1,721,135 research outputs found
Katashiro, Mononoke e Shukke nel Genji monogatari e nello Yoru no Nezame: Le relazioni amorose attraverso le fonti letterarie
Full text linkLa mia ricerca, inizialmente pensata nel quadro di un lavoro più ampio volto ad indagare i cambiamenti occorsi nel modo di concepire e rappresentare la sessualità, si configura come uno studio in chiave puramente letteraria di alcuni fenomeni rappresentati tipicamente nella letteratura Heian (794-1185) di argomento sentimentale, osservati nel Genji monogatari (Storia di Genji, completo ca. 1008), universalmente considerata l’opera principale della letteratura giapponese classica, e narrante le vicende sentimentali dell’amante ideale Hikaru Genji, e dello Yoru no Nezame (Risveglio notturno), mai pubblicato in traduzione integrale in lingue occidentali, scritto ispirandosi al Genji monogatari fra 1060 e 1080, e specularmente narrante le vicende sentimentali dell’anticonvenzionale Naka no kimi, pur vista dai personaggi maschili dell’opera come la donna ideale. La dissertazione risultante è essenzialmente divisa in una prima parte introduttiva (riguardo Genji monogatari e Yoru no Nezame, il contesto storico-culturale in cui queste opere sono state prodotte ed hanno avuto una prima diffusione, le convenzioni che regolavano i diversi tipi di relazione accettabili dalla corte Heian e che vengono rispettate o meno nel corso delle due narrazioni) ed una seconda legata all’analisi comparativa della rappresentazione nel Genji monogatari e nello Yoru no Nezame di katashiro (sostituzione della donna amata con un familiare diretto, un animale o un oggetto che possano rappresentarla), mononoke (possessione spiritica spesso attribuita allo spirito, vivente o meno, di una rivale in amore) e shukke (tonsura buddhista spesso sfruttata quale strumento di fuga da un corteggiamento indesiderato), che sono, a mio parere, particolarmente connessi al contesto delle relazioni amorose non soltanto per convenzione narrativa ma anche in quanto manifestazioni contestualmente determinate di dinamiche interne universali che entrano in gioco in maniera particolarmente pervasiva nell’ambito di relazioni amorose
Reading Japanese Documents from the Marega Collection: An Introductory Manual with Selected Texts
No full textThe volume, authored by Naohiro Ōta, and edited by Silvio Vita, Chiara Ghidini, and Luca Milasi, introduces the Mario Marega (1902-1978) collection of manuscripts at the Vatican Library. The complete collection comprises over 14,000 documents from Kyushu spanning the 17th-20th centuries recently cataloged and digitized and available through NIJL. The manual details a selection of documents specifically selected for the purpose of learning to read, transcribe, and translate komonjo. The book comprises an introduction, followed by, chapter 1, which includes four explanatory essays: “Documents as Material Objects,” “The Texts: Cursive Script and Language,” “The Historical Context of the Marega Documents,” and “Reference Tools and Suggested Readings.” The next two chapters cover “Reading Models” and “Texts for Practice.” Several appendices include information helpful to understanding komonjo, especially the documents related to Christianity in the Marega Collection. The author and editors compiled the volume mainly as a useful resource for students of sōrōbun and komonjo, and with the hope to provide up-to-date information about Japanese paleography and diplomatics of the Pre- and Early Modern period which will prove of interest for more advanced specialists, also
Alcune osservazioni sull’evoluzione dell’uso dei segni diacritici nell’ortografia del giapponese: dakuten, handakuten e fudakuten.
Full text linkModern Japanese spelling conventions include the use of diacritical marks called dakuten and handakuten used to mark voiced consonants and the presence of the bilabial voiceless occlusive /p/ respectively
In this paper I will describe the historical process that led to the formation of this diacritical mark system as it is used today, summarising the evolution and stabilisation of Japanese orthography
Il tema del vino nella poesia di Sugawara no Michizane. Analisi testuale e storico-culturale
Full text linkThe paper centres on the poetic works of Sugawara no Michizane (845-903) and explores the theme of wine. By examining a selection of compositions that feature wine as a subject or involve characters like sake 酒 or yoi 酔, the author seeks to challenge the prevailing notion that Michizane was unable to consume alcohol or had limited appreciation for gatherings involving alcoholic beverages. The paper's aim is to offer fresh perspectives on the contrast between public and private poetry during the early Heian period in Japan. This includes revaluating the notion of a strict division between hare and ke
paru o faru? Sulla realizzazione fonetica del fonema /*p/ nella lingua giapponese dei periodi Nara e Heian
Full text linkStarting with Hashimoto’s work in 1928 and continuing until recent times, the prevailing belief was that the reflex of the phoneme /*p/ of Proto-Japanese was a bilabial fricative [ɸ] as early as the Nara period. This perspective had widespread acceptance. In this paper, I intend to outline the key studies on this topic, particularly those that have critiqued Hashimoto’s hypothesis. Special emphasis will be given to Wenck’s theory from 1959, which, despite receiving limited recognition within Japanese scholarship, has significantly contributed to the fields of Japanese philology and phonological research. Moreover, to support the theory suggesting [p] as the most archaic phonetic value, I will provide a detailed account of the reflexes of /*p/ and the underlying diachronic changes in the contemporary language varieties found in the Ryūkyū Islands. Ultimately, this paper will conclude by identifying the phonetic values of the discussed phoneme in Old and Late Middle Japanese, both at the word initial and word medial positions, based on the most viable and phonologically plausible theories available
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Il dono dell’airone Scritti in onore di Ikuko Sagiyama
No full textIl volume raccoglie saggi di cultura giapponese di studiosi che hanno voluto rendere omaggio a Ikko Sagiyama, in occasione del completamento del suo ruolo, per il costante impegno umanistico e filologico e per la generosa guida rivolta a tutti i colleghi. Il testo ha l’ambizione di rappresentare la gratitudine dell’intera comunità scientifica per il rigore e la leggerezza che Ikko ha sempre saputo coniugare nella ricerca
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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