出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

2022-02

著者

NOGUEIRA RAMOS Martin

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.35, pp.59-90, 2021-03

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By examining the dynamic interactions between the authorities, the Buddhist clergy, and the hidden Christians, this article aims to deepen our understanding of the Tokugawa anti-Christian policy in the aftermath of the Shimabara-Amakusa revolt (November 1637–April 1638), a period of international tension for Japan as the Iberian threat was not over. It focuses on Sessō Sōsai (1589–1649), a Rinzai monk who was summoned by the authorities of Nagasaki in mid-1647 to preach to the populace. Some of his writings and his working papers have survived. These firsthand sources enable us to bring together fields that previous scholarship has generally tackled separately: intellectual, institutional, and social history. This essay argues that around 1640, Sessō Sōsai and his patrons in Nagasaki felt that the religious inquiry had reached a deadlock as the alleged apostates could suddenly (and violently) return to their previous faith. They understood that, in order to be more efficient and obtain sincere apostasies, their fight against the forbidden cult should focus more on the actual beliefs of the hidden Catholics. They paid particular attention to the belief in miracles and in the omnipotence of God.

著者

PRADHAN Gouranga Charan

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.32, pp.69-88, 2019

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This paper examines the English-language translation of Hōjōki by famed novelist Natsume Sōseki (1867–1916). Sōseki’s pioneering translation moved away from previous interpretive readings of the classic, which focused on its Buddhist elements, disaster narratives, and theme of reclusion. Rather, Sōseki’s interest lay in reading Hōjōki as a Romantic Victorian work on nature, to which end he likened its author, Kamo no Chōmei (1153 or 1155– 1216), to English poet William Wordsworth (1770–1850). Sōseki’s English literature professor, James Main Dixon (1856–1933), played a crucial role in the crafting of this novel and radical interpretation, yet the translation and essay present unique views on translation as well, namely that translation simultaneously comprises a critical element of cultural circulation and yet is of dubious efficacy as a mechanism of transference between cultures and languages. In addition to bringing such matters to light, this critical analysis of Sōseki’s Hōjōki translation and essay also shows how important perspectives on translation that would appear later in the novelist’s career actually took shape during his university days.

著者

TEEUWEN Mark

出版者

International Research Center for Japanese Studies

雑誌

Japan review : journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.25, pp.3-19, 2013-01-01

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Seji kenbunroku (Masters of the World: An Account of What I Have Seen and Heard) is an extensive critique of all manner of social evils, written by an anonymous samurai author with the pseudonym of Buyo Inshi in 1816. Although this work is much quote, it has hardly been studied in any depth. By analyzing the (overwhelmingly negative) role ascribed to "priests" in this work, this article seeks to shedlight on early modern understandings of "religion" before that concept was introduced to Japan. Buyo goes beyond the anti-clericalism shared by many Edo period authors and develops a more elaborate critique of all "Ways," either as inherently corrupt or as mere moralistic pretense. In Buyo's discourse, a secular domain sets bounds to the realm of religion in a manner that reminds one of modern notions of secularity. Buyo was hardly an original thinkers; rather, his ideas should be seen as representative for a larger body of opinion in the later Edo period. To understand perceptions of religion in this period, we must recognize the existence of secularis thought prior to the introduction of the conceptual pair of religion and secularity in modern times. This goes against the notion, established under the influence of writes such as Talal Asad and Charles Taylor, that secularism is a product of Western history exported around the globe by colonialism. This article argues that analyses of Seji kenbunroku and similar works will reveal the existence of non-Western secularist ideas that must have hada a considerable impact on the reception of modern secularism in the second half of the nineteenth century.

出版者

International Research Center for Japanese Studies

雑誌

Japan Review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.37, 2022-12

著者

LARSSON Ernils

出版者

International Research Center for Japanese Studies

雑誌

Japan Review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.37, pp.196-198, 2022-12

著者

SCHRIMPF Monika

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.36, pp.139-164, 2022-02

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This paper explores how ordained Buddhist women define and implement their clerical role within the context of a secularized society, and the indeterminacy of the clerical lifestyle in contemporary Japan. Ordained women may live a monastic life or head a temple, or they may also live "secular" lives, married or not. How do they claim religious authority and legitimize their agency under these conditions? I argue here that boundary work, or the creation, contesting, bridging, and dissolving of boundaries, is an important means to this end. On the one hand, boundaries such as those of gender are often experienced as having strongly constraining and even discriminating effects. On the other hand, actively drawing or bridging boundaries from male clerics, other ordained women, or lay Buddhists is a means of creating solidarity, elevating women's contribution to the clerical role, and legitimizing various actions and appearances as conforming to that role.

著者

SHIRAISHI Eri

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.36, pp.89-109, 2022-02

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In 1789, there was an Ainu uprising against Wajin (Japanese) in the Kunashiri and Menashi districts of eastern Ezo. The uprising was quickly quelled in what is often referred to as the Battle of Kunashiri-Menashi. A year later, Matsumae domain, assigned by the Tokugawa shogunate to govern Ezo, completed Ishū retsuzō, a set of portraits of twelve Ainu chiefs who collaborated with the domain in suppressing the uprising. The paintings, executed by Kakizaki Hakyō (1764–1826), were intended not just to honor the chiefs' deeds but also to represent Confucian ideals. This was a time when the shogunate was campaigning to revive Confucianism. It duly commissioned a work of similar style and purpose, namely the Kenjō no sōji, a set of wall panels for the Shishinden Hall in the imperial palace in Kyoto featuring thirty-two Chinese sages. Was the contemporaneous creation of these two sets of paintings a mere coincidence? Ishū retsuzō was first taken to Kyoto, where it was viewed by Confucian scholars, court nobles, and the emperor himself. The visually striking portraits enjoyed a quiet popularity among intellectuals and daimyo in Kyoto and Edo. Toward the end of the Edo period, part of the Ishū retsuzō was included in publications by Ezo explorer Matsuura Takeshirō. Contrary to the original intent of the work, it was used to introduce the "customs" of the Ainu, and was even introduced to Europe as such.

著者

PARTNER Simon

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.36, pp.61-87, 2022-02

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This essay examines the social, cultural, and economic life of Kawai Koume (1804–1889), a bushi housewife and artist living in the Wakayama castle town of Kishū domain in the final years of the Tokugawa era and the early years of Meiji. Using a diary that Koume kept over a period of at least fifty years, the essay examines the ways in which Koume's art was integrated with her daily life as household manager, and it explores the transformations of those relationships after the Meiji Restoration. While acknowledging the reality of class and gender ideologies and their effects on daily life, the essay focuses on Koume's determination to contribute meaningfully to her family's social, cultural, and economic life. And in the wake of a decade of disruption and transformation following the Meiji Restoration, it points to the unsung heroism of many women in forging new paths to economic recovery and self-sufficiency.

著者

FISTER Patricia

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.36, pp.33-59, 2022-02

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Zuiryūji has been notably absent from research related to Japan's imperial convents, despite being founded by Toyotomi Hideyoshi's sister. One of the reasons the convent has been overlooked is its relocation from Kyoto to Ōmi Hachiman in the 1960s, physically removing it from the public eye. In addition, a male was appointed head following the death of the last abbess, so officially it was no longer functioning as a convent. However, for more than two hundred and fifty years, it was one of the highest ranking and wealthiest (by landholdings) bikuni gosho in Kyoto, headed by a succession of abbesses heralding from aristocratic families. The founder, Nisshū, was also an important patron for two major Hokke (Nichiren) sect temples, Honkokuji in Kyoto and Kuonji on Mt. Minobu. Historical documents have purportedly not survived at the convent itself, but I discovered many important objects (including portraits) and documents at Zenshōji, where all of the Zuiryūji abbesses are buried. Bringing together what I have uncovered to date, this article comprises an overview of Zuiryūji's history, highlighting the founder as well as the tenth-generation abbess who vastly expanded the convent's network by establishing a women's association with branches throughout Japan. As the only Hokke sect imperial convent in Kyoto, Zuiryūji has always had a unique status. But faced with unprecedented challenges to survive in the modern era, its abbesses broke through the glass walls traditionally defining "convent culture."

著者

HAYLER Matt

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.36, pp.173-174, 2022-02

著者

ROTS Aike P.

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.36, pp.184-186, 2022-02

著者

KUITERT Wybe

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.27, pp.77-101, 2014-11-27

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At the origin of a voluminous discourse on picturesque taste in eighteenth century England stands an essay by Sir William Temple (1628–99) that contains the word sharawadgi, which he claims is Chinese. As a result of his introducing this concept, Temple is considered the originator of the English landscape garden movement. In extended academic debates on urban planning or contemporary art, the term has played an ever-increasing role since the mid twentieth century. Several attempts have been made to decipher the word and grasp its meaning. Nonetheless, sharawadgi cannot be apprehended in terms of sound and meaning only. It needs to be understood from a functional and historic context in the lands of its origin—Japan as we will see—as well as a practice of landscape design in Europe where it inspired new creative ideas. Imported art works, strikingly with their Japanese aesthetics, were re-interpreted to fit a European understanding. This reconstruction in turn was framed within the complex world of European tastes for landscape and other applied arts. Men of letters, widely learned and erudite like Temple, maintained their networks by writing letters and exchanging books and other gifts, eager for the most recent news on developments in the world of learning. In northern Europe these savants communicated in French, English, Dutch, German, or Latin; conceptual ideas were sometimes expressed in Greek. Temple’s world was this cosmopolitan Europe, receptive to the beauty of Asian art and concepts like his enigmatic sharawadgi. This paper intends to unravel the meaning and context of the word in Japan; to show the context in which it traveled to Europe and entered the circles of Temple; and to make clear how he placed it in a slightly different setting to serve his purpose. It concludes that “literary picturesque taste” is a proper translation for sharawadgi.

著者

FLORES Linda

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.31, pp.141-169, 2017

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This article examines Furukawa Hideo’s Umatachi yo, soredemo hikari wa muku de (Horses, Horses, in the End the Light Remains Pure) and Kawakami Hiromi’s “Kamisama 2011” (God Bless You, 2011), two 3.11 narratives that employ intertextuality to construct radical counter-narratives to trauma. As rewritings of earlier source texts by the respective authors, these intertextual narratives draw the reader into a dynamic relationship with the text, creating a subject position for the reader that is fluid and unsettled. As in the Barthesian “writerly text,” the reader becomes engaged not only in the consumption of the meaning of the text, but also in the very production of meaning. With Kawakami’s “Kamisama 2011” this occurs primarily through the use of language in the text; with Furukawa’s Horses, Horses this takes place through the necessary act of assembling the fragmented pieces of the narrative. This article explores how Kawakami and Furukawa employ intertextuality to represent hallmark trauma narratives that also function as counter-narratives to trauma through their engagement of the reader. These intertextual 3.11 narratives serve as examples of the Barthesian “writerly” text but simultaneously disrupt this aspect of Barthes’s narrative theory by placing emphasis on how the reader is actively implicated in the production of meaning of the text, and how this is contingent on the shared historical, temporal, and sociocultural experience or knowledge of trauma.

著者

SATHER Jeremy A.

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.31, pp.25-40, 2017

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I have divided the translation of and commentary on Nan Taiheiki into two parts. In part one, I outlined the main concerns that influenced Ryōshun to write the text: the loyalty of the Imagawa to the ruling Ashikaga family, his frustration with Taiheiki (Chronicle of Great Peace), and his resentment toward Ashikaga Yoshimitsu. The overarching theme of Nan Taiheiki, then, is the protection of the Imagawa legacy. In part two, I continue my analysis of this theme through an examination of Ryōshun’s description of Hosokawa Kiyouji and his rebellion against the Ashikaga. Ryōshun’s father Norikuni proposed a plan to the shogun that would have sacrificed his son in an attempt to kill Kiyouji and nip his rebellion in the bud. I then examine the significance of the Kamakura outpost, its overlord the Kantō kubō, and his deputy the kanrei for both Kiyouji’s rebellion, which took place as a result of the strife surrounding the position of kanrei, and later, for Ryōshun’s participation in the Ōei Disturbance, which resulted from the discord between Kyoto and Kamakura. What Ryōshun likely perceived as similarities between his participation in the Ōei Disturbance and Kiyouji’s rebellion motivated him to include the Kiyouji episodes in Nan Taiheiki. Accordingly, Nan Taiheiki demonstrates, through Kiyouji, how easy it was to fall from grace, and, through the idealistic origins of the Kamakura outpost, just how far the Ashikaga had fallen under Yoshimitsu’s rule.

著者

BRU Ricard

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.29, pp.121-143, 2017-03-17

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This article analyzes the shunga collection owned by the Mito Tokugawa family. It presents the discovery of six pieces from the Mito Tokugawa, one of the three branches of the Tokugawa. This collection helps us understand the uses and the spread of erotic art among the ruling classes in Edo period Japan. The collection, formed of different types of works (scrolls, books, prints, and sex toys) is important in documenting the high degree of acceptance of erotic art within the Tokugawa family. In particular, the manuscript notes written by the daimyo, Tokugawa Nariaki, show that the works were acquired as part of a regular family practice over the seventeenth, eighteenth, and nineteenth centuries. This suggests that it was common for all daimyo families to collect shunga.

著者

GROEMER Gerald

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.34, pp.5-42, 2019-12

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In the late 1780s, the renowned kyōka poet Hezutsu Tōsaku (1726–1789) looked back at his life and set about notating some of his memorable experiences and the characteristics of his age. The result was a presumably unfinished zuihitsu entitled Shin’ya meidan (A Retiree’s Chat). In this piece Tōsaku presents sixteen anecdotes and opinions regarding, among other things, famous writers, poets, thinkers, and artists of the past, renowned kabuki actors, connoisseurs and courtesans in Yoshiwara, rural poets and authors, personal friends, astute monks, conditions in Ezo (Hokkaido), and the benefits of city life. This wealth of subjects supplies not just a rare glimpse into the biography of a late-eighteenth century comic poet but also an unusually personal account of cultural life in Edo.

著者

SATHER Jeremy A.

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

no.29, pp.39-68, 2017-03-17

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This translation and analysis of Imagawa Ryōshun's Nan Taiheiki examines the events that led him to write the work, namely his dismissal from the office of Kyūshū tandai and his subsequent participation in the Ōei Disturbance. After the rebellion ended in failure, he spent the rest of his life writing and critiquing literature. Nan Taiheiki, written around 1402, was a product of this period and of his rancor toward the Ashikaga chieftain Yoshimitsu. While the original Nan Taiheiki has no chapters or section headings, a close examination reveals three fundamental concerns. First, a focus on the Ashikaga's status as a collateral family of the Minamoto, which gave them a near divine right to lordship. In order to protect his family from "becoming lowly people without name or rank," Ryōshun asserts his family's loyalty to the Ashikaga, in the process laying the groundwork for his criticism of Yoshimitsu later in the work. Second, a repudiation of Taiheiki, not for its overall storyline, but for its omission of the deeds of families that had participated in the Ashikaga's rise to power, most notably his own. And last, a criticism of Yoshimitsu, whose maladministration led to Ryōshun's dismissal from the office of tandai. Importantly, his criticism is of Yoshimitsu the individual, not of the Ashikaga family; a large part of Nan Taiheiki is meant to demonstrate Yoshimitsu's unworthiness as a ruler and to cast Ryōshun's participation in the Ōei Disturbance as the act of a loyal follower of the Ashikaga. Accordingly, I show that Nan Taiheiki, which Ryōshun did not even title, has been misinterpreted: its criticism of Taiheiki is but one of several aspects of the text, all of which are tied together by Ryōshun's need to protect his family's legacy and criticize Yoshimitsu, who he considered the architect of his downfall.

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.33, 2019

著者

LOO Tze M.

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.33, pp.173-193, 2019

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War and tourism exist in a complicated relationship in Okinawa. One manifestation of this is the fact that, despite their heavy presence on Okinawa’s main island, U.S. military bases and their personnel are often excluded from discussions about Okinawa’s tourism, which the prefecture has targeted as an area of major economic investment and expected growth. Yet American military personnel were some of the earliest tourists in Okinawa in the immediate postwar, consumers of a tourist landscape that the U.S. military was instrumental in producing for its personnel. In addition, tourism offers a rich window into some of the workings of the twenty-seven-year U.S. Occupation of Okinawa. This paper explores how tourism as a mode of engagement figured in both the imagining and operating of Occupation authorities’ rule of the islands, and how military personnel on the ground negotiated and understood their time there.