Relevant bibliographies by topics / Muromachi

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Muromachi'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Muromachi"

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Murphy, Timothy. "The Muromachi Cranes." Hudson Review 52, no. 2 (1999): 273. http://dx.doi.org/10.2307/3853413.

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MIYAMA, Reichi. "Dangi in Muromachi Hosso Doctrine." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 47, no. 2 (1999): 729–32. http://dx.doi.org/10.4259/ibk.47.729.

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TADA, Jitsudo. "Jingu and Buddhism in the Muromachi Period." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 62, no. 1 (2013): 219–26. http://dx.doi.org/10.4259/ibk.62.1_219.

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Pinnington, Noel J. "Invented origins: Muromachi interpretations of okina sarugaku." Bulletin of the School of Oriental and African Studies 61, no. 3 (October 1998): 492–518. http://dx.doi.org/10.1017/s0041977x00019315.

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Okina , a ritual play without plot, a collection of old songs and dialogues interspersed with dances, can be seen in many parts of Japan, performed in various versions. In village festivals, it may be put on by local people using libretti derived from oral traditions, and in larger shrines professional players might be employed to perform it at the New Year. Puppets enact Okina dances at the start of Bunraku performances and Kabuki actors use them to open their season. Such Okina performances derive from Nō traditions, and as might be expected, the Nō schools have their own Okina, based on texts deriving from the Edo period, which they perform at the start of celebratory programmes. These ‘official’ versions feature, among other roles, two old men: Okina and Sanbasō (). Before the fifteenth century, when Nō traditions were being established, it was common for a third old man known as Chichi no jō () to appear as well (I shall refer to this ‘complete’ form as Shikisanban, three ritual pieces, a term used by Muromachi performers). These old men are marked out from all other Nō roles by their use of a unique type of mask, having a separated lower jaw connected by a cord (the so-called kiriago).Erika de Poorter, in her introduction to Okina, suggests that actors dropped the third section because its Buddhist content conflicted with a trend away from Buddhism towards Shinto (a trend she refers to as ‘the spirit of the times’). She supports her theory by adducing a similar ideological shift in contemporaneous interpretations of Okina and legends about the origins of Nō. De Poorter tells us little about these interpretations, as is perhaps appropriate for an introductory essay. This study, however, aims to give a full account of them, starting with a Buddhist reading, recorded near the beginning of the Muromachi period, proceeding to interpretations current among performers in the fifteenth century, and concluding with the purely Shinto explanation taught by the Yoshida lineage in the mid-sixteenth century.
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Yagyu, Alice Kiyomi. "O Shozoku e a corporeidade do ator Kyogen." Pitágoras 500 9, no. 1 (May 27, 2019): 4–12. http://dx.doi.org/10.20396/pita.v9i1.8655496.

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Este artigo vem expor a particularidade do Shozoku, designação para os figurinos de Kyogen - comédia clássica japonesa - que, ao manter as características de vestimentas da era Muromachi (séculos XIV a XVI) na cena, traz desafios ao corpo do ator ocidental no presente.
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Kusdiyana, Eman. "REFLEKSI GEKOKUJO DALAM TEKS DRAMA KYOUGEN BERJUDUL “BUAKU”." GENTA BAHTERA: Jurnal Ilmiah Kebahasaan dan Kesastraan 3, no. 2 (December 1, 2017): 249–65. http://dx.doi.org/10.47269/gb.v3i2.19.

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AbstrakDrama Kyougen berjudul Buaku menceritakan tentang konflik sosial antara golongan sosial atas (penguasa) dengan golongan sosial bawah (petani, buruh, tukang dan pedagang) yang terjadi di Jepang pada zaman Muromachi (1350—1573). Secara sosiologis yang ditekankan pada cerita Buaku ini adalah konflik sosial berupa perlawanan golongan sosial bawah terutama petani desa terhadap golongan sosial atas(Shugo Daimyo, Daikan) yang dikenal dengan istilah Gekokujo (bawahan melawan atasan). Dalam gerakan Gekokujo esensinya adalah rakyat bangkit, berpikir kritis, bersatu, dan menciptakan rasa kebersamaan diantara golongan sosial bawah khususnya petani desa untuk melawan para penguasa yang memeperlakukan golongan sosial bawah secara tidak manusiawi. Kajian ini mencoba untuk melihat sajauh mana cerita Buaku ini merefleksikan pertentangan antara golongan sosial ba wa h d enga n golongan sosial a ta s yang diwujud kan d alam be ntuk Gekokujo.Pendekatan yang digunakan adalah pendekatan sosiologis dengan metode deskriptif analitis dan hermeneutik. Pengumpulan data menggunakan metode studi kepustakaan dan terjemahanserta teknis analisis menggunakan metode wacana kritis. Hasil kajian dan pembahasan menunjukkan bahwa cerita Buaku ini sarat dengan pencerminan Gekokujo yaitu perlawanan golongan sosial bawah (petani, pelayan) terhadap golongan sosial atas (tuan atau majikan) pada zaman Muromachi.Golongan sosial bawah pada zaman Muromachi berada pada posisi masyarakat yang hidupnya mendapat tekanan dari penguasa, sehingga hidupnya penuh dengan penderitaan. Oleh sebab itu, golongan sosial bawah melakukan perlawanan terhadap penguasa yang dikenal dengan Gekokujo. Perlawanan yang dilakukan berdasarkan azas keadilan dan kemanusiaan yang mengedepankan bahwa manusia dalam kehidupannya harus adil, bijaksana serta menjunjung perikamunisaan. Kata kunci: Kyougen, Buaku, konflik sosial, Gekokujo AbstractDrama of Kyougen entitled “Buaku” tells about a social conflict between the high-social class (authority) and the low-social class (peasants, laborers, craftsmen, and traders) happened in Japan in the era of Muromachi (1350-1573). Sociologically, Buaku tells about a social conflict, namely an opposition between the low-social class, especially village peasants against the high-social class (Shugo Daimyo, Daikan) known as Gekokujo rebellion (superiors against inferiors). The essence of Gekokujo was that the people arose, critical, united to achieve the sense of togetherness among the low-social class especially viallage peasants against the high- social class who treated them inhumanely. This study tries to find out to what extent Buaku reflects the conflict between the high-social classand the low-social class realized in Gekokujo. The approach used as the grand theory in the study was the sociological approach with the analytical-descriptive method and hermeneutic. Data were collected through the library studies and translation. The technique analysis used the critical discourse. The result shows that Buaku isfull of the reflection of the opposition ofthe low-social class (peasants and employees) against the high-social class (masters or employers) in the era of Muromachi. The low-social class in the era Muromachi are in position of society that is under pressure on his life. So that his life is full of suffering. Therefore, the low-social class figting against the ruler know as Gekokujo. The resistance is based on the principle of justice and humanity. Human beings must be just and uphold humanity. Keywords: Kyougen, Buaku, social conflict, Gekokujo
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YAMADA, Toru. "Shomu-sata of Muromachi-Shogunate and its Change." Legal History Review 2007, no. 57 (2007): 41–84. http://dx.doi.org/10.5955/jalha.2007.41.

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Arntzen, Sonja, and Joseph D. Parker. "Zen Buddhist Landscape Arts in Early Muromachi Japan (1336-1573)." Monumenta Nipponica 55, no. 1 (2000): 152. http://dx.doi.org/10.2307/2668401.

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Arkenstone, Quillon. "Late Muromachi and Furyū Nō : Two Plays by Kanze Nagatoshi." Asian Theatre Journal 30, no. 2 (2013): 466–85. http://dx.doi.org/10.1353/atj.2013.0040.

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Marra, Michele. "The Buddhist Mythmaking of Defilement: Sacred Courtesans in Medieval Japan." Journal of Asian Studies 52, no. 1 (February 1993): 49–65. http://dx.doi.org/10.2307/2059144.

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When buddhist institutions directed their efforts to the evangelization of the common people during the Kamakura and Muromachi periods (1192–1573), they met a set of popular beliefs that were deeply entrenched in the lives of their new audience. In spite of local variations in the names of the deities worshiped and in the details of ritual performances, a series of “defiling” practices that were perceived as dangerous taboos (imi) provided Japanese worshipers with a common denominator that transcended geographic, linguistic, and time boundaries.
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Dissertations / Theses on the topic "Muromachi"

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Ng, Yuk-lan. "Mid-Muromachi flower and bird painting in Ashikaga painting circles /." View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38030962.

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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.

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Umeno, Jasmine C. E. "The Demonic Women of Premodern Japanese Theatre." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/708.

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This thesis aims to examine the ways in which women are used as vehicles within the noh and kabuki theatre traditions to perpetuate moral and religious doctrine. Using the theoretical frameworks of Michel Foucault, Judith Butler, and Jill Dolan, I examine two plays which feature a female demon as their antagonist, Momijigari and Dojoji, and focus on the ways they incorporate Buddhist and Neo-Confucian ideology in their respective noh and kabuki renditions.
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Fang, Hui. "Sesshu Toyo's Selective Assimilation of Ming Chinese Painting Elements." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12984.

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Sesshu Toyo (1420-1506) was a preeminent Japanese monk painter who journeyed to China in the mid-fifteenth century. This thesis focuses on a diptych of landscape paintings by Sesshu Toyo, Autumn and Winter Landscapes (Shutou sansui zu), to analyze how Sesshu; selectively synthesized traditions of Chinese painting tradition that had already been established in Japan and the art conventions he discovered in fifteenth-century China. To contextualize this topic, this thesis explores the revival of the Southern Song (1127-1279) painting tradition which had impacts on both contemporary Chinese painters and landscape painters in Japan during the fifteenth century. I also analyze the culture of Japanese Zen monastics and their art-related activities and the transformation of Southern Song painting traditions within China in the early Ming period (later half of the fourteenth century-first half of the fifteenth century).
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Baumert, Nicolas. "Du saké de Kyōto au kudarizake Evolution des territoires de production du saké entre la fin de la période Muromachi et la fin d'Edo." 名古屋大学大学院国際言語文化研究科, 2013. http://hdl.handle.net/2237/18897.

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Davin, Didier. "L' expression de soi dans la poésie bouddhique japonaise du XVe : Ikkyū Sōjun (1394-1481) et le Kyōun-shū." Paris, EPHE, 2014. http://www.theses.fr/2014EPHE5016.

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Le Kyōun-shū, recueil de stances et de poèmes du moine Ikkyū Sōjun (1394-1481) Sōjun (1394-1481), se distingue de la masse des nombreuses œuvres similaires que produisirent au Moyen Age les moines zen de l’école Rinzai par les provocations et les positions très critiques à l’égard des coreligionnaires de celui –ci que l’on y trouve. La grande célébrité d’Ikkyū, ou plus précisément de certaines images de lui, a longtemps conditionné la lecture de ces quatrains. En s’interrogeant sur le sens que prennent ceux-ci une fois relacés dans les divers contextes de leur production, cette thèse propose une présentation des motivations et des enjeux de la pensée d’Ikkyū. Le XVe siècle est une période de bouleversements dans la société japonaise, et en conséquence dans les relations qu’entretenaient les temples et les laïcs. Dans l’histoire de l’école zen, alors que s’amorce le déclin du système des Cinq Montagnes, le Daitoku-ji, auquel est affilié Ikkyū, connait une suite de crises mettant à mal la spécificité dont il s’enorgueillissait. C’est en grande partie contre les évolutions de son école induites par ce contexte que se dresse Ikkyū. Il le fait en adoptant une posture particulière revendiquant la transgression sous diverses formes, en premier lieu desquelles la composition poétique. Il peut ainsi à la fois avoir un discours polémique très violent et attaquer les moines qu’il considère comme décadents sans avoir à quitter une école dont il se pose en seul et unique héritier. Son enseignement, de plus, jusque dans les points doctrinaux les plus pointus, s’appuie sur une attitude très critique envers son milieu
The Kyōun-shū, collection of poems and stanzas of the monk Ikkyū Sōjun (1394-1481), differs from the numerous similar works produced during the middle age by others Rinzai zen monks by the provocations and the very critical position against his religious community that can be found in it. The celebrity of Ikkyū, or more precisely of different images of him, has, for a long time, determined the way the quatrains were read. By questioning their meaning once put in the context of their production, this thesis proposes a presentation of the motivations and the issues of the thought of Ikkyū. The XVth century is a time of upveal in the Japanese society, and consequently in the relations between the temples and the lay people. In the zen school history, when the Five Mountains system begins to decline, the Daitoku-ji temple experiences several crisis that undermine the specificity it priced itself. It is mainly against the evolutions of his school induced by the context that raise Ikkyū. He does it by adopting a special posture, claiming several forms of transgressions, at the first place the poetic composition. By doing so, he can, in the same time, have a polemical discourse and attack the monks he considers to be decadents, and not to have to leave a school he claims to be the only legitimate heir. His teaching, moreover, is founded on this attitude even in the very doctrinal points
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Brisset, Claire-Akiko. "Les ashide dans le japon ancien : à la croisée du texte et de l'image : de quelques peintures et laques cryptographiques de Heian et de Muromachi." Paris 7, 2000. http://www.theses.fr/2000PA070083.

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Il est d'usage aujourd'hui de regrouper sous le terme d'ashide, ou << ecriture en forme de roseau >> , un certain nombre de pratiques encore mal connues dans l'art japonais ancien, pratiques a la fois calligraphiques et picturales, et qui constituent principalement a introduire dans une image des caracteres d'ecriture et d'autres indices a valeur linguistiques. On en trouve des temoignages dans un corpus heteroclite, compose de calligraphies (xie-xve s. ), de peintures (xiie-xtve s. ) et d'objets en laque (xiiie-xviiie s. ). Les caracteres d'ecriture sont le plus souvent caches dans les profondeurs de l'image au point de se derober a toute lecture. Combines aux motifs picturaux proprement dits, ils sont charges de renvoyer a un referent textuel, poeme ou stance de sutra. La peinture ou la boite constitue alors la mise en image allusive de ce referent. Cette recherche a pour but, d'une part, d'eclairer la genese du terme lui-meme, a travers l'examen du corpus constitue par ses occurrences dans les uvres litteraires (debut xe-xve s. ), et, d'autre part, d'etudier les differents types de rapports entre texte et image que propose le corpus proprement iconographique des ashide. Cette approche, de caractere semiologique, est envisagee selon deux axes principaux : l'aspect formel et l'aspect fonctionnel du phenomene.
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Soler, Masota María de la Paz. "Karesansui. Un estudio sistemático de las reglas de diseño y los valores estéticos de los jardines secos japoneses durante el periodo Muromachi. Su conceptualización como obra de arte espacial desde una perspectiva comparada con el Movimiento Land Art." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397806.

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Los jardines secos japoneses (karesansui) constituyen una obra de arte espacial, a la que atribuir un conjunto de características formales y criterios estéticos. Al efecto, se plantea un análisis comparativo mutatis mutandis con obras señeras del movimiento Land Art. El ejercicio permite categorizar a los primeros como una obra de arte artística espacial, al tiempo que aporta una lectura renovada de los orígenes y postulados propios del citado movimiento Land Art.
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"The Lineage of Emotions in Medieval Japan: A Textual Analysis of Yoshitsune's Kibune Episode." Master's thesis, 2014. http://hdl.handle.net/2286/R.I.25127.

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abstract: Stories concerning Minamoto no Yoshitsune, one of Japan's best known and most tragic heroes, are numerous and varied. From his birth to his death, nearly every episode of Yoshitsune's life has been retold in war tales, histories, and plays. One of the major and most influential retellings of the Yoshitsune legend is found in Gikeiki, a text from the fifteenth century. This study looks at the early period of the legend and specifically focuses on the Kibune episode, when Yoshitsune lived and trained at Kurama Temple. It provides a new translation of the episode as told in Gikeiki and discusses the different portrayals of Yoshitsune within the Gikeiki textual lineage and in previous and subsequent works of literature. The thesis also takes a brief look at the development of Gikeiki texts; it shows the malleability of the Yoshitsune legend and the Gikeiki text and discusses the implications that this malleability has on our understanding of the place of Gikeiki and the legend of Yoshitsune within the medieval Japanese cultural consciousness.
Dissertation/Thesis
M.A. Asian Languages and Civilizations 2014
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Huang, Jia-Ling, and 黃佳鈴. "The Image of Fox in Japanese and Chinese Literature -focusing on folk tales in Muromachi period and “Tai Pin Guan Chi”.-." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/93695452955640803277.

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碩士
國立臺灣大學
日本語文學研究所
100
During the Muromachi period in Japan, stories different from Heian period were created due to the power transition from the nobility to samurai. As the main audience shifted to the common people, the tales become easier to understand, and were usually published with illustrations. There are many types of tales, including religious stories, wars and supernatural fantasies of animals, etc. As opposed to the tales in Muromachi period, in China a collection of stories called “Tai Pin Guan Chi” was published in Song Dynasty. It contains about 7000 stories and most of them are about ghosts, immortals, and animals. To compare and contrast the stories in Japanese and Chinese literature, I would like to focus on tales of animals, especially on the fox to figure out why the fox makes their appearances in such a great variety of images. Through the research, the fox is found to be Inari’s messengers on one hand; it becomes a tool used to preach Buddhism in tales of Muromachi period on the other. However, in “Tai Pin Guan Chi” the fox reflects author’s ideals, how the society worked and the religious belief, all of which have a great influence on the present-day Chinese people.
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Books on the topic "Muromachi"

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Muromachi monogatarishū. Tōkyō: Nihon Koten Bungakkai, 1990.

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Muromachi bungaku zakki. Tōkyō: Shintensha, 1998.

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Muromachi no heiwa. Tōkyō: Yoshikawa Kōbunkan, 2009.

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Muromachi teishin shakairon. Tōkyō-to Bunkyō-ku: Hanawa Shobō, 2014.

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Miyawaki, Shunzō. Muromachi sengokushi kikō. Tōkyō: Kōdansha, 2000.

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1913-, Morita Takeshi. Muromachi jidaigo ronkō. Tōkyō: Sanseidō, 1985.

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Nakamura, Itaru. Muromachi nōgaku ronkō. Tōkyō: Wanʼya Shoten, 1994.

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Muromachi monogatari ronkō. Tōkyō: Shintensha, 1996.

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Muromachi monogatari to kohaikai: Muromachi no "chi" no yukue. Tōkyō: Miyai Shoten, 2014.

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Yamashita, Yūji. Muromachi kaiga no zanzō =: Visual echoes of Muromachi painting. Tōkyō: Chūō Kōron Bijutsu Shuppan, 2000.

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Book chapters on the topic "Muromachi"

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Pinnington, Noel John. "Contexts: Japan in the Muromachi Age." In A New History of Medieval Japanese Theatre, 1–23. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-06140-1_1.

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McNabb, David E. "Commerce in the Kamakura and Ashikaga/Muromachi Shogunates." In A Comparative History of Commerce and Industry, Volume I, 167–80. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137503268_10.

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Teranishi, Juro. "Institutions and Trust Level During the Muromachi Era." In Culture and Institutions in the Economic Growth of Japan, 181–236. Tokyo: Springer Japan, 2020. http://dx.doi.org/10.1007/978-4-431-55627-5_5.

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Hall, John Whitney. "The Muromachi bakufu." In Warrior Rule in Japan, 91–146. Cambridge University Press, 1995. http://dx.doi.org/10.1017/cbo9781139174435.004.

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Hall, John Whitney. "The Muromachi bakufu." In The Cambridge History of Japan, 175–230. Cambridge University Press, 1990. http://dx.doi.org/10.1017/chol9780521223546.006.

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Akira, Imatani, and Suzanne Gay. "Muromachi local government:shugoandkokujin." In The Cambridge History of Japan, 231–59. Cambridge University Press, 1990. http://dx.doi.org/10.1017/chol9780521223546.007.

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"Mansions of Muromachi." In Art Of Japanese Gardens, 141–60. Routledge, 2013. http://dx.doi.org/10.4324/9780203040782-12.

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"Mansions of Muromachi." In Art Of Japanese Gardens, 161–84. Routledge, 2013. http://dx.doi.org/10.4324/9780203040782-13.

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"Muromachi, Sakamoto, and Beyond." In Householders, 152–84. BRILL, 2007. http://dx.doi.org/10.1163/9781684170456_007.

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"13. Buddhism In The Muromachi Era." In A History of Japanese Buddhism, 191–204. Global Oriental, 2008. http://dx.doi.org/10.1163/ej.9781905246410.i-280.134.

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Conference papers on the topic "Muromachi"

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"Pulsed Neutron Imaging Based Crystallographic Structure Study of a Japanese Sword made by Sukemasa in the Muromachi Period." In Neutron Radiography. Materials Research Forum LLC, 2020. http://dx.doi.org/10.21741/9781644900574-32.

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"Crystallographic Microstructure Study of a Japanese Sword made by Noritsuna in the Muromachi Period by Pulsed Neutron Bragg-Edge Transmission Imaging." In Neutron Radiography. Materials Research Forum LLC, 2020. http://dx.doi.org/10.21741/9781644900574-33.

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