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Relevant bibliographies by topics / Heian literature

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Academic literature on the topic 'Heian literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Heian literature"

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Nam, Yi Sug. "Heian women"s literature and Hase-dera." Korean Journal of Japanese Language and Literature 75 (December 31, 2017): 185–206. http://dx.doi.org/10.18704/kjjll.2017.12.75.185.

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박경화. "Study and translation of Heian literature in Korea." Japanese Language and Literature Association of Daehan ll, no. 53 (February 2012): 247–69. http://dx.doi.org/10.18631/jalali.2012..53.014.

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윤승민. "Images of Peaches and Pears in Heian Literature." Journal of the society of Japanese Language and Literature, Japanology ll, no. 79 (November 2017): 229–48. http://dx.doi.org/10.21792/trijpn.2017..79.012.

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Ivanova, Gergana E. "Reading the Literary Canon through Manga in the Twenty-First Century." Japanese Language and Literature 55, no. 1 (April 21, 2021): 163–79. http://dx.doi.org/10.5195/jll.2021.160.

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This special section of Japanese Language and Literature, “Heian Literature in Manga,” attempts to offer tools for understanding the multiple functions that manga appropriations of literary texts written over a millennium ago perform in present-day Japan. Focusing on manga adaptations of six Heian-period (794-1185) works, the contributors examine how and why these classical writings have been rewritten for readers in the late twentieth and early twenty-first centuries. They present six international perspectives on the influence manga has had in popularizing Heian classics by exploring modern interpretations as well as which aspects of the ancient texts have been promoted for readers in Japan today.

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Lee, Bu-Yong. "The Representation of Doors in Japanese Heian-Era Literature." Journal of Japanology 42 (May 30, 2016): 67–94. http://dx.doi.org/10.21442/djs.2016.42.04.

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Yoocheon Kim. "A Study on 'Miyako' of the Heian Period's Literature." Journal of Japanese Studies ll, no. 42 (December 2009): 143–64. http://dx.doi.org/10.15733/jast.2009..42.143.

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남이숙. "Japanese Classic Love Poem of『Kokinwakashyu』and Heian Classic Literature." Journal of Japanese Culture ll, no. 66 (August 2015): 123–45. http://dx.doi.org/10.21481/jbunka..66.201508.123.

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Jongduck Kim. "A Study of Sickness and Death in the Heian Literature." Journal of Japanese Studies ll, no. 62 (December 2014): 139–58. http://dx.doi.org/10.15733/jast.2014..62.139.

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Ro, Sunsook. "Loss and consolation in Diary literature of the Heian period." Comparative Japanese Studies 43 (September 30, 2018): 227–52. http://dx.doi.org/10.31634/cjs.2018.43.227.

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류정선. "The degenerate age consciousness showen in a Heian period of literature." Journal of Japanese Language and Literature 72, no. 2 (February 2010): 25–42. http://dx.doi.org/10.17003/jllak.2010.72.2.25.

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Dissertations / Theses on the topic "Heian literature"

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Henitiuk, Valerie Lynne. "Female resistance, spatial metaphor in Japanese women's literature of the mid-Heian period." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ60057.pdf.

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Abreu, Thiago Cosme de. "Taketori Monogatari: a obra e o discurso (pretensamente) amoroso." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-09052016-125013/.

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Considerada ainda na antiguidade como a \"ancestral de todas as narrativas monogatari\", Taketori monogatari é a obra mais antiga de seu gênero. Escrita provavelmente entre os séculos IX e X, a narrativa conta a trajetória da personagem Kaguyahime, desde que foi encontrada pelo personagem que dá título à obra até a ocasião em que é levada de volta para o mundo de onde veio. Os acontecimentos que se desenrolam a partir da corte amorosa empreendida por cinco pretendentes que desejam se casar com ela ocupam considerável espaço na narrativa. Esse arco é considerado pelos estudiosos japoneses como exclusivo de Taketori monogatari, não constando em nenhum outro registro anterior da lenda. A partir desta hipótese e amparados pelo trabalho de Roland Barthes, propusemos uma reflexão sobre a construção do discurso pretensamente amoroso nessa parte em que se acredita vislumbrar o ineditismo da obra.
Regarded as \"the ancestor of all monogatari narratives\" since Classical Japan, Taketori monogatari is the most ancient piece of work in monogatari genre. Written probably between the 9th and 10th centuries, the narrative tells the story of Kaguyahime, from the moment she was found by the character whose name is in the title of the narrative until she is taken back to her homeland. The episodes starred by the five noble men who wish to marry her occupy the most of the narrative and are thought, by the Japanese scholars, to be exclusively Taketori monogatari author\'s creation. Considering the Japanese scholars\' view and supported by Roland Barthes\'s treatise on amorous discourse, we aimed to expose the way the discourse spoken by Kaguyahime and her suitors is built in those supposedly romantic episodes.

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Bryant, William Davis. "What Master Masafusa Said: An Analysis of the Content and Rhetoric of the Gōdanshō." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338380720.

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Stirek, Lindsey. "Adjectives as Elements of Style in the Prose and Verse of the Izumi Shikibu nikki." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492604150424849.

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Wei, Xin. "The literary Chinese cosmopolis." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:b4bba502-e364-4b1b-a22d-8ffb6cc61890.

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The thesis is set against the backdrop of literary Chinese as the cosmopolitan written language across East Asia and examines two contemporary literary Chinese writers in the ninth century: Ch'oe Ch'iwǒn from Silla Korea and Sugawara no Michizane from Heian Japan. Though composition in Chinese characters on the peninsula and the archipelago was ancient, a high-water mark within this community appeared in the ninth century. At that time, literary Chinese was embraced by mainstream literati as the medium for poetry and prose, and competent composition in this international written language came to have political as well as cultural significance. The importance of Ch'oe Ch'iwǒn and Sugawara no Michizane as the great masters of Chinese letters in Korea and Japan derives in part from their talents and in part from the social and political acceptance of Chinese. This comparative research primarily draws inspiration from Sheldon Pollock's comparison of the Sanskrit cosmopolis and the Latin cosmopolis. Pollock describes the Latin cosmopolis as coercive and the Sanskrit cosmopolis as voluntaristic. I argue that the history of literary Chinese in East Asia provides a third cosmo-political model for the history of interactions among language, literature, and cultural and military power. The literary Chinese cosmopolis can be characterized not as coercive or voluntaristic but as hegemonic. I compare Ch'oe Ch'iwǒn and Sugawara no Michizane for their cosmopolitan identities, transnational experiences, and diglossic worlds. Though there is debate over the appropriateness of the terms "diglossia," "Chinese cosmopolis," and "Sinographic cosmopolis" to describe the world in which Ch'oe and Michizane lived, I argue in favor of "literary Chinese cosmopolis," because I pay attention to the common grammar, syntax, and other linguistic features one must bear in mind when composing in literary Chinese (as opposed to reading). Localism produced vernaculars, but the unity of the community was based on composition in a cosmopolitan language. That cosmopolitan language was literary Chinese, a hyperglossic language, a language that allowed universal communication in East Asia. Intersecting with various disciplines and bringing several critical fields into conversation, this work contests and refreshes a series of key issues at the heart of discussions on globalization, namely the intrinsic relationship between language and power. How does cultural power emerge from language? How does writing in a "foreign" script articulate ethnic, local identities? As a meditation on language politics, ethics, and the historical situation of an earlier cosmopolitan ecumene (ninth century CE), this work will, I hope, offer insights into the specificities and mechanisms of a past cosmopolitan era in East Asia, even as it establishes a broader historical and ethical context for contemporary debates on globalization.

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Jelbring, Stina. "A Decontextual Stylistics Study of the Genji Monogatari : With a Focus on the "Yûgao" Story." Doctoral thesis, Stockholms universitet, Institutionen för orientaliska språk, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-38006.

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The dominant part of the research on the “Yûgao” (The Twilight Beauty) story of the Japanese eleventh-century classic the Genji Monogatari (The Tale of Genji) is philological and often excludes a general literary analysis. This story has also been related to Japanese and Chinese literary influences, thereby placing the text in its literary context. The present study is an attempt to relate it more to theories to which it has hitherto been unrelated and thereby formulate a descriptive stylistics in a decontextual perspective. This aim also includes a look at how the theories confronted with the “Yûgao” story may be affected. First I introduce the problematics of context versus decontext by means of a survey of metapoetical texts about the monogatari (tale, narrative) genre with special regard to the Genji Monogatari. Next I analyze the characters and the setting, primarily using a narratological method. This is followed by an analysis of the story’s themes and motives. Chapter 5 looks at compositional elements, while the starting-point for the succeeding chapter is the interpretation of the “Yûgao” story as more or less a fairytale, and thus not as advanced a narrative as the latter part of the work. I shall, in contrast, argue that there are quite a few aspects of this story that do not fit into the model of the folktale. In Chapter 7 decontextualization as a concept turns from the story as such to address another concept, namely metaphor. Here the meaning of metaphor is expanded in order to include concepts that are not necessarily seen as such. Subsequently, I investigate the symbolic system surrounding the moonflower (yûgao) image. Lastly, the concept of decontext is taken a step further to survey how the genre of the Genji Monogatari has been transformed in the process of translation into the Tale of Genji. The main conclusion is that the “Yûgao” story combines tragic themes with comic motifs to build a symbolic narrative with characters hovering between roles.

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Berkelmans, Paulo Roberto. "A narrativa, a história e a morte em Vielleicht ist es sogar schön e Good bye, Lenin! Um diálogo entre a literatura e o cinema alemães." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-31082012-111628/.

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A história da Alemanha foi profundamente marcada por fatos como a queda do Muro de Berlim (1989) e a Reunificação do país (1990). Desde então, as representações artísticas não poderiam deixar de retratar esses acontecimentos e suas consequências. Entre elas, a literatura e o cinema alemães têm se ocupado em vários momentos de tais fatos históricos e das mudanças deles decorrentes. De todas as vertentes literárias e cinematográficas que se destacaram nestas últimas duas décadas, a memorialística, ou seja, a preocupação em resgatar e preservar a memória nacional e pessoal as lembranças coletivas e individuais, e também familiares tem se mostrado presente e significativa em suas produções. Relembrar o passado pode ser uma forma não apenas de analisá-lo e compreendê-lo melhor como também de manter vivas certas figuras (entes queridos) através das lembranças. A narrativa assume, portanto, um importante papel ao combater a morte e tudo o que ela representa: superando a perda, procurando evitar o esquecimento e ensinando a aceitar as transformações, a fim de realizar o trabalho do luto. As obras analisadas nesta tese se encaixam de algum modo na categoria acima e oferecem elementos históricos e narrativos que estabelecem um diálogo entre elas, tornando possível um estudo comparativo. Embora se trate de duas obras independentes: um livro de Jakob Hein Vielleicht ist es sogar schön (2004) e de um filme de Wolfgang Becker Good bye, Lenin! (2003) os quais não originaram um ao outro, é possível encontrar pontes (elementos comuns) que as aproximam. Deste modo, o objetivo desta tese é analisar a estrutura narrativa das obras, verificando o papel do narrador, as questões históricas e o tema da morte no livro e no filme. Para tanto, foram usados como fundamento teórico essencialmente os textos de Todorov, Genette, Bordwell, Bandeira, Freud.
The history of Germany was deeply marked by facts like the fall of the Berlin Wall (1989) and the Reunification of the country (1990). Since then, the depicting of these events and their consequences has not been left out by artistic representations. Among those, German literature and cinema, at various moments, have been concerned with such historical facts and the changes originated with them. Of all the literary and cinematographic trends which have stood out in the last two decades, the memorialistic one, i.e. the concern with retrieving and preserving both national and personal memory the collective and individual recollections, and family ones as well has been present and significant in its productions. Remembering the past may be a way to analyze and better understand it as well as keeping certain figures (beloved ones) alive through memories. Therefore, narrative takes a very important part in fighting death and everything it represents: overcoming loss, trying to avoid oblivion, and teaching how to accept changes, in order to fulfill the elaboration of mourning. The works analyzed in this thesis somehow fit the category above and provide historical and narrative elements which establish a dialogue between them, making a comparative study possible. Although these are two independent works: a book by Jakob Hein Vielleicht ist es sogar schön (2004) and a film by Wolfgang Becker Good bye, Lenin! (2003) which have not originated each other, it is possible to find bridges (common elements) which bring them close together. Thus, the objective of this thesis is to analyze the narrative structure of the works, studying the role of the narrator, the historical questions, and the theme of death in both the book and the film. To achieve that, texts by Todorov, Genette, Bordwell, Bandeira, Freud were used as theoretical basis.

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De, Villiers Dawid Willem 1972. "Interregnum in Providence : the fragmentation of narrative as quest in the prose fictions of Heman Melville." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53472.

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Thesis (PhD)--University of Stellenbosch, 2003.
ENGLISH ABSTRACT: Herman Melville (1819-1891) remains a recalcitrant and enigmatic presence in the Western canon. This dissertation explores the radical narrative strategies engaged by Melville in the composition of his prose fictions. It is my contention that Melville's writings to an important degree constitute a subversive response to the privileged apocalyptic and teleological narratives of the day-national, ontological, metaphysical, and literary, or aesthetic-and that he primarily engages these narratives in terms of the archetypal symbolism of the romantic quest. Against this linear and goal-oriented, or plotted, progress, Melville's own narratives assert the nonredemptive forces of time, change, and natural flux, which the quest is symbolically meant to conquer and subject to a redemptive pattern. Melville's critique of the quest takes the shape of a radical fragmentation of its agonistic, evolutionary force-its progress-which is always directed towards a resolvent end. In this sense, most of his protagonists may be defined as questers, characters who seek, by some (individuating) action, to achieve a monumental point of closure. But the Melvillean narrative (even when narrated by the protagonist) always resists this intention. His rhetoric is digressive and improvisational, his style heterogeneous and parodic, and his endings always indeterminate and equivocal. Significantly, this same quality renders his prose fictions highly resistant to an apocalyptic hermeneutics that strives to redeem the monumental "meaning" of the work from the narrative itself. The destabilising questions raised in Melville's work with regard to redemptive plot and progress ultimately centre on the idea of Providence, in other words, the authorising telos that informs, governs and justifies the quest. By fragmenting this quest, Melville undermines the effective presence of Providence, clearing away what he perceives to be an illusion of control harboured in a dual but related image of the providential God and the providential author as external, "metaphysical" authorities directing their worlds in terms of a master plan toward final and meaningful closure. Melville's fiction, then, imaginatively (and philosophically) engages a world in which such stable authorising centres are absent. It is in terms of this absence that I intend to examine the nature of Melville's prose fictions. The focus in this dissertation is specifically on Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter and The Confidence-Man. Throughout, however, the canonical Moby-Dick and the unfinished and posthumous Billy Budd, are also drawn into the discussion in order to clarify and extend the points raised.
AFRIKAANSE OPSOMMING: Herman Melville (1819-1891) bly 'n weerspannige en enigmatiese aanwesigheid in die Westerse kanon. Hierdie verhandeling ondersoek die radikale narratiewe strategiëe wat deur Melville ingespan is tydens die komposisie van sy fiksie in prosa. Ek gaan van die standpunt uit dat Melville se werk tot 'n groot mate gedefinieer word deur 'n ondermynende reaksie teen die bevoorregte apokaliptiese en teleologiese narratiewe diskoerse van sy tyd-nasionaal, ontologies, metafisies, en literêr, of esteties-en dat hy hoofsaaklik hierdie diskoerse ondersoek in terme van die argetipiese simboliek van die romantiese soektog of "quest." Teenoor hierdie lineêre en doelgerigte, of beraamde ("plotted"), vooruitgang, beklemtoon Melville se eie verhale die nie-verlossende kragte van tyd, verandering, en natuurlike stroming, dit wat die "quest" simbolies beoog om te oorwin en onderwerp aan 'n verlossings-patroon. Melville se kritiese beoordeling van die "quest" neem die vorm aan van 'n radikale fragmentering van die opposisionele, evolusionêre krag---die progressie-wat altyd op 'n beslissende slot gerig is. In hierdie sin kan ons die meerderheid van sy protagoniste as soekers ("questers") definieer, karakters wat poog, deur middel van die een of ander (individuerende) handeling, om 'n monumentale slot te behaal. Maar die Melvilliese verhaal (selfs wanneer deur die protagonis vertel) werk altyd dié voorneme teë. Sy retorika is uitwydend en improvisatories, sy styl heterogeen en parodies, en sy slotte altyd onbeslis en dubbelsinnig. Dit is aanmerklik dat hierdie einste eienskap sy fiksie hoogs weerstandig maak teen 'n apokaliptiese hermeneutiek wat poog om die monumentale "betekenis" van die werk uit die narratief self te herwin of "verlos." Die ondergrawende vrae wat in Melville se werk ten opsigte van die beslissende verloop ("plot") en progressie geopper word word uiteindelik grotendeels gekoppel aan die idee van die Voorsienigheid, met ander woorde, die outoriserende telos wat die "quest" beïnvloed, regeer en regverdig. Deur die "quest" te fragmenteer, ondermyn Melville die effektiewe teenwoordigheid van die Voorsienigheid, en verwyder daarmee dit wat hy ervaar as 'n illusie van beheer wat behoue bly in die dubbele beeld van die bestierende God en die bestierende outeur as eksterne, "metafisiese" outoriteite wat hulle wêrelde in terme van 'n uitgewerkte plan na 'n finale en betekenisvolle einde lei. Melville se fiksie, dus, op verbeeldingsryke (en filosofiese) wyse, stel 'n wêreld daar waarin sulke outoriserende sentra afwesig is. Dit is in terme van hierdie afwesigheid wat ek beoog om die aard van Melville se fiksies te ondersoek. Hierdie verhandeling fokus op Typee, Omoo, Mardi, Redburn, White-Jacket, Pierre, Israel Potter en The Confidence-Man. Die kanonieke Moby-Dick en die onvoltooide en postume Billy Budd word egter deurgaans in die bespreking opgeneem ter wille van die duidelikheid en uitbreiding van die argument.

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Meyer, Claudia [Verfasser], and Jürgen [Akademischer Betreuer] Hein. "Der Intoleranz mit Gerechtigkeit begegnen : Die politischen Reden von Stefan Andres / Claudia Meyer ; Betreuer: Jürgen Hein." Münster : Universitäts- und Landesbibliothek Münster, 2010. http://d-nb.info/1141297264/34.

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Hardman, James Brian. ""Plucking roses from a cabbage patch"| Class dynamics in progressive era Louisville as understood through the contested relationship of Mary Bass and Alice Hegan Rice." Thesis, The University of North Carolina at Charlotte, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10247404.

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In 1901, Alice Hegan Rice, a wealthy socialite reformer, published the novel Mrs. Wiggs of the Cabbage Patch which dealt her experiences working with the poor. By the end of 1902 her novel had become a national phenomenon and finished the decade as one of its five bestselling books. Though the novel was fictional in nature, the book’s heroine, Mrs. Wiggs, was based on the life of a real woman, who inhabited the one of the poorest neighborhoods in Louisville, Kentucky at the turn of the twentieth-century, a slum known as the Cabbage Patch. Shortly after the book’s publication it became well-advertised that Mary Bass, a widowed mother of five children living in poverty in the Cabbage Patch, was the prototype for the beloved character of Mrs. Wiggs and subsequently and quite undesirably became fetishized by an overenthusiastic public. Mary Bass would end up suing Alice Hegan Rice for libel. The Bass/Rice story supplies an uncommon historical opportunity to analyze the portrayal of poverty in popular fiction in the Progressive Era United States and the classist values behind those representations.

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Books on the topic "Heian literature"

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Heian bungeishi kō. Tōkyō: Shintensha, 2001.

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Heian bungaku gojūnen. Ōsaka-shi: Izumi Shoin, 2002.

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Heian bungaku gohōron. Tōkyō: Kasama Shoin, 1985.

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Heian bungaku gohōron. Tōkyō: Kasama Shoin, 1985.

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Edo, Hideo. "Mizu" no Heian bungakushi. Tōkyō: Kokubungaku Kenkyū Shiryōkan, 2005.

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Heian bungaku no fūbō. Tōkyō: Musashino Shoin, 2003.

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Heian bungaku no ron. Tōkyō: Kasama Shoin, 2011.

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Heian nikki no hyōshō. Tōkyō: Kasama Shoin, 2003.

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Heian waka bungaku hyōgenron. Tōkyō: Yūseidō Shuppan, 1993.

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Heian kōki Nihon kanbungaku no kenkyū. Tōkyō: Kasama Shoin, 2003.

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Book chapters on the topic "Heian literature"

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Krauss, Hannes. "Hein, Christoph." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6721-1.

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Clauß, Wolfgang, and KLL. "Strauß, Emil: Freund Hein." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_19366-1.

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Krauss, Hannes. "Hein, Christoph: Das erzählerische Werk." In Kindlers Literatur Lexikon (KLL), 1–5. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6722-1.

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Krauss, Hannes. "Hein, Christoph: Das dramatische Werk." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6723-1.

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"Gender and Heian Narrative Form." In Gender and National Literature, 182–213. Duke University Press, 2004. http://dx.doi.org/10.1215/9780822385875-007.

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Heldt, Gustav. "Kokinshūand Heian court poetry." In The Cambridge History of Japanese Literature, 110–20. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cho9781139245869.011.

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Mostow, Joshua S. "Early Heian court tales." In The Cambridge History of Japanese Literature, 121–28. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cho9781139245869.012.

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Smits, Ivo. "Heian popular songs:imayōandRyōjin hishō." In The Cambridge History of Japanese Literature, 206–8. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cho9781139245869.022.

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"6. Gender and Heian Narrative Form." In Gender and National Literature, 182–213. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385875-009.

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"Epilogue: Heian Texts and Feminist Subjects." In Gender and National Literature, 214–30. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822385875-010.

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Conference papers on the topic "Heian literature"

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Kirk, Mark, Hieronymus Hein, Marjorie Erickson, William Server, and Gary Stevens. "A Fracture-Toughness Based Transition Reference Temperature for Use in the ASME Code With the Crack Arrest (KIA) Curve." In ASME 2014 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/pvp2014-28311.

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In the early 2000s, ASME adopted Code Cases N-629 and N-631 [1–2], both of which permit the use of the Master Curve reference temperature (To) to define an reference temperature RTTo, as follows (in SI units, as are used throughout the paper):RTTo=To+19.4℃The Code Cases state that “this reference temperature … may be used as an alternative to [the] indexing reference temperature RTNDTfor the KIcand KIatoughness curves, as applicable, in Appendix A and Appendix G [of Section XI of the ASME Code].” KIa is now only used in Appendix A. The functional form of the ASME KIc and KIa curves dictate that the temperature separation between them remains constant irrespective of the degree of neutron radiation embrittlement, as quantified by ΔRTNDT or ΔRTTo. However, data collected from the literature and new data reported by Hein et al. show that radiation embrittlement brings the KIc and KIa curves closer together as embrittlement increases. As a result, current Code guidance will not produce a bounding KIa curve in all situations when RTTo is used as an reference temperature. To reconcile this issue, this paper summarizes available data and, on that basis, concludes that use of the following reference temperature will ensure that the ASME KIa curve bounds currently available KIa data:RTKIa=RTTo-19.4+44.97×exp⁡−0.00613×RTTo-19.4

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