Teika


Book Description

Fujiwara no Teika (1162–1241) was born into an illustrious lineage of poets just as Japan’s ancien régime was ceding authority to a new political order dominated by military power. Overcoming personal and political setbacks, Teika and his allies championed a new style of poetry that managed to innovate conceptually and linguistically within the narrow confines of the waka tradition and the limits of its thirty-one syllable form. Backed by powerful patrons, Teika emerged finally as the supreme arbiter of poetry in his time, serving as co-compiler of the eighth imperial anthology of waka, Shin Kokinshū (ca. 1210) and as solo compiler of the ninth. This first book-length study of Teika in English covers the most important and intriguing aspects of Teika’s achievements and career, seeking the reasons behind Teika’s fame and offering distinctive arguments about his oeuvre. A documentary biography sets the stage with valuable context about his fascinating life and times, followed by an exploration of his “Bodhidharma style,” as Teika’s critics pejoratively termed the new style of poetry. His beliefs about poetry are systematically elaborated through a thorough overview of his writing about waka. Teika’s understanding of classical Chinese history, literature, and language is the focus of a separate chapter that examines the selective use of kana, the Japanese phonetic syllabary, in Teika’s diary, which was written mainly in kanbun, a Japanese version of classical Chinese. The final chapter surveys the reception history of Teika’s biography and literary works, from his own time into the modern period. Sometimes venerated as demigod of poetry, other times denigrated as an arrogant, inscrutable poet, Teika seldom inspired lukewarm reactions in his readers. Courtier, waka poet, compiler, copyist, editor, diarist, and critic, Teika is recognized today as one of the most influential poets in the history of Japanese literature. His oeuvre includes over four thousand waka poems, his diary, Meigetsuki, which he kept for over fifty years, and a fictional tale set in Tang-dynasty China. Over fifteen years in the making, Teika is essential reading for anyone interested in Japanese poetry, the history of Japan, and traditional Japanese culture.




The Princeton Handbook of World Poetries


Book Description

An authoritative and comprehensive guide to poetry throughout the world The Princeton Handbook of World Poetries—drawn from the latest edition of the acclaimed Princeton Encyclopedia of Poetry and Poetics—provides a comprehensive and authoritative survey of the history and practice of poetry in more than 100 major regional, national, and diasporic literatures and language traditions around the globe. With more than 165 entries, the book combines broad overviews and focused accounts to give extensive coverage of poetic traditions throughout the world. For students, teachers, researchers, poets, and other readers, it supplies a one-of-a-kind resource, offering in-depth treatment of Indo-European poetries (all the major Celtic, Slavic, Germanic, and Romance languages, and others); ancient Middle Eastern poetries (Hebrew, Persian, Sumerian, and Assyro-Babylonian); subcontinental Indian poetries (Bengali, Hindi, Marathi, Punjabi, Sanskrit, Tamil, Urdu, and more); Asian and Pacific poetries (Chinese, Japanese, Korean, Vietnamese, Mongolian, Nepalese, Thai, and Tibetan); Spanish American poetries (those of Mexico, Peru, Argentina, Chile, and many other Latin American countries); indigenous American poetries (Guaraní, Inuit, and Navajo); and African poetries (those of Ethiopia, Somalia, South Africa, and other countries, and including African languages, English, French, and Portuguese). Complete with an introduction by the editors, this is an essential volume for anyone interested in understanding poetry in an international context. Drawn from the latest edition of the acclaimed Princeton Encyclopedia of Poetry and Poetics Provides more than 165 authoritative entries on poetry in more than 100 regional, national, and diasporic literatures and language traditions throughout the world Features extensive coverage of non-Western poetic traditions Includes an introduction, bibliographies, cross-references, and a general index




One Hundred Poets, One Poem Each


Book Description

A new edition of the most widely known and popular collection of Japanese poetry. The best-loved and most widely read of all Japanese poetry collections, the Ogura Hyakunin Isshu contains 100 short poems on nature, the seasons, travel, and, above all, love. Dating back to the seventh century, these elegant, precisely observed waka poems (the precursor of haiku) express deep emotion through visual images based on a penetrating observation of the natural world. Peter MacMillan's new translation of his prize-winning original conveys even more effectively the beauty and subtlety of this magical collection. Translated with an introduction and commentary by Peter MacMillan.




Traditional Japanese Literature


Book Description

Haruo Shirane's critically acclaimed Traditional Japanese Literature: An Anthology, Beginnings to 1600, contains key examples of both high and low styles of poetry, drama, prose fiction, and essays. For this abridged edition, Shirane retains substantial excerpts from such masterworks as The Tale of Genji, The Tales of the Heike, The Pillow Book, the Man'yoshu, and the Kokinshu. He preserves his comprehensive survey of secular and religious anecdotes (setsuwa) as well as classical poems with extensive commentary. He features no drama; selections from influential war epics; and notable essays on poetry, fiction, history, and religion. Texts are interwoven to bring into focus common themes, styles, and allusions while inviting comparison and debate. The result is a rich encounter with ancient and medieval Japanese culture and history. Each text and genre is enhanced by extensive introductions that provide sociopolitical and cultural context. The anthology is organized by period, genre, and topic—an instructor-friendly structure—and a comprehensive bibliography guides readers toward further study. Praise for Traditional Japanese Literature: An Anthology, Beginnings to 1600 "Haruo Shirane has done a splendid job at this herculean task."—Joshua Mostow, University of British Columbia "A comprehensive and innovative anthology.... All of the introductions are excellent."—Journal of Asian Studies "One of those impressive, erudite, must-have titles for anyone interested in Asian literature."—Bloomsbury Review "An anthology that comprises superb translations of an exceptionally wide range of texts.... Highly recommended."—Choice "A wealth of material."—Monumenta Nipponica







Pictures of the Heart


Book Description

"This book provides, for the first time in English, the kind of information that allows an accurate appreciation of the meanings and quality of Japanese poems.... Mostow's reception-oriented approach in this poem-by-poem discussion inspires an excellent essay on the history of English translations of this collection." --Choice "Joshua Mostow offers a brilliant and multifaceted exploration of Japanese poetics through translations, commentaries, and both literary and visual readings of the most influential of all poem anthologies. This book penetrates to the heart of traditional Japanese aesthetics." --Stephen Addiss, University of Richmond "...a rigorous and engaging study of an extremely important Japanese text. It is filled with information and shows a real appreciation for the often unarticulated assumptions that lay behind certain understandings--both Japanese and Western--concerning meaning and significance in a work of literature. The study breaks still further ground by articulating, and in the most persuasive fashion, issues relating to text and image that are central to the Japanese arts in virtually all periods. Professor Mostow has written a book that should interest not only specialists in the fields of Japanese literature and fine arts, but virtually anyone who enjoys reading poetry in an active and thoughtful fashion." --J. Thomas Rimer, University of Pittsburgh




Hyakunin’shu


Book Description

Hyakunin’shu: Reading the Hundred Poets in Late Edo Japan explores the “popular literary literacy” of the Japanese at the edge of modernity. By reproducing and translating a well-known annotated and illustrated Ansei-era (1854–1859) edition of the Hyakunin isshu—for hundreds of years the most basic and best-known waka primer in the entire Japanese literary canon—Joshua Mostow reveals how commoners of the time made sense of the collection. Thanks to the popularization of the poems in the early modern period and the advent of commercial publishing, the Hyakunin’shu (as it was commonly called) was no longer the exclusive intellectual property of the upper classes but part of a poetic heritage shared by all literate Japanese. Mostow traces the Hyakunin’shu’s history from the first published collections in the early sixteenth century and printed commentaries of formerly esoteric and secret exegesis to later editions that include imagined portraits of the poets and, ultimately, pictures of the “heart”—pictorializations of the meaning of the poems themselves. His study illuminates the importance of “variant One Hundred Poets,” such as the Warrior One Hundred Poets, in popularizing the collection and the work’s strong association with feminine education from the early eighteenth century onward. The National Learning (Kokugaku) movement pursued a philological analysis of the poems, leading to translations of the Hyakunin’shu into contemporary, vernacular, spoken Japanese. The poems eventually served as the basis of a card game that became a staple of New Year festivities. This volume presents some innovations in translating premodern Japanese poetry: in the Introduction, Mostow considers the Hyakunin’shu’s reception during the Edo, when male homoerotic relationships were taken for granted, and makes the case for his translating the love poems in a non-heteronormative way. In addition, the translated poems are lineated to give readers a sense of the original edition’s chirashi-gaki, or “scattered writing,” allowing them to see how each poem’s sematic elements are distributed on the page.




How to Read a Japanese Poem


Book Description

How to Read a Japanese Poem offers a comprehensive approach to making sense of traditional Japanese poetry of all genres and periods. Steven D. Carter explains to Anglophone students the methods of composition and literary interpretation used by Japanese poets, scholars, and critics from ancient times to the present, and adds commentary that will assist the modern reader. How to Read a Japanese Poem presents readings of poems by major figures such as Saigyō and Bashō as well as lesser known poets, with nearly two hundred examples that encompass all genres of Japanese poetry. The book gives attention to well-known forms such as haikai or haiku, as well as ancient songs, comic poems, and linked verse. Each chapter provides examples of a genre in chronological order, followed by notes about authorship and other contextual details, including the time of composition, physical setting, and social occasion. The commentaries focus on a central feature of Japanese poetic discourse: that poems are often occasional, written in specific situations, and are best read in light of their milieu. Carter elucidates key concepts useful in examining Japanese poetics as well as the technical vocabulary of Japanese poetic discourse, familiarizing students with critical terms and concepts. An appendix offers succinct definitions of technical terms and essays on aesthetic ideals and devices.




Mad in Translation


Book Description

Even readers with no particular interest in Japan - if such odd souls exist - may expect unexpected pleasure from this book if English metaphysical poetry, grooks, hyperlogical nonsense verse, outrageous epigrams, the (im)possibilities and process of translation between exotic tongues, the reason of puns and rhyme, outlandish metaphor, extreme hyperbole and whatnot tickle their fancy. Read together with The Woman Without a Hole, also by Robin D. Gill, the hitherto overlooked ulterior side of art poetry in Japan may now be thoroughly explored by monolinguals, though bilinguals and students of Japanese will be happy to know all the original Japanese is included.--amazon.com.




Japan’s Frames of Meaning


Book Description

In Japan’s Frames of Meaning, Michael Marra identifies interpretative concepts central to discussions of hermeneutical practices in Japan and presents English translations of works on basic hermeneutics by major Japanese thinkers. Discussions of Japanese thought tend to be centered on key Western terms in light of which Japanese texts are examined; alternatively, a few Buddhist concepts are presented as counterparts of these Western terms. Marra concentrates on Japanese philosophers and thinkers who have mediated these two extremes, bringing their knowledge of Western thought to bear on philosophical reinterpretations of Buddhist terms that are, thus, presented in secularized form. Marra focuses on categories relevant to the development of a history of Japanese hermeneutics, calling attention to concepts whose discussion sheds light on how Japanese thinkers have proceeded in making sense of their own culture. The terms are organized under three headings. The first deals with koto, which in Japanese means both "things" and "words." Koto is the center of a series of interesting compounds, such as kotodama (the spirit of words) and makoto (truth), that have shaped Japanese discourses on philosophy, ethics, aesthetics, and religion. Writings on koto by twentieth-century philosophers Watsuji Tetsuro (1889–1960) and Omori Shozo (1921–1997) and Edo-period scholar Fujitani Mitsue (1768–1823) are included. The second heading is dedicated to two well-known aesthetic categories, yugen and sabi, which point to notions of depth in physical space as well as in the space of interiority. The University of Kyoto aesthetician Ueda Juzo (1886–1973) guides the reader through a history of these concepts. In the third part of the book, notions of time in the form of ku (emptiness) and guzen (contingency) are examined through the work of Ueda’s colleagues at Kyoto, Nishitani Keiji (1900–1990) and Kuki Shuzo (1888–1941). Perceptive and erudite, Japan’s Frames of Meaning will become a landmark resource—in particular for the insights and provocations it offers to contemporary cross-cultural philosophical dialogue—for anyone interested in traditional and modern Japanese thought.