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Bunron : Zeitschrift für literaturwissenschaftliche Japanforschung
Number of Followers: 0  Open Access journalISSN (Print) 2199-2754 Published by Universität Heidelberg  [8 journals]
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- Die Kodierung von Emotionen in Ogawa Yōkos Werken und deren affektives
und gefühlsbezogenes Wirkungspotential
Authors: Elena Giannoulis
Abstract: The present article investigates in what way emotions are encoded in the works of Ogawa Yōko and reveals how their affective and feeling-oriented impact potential unfolds. It argues that emotions predominantly occur in their pre-reflective form, i.e. as affects that are expressed by sensory narration. The study demonstrates that protagonists cannot verbalize and thematize reflected forms of emotions, i.e. feelings, or they stop at the affective level, primarily at the perception of physiological reactions. Sensory narration is embedded in the fairytale-like and yet uncanny-seeming basic mood that characterizes Ogawa’s literature. This mood is largely generated by sequences that will be defined in the present article as a mood tableau. After clarifying the issue of the production process and quality of mood in the text and the textual encoding of emotions (affects and feelings), text-based and empirical approaches from literary studies will be incorporated as an outlook on future research on this topic. The hypothesis is that due to the sensory and affective narration style, readers subconsciously shift to an affective perception mode, which subsequently turns into a feeling-oriented mode. This is because, in contrast to the characters, the reader cannot stop at the affective level and cognitively steps in for the protagonists, i.e. the reader reflects on the affective during the reading process and is moved by the feeling that the protagonist lacks; he fills the psychological void in the text. The affect–reaction model introduced here can also be applied to the works of other authors and, by its symbiosis of text-based and empirical approaches, has great potential for the affective sciences within literary studies.
PubDate: 2023-01-31
DOI: 10.11588/br.2022.9.20984
- Shaping national consciousness: utakai hajime, imperial poems and the
Russo-Japanese war
Authors: Maria Carbune
Abstract: The Imperial Poetry Bureau (Outadokoro 御歌所) was a court ministry founded in 1869 as one of the Meiji-era institutions which served to legitimize the new government as the restoration of the imperial rule. In my paper I will discuss the endeavors of Outadokoro’s leader, Takasaki Masakaze 高崎正風, and other members, to instrumentalize waka 和歌 poetry for purposes of nation-building. Whether as school songs, shōka 唱歌, imperial poems leaked to the press or poems submitted to the 1869 revived imperial poetry competition, utakai hajime 歌会始, waka poetry played a significant role in fostering national consciousness, particularly starting with the period of the Russo-Japanese War (1904–1905). The first part of this essay provides a historical overview of Outadokoro and utakai hajime, while the second part discusses the role played by waka poetry in the exacerbation of national fervor leading up to and during the Russo-Japanese War. I will show how, through literary topoi and tropes, the political myth of an unbroken imperial line descendant of Amaterasu was emphasized, while the high emotional content of imperial poems leaked to the press portrayed the Emperor as a concerned, affectionate father of the nation-family.
PubDate: 2023-01-31
DOI: 10.11588/br.2022.9.18878
- Großes japanisch-deutsches Wörterbuch. 和独大辞典 In drei Bänden
herausgegeben von Jürgen Stalph, Irmela Hijiya-Kirschnereit, Wolfgang
Schlecht und Ueda Kōji. Band 3: O – Z. München: Iudicium 2022, 2510 S.
Authors: Naomi Miyatani
Abstract: Rezension
PubDate: 2023-01-31
DOI: 10.11588/br.2022.9.20983
- Transpacifica: Quellen zum deutschsprachigen Diskurs über die USA und
Ostasien, 1900–1945 Görbert, Johannes; Keppler-Tasaki, Stefan;
Sommadossi, Tomas
Authors: Torsten Weber
Abstract: Rezension
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20802
- デジタル文学地図の研究への活用
—『雨月物語』を例に—
Authors: 飯倉 洋一
Abstract: The Digital Literary Map of Japan was developed as an international research project between Heidelberg University, the National Institute of Japanese Literature and Ōsaka University. As a case study of how the digital literary map can be used for research, this paper describes the use of poetic places (utamakura) in Ueda Akinari's 上田秋成 Ugetsu monogatari 雨月物語.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20803
- Digital Literary Map of Japan 日本のデジタル文学地図: A
Technical Perspective
Authors: Leo Born
Abstract: The Digital Literary Map of Japan (DLM) is a project aimed at documenting and displaying geographical spots within Japan that convey literary associations or are found to have had significant impact on the literary-historic landscape of Japan over the centuries. In the context of the project, a web application with an online database has been developed in order to make the data easily accessible. This paper presents the technical infrastructure behind the web application and describes its core features as well as providing context for possible future directions of the application. The application is publicly hosted under https://literarymaps.nijl.ac.jp and can be accessed without a user account.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20804
- 名所の形成と名所イメージの構築
―『平家物語』の築島伝説を手掛かりに―
Authors: 金 智慧
Abstract: Anecdotes and legendary stories about samurai from the Taira clan, which were disseminated by the Tales of the Heike, spurred the development of meisho (famous places of literary and historic importance) from medieval times, and literary works based upon these stories contributed to the formation of their characteristic image. In other words, the particular image of a meisho was formulated in the process of circulation between the original story concerning the place and its spin-off stories that were represented in paintings or the performing arts. In this paper, I focus on the story of Tsukishima (築島), the artificial island constructed by Taira no Kiyomori in front of Owada port, and trace the process which led to the creation of the literary image of Tsukishima by examining the handscroll Tsukishima monogatari emaki, the kōwakamai play Tsukishima and others. Furthermore, I will show how the image of Tsukishima was perceived by the public through the analysis of regional illustrated gazetteers in the Edo period including Setsuyō gundan and Settsu meishozue.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20805
- 『和漢名所詩歌合』に関する一考察
―形式と名所題をめぐって―
Authors: 黄 夢鴿
Abstract: This paper explores the importance of the poetic topoi and the influence of preexisting literary works in Wakan meisho shiika-awase 和漢名所詩歌合 (Fujiwara no Motoie, around 1272), a poetry contest with famous places of Japan and China as subject. First, I will compare Wakan meisho shiika-awase with earlier shiika awase in terms of form and composition. I will then consider the reason why Fujiwara no Motoie chose specific famous places as topics by looking at other works of the same period featuring famous places. Finally, I will elaborate on the characteristics of famous places of Japan and China Motoie selected as topics, and consider his awareness of the arrangement of Chinese and Japanese places.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20806
- 能《高砂》における名所・旧跡
世阿弥の作劇法に照らして
Authors: 中尾 薫
Abstract: This paper attempts to elucidate the meaning of famous places and historic sites (meisho 名所 and kyūseki 旧跡) in Nō. As a key to this issue, in chapter 1-3, we will analyse the dramaturgy described in Zeami's (世阿弥) treatises, Sandō (三道) and Fūshi kaden (風姿花伝), where he explains how waka (和歌) and Chinese poems (kanshi 漢詩) mentioning famous places should be used in Nō. In the chapters 4 and 5 we will examine the Nō play Takasago (高砂, written by Zeami) as a case study. It becomes evident that Zeami regarded famous places and historic sites as crucial elements, and that he situated them strategically near the climax, at the end of ha sandan (破三段). In addition, a close reading of Takasago confirms that, in accordance with the words in his treatises, waka containing famous places and historic sites not only appear at the climax, but they serve also to define the theme and the emotions of the characters. As this paper is focusing on the one Nō play Takasago, it is impossible to generalize its findings at this point. Further study of this kind is needed to decide whether these characteristics apply to all of Zeami's Nō works and to the canon of the more than 200 Nō plays. It is clear, however, that most of the Nō plays are characterized by the use of meisho and kyūseki, and that they are an indispensable part of their structure.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20807
- 能の中の逢坂
Authors: 杉本 亘
Abstract: This paper focuses on the role of Ōsaka (逢坂) in Nō (能) plays. On the whole, Ōsaka appears in 22 Nō plays, and the reference to this place name can be classified into three groups. (1) In some of the plays the name is only mentioned; (2) in others, someone passes the barrier of Ōsaka; (3) while in the rest, the barrier of Ōsaka is the stage for the story. In the first case, Ōsaka is used in a manner similar to the utamakura in waka poetry. In the second, conspicuously the word 関 (barrier/checkpoint) is often added to the place name, and the checkpoint of Ōsaka becomes a representation for the conditions of the world: if the barrier of Ōsaka is open, this serves as a hint that the world is in peace and is securely ruled by the emperor. The main characters of the plays of the third type are Semimaru (蝉丸) and Ono no Komachi (小野小町), who are represented in Nō plays as deities of the performing arts. This indicates that the barrier of Ōsaka while being a liminal space is considered as a sacred place where deities dwell.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20808
- 名所「逆櫓松」と『ひらかな盛衰記』
―近世大坂における名所形成の一例として―
Authors: 岡部 祐佳
Abstract: In Japan, travel became popular in the Edo period (1603–1867), and many places became popular as sightseeing spots. As a result, many traditional poetic places were revived as tourist attractions. The place of Sakaro no matsu 逆櫓松 has been handed down to this day as the site of the sakaro arasoi that is the dispute between Minamoto no Yoshitsune and Kajiwara no Kagetoki during the Genpei War (1467–1568). In fact, this perception was induced by the popular Edo period jōruri puppet play Hiragana seisuiki (1739). This jōruri was the catalyst for the association of a pine tree in the Fukushima area of Ōsaka with sakaro arasoi. In addition, the illustrated gazetteer Settsu meishozue (1796–1798) not only introduces Sakaro no matsu as the setting of sakaro arasoi, but also points out its connection to Hiragana seisuiki. While this former creates a link to the classical world, the latter is connected to the theater of the same period, which is in line with the modern concept of content tourism. The way in which these places of interest were established is characteristic of the Edo period, which saw the spread of travel as a form of entertainment, the rise of commercial publishing, the explosive expansion of audiences for literature and entertainment, and the flourishing of theatrical productions.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.20809
- Conquering the studio-space. The emergence of women writers’
self-representations within their studio in modern Japanese literature
Authors: Marco Taddei
Abstract: In the Meiji period the shosai 書斎 (studio) was a predominantly male gendered space, mainly set up in the upper-class houses of writers and intellectuals. Used for reading, writing or limited social interactions, the studio was a private room that ensured privacy and quietness. Given the importance of the studio and its association with the identity and creativity of his owner, many male modern authors chose to portray themselves as writers in their private and intimate workplaces.
On the contrary a scrutiny of women’s writing of the same period shows the lack of women writer’s self-representation in their studio in fictional or autobiographical works. However, despite the disparagement of women writers by Meiji society, the growth of women’s literacy in the following decades and the emergence of newspapers targeting female readers contributed to empower women writers’ voice. Thus, in the second decade of the twelfth century, women started to argue that wives and female writers too should have a space of their own within the domestic milieu.
Focusing on Miyamoto Yuriko’s autobiographical writings describing her studio and Fumiko Hayashi’s Seikatsu 生活 (‘Lifestyle’, 1935), this paper discusses how the emergence of literary self-representations of modern women writers within their workplace promoted the image of women as professional writers and made the studio a less male gendered space.
PubDate: 2022-12-30
DOI: 10.11588/br.2022.9.18851
