pmjs logs for May 2003. Total number of messages: 14
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* A Reference Grammar of Classical Japanese Prose (Alexander Vovin)
* Another Dai Nihon Koku (Robert Borgen)
* Poetics of Courtly Male Friendship (Michael Watson)
* Chushingura (Yumiko Hulvey, Haruko Nakamura, Kate Wildman Nakai, Robin Gill,, Lawrence Marceau, Beatrice Bodart-Bailey, Peter Kornicki)
* PAJLS, vol. 3 to be published (Eiji Sekine)
* "Japan from Somewhere Else" (Eiji Sekine)
* AJLS Call for Papers (Eiji Sekine)
* Learn about Japanese databases at ASPAC (Sharon Dormier)
* From Classic Nisus files to OS X environment [Mac] (Nobumi Iyanaga)
* Noh Training Project July Workshop (Rick Emmert, Michael Watson)
* Kyoto Lectures May 30: Robert on Jikkai's Yakuwa wakashu (Roberta Strippoli)
* Asakayama poem (Jesse Palmer, Michael Watson, Paul Atkins, Janick Wrona, Royall Tyler)
* Buddha & serpents (Michael Wood)
* Japanese Language Position (Elizabeth Oyler)
* new members: Aileen Gatten, Gabi Greve, Yujen Liu, Tom Looser, Kevin McDowell, Machiko Midorikawa, Jeff Newmark
Date: Sat, 03 May 2003 08:26:20 -0500
From: "John R. Bentley" <jbentl...@....edu>
Subject: [pmjs] Re: A Reference Grammar of Classical Japanese Prose
Professor Vovin has asked that I post the following
message to the list. Please respond directly to him
The ugly and scandalous saga with my book, A REFERENCE GRAMMAR OF
CLASSICAL JAPANESE PROSE, horribly misprinted due to the incompetence of
either typesetters or printers continues. Please alert everyone you know
in the field that RoutledgeCurzon is continuing to sell copies from the
first misprinted batch, in particular to Univesities libraries in the US
(I have evidence about 4 Universities that came in last two days).
Please also ask everyone to alert their librarians. The simple test
whether you are dealing with a misprint or a normal reprint: if in the
last line in Japanese on p. 432 MIYAKO no HITO has hiragana sign YA
instead of the character HITO "person", you got a misprint. I have ample
evidence now that bad copies were sold after December 16, when the bad
batch was supposed to be destroyed. Even more, two bad copies were sent
out at the end of March, *in spite* of the fact that the reprint came
out in the mid-March. I will be immensely grateful if anyone who ordered
and received a bad copy after December 16, could drop me a note
indicating the dates of order and invoice at vo...@...aii.edu I want to
provide my editor in Routledge with as much of a comprehensive picture of
this mess created by their sales department that apparently was trying
to cover up it very clumsily. I am doing it in order that the same story
will not happen to anyone else who deals with RoutledgeCurzon. If anyone
received a bad copy, please contact Jonathan Price at
jonathan.pr...@...df.co.uk and request an immediate and free of charge
replacement. Thank you.
Date: Fri, 16 May 2003 10:44:36 +0900
From: Nobumi Iyanaga <n-iya...@....bekkoame.ne.jp>
Subject: [pmjs] From Classic Nisus files to OS X environment [Mac]
As some of you, users of Mac, may already know, there is now a public beta version of a new word-processing program for OS X, Nisus Writer Express (<http://www.nisus.com/products/NisusWriter/Express/>). Apple released OS X about two years ago, but since then, there was no decent word-processing program for it, able of handling fully Unicode (other than TextEdit and some other simple editors; MS Word is not fully Unicode savvy; EGWord can do well only with Japanese, etc.). Nisus Writer was, and still is, one of the most well-known programs for its multilingual capabilities in the Mac Classic OS environment, and I think many of the few Mac users on this list used to use it as well (this is why I post this message here). -- So, the release of a new, OS X compatible version of Nisus Writer was long awaited. Unfortunately, I have to say that the first version that is going to be on the commerce will not be a full featured word-processor: it will have no footnotes/endnotes, no Index capability, no Table of Contents, etc. It will be perhaps (hopefully) only a little better, a little more powerful, than TextEdit. But at least, it will be able to deal with many of the Unicode technologies (but not all the Unicode languages will be supported, unfortunately; especially, Right-to-Left languages will not be supported in this version, for example). Most importantly for us (or me), users of Classic Nisus Writer, it will be able of reading (most of the) Classic Nisus Writer files with their style attributes, and converting them to the rtf format, "de facto standard" on the OS X environment, -- and it will be easy to convert from rtf to Unicode plain text format.
But for users who have to use special diacritical fonts for transliteration of Asian languages, this transition will not be so simple. And there is the important problem of footnotes which will not be supported in the first version of Nisus Writer Express. This is why, I investigated how it would be possible to make this transition as smooth and as easy as possible, and I wanted to present some tips and a set of macros and scripts which would be useful in this process, in a web page. Here is the url:
The macros/scripts that you will find there may still be buggy, so if you happen to try them, please do it with caution!
Please note that I am not a supporter of any proprietary format (Nisus or rtf [Microsoft] or any other format); on the contrary, I think that this period of transition to Unicode will be a good opportunity for many of us, who had to rely on some proprietary formats, to adapt more open, free format (probably using xml marking up technology...).
I will post this message to the H-Buddhism mailing list and the PMJS mailing list.
Disclaimer: I have no special relation at all with Nisus software.
//Apologies for not sending this message out earlier. I found it of great personal interest, as
//I'm also trying to make the transition to Unicode. (I also swear by Nisus.) /Michael Watson
Date: Mon, 19 May 2003 09:26:27 +0900
Subject: [pmjs] Noh Training Project July Workshop
Dear List members,
My apologies for once again sending out a notice of this summer's Noh Training Project workshop at Bloomsburg, Pennsylvania from mid-July. I am excited to report that we already have accepeted an excellent and sizable group of participants for this year but we do have several remaining openings to fill our 20-participant limit. This year we are particularly glad to announce that in addition to the movement and chant emphasis of past years, we are expanding the musical side of the workshop to include individual lessons on all the instruments. Please feel free to pass this notice around to others who might be interested.
The Noh Training Project--- A Workshop for Japanese Classical Theatre, Dance and Music: July 14-Aug 1, 2003, Bloomsburg, Pennsylvania
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.
Noh Training Project
c/o Learning Tomorrow
53 West Main Street
Bloomsburg, PA 17815
Phone: (570) 387-8270
FAX: (570) 784-4160
Acceptance notification by May 16, 2003.
A nonrefundable $550 deposit is due by May 30, 2003 to reserve position. Early acceptance is available for a non-refundable deposit of $200.
$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.
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.
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 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.
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, "Noh in English". In September 2001, Mr. Emmert composed the score for Erik Ehn?cs Native American and Japanese noh fusion play, Crazy Horse, at Theatre of Yugen in San Francisco. In September 2002, he tour!
ed 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: Mon, 19 May 2003 09:53:13 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: [pmjs] Re: Noh Training Project July Workshop
The correct url for the Noh Training Project is
--and the page is well worth a look, with many photographs of earlier programs.
P.S. I noticed the error yesterday when editing the pmjs logs for March. These are now online in Unicode encoding.
username / password: yayoi yayoi
I'd be interested in knowing whether the kanji and diacritics come out well. Most recent versions browsers should be able to deal with Unicode automatically, without changing of "language encoding" settings.
//Barbara Nostrand also wrote with another url for the Noh Training Project.
Date: Fri, 23 May 2003 12:48:10 -0700
From: Roberta Strippoli <rober...@...nford.edu>
Subject: [pmjs] Kyoto Lectures May 30: Robert on Jikkai's Yakuwa wakashu
Apologies for cross-listing.
Here is another talk PMJS members currently in Kyoto may be interested in.
If you need further information please contact ISEAS or EFEO.
Greetings to all,
Scuola Italiana di Studi sull'Asia Orientale ISEAS
Ecole Francaise d'Extreme-Orient EFEO
KYOTO LECTURES 2003
Friday May 30th 18:00h
Professor Jean-Noel Robert will speak on:
Buddhist readings of Japanese classical poetry:
The Yakuwa-waka-shu by Jikkai (1446-1533)
Learned annotations of Japanese Buddhist poems (shakkyoka) by monk-scholars are an important key to understanding these poems, or at least how they were understood in religious circles. This talk will adduce examples from the Yakuwa-waka-shu in which the Tendai monk Jikkai (1446-1533) provides doctrinal notes on a number of classical compositions, in order to illustrate the process of "indoctrination" in poetry.
Jean-Noel Robert teaches Japanese Buddhism at the Ecole Pratique des Hautes Etudes (Sciences religieuses). He is the author of a work on the scholastic tradition in Tendai Buddhism (Les doctrines de l'Ecole japonaise Tendai au debut du IXe siecle, 1990), and has translated Kumarajiva's version of the Lotus Sutra into French (Le Sutra du Lotus, 1997). In Japanese, Professor Robert has also published Kanbun for the XXIst Century: The Future of Dead Languages (Nijuisseiki no kanbun, International Research Center for Japanese Studies, Kyoto, 2001). Currently he is working on the Buddhist poetry of Jien and Son'en.
Italian School of East Asian Studies (ISEAS)
Ecole Francaise d'Extreme-Orient (EFEO)
4, Yoshida Ushinomiya-cho, Sakyo-ku
Kyoto 606-8302 JAPAN
Date: Mon, 26 May 2003 12:23:48 -0700 (PDT)
From: Jesse Palmer <bekaht...@...oo.com>
Subject: [pmjs] Asakayama poem
Hi. My name is Jesse Palmer. I am a grad student at UCI. I am working on a translation of the Noh play Ashikari using the Yokomichi and Omote version. In a reference to the Asakayama poem in the notes, it says that the woman was offended when someone refused to take a cup of wine she offered. It is my understanding that the standard interpretation of the poem is that the woman used the poem to mollify an offended noble. Does anyone know if there are any other versions of the story or anything else that this note might be based on? Thanks, Jesse Palmer
Date: Wed, 28 May 2003 00:40:42 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: [pmjs] Re: Asakayama poem
According to the "Wakamurasaki" chapter in Genji, every child was expected to know the Asakayama poem, but here is for those whose memory is as faulty as mine:
asaka yama / kage sae miyuru / yama no i no / asaki kokoro o / waga omowanaku ni (orig. Manyo 3829)
"Mount Asaka, shallow the spring that now mirrors your face, but not this heart of mine in desire" (Tyler, Genji, p. 96, ftn. 48)
The Kokin kanajo refers to the poem without quoting it (Rodd p. 37; McCullough p. 3/9). The noh concordance by Otani show Asakayama to be mentioned in four or five other plays.
None of which answers Jesse's interesting question...
Date: Tue, 27 May 2003 11:11:49 -0700
From: Paul Atkins <patk...@...ashington.edu>
Subject: [pmjs] Re: Asakayama poem
For starters, this poem also appears, with an entirely different context, in Yamato monogatari, dan 155, and in Konjaku monogatari shuu, 30:8. Also Komachi shuu and Kokin rokujou, but I have not had a chance to consult them.
Paul S. Atkins
Assistant Professor of Japanese
Department of Asian Languages & Literature
University of Washington, Seattle
Date: Tue, 27 May 2003 19:22:14 +0100 (BST)
From: Janick Wrona <janick.wr...@...tford.oxford.ac.uk>
Subject: [pmjs] Re: Asakayama poem
Just a minor correction to Michael's comment.
asaka yama kage2 sape2 mi1yuru yama no2 wi no2 asaki1 ko2ko2ro2 wo wa ga omopanaku ni
'I do not think with a shallow heart like the mountain well in which even the shadow of Mt Asaka is visible'
is M 16.3807, not M 16.3829, in case anyone wants to have a look at it.
University of Oxford
Date: Tue, 27 May 2003 13:30:34 -0700
From: Royall Tyler <rty...@...nford.edu>
Subject: [pmjs] Re: Asakayama poem
3829 is the Shinpen kokka taikan number--not without its own authority.
Yokomichi and Omote don't seem to take the expression in the noh play (uneme no sakazuki o toriaenu, urami o nobeshi yue to ka ya) as representing any variant tradition, since they link it directly to the kotobagaki in the Man'yoshu.
Date: Fri, 08 Jan 1904 12:37:35 -0800
From: Michael Wood <msw...@...kwing.uoregon.edu>
Subject: [pmjs] Buddha & serpents
In translating an early Edo castaway account, I have come across a reference to a sermon of the Buddha which caused serpents to lose their horns. Would anyone know what this is a reference to?
Any help would be greatly appreciated.
Date: Fri, 30 May 2003 09:38:18 -0500 (CDT)
Subject: [pmjs] Japanese Language Position
I am forwarding the following job announcement. Please share with anyone who
may be interested. Thank you.
Washington University in St. Louis invites applications for a one-year
temporary full-time position as Lecturer in Japanese Language for the
academic year 2003-2004. Minimum qualifications are an M.A. in Japanese
language pedagogy or linguistics with strong teaching experience.
Candidates should be familiar with the Japanese: The Spoken Language
(Jorden and Noda) curriculum: native language proficiency preferred. Send
applications, including a curriculum vitae, statement of teaching
interests, sample teaching video, and three letters of recommendation to:
Chair of the Japanese Search , Dept of Asian & Near Eastern Languages &
Literatures, Campus Box 1111, One Brookings Drive, St. Louis, MO 63130.
The deadline for receipt of applications is July 15, 2003, but later
applications may be accepted until the position is filled.
Washington University is an Equal Opportunity/Affirmative Action employer.
Date: Sat, 31 May 2003 00:16:47 +0900
From: Michael Watson <wat...@...eijigakuin.ac.jp>
Subject: [pmjs] member news
We welcome the following new members to pmjs:
Aileen Gatten, Gabi Greve, Yujen Liu, Tom Looser, Kevin McDowell, Machiko Midorikawa, Jeff Newmark.
The membership passed the 500 mark sometime last month. I hope that we can continue to expand without losing a sense of community. Here at pmjs "honbu" in Yokohama, arrangements are being made to offer a digest version of messages translated or summarized in Japanese, to be sent out every other week to subscribers who want this service in addition to or instead of the usual English mail service. Please pass on the information to anyone who might be interested. A subscription form can be found at:
Eventually, key portions of the site will be made available in Japanese. One page of the members' database has been partially translated as an example. If your surname is in the range A-B, you might want to look to see if your research interests have been adequately summarized in Japanese. Corrections and additions very welcome (offlist to wat...@...eijigakuin.ac.jp).
Aileen Gatten <agat...@...ch.edu>
Position: Researcher, Center for Japanese Studies, University of Michigan, U.S.A.
Publications: Translator, A History of Japanese Literature by Jin'ichi Konishi, 3 vols., 1984, 1986, 1991; "The Order of the Early Chapters in the Genji monogatari," HJAS 41, 1981; "Fact, Fiction, and Heian Literary Prose," MN 53, 1998; etc.
Interests: Heian prose fiction, Heian social history, textual criticism, paleography.
Dr. Gabi Greve <gokur...@...harenet.ne.jp>
Daruma researcher, Buddhist Art. Medical Doctor (1975).
Student of Buddhist Art at Heidelberg University (Germany)
Writing about Buddhist art (in German) see: http://www.akaikutsu.com/aka/topics/2002-12-topic.html
doing research about Bodhidaruma (Daruma San) see: http://www.amie.or.jp/daruma/daruma-new1.html
Resident in Japan since 1982
Yujen Liu <ooui...@...oo.com>
2002 M.A. in Ming Paintings and Buddhist Art, Graduate Institute of Art History, National Taiwan University, now working in the National Palace Museum,Taipei.
Tom Looser <tom.loo...@...ill.ca>
Degree in cultural anthropology from Chicago; I currently teach at McGill.
My research interests include Edo-era theater and cultural history, and contemporary Japanese culture (including film, anime and new media).
Kevin McDowell <samumebo...@...mail.com>
University of Arizona School of Information Resources and Library Sciences
B.A. University of Oregon, 1992
M.A. University of British Columbia, Japanese history, 2002
M.A. University of Arizona, MLS, May 2003
-Taking Japanese language courses and focusing on Japanese Studies subject area.
Machiko Midorikawa <atem...@....com>
Research interest: Genji monogatari
pmjs Japanese digest editor
Jeff Newmark <jeffnewm...@...t.harvard.edu>
University of British Columbia
Working on Medieval texts with David Bialock at the University of Southern California. Translated selections from the Enkyou-bon variant of Heike.
Finally, three current members kindly sent updates to their profiles:
Julie Nelson Davis < jnda...@....upenn.edu>
University of Pennsylvania
I am currently a fellow at the Sainsbury Institute for the Study of Japanese Arts and Cultures, Norwich and London, England, where I am completing my book on Kitagawa Utamaro. I teach East Asian art history, from 1600 to the present, at the University of Pennsylvania.
Shannon Parker <rnt...@...mail.com>
Ph.D candidate, Philosophy Department, Gakushuin University.
My field is Japanese intellectual history focussing upon the development of warrior thought -- both ethical and strategic. I am currently researching buke kakun from the Kamakura period through Sengoku. My other research interests include oraimono, and the transmission history of Chinese military thought in Japan.
Jeremy Robinson <jrrob...@...ch.edu>
Currently ABD in the department of Asian Languages and Cultures at the University of Michigan.
Just completed a year and a half of research in Tokyo and am in the process of writing my dissertation. The topic is the incorporation of elements of Chinese literature and philosophy in the Man'yoshu by Yamanoue Okura, Otomo Tabito, and the other poets active in Tabito's poetry circle in Tsukushi.