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Journal articles on the topic 'Genji Monogatari'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

김효숙. "Yūgiri's love in Rokujōin of Genji-monogatari." Journal of Japanese Language and Literature 70, no. 2 (August 2009): 43–59. http://dx.doi.org/10.17003/jllak.2009.70.2.43.

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12

가토 무쓰미. "How to read waka in genji‐monogatari." Journal of Japanese Studies ll, no. 68 (June 2016): 47–78. http://dx.doi.org/10.15733/jast.2016..68.47.

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13

Emmerich, Michael. "Masamune Hakuchō Reads Genji: A Translation of “Genji Monogatari: Hon’yaku to Gensaku”." Monumenta Nipponica 68, no. 1 (2013): 37–68. http://dx.doi.org/10.1353/mni.2013.0017.

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14

Naito, Satoko. "Anxieties of Authorship, Critique of Readership: Mishima Yukio’s Modern Noh Play Genji kuyō." Japanese Language and Literature 55, no. 2 (September 27, 2021): 407–46. http://dx.doi.org/10.5195/jll.2021.186.

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Mishima Yukio's dramatic suicide half a century ago ensured that his name would forever be associated with a certain fanatic imperialism, and largely fulfilled his own wish that he would die as a military man. And yet, he was until the end foremost a literary artist, concerned with the critical reception of his written works and preoccupied with his lasting reputation as an author. This paper examines Mishima’s portrayal of the celebrity writer, as well as the potentials and limitations of literature as presented in his oft-neglected modern noh play Genji kuyō (Devotional offering for Genji, 1962). It positions the play within the long history of prayers for Genji monogatari (The Tale of Genji, ca. 1008) that began in the twelfth century in response to the perceived ambiguous morality of the author Murasaki Shikibu (d. ca. 1014). Mishima's Genji kuyō provides a pointed criticism of readers, as well as anxieties regarding a writer's life and literary recognition. Though Mishima himself famously disowned it after its initial publication, Genji kuyō offers critical insights regarding the writing and reading of literature.

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15

Kordzińska-Nawrocka, Iwona. "Funkcje stroju w japońskim społeczeństwie dworskim epoki Heian (794–1185)." Perspektywy Kultury 43, no. 4/2 (October 22, 2023): 391–406. http://dx.doi.org/10.35765/pk.2023.430402.24.

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Tematem tekstu jest strój dworski, jego wyszukana symbolika i funkcje, jakie pełnił w japońskim społeczeństwie arystokratycznym epoki Heian (794– 1185). Ówczesne stroje dworskie w dużej mierze ukształtowały japońskie podejście do odzieży i mody w ogóle, wpływając na późniejsze style i formy ubioru, w szczególności kimona. Arystokratyczne społeczeństwo przywiązywało dużą wagę do tworzenia własnego wizerunku poprzez ubiór, który pełnił szeroką funkcję komunikacyjną, ujawniając status społeczny danej osoby, jej indywidualny gust, a nawet piękno. Dwa dzieła literackie Murasaki Shikibu, jej dziennik dworski Murasaki Shikibu nikki (Dziennik Murasaki Shikibu, 1010), w którym opisuje formalny i ceremonialny strój, oraz jej fikcyjne dzieło Genji monogatari (Opowieść o księciu Genjim, 1008), w którym opisuje codzienny strój arystokratów, dostarczyły materiału ilustracyjnego do odtworzenia strojów dworskich.

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16

Gatten, Aileen. "Weird Ladies: Narrative Strategy in the Genji monogatari." Journal of the Association of Teachers of Japanese 20, no. 1 (April 1986): 29. http://dx.doi.org/10.2307/489516.

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17

Ueda, Y., H. Ueda, T. Kabashima, and M. Murakami. "The Full-Text Database of Genji Monogatari Taisei." Proceedings of Annual Conference, Japan Society of Information and Knowledge 1 (1993): 33–36. http://dx.doi.org/10.2964/jsikproc.1.0_33.

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18

Ueda, H., Y. Ueda, Y. Imanishi, T. Kabashima, T. Nakagawa, and M. Murakami. "Creating a Vocabulary Index for Genji Monogatari Taisei." Proceedings of Annual Conference, Japan Society of Information and Knowledge 2 (1994): 23–26. http://dx.doi.org/10.2964/jsikproc.2.0_23.

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19

Rowley, G. G. "Textual Malfeasance in Yosano Akiko's Shin'yaku Genji Monogatari." Harvard Journal of Asiatic Studies 58, no. 1 (June 1998): 201. http://dx.doi.org/10.2307/2652650.

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20

kim suhee. "A Study Of “Genji-monogatari” ーA Study of “Weekly Magazine HIKARU-GENJI①②”." Journal of the society of Japanese Language and Literature, Japanology ll, no. 42 (August 2008): 353–70. http://dx.doi.org/10.21792/trijpn.2008..42.018.

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21

Míguez Santa Cruz, Antonio. "Anime adaptando (y complementando) alta literatura. El sufrimiento de “La dama de la sexta avenida”." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 136. http://dx.doi.org/10.25115/raudem.v3i0.624.

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Resumen: Aunque sea paulatinamente, la animación japonesa se está despojando de su connotación negativa. Autores como Hayao Miyazaki han elevado el Anime por encima de muchos perjuicios, y algunas de sus obras incluso consiguen alcanzar una profundidad psicológica y artística más allá de las películas “live”. Este es el caso de Gisaburo Sugii y Osamu Dezaki, dos autores que, adaptando el Genji Monogatari respectivamente, completan la visión de un personaje vital para comprender tanto lo fantasmático como el papel de la mujer en la cultura japonesa: Rokujō no Miyasudokoro.Anime Adapting (and Complementing) High Literature. The Suffering of “The Lady from the Sixth Avenue” Abstract: Japanese animation, although gradually, divests itself of its negative connotation. Authors like Hayao Miyazaki have upgraded Anime beyond many prejudices, and some of their works even achieve a psychological and artistic profundity aside from “live” films/movies. This is the case of Gisaburo Sugii and Osamu Dezaki, two authors that, adapting Genji Monogatari respectively, have achieved a broad and complete vision of a vital character to understand the ghostly thing in Japanese culture: Rokujō no Miyasudokoro.

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22

Andassova, M. "Classical Japanese Literature in the Global Context (on Genji monogatari )." Bulletin of L.N. Gumilyov Eurasian National University. Philology Series 131, no. 2 (2020): 16–21. http://dx.doi.org/10.32523/2616-678x-2020-131-2-16-21.

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23

Kornicki, Peter F. (Peter Francis). "Unsuitable Books for Women?: Genji Monogatari and Ise Monogatari in Late Seventeenth-Century Japan." Monumenta Nipponica 60, no. 2 (2005): 147–93. http://dx.doi.org/10.1353/mni.2005.0021.

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24

Almazán Tomás, V. David, and David Lacasta Sevillano. "Literatura japonesa y porcelana Kutani: Escenas del Genji Monogatari en el Museo de Artes y Costumbres Populares de Sevilla." Artigrama, no. 37 (June 30, 2023): 379–98. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379223.

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Resumen Los numerosos objetos de exportación japoneses llegados a Europa desde la apertura de la era Meiji (1868-1912) propiciaron el fenómeno del Japonismo y el coleccionismo de obras artísticas que hoy forman parte de numerosos museos. Este artículo analiza un conjunto excepcional de veintiuna piezas de porcelana de Kutani (Japón) conservadas en el Museo de Artes y Costumbres Populares de Sevilla procedentes de la colección de Joaquín Soria, cuya decoración son distintos episodios del Genji Monogatari, la gran obra clásica de la literatura japonesa, que sigue los diseños del artista de la estampa ukiyo-e Ogata Gekkō (1859-1920). En concreto, las escenas representadas en las cerámicas proceden de la serie Los cincuenta y cuatro capítulos del Genji realizada entre los años 1892 y 1895 en Tokio. Este conjunto de obras muestra que las estampas ukiyo-e de la era Meiji formaron parte de los repertorios decorativos de las porcelanas japonesas, proyectando una imagen de Japón basada en su rica tradición literaria y cultural. Abstract Numerous Japanese export objects arrived in Europe from the beginning of the Meiji era (1868-1912), giving rise to the phenomenon of Japonisme and the collections of works of art that today form part of several museums. This article analyses an exceptional set of twenty-one pieces of Kutani porcelain (Japan) from the Joaquín Soria collection in the Museo de Artes y Costumbres Populares in Seville. These pieces are decorated with different episodes from the Genji Monogatari, the great classic work of Japanese literature, which follows the designs of the ukiyo-e print artist Ogata Gekkō (1859-1920). The scenes depicted on the ceramics derive from the serie Fifty-four Chapters of the Genji, produced between 1892 and 1895 in Tokyo. This group of Kutani pieces shows that Meiji-era ukiyo-e prints formed part of the decorative repertoire of Japanese porcelain, projecting an image of Japan based on its rich literary and cultural tradition. Keywords Japan, Kutani, Porcelain, Genji, Ogata Gekkō.

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25

BAYKARA, Oğuz. "Three English Retranslations of The Tale of Genji." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, no. 30 (October 21, 2022): 1468–86. http://dx.doi.org/10.29000/rumelide.1193111.

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The Tale of Genji, (Genji Monogatari) is a written by a Japanese noble woman, Murasaki Shikibu, and is the perhaps the earliest novel ever which is revered today as a chef-d'oeuvre in the world, even though it dates back to early eleventh century. The Tale of Genji covers almost three quarters of a century. This work, which was partially translated into English by a Japanese politician, Suematsu Kenchō, in 1882 (1974) was later translated into English by three native speakers of English: Arthur Waley (1937), Edward G. Seidensticker (1976), and Royall Tyler (2001). The retranslations of The Tale of Genji provide attractive material for Translation Studies, enabling scholars to observe the dynamics of literary translation. This study was conducted within the structure of certain fields such as polysystem theories, paratexts, retranslations hypotheses and translation strategies in the domain of Translation Studies. The article focuses on the global and local translation strategies of the three English translators and compares them in order to show how these strategies affect the target text.

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26

Bargen, Doris G. "The Search for Things Past in The Genji monogatari." Harvard Journal of Asiatic Studies 51, no. 1 (June 1991): 199. http://dx.doi.org/10.2307/2719245.

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27

김효숙. "A study on the chapter ‘wakana’ of Genji-monogatari." Journal of Japanese Studies ll, no. 45 (September 2010): 143–60. http://dx.doi.org/10.15733/jast.2010..45.143.

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28

Ilis, Florina. "Literature, Truth and History in Genji Monogatari by Murasaki Shikibu." Philobiblon. Transylvanian Journal of Multidisciplinary Research in the Humanities 26, no. 2 (2021): 177–86. http://dx.doi.org/10.26424/philobib.2021.26.2.03.

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29

Tyler, Royall. "The No Play Matsukaze as a Transformation of Genji monogatari." Journal of Japanese Studies 20, no. 2 (1994): 377. http://dx.doi.org/10.2307/133198.

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30

今西祐一郞. "A Study of Genji-monogatari and the Emperor System of Japan." Journal of the society of Japanese Language and Literature, Japanology ll, no. 41 (May 2008): 1–10. http://dx.doi.org/10.21792/trijpn.2008..41.001.

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31

KAWAHARA, Taketoshi. "A Study on NIJOIN Garden and Others Expressed in “GENJI MONOGATARI”." Journal of the Japanese Institute of Landscape Architects 50, no. 2 (1986): 89–107. http://dx.doi.org/10.5632/jila1934.50.89.

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32

Morris, Mark. "Desire and the Prince: New Work on Genji monogatari—A Review Article." Journal of Asian Studies 49, no. 2 (May 1990): 291–304. http://dx.doi.org/10.2307/2057298.

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Toward the end of a diary entry for Sunday, June 14, 1925, the writer reminds herself to “answer Gerald Brenan, & read the Genji; for tomorrow I make a second £20 from Vogue.” For a short review of a long book, £20 was worth a bit of excitement: advertisements in the London press that summer indicate that the yearly wages of a cook or housemaid ranged from £28 to £45. For someone in search of a Bloomsbury flat of one's own, £20 could keep you in modest, furnished comfort on Gordon Square for ten weeks.

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이상경. "A Study on Murasakinoue and the image of spring in Genji-monogatari." Journal of Japanese Language and Literature 63, no. 2 (November 2007): 253–72. http://dx.doi.org/10.17003/jllak.2007.63.2.253.

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KIM YOUNG SHIM. "Parallel Love Songs- KAORU and OOIKIMI's equation of Love on「GENJI？MONOGATARI」-." Journal of japanese Language and Culture ll, no. 10 (April 2007): 207–23. http://dx.doi.org/10.17314/jjlc.2007..10.011.

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SONG, Kwi Young. "The Portrayal of Genji in Genji Monogatari as a Royal Ōken in the Context of Ancient Japanese Dynasty Monogatari ─ The Sacred (聖) and the Secular (俗) of Ōken ─." Journal of Japanese Studies 72 (April 30, 2024): 109–26. http://dx.doi.org/10.18841/2024.72.05.

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36

Wawrytko, Sandra A. "Murasaki’s Epistemological Awakening: Buddhist Philosophical Roots of The Tale of Genji." Journal of Chinese Philosophy 49, no. 1 (March 22, 2022): 36–49. http://dx.doi.org/10.1163/15406253-12340046.

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Abstract I approach Murasaki Shikibu’s marvelous literary pearl The Tale of Genji (Genji Monogatari) as analogous to glistening orbs that “come out of the disease of suffering oysters,” the suffering being the death of her beloved husband Fujiwara no Nobutaka (950?–1001). In addition to drawing evidence from the novel itself, I have relied on Murasaki’s lesser-known Poetic Memoirs and Diary that offer important insights into her state of mind and circumspect literary style. The Lotus Sūtra is the key that unlocks Murasaki’s philosophical intent, with its use of parables and poems to provoke deeper understandings of Buddhism and personal realizations. The Buddhist principle of impermanence (Sanskrit anitya; Japanese mujōkan) serves as both the aesthetic of aware and an unavoidable fact that residents of the Heian court (like those in the Lotus Sūtra’s Burning House) choose to ignore or escape by reveling in superficial pursuits of beauty and political power. Various characters in the novel attempt to follow the path to the epistemological awakening the author Murasaki sought for herself.

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Milutin, Otilia. "Shōjo Murasaki, Seinen Genji: Sexual Violence and Textual Violence in Yamato Waki’s Fleeting Dreams and Egawa Tatsuya’s Tale of Genji Manga." Japanese Language and Literature 55, no. 1 (April 21, 2021): 275–305. http://dx.doi.org/10.5195/jll.2021.159.

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This paper examines how two manga versions of the Heian classic Tale of Genji, belonging to two different genres and targeting different readership, engage with and interpret the tale’s episodes depicting sexual encounters, which may be read as problematic in the original text. The shojo version, Yamato Waki’s Asaki yumemishi, published between 1980 and 1993, and targeting predominantly female audiences, how two distinct approaches in its treatment of certain potentially uncomfortable episodes: some episodes which verge too close to a reading of sexual violence, are outright erased from the manga versions. Others, whose presence is invaluable to the narrative, are remarkably faithful to the original text, while at the same time contextualizing and domesticating all threats of sexual violence that might have marred the original text. By contrast, Egawa Tatsuya’s seinen version of Genji monogatari, marketed towards a young male adult readership, takes the extreme approach of depicting all sexual encounters in the tale as consensual, pleasurable and highly explicit. The ambiguity of the original text is simply done away with by juxtaposing said text and its fairly accurate rendition into modern Japanese with quasi-pornographic, shunga-evoking scenes of sex.

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Pazó Espinosa, José. "Almazán Tomas, David y Ogata Gekkō. Estampas del Genji Monogatari. Gijón: Satori, 2002, 164 pp." Mirai. Estudios Japoneses 7 (November 20, 2023): 145–49. http://dx.doi.org/10.5209/mira.91582.

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El Genji monogatari fue una obra conocida en Japón a lo largo de la historia por los poemas que contenía y las imágenes de ilustradores sobre ella más que por ser la primera novela psicológica de la historia, como hoy en día se considera a menudo. Ogata Gekkō fue uno de los últimos ilustradores de la obra que siguió los patrones clásicos del ukiyo-e. En sus grabados, se unía la ilustración narrativa y descriptiva con un poema significativo del capítulo. El libro de David Almazán Tomás lleva a cabo una traducción, un análisis y una glosa de las ilustraciones de Ogata Gekkō que sirve de estudio y a la vez de guía de la obra.

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이상경. "A study on Hikarugenji’s love and the meaning of winter in Genji-monogatari." Journal of Japanese Studies ll, no. 63 (March 2015): 271–89. http://dx.doi.org/10.15733/jast.2015..63.271.

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McAuley, Thomas E. "Audience Attitude and Translation Reception." Babel. Revue internationale de la traduction / International Journal of Translation 61, no. 2 (October 23, 2015): 219–41. http://dx.doi.org/10.1075/babel.61.2.04mac.

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This article proposes a skopos-based analysis of the English translations of the eleventh century Japanese literary work, Genji monogatari (“The Tale of Genji”) as a means of understanding the basis for the translations’ differing receptions among their target audiences. The translations, by Suematsu Kenchō, Arthur Waley, Edward Seidensticker and Royall Tyler, are widely spaced chronologically, being published between 1888–2001, and were each produced with differing audiences and aims, thus making them a useful corpus for this analysis. In addition, all of the translators have written, with varying degrees of explicitness, about their motivations and purposes in conducting their translations. First, through an analysis of the translators’ writings, introductions, and individual circumstances, the article will demonstrate how the skopos for each translation can be determined. Second, through an analysis and comparison of text excerpts, it will demonstrate how the skopos influenced the translation choices of the individual translators, with material being, for example, omitted, changed in psychological tone, or rendered more explicit, depending upon the individual translator’s overriding purpose in their work. Finally, through an analysis of the reviews of the various translations, it will consider the extent to which each translator was successful in achieving a positive and intended response to his translation in the target audience.

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Ogawa, Nobuo. "Clues to Heian Perception of Action: The Suffixes -Tsu and -Nu in Genji monogatari." Journal of the Association of Teachers of Japanese 24, no. 2 (November 1990): 147. http://dx.doi.org/10.2307/488951.

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Orgado, Gisele Tyba Mayrink Redondo. "Genji Monogatari – traduzindo a literatura japonesa do século xi para o leitor ocidental contemporâneo." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 2 (May 31, 2019): 171–90. http://dx.doi.org/10.5007/2175-8026.2019v72n2p171.

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Kim, Hyosook. "Reproduction of classical literature by media conversion -From "Genji Monogatari" to Manga "Asaki Yumemishi"-." Comparative Literature 76 (October 31, 2018): 33–62. http://dx.doi.org/10.21720/complit76.02.

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Clements, Rebekah. "Rewriting Murasaki: Vernacular Translation and the Reception of Genji Monogatari during the Tokugawa Period." Monumenta Nipponica 68, no. 1 (2013): 1–36. http://dx.doi.org/10.1353/mni.2013.0013.

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Oh, Mi-Young. "A study of annotation on Genji-monogatari(貴3201/60B) possessed by Seoul National University." Japanese Language Association Of Korea 54 (December 31, 2017): 125–38. http://dx.doi.org/10.14817/jlak.2017.54.125.

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Link, H. A. "Book Reviews : Miyeko Murase. Iconography of the Tale of Genji: Genji Monogatari Ekotoba. Weatherhill, Tokyo and New York, 1983. xi + 351 pages; illustrated $65.00." Journal of Asian and African Studies 21, no. 1-2 (January 1, 1986): 125–27. http://dx.doi.org/10.1177/002190968602100110.

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Leggeri-Bauer, Estelle. "Des images pour émouvoir, des images pour le pouvoir. Les concours de peintures du Genji monogatari." Médiévales 72, no. 72 (June 22, 2017): 87–108. http://dx.doi.org/10.4000/medievales.8086.

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김수미. "Expression power of characters and expressiveness of pictures -Focusing on the national treasure “Genji Monogatari Emaki”-." Journal of Japanese Studies ll, no. 78 (December 2018): 67–90. http://dx.doi.org/10.15733/jast.2018..78.67.

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Trần, Thị Huệ, and Thanh Tuyền Phùng. "Một số phong tục đặc trưng của cung đình Nhật Bản dưới thời Heian qua tác phẩm Genji monogatari." Tạp chí Khoa học Đại học Văn Hiến 9, no. 2 (June 30, 2023): 81–94. http://dx.doi.org/10.58810/vhujs.9.2.2023.692.

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Hôn nhân và thành nhân vốn là các phong tục vòng đời quan trọng ở các quốc gia Đông Bắc Á nói chung, và ở Nhật Bản nói riêng. Cả hai phong tục này vừa là nét văn hóa tinh thần đặc sắc, vừa là hình thức biểu hiện cho tư duy và lối sống truyền thống của người Nhật xưa; đã có nhiều nghiên cứu đề cập về hôn nhân và thành nhân của Nhật Bản, đặc biệt là thời kỳ Heian, đa số các bài viết được nghiên cứu thông qua các tài liệu lịch sử hay văn hóa, tuy nhiên chưa có nhiều nghiên cứu dưới góc độ của văn học. Thông qua tác phẩm kinh điển “Genji monogatari”, bài viết lần lượt trình bày về phong tục hôn nhân, và phong tục thành nhân của giới quý tộc sống trong hoàng cung Heian, để thấy được đời sống tinh thần độc đáo của họ, khác xa với đời sống bần hàn của dân thường ở bên ngoài kinh thành.

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Bargen, Doris G. "Spirit Possession in The Context of Dramatic Expressions of Gender Conflict: The Aoi Episode of The Genji monogatari." Harvard Journal of Asiatic Studies 48, no. 1 (June 1988): 95. http://dx.doi.org/10.2307/2719274.

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