110 research outputs found
Author in Gesaku. Author's Gesaku
No full textpdfThat "play" (ge) equals "writing" (saku) is the premise of gesaku, which is maintained as a stance not only by early bushi-class authors but also by later ones who were professional, and sometimes best-seller, authors. Writing is a game in which the reader is invited to participate, the work being an open arena for the play of writing and interpretation rather than a finished product to be read for cohesive meaning. Thus gesaku is characterized by word-play and self-referentiality. This lecture traces these two features in eighteenth-century British poetry and prose and in gesaku writings of the later Edo period, drawing examples from several works in which the author's self-portrait is prominent.
In comical poetry, Alexander Pope, in his "An Epistle to Dr. Arbuthnot," sets up the poet himself as an ideal against which vices are to be attacked and by which the satirist is to be defended for his writing. Jonathan Swift's "On the death of Dr. Swift" portrays the poet as the worst embodiment of human hypocrisy thereby inducing the reader to laugh at himself while laughing at the author. In prose fiction, Laurence Sterne's Tristram Shandy is a "picture of himself," as he calls it, in the sense that the very act of narrating replaces any objective narrative arrangement. Play, not necessity, seems to be the mother of literary invention. Pope invents the mock-epic couplet in which the sublime and the vulgar are mercilessly mixed ; Swift, the plain-style conversation in which the true and dispicable self is exposed ; and Sterne, the free-form narrative in which tricks of sound and spelling open up multiple possibilities for interpretation.
Similarly, Edo gesaku writers are creators of new language. Hiraga Gennai's sense of the self is a match with Pope's, and, indeed, his Hohiron Part II is as much a "bill of complaint" as Pope's "Arbuthnot " Gennai's self-image, however, is double-sided : it is as proud as Pope's while being as self-debasing as Swift's, so that he simultaneously achieves the former's satirical dimension and the latter's depth. His mock-Chinese (kanbun-yomikudashi) style is more complex and open to interpretation than Pope's mockheroic couplet. The ludicrously lovable nose which Santô Kyôden assigns to his own face in his sketches indicates his inclination toward commercial popularity. His "yellow cover "(kibyôshi) books play on the reading of pictures as well as of the written texts. Particularly, his Kiji Nakazawa features the reader rather than the author so that reading constitutes narration, thus challenging Tristram Shandy for the title of the world's strangest narration. His Sakusha Tainai Totsuki no Zu, showing the formation of a book from its conception to publication as an embryo growing in the author’s masculine “womb,” epitomizes the late gesaku of bringing forward the backstage of writing. Many of Jippensha Ikku’s works are of this type but lacking Kyôden’s fictionality. In his Naruhodo Nekkara Ikku ga Saku, a slapstick comedy about the struggle of the author in search of ideas, Ikku, the popular author, depends on the reader’s indulgence in laughing at, and sympathizing with, the misery of the actual author. Here the author-reader relationship is extremely close, to such a degree to invalidate the written work, a case of a game losing its raison d’être by the conspiracy of the players.conference pape
公開講演 戯作の作者・作者の戯作
No full textpdfThat "play" (ge) equals "writing" (saku) is the premise of gesaku, which is maintained as a stance not only by early bushi-class authors but also by later ones who were professional, and sometimes best-seller, authors. Writing is a game in which the reader is invited to participate, the work being an open arena for the play of writing and interpretation rather than a finished product to be read for cohesive meaning. Thus gesaku is characterized by word-play and self-referentiality. This lecture traces these two features in eighteenth-century British poetry and prose and in gesaku writings of the later Edo period, drawing examples from several works in which the author's self-portrait is prominent.
In comical poetry, Alexander Pope, in his "An Epistle to Dr. Arbuthnot," sets up the poet himself as an ideal against which vices are to be attacked and by which the satirist is to be defended for his writing. Jonathan Swift's "On the death of Dr. Swift" portrays the poet as the worst embodiment of human hypocrisy thereby inducing the reader to laugh at himself while laughing at the author. In prose fiction, Laurence Sterne's Tristram Shandy is a "picture of himself," as he calls it, in the sense that the very act of narrating replaces any objective narrative arrangement. Play, not necessity, seems to be the mother of literary invention. Pope invents the mock-epic couplet in which the sublime and the vulgar are mercilessly mixed ; Swift, the plain-style conversation in which the true and dispicable self is exposed ; and Sterne, the free-form narrative in which tricks of sound and spelling open up multiple possibilities for interpretation.
Similarly, Edo gesaku writers are creators of new language. Hiraga Gennai's sense of the self is a match with Pope's, and, indeed, his Hohiron Part II is as much a "bill of complaint" as Pope's "Arbuthnot " Gennai's self-image, however, is double-sided : it is as proud as Pope's while being as self-debasing as Swift's, so that he simultaneously achieves the former's satirical dimension and the latter's depth. His mock-Chinese (kanbun-yomikudashi) style is more complex and open to interpretation than Pope's mockheroic couplet. The ludicrously lovable nose which Santô Kyôden assigns to his own face in his sketches indicates his inclination toward commercial popularity. His "yellow cover "(kibyôshi) books play on the reading of pictures as well as of the written texts. Particularly, his Kiji Nakazawa features the reader rather than the author so that reading constitutes narration, thus challenging Tristram Shandy for the title of the world's strangest narration. His Sakusha Tainai Totsuki no Zu, showing the formation of a book from its conception to publication as an embryo growing in the author’s masculine “womb,” epitomizes the late gesaku of bringing forward the backstage of writing. Many of Jippensha Ikku’s works are of this type but lacking Kyôden’s fictionality. In his Naruhodo Nekkara Ikku ga Saku, a slapstick comedy about the struggle of the author in search of ideas, Ikku, the popular author, depends on the reader’s indulgence in laughing at, and sympathizing with, the misery of the actual author. Here the author-reader relationship is extremely close, to such a degree to invalidate the written work, a case of a game losing its raison d’être by the conspiracy of the players
Breaking the Disciplinary Boundaries: Collaborative Research in Early Modern Japanese Arts and Literature
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On Tanka Poems by HONGO Sumie — The Significance of Depicting the Glory and Decline of Nishijin, Kyoto —
No full textThis article aims to demonstrate three significances of tanka poems by HONGO Sumie (1934～), who has lived for sixty years in Nishijin, Kyoto: the significance of her poems in depicting the glory and decline of Nishijin fabric industry and the ever-inspiring historic places of and figures in Kyoto; the beauty and artistry of her poems in exploiting a variety of rhetorical expressions; the possibility of making ordinary Japanese people realize the beauty and richness of the Japanese language. Among her conspicuous rhetorical expressions is the use of onomatopoeia like saya-saya, light and rhythmic sounds of a bamboo or a small waterfall, describing a Nishijin fabric machine and a small waterfall in a well-known garden in Kyoto. Another is the frequent use of hikari or light, referring to encouraging aspects of the world around her. In a tanka poem her late husband is associated with light (hikari) and a shield (tate). Not well-known to the tanka-related people, the poet deserves, the author believes, to be accepted as a distinguished Nishijin- and Kyoto- related poet. (Kyoto and Nishijin need a poet who gives literary description of its glorious culture and history.) Her use of uta-kotoba or words frequently used in tanka poems like modasu or ‘to remain silent’ might enable ordinary Japanese people to be impressed with not-daily-used beautiful Japanese expressions, thereby being more interested in their native language.departmental bulletin pape
Poston 1 county fair, [part 1]
No full textPage 78 of "Out of the Desert" the Poston I High School Junior Red Cross Correspondence Album. The entire album can be seen at SFSU_SCRB_0001Marguerite Archer Collection of Historic Children's Materials contains approximately 3,500 historical children's books, textbooks, and periodicals, ephemera, and realia, including puzzles, toys and educational games. The collection, originally based upon the Peter Parley to Penrod Bibliography, is considered to be a major scholarly resource showing the progressive development and growth of American children's literature from the 1820s to the 1920s, and includes many original editions of literary classics, as well as early textbooks and related teaching aids
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