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Relevant bibliographies by topics / Genji Monogatari

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Academic literature on the topic 'Genji Monogatari'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Genji Monogatari"

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CHEN, Yi-Hsiu. "Use of “Genji Monogatari” seen in Kigin Kitamura’s Confucian Women’s classics lessons ：Focusing on “Kana Retsujoden” and “Ominaeshi Monogatari”." Border Crossings: The Journal of Japanese-Language Literature Studies 14, no. 1 (June 28, 2022): 213–19. http://dx.doi.org/10.22628/bcjjl.2022.14.1.213.

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In 1655, eight volumes of “Kana Retsujoden仮名列女伝” were published, and the episodes of this book became overwhelmed by the population. The author, Kitamura Kigin 北村季吟, is a Japanese scholar in the early Edo period and a master of classical annotations such as “Genji Monogatari Kogetsu-shō源氏物語湖月抄”.</br>In this article, first of all, I would like to take up the part of the text, “Kana Retsujoden” and “Genji Monogatari源氏物語”, and compare and examine the two works to show in detail the translation intention of Kigin. In addition, in this article, I would like to mention “Ominaeshi Monogatari女郎花物語”(1661), which is considered to be a the same auther like “Kana Retsujo-den,” centering on “Genji Monogatari”. Using “Genji Monogatari” as a clue, I have been considering the use of Genji found in Kigin’s two Kana-zoshi(仮名草子) works “Kana Retsujoden” and “Ominaeshi Monogatari”. As a result, it was found that Kigin regards “Genji Monogatari” as a book for female lessons.

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Gatten, Aileen. "Genji Monogatari (The Tale of Genji)." Monumenta Nipponica 53, no. 3 (1998): 388. http://dx.doi.org/10.2307/2385724.

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Kordzińska-Nawrocka, Iwona. "Poetyka polskiego przekładu Genji monogatari, czyli Opowieści o księciu Genjim Murasaki Shikibu." Między Oryginałem a Przekładem 28, no. 4(58) (December 18, 2022): 107–25. http://dx.doi.org/10.12797/moap.28.2022.58.05.

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POETICS OF THE FIRST POLISH TRANSLATION OF GENJI MONOGATARI, OR THE TALE OF GENJI BY MURASAKI SHIKIBU: THE TRANSLATOR’S POINT OF VIEW The article identifies the most important translation strategies and challenges faced by the translator of the first Polish translation of Genji Monogatari, or The Tale of Genji. The work, written in 1008, is a masterpiece of not only Japanese but also world literature and is widely included in the cultural heritage of humanity. Its author, Murasaki Shikibu (?978-1025 or 1031) is considered a forerunner of modern literary fiction with a profound humanistic approach. The work itself has been translated into modern Japanese and many European languages. Originally written in classical Japanese, it is distinguished by the ambiguity of expression, lexical polysemy, elaborate honorific language, and cultural hermeticism. The author discusses how, in light of the above, the Polish translation will balance the goal of making Murasaki’s work intelligible for the Polish reader with the need of preserving the elements of ‘foreignness’ of the old Japanese culture, for the translation is intended to fulfill not only a mediating and communicative function between Polish and Japanese cultures but also a cognitive one.

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Hakuchō, Masamune, and Michael Emmerich. "Genji Monogatari: Hon’yaku to Gensaku." Monumenta Nipponica 68, no. 1 (2013): 53–68. http://dx.doi.org/10.1353/mni.2013.0023.

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Watanabe, Masako. "The Samurai and Genji monogatari (The Tale of Genji)." Bulletin of the Detroit Institute of Arts 88, no. 1-4 (January 2014): 56–69. http://dx.doi.org/10.1086/dia43493628.

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김홍래. "Adoption of Genji-monogatari in Watagasi." Journal of Japanese Language and Literature 74, no. 2 (August 2010): 41–58. http://dx.doi.org/10.17003/jllak.2010.74.2.41.

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Oda, Hirotaka, and Kazuomi Ikeda. "Radiocarbon Dating of Kohitsugire Calligraphies Attributed to Asukai Masatsune and the Periods of Origin of Genji Monogatari Emaki and Ban-Dainagon Ekotoba." Radiocarbon 52, no. 2 (2010): 520–25. http://dx.doi.org/10.1017/s0033822200045550.

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Genji monogatari emaki and Ban-dainagon ekotoba are Japanese national treasures. Although the periods in which they were painted have not been accurately determined, radiocarbon dating cannot be applied to these priceless artifacts because of the destructive nature of 14C dating. In this study, the periods of their origin were determined by 14C dating the kohitsugire calligraphy. Kohitsugire are ancient paper sheets containing graceful calligraphy. They originally were part of ancient manuscripts. Two kohitsugire named Imaki-gire and Kingin-kirihaku-wakanroeishu-gire are written in the same style as Genji monogatari emaki and Ban-dainagon ekotoba. Although Imaki-gire and Kingin-kirihaku-wakanroeishu-gire had been attributed to Asukai Masatsune (AD 1170–1221) on the basis of the kiwamefuda certificates, recent calligraphical and paleographical studies suggest that they are genuine handwritings of Fujiwara no Norinaga (AD 1109–1180?). We applied 14C dating by accelerator mass spectrometry (AMS) to Imaki-gire and Kingin-kirihaku-wakanroeishu-gire. The calibrated 14C ages of both the kohitsugire indicated timing close to the peak of Fujiwara no Norinaga's career as a calligraphist. Based on the associations between the dated texts and the 14C results, it is concluded that the Genji monogatari emaki and Ban-dainagon ekotoba paintings could have been created in the middle of 12th century.

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Xiong, Wenjia. "Discussion on the Classic Japanese Literary Work “Genji Monogatari” from the Perspective of Chinese Culture." Yixin Publisher 2, no. 2 (April 30, 2024): 25–33. http://dx.doi.org/10.59825/jhss.2024.2.2.25.

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“Genji Monogatari” is a famous literary work in Japanese history. It is known as the “peak of Japanese literature” and is generally recognized by academic circles as the world's first full-length novel. But at the same time, because the author Murasaki Shikibu has a profound knowledge of Chinese culture, the shadow of Chinese elements can be seen everywhere in the work. This book is very similar to the legends and Bianwen of the Tang Dynasty in my country, but the article is correct and elegant, and the prose is full of charm. In addition, he quotes a large number of historical facts from Han Dynasty poetry and Chinese classical books, and the author cleverly hides them in moving storylines, giving this book a strong flavor of Chinese classical literature. This article aims to analyze the Chinese elements reflected in “Genji Monogatari” and compare its spiritual connotation with the spiritual connotation of Chinese culture. Using “Genji Monogatari” as a literary representative reflected in Japanese culture, it explores the differences between Chinese culture and Japanese culture and the outstanding manifestations of cultural exchanges between China and Japan. It has deepened our understanding of cultural exchanges between China and Japan, and jointly promoted cultural development and literary creation through mutual learning, learning from each other's strengths, and our own innovation.

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Terada, Sumie, and Kenji Matsui. "Le Genji monogatari : un roman en wabun." Cipango, no. 18 (June 1, 2011): 237–59. http://dx.doi.org/10.4000/cipango.1596.

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Pigeot, Jacqueline. "Du Kagerō no nikki au Genji monogatari." Cipango, Hors-série (January 1, 2008): 69–87. http://dx.doi.org/10.4000/cipango.592.

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Dissertations / Theses on the topic "Genji Monogatari"

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Monroe, Margalit. "Mono no aware in the Genji Monogatari and the Genji Monogatari Emaki." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/1587.

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Mills, Heather Lee. "Genji monogatari : the subject of woman." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83196.

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Women and relations to women are a central focus of Genji monogatari. Questions regarding women and their relationship to power need to be explored in order to provide understanding to the Genji. While there have been many feminist accounts of the Genji, most assume notions of patriarchy. This thesis will begin to historicize power and how women are inside its formations. Chapter one will discuss marriage politics and the regency system to show how women function in relation to these formations. Chapter two will historicize sexuality in the Genji. Chapter three will discuss perspective in the e-maki of Genji monogatari. Discussion in these three chapters will show that power relations in the Genji are more complex than notions of male domination over female. Resistance in the text is better understood as resistance against the social formations of mid-Heian court society than resistance against men in general.

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Bagno, Martina <1984&gt. "Suetsumuhana: un personaggio stravagante nel Genji monogatari." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8485.

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Questa tesi si propone di analizzare il personaggio di Suetsumuhana, uno dei più complessi e interessanti nell’ampia rosa di figure femminili offerta dal Genji monogatari. Esteticamente affatto apprezzabile e intellettualmente poco dotata, la Principessa dal naso rosso è comunemente identificata come un personaggio ridicolo e dai forti connotati caricaturali e burleschi. Scopo della presente dissertazione è, tuttavia, quello di offrire un quadro più approfondito del personaggio, enfatizzandone in particolar modo gli aspetti drammatici, troppo spesso ignorati dalla critica. È possibile definire Suetsumuhana un personaggio drammatico? Desiderando rispondere a questa domanda, la tesi propone un esame dettagliato delle vicende e della struttura narrativa legate al personaggio. Il lavoro inizia con una presentazione della nota opera di Murasaki Shikibu, le sue caratteristiche e il ruolo preponderante svolto al suo interno dalle figure femminili, per poi addentrarsi in una accurata analisi degli aspetti fisici e comportamentali di Suetsumuhana in relazione all’ideale femminile dell’epoca. Successivamente, si analizzeranno nel dettaglio i capitoli dell’opera che la vedono protagonista e le altre sue comparse nel corso della narrazione, con lo scopo di estrapolarne le strategie narrative volte a enfatizzare la drammaticità del personaggio. Infine, sulla base dei risultati ottenuti, si procederà a definire la natura del personaggio e a illustrarne il ruolo all’interno dell’opera.

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Raffi, Maria Elena. "L'héritage d'Ise : De l'Ise shû au Genji monogatari." Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0004.

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Quel est l’héritage de la poétesse Ise (872 ?-938 ?) et de son recueil poétique l’Ise shû (Recueil d’Ise), compilé vers le milieu du Xe siècle, peu de temps après sa mort ? Répondre à cette question suppose une étude qui envisage l’inscription plus large de ses poèmes dans une époque de profond renouveau de la poésie japonaise autochtone (waka) qui pose et définit les canons poétiques de référence après l’engouement pour la littérature chinoise qui avait marqué la première moitié du IXe siècle. À une époque où la scène poétique officielle était encore l’apanage des hommes, Ise est considérée comme l’une des personnalités les plus éminentes. Si Ise joua un rôle central dans l’évolution de la poésie japonaise, son recueil poétique personnel peut également être considéré comme l’une des sources du développement du genre narratif. Apprécier la nature de son héritage revient en premier lieu à prendre la mesure de l’aura poétique d’Ise mais c’est aussi définir sa fortune au moment où s’épanouit un courant littéraire plus proprement narratif (utamonogatari) qui annonce le développement futur des genres littéraires en prose et qui atteindra son sommet durant la première décennie du nouveau millénaire, dans la rédaction du Roman du Genji, œuvre majeure et centrale de la littérature japonaise, rédigée par une autre femme, Murasaki Shikibu. Notre étude portera ainsi sur le lien entre cette poétesse et le Roman du Genji à travers l’examen de différents types d’ouvrages : recueils des poèmes, récits à poèmes et enfin le Roman du Genji. Dans cette perspective, nous chercherons à dégager la figure littéraire d’Ise en posant une nette distinction entre la figure historique d’Ise poétesse professionnelle et le personnage romanesque qu’on a forgé à partir de son recueil personnel de poèmes. Notre méthode d’analyse et de recherche s’enrichit d’une approche qui se veut à la fois philologique, littéraire et historique. L’étude intertextuelle des rapports nombreux et complexes qui unissent Ise et l’Ise shû au Genji monogatari met au jour non seulement une influence thématique et formelle, mais permet aussi de lire différemment les deux œuvres à la lumière de lectures croisées
What is the legacy of the poetess Ise (872?-938?) and of her poetic collection Ise shû, assembled around the middle of the 10th century, shortly after her death? The answer to this question will require an analysis considering the broader inclusion of her poems in the era of profound renewal of Japanese poetry (waka) that laid and defined the poetic canons of reference after the craze for Chinese literature that had marked the first half of the 9th century. At a time when the official poetic scene was still the prerogative of men, Ise is considered to be one of the most eminent personalities. While Ise played a central role in the evolution of Japanese poetry, her personal poetic collection can also be seen to be as one of the sources of the development of the narrative genre. To appreciate the nature of her heritage is first and foremost to appreciate the poetic aura of Ise, but it is also to define her fortune and influence at a time when a more strictly narrative literary movement was flourishing, the so-called “utamonogatari” that heralded the future development of literary genres in prose and which would reach its peak during the first decade of the new millennium, in writing of the Tale of Genji , a major and central work of Japanese literature, written by another woman, Murasaki Shikibu. Our study will therefore focus on the link between the poetess Ise and the Tale of Genji by examining a number of different types of works: collections of poems, poetry stories and finally the Tale of Genji. In this perspective, we shall seek to ascertain the literary figure of Ise by clearly distinguishing between the historical figure of Ise, a professional poetess, and the fictional character that has been forged from her personal collection of poems. Moreover, our method will be enriched by an approach that is at once philological, literary and historical. The intertextual study of the numerous, complex relationships between Ise, Ise shû and The Tale of Genji reveals not only thematic and formal influence, but also enables us to read the two works differently in the light of many readings

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McAuley, Thomas Evelyn. "The 'Genji Monogatari' : a loose sequence of vague phrases?" Thesis, SOAS, University of London, 1995. http://eprints.soas.ac.uk/29291/.

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In the thesis I test the hypothesis that Late Old Japanese (LOJ) is not, as has been claimed by a number of scholars, a language that is innately "vague", but that it is capable of conveying meaning clearly. To prove this I analyse the text of the Genji Monogatari in a number of ways. I study the usage of honorifics in the text and the relationship between honorific usage and court rank. I show that honorific usage very often obviates the need for grammatical subjects and objects, and where honorifics or the context are not sufficient, the author introduces subjects to clarify the meaning of the text. Furthermore, I demonstrate that over brief sections of text, one character might be "tagged" with a particular honorific in order to identify them. Status at the Heian court was determined by court rank, and the higher a person's rank, the more honorifics had to be used. I investigate how characters could be identified when several people of similar ranks interacted. This will show that use by the author of the category of theme as well as occasional subjects serves to identify characters. I examine the applicability of the phenomenon of switch reference to LOJ, attempting to determine how far it may have enabled the ommission of grammatical subjects, and where LOJ presents problems for the canonical account of switch reference. I examine syntactic differences between narrative and quotation, and excerpts where there are differences over where quotations begin, and cases where different characters' quotations follow each other directly with no overt marking to separate them. Finally, I study personal reference, covering the link between characters' sobriquets and the type of scene in which they are appearing, and the usage of personal pronouns and demonstratives in the text.

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Torquato, Adriane Carvalho. "Quatro retratos de Rokujõ: releituras das narrativas de Genji no Shõjo mangá." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-03032015-122551/.

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Durante a época clássica japonesa, eram produzidos vários textos de ficção em prosa direcionados às mulheres da nobreza. Estas obras eram chamadas monogatari e, inicialmente, eram consideradas parte de um gênero literário menor justamente por serem vistas como um mero passatempo para as damas ociosas. Os primeiros monogatari foram produzidos por homens, mas a obra mais emblemática do gênero, Narrativas de Genji, foi criada pela dama da corte Murasaki Shikibu e teve influência de textos anteriores do mesmo gênero, poesia, literatura clássica chinesa e mitologia japonesa. Já no século XII, com a produção dos rolos de pinturas Genji Monogatari Emaki iniciou-se uma longa tradição de recepção cultural da obra da autora, que continuaria nos séculos seguintes e, a partir dos anos 1970 foi herdada por um novo meio de expressão cultural, o shõjo mangá. Em 1979 começou a ser publicada a série Asaki Yumemishi de Waki Yamato, que é considerada uma das principais adaptações em quadrinhos da obra e influenciou muitas das versões que a sucederam. A obra recria, utilizando elementos estéticos e narrativos do gênero shõjo de mangá, a maior parte do enredo da obra original, algo que ocorre em poucas adaptações em quadrinhos das Narrativas de Genji. Outras versões analisadas neste trabalho são Genji Monogatari Sennen no Nazo, de Tõko Miyagi, que adapta uma light novel onde são recriados alguns episódios do texto base que se combinam a eventos originais, Genji Monogatari de Serina Miõ, que é dividida em episódios focados em algumas das damas presentes na obra original e Onna Hikaru Genji no Ikemen Nikki, que traz episódios curtos onde as personagens são recriadas com o gênero invertido. Para mostrar algumas das características da transposição do texto original para o shõjo mangá nos focamos na personagem Rokujõ no Miyasudokoro, verificando as diferenças e semelhanças do modo de representação da personagem em cada uma das versões e como a sua trajetória narrativa é retrabalhada para se adequar às convenções do shõjo mangá
Various fictional works in prose aimed at noblewomen have been created during Classical Japanese Era. These works are part of a literary genre called monogatari, which was, in the beginning, considered lower, a pastime for ladies. Most early monogatari were written by men, but the most emblematic of them, The Tale of Genji, is a creation of a court lady known as Murasaki Shikibu and was influenced by literary works in the same genre, poetry, classical Chinese literature and Japanese mythology. The Tale of Genji reception is a long tradition which began in the twelfth century, with the production of the picture scrolls Genji Monogatari Emaki. This tradition continued through centuries and, since the 1970s, was inherited by shõjo manga, a new medium of expression. In 1979 the series Asaki Yumemishi written by Waki Yamato started being published. It is considered one of the most important manga adaptations of the Tale of Genji and influenced several versions published after it. In this version, most of the plot of the original work is recreated using aesthetic and narrative elements of the shõjo manga genre, which occurs only in a few adaptations. This dissertation will also deal with other shõjo versions of the work, which are Genji Monogatari Sennen no Nazo, by Tõko Miyagi, an adaptation of a light novel that recreates some episodes of the original interspersed with new events; Genji Monogatari by Serina Miõ, an episodic series focused on some female characters and Onna Hikaru Genji no Ikemen Nikki, a series of short chapters where the characters are portrayed with reversed genders. Aiming to show some aspects of the transposition of the original text to shõjo manga, we will be focusing on the character Rokujõ no Miyasudokoro, verifying differences and similarities on her modes of representation in each version and how its narrative trajectory is reworked to fit the conventions of shõjo manga

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Nutter, Jessie. "Rescue or Rape, Genji or Murasaki: The Role of Gender Relations and the Unsung Heroines of the Genji Monogatari." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/156.

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Written early in the 11th century, the Tale of Genji is considered to be the world's first novel. Women's issues and relationships between men and women are central themes in the tale. In fact, in the last couple decades some critics have come to see the women of the Genji Monogatari as the novel's intended focus rather than Genji himself. Through Genji, the reader is able to experience the sad, interconnected fates of a host of women and thereby share in their trials and tribulations.

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Lee, Soo Mi. "Princess Shokushi's poetry and its allusions to women's unseen narratives in the Genji Monogatari." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4174.

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This thesis aims to offer a scholarly approach to the poetics of Princess Shokushi, one of Japan’s most celebrated and influential female poets of the pre-modem era. Princess Shokushi is generally regarded as a poet of imagination, mainly because she wrote a number of passionate love poems despite her lifelong celibacy, imposed on her by her position as imperial princess. While some scholars conclude that Shokushi’s poetry came from her mastery of the traditional craft and a vigorous poetic imagination, others see her poetry as the personal expression of her innermost feelings and life experiences. Focusing on this controversy over whether or not her poetry is, in fact, based on real life experiences or merely invented—which some claim she did by exploiting the poetic conventions of the Japanese male poets of the day—this paper explores Shokushi’s distinctive poetic expression through her use of the literary technique called honka-dori, allusive variation. This research pays special attention to the poems that allude to The Tale ofGenii and reveals how Shokushi’s frequent allusions to this tale and its characters signal her profound interest in the story beyond the conventional literary trends of her time. Shokushi often refers to the specific female characters in her poems—Oigimi, Ukifune, and Lady Murasaki—, abandoned imperial princesses, whose lack of strong family support leaves them in close confinement deep in the mountains. By examining Shokushi’s poetry in the contexts of this narrative, ultimately, this paper will show how, in alluding to these female characters, Shokushi not only furthers her own image as an isolated imperial princess, but also throws light on these female characters’ inner sufferings, which are unknown to the male characters with whom they associate.

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Auriti, Alexander. "Fixation and fate the meaning of obsession in Genji monogatari and Hong lou-meng /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1586.

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Jelbring, Stina. "A decontextual stylistics study of the Genji Monogatari with a focus on the "Yûgao" story /." Stockholm : Department of Oriental Languages, Stockholm University, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38006.

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Books on the topic "Genji Monogatari"

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Shikibu, Murasaki. Genji monogatari: Genji monogatari. Tōkyō: Kawade Shobō Shinsha, 2017.

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Yoshii, Miyako. Yomu Genji monogatari yomareru Genji monogatari. Tōkyō: Shinwasha, 2008.

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Shikibu, Murasaki. Genji monogatari. Tōkyō: Iwanami Shoten, 2017.

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Shikibu, Murasaki. Genji monogatari. Tōkyō: Popurasha, 2001.

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Shikibu, Murasaki. Genji monogatari. Tōkyō: Shōgakkan, 2008.

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Shikibu, Murasaki. Genji monogatari. [Tenri-shi]: Tenri Daigaku Shuppanbu, 2016.

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Shikibu, Murasaki. Genji monogatari. Tōkyō: Chikuma Shobō, 2008.

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Shikibu, Murasaki. Genji monogatari. Tōkyō: Shūeisha, 2001.

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Shikibu, Murasaki. Genji monogatari. To kyo: Ko dansha, 2007.

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Sakakibara, Kunihiko. Genji monogatari. Tōkyō: Chūdōkan, 2000.

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Book chapters on the topic "Genji Monogatari"

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Árokay, Judit. "Murasaki Shikibu: Genji monogatari." In Kindlers Literatur Lexikon (KLL), 1–4. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16747-1.

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Robert, Jean-Noël. "LE GENJI-MONOGATARI :." In L'Eurasie autour de l'an 1000, 3–22. Peeters Publishers, 2022. http://dx.doi.org/10.2307/jj.1357315.3.

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"Chapter 6. “ Genji monogatari: Translation and Original”." In The Tale of Genji, 363–82. Columbia University Press, 2013. http://dx.doi.org/10.7312/emme16272-010.

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"Reading the Ise monogatari through The Tale of Genji." In An Ise monogatari Reader, 193–215. BRILL, 2021. http://dx.doi.org/10.1163/9789004462359_011.

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Giordano, Giuseppe. "Traces of Genji monogatari in Shinkokinshū." In Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-608-4/002.

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In this paper, after mainly dealing with the poetics of Fujiwara no Shunzei and of his son Teika, above all in relation to Genji monogatari, I analyse some poems from Shinkokinshū that evoke, through the so-called allusive variation, the world of the Shining Prince, and I wish to point out the peculiarities of the shinkokin-period poets’ composition techniques.

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Kenchō, Suematsu. "Introduction to Genji Monogatari : T he Most Celebrated of the Classical Japanese Romances." In Reading "The Tale of Genji", edited by Thomas Harper and Haruo Shirane. New York Chichester, West Sussex: Columbia University Press, 2015. http://dx.doi.org/10.7312/harp16658-016.

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"Translation as Community: The Opacity of Modernizations of Genji monogatari." In Nation, Language, and the Ethics of Translation, 146–58. Princeton University Press, 2005. http://dx.doi.org/10.1515/9781400826681.146.

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Chudnow, Matthew. "The Dynamics of Nyonin jōbutsu in Zenchiku’s Yōkihi Honzetsu, Poetic Allusion, and Sacred Space." In Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2022. http://dx.doi.org/10.30687/978-88-6969-608-4/006.

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Medieval nō theatre is built upon honzetsu (source texts), which are drawn from the premodern Japanese canon and critical for dramaturgical structure and meaning. This study focuses on Zenchiku’s Yōkihi, a female-spirit play with an initial honzetsu of Chinese Tang the poem Changhenge that is further filtered through additional texts, primarily Heian-period narrative Genji monogatari. Therefore, examination of Yōkihi involves consideration of all relevant honzetsu cited within the play, their earlier Heian receptions, and subsequent medieval textual lives. The dramaturgical structure and language of Yōkihi, with its variations from these honzetsu, emphasise thematic concerns of existential isolation, karmic clinging, and sacred space as critical to feminine ontological and enlightenment status.

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Negri, Carolina. "4 Il contributo della monaca Abutsu alla canonizzazione del Genji monogatari." In Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-536-0/004.

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"Appendix B: A Note on the Author and the Texts of the 'Genji monogatari'." In The Bridge of Dreams, 215–26. Stanford University Press, 1987. http://dx.doi.org/10.1515/9781503620933-018.

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