A discussion hitting all these questions is in Saigoo's Kojiki (see above). Amaterasu appears in Kiki as female -- wife of the male Sung God.
Saigoo's and other scholars' interpretations are presented in endnote (p. 141) in my Rice as Self.
--Loren Waller: My master's thesis examined gender issues in the Kojiki, but I focused primarily on Kojiki, Nihonshoki, Fudoki, and Kogoshui.
As to the question of the evolution of Amaterasu's gender, an ethnological approach points to a gender amalgamation. One theory is that Amaterasu was originally the medium of Takami-musuhi, and as she
became the voice of the higher deity, she slowly became the object of
worship herself. In the same way, the alternate name Oho-hiru-me may be
a result of a medium of Amaterasu later becoming associated with Amaterasu herself.
My research uses a textual approach to explore the issue of gender at the time of the compilation of Kojiki and Nihon shoki. A clearer understanding of gender relationships in the early 8th century would also provide a basis from which to speculate why Amaterasu's gender and position may have shifted.
As Lawrence Marceau pointed out, the Nihon shoki describes Amaterasu as
female, and a pronoun in the Kojiki also seems to refer to Amaterasu as
female. Still, although gender isn't always so clear in the language, gender and sexuality were clearly central issues in myths such as the creation of the land or in the case of Jingu Kogo, who offers service to the unborn male heir in her womb.
I believe Hitomi Tonomura, in a short article for the Japan Foundation, was on the right track when she pointed out that Amaterasu's sexuality was much different than Izanami, noting that she does not have a body. To state her conclusion in other terms, Amaterasu does not exert her influence through her body, as do other deities and tenno, who act in male-female unions. Konoshi Takamitsu has long described Amaterasu's role in these terms.
This still doesn't answer Melanie Trede's question regarding Edo-period
scholarship. I believe that it would be Confucian scholars who would
have the biggest problem with a female Amaterasu. What does Hakuseki
have to say on the subject? Amaterasu's gender isn't such a big concern
for Norinaga.
Contributors to this reply (including the commentators mentioned above:
Steve Addiss, Joshua Badgley, Brian Bocking, Richard Bowring, robin d. gill, Caroline Hirasawa, Lawrence Marceau, Kate Wildman Nakai, Emiko Ohnuki-Tierney, Bernhard Scheid, tim screech, Melinda Takeuchi, Michael Watson, Loren Waller, Miriam Wattles.
Date: Wed, 21 Jul 2004 02:31:09 -0700 (PDT)
From: Charles DeWolf <.....ew...@...oo.com>
Subject: Re: J.L.Pierson
In the Transactions of the Asiatic Society of Japan
(fourth series, volume 9, 1994) appears an article by
Shionozaki Hiroshi: "The First Translator into English
of All the Manyoshu Poetry."
Jan Lodewijk Pierson was born on 12 October 1893 and
died on 10 March 1979.
Shionozaki quotes Fritz Vos as writing:
"A student attending [Pierson's] lecture [in 1933 at
the University of Utrecht] was wearing a badge in the
shape of a broken rifle. Pierson demanded that this
pacifist should be denied access. When the board [of
directors] refused, he tendered his resignation.
Fortunately, Pierson was very wealthy and his salary
as a professor was for him no more than pocket money."
Shinozaki goes on to say that after the German army
occupied the Netherlands, Pierson became "a fervent
anti-Nazi." In 1949, Pierson wrote in the preface to
Volume VII of his work an apology for the long delay,
explaining that he had long had no access to his
books, which he had been kept in his publisher's
bomb-free cellar. He also laments ongoing lack of
contact with Japanese scholars. Shionozaki concludes
that Pierson was "like a child" in his political
naivete, ultimately concerned only with his beloved
scholarship.
I remember finding Pierson's work useful when I was
working on my Ph.D. dissertation back in 1978. His
ideas about Old Japanese phonology and "language
evolution" are fascinatingly peculiar.
Charles De Wolf
Keio University
Date: Wed, 21 Jul 2004 06:38:08 -0400
From: Michael Watson <........@...eijigakuin.ac.jp>
Subject: Re: J.L.Pierson
Many thanks to Maureen Donovan and Charles DeWolf for so speedily responding to my query about Pierson.
Charles quotes the comment
Fortunately, Pierson was very wealthy and his salary
as a professor was for him no more than pocket money."
This confirms a reference I found on google but seemed too trivial/speculative to mention.
Apparently there still exists a private bank in Europe called MeesPierson. Their history notes that one Jan Lodewijk Pierson set up banking operations in Amsterdam in 1875. Presumably this was the scholar's grandfather (or uncle, father) and the source of the family wealth.
http://www.meespierson.be/meespierson/be/homefr.nsf/wwwVwContent/l2histoire.htm
I was fairly teased offlist for being coy in referring to the
unfortunate dedication in a volume published in the 1930s.
My apologies for not being more straight-forward. Pierson dedicated a volume to Adolf Hitler. (Another volume was dedicated to the fascist leader of Italy, if memory serves.)
H. Bruce Brooks refers to this in point 62 of his "Scholar's Checklist" (Waring States website)
62. Don't be stubborn. If you make a mistake, for example in the 3rd of a projected 20 volumes (Pierson's Manyoshu), don't be afraid to change it (Analects 1:8).
http://www.umass.edu/wsp/methodology/advice/checklist.html
Michael Watson
Date: Wed, 21 Jul 2004 13:38:30 +0200
From: Janick Wrona <.......@....ku.dk>
Subject: Re: J.L.Pierson
Dear all,
When I was writing my D.Phil. I regularly checked my translations against
those of Pierson and I was always curiously drawn to his prefaces which made
him seem even more enigmatic. The dedication to Hitler that Michael
mentioned reads "To Adolf Hitler the personification of goodwill and the
master of well-timed action" (vol. 5). He wrote the volume with Dr. Karl
Florenz and one cannot help think this dedication perhaps had something to
do with Dr Florenz refusal to publish vol 6 with Pierson. Pierson himself
put it down to Dr Florenz' illness (vol. 6).
In spite of his seemingly eccentric personality, his translation and
commentary of Man'yoshu is a fantastic piece of scholarship even if his
views of (the japanese) language are sometimes rather amusing. In vol 9 he
has a litlle go at Structuralism and his essay on the origin of the
medio-passive -yu in vol 6 also makes an interesting read.
It is sad that "The Manyosu" is no longer available for purchase.
All the best
Janick
Date: Wed, 21 Jul 2004 06:49:06 -0400
From: Michael Watson <........@...eijigakuin.ac.jp>
Subject: summer arrangements for pmjs
pmjs is now coming to you from upper New York State. Mail will be sent out
several times daily, as my access is via modem. [Digest subscribers will receive the digests
at much the usual intervals.]
A good summer to you all.
Michael Watson
Visiting Fellow at Princeton University from 2004.04-2005.03
<........@...eijigakuin.ac.jp>
Date: Wed, 21 Jul 2004 17:52:08 +0100
From: "Dr Bjarke Frellesvig" <.....rke.frelles...@...tford.oxford.ac.uk>
Subject: Re: J.L.Pierson
Pierson's edition and translation of the Man'yooshuu seems to me in large
part to be a transmission of received contemporary Japanese scholarship
(especially literary). It is therefore very valuable as a point of entry for
the uninitiated, but equally uninformed and flawed linguistically in some
important respects. His transcription of the phoneme /p/ as 'v', on the
other hand, is quite clever (even if wrong). On the curious side, he wrote
intemperate letters to Bernard Bloch demanding to know who he was and why he
dared to publish anything on Japanese when Pierson hadn't heard of him, and
also, I seem to recall, dedicated one of the volumes to his dog. He was
probably running out of people he liked.
Bjarke Frellesvig
Date: Wed, 21 Jul 2004 20:37:45 -0400
From: "Denise O'Brien" <.....i...@...ple.edu>
Subject: Re: J.L.Pierson + dog?
I confess to never having heard of J.L. Pierson until this recent thread which has been both entertaining and illuminating. Hitler AND his dog as dedicatees? Do we know the dog's name? It reminds me of those old jokes about Lincoln's doctor's dog. [Disclaimer: I am a dog owner and dog lover but my dog, smart as he is, would be more appreciative of a tangible, chewable signifier.]
Regards, Denise O'Brien
Date: Fri, 23 Jul 2004 14:20:06 -0400
From: Michael Watson <........@...eijigakuin.ac.jp>
Subject: J.L.Pierson + 35 poets?
I passed on the thread to Chris Tillam of University of Sydney library, who answered as follows--including another question:
I have found the article , and it's as interesting as informative as one could hope for. I should have searched physically first before firing off the email, but our set of Pierson is incomplete. However, I did search, and Hitler appears to have been in good company -- Volume 3 is dedicated to Mussolini and Volume 1 to his ( Pierson's) mum. P. also has good words to say in one of his prefaces about the printers at Brill, also mentioned in the article. Not being a scholar, I do find fascinating how individuals come to their fields-- Pierson arrives via his wife's initial interest; Donald Keene took up Japanese because the course in introductory Chinese was over-enrolled...
I did wonder about the Warring Scholars' reference when I came across it -- what actually is the mistake referred to, it can't be the dedication, surely? They're not as open as you folk, they don't take enquiries from strangers, perhaps Bruce Brooks could respond by proxy? And would they perhaps consider putting Schuutski in their pantheon alongside Legge?
A totally unrelated question has been bothering me, hardly within your list's pre-modern ambit, and that is to do with the iconography of the Thirty-Six Poets (Korin, Hoitsu): but perhaps someone knows---why are there only thirty-five shown, and who is missing?
sincerely
Chris Tillam
Access Services
Fisher Library
C.Til...@...rary.usyd.edu.au
Date: Fri, 23 Jul 2004 15:16:28 +0200
From: Melanie Trede <.......@...sino.uni-heidelberg.de>
Subject: open position, University of Heidelberg
---Apologies for cross-postings---
Call for Applications
(This is a rough, edited English translation of the legally binding German text attached below)
22 July 2004
Letterhead, University of Heidelberg
The Department of Art History, Institute of East Asian Art History, at the University of Heidelberg, Germany, seeks to fill the position of an assistant professor in the History of Japanese Art, beginning on 1 November 2004. As is usual in the German university system, the position is limited to five years and cannot be extended.
The successful candidate is expected to fulfill the following tasks/ duties:
* Teaching 2 courses per semester, i.e. undergraduate seminars in Japanese art and core courses in East Asian art history
* Research and publications
* Development of the library holdings in the history of Japanese art
* Advisement of students in East Asian art history
* Administrative work
* Attending to guest professors
Requirements are ideally a PhD in the history of East Asian art (or in exceptional cases an M.A.), study sojourns in Japan and fluency in Japanese, English, and German. The job demands a high level of competence in academic, organizational, and intercultural skills, independence, initiative, and flexibility. The successful candidate will have to work closely with other faculty in the field of East Asian and European art as well as Chinese and Japanese studies.
The salary is fixed at the level of IIa according to the German law for officials and employers (----according to age, etc). In principle, the position can be shared.
Please send applications until 10 September 2004 to
Kunsthistorisches Institut, Abteilung Ostasien, Seminarstr. 4, 69117 Heidelberg, GERMANY, Fax:+49-6221-543384
ledder...@...sino.uni-heidelberg.de
tr...@...sino.uni-heidelberg.de
For further questions please write to:
ledder...@...sino.uni-heidelberg.de
tr...@...sino.uni-heidelberg.de
++++++++++++++++++++++++++++++++++++++++++++++++++++++
22.7.2004
S i e g e l Universitaet Heidelberg
Im Kunsthistorischen Institut, Abteilung Ostasien, der Universitaet Heidelberg ist ab 1. November 2004 die Stelle einer/eines
Wissenschaftlichen Mitarbeiterin / Mitarbeiters mit Schwerpunkt Japanische Kunstgeschichte
zu besetzen.
Die Stelle umfasst folgende Aufgabengebiete:
- Unterrichten von Proseminaren aus dem eigenen Forschungsgebiet und Propaedeutika der Ostasiatischen Kunstgeschichte
- Forschungen und Publikationen zum wissenschafltichen Interessensgebiet
- Unabhaengige Entwicklung der Bibliotheksbestaende zu japanischer Kunstgeschichte
- Beratung und Betreuung von Studierenden des Faches Ostasiatische Kunstgeschichte
- Mitarbeit an Verwaltungsaufgaben des Instituts
- Betreuung von Gastdozenten
Voraussetzungen sind im Idealfall eine Promotion, im Ausnahmefall auch Magisterabschluss, Auslandsaufenthalt(e) in Japan und sehr gute Japanisch- und Englischkenntnisse. Die Arbeit erfordert ein hohes Mass an wissenschaftlicher und sprachlicher Kompetenz, Eigeninitiative und Flexibilitaet, kommunikative und interkulturelle Faehigkeiten sowie Organisationsgeschick. Eine enge Zusammenarbeit mit den Wissenschaftlichen Mitarbeitern und den Professoren des Faches wird erwartet.
Die Verguetung erfolgt nach BAT IIa. Die Stelle ist grundsaetzlich teilbar.
Bewerbung mit den ueblichen Unterlagen (Lebenslauf, Zeugnisse, Lichtbild) sind bis 10. September 2004 zu richten an das Kunsthistorisches Institut, Abteilung Ostasien, Seminarstr. 4, 69117 Heidelberg, GERMANY, Fax:+49-6221-543384
ledder...@...sino.uni-heidelberg.de
tr...@...sino.uni-heidelberg.de
******************************
Kunsthistorisches Institut
Abteilung Ostasien
Seminarstr. 4
69117 Heidelberg
GERMANY
Tel. +49-6221-543969
Fax:+49-6221-543384
tr...@...sino.uni-heidelberg.de
http://webcat.nii.ac.jp/cgi-bin/shsproc?id=BA67607991
*******************************
Date: Mon, 26 Jul 2004 13:51:31 -1000 (HST)
From: Rokuo Tanaka <.......@...aii.edu>
Subject: Re: Fwd: J.L. Pierson / 36 Poets
Greetings,
So far I could not locate "Sanjuurokkasen zu" by Koorin (1658-1716),
but I see no poet missing from Sakai Hooitsu's "Sanjuurokkasen zu shikishi
haritsuke byoobu," two pairs of six-fold screens (Price Collection in
Los Angeles). Eighteen shikishi, each depicting one poet and his/her signature
poem, are attached to each screen.
Source: _Sakai Hooitsu (1761-1828)_ Commentary by Tamamushi Satoko.
Compiled by Nihon Aato Sentaa, in Shinchoo Nihon bijutsu bunko vol 18.
Tokyo: Shinchoosha, Heisei 9 [1997]. p.15-16.
Rokuo Tanaka
Date: Wed, 28 Jul 2004 16:44:29 +0200
From: "Doris Croissant" <.....der...@...mail.com>
Subject: announcement
Dear PMJS members,
I would like to inform you of the International Conference "New Gender
constructs in Literature, Visual and Performing Arts of China and Japan" to be
held in Heidelberg on October 28 to 31, 2004. For further information, please, visit
the website of the Institute of Sinology, University of Heidelberg.
<.....p://www.sino.uni-heidelberg.de>, or contact us by email: gen...@...sino.uni-heidelberg.de
Best wishes,
Doris Croissant