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Journal articles on the topic 'Heike monogatari'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Lushchenko, Alexey Yu. "Japanese Didactic Gunsho Commentaries in the Edo Period: a Study of the 17th c. Commentary on the Heike Monogatari." Written Monuments of the Orient 6, no. 2 (2021): 93–113. http://dx.doi.org/10.17816/wmo56802.

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The Heike monogatari hyōban hidenshō is an anonymous 17thc. commentary on the medieval Heike monogatari. As a military studies text (gunsho) written for Edo-period warriors, the commentary differs substantially from the Heike monogatari in content and purpose. It consists of didactic essays that critically evaluate passages from the Heike monogatari and also includes fictional stories that expand and reinterpret the content of the Heike monogatari. The commentarys content focuses on topics of governance, strategy, and ethics. In the 17thc., such gunsho commentaries functioned as educational te

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2

Lushchenko, Alexey Yu. "The Heike Monogatari Hyōban Hidenshō Commentary in the Edo Period: Discussion, Criticism, and Education." Written Monuments of the Orient 7, no. 2 (2021): 148–71. http://dx.doi.org/10.17816/wmo80207.

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This article presents several passages from the anonymous 17th c. commentary Heike monogatari hyōban hidenshō. This understudied commentary on the medieval Tale of the Heike shows the didactic aspect of this works reception in the Edo period. Based on comparison with similar texts, such as the commentary Teikanhyō, the claim is made that didactic works of this kind have group authorship and are related to group discussions (kaidoku) by warriors interested in matters of leadership and statecraft. Commentaries such as the Heike monogatari hyōban hidenshō were linked with educational settings thr

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3

Bialock, David T. "Biwa Masters and Musical Hierophanies in the Heike monogatari and Other Medieval Texts." Journal of Religion in Japan 2, no. 2-3 (2013): 119–51. http://dx.doi.org/10.1163/22118349-12341256.

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Abstract The Heike monogatari has long been at the center of discussions about the function of medieval Japanese performing arts, linked variously to ritual placation, purification, and to Buddhist sermonizing and entertainment. The present essay complicates this view by connecting Heike and biwa playing to several musical phenomena that have received less attention. These include the accusation of bōkoku no oto (sounds of a nation going to ruin), which criticized certain kinds of music from a Confucian ethical perspective, as well as the practice of esoteric biwa initiation (biwa kanjō) along

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4

Oyler, Elizabeth. "Giō: Women and Performance in the "Heike monogatari"." Harvard Journal of Asiatic Studies 64, no. 2 (2004): 341. http://dx.doi.org/10.2307/25066745.

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5

Omar, Hebatalla. "Binary Opposition and Gender Representation in The Tale of the Heike." Asian Culture and History 14, no. 2 (2022): 57. http://dx.doi.org/10.5539/ach.v14n2p57.

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Gunki monogatari (war tales) reflected the state of Japan during medieval times. An example of such stories, The Tale of the Heike (Note 1) describes the time surrounding the destruction of the Taira clan, illustrating how those events shifted the history of Japan. Concepts central to the narrative, including &ldquo;mujōkan 無常観&rdquo; and &ldquo;hōganbiiki判官贔屓,&rdquo; remain rooted in modern Japanese society. However, gender-oriented research on The Tale of the Heike is still limited.  By applying semiotic analysis along with socio-historical approach, this study di

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6

ARAI, Yasuko. "The musical characteristics of the Heike Monogatari." Journal of Research Society of Buddhism and Cultural Heritage 2012, no. 21 (2012): 16–21. http://dx.doi.org/10.5845/bukkyobunka.2012.21_16.

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7

Yamagata, Naoko. "Young And old in Homer and in Heike Monogatari." Greece and Rome 40, no. 1 (1993): 1–10. http://dx.doi.org/10.1017/s001738350002252x.

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Homer's epics have been compared with many other epic traditions in the world, such as Sumerian, Indian, Serbo-Croatian, Medieval German, and Old French epics, from various points of view, such as narrative techniques, genesis of traditions, oral or writtern nature of texts, and motifs. If comparative studies of the existing sort have any significance, it is rather surprising that there has been no serious attempt to compare Homer's epics and Heike monogatari(translated as The Tale of the Heike, Heikefor short), the best of the medieval Japanese epics, for there are many reasons to believe tha

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8

AOKI, Atsushi. "A New Viewpoint on the Authorship of the Heike Monogatari." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 49, no. 2 (2001): 691–95. http://dx.doi.org/10.4259/ibk.49.691.

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9

박진현. "The appearance of Kantou Bushi in Shoumonki and Heike Monogatari." Japanese Language and Literature Association of Daehan ll, no. 78 (2018): 205–23. http://dx.doi.org/10.18631/jalali.2018..78.012.

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10

Cid Lucas, Fernando. "Taira no Atsumori o de la melancólica ahimsā como “arma blanca”." Revista de Artes Marciales Asiáticas 6, no. 2 (2012): 57. http://dx.doi.org/10.18002/rama.v6i2.8.

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In this article we will examine the personality of one of the most important characters in <em>Heike monogatari</em>, the young samurai Taira no Atsumori, and his view of the war and the trade of warrior. Likewise, we will focus on how this historic character is portrayed in some <em>Noh</em> plays, in which his tormented soul refused epics chants and honors achieved in the battlefield, in the search of its eternal rest through religious path.

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11

Sakamoto, Osni, and Lilian Yamamoto. "Ilíada e Heike Monogatari: comparando temas, estruturas literárias e influências nas respectivas sociedades." Estudos Japoneses, no. 47 (October 30, 2022): 118–34. http://dx.doi.org/10.11606/ej.vi47.217926.

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O gênero literário épico é muito bem representado no Ocidente pelas obras de Homero, porém, poucos trabalhos focam obras congêneres de sociedades orientais como China, Coreia e Japão; os estudos comparativos entre épicos ocidentais e orientais também são infrequentes. Este artigo propõe uma comparação entre a obra japonesa Heike Monogatari e a Ilíada, obra grega de Homero, buscando semelhanças de tema, estrutura literária, características dos líderes e heróis de cada obra e das influências que exerceram em suas respectivas sociedades como fontes historiográficas, bem como seus reflexos na hera

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12

Oyler, Elyzabeth. ""Shunkan on Devil Island": Domesticating Political Exile in the Japanese Puppet Play “Heike nōgyo no shima”." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (2023): 205–26. http://dx.doi.org/10.54103/2724-3346/22207.

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This essay discusses the scene entitled Shunkan on Devil Island from Chikamatsu Monzaemon’s early modern puppet play The Heike on the Island of Women as a commentary on social and political strictures of the early modern Tokugawa shogunate, which increasingly regulated social and commercial life as it sought to maintain control of the burgeoning cities of Edo and Osaka in the early 1700s. The play is loosely based on the medieval epic war tale Tale of the Heike (Heike monogatari), a beloved and foundational text that has found numerous afterlives in Japan’s theatrical, narrative and cinematic

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13

EISENSTEIN, Naama. "Poetic Deception: The Ujigawa Senjin Episode Between Court and Warrior Traditions." Asian Studies 6, no. 2 (2018): 111–26. http://dx.doi.org/10.4312/as.2018.6.2.111-126.

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The story of Kajiwara Kagesue and Sasaki Takatsuna’s race across the River Uji is one of the most commonly depicted episodes from the Heike monogatari. During the Tokugawa period this tale of deception and wit was presented in a wide variety of formats, yet the context in which these art works were made differed greatly from the original twelfth-century setting of the story. This article examines how the meaning of the Ujigawa senjin episode changed over time and suggests that its immense popularity in Tokugawa imagery was based more on its ability to fit with poetic associations than its cont

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14

Orenstein, Claudia. "Japanese Epic Puppet Tales at New Year: The Fukaze Dekumawashi and Higashi Futakuchi Performance Traditions." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 4, no. 2 (2023): 173–203. http://dx.doi.org/10.54103/2724-3346/22206.

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In the Hakusan area of Japan’s Ishikawa Prefecture, two villages, Fukaze and Higashi Futakuchi, roughly 350 years ago, developed and have continued to preserve bun’ya ningyō, puppetry combined with the bun’ya style of chanting, a precursor of bunraku. These traditions draw their tales from folk stories and the epic Heike Monogatari or Tale of the Heike. Although their puppets are basic in construction and use a simple form of manipulation, each of these related but distinct traditions captivates with its own unique figures, particular chanting style, and ingenious manipulation techniques. Equa

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15

YAMADA, Syozen. "The repose of souls in the Heike Monogatari―from Rokudo Meguri―." Journal of Research Society of Buddhism and Cultural Heritage 2012, no. 21 (2012): 1–15. http://dx.doi.org/10.5845/bukkyobunka.2012.21_1.

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16

Selinger, Vyjayanthi. "War without Blood? The Literary Uses of a Taboo Fluid in Heike Monogatari." Monumenta Nipponica 74, no. 1 (2019): 33–57. http://dx.doi.org/10.1353/mni.2019.0001.

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17

Hyeonhyeog Jung. "A Study on the Characteristic of “AMAKUSABAN ESOPO MONOGATARI” and “AMAKUSABAN HEIKE MONOGATARI” - With a Adjective of “i”, “ki”, “si” Form -." Journal of the society of Japanese Language and Literature, Japanology ll, no. 60 (2013): 201–18. http://dx.doi.org/10.21792/trijpn.2013..60.010.

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18

Man, Lee Byung. "The Honorifics in "Heike-Monogatari", Focusing on Haberi(侍り) and "Saurahu(候ふ)"". Korean Journal of Japanology 102 (28 лютого 2015): 35–51. http://dx.doi.org/10.15532/kaja.2015.02.102.35.

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19

Jae-Howa, Choi. "A Study on Politics Described “Heike Monogatari” : Focusing On Power Conflict Between People Related by Blood." Japanese Cultural Studies 68 (October 31, 2018): 351–68. http://dx.doi.org/10.18075/jcs..68.201810.351.

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20

정현혁. "A Study on the decay of “koso - izenkeimusubi” - A comparison of 『Amakusaban Heike Monogatari』and “genkyobon”-." Journal of Japanese Language and Literature 62, no. 2 (2007): 411–30. http://dx.doi.org/10.17003/jllak.2007.62.2.411.

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21

김인아. "Study of Ishikawa Jun “Otoshibanashi Kiyomori” -Focusing on the means of modernistic reproduction of “Heike Monogatari”-." Journal of Japanese Studies ll, no. 64 (2015): 121–42. http://dx.doi.org/10.15733/jast.2015..64.121.

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22

Oyler, Elizabeth A. "Ninnaji and Otherworlds in the Nō Tsunemasa." Journal of Religion in Japan 2, no. 2-3 (2013): 152–70. http://dx.doi.org/10.1163/22118349-12341257.

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Abstract This essay discusses the Nō Tsunemasa in connection with narratives about the life of the warrior Taira Tsunemasa, killed during the Genpei War, and his biwa lute, Seizan. A mugen Nō (“dream Nō,” in which the main character, the shite, is a ghost) in one act, the play exhibits an unusual structure: it is the enactment of a memorial musical service for the dead Tsunemasa, set at Ninnaji, the temple at which he served during his youth, rather than at the locale where he died, the more common setting for such plays. Focusing on Ninnaji as the setting for the play, I discuss how its struc

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23

A, Kim In. "Study on Character Creation of Tairano Munemori: From “Heike Monogatari” to Mishima Yukio`s Modern Drama “Yuya”." Korean Journal of Japanology 104 (August 30, 2015): 199–214. http://dx.doi.org/10.15532/kaja.2015.08.104.199.

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24

LEE SUHYANG. "A Characteristic of Notation and a Meaning Use of “む？ん？う” in 『Amakusa edition The Heike Monogatari』". Journal of Japanese Language and Literature 62, № 2 (2007): 355–70. http://dx.doi.org/10.17003/jllak.2007.62.2.355.

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25

Tokita, Alison. "The Reception of the Heike Monogatari as Performed Narrative: The Atsumori Episode in Heikyoku, Zato ¥ Biwa and Satsuma Biwa." Japanese Studies 23, no. 1 (2003): 59–85. http://dx.doi.org/10.1080/10371390305354.

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26

Han Chong-mi. "A Study of Gunki Monogatari Literature and A Change of Sumiyoshi-god ─Mainly Nagato BookㆍEnkyo Era Book "The Tale of the Heike" and "Genpei Josuiki"─". Journal of Japanese Studies ll, № 42 (2009): 165–82. http://dx.doi.org/10.15733/jast.2009..42.165.

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27

Gottner, Richárd Gábor. "japán klasszikus a szamurájok hajnaláról immáron magyarul." Távol-keleti Tanulmányok 15, no. 1 (2023). http://dx.doi.org/10.38144/tkt.2023.1.17.

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28

Oyler, Elizabeth. "Journeys of Exile in the Heike monogatari: Shigehira and Munemori in Captivity." Proceedings of the Association for Japanese Literary Studies 6 (January 1, 2006). http://dx.doi.org/10.26812/pajls.v6i.1230.

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29

Anderson, Beth J., and Jessica Sheetz-Nguyen. "Onna-Bugeisha 'Warrior Women' [University of Central Oklahoma]." Journal of Student Research, April 29, 2019. http://dx.doi.org/10.47611/jsr.vi.681.

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For centuries, women in Japan have been cast as geishas, however, the history of onna-bugeisha or “warrior women” pose a contrasting shadow. These warrior women took up training focused on using the naginata, a sort of spear with a curved blade on the end and the kaiken, a sort of dagger. They trained to protect their homes and villages; in addition, some would even carry their training into battle. In the twelfth century, Hangaku Gozen and Tomoe Gozen, while Nakano Takeko in the nineteenth century were considered to be among the best of the onna-bugeisha. These women led their own armies into

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