Relevant bibliographies by topics / Kyōkō

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Academic literature on the topic 'Kyōkō'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Kyōkō"

1

Müller, Simone, Steven Hill, Sukwi Kim, Francis Müller, Nahoko Suzuki, and Andres Toledo. "Aufzeichnungen über einen unheimlichen Mönch: Eine kommentierte Übersetzung." Asiatische Studien - Études Asiatiques 73, no. 2 (July 26, 2019): 297–310. http://dx.doi.org/10.1515/asia-2019-0006.

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Abstract Yōsōki (Records about a Creepy Monk, 1902) is a lesser-known short story of Izumi Kyōka, one of the most popular writers of the Meiji period. Kyōka, known for his fantastic, pictorial and folksy stories, belonged to the renowned literary circle Kenyūsha, founded by Ozaki Kōyō, that committed itself to light fiction and firmly rejected didactically motivated literature. The story Yōsōki presented here for the first time in German translation, stands prototypically in the tradition of the fantastic-aesthetic literature characteristic for Kyōka’s writing.
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Ehrlich, Linda C., and Kishi Yoskiko. "Kagawa Kyōko—A New Look at Japan’s “Most Unassuming Star”." Asian Cinema 15, no. 1 (March 1, 2004): 116–41. http://dx.doi.org/10.1386/ac.15.1.116_1.

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Solomon, Joshua Lee. "Fantastic Placeness: Fukushi Kōjirō’s Regionalism and the Vernacular Poetry of Takagi Kyōzō." Japanese Studies 39, no. 1 (January 2, 2019): 95–113. http://dx.doi.org/10.1080/10371397.2019.1588692.

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Poulton, Cody. "Drama and Fiction in the Meiji Era: The Case of Izumi Kyōka." Asian Theatre Journal 12, no. 2 (1995): 280. http://dx.doi.org/10.2307/1124111.

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Rotaru, Arina. "Yoko Tawada’s Kafka Kaikoku." Journal of World Literature 2, no. 4 (2017): 454–74. http://dx.doi.org/10.1163/24056480-00204005.

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Despite the vast body of scholarship on Yoko Tawada, an author who writes in both German and Japanese, her work has not been examined in light of the question of modernity. Through a close reading of her play Kafka Kaikoku and an examination of recent world literary theories, this paper situates Tawada’s work in relation to a complicated nexus that features as protagonists two contemporaneous authors, Franz Kafka and Izumi Kyōka, engaging with their migrations between pre-modern and modern pasts. How does this complicated temporal dimension re-imagine putative divisions between East and West in relation to modernity and modernities, and how does that affect our understanding of world literature? My paper proposes the notion of “interlaced modernities” to address these questions and reflects on its implications for world literature.
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Armendáriz-Hernández, Alejandra, and Irene González-López. "Roundtable: The Position of Women in Post-War Japanese Cinema (Kinema Junpō, 1961)." Film Studies 16, no. 1 (2017): 36–55. http://dx.doi.org/10.7227/fs.16.0004.

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In contrast to the canonical history of cinema and film theory, often dominated by academic texts and Western and/or male voices, this article presents a casual conversation held in 1961 between four of the most influential women in the post-war Japanese film industry: Kawakita Kashiko,,Yamamoto Kyōko, Tanaka Kinuyo and Takamine Hideko. As they openly discuss their gendered experience in production, promotion, distribution and criticism, their thoughts shed light on the wide range of opportunities available to women in filmmaking, but also on the professional constraints,and concerns which they felt came along with their gender. Their conversation reveals how they measured themselves and their national industry in relation to the West; at times unaware of their pioneer role in world cinema. This piece of self-reflexive criticism contributes to existing research on both womens filmmaking and the industry of Japanese cinema, and invites us to reconsider non-hegemonic film thinking practices and voices.
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Clements, Rebekah. "Speaking in Tongues? Daimyo, Zen Monks, and Spoken Chinese in Japan, 1661–1711." Journal of Asian Studies 76, no. 3 (June 23, 2017): 603–26. http://dx.doi.org/10.1017/s002191181700047x.

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The scholarly narrative of spoken Chinese studies in Tokugawa Japan is dominated by Ogyū Sorai, who founded a translation society in 1711 and urged Japanese intellectuals to learn contemporary spoken Chinese in order to draw closer to the language of the Chinese classics. This article explores the decades prior to this, when Sorai served the powerful daimyo Yanagisawa Yoshiyasu. By investigating Yoshiyasu's contact with Chinese monks and the surprising but previously untested claim that he could understand spoken Chinese, I explore the cultivation of spoken Chinese learning and the patronage of Chinese émigrés by members of Japan’s warrior elite in the late seventeenth and early eighteenth centuries. Prior to the scholarly interest in vernacular Chinese and the popularity of Ming and Qing literature in Japan from the Kyōhō period (1716–35) onwards, Chinese orality served as a tangible link to the Chinese tradition for Yoshiyasu and other powerful daimyo, functioning as a sign of their fitness for power in East Asia.
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GERSTLE, C. ANDREW. "The culture of play: kabuki and the production of texts." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 358–79. http://dx.doi.org/10.1017/s0041977x03000259.

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This article examines the role of performance (defined in its broadest sense) in Japanese literary culture, specifically the relationship between performance and the production of physical texts, both script and illustration. It postulates the thesis that performance has been an essential part of artistic creation even among highly literate artists/writers in the genres of poetry (waka, renga, haikai, kyōka), Nō and kabuki drama. A case is made that artists' salons (including professionals and amateurs) were an integral part of cultural life and that their activities were as important as the physical texts produced in response to such performances. The core of the article focuses on the Kabuki ‘culture of play’ in Osaka, through which actors, poets, artists and fans participated both in performances and in the production of texts such as books on actors (yakusha ehon), books on theatre (gekisho), surimono (privately-commissioned prints commemorating a poetry gathering), single-sheet actor prints, and actor critique books (yakusha hyōbanki).
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Kabat, Adam, Charles Shirō Inouye, and Charles Shiro Inouye. "The Similitude of Blossoms: A Critical Biography of Izumi Kyōka (1873-1939), Japanese Novelist and Playwright." Journal of Japanese Studies 27, no. 1 (2001): 237. http://dx.doi.org/10.2307/3591959.

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Snyder, Stephen, Charles Shirō Inouye, and Charles Shiro Inouye. "The Similitude of Blossoms: A Critical Biography of Izumi Kyōka (1873-1939), Japanese Novelist and Playwright." Harvard Journal of Asiatic Studies 61, no. 1 (June 2001): 267. http://dx.doi.org/10.2307/3558601.

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Books on the topic "Kyōkō"

1

Kyōsō to kyōkō. Tōkyō: Yūhikaku, 1986.

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2

Yamazaki, Hiroaki. Shōwa kinʾyū kyōkō. Tōkyō: Tōyō Keizai Shinpōsha, 2000.

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Kyōkō to fukyō. Tōkyō: Ochanomizu Shobō, 2005.

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Kyōkō fukyō no keizaigaku. Tōkyō: Shin Nihon Shuppansha, 2000.

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5

1968-, Satō Ayano, ed. Shōwa kyōkō to kin'yū seisaku. Tōkyō: Nihon Hyōronsha, 2012.

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6

Heisei kin'yū kyōkō ga kuru. Tōkyō: Daiyamondosha, 1994.

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7

Ōtsuki, Hisashi. "Kin yū kyōkō" to bigguban. Tōkyō: Shin Nihon Shuppansha, 1998.

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8

Takahashi Korekiyo to Shōwa kyōkō. Tōkyō: Bungei Shunjū, 1999.

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9

Imuta, Yoshimitsu. Shōwa kinʼyū kyōkō no kōzō. Tōkyō: Keizai Sangyō Chōsakai, 2002.

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10

Kinʾyū kyōkō daifukyō ginkō keiei. Tōkyō: Yūhikaku, 1988.

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Book chapters on the topic "Kyōkō"

1

Schönbein, Martina. "Izumi Kyōka." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2183-1.

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Schönbein, Martina. "Izumi Kyōka: Kōya hijiri." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2184-1.

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Shibata, Yuko. "Writing Shanghai, the Atomic Bomb, and Incest: Homelessness and Stigmatized Womanhood of Hayashi Kyōko." In Crisis and Disaster in Japan and New Zealand, 23–40. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0244-2_3.

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Poulton, M. Cody. "Izumi Kyōka." In A Beggar's Art, 67–84. University of Hawai'i Press, 2010. http://dx.doi.org/10.21313/hawaii/9780824833411.003.0004.

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Shirane, Haruo. "Satiric poetry: Kyōshi, Kyōka, and Senryū." In The Cambridge History of Japanese Literature, 503–9. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cho9781139245869.053.

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6

"›Bildung‹ vs. ›Kyōyō‹ Ein deutsch-japanischer Sprach- und Kulturvergleich1." In Bildung in fremden Sprachen?, 275–86. transcript-Verlag, 2018. http://dx.doi.org/10.14361/9783839436882-013.

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7

"CHAPTER 4 Senne and Kyōgō: Commentators on Dōgen's Shōbōgenzō." In Sōtō Zen in Medieval Japan, 44–50. University of Hawaii Press, 1993. http://dx.doi.org/10.1515/9780824844998-008.

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8

"8 Hayashi Kyokō and the Gender of Ground Zero." In The Woman’s Hand, 262–92. Stanford University Press, 1996. http://dx.doi.org/10.1515/9781503616202-012.

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HUNTER, Janet. "Kikuchi Kyōzō and the Implementation of Cotton-spinning Technology:." In Accessing Technical Education in Modern Japan, 189–216. Amsterdam University Press, 2022. http://dx.doi.org/10.2307/j.ctv2dt5m7z.15.

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"The Right to Speak: Language Maintenance in Japan: Kyōko Yashiro." In Diversity In Japanese Culture, 233–54. Routledge, 2012. http://dx.doi.org/10.4324/9780203038529-20.

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