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Journal articles on the topic 'Kyōkō'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Suleski, Ronald. "Kenkoku daigaku no kenkyū: Nihon Teigoku shugi no ichidanmen. By Yukio Yamane. Tokyo: Kyōko shoin, 2003. 448 pp. ¥8,000." Journal of Asian Studies 63, no. 2 (May 2004): 518–19. http://dx.doi.org/10.1017/s0021911804001342.

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12

ARAI, Koki. "Dokkinhō shinhanketsu no hō to keizaigaku: Jirei de yomitoku Nihon no kyōsō seisaku (Antitrust Law and Economics: Competition Policy Cases in Japan)." Social Science Japan Journal 23, no. 1 (November 25, 2019): 131–33. http://dx.doi.org/10.1093/ssjj/jyz038.

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13

GUNJI, Hiroshi. "Hijōji taiō no shakai kagaku: Hōgaku to Keizaigaku no kyōdō no kokoromi (Social Science of Emergency Response: Joint Study in Jurisprudence and Economics)." Social Science Japan Journal 21, no. 2 (2018): 354–56. http://dx.doi.org/10.1093/ssjj/jyy008.

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14

O'Brien, James. "The Similitude of Blossoms: A Critical Biography of Izumi Kyōka (1873–1939), Japanese Novelist and Playwright. By Charles Shirō Inouye. Cambridge, Mass.: Harvard University Press, 1998. $40.00." Journal of Asian Studies 58, no. 3 (August 1999): 843–44. http://dx.doi.org/10.2307/2659161.

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15

Königsberg, Matthew. "Spirits of Another Sort, The Plays of Izumi Kyōka. By M. Cody Poulton. Ann Arbor: University of Michigan, Center for Japanese Studies, 2000. xv, 346 pp. $49.95 (cloth)." Journal of Asian Studies 61, no. 2 (May 2002): 731–32. http://dx.doi.org/10.2307/2700341.

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16

Park, Su-Cheol. "The Honnō-ji Incident of 1582 and the Kanemi-kyōki : Characteristics of the Japanese Archival Culture in the Transitional Period from the Middle Ages to the Early Modern Era." Korean Association For Japanese History 56 (December 31, 2021): 5–35. http://dx.doi.org/10.24939/kjh.2021.12.56.5.

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17

SAKAI, Chie. "Danjo Kyōdō Sankaku Shakai o Tsukuru (Making A Gender-Equal Society), by Ōsawa Mari. Tokyo: Nihon Hōsō Shuppan Kyōkai, 2002, 252 pp., 970 yen (ISBN 4-140-01950-6)." Social Science Japan Journal 8, no. 2 (February 3, 2005): 320–22. http://dx.doi.org/10.1093/ssjj/jyi013.

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18

KAMAGA, Kohei. "Kōsei keizaigaku to keizai seisakuron no taiwa: Fukushi to kenri, kyōsō to kisei, seido no sekkei to sentaku (Interactions Between Welfare Economics and Economic Policy: Well-Being and Rights, Competition and Welfare, Design and Social Choice of Institutions)." Social Science Japan Journal 23, no. 1 (December 3, 2019): 117–20. http://dx.doi.org/10.1093/ssjj/jyz042.

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19

Kawamura, Hirotada. "The national map of Japan compiled by the Tokugawa Shogunate." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-165-2019.

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<p><strong>Abstract.</strong> In early modern Japan, it was a political tradition for the central government to compile a national map. Edo Shogunate had compiled nationally the nihon-sōzu (national map of Japan) from the kuni-ezu (provincial map). The Shogunate government ordered the major Daimyōs (feudal lords) of each kuni (province) to produce personally their own kuni-ezu (provincial maps), and present it to the Shogunate. Then the government compiled nationally the map of Japan from those provincial maps, which were consists of 68 pieces of all kuni traditionally in Japan.</p><p>Each Shogunate national map of Japan was a huge chromatic hand writing map. For a considerable time, the national map created by the Shogunate government was mistakenly believed to have been produced total of four times (during the Keichō, Shōhō, Genroku, and Kyōhō eras) in all. This is because it was generally known that the Shogunate government collected provincial maps from each province in all these eras.</p><p>By the way, recently it was revealed in my study that the national maps created by the Tokugawa Shogunate during the Edo era 260 years (1608-1867) was six times in all, as shown in Table 1, except for the last Ino’s map. Ino’s map was not compiled from kuni-ezu and the making of this map had a big personal role rather than work of the government. Therefore, in this report, it has not taken up about the Ino’s map.</p><p>It was assumed that the Keichō era’s national map was based on its provincial map. However, it is now a general view that Keichō era’s provincial map not created nationwide but having been created only in western part of Japan with many lords promoted by Toyotomi Hideyosi. This raises an important question; how can a national map be correctly produced if all provincial maps in Japan are not included?</p><p>On the other hand, the third shogun Tokugawa Iemitu sent Junkenshi (Administrative inspectors) to all provinces for the first time in 10th year of Kan’ei (1633), and each inspector collected provincial maps from their respective province and then the Shogunate government compiled the national map of Japan for the first time in the Edo period. Its copy remains nowadays in four places, including the Saga prefectural Library.</p><p>The Revolt of Simabara occurred four years after the first national map of Japan was made, and Shogunate government had difficulty in dispatching armies to distant Kyūshū. Not only was strongly aware of the lack of traffic information in the previous map, but the 3-disc set map was too large for usable. From that reflection, Inoue Masashige, the chief officer of the government hurriedly thought about the revision of the national map, and collected the provincial maps again only from the Chūgoku district leading to kyūshū and quickly reproduced the map. That is the map of 15 years of Kan’ei.</p>

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20

Kochanek, Stanley A. "Indian Industrialization: Structure and Policy Issues. Edited by Arun Ghosh, K. K. Subrahmanian, Mridul Eapen, and Haseeb A. Drabu. Delhi: Oxford University Press, 1992. vii, 364 pp. $29.95. - Industrial Development Policy of Indiax. By Kyōko Inoue. I.D.E. Occasional Papers Series No. 27. Tokyo: Institute of Developing Economies, 1992. vii, 163 pp. $50.00." Journal of Asian Studies 52, no. 3 (August 1993): 749–51. http://dx.doi.org/10.2307/2058904.

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21

Nomura, Fumiko. "Commemorating Professor Nakamura Kyōko." Japanese Journal of Religious Studies, November 1, 2003. http://dx.doi.org/10.18874/jjrs.30.3-4.2003.361-362.

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22

Hölzl, Andreas. "Maezono, Kyōko: Intransitiv-, Transitiv-, Kausativ- und Passivverben im Mandschu und Mongolischen; Maezono, Kyōko: Verbbildungs-Suffixe im Mandschu und Mongolischen." Orientalistische Literaturzeitung 110, no. 6 (January 1, 2015). http://dx.doi.org/10.1515/olzg-2015-0181.

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23

Klautau, Orion. "Review of: Tanigawa Yutaka, Meiji zenki no kyōiku, kyōka, Bukkyō." Japanese Journal of Religious Studies, May 1, 2011. http://dx.doi.org/10.18874/jjrs.38.1.2011.220-222.

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24

"Gros Clémence, Les Récits fantastiques d’Izumi Kyōka (1873-1939) et le Refus des dichotomies." Cipango, no. 21 (December 31, 2014). http://dx.doi.org/10.4000/cipango.2371.

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25

Heine, Steven. "“When Mountains Can No Longer Be Seen”: A Critical History of Interpretations of an Ambiguous Shōbōgenzō Sentence." Journal of Chan Buddhism, May 20, 2021, 1–38. http://dx.doi.org/10.1163/25897179-12340008.

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Abstract This paper critically examines the various ways a particularly puzzling line in Dōgen’s 道元 “Genjōkōan” 現成公案 fascicle has been interpreted by premodern sources, especially the Goshō commentary by Senne 詮慧 and Kyōgō 經豪, as well as modern commentators, including sectarian figures such as Nishiari Bokusan 西有穆山 and Kurebayashi Kōdō 榑林皓堂 seen in relation to non-sectarian philosophers such as Watsurji Tetsurō 和辻哲郎. The key passage on “riding a boat out to sea, where mountains can no longer be seen (yamanaki kaichū 山なき海中),” raises crucial issues concerning Dōgen’s approach to multi-perspectivism that have been generally been construed in terms of absolutist and relativist standpoints. My analysis of the scholastic debates also sheds light on the full history of commentaries on Dōgen’s Shōbōgenzō 正法眼蔵 encompassing the late medieval and early modern periods.

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