2003.03

pmjs logs for March 2003. Total number of messages: 68

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* The development of 'no' as C and N (Janick Wrona, John Bentley, Karel Fiala)
* A Reference Grammar of Classical Japanese Prose ( John Bentley, Richard Bowring, Anthony Bryant)
* email change (Mary Louise Nagata)
* availability of bungo reference materials (David Pollack, Lawrence Marceau)
* Chushingura Programs at Columbia Spring 2003 (Henry Smith)
* Avalokites'vara -> Kannon (Meyer Pesenson, Noel Pinnington, Robert Borgen, Meyer Pesenson, Brian Ruppert, Nobumi Iyanaga, Royall Tyler, John Dougill)
* Buddhism and War: summary of article by Demieville (Nobumi Iyanaga)
* Mellon Postdoc in Premodern Japanese Studies
* new members: Meyer Pesenson, Charles J. Quinn
* meisho zue (Melanie Trede, Peter Kornicki)
* Chief Abbot Keido Fukushima on 3/12 and 3/13 (Barbara Ruch)
* Kakure kirishitan (Royall Tyler, Kate Nakai, Antony Boussemart, William Londo, Christian Morimoto Hermansen)
* Yoshitsune's leap (Michael Watson, Brian Goldsmith, Keller Kimbrough)
* Summer Noh Training Project in Pennsylvania (Richard Emmert)
* [Japanese Religions vol. 28 no.1 (January 2003)] On Shingon etc. (Christian Morimoto Hermansen)
* [Janine Beichman talk] 3/26 5-7pm at Columbia University (Barbara Ruch)
* Round Table Discussion, "Blood in Early Modern Japan" (Early Modern Japan Network) (Philip Brown)
* Call for AJLS hosts for 2004 (Eiji Sekine)
* New members: Barbara Ilka, Scott Lineberger, Tamaki Maeda, Johan Wellens, C.E.West
* Genji-kﾃｴ (Robert Leutner, John Dougill)
* Allegories of Desire (Susan Klein)
* Sources (Brian Goldsmith, Michael Watson, Mack Horton, Peter D. Shapinsky, Lawrence Marceau)
* Wa (John Dougill)
* deadline extended, Kyoto summer training (Jonah Salz)
* [Shinran] Help requested (Richard Bowring, Chris Callahan)
* Kyoto Lectures March 28 2003 -Dolce talk on miraiki (Roberta Strippoli)
* Bowdoin College search cancelled (Michael Watson)
* new members: Adam Clulow, Marco Gottardo, Thomas Howell, Pamela D. Winfield
* Shinran and images (Tomoko Yoshida)
* Bunraku recordings (Morgan Pitelka, Marco Gottardo, Rick Emmert, Larry Shumway, David Pollack, Jonah Salz, Drew Gerstle, Marco Gottard)

Date: Sat, 1 Mar 2003 15:00:48 +0900

From: "Karel Fiala" <fi...@...l.fpu.ac.jp>

Subject: Re: The development of 'no' as C and N

If you look at proceedings of the "Kokugo Gakkai... Taikai", there have
been some papers on "noda" history in recent years. Early occurrences
are observed in kyogen. Evidently, the rise of NODA is very late and
the process must have been more complicated than suggested in Iwasaki
1993.

The merger of RENTAI and SHUUSHI started, in a sense, already in the
Nara period or before (the "TADA no musubi" in the concept of kakari
musubi by Norinaga). However, it seems that even in the 16 century the
merger was not yet completed, evidently. There is a lot of papers on
these problems in Japan.

It is difficult to determine which usages of sentence-final RENTAI are
really semantically unmarked.and, after all, we have no samples
reflecting per cent the colloquial language. We can observe only traces
of the colloquial usage in written texts.
E.g., "Asakusa Feique Monogatari" is very colloquial but you can find
Shuushi in the text.This supports the description in Yanagida.

NODA is a very complex problem, even in modern Japanese. NODA in
Kyoogen seems to have different functions than both RENTAI in the Heian
period and NODA in modern Japanese.
There must have been complex inter-influences not only between the
attributive particle NO and RENTAI, but also between the noun MONO and
NO.

It is not difficult to download literature on the theme, e.g. from the
Kokken home page, etc.
K.Fiala

Date: Sat, 01 Mar 2003 11:58:05 -0600

From: "John R. Bentley" <jbentl...@....edu>

Subject: A Reference Grammar of Classical Japanese Prose

Dear all,

I've changed the subject, so we know this thread is about the book, and not the
author.

I am perhaps not the best person to address these issues, since Professor Vovin
is my sensei, and that biases me somewhat, but as Professor Bowring has brought
up a few issues, let me try to respond briefly. I agree that the absence of Genji
monogatari is regretful. But it seems a bit unfair to simply sweep the book aside
on those grounds without at least mentioning Vovin's reasons for leaving Genji
out: "First, since Genji monogatari represents such an important watershed in the
history of Japanese literature and culture, I wanted to use representative texts
that both predate and postdate it. Second, I did not want to use Genji monogatari
as the basic text for my research, as it is probably better studied
linguistically than others, and in this respect Hamamatsu chuagon monogatari
looked more promising, as it is cited in very few linguistic works." (pg. 6).
Whether you agree with this reasoning or not, at least that is the reasoning
behind the decision. The next step for scholars should be to prove or disprove
the logic of this.

That said, however, I am afraid I am not quite as sanguine as John Bentley
is about the revisionary nature of the book. I have found it very
pedestrian, not much of an advance on Ikeda, and of very little use on the
really important questions.

I think this is an unfair characterization of the book. Perhaps part of the
problem is a specialist in the field expecting something from the work, and then
being disappointed when it is not there. But let's examine the book from the
perspective of the advanced student, as most of us want tools to teach our
students. Let me cite some specific examples which illustrate how Vovin's work is
a vast improvement on Ikeda.

Vovin devotes an entire section to the phonology and lexicon of classical
Japanese, while Ikeda has less than a page for the lexicon (and it is more an
explanation about semantic change than anything else). Ikeda also has about five
pages devoted to "pronunciation", but this terminology is imprecise, as the
section is actually about spelling changes. Note that modern English spelling
tells us very little about actual pronunciation. In this sense Ikeda is not
precise in terminology, which leads to confusion.

Vovin is also helpful in providing a more precise explanation of what
traditionally are labeled particles. The traditional explanation makes only a
vague distinction between particles that follow nouns and those that follow
verbs. Ikeda calls these case, conjunctive, emotive, final, adverbial, and
exclamatory particles. Vovin categorizes these under nominals (case makers),
verbal affixes (like -aba or -ite), conjunctions (tomo, nagara), and (true)
particles (fa, mo, or zo).

Perhaps the most striking departure from Ikeda is the analysis of verbs. To claim
that Vovin is not much of a revision from Ikeda ignores the facts. Students are
usually required to learn the "bases" of Japanese verbal conjugation (and the
common reason given is to teach the student how to use Japanese dictionaries and
reference material); however, as Vovin notes, this analysis is grounded in a
tradition that could not conduct a deeper analysis on the structure of morphemes
in Japanese because of the syllabic structure of kana. This has contributed to
the cumbersome nature of the traditional analysis of Japanese verbal morphology.
For example, why should teachers continue to divide verbs into so many classes
(Ikeda mentions nine (9) classes), when Bernard Bloch provided a simple two-class
system back in 1946 (cf. Vovin pp. 156-66)? Vovin expands on this by providing a
"strong" and "weak" class of vowel verbs (pg. 170).

The traditional explanation of "bases" is also very complex, and in ways
misleading. Why should the imperative (meireikei) be considered a base when it is
an isolated form? Notice that in Old Japanese the imperative and evidential
(izenkei) are spelled differently, so there was no confusion. Also, Ikeda's label
of the so-called mizenkei (he calls it the "negative form") is also misleading.
Why should a negative form allow non-negative suffixes to affix to it, like the
iterative -afu, the causative-honorific -asu, or the optative (the realization of
a wish or desire) -amafosi?

Vovin also makes a crucial distinction with defective verbs (pp. 172-186), which
are often labeled by traditional grammars as setsuzoku joshi (Ikeda calls these
conjunctive particles). This distinction is not original with Vovin, as he notes
that Samuel Martin first came up with it. It can be added that Peter Hendricks
included these in his 1992 dissertation. I would dare say that ignoring this
important distinction will result in imprecise interpretations of the original
texts.

Rather than continue, I suggest that those interested peruse the book (after the
reprint comes out), and judge for themselves. As I noted at the beginning, I
think some of the criticisms directed at the work are justified (even without the
typos), but a sweeping rejection of the book is harsh in the extreme.

Sorry for the lack of promised brevity.

John Bentley

Date: Sun, 02 Mar 2003 10:42:48 +0000

From: Richard Bowring <rb...@...mes.cam.ac.uk>

Subject: Re: A Reference Grammar of Classical Japanese Prose

Dear All.
I continue to comment because I hope this exchange may lead to some fruitful
ideas about how we should be presenting bungo grammar to our students. I
agree with John Bentley that my disappointment largely stems from the fact
that this book does not answer the many questions that I have about
classical grammar and that is what I expect something called a 'Reference
Grammar' to do. Neither is it the kind of book that one could really use in
class (assuming a paperback version). This is why I brought up Ikeda,
although that was probably a mistake since I doubt whether anyone uses it;
it is easier to simply use a Japanese school grammar book.

So what kind questions do I have that are not answered in RGCJP?

Firstly, there is the fraught matter of the meaning of suffixes such as
'-iker-/-ker-' (p. 30-02). One turns to this discussion with great
anticipation to find a fairly brief recounting of other's people's quite
well-known views followed by 'the whole problem, I believe, remains open and
merits further detailed investigation'. Well, this is honest but leaves me
screaming.

Secondly there is the analysis itself. How do we deal with the fact that we
must teach the 'traditional' system so that students can understand notes
and commentaries while we know very well that it is defective in many vital
aspects. I find myself introducing it and then almost in the same breath
criticising it and pointing out that most of the problems are caused by the
use of kana, which has obscured the original segmentation in the verbal
system to the point that it is almost unrecoverable. It is certainly
important to point out to students that the mizenkei hides a multitude of
sins and that the meireikei + ri is simply a fiction. I am emphatically not
an historical linguist but I do find the kind of analyses produced by Unger,
Whitman et al fascinating and useful, and it would have been a real boon to
have these matters spelled out clearly for students. (I have not, I am
afraid, read your book yet, John; perhaps it is all there.) In this sense, I
suppose I was disappointed that RGCJP was not revisionary enough and does
not delve deep enough into the matter of segmentation, so leaving us in a
kind of limbo. A Reference Grammar should not really leave us with as many
questions as we had in the first place.

I agree that my somewhat intemperate initial response to this book is partly
a result of having found an average of five bizarre errors per page in the
first 30 pages in a book that cost me 60 pounds sterling. Now that we know
the reason for this (although I am still puzzled at how this could happen) I
promise to quieten down and wait patiently for the readable version.

Richard Bowring

Date: Sun, 02 Mar 2003 07:29:42 -0600

From: "John R. Bentley" <jbentl...@....edu>

Subject: Re: A Reference Grammar of Classical Japanese Prose

I continue to comment because I hope this exchange may lead to some fruitful
ideas about how we should be presenting bungo grammar to our students.

I agree with Richard on this, and the more Richard and I flesh
this out, I think the more we agree.

Neither is it the kind of book that one could really use in
class (assuming a paperback version).

The price is quite prohibitive. I can't really say much as my
own book is nearly US $90.

So what kind questions do I have that are not answered in RGCJP?

I agree, and I do that once or twice in my book. As a linguist
some of these questions can only be answered through the
comparative method, comparing Japanese grammar with
Ryuukyuuan and / or Korean. I would say that if one were to
answer all the questions before writing the book, the book would
not get answered. On the other hand, Martin's Reference Grammar
of Japanese is FULL of information, but it is very difficult to
work through.

I believe the PMJS list had this discussion a year or so ago,
and this one almost defies a solution. I get the feeling we are
doomed to live with one foot in both worlds.

and it would have been a real boon to have these matters
spelled out clearly for students.

I again agree with you here.

(I have not, I am afraid, read your book yet, John; perhaps it is all there.)

I dare say that there is not yet a book published
where IT IS ALL THERE.

A Reference Grammar should not really leave us with as many
questions as we had in the first place.

And that is a legitimate complaint.

As I too will do.

John Bentley

The pmjs discussion John Bentley refers to:

BUNGO - the teaching of Classical Japanese

http://www.meijigakuin.ac.jp/~pmjs/archive/2000/bungo.html

Date: Sat, 1 Mar 2003 21:14:28 -0500

From: Mary Louise Nagata <MLNag...@...puserve.com>

Subject: e-mail chg

Dear friends and colleagues,

I have had some problems with my e-mail during the past weeks and some of
you may have had some problem contacting me. I apologise for any problems
that have occurred. Please send all further e-mail messages to...@...ata.com.

thank you and best wishes to all,

Mary Louise Nagata

Date: Sun, 02 Mar 2003 09:46:24 -0500
From: "Anthony J. Bryant" <ajbry...@...iana.edu>
Subject: Re: A Reference Grammar of Classical Japanese Prose

"John R. Bentley" wrote:

The price is quite prohibitive. I can't really say much as my
own book is nearly US $90.

This brings up another question. How are students supposed to learn -- and
teachers teach -- when these books are so incredibly cost prohibitive? I do
believe there's some screwed up logic here. Booksellers say, "We have to make it
expensive, because so few people will want this." But I maintain that if they
produced them at a lower cost, they'd be able to sell more. Think of a class of
ten or twenty people studying bungo. Will they be likely to buy this, or stick
with McCullough's Bungo Manual at $15 or so?

As a gradual student, my budget is nauseatingly tight, but I try to grab up every
new book on the subject that I can, but at times it is, quite literally,
painful... the choice between a good book or real food for a few days.

I was stunned last semester at the price of a paperback on teaching methodology.
It was $50 and not even 200 pages. Mass market paperbacks twice the size sell for
less than $20. Is this some evil publishing conspiracy we in the academic world
just have to live with?

Tony

Date: Sun, 02 Mar 2003 11:19:24 -0500

From: David Pollack <poll...@...l.rochester.edu>

Subject: availability of bungo reference materials

As an enterprisingly graduate student , Mr Bryant is to be commended for his bungo website at
<http://www.sengokudaimyo.com/bungo/bungo.html>

I don't get around much so the only other such English-language site I know of is
<http://www.genji54.com/cjapanese/kobun-index.htm>

(another site that looks promising but may never be completed:)
<http://www.fortunecity.com/victorian/tollington/118/>

But these online bungo guides are clearly intended as convenient trots for students and not as thorough as McCullough or the handy grammar reference in the back of Koujien. They certainly don't attempt anything like the breadth and depth of analysis that has been discussed in this thread.

Still, they make me wonder why someone working in this area mightn't put online their own thorough, exhaustive and historically accurate reference-work of the sort being discussed, rather than continue to seek to have it published in the traditional very costly manner? Since the readership for such a work is indeed very small, and one would assume that the author is publishing for fame and glory and not in the expectation of making much money, wouldn't this be the best way to ensure that a really good text is widely used and credited by the field? With a readership like ours, it's not as if someone else could steal the material and take credit for it. At tenure time some administrators may still expect publication by a prestigious press, but that is rapidly changing, and I don't imagine that a a senior person working in this field would hesitate to credit a valuable online publication of this sort as highly as any other in a tenure review. Besides, I would think that anyone working on a magisterial survey of the field would already be at the senior level and not concerned about tenure. True, an online work wouldn't have pride of place there on the library shelf. (Hasn't the Library of Congress come up yet with a way of providing cataloguing information for online materials? This is probably an enormous can of worms we don't want to open here....)

An online text would also have the virtue of being amendable as new and better ideas come up, and perhaps even be able to include legitimate differences of scholarly opinion. This would entail either constantly-updated citation or else the possibility of an "open text" which, like "open source" software, can be improved upon by those with a credible professional interest. I don't know how this is managed in the software biz - perhaps by a star-chamber of stellar personages -- but it should be feasible in this case as well. Perhaps our Esteemed List Manager could think of a way that PMJS could host a work that would be so valuable to its own membership, if to almost no one else.

Administering dope-slaps to myself (<http://cartalk.cars.com/Mail/Letters/2000/02.04/10.html>Brits read here) for what is probably a stupid idea even as I propose this....

David Pollack

Date: Sun, 02 Mar 2003 11:37:35 -0500

From: Lawrence Marceau <lmarc...@...l.Edu>

Subject: Re: [Fwd: availability of bungo reference materials]

David Pollack wrote:
"At tenure time some administrators may still expect publication by a prestigious press,
but that is rapidly changing, and I don't imagine that a a senior person working in this
field would hesitate to credit a valuable online publication of this sort as highly as any other
in a tenure review. Besides, I would think that anyone working on a magisterial survey of
the field would already be at the senior level and not concerned about tenure."

I suspect that my institution is not too different from others in, if anything,
increasing its dependence on "prestigious academic" presses as a litmous test for tenure
review, or, at the very least, some proof that a peered review process was conducted before the
material could be made public. With regard to the second point, judging from the discussions
to date, it seems that the most "cutting edge" work on various aspects of earlier Japanese
grammar is arising from the "up and coming" generation of scholars.

Lawrence Marceau

Date: Mon, 3 Mar 2003 10:14:15 +0000 (GMT)

From: Janick Wrona <janick.wr...@...tford.oxford.ac.uk>

Subject: Re: The development of 'no' as C and N

Thanks to Prof. Fiala for the references to literature on 'noda'.

There are a couple of things I don't quite understand, so maybe I could ask
Prof. Fiala for clarification.

The merger of RENTAI and SHUUSHI started, in a sense, already in the
Nara period or before (the "TADA no musubi" in the concept of kakari
musubi by Norinaga).

I'm not quite sure what you mean here (I'm not familiar with Norinaga's terminology).
Are you referring to the fact that there is no (segmental) distinction between
the Adnominal and Conclusive form for quadri-grades and mono-grades? If so, what
evidence do you have that there ever was a distinction?

I would have thought that the sentence-final usage of the Adnominal was, if anything,
semantically marked (for epistemic modality). Could you clarify what you mean by 'marked'?
Or does your point perhaps relate to what I mentioned previously that it is difficult to
distinguish between merger and sentence-final usages of the
Adnominal form in the early cases?

Thanks,
Janick

Date: Mon, 03 Mar 2003 06:41:10 -0500

From: Henry Smith <h...@...umbia.edu>

Subject: Chushingura Programs at Columbia Spring 2003

300 YEARS OF THE 47 RONIN: A Chushingura Retrospective

To mark the tercentenary of the Ako Revenge of 1701-03, the Donald Keene Center of Japanese Culture at Columbia University is sponsoring a variety of programs in the spring semester of 2003, including a film series, an exhibition of prints and books, an AAS panel, and a symposium. All events at Columbia are open to the public and free of charge. The details are provided below; for further information and periodic updates, please check the special section of the Keene Center website at http://www.columbia.edu/cu/ealac/dkc/chushingura/.

ﾂFILM SERIES: "Exacting Revenge: A Series of Eight Japanese Films"

All films in the series will be shown in the Altschul Auditorium, Columbia University
School of International and Public Affairs, on Monday evenings (and on two occasions,
continuing on Tuesday evening) starting at 7:45 pm. Admission is free. Please note
that all films will be shown in VHS or DVD versions and that all films are in Japanese
with English subtitles.

ﾂ

#1. February. 3: HARAKIRI (Seppuku), 1962;
dir. Kobayashi Masaki, b/w, 134 min.
#2. February 10: GONZA THE SPEARMAN (Yari no Gonza), 1986;
dir. Shinoda Masahiro, color, 126 min.
#3. February 17: THE BAD SLEEP WELL (Warui yatsu hodo yoku nemuru), 1960;
dir. Kurosawa Akira, b/w, 150 min.
#4. February 24: AN ACTOR'S REVENGE (Yukinojo henge), 1963;
dir. Ichikawa Kon, color, 113 min.
#5. March 3-4: THE 47 RONIN (Genroku Chushingura), 1941 and 1942;
dir. Mizoguchi Kenji, b/w, 2 parts, 111 and 112 min.
Shown in two parts, on Monday and Tuesday evenings.
#6. March 24-25: CHUSHINGURA (Chushingura), 1962;
dir. Inagaki Hiroshi, color, part I, 103 min; part II, 104 min.
Shown in two parts, on Monday and Tuesday evenings.
#7. April 7: YOUTH OF THE BEAST (Yaju no seishun), 1963;
dir. Suzuki Seijun, color, 92 min.
#8. April 14: VENGEANCE IS MINE (Fukushu suru wa ware ni ari), 1979;
dir. Imamura Shohei, color, 140 min.

ﾂEXHIBITION: "Chushingura on Stage and in Print: An Exhibition of Books, Manuscripts, and Ukiyoe"

The exhibition consists of prints and books from the Waseda University Library and Tsubouchi Memorial Theatre Museum, and The C. V. Starr East Asian Library at Columbia, and has been organized to mark a new cooperative agreement between the university libraries of Waseda and Columbia. The exhibition will be held from March 24 through April 18, weekdays only, in the Rare Books & Manuscript Library in Butler Library, and in the Rare Book Room of The C. V. Starr East Asian Library in Kent Hall, Columbia University. Please consult the Donald Keene Center web site at http://www.columbia.edu/cu/ealac/dkc/chushingura/ for hours and further details.

ﾂAAS PANEL: "The Many Lives of the 47 Ronin: Three Centuries of Retelling the Chushingura Story"

Annual Meeting of the Association for Asian Studies, New York Hilton Hotel
Panel #190, Sunday, March 30, 8:30 am to 10:30 am, Nassau Suite B.

"The Young Motoori Norinaga Hears the Story of the Ako Ronin
from a Buddhist Preacher"
Federico Marcon, Columbia University

"Naniwabushi Narration and the Modernization of Chushingura"
Hyodo Hiromi, Gakushuin University

"Maurice Bejart's 'The Kabuki' and the Western Re-Gendering of Chushingura"
Saeki Junko, Doshisha University

Discussants: Thomas Harper, Leiden University, ret.
Henry Smith, Columbia University

ﾂSYMPOSIUM: "Rethinking Chushingura: A Symposium on the Making and Unmaking of Japan's National Legend"

This symposium will follow immediately after the Annual Meeting of the Association for Asian Studies, beginning on Sunday, March 30, at 3 pm in Buell Hall on the Columbia University campus, and continuing on through the following day of Monday, March 31.

PLACE: East Gallery, Buell Hall, Columbia University

SUNDAY, MARCH 30, 2003:

3:00 pm: Greetings.

3:15 pm: "Thoughts on Kanadehon Chushingura: A Conversation"

Donald Keene, University Professor, Columbia University

Torigoe Bunzo, Professor Emeritus, Waseda University

Moderator: Samuel Leiter, Brooklyn College, CUNY

4:15 pm: Nineteenth-Century Transformations in Kanadehon Chushingura Kabuki

"The Ghost of Danjuro IX: Still Haunting Chushingura"
Loren Edelson, The Graduate Center, CUNY

Discussant: Lawrence Kominz, Portland State University

5:00 pm: Demonstration of Bunraku puppets from Kanadehon Chushingura

Yoshida Minoichiro, puppeteer, Ningyo Joruri Bunrakuza

6:30 pm: Reception, Kress Reading Room, C. V. Starr East Asian Library

MONDAY, MARCH 31

9:00 am: PANEL 1: Loyalty and Disloyalty in the Ako Vendetta

"The Structure of Loyalty among the Ako Ronin"
Kasaya Kazuhiko, International Research Center for Japanese Studies (Nichibunken)

"Oishi Kuranosuke's Hit List: Hierarchy in the Ako League of Revenge"
Henry Smith, Columbia University

Discussant: Eiko Ikegami, New School University

10:30 am: PANEL 2: Talk About the Ako Incident

"Confucian Crossfire: The Debate over the 'Righteous Samurai'"
Federico Marcon, Columbia University

"Chushingura and Taiheiki"
Hyodo Hiromi, Gakushuin University

Discussant: Jordan Sand, Georgetown University

12:00 noon: PANEL 3: Gender Dimensions of Chushingura in Life and On Stage

"The 'Special Relationship': The 'Nanshoku-ha' in the Ako Vendetta."
Thomas Harper, University of Leiden (Ret.)

"Women in Chushingura: The Women Live, the Men Die"
Saeki Junko, Doshisha University

Discussant: Tomi Suzuki, Columbia University

LUNCH BREAK, 1:15-2:30 pm.

2:30 pm: PANEL 4: Linking Chushingura on Stage

"The Subversion of Chushingura by _Yotsuya Kaidan_"
Satoko Shimazaki, Columbia University

"Revenge Parody: Chushingura and the Togitatsu Cycle"
Lawrence Kominz, Portland State University

Discussant: Haruo Shirane, Columbia University

4:00 pm: PANEL 5: Chushingura in Film

"Chushingura as a Japanese Film Genre"
Yomota Inuhiko, Meiji Gakuin University

DISCUSSANT: Paul Anderer, Columbia University

5:15 pm: PANEL 6: Chushingura in the World

"Chushingura at Large: Translating and Staging Chushingura in France, Germany, England and America"
Aaron Cohen, independent scholar

The Columbia programs have been made possible by a grant from the Weatherhead Program Development Fund of the East Asian Institute, and with the cooperation of the Waseda University Library and Tsubouchi Memorial Theatre Museum.

For further information and periodic updates, please check the Keene Center website at http://www.columbia.edu/cu/ealac/dkc/chushingura/.

Date: Tue, 4 Mar 2003 13:04:47 +0900

From: "Karel Fiala" <fi...@...l.fpu.ac.jp>

Subject: Re: The development of 'no' as C and N

"TADA no musubi" means that the sentence ends in RENTAI, although
there is no KAKARI particle, which would require it.
There is a study on it by KAWABATA Yoshiaki in "Kokugogaku 1994/1".In
the MANYOOSHUU, also forms like "SHUUSHI + MO"seem to be equivalent
functionally to RENTAI.
As long as the sentence-final RENTAI was a minority case, it is
probable it was semantically marked. Kawabata Yoshiaki used to call
RENTAI and IZEN final sentences KANTAI (exclamative and interrogative
mood ?),confronting them with the SHUUSHI final JUTTAI (declarative
mood ?). Obviously, when opposed with JUTTAI, KANTAI would be a sort of
a marked mood.Kawabata's terminology is based on YAMADA (Yoshio) and
SAKAKURA.
The theory (and the actual fact) of a diachronic MERGER presupposes
that RENTAI started to be used (suddenly or gradually) as an equivalent
of SHUUSHI, i.e. it became UNMARKED.

Meanwhile, KAKARI MUSUBI disappeared, and KOSO, once used with IZEN,
but since 9 or 10 Cent. in private letters already also with RENTAI,
changed functionally again, into a kind of FUKU JOSHI, connected with
no changes in the end of the sentence. It stopped to be a KAKARI JOSHI
in the classical sense.

Recently, there are interesting papers on these problems by Nomura
Takashi and Watanabe Akira (also SHinzato and others).Cf. also the
internet home page of the
symposium "Kakari musubi... Furui mondai e no atarashii
torikumi" (autumn 2002).

ZO and KA started to be used mostly at the end of the sentence, thus ZO
became almost exclusively a SHUUJOSHI.YA survived only as a constituent
of YARA (from YA ARA-N).

My private view is that the final RENTAI marked the non-focal part of
the sentence, while the focus was marked by a KAKARI particle,
resulting in a type of the classical KAKARI MUSUBI pattern.When the
strong KAKARI particles (KA,YA,ZO,KOSO,NAMU) moved to the end of the
sentence or changed into FUKU JOSHI (the case of KOSO), the formal
split of the marked "exclamative" (this is not the really appropriate
term) and interrogative sentence into two parts, non-focal and focal,
disappeared, and the final RENTAI gradually lost its markedness.
But there are many other, more "standard" explanations.
Thus, RENTAI was perhaps originally marking only a part of the
sentence. On the other hand, NODA belongs usually to a hypersyntactic
level, and, if it has similar functions like RENTAI, it functions in na
similar way but on a different level, i.e. on the hypersyntactic level.
In the "Koten bungaku zenshuu" (Shooggakan) the marked classical
sentences often end in "NODA" in the modern translation. Sometimes,
however, this way of translating seems rather misleading.
(A statistical confrontation of these modern translations with the
original forms would not be without interest.)
I am not sure about the possible similarity between some of the NODA
funtions with the functions of the "TADA" cases in the MANYOOSHUU and
with the consequent development of this phenomenon.
Anyway, the most usual classical RENTAI was no hypersyntactic device.

The changes like the death of the Kakari Musubi and the Merger of the
final forms were very slow, and it is very difficult to interpret the
real function of the actually documented forms.As long as we require
functional interpretation of the forms, there will be marking
differences between the individual descriptions of the processes.

P.S.: I have not searched for the study on the origin of NODA I
mentioned last time. As far as I remember, there has been a suggestion
in the study that NODA developed from something like "MONO
JA". Unfortunately I am very busy; I hope you will find the details
yourself.
Sincerely

K.Fiala

Date: Tue, 4 Mar 2003 13:09:55 +0900

From: "Karel Fiala" <fi...@...l.fpu.ac.jp>

Subject: Re: The development of 'no' as C and N

P.S.:
Some uses of NODA are even not hypersyntactic but meta-linguistic
(Chikyuu wa mawaru noda), which I consider to be still a higher
functional level.
Anyway, as I have already pointed out, the usage of NODA marking only
a part of the sentence (Nazenaraba...noda) is only one of the many
possible usages, most of which belong to a higher level than a part of
the sentence.
K.F.

Date: Tue, 04 Mar 2003 08:07:32 -0500

From: "Anthony J. Bryant" <ajbry...@...iana.edu>

Subject: availability of bungo reference materials

David Pollack wrote:

As an enterprisingly graduate student , Mr Bryant is to be
commended for his bungo website at
http://www.sengokudaimyo.com/bungo/bungo.html

Thank you...

I'm particularly pleased with the PDF chart on verb endings as a
quick-lookup sheet. <G>

Tony

Date: Tue, 4 Mar 2003 19:37:27 +0000 (GMT)

From: Janick Wrona <janick.wr...@...tford.oxford.ac.uk>

Subject: Re: The development of 'no' as C and N

"TADA no musubi" means that the sentence ends in RENTAI, although
there is no KAKARI particle, which would require it.

Okay, so basically what I have called sentence-final usage of the Adnominal form in my e-mails. Thanks for clarifying.

As long as the sentence-final RENTAI was a minority case, it is
probable it was semantically marked.

It seems to me that you're using the term "markedness" to mean "frequency", and I'm not entirely sure
that's relevant here (my understanding of markedness comes from Andersen (1989, 2001). But basically I think we agree. That was what I meant when I said that in the early cases it must be difficult to distinguish between sentence-final Adnominal forms and merger. I'm sorry if I didn't express myself clearly.

The theory (and the actual fact) of a diachronic MERGER presupposes
that RENTAI started to be used (suddenly or gradually) as an equivalent of SHUUSHI, i.e. it became UNMARKED.

I don't think I agree that the Adnominal form can be used as "an equivalent of" the Conclusive. This requires a view of language change as something that happens divorced from speakers. I suggest the following change scenario: The fact that there was no segmental distinction between the Adnominal and Conclusive form for quadri-grades and mono-grades resulted in a reanalysis of the Adnominal form as the base-grammar generated one and of the Conclusive as defined by usage rules. When that happened, the unmarked (in the sense of Andersen) Adnominal form got a wider extension, or usage potential.

My private view is that the final RENTAI marked the non-focal part of
the sentence, while the focus was marked by a KAKARI particle,
resulting in a type of the classical KAKARI MUSUBI pattern.

I agree with that (as does e.g. Whitman 1997).

When the strong KAKARI particles (KA,YA,ZO,KOSO,NAMU) moved to the end of the
sentence or changed into FUKU JOSHI (the case of KOSO), the formal
split of the marked "exclamative" (this is not the really appropriate
term) and interrogative sentence into two parts, non-focal and focal,
disappeared, and the final RENTAI gradually lost its markedness.

This presupposes that K-particles in sentence-final position are secondary and derived. I can't think of any evidence for that. In any case, namo does not occur sentence-finally in OJ (indeed it behaves rather differently from namu in EMJ).

Though this takes us a bit far afield from the original topic of this thread, I can't resist expounding my own view on Kakari-musubi (KM). I have just completed a section of my thesis on the topic, and I've come up with an alternative to Ono's (1993) and Quinn's (1996) hypotheses on the origin of KM. In my view, the Adnominal and the Exclamtory (izenkei) forms were originally NOT triggered by the K-particles (Schaffar (2000) expresses a similar view, but relating to synchronic rules). The Adnominal and the Exclamtory are used independently of the particles for (Wh-)questions and exclamations (or whatever we want to call it). The K-particles mark the scope of the focus or the scope of the question. So in Peircean terms the K-particles were originally indices of interrogative and exclamatory constructions, and were later reanalysed as symbols. This explains why koso occurs with the Adnominal form in certain dialects and with adjectives in OJ, and why we find sentence-final usages of both the Adnominal and the Exclamatory. There's also cross-linguistics evidence that interrogatives and exclamatory constructions can be formed by special verb morphology (e.g. Palauan (pointed out to me by Ian Roberts) and Korean).

Thus, RENTAI was perhaps originally marking only a part of the
sentence. On the other hand, NODA belongs usually to a hypersyntactic
level, and, if it has similar functions like RENTAI, it functions in na
similar way but on a different level, i.e. on the hypersyntactic level.

Could you explain what you mean by "hypersyntactic"?

I'm sorry for this long-winded reply/comment.

All the best
Janick

References:

Andersen, Henning (1989), "Markedness theory--The first 150 years" in Olga Tomic (ed) Markedness in Synchrony and Diachrony.

---------------- (2001), "Markedness and the theory of linguistic change" in Henning Andersen (ed) Actualization: Linguistic change in progress.

Ono, Susumu (1993) Kakarimusubi no kenkyuu.

Quinn, Charles (1997) "On the origin of the sentence particles ka and zo" in J/K vol. 6, p. 61-89.

Schaffar, Wolfram (2000), Fokuskonstruktionen im Japanishen Sprachraum. Eine synchrone, diachrone und typologische Untersuchung Zirkumnominaler Spaltsaetze, Ph.D.-dissertation, Universitaet Tuebingen.

Whitman, John (1997) "Kakarimusubi from a comparative perspective" in J/K vol. 6.
--
Janick Wrona
Hertford College
University of Oxford

From: Meyer Pesenson <mi...@...c.caltech.edu>

To: Multiple recipients of pmjs <p...@...eijigakuin.ac.jp>

Subject: Avalokites'vara -> Kannon

Being an amateur (as in Latin 'amare' - to love), I apologize in
advance if my question sounds too naive.

I'm interested in domestication of Avalokites'vara (Kuan Yin) in Japan.
I assume, that during the initial stage different Shinto kami(s) were
first associated with different bodhisattvas.
If so, who are the kami(s) that were first interpreted as local
manifestations of Avalokites'vara?
I'm particulary interested in the role of indigenous iconographies in
that process.

I'd greatly appreciate any information on this subject.

Thank you,
Misha P.
(mi...@...c.caltech.edu)

Date: Thu, 6 Mar 2003 12:04:40 +0900

From: Michael Watson <wat...@...eijigakuin.ac.jp>

Subject: new members

I usually wait until I have three profiles in hand before sending out a "new members" message, but we have a question from the first of our two new members.

Misha Pesenson <mi...@...c.caltech.edu>

I'm a physicist, not a specialist in Japanese studies. However, Japanese culture has
a profound influence on me (has it's "seeds in the heart") and I have a very strong
interest in earlier periods of Japanese literature, art and religion.

Charles J. Quinn <quin...@....edu>
East Asian Languages & Literatures
The Ohio State University
History of Japanese, teaching early texts/language; present-day language pedagogy
_Situated Meaning: Inside and Outside in Japanese Self, Society and Language_ (ed. with Jane M. Bachnik, Princeton 1994), articles on historical topics

Welcome to them both, and also to several new "read only" members, who include a modern Japanese historian "slumming in pre-modern Japan" (!!) Read only members need give only their affiliation for my records. Feel free to recommend this form of subscription to those in other periods or fields. The subscription form can be found here:
http://www.meijigakuin.ac.jp/~watson/pmjs/

Date: Thu, 06 Mar 2003 11:43:39 -0700

From: Noel John Pinnington <no...@...rizona.edu>

Subject: Re: Avalokites'vara -> Kannon

Alice Matsunaga's Book: "The Buddhist Philosophy Of Assimilation; The
Historical Development Of The Honji-Suijaku Theory" (Sophia University and
Tuttle Books), discusses Avalokitesvara to Kannon a good deal, particularly
in China, where the association is made with a female deity called
Niang-niang, I think, among others. I am afraid I cannot remember how much
she says about Kannon in Japan.
Noel Pinnington

From: Meyer Pesenson <mi...@...c.caltech.edu>
I'm interested in domestication of Avalokites'vara (Kuan Yin) in Japan.
I assume, that during the initial stage different Shinto kami(s) were
first associated with different bodhisattvas.
If so, who are the kami(s) that were first interpreted as local
manifestations of Avalokites'vara?
I'm particulary interested in the role of indigenous iconographies in
that process.

Date: Fri, 7 Mar 2003 08:54:59 +0900

From: Nobumi Iyanaga <n-iya...@....bekkoame.ne.jp>

Subject: Buddhism and War: summary of article by Demieville

Dear Colleagues,

I spent some weeks to write a web page in which I wanted to present an article by Paul Demieville, entitled "Bouddhisme et la guerre". I could finish it yesterday and uploaded it. The URL is:

<http://www.bekkoame.ne.jp/~n-iyanag/buddhism/buddhism_war.html>

This is a summary in English of this article, which is very interesting in itself, along with Chinese texts of the most of the quotations or references, and some personal notes.

As many people are concerned by the threat of an imminent war these days, I hope you will find in this work something interesting for you.

Best regards,

Nobumi Iyanaga
Tokyo,
Japan

P.S. This is a cross-posted message; I apologize in advance to those who receive this more than once.

Date: Thu, 06 Mar 2003 16:20:24 -0800

From: Robert Borgen <rbor...@...avis.edu>

Subject: Re: Avalokites'vara -> Kannon

In medieval times, Kannon came to be associated with Tenjin, the deified
Sugawara no Michizane. For additional details, you can consult a book on
the subject, published by University of Hawaii Press and available at a very
modest price.

Robert Borgen

Date: Thu, 06 Mar 2003 16:58:53 -0800

From: Meyer Pesenson <mi...@...c.caltech.edu>

Subject: Re: Avalokites'vara -> Kannon

Thank you very much for your replies.

1) I'll check out Matsunaga's book - it should be helpful.

2) Yes, I was surprised to read about Kannon-> Tenjin transformation
in your very informative book on Sugawara no Michizane.

Thanks again,
Misha Pesenson

Date: Thu, 6 Mar 2003 22:30:23 -0600

From: "Brian Ruppert" <rupp...@...c.edu>

Subject: Re: Avalokites'vara -> Kannon

Dear Misha,

One other connection--among a veritable mountain of them, I would imagine!--is that
between Amaterasu/Ise and Nyoirin Kannon, a form of Avalokitesvara important
in medieval Japan, especially in discourses of so-called "Ryoubu Shintou"
("Shingon Shinto").
I recently wrote a bit about this in a paper called "Pearl in the Shrine: A
Genealogy of the Buddhist Jewel of the Japanese Sovereign" (Japanese Journal
of Religious Studies 29, no. 1-2 (Spr. 2002): 1-33). I think that this
connection may also arise in the Shinto Kanjo, something about which Fabio
Rambelli has written in the most recent issue of JJRS (I lent it to a
student so I can't check it now--I frankly don't recall if he specifically
deals in any detail with Kannon, however). If you read Japanese, there has
been quite a lot of interesting work by Itou Satoshi and others, although
I'm not sure they've written articles specifically addressing the issue of
Kannon.

Well, good luck--I have a feeling that the more you look, the more you'll
find, as we say :) .
Brian

Brian O. Ruppert
Associate Professor
Director of Undergraduate Studies
Department of East Asian Languages and Cultures
University of Illinois

Date: Fri, 7 Mar 2003 14:16:25 +0900

From: Michael Watson <wat...@...eijigakuin.ac.jp>

Subject: Mellon Postdoc in Premodern Japanese Studies

Mellon Postdoc in Premodern Japanese Studies (xpost from H-Japan)

The Project for the Study of Premodern Japan at the University of Southern California invites applications for a Mellon Post-Doctoral Fellowship for the 2003-4 academic year. The fellowship is designed to provide scholars who specialize in pre-modern Japanese historical studies (broadly defined to include, inter alia, literary, cultural, religious, political, economic, social and institutional history as well as archaeology) the opportunity to teach classes in their area of expertise and to conduct research utilizing the extensive library resources on premodern Japan developing at USC, or at nearby institutions.

The Fellow will teach one class per semester at USC, and have office space in the Department of History. The Fellowship carries a stipend of $40,000.

The application deadline is April 8, 2003, with a decision to be made by April 18, 2003. To apply, please send four copies each of a CV, a detailed description of the nature of research to be conducted during the fellowship period, and a relevant writing sample of no more than 30 pages, to the Project on the Study of Premodern Japan (see address below).

The applicant should also arrange to have three letters of recommendation sent separately and directly to:

Project for the Study of Premodern Japan
c/o East Asian Studies Center
University of Southern California
Los Angeles, CA 90089-0046
Tel: 213-740-2992
FAX: 213-740-8409

For further information, please contact:

Professor Joan R. Piggott, Project Director
Gordon L. Macdonald Professor of Pre-1600 Japanese History
Department of History
University of Southern California
Los Angeles, CA 90089-0034
joa...@....edu
Tel.: 213-821-5872
FAX: 213-740-6999

Professor Gordon Berger
Professor of History (Japan)
Director, East Asian Studies Center
University of Southern California
Los Angeles, CA 90089-0046
gber...@....edu
Tel.: 213-740-6661
FAX: 213-740-8409

Date: Sat, 8 Mar 2003 00:13:59 +0900

From: Nobumi Iyanaga <n-iya...@....bekkoame.ne.jp>

Subject: Re: Avalokites'vara -> Kannon

Hello Misha,

Although my study does not address your questions specifically, my book _Kannon hen'you-tan_ (Kyoto, Hoozookan, 2002) may be of some interest for you; anyway, you will find there many pages on Japanese development of Kannon cult.

Best regards,

Nobumi Iyanaga
Tokyo,
Japan

Date: Fri, 07 Mar 2003 16:41:23 -0800

From: Meyer Pesenson <mi...@...c.caltech.edu>

Subject: Re: Avalokites'vara -> Kannon

Many thanks to all of you who were kind enough to show an interest in the
question.
And thank you for the willingness to share your knowledge and providing
helpful references.

Have a nice weekend,
Misha P.

Date: Sun, 09 Mar 2003 05:44:21 -0500

From: Melanie Trede <m...@....edu>

Subject: meisho zue

Dear Colleagues,

Please excuse cross-postings.

I have a question regarding :
Would anyone know how to research the print runs of "meisho zue" (printed in the mid to late Tokugawa period) or any other data regarding their geographic distribution and popularity throughout the domains?

Thank you very much for any help you might be able to provide,

melanie trede

**********************
Institute of Fine Arts
1 East 78th Street
New York, N.Y. 10021
m...@....edu
Tel. +1 - 212-992-5869
Fax: +1 - 212-992-5807
**********************

Date: Sun, 09 Mar 2003 05:44:21 -0500
From: Melanie Trede <m...@....edu>
Subject: meisho zue

Dear Colleagues,

Please excuse cross-postings.

I have a question regarding :
Would anyone know how to research the print runs of "meisho zue" (printed in the mid to late Tokugawa period) or any other data regarding their geographic distribution and popularity throughout the domains?

Thank you very much for any help you might be able to provide,

melanie trede

**********************
Institute of Fine Arts
1 East 78th Street
New York, N.Y. 10021
m...@....edu
_____________________________________________________________________
Date: Mon, 10 Mar 2003 09:56:41 +0000
From: Peter Kornicki <pk...@....ac.uk>
Subject: Re: meisho zue

The print-runs of most books in the Tokugawa period are pretty well
impossible to establish, as very few publisher's archives survive and
those that do fail to satisfy our curiosity on that score. One yardstick
that can be applied is this: if it is apparent that surviving copies are
not all from the same set of printing blocks then it is fair to assume
(except for the early Tokugawa period) that the initial set of blocks
had failed to satisfy demand and that this necessitated the production
of a second (sometimes third, or even fourth) set of blocks. This raises
the question of how many copies can be produced from a set of blocks;
this depends on the type of wood (yamazakura, for example, is more
durable and can therefore print more copies, but on the other hand is
much harder to carve, and so presumably entailed greater initial
investment) but a figure that is widely accepted is around 5000 copies,
with an absolute maximum of 10000. In the case of meisho zue, we know
that the original blocks of 1780 had to be replaced by 1786, implying
that it sold in excess of 5000 copies in a short space of time, but I do
not know of any other meisho zue to which this applied. In fact, perhaps
because their size and production quality made them expensive to
purchase, they are often found today with the signs of kashihon'ya
ownership, and the seals impressed by the proprietors of these lending
libraries now provide one of the few available clues to the geographical
distribution of meisho zue. Another way, which relates to domains, would
be to look at the libraries of the domain schools or daimyo - many of
these libraries survive intact and in some cases contemporary catalogues
survive too. These methods are laborious, but the questions raised by
Melanie Trede, commonly raised and more easily answerable in the context
of European publishing history, are less amenable in the case of Japan,
frustrating though it may be.

Peter Kornicki
Faculty of Oriental Studies
Sidgwick Avenue
Cambridge
CB3 9DA
England

Date: Mon, 10 Mar 2003 11:19:22 -0500

From: Barbara Ruch <br...@...umbia.edu>

Subject: Chief Abbot Keido Fukushima on 3/12 and 3/13

The IMJS at Columbia University is honored to present:

Chief Abbot Keido Fukushima of Tofukuji, Kyoto:

The two-day event will feature a lecture followed by discussion, Zen

calligraphy demonstration and Zazen meditation session. (In Japanese with

consecutive translation)

Date: Wednesday, March 12th and Thursday, March 13th

Time: Wednesday, March 12th

4:45pm - 5:00pm Offering of Sutras for Abbess Mugai Nyodai

5:00pm - 6:30pm Lecture and Discussion, "Zen and Bridges"

Thursday, March 13th

3:00pm - 4:30pm Zen Calligraphy Demonstration

5:00pm - 6:30pm Zazen Meditation Session (open to all levels)

Place: 403 Kent Hall (Student Lounge, Columbia University,

(Broadway and 116th Street)

Contact: Institute for Medieval Japanese Studies

Tel. (212) 854-7403

Fax. (212) 854-1470

Email: medievalja...@...umbia.edu

This event is free and open to the public.

Miho Walsh

Executive Director

Institute for Medieval Japanese Studies

509 Kent Hall

Columbia University

New York, NY

tel. (212) 854-7403

fax. (212) 854-1470

Date: Tue, 11 Mar 2003 11:47:30 +1100

From: Royall Tyler <ty...@...aca-s.com>

Subject: Re: Avalokites'vara -> Kannon

I've picked up on this one very late. I'll just say, though, that as far as I can tell, Kannon must have become associated in one way or another with the cult of practically every deity (or at least of every sacred site) in Japan. There's just no end to this topic.

Royall Tyler

Date: Tue, 11 Mar 2003 12:28:14 +1100

From: Royall Tyler <ty...@...aca-s.com>

Subject: Kakure kirishitan

A correspondent of mine wants to read about the Kakure kirishitan (in English only). Didn't someone publish a book or article on this subject fairly recently? (I've looked unsuccessfully through the last few years of MN.)

Any bibliographical help would be appreciated, but ONLY if you know something off the top of your head. No hunting around, please, no research!

Thanks,

Royall Tyler

Date: Tue, 11 Mar 2003 15:49:48 +0900

From: Kate Wildman Nakai <kw-na...@...hia.ac.jp>

Subject: Re: Kakure kirishitan

Royall, you should have looked a little further. There are two relatively

recent pieces in MN: one by Christal Whelan ("Religion Concealed: the Kakure

Kirishitan on Narushima," MN 47:3 [Autumn 1992], pp. 369-87), and the other

by Stephen Turnbull ("Mass or Matsuri? The Oyashiki-sama Ceremony on

Ikitsuki," MN 50:2 [Summer 1995], pp. 171-88]). I believe that Curzon put

out not too long ago a collection of articles edited by Stephen Turnbull

that probably includes these pieces.

Kate Wildman Nakai

Date: Tue, 11 Mar 2003 09:05:24 +0100

From: "Antony Boussemart" <aboussem...@...o.fr>

Subject: Re: Kakure kirishitan

Stephen Turnbull has also written _The Kakure Kirishitan: a Study of Their

Development Beliefs and Rituals to the Present days_ (Japan Library, 1998)

Antony Boussemart

Date: Tue, 11 Mar 2003 16:38:15 +0900

From: John Dougill <doug...@...x.kyoto-inet.or.jp>

Subject: Re: Avalokites'vara -> Kannon

on 11/3/03 9:47 AM, Royall Tyler at ty...@...aca-s.com wrote:

I've picked up on this one very late. I'll just say, though, that as far

as I can tell, Kannon must have become associated in one way or another

with the cult of practically every deity (or at least of every sacred site)

in Japan.

This is indeed very striking, and it sometimes seems there are more statues

to Kannon than to Amida. (This contrasts with Seishi who hardly gets

recognition at all.) I'm not sure where the source of this lies, but given

the feminine aspect of Kannon, perhaps this is akin to the cult of the

virgin Mary which in some places seems to carry more weight than the figure

of Jesus himself...

Date: Tue, 11 Mar 2003 21:31:32 +0900

From: Michael Watson <wat...@...eijigakuin.ac.jp>

Subject: Yoshitsune's leap

With everyone being so helpful with information, I'll venture a trivial question of my own. Some of you may have heard the expression "hassou tobi" ("eight boat jump") to describe Yoshitsune's nimble evasive action at Dannoura, when the fierce Noritsune jumps on board his boat.

This now seems to be understood as a leap *over* eight boats, but of course that is hardly likely. I've seen the suggestion that it originally must have meant eight jumps between boat and boat. Does anyone know of premodern/early modern references to his leap as a "eight boat jump"?

Heike variants give more credible distances, and very exact ones too.

The Kakuichi version has "two jou" (2 x 3.03 meters).

The Genpei josuiki describes the leap as "almost the lengths of two bows"

(yundake futatsu bakari 蠑馴聞莠後▽縺ｰ縺九ｊ)

Could anyone tell me off hand how long warriors' bows were, on average?

The Nagato variant gives the distance as hachi shaku amari hito jﾃｴ bakari (蜈ｫ蟆ｺ縺ゅ∪繧贋ｸ荳医?縺九°繧ﾃ?

Which I take to mean "more than eight shaku (8 x 30.3 cm) BUT not more than one jﾃｴ (3.03 m)"

I don't suppose that this could mean the sum, could it? 1.8 jou, more in line with the other variants?

Michael Watson

Date: Tue, 11 Mar 2003 14:13:21 +0000

From: emm...@....com

Subject: Summer Noh Training Project in Pennsylvania

Dear List-members,

This is a reminder about the annual summer intensive noh workshop that I give in Bloomsburg, Pennsylvania. The application deadline is May 1st. I would greatly appreciate it if you could pass this on to interested parties or print it out and post it on an appropriate announcement board. My apologies for

cross postings.

Thanks.

Rick Emmert

______________

The Noh Training Project--- A Workshop for Japanese Classical Theatre, Dance and Music

The Noh Training Project is a three week intensive, performance-based training in the dance, chant, music, and performance history of Japanese Noh Drama. Taught by internationally acclaimed Noh expert Richard Emmert and hosted by the Bloomsburg Theatre Ensemble, NTP is now entering its ninth summer of bringing intensive training in Noh to the United States. Again this summer, Mr. Emmert will be joined for the final week of training by Noh Master actor/teacher Akira Matsui. In addition to teaching traditional performance practice, Matsui will offer special sessions designed to allow senior students the opportunity to direct beginning students in experimental pieces using Noh techniques with non-Noh musical accompaniment and/or text.

This summer, the Noh Training Project is pleased to announce an addition to our programming. We are honored to be joined by Noh drummer Mitsuo Kama who will offer daily classes on the kotsuzumi and otsuzumi drums. Mr. Kama recently toured with Theatre Nohgaku and Theatre of Yugen on their National tour of W.B. Yeats At The Hawk's Well. The addition of Mr. Kama to the faculty will allow NTP to accept students who wish their primary focus to be the musical instruments of the noh ensemble. Additionally the daily schedule has been revised this year to allow Richard Emmert to offer nohkan and taiko classes fulltime to music specialists.

Training sessions go from 9:00-4:30 M-F under the guidance of Mr. Emmert and teaching assistants. In addition to daily training sessions, twice weekly evening sessions are held to discuss the history, literature, and performance elements of Noh, along with viewing Noh performances. Students are divided into beginner or intermediate/advanced sections - and with the addition of Mr. Kama, as either music or dance specialists. New students will learn a number of short dances and songs from Noh plays, learn about the musical instruments associated with Noh, and work briefly with a Noh mask. Intermediate/Advanced students students will work on longer pieces and direct the new students in a non-traditional piece.

The training project culminates in a final recital for an invited public on Friday August 1st.

One of the oldest continually performed theatre forms in the world, Noh combines dance, chant, music and mask in a powerful and stately performance experience requiring intense inner concentration and physical discipline. Actors, directors, dancers musicians (particularly vocalists) and academics interested in a non-western performance experience are encouraged to apply.

APPLICATION DEADLINE: May 1, 2003

Applications should include a resume, photo if possible, and a brief statement describing what the applicant hopes to gain from the training program. Enrollment is limited to 20.

send to:

Noh Training Project

c/o Learning Tomorrow

53 West Main Street

Bloomsburg, PA 17815=20

Phone: (570) 387-8270

FAX: (570) 784-4160=20

email: ...@...link.net

Acceptance notification by May 16, 2003.=20

A nonrefundable $550 deposit is due by May 30, 2003 to reserve position. Early acceptance is available for a non-refundable deposit of $200.=20

COSTS=20

$1,600 for 3 weeks: includes tuition, housing, Kita noh fan, videotape of the final recital, group photo and 5x7 b&w recital photo. Students must supply own pair of white tabi.=20

Housing is located on the campus of Bloomsburg University in their graduate student apartments. All apartments have kitchens, private bedrooms, a sitting area and dining area. Air conditioned housing available for $60.00 additional fee. Air conditioned units house 4 people (with 2 bathrooms and 1 full/1 mini kitchen). Non-air conditioned units house 2 people (with 1 bathroom and 2 sinks).

Meals can be cooked in the apartment, or purchased on a pay-as-you-go basis through the University Food Service. Bloomsburg also boasts several good and reasonably priced restaurants within walking distance of the training studio.=20

The Bloomsburg Theatre Ensemble is located three hours from NYC (by car) (Interstate 80, Exit 236). There are several good hiking, biking, and nature trails in the area as well as excellent camping sites for weekend excursions and a fine, inexpensive amusement park for comic relief.

PUBLICATIONS

Publications available through the Noh Training Project:

CD: Noh in English $22 (includes a 75 page booklet in English and Japanese) - Teichiku Records, Tokyo.

Eliza - an English Noh play $32.00 (includes video and text) National Noh Theatre Performance Guide Series by Monica Bethe and Richard Emmert: includes Matsukaze $20, Fujito $20, Miidera $22, Tenko $22, Atsumori $23, Ema $23, and Aoinoue $23. Shipping and handling is included.

INSTRUCTORS=20

Richard Emmert

Born in Ohio in 1949, Richard Emmert is an American who has studied, taught, and performed Noh drama in Japan since 1973. A certified Kita school Noh instructor, he has studied all aspects of Noh performance with a special concentration in movement and music. A professor at Musashino Women1s University in Tokyo where he teaches Asian theatre and music, he also directs in Tokyo, a semi-intensive, on-going Noh Training Project for English speakers. Over the years, Mr. Emmert has led extended Noh projects at universities in Australia, England, India, Hong Kong, and the United States, most of which have been with Kita Noh actor Akira Matsui. He has co-authored with Monica Bethe a series of Noh performance guides for the National Noh Theatre and produced a CD entititled, 3Noh in English2. In September 2001, Mr. Emmert composed the score for Erik Ehn's Native American and Japanese noh fusion play, Crazy Horse, at Theatre of Yugen in San Francisco. In September 2002, he toured his English speaking Noh troupe, Theatre Nohgaku, in a seven city tour of W.B. Yeats' At The Hawks' Well in a second collaboration with Theatre of Yugen.

Akira Matsui is a master actor-teacher of the Kita School of Japanese classical Noh Theatre. He began studying Noh at the age of 7, and at the age of 12, he became a"live-in apprentice" to Kita Minoru, the 15th generation of noh masters of the Kita School. Matsui has been active for over 25 years in disseminating Noh abroad. He has trained students in India, Australia, Germany, and England as well as offering master classes at colleges and theatres across the U.S. and Canada. Matsui has also experimented in intercultural fusions with the Noho Theatre Group of Kyoto, with the English Noh plays of Richard Emmert, and with other bilingual productions in Europe and the U.S. In 1998, he was designated an Important Intangible Cultural Asset by the Japanese Government. Matsui danced the role of the Hawk in the September 2002 tour of At The Hawks Well with Theatre Nohgaku and Theatre of Yugen.

Date: Tue, 11 Mar 2003 10:06:23 EST

From: Brian Goldsmith <Bdgol...@....com>

Subject: Re: Yoshitsune's leap

According to Sasama Yoshihiko's _Nihon no Katchuu bugu jiten_ many of the bows used in the Heian period were 6 to 7 shaku (1.8 -2.1 m) (392). Unfortunately he does seem to offer much information on the length of later bows

Brian

Date: Tue, 11 Mar 2003 15:37:20 -0500

From: "R. Keller Kimbrough" <rkkim...@...by.edu>

Subject: Re: Yoshitsune's leap

Dear Michael,

As you are probably already aware, Yoshitsune's leap is a popular subject in

screen paintings of scenes from _The Tale of the Heike_. I don't have any

Heike books with me now, but if I remember correctly, Yoshitsune is usually

depicted as making a great leap from one boat to another, rather than over

one or more boats. In fact, I'm sure I've never seen a painting of

Yoshitsune jumping eight boats at once ﾃ la Evil Knievel. That would have

been a sight to see!

Best,

Keller

Date: Tue, 11 Mar 2003 11:00:40 -0500

From: "William Londo" <...@...ealbox.com>

Subject: Re: Kakure kirishitan

For Kakure Kirishitan, see also

Ikuo Higashibaba, Christianity in Early Modern Japan: Kirishitan Belief

and Practice (Brill's Japanese Studies Library, 16) and

Japanese Religions 19:1-2 (1994), a special issue on the subject.

The bibliographies of these and others mentioned below should lead to

further, earlier materials.

Date: Wed, 12 Mar 2003 02:22:16 +0000

From: "Christian Morimoto Hermansen" <christian_herman...@...mail.com>

Subject: kakure kirishitan

To the bibliography on kakure kirishitan:

Ikuo Higashibaba Christianity in Early Modern Japan. Kirishitan Belief and Practice Brill's Japanese Studies Library Vol. 16. Leiden, Boston, Koln: Brill 2001

is highly recommended for a new approach to the topic. See book review in Japanese Religions vol. 27 (2) July 2002.

Japanese Religions vol. 19 (1&2) January 1994 is a special issue on kakure kirishitan.

Christian Hermansen

NCC Center for the Study of Japanese Religions

Karasuma Shimodachiuri agaru, Kamikyo-ku

Kyoto 602-8011

Date: Wed, 12 Mar 2003 07:16:03 +0000

From: "Christian Morimoto Hermansen" <christian_herman...@...mail.com>

To: Multiple recipients of pmjs <p...@...eijigakuin.ac.jp>

Subject: On Shingon etc.

A new issue of Japanese Religions has just been published. Please find the table of contents below. A sincle copy is 1000 JPY or 9 USD surface mail included.

Japanese Religions vol. 28 no.1 (January 2003)

Contents

Editorial

Take Kuniyasu 1933-2002

Articles

Transmission Problems: The Reproduction of Scripture and

Kukai's "Opening" of an Esoteric Tradition

David Gardiner

Translation of Kukai's Kan'ensho

David Gardiner

The Body as the Location of Oneness--On the Symbolic Representation of Bashoron

Yagi Seiichi

A Response to Yagi Seiichi

James W. Heisig

Reviews

James W. Heisig, Philosophers of Nothingness: An Essay on the Kyoto School

Tiziano Tosolini

Miyake Hitoshi, Shugendo: Essays on the Structure of Folk Religion

Chari Pradel

Dialogue? Resource Manual for Catholics in Asia, Edmund Chia, ed.

Yanashita Akiko

Reports

Dr Christian M. Hermansen, Editor

NCC Center for the Study of Japanese Religions

Karasuma Shimodachiuri agaru, Kamikyo-ku

Kyoto 602-8011, Japan

http://www.japanese-religions.org

Date: Thu, 13 Mar 2003 16:07:34 -0500

From: Barbara Ruch <br...@...umbia.edu

Subject: Wed. 3/26 5-7pm at Columbia University

The IMJS is honored to present:

"Embracing the Firebird: Yosano Akiko, modern Japan's preeminent female

poet, and her revolutionary poetry collection Tangled Hair (Midaregami)"

By: Janine Beichman (Professor, Department of Japanese Literature, Daito

Bunka University;

Adjunct Lecturer, Department of Comparative Literature, Tsukuba University)

Wednesday, March 26th from 5-7pm in 403 Kent Hall Lounge

Columbia University, 116th street and Broadway

This lecture is free and open to the public.

For further information please call: 212-854-7403 or email

medievalja...@...umbia.edu

In 1901, the young Yosano Akiko published her first collection of poems,

Midaregami (Tangled Hair). A sensation at the time, it became one of the

classics of modern Japanese poetry, and the only one by a woman. Akiko's

later poetry has now begun to win long-overdue recognition and she is

considered modern Japan's preeminent female poet, but in terms of literary

history the impact of Midaregami still overshadows everything else she

wrote, for it brought the modern ideal of individualism to traditional

poetry with a passion found in no other work of the period. Professor

Beichman's lecture takes a fresh look at this classic, based on her new book

Embracing the Firebird: Yosano Akiko and the Birth of the Female Voice in

Modern Japanese Poetry (July 2002, University of Hawaii Press). The

lecture will incorporate bi-lingual readings in Japanese and English of many

of Akiko's poems. Copies of Embracing the Firebird will also be available

for sale or can also be signed by Prof. Beichman if purchased in advance

(please visit: www.amazon.com)

From reviews of Embracing the Firebird:

"In sum, this is a book by a poet, about a poet, written expressly for

readers who love poetry. As far as I am concerned, there can be no higher

praise."

--J. Thomas Rimer, The Japan Page.com

"Yosano Akiko has slipped under most literary radars, an oversight corrected

by Janine Beichman's literary biography. A fusion of Sappho, Emily

Dickinson, and Lady Murasaki. . . Akiko was a celebrity and a heroine of

domestic politics."

--Laurance Wieder, The Weekly Standard

Date: Thu, 13 Mar 2003 21:12:59 -0500

From: "Philip C. Brown" <brown....@....edu>

Subject: Round Table Discussion, "Blood in Early Modern Japan" (Early Modern Japan Network)

I would like to call your attention to an item noted in the 20003 Annual Meeting Program of the Association for Asian Studies:

The Early Modern Japan Network will host a discussion on the theme of "Blood in Early Modern Japan" in conjunction with the annual meeting of the Association for Asian Studies in New York.

Date: Thursday, March 26

Time: 2:00 p.m.

Place: Clinton Suite (2nd floor) of the Hilton New York (conference hotel)

Last year's discussion on bunjin society was well attended and lively and we look forward to a similarly engaging discussion this year. All are welcome!

Philip Brown

Early Modern Japan Network

Date: Fri, 14 Mar 2003 10:34:03 -0500

From: eiji sekine <eiji.sek...@....net>

Subject: Call for AJLS hosts for 2004

Dear Netters,

Please accept our apologies for cross-listing.

We are looking for people who are willing to chair the 2004 conference for

the Association for Japanese Literary Studies. If you are interested, please

contact Professor Ann Sherif (ann.she...@...rlin.edu). Additionally, if you

are at the AAS meeting, she will meet you by appointment: You are also

welcome to attend our business meeting on Fri., March 28, at 7:00 a.m. at

Lincoln Suite.

Thank you for your attention and consideration.

Sincerely,

Eiji Sekine

AJLS

Date: Sat, 15 Mar 2003 11:48:02 +0900

From: Michael Watson <wat...@...eijigakuin.ac.jp>

Subject: Yoshitsune's leap

Many thanks to everyone who wrote to me about Yoshitsune's leap. I am still on the look out for literary references but your suggestions made me look a little thoroughly on the groaning shelves of my study. I have found many visual representations of Yoshitsune in flight / Yoshitsune landing / and Yoshitsune safely landed. The best one is a byobu screen picture of him performing a quite unnecessary somersault. Presumably the later pictorial tradition reflects the acrobatic image of Yoshitsune in his fight with Benkei at Gojo Bridge.

Michael Watson

Date: Sat, 15 Mar 2003 11:48:30 +0900

From: Michael Watson <wat...@...eijigakuin.ac.jp>

Subject: new members

Welcome to the five new members who joined this week.

Barbara Ilka <barbara_ko...@...zta.onet.pl>

nipponicum (Poland)

Scott Lineberger <scottlineber...@...mail.com>

PhD student at Columbia University. For my dissertation I am analyzing the influence of print culture on early Edo haikai and poetic commentaries, specifically the works of Kitamura Kigin and Matsunaga Teitoku.

Tamaki Maeda <tam...@...ashington.edu>

Ph.D. Candidate, Art History, University of Washington

I am currently writing my dissertation on Tomioka Tessai (1836-1924), focusing on his hybridization of yamato-e and literati painting. In the course of my research, I became interested in the construction of yamato-e since the Heian period to the modern era.

Johan Wellens <tili...@...gacom.net>

Research fellow at the Department of Oriental Studies, Section Japanology of the Catholic University of Leuven (Katholieke Universiteit Leuven), Belgium

C.E.West <cew...@...urai-archives.com>

Co-webmaster of the Samurai Archives Japanese history page, interests are in Sengoku period Japan specifically, and pre-modern Japan in general. Research currently focused on the Sengoku warlord Takeda Shingen.

http://www.samurai-archives.com/index.html

Date: Fri, 14 Mar 2003 21:45:41 -0600

From: rleutner <rleut...@...e.weeg.uiowa.edu>

Subject: Genji-ko game

Hello list,

I am re-educating myself to teach -Genji- in its broadest contexts and am

wondering if anyone can point me somewhere quick and dirty to find out about

the Genji-kﾃｴ game, nominally something to do with incense but I assume in Edo

times to have been a variety of karuta.

I have the Dover-published (1972) "Japanese Design Motifs" book reproducing

the family-crest catalog of "The Matsuya Piece-Goods Store", which includes

what looks like a full 54-item set of Genji-kﾃｴ designs. I'm having students

take turns doing chapter summaries and am going to produce some kind of

pog-like tokens for them for "their" chapters, but it might be fun to know how

the game was played in its time. Would that Andrew Markus were with us

still--I'd have had the answer yesterday!

Bob Leutner

University of Iowa

Date: Sat, 15 Mar 2003 13:28:16 +0900

From: John Dougill <doug...@...x.kyoto-inet.or.jp>

Subject: Re: Genji-ko game

There's a complete explanation on Liza Dolby's excellent Murasaki site...

Follow this link...

<http://www.taleofmurasaki.com/incensepagenew.htm>

Date: Sat, 15 Mar 2003 01:13:27 -0500

From: Melanie Trede <m...@....edu>

Subject: JAHF: meisho zue print runs etc

Dear Colleagues,

Thanks to everyone who offered generous advice regarding my question how to research print-runs of meisho zue, their geographic distribution and popularity throughout the domains.

Below are the collected references, comments and advice I received off-list.

What was interesting and fun was to see the different attitudes apparent in the responses: while some rely on secondary sources, the specialists seem reluctant to come up with any specific numbers except in very few cases.

Laurence Bresler, "The Origins of Popular Travel Literature in Japan" (PhD Columbia University, 1975).

Chiba, Masaki. _Edo meisho zue no sekai : kinsei kyodai toshi no jigazo._ Yoshikawa Kobunkan, 2001.

Chibbett, David G. _The history of Japanese printing and book illustration._ Kodansha International, 1977.

Hibbet, Howard:_The Floating World in Japanese Fiction_,

Kornicki, Peter F. _The book in Japan : a cultural history from the beginning to the nineteenth century_.Brill, 1997.

the CD-ROMs set: Meisho zue shusei [electronic resource] : kinsei shomin no tame no eiri meisho gaido. -- Tokyo : Ozorasha, 1998-, CD-ROMs : ill. ; 4 3/4 in. (ISBN 475680750X)

the publisher Ozorasha went out of business after releasing 5 parts in this multipart set to cover:

Miyako meisho zue ; Shui Miyako meisho zue ; Yamato meisho zue ; Izumi meisho zue ; Ise sangu meisho zue ; Tokaido meisho zue ; Banshu meisho zue ; Kisoji meisho zue; Zenkojido meisho zue

Further advice/comments included:

- Kokushoo soomokuroku: look for the titles of specific works (often includes info on multiple printings)

- original volumes of the works in question

- annotated catalogues of major collections of Japanese printed books, e.g. works by Toda or Ueda et al on the Art Institute of Chicago Collection, and anything by Sorimachi Shigeo

- I read travel diaries and I come across occasional references to published guides (i.e. "edo meisho zue says that...")

Finally, the critical voices:

Peter Kornicki wrote (on the pmjs list): <see above>

Henry Smith wrote the following:
My own quick answer
is that there is virtually no data for the numbers printed of _any_ books
in the Edo period, except for scattered anecdotal evidence about
single-sheet prints and novels. The basic notion of a "print run" comes
from movable type technology, and doesn't really apply to woodblock
printing, where printing was done in small batches of 100 or 200 copies,
then sold, then reprinted as need arose. (The blocks get too wet when you
print more than this many at one time.) No reliable records have even been
found that provide total numbers printed for any books. The best approach
is to see whether the blocks were recarved for reprinting after they had
become so worn as to be unusable, which is a sure sign that many copies
were printed (although you'll never know exactly how many). And this can be
very difficult, since you have to track down all existing copies and
compare them at the microscopic level, since the reprinted versions could
be very close thanks to the precision of the kabuse-bori technqiue. For
distribution and popularity, one indirect indication might be listing in
the catalogues of kashihonya of the sort that Peter Kornicki has studied
and reported on in various publications, but books of this sort would not
seem to be the kind of material that are suited for lending libraries. So
the short answer is that there is no answer, at least not as far as I know.

I hope this is of some use for everybody.
melanie trede

**********************
Institute of Fine Arts
1 East 78th Street
New York, N.Y. 10021
m...@....edu
Tel. +1 - 212-992-5869
Fax: +1 - 212-992-5807
**********************

Date: Sun, 16 Mar 2003 22:05:15 +0000
From: emm...@....com
Subject: Noh Training Project addenda

The email I sent last week to the list about the upcoming Noh Training
Project that I conduct every summer in Bloomsburg, Pennsylvania failed to
have two extremely important bits of information: the dates for the
workshop which are July 14th through August 1st, 2003; and the website
address which is http://www.bte.org/programs/noh/Default.asp. My apologies
for this oversight and my thanks to the people who pointed it out to me.

Rick Emmert

Date: Mon, 17 Mar 2003 13:39:25 +0000

From: Peter Kornicki <pk...@....ac.uk>

Subject: Re: JAHF: meisho zue print runs etc

Missing from the text which I wrote and which was included in the pmjs meisho zue message, and possibly also from the message I originally sent to Melanie Trede, is the name of the meisho zue I was referring to from 1780: it was Miyako meisho zue, the first of the two devoted to Kyoto.

Peter Kornicki

Date: Mon, 17 Mar 2003 15:43:52 -0800

From: "Susan B. Klein" <sbkl...@....edu>

Subject: my book

Forgive the cross-posting (not to mention the shameless self-promotion):

My book, _Allegories of Desire: Esoteric Literary Commentaries of Medieval Japan_, has finally been published (tada!). It's not available on amazon.com yet, but you can find it the Harvard UP website:

http://www.hup.harvard.edu/catalog/KLEALL.html

John Ziemer said to remind people that it will be available for a 20% discount at AAS.

Susan

***********************************************

"Every exit is an entrance somewhere else"

Tom Stoppard

***********************************************

Susan Blakeley Klein

Associate Professor, Director of Religious Studies

East Asian Languages and Literatures

University of California, Irvine 92697-6000

sbkl...@....edu

Date: Wed, 19 Mar 2003 17:37:03 EST

From: Bdgol...@....com

Subject: Sources

Dear all,

I am drawing up a sources and methods class for next fall, and I was wondering about some source materials. Does anyone know of good original sources in translation that cover the lives of samurai women in the late Muromachi/Sengoku period? Also does anyone know of any translations of house laws from that same period?

Thanks.

Brian Goldsmith

Date: Thu, 20 Mar 2003 07:49:40 +0900

From: Michael Watson <wat...@...eijigakuin.ac.jp>

Subject: Re: Sources

The Second Edition of _Sources of Japanese Tradition_, Vol. 1 has a section by Paul Varley on house laws. Much has been added to the edition (thanks to many scholars on pmjs, I might add).

http://www.columbia.edu/cu/cup/catalog/data/023112/0231121393.HTM

Michael Watson

Date: Wed, 19 Mar 2003 15:23:46 -0800

From: "H. Mack Horton" <hmhor...@...rates.Berkeley.EDU>

Subject: Re: Sources

Hi,

You might try the following. Both are in jstor.

Best wishes,

Mack Horton

URL [www.jstor.org (ID required)]

Imagawa Letter: A Muromachi Warrior's Code of Conduct Which Became a Tokugawa Schoolbook

Carl Steenstrup

Monumenta Nipponica, Vol. 28, No. 3. (Autumn, 1973), pp. 295-316.

URL [www.jstor.org (ID required)]

Hojo Soun's Twenty-One Articles. The Code of Conduct of the Odawara Hojo

URL [www.jstor.org (ID required)]
Carl Steenstrup
Monumenta Nipponica, Vol. 29, No. 3. (Autumn, 1974), pp. 283-303.

URL [www.jstor.org (ID required)]

//JSTOR requires a institutional subscription. Most American universities seem

//be members. Most Japanese not. It allows users to read backnumbers (with

//a five year "moving wall" so that recent issues are not available). /mgw

Date: Thu, 20 Mar 2003 08:51:36 +0900

From: John Dougill <doug...@...x.kyoto-inet.or.jp>

Subject: Wa

I'd much appreciate the expertise of the list on a problem I'm struggling

with. It concerns when exactly the meanings for 'Japan' and 'harmony'

converged in the same kanji. As I understand it, there were two different

kanji up until around the time of Shotoku Taishi. When he wrote his

constitution about Japan being a land of 'wa', I wonder if there was any

conscious wordplay or not.

Similarly, I realise the wa of waka denotes 'Japanese song' in contrast to

kanshi, but when Ki no Tsurayuki wrote his preface to Kokinshu about poems

of harmony, was there any conscious play on the wa of waka? If not, are

there instances of others making conscious play on this?

Date: Wed, 19 Mar 2003 21:29:32 -0500

From: "Peter D. Shapinsky" <pshap...@...ch.edu>

Subject: Re: Sources

For Sengoku samurai women: see the translation of Oan monogatari by Basil Hall Chamberlain, "A Short Memoir from the Seventeenth Century (Mistress An's Narrative)." _Transactions of the Asiatic Society of Japan_, 8 (1880): 277-283. A partial translation can also be found in Eiko Ikegami, _Taming of the Samurai_.

David Lu's _Japan: A Documentary History_ also has translations of house codes.

Peter D. Shapinsky

Date: Wed, 19 Mar 2003 23:18:20 -0500

From: Lawrence Marceau <lmarc...@...l.Edu>

Subject: Re: Sources

I've long been interested in a set of

narratives of early Tokugawa Japan by female

authors, Oan monogatari, Okiku monogatari, and

Reigen-ni no ki. Christopher T. Nelson and

Kyoko Selden hav a translation of the former,

the "Oan Monogatari (The Tale of an Old Nun.)"

This is found in: Review of Japanese Culture and

Society, December 1998.

Lawrence Marceau

Date: Fri, 21 Mar 2003 11:43:39 +0900

From: Jonah Salz <a9267...@...koku.seikyou.ne.jp>

Subject: deadline extended, Kyoto summer training

Forgive cross-postings. The 19th annual Traditional Theatre Training program

from July 11-Aug 2 in Kyoto, Japan has extended its application deadline to

May 15th. Please inform students and colleagues who may be interested in

this intensive, authentic introduction to noh, kyogen, or nihonbuyo. Details

can be found on:

http://www.kac.or.jp/event/kikaku/TTT/ttt_english.html

in English, and in Japanese,

http://www.kac.or.jp/event/kikaku/TTT/index.html

Dr. Jonah Salz

Faculty of Intercultural Communication

Ryukoku University

Seta Shiga 520-2194 JAPAN

077-543-7875

jo...@...ld.ryukoku.ac.jp

Date: Fri, 21 Mar 2003 10:05:58 +0000

From: Richard Bowring <rb...@...mes.cam.ac.uk>

Subject: Help requested

Dear All.

I have two unrelated questions.

1. I have read in a number of places that Shinran strongly disapproved of

images, treating them as idolatry, and that for that reason Honganji in its

early stages had no honzon of Amida. I am sure this is correct but can

anyone lead me to an actual quote to this effect by Shinran himself?

2. The opening of the Miwa Daimyojin engi runs as follows:
豁､螟ｪ逾樊悽霑ｹ莠碁摩蠕｡縲
I presume this last character is read something like owasu, but I have not
come across this before. Is this common in this kind of text? Or an I misreading it?
Richard Bowring
University of Cambridge

Date: Fri, 21 Mar 2003 09:50:09 -1000

From: Chris Callahan <ccall...@...aii.edu>

Subject: Re: Help requested

With respect to the first question, I am not sure that I would say that Shinran disapproved of images but rather preferred inscriptions of Amida's name (myﾃｴgﾃｴ honzon). I am not aware of any statement by Shinran that prohibited the use of carved or painted images. Nevertheless, it is easy to see how a preference, may have in time become a prescription in some circles. There is evidence that Shinran himself possessed religious images, such as a portrait of his teacher, Hﾃｴnen. There is also evidence that he allowed others to make his portrait, despite the statement in the Tannishﾃｴ of his not having a single disciple. Teacher portraits were a common religious practice signifying a teacher/student relationship.

The usual explanation of this preference for name inscriptions is not because Shinran viewed carved or painted images as idolatry,
but rather that these written inscriptions would be more accessible to the lower classes. Their accessibility and the relative ease of
production allowed them to be used as a propagation tool by the Honganji leadership.
From the time of Kakunyo (1270-1351), Shinran's image, both the painted image found in the illustrated biography
(Hongani Shﾃｴnin Shinran den'e) and the carved images installed in the successive generations of founder's halls (Goeidﾃｴ), has
been a center of devotion for the Shin Buddhist community. By the time of Shakunyo (1350-93), an image of Amida Buddha
was installed at Honganji temple.

Aloha,

Chris Callahan
University of Hawai'i-Manoa

Date: Sat, 22 Mar 2003 00:06:55 -0800

From: Roberta Strippoli <rober...@...nford.edu>

Subject: Kyoto Lectures March 28 2003 -Dolce talk on miraiki

Scuola Italiana di Studi sull'Asia Orientale ISEAS

ﾃ営ole Francaise d'Extrﾃｪme-Orient EFEO

KYOTO LECTURES 2003

Friday March 28th 18:00h

Lucia Dolce will speak on:

"Miraiki: Prophecy, eschatology and political strategies in medieval Japan"

Surveying the religious literature of medieval Japan, one comes across

several types of prophetic writings, known as miraiki. Whether anonymously

composed and attributed to well-known personalities of the past, or written

authentically by prominent contemporary clerics, these prophecies share a

number of features

such that it is possible to place them in a genre of their own. This paper

will illustrate some aspects of this genre, focussing on two miraiki of the

Kamakura period.

Lucia Dolce is lecturer in Japanese Religions at the School of Oriental and

African Studies, University of London. She holds a first degree in Japanese

Studies from the University of Venice and a PhD from the University of

Leiden. She is the author of Nichiren and the Lotus Sutra: Esoteric Patterns

in a Mediaeval Interpretation of the Lotus Scripture (E. J. Brill,

forthcoming), and is currently working on a study of taimitsu, the form of

esoteric Buddhism developed in the Tendai denomination.

Italian School of East Asian Studies (ISEAS)

ﾃ営ole Francaise d'Extrﾃｪme-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: Wed, 26 Mar 2003 08:27:48 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: Bowdoin College search cancelled

The Asian Studies Coordinator at Bowdoin College, Brunswick, Maine has asked me to let you know that the search for the one-year Japanese Studies position has been cancelled.

Michael Watson

Date: Wed, 26 Mar 2003 23:13:57 +0900

From: Michael Watson <wat...@...eijigakuin.ac.jp>

Subject: new members

We welcome the following four new members to pmjs.

Adam Clulow <ajc2...@...umbia.edu>

Columbia University

I am a Ph.D student in Japanese History at Columbia University. I am currently working on the wako. I am also researching coastal and oceanic shipping in the Muromachi period.

Marco Gottardo <mi...@...umbia.edu>

Columbia University, Department of Religion

I am a PhD student in Chinese and Japanese Religions, specializing in Tokugawa period popular forms of religious practice. I am also very interested in the interaction of sciences (western and asian) and religions at the popular level, again mostly during the Tokugawa period.

Thomas Howell <thowel...@...thlink.net>

University of Pennsylvania

Ph.D from the University of Pennsylvania, on the practices of reading, writing, and compiling in early and medieval Japan, with a focus on setsuwa and the Konjaku monogatari shuu. Interested in textual and oral authority, authors and anonymity. Currently working on the Hoobutsushuu.

Pamela D. Winfield <pwinf...@...bus.temple.edu>

Temple University / Meredith College

My name is Pamela Winfield and I am currently finishing my doctorate in the Department of Religion at Temple University. My area of interest is 'Religion and the Arts of Japan' in general; my dissertation is entitled "Kukai and Dogen on the Art of Enlightenment," It's basically a comparative investigation into issues of iconicity and iconoclasm in early Japanese Buddhism. From 2001-2002 I conducted dissertation research at Nichibunken under Dr. Yoritomi Motohiro thanks to a grant from the Cross-Cultural Institute (for grad students who don't know it, it's a pretty great deal). I then pursued independent research while living in Kamakura and teaching at Temple's branch campus in Tokyo. After I finish my degree in May (insha'allah), I will start a tenure-track position at Meredith College in Raleigh, NC.

Date: Thu, 27 Mar 2003 23:24:40 -0500

From: "Tomoko Yoshida" <t...@...nell.edu>

Subject: Shinran and images

Please excuse me if my response is late and redundant. (I only read the

weekly digest.)

Speaking with my limited knowledge, I am not aware of any strong statement

of Shinran against "idolatry." Kakunyo does mention in his "Gaijasho" that

Shinran regarded the ten-character myogo 'Kimyo jinjippo mugeko nyorai'

(from Vasubandhu's "Ojoron") as his honzon. Kakunyo, however, accepts some

use of pictorial or wooden images of Amida or of eminent masters as a

customary practice of his time.

Shinran himself apparently did not even mention the word honzon much, and I

doubt if he used myogo honzon as a tool for popularizing his teachings. (If

he did, it was in a limited scope, since there are only a small number of

extant myogo written by Shinran.)

In my own opinion, Shinran's preference to myogo stemmed from his conviction

of faith alone in Amida's saving power. Images of Amida was strongly

associated with a visualization practice (as in "Kan muryojukyo"), which

Shinran denounced as a difficult and futile self effort.

When it comes to Rennyo in the late 15th century, however, myogo honzon was

certainly an important media for proselytizing. Rennyo is said to have

produced 2-300 myogo a day! According to "Rennyo-shonin goichidaiki

kikigaki," Rennyo said, "In our school, we prefer a painted image over a

carved image, and a myogo over a painted image." At the same time, Rennyo

admonished against the fetish attachment to myogo: myogo honzon is not a

treasure to keep, but it is to be utilized for nurturing faith. ("Kikigaki"

is found in "Nihon shiso taikei 17: Rennyo, Ikko Ikki." See pages 113 and

125.)

Whatever the official doctrines were, both painted and sculpted images seem

to have been used among Shinshu followers from early on. (I don't know from

when exactly.) During the Sengoku period, each time Honganji was destroyed,

images of Shinran and Amida had to be carried out of the temple.

Tomoko Yoshida

Date: Fri, 28 Mar 2003 11:17:06 -0800

From: Morgan Pitelka <mpite...@....edu>

Subject: Bunraku recordings

Dear Colleagues,

Can anyone suggest videos or DVDs of Bunraku performances with English

subtitles? I'm looking for materials to use in my Japanese culture and

history courses.

Thanks,

Morgan

*****************

Morgan Pitelka

Asian Studies Department

408 Johnson Hall

Occidental College

1600 Campus Road

Los Angeles, CA 90041

1-323-259-1421

mailto:mpite...@....edu

*****************

Date: Fri, 28 Mar 2003 23:15:37 -0500

From: "Marco Gottardo" <mi...@...umbia.edu>

Subject: Re: Bunraku recordings

Dear Morgan,

I know of a GREAT recording (on video) of "Double Suicide at Sonezaki" (譖ｾ譬ｹ蟠主ｿ?ｸｭ) , with English subtitles, featuring Miyagawa Kazuo (螳ｮ蟾昜ｸ螟ｫ) at the camera, and Yoshida Tamao (蜷臥伐邇臥塙) and Yoshida Minosuke (蜷臥伐闢大勧), amongst the performers (both Living Natural Treasures).

The only potential "problem" is that this is not a video recording of a Bunraku performance, but rather that Bunraku play put into movie form.

Therefore, it may not be an appropriate teaching tool if you are interested in showing the actual dynamics and "logistics" of Bunraku as it is performed on stage, but it is a truly wonderful film version of the Bunraku play. This is more appropriate to use as introduction to Bunraku as artistic genre, since it catches the beauty and subtelty of the puppets and of the reciter/chanter, and the way the drama of Bunraku can come alive through the puppets.

You may purchase it from 譬怜ｴ惹ｺ句漁謇 (Kurizaki Jimusho), in Tokyo

(the address is: 150-0001 Tokyo-to Shibuya-ku Jingumae 4-15-16-1-6)

You have to request a copy with English subtitles, since they carry mostly copies without subtitles (sometimes their stocks of English-subtitled tapes run out, and you might have to wait for a couple of months for them to restock).

Their phone number (in Tokyo) is (03)3402-1263. The price, as far as I remember, is about .

The video is in color, lasts approx. 88 minutes, and was produced in 1981.

Sincerely,

Marco Gottardo

Department of Religion

Columbia University

Date: Sat, 29 Mar 2003 12:58:43 +0000

From: emm...@....com

Subject: Re: Bunraku recordings

Re: Bunraku videos with English subtitles, Marty Gross of Marty Gross

Productions, Toronto, made a film of the Chikamatsu bunraku play, Meido no

Hikyaku, which has been translated as The Courier from Hell. Marty titled

his film The Lover's Exile. It came out as a video on Toshiba EMI in the

late 80s and I think it is still available. The subtitles are by Marty and

Donald Richie. There is an introduction to bunraku by Jean Louis Barrault.

Music supervision is by Takemitsu Toru. It features Yoshida Tamao and

Yoshida Minosuke among others. I would suggest you write Marty directly for

further information. His email is: "Marty Gross"

<ma...@...tygrossfilms.com>.

Rick Emmert

Date: Sat, 29 Mar 2003 17:06:24 -0700

From: Larry Shumway <Larry_Shum...@....edu>

Subject: Re: Bunraku recordings

Try Bunraku, put out by the University of Oklahoma Foundation, or The

Tradition of Performing Arts in Japan, put out by GPN in Lincoln, Nebraska.

Cheers

::::: pmjs footer:::::

Susan B. Klein
Allegories of Desire: Esoteric Literary Commentaries of Medieval Japan
Harvard UP, June 2003. Finally available!
http://www.amazon.com/exec/obidos/tg/detail/-/0674009568/

Bentley, John R. Descriptive Grammar of Early Old Japanese. Leiden: Brill,
2001.
Bentley, John R. Historiographical trends in early Japan. Edwin Mellen Press,
May 2002.
See online Table of Contents for both publications
http://www.meijigakuin.ac.jp/~pmjs/biblio/byyear.html

Steven D. Carter. Just Living: Poems and Prose of the Japanese Monk Tonna. New York: Columbia
University Press, 2003, 243 pp

Mostow, Joshua S., Norman Bryson, and Marybeth Graybill, eds. Gender and Power
in the Japanese Visual Field . Honolulu: University of Hawai'i Press, June
2003.

Miyake, Marc. Old Japanese: A Phonetic Reconstruction. London:
RoutledgeCurzon, 28 August, 2003.

Michel Hockx and Ivo Smits, ed. Reading East Asian Writing: The Limits of
Literary Theory. (IIAS series, vol. 12.) London: RoutledgeCurzon, 2003. ISBN
0700717609. Including essays by Rein Raud, Haruo Shirane, Ivo Smits, and
others.
http://reference.routledge-ny.com/books.cfm?isbn=0700717609