Cipango - French Journal of Japanese Studies. English Selection
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Open Access journal
ISSN (Online) 2268-1744
Published by Revues.org [400 journals]
- From the Kagerō no nikki to the Genji monogatari
Authors: Jacqueline Pigeot
Abstract: Murasaki Shikibu, author of the Genji monogatari, is generally acknowledged to have read the Kagerō Diary, the first autobiography written by a woman. In the course of writing the Genji, she seems to have adopted stylistic and narrative techniques from the Kagerō, including the incorporation of poetic quotations into a prose text, and “interior discourse.” Several Genji episodes, including Genji’s exile and the clash between the carriages of female rivals, have antecedents in the Kagerō Diary. By comparing the two texts, which are close in these respects, we can discern each writer’s unique vision and narrative technique.
- New Worlds: Matching and Recontextualizing Poetry Excerpted from Fiction
in the Monogatari nihyakuban utaawase
Authors: Michel Vieillard-Baron
Abstract: Prior to 1206, the poet Fujiwara no Teika (1162-1241) took two hundred poems (waka) from the Genji monogatari and the Sagoromo monogatari, both Heian-period novels, and matched them in the style of a poetry competition (utaawase). The resulting work is known as Hyakuban utaawase (Poetry Competition in One Hundred Rounds) or Genji Sagoromo utaawase (A Competition of Poems from the Genji and the Sagoromo). An analysis of Rounds 45-52 of the competition yields an understanding of Teika’s methodology in matching competing poems, and demonstrates that the work was created in order to reveal new artistic possibilities in waka.
- The Art of Quotation
Authors: Sumie Terada
Abstract: The Tale of Genji played an important role in the development of renga, a genre in which vocabulary choice is critical to sequence formation. In the earliest phase of renga, poets used chapter titles as a linking device; from the fourteenth century on, they employed Genjikotoba, words or phrases taken from the Genji. The use of Genji kotoba in renga also reveals the essentially dynamic nature of this novel: the “Suma” chapter, much admired by poets, juxtaposes refinement (ga) and wildness and makes the hero a focal point for cosmic forces. Furthermore, Genji kotoba bring to light an ordering of the text based on reference to key expressions.
- Reflections on a Buddhist Scene in The Tale of Genji
Authors: Jean-Noël Robert
Abstract: Buddhist motifs and allusions occur frequently in The Tale of Genji, but their presence has received little scholarly attention. This article addresses the famous opening passage of the “Wakamurasaki” (“Lavender”) chapter in which the hero first sees his future wife Murasaki. The scene is characterized by allusions to the Lotus Sutra, including the mention of the Dragon King’s daughter (Chapter 12) in connection with Murasaki (and later the Akashi Lady), and the image of the stupa suspended in midair (Chapter 11) that is introduced into a waka exchange. Analogous allusions are found in Heian-period shakkyōka (waka on Buddhist themes).
- The Anecdote, or Microfiction and Its Relation to the Reader
Authors: Anne Bayard-Sakai
Abstract: There are many discrete episodes in The Tale of Genji—anecdotes, micro stories, outgrowths of fiction—that are not integrated into the overall plot, and which introduce characters who do not reappear later in the novel. These features are considered through the perpectives of reading and Wolfgang Iser’s concept of “empty places” (Leerstellen). While a scholarly reading pursues the integration of micro stories, an ingenuous reading aids in rediscovering their autonomy and benefits from a fragmented, centrifugal reading.
- The Position and Role of Provincial Governors at the Height of the Heian
Authors: Francine Hérail
Abstract: Although the author of the Genji monogatari was the daughter and wife of resident provincial governors, she was little concerned with such officials in her work, and those who do appear in it are often caricatured. The administration of the state and the economic support of the court, however, were wholly dependent on these middle-ranking officials. The topic of provincial governors is addressed in four sections: (1) a governor’s mission, essentially to maintain order and carry out taxation; (2) family background—some governors came from a long line of middle-ranking officials while others were younger sons of high-ranking aristocrats; (3) the processes of a governor’s appointment and performance evaluation, both determined in part by his client relationship to eminent nobles; and (4) the governors’ role—motivated by profit, and aided by subordinates—in the movement of goods. Among his subordinates, a governor’s men at arms (rōdō 郎頭) could be particularly helpful on this front; a rō...
- Stolen Glimpses: Convention and Variations
Authors: Daniel Struve
Abstract: Kaimami (stolen glimpses) is an important motif in The Tale of Genji, the Japanese equivalent of the scene of love at first sight in Western fiction. Detailed analysis of three examples of kaimami leads to a consideration of variations produced by this motif; the objective is to identify the principal components of the kaimami scene and its significance in the exploration of the mechanisms of desire and illusion at the heart of the Genji.
Authors: Sumie Terada
Abstract: On behalf of the Genji monogatari Group of Paris, I am pleased to present English-language readers with our research results on this extraordinary work. We have selected articles that were originally presented in workshops and colloquia between 2004 and 2008, and published in French in 2008 and in Japanese in 2009. From among the many areas addressed, we have selected principally articles on literary aspects of the Genji: some concern the role of poetry in the Genji and the influence of the Genji on subsequent poetic activity (waka and renga); others address questions of narrative structure. In 2004 we began a collective translation of the Genji into French; we will complete Chapter 2, “L’arbre mirage” [The Broom Tree] in 2015. It has taken us ten years to translate the first two chapters. By working at so slow a pace we are able to experience directly the exceptional complexity of this work. The Genji incorporates the three great styles of écriture known to Heian-period Japanese: pr...
- Editorial notes
Authors: Dan Fujiwara
Abstract: 1. Referencing in footnotes Genji monogatari and most Japanese classical works are available in several literary collections and in this issue each contributor uses a different one. In order to simplify referencing in footnotes the following collections are given in an abbreviated form (abbreviation, volume, page) after the first appearance.
Nihon koten bungaku taikei 日本古典文学大系, Tōkyō, Iwanami shoten, 1957-1967, 100 vols => NKBT
Nihon koten bungaku zenshū 日本古典文学全集, Tōkyō, Shōgakukan, 1970-1976, 51 vols => NKBZ
Shin nihon koten bungaku taikei 新日本古典文学大系, Tōkyō, Iwanami Shoten, 1989-2005, 100 vols =>SNKBT
Shinpen Nihon koten bungaku zenshū 新編日本古典文学全集, Tōkyō, Shōgakukan, 1994-2002, 88 vols => SNKBZ
Shinchō Nihon koten shūsei 新潮日本古典集成, Tōkyō, Shinchōsha, 1976-1989, 82 vols => SNKS 2. Japanese and Chinese transcription Each author uses Hepburn, except for the poems, for which they use a combination of either Hepburn and modern Romanization or Kunrei-shiki and Historical Romanization.
Chinese is tra...
- Notes on contributors
Abstract: Anne Bayard-Sakai is professor at the National Institute of Asian Languages and Civilizations (INALCO) in Paris, member of the Center for Japanese Studies (CEJ-INALCO), and associate member of the Research Center on East Asian Civilizations (UMR 8155). Her research focuses on modern and contemporary Japanese literature, narrative theory, and writings about memory, with special emphasis on modalities of fiction in contemporary Japanese literature. Her publications include Le Japon après la guerre, 2007 [English version: Japan’s Postwar, 2011]; Tanizaki Jun’ichirō: Kyōkai o koete, 2009; and “Yakeato no bungakuba,” in Senryōki zasshi shiryō taikei: Bungaku hen II, 2010. A Tanizaki specialist, Bayard-Sakai has also translated numerous works by other modern and contemporary authors, including Ōe Kenzaburō and Ōoka Shōhei. Francine Hérail is director emerita of graduate studies in history and philology at the École Pratique des Hautes Études in Paris, and specializes in early Japanese inst...