A challenging study offering a new perspective on classical Japanese poems and how they interact with and are part of material culture This generously illustrated volume offers a fresh perspective on classical Japanese poetry (waka), including many poems treated here for the first time in a Western-language publication. Edward Kamens examines these poems both as they relate to material things and as things in and of themselves, exploring their intimate connections to artifacts and works of visual art, sacred and secular alike, and investigating the unique rhetorical messages and powers accessed and activated through these multimedia productions. This book makes a major contribution to Japanese literary and cultural studies.
Kamens focuses especially on one figure, "the buried tree," which refers to fossilized wood associated in particular with an utamakura site, the Natori River, and is mentioned in poems that first appear in anthologies in the early tenth century. The figure surfaces again at many points in the history of traditional Japanese poetry, as do the buried trees themselves in the shallow waters that otherwise conceal them. After explaining and discussing the literary history of the concept of utamakura, Kamens traces the allusive and intertextual development of the figure of the buried tree and the use of the place-name Natorigawa in waka poetry through the late nineteenth-century. He investigates the relationship between utamakura and the collecting of fetishes and curios associated with utamakura sites by waka connoisseurs.
The first three centuries of the Heian period (794-1086) saw some of its most fertile innovations and epochal achievements in Japanese literature and the arts. This work examines the early Heian from a variety of multidisciplinary perspectives.
When the young Princess Sonshi became a Buddhist nun in the year 984, a scholar-official of the royal court was commissioned to create a guide to the Buddhist religion that would be accessible for her. He did so in the form of the illustrated works of fiction (monogatari) that appealed to women readers of her time and class. The text has survived in later manuscripts; the illustrations, if they ever existed, have not. This revised translation recreates Sonshi’s experience of receiving this multimedia presentation, with illustrations selected to help contemporary readers visualize its content and essays that provide context on the religious and cultural experience of the author. The Three Treasures is a unique document that opens a window onto the world of Buddhist religious experience—especially for women—in high classical Japan, the time of Sei Shōnagon’s Pillow Book and Murasaki Shikibu’s Tale of Genji.
A challenging study offering a new perspective on classical Japanese poems and how they interact with and are part of material culture This generously illustrated volume offers a fresh perspective on classical Japanese poetry (waka), including many poems treated here for the first time in a Western-language publication. Edward Kamens examines these poems both as they relate to material things and as things in and of themselves, exploring their intimate connections to artifacts and works of visual art, sacred and secular alike, and investigating the unique rhetorical messages and powers accessed and activated through these multimedia productions. This book makes a major contribution to Japanese literary and cultural studies.
Scholars have long remarked on the frequency with which Japanese myths portrayed gods (kami) as old men or okina. Many of these “sacred elders” came to be featured in premodern theater, most prominently in Noh. In the closing decades of the twentieth-century, as the number of Japan’s senior citizens climbed steadily, the sacred elder of premodern myth became a subject of renewed interest and was seen by some as evidence that the elderly in Japan had once been accorded a level of respect unknown in recent times. In Buddhism and the Transformation of Old Age in Medieval Japan, Edward Drott charts the shifting sets of meanings ascribed to old age in medieval Japan, tracing the processes by which the aged body was transformed into a symbol of otherworldly power and the cultural, political, and religious circumstances that inspired its reimagination. Drott examines how the aged body was used to conceptualize forms of difference and to convey religious meanings in a variety of texts: official chronicles, literary works, Buddhist legends and didactic tales. In early Japan, old age was most commonly seen as a mark of negative distinction, one that represented the ugliness, barrenness, and pollution against which the imperial court sought to define itself. From the late-Heian period, however, certain Buddhist authors seized upon the aged body as a symbolic medium though which to challenge traditional dichotomies between center and margin, high and low, and purity and defilement, crafting narratives that associated aged saints and avatars with the cults, lineages, sacred sites, or religious practices these authors sought to promote. Contributing to a burgeoning literature on religion and the body, Buddhism and the Transformation of Old Age in Medieval Japan applies approaches developed in gender studies to “denaturalize” old age as a matter of representation, identity, and performance. By tracking the ideological uses of old age in premodern Japan, this work breaks new ground, revealing the role of religion in the construction of generational categories and the ways in which religious ideas and practices can serve not only to naturalize, but also challenge “common sense” about the body.
Genres Mlange DeuximeHumor, Word Play, Personae, Sonnets, Art, Fiction, Memoirs, Reconstructing Judaism, Reviews, Interpretation, Genealogy contains, besides Art, writings in ten different categories, at least six of which are clearly genres. Many categories contain respective elements of others. This work, a sequel to Edwards Humor and More and Genres Mlange, features the innovations of Prompt-Based Pieces (comprising exposition, fiction, and memoirs), Genealogy, and a Literary Memoir. The writings in the book range from Scripture to Talmud to Shakespeare to discussion about modern authors. The book features guest contributorswife Reva Spiro Luxenberg Levenson, brother Robert Levenson, daughter Aliza Levenson, sons Judah and Benjamin Levenson, friends Joe Bruno and Jack Cohen, and mentor Rabbi Sylvan Kamens.
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