classical Japanese poetry

Les « filles de pierre » shinü 石女 sont des personnages faisant de fréquentes apparitions dans les romans et pièces de théâtre des Ming et des Qing. Femmes au vagin obturé voire même absent, elles sont parfois rapprochées des hermaphrodites erxing zi 二形子 capables d’adopter tour à tour une identité féminine ou masculine, mais sont le plus souvent décrites comme des « femmes eunuques » ci taijian 雌太監, êtres incomplets. Lorsque les récits s’aventurent à expliquer ce qui leur a valu cet état, elles sont dites en général payer le prix d’un mauvais karma, celui de fautes commises lors leur existences antérieures ou de l’inconduite de leurs parents. Si certains récits, comme les « Francs propos d’un vieux rustre » de Xia Jingqu夏敬渠 ou le huitième conte des « Douze tours » de Li Yu李漁 nous montrent la « guérison » d’une shinü, retrouvant un corps féminin normal par un processus qui s’apparente à un lent dégel ou un brutal débouchage, d’autres récits les font entrer dans les ordres. Ces nonnes malgré elles mettront alors bien souvent leurs pouvoirs ascétiques au service de la fertilité d’autres femmes. C’est dans ce cadre que de telles héroïnes, souvent personnages de comédies érotiques, rencontrent ceux des récits hagiographiques bouddhiques ou taoïstes sur les carrières religieuses féminines.

Уважаемые коллеги!
    Несколько лет назад на базе Кафедры истории государства и права Уральского гос. юридического университета группа российских японоведов начала работу над большим проектом по изучению истории и культуры, государства и права древней Японии, призванным продвинуть эту область японоведения в нашей стране. В рамках этого проекта сборники научных статей выходят ежегодно: проект, начатый сб. «Древняя Япония в Восточной Азии: археология, мифология, история. К 100-летию со дня рождения М.В. Воробьёва» (2022), был продолжен сборниками «Японские древности (историко-правовые исследования). Вып. 1-й» (2023) и «Японские древности: восточноазиатское обозрение (историко-правовые исследова-
ния)». Вып. 2-й (2024). 
    Этот проект продолжается – объявлен сбор материалов для 3-го выпуска сб. научных статей «Японские древности» (историко-правовые исследования) (2025 г.). Он посвящён юбилею выдающегося российского японоведа, специалиста по мифологии, истории культуры и литературы древней Японии – доктора филологических наук Людмилы Михайловны Ермаковой, заслуженного профессора Муниципального Университета
иностранных языков (Kobe City University for Foreign Studies, г. Кобэ, Япония).

Уважаемые коллеги!
    Несколько лет назад на базе Кафедры истории государства и права Уральского гос. юридического университета группа российских японоведов начала работу над большим проектом по изучению истории и культуры, государства и права древней Японии, призванным продвинуть эту область японоведения в нашей стране. В рамках этого проекта сборники научных статей выходят ежегодно: проект, начатый сб. «Древняя Япония в Восточной Азии: археология, мифология, история. К 100-летию со дня рождения М.В. Воробьёва» (2022), был продолжен сборниками «Японские древности (историко-правовые исследования). Вып. 1-й» (2023) и «Японские древности: восточноазиатское обозрение (историко-правовые исследова-
ния)». Вып. 2-й (2024). 
    Этот проект продолжается – объявлен сбор материалов для 3-го выпуска сб. научных статей «Японские древности» (историко-правовые исследования) (2025 г.). Он посвящён юбилею выдающегося российского японоведа, специалиста по мифологии, истории культуры и литературы древней Японии – доктора филологических наук Людмилы Михайловны Ермаковой, заслуженного профессора Муниципального Университета
иностранных языков (Kobe City University for Foreign Studies, г. Кобэ, Япония).

In the year Ten'ei 2 (1111) in what was then the capital of Japan, Fujiwara no Tadamichi turned fifteen and in Confucius' words it was time “to put his mind to study.” Scholarship meant not only the study but also the active practice of literature and the young man was ...

In this interview, Tawara Machi (1962) discusses poetics, new media, and the viewpoints of younger generations. She examines how contemporary technologies and forms of communication shape poetic expression and resonate with youth, potentially transforming their understanding and appreciation of poetry. The article includes Italian translations of her tanka from the 1987 collection "Sarada kinenbi," illustrating the impact of her work and its cross-cultural significance.

Kyō (madness or eccentricity) has been a notable aesthetic paradigm in Japanese literature since the medieval period, but the concept of kyō has never been monolithic. In fact, the term in existing Japanese texts represents highly diverse authorial intentions and stances, including political resistance, religious nonconformity, aesthetic preference, social criticism, ethical concerns, and the construction of a literary identity. Kyō as an aesthetic paradigm is fundamentally established on the reversal of literary conventions. It played a very important role in Edo literature when the writers sought novel creative spaces beyond the classical canons to develop popular genres. This paper examines how kyō or eccentricity constituted an important part of the creativity of both Matsuo Bashō (1644-1694), the greatest haikai (comic linked verse) poet, and Ōta Nampo (1749-1823), the best kyōshikyōbun (Chinesestyle eccentric poem and prose) writer. It demonstrates that while both of them excelled at what Haruo Shirane has called "the literature of reversal", 1 Bashō's kyō often works effectively in turning the earthy and the aberrant to the lofty and the spiritual, and Nampo's tends to bring the refined and the classical down to the vulgar, funny, even crude meaning in claiming a distinctive poetic world of his own. Kyō, literally meaning madness or insanity, implies behavior or thought that so radically transcends worldly concerns that it appears eccentric. In Japanese literary texts before Bashō, kyō has always been used to refer to the popular or comic genres that are distinct from their orthodox counterparts, such as kyōka (eccentric tanka or short Japanese poem), kyōshi (eccentric kanshi or poem in Chinese style), kyōbun (eccentric prose), and kyōgen (eccentric drama). Haikai as the humorous and aberrant counterpart to the

Problem statement: Researchers describe periodic musical structures as square antecedent-consequent, which forms a large part of musical works. In such structures, longer pauses exist at the end of the antecedent and consequent. Shorter pauses also exist in the middle of the antecedent and consequent. The formal attitude of binary, ternary, and periods from Kuregian’s perspective (metric sequence) and other sound group research all illustrate the metric’s encirclement in melodic structures. The poetic structures also follow the principles of musical metric progression.
Research objectives: This essay aims to find a mechanism to describe the rhythmic circular structure of children’s poems and then test the theory obtained in a statistical community. In previous studies, researchers have examined the rhythm and prosody of children’s poetry as external musical factors, and there are also models for folk poetry and prosody. However, applying the metric function to folk poems, primarily based on listening aesthetics, has yet to be done.
Research method: This research method is quantitative-qualitative. The first step uses a qualitative method based on library sources to describe fundamental theories. In the second quantitative phase step, 20 participants participated in a listening test.
Conclusion: Children’s poem structure can be defined based on the principles of metric progression. The results for 90% of the audience illuminate that listeners prefer square division patterns and find them more natural. For this reason, most folk poems follow antecedent and consequent periodic types.

This article considers both the possibilities and limits of 'gender' for our analyses of medieval Japanese texts. It does so on the grounds that the conceptual category of gender and woman, body and agency, closely associated with it, were produced within the broader historical, cultural and religious context of Europe, and therefore do not travel seamlessly when brought to bear on non-Western pasts.

Quello che colpisce nel bel volume che raccoglie le fotografie scattate da Maurizio Cianciarelli i è soprattutto la connessione che il fotografo romano mantiene con il pensiero classico giapponese. Questa relazione non dipende tanto dall'aver posto in dialogo le sue fotografie con la voce dei poeti di tanka del passato e dall'aver irrobustito questo legame mediante la trascrizione ad inchiostro e pennello delle poesie, ma dal riverbero che si scorge fra la fotografia di Maurizio, il suo pensiero e l'estetica giapponese.

Materiał zawiera:
1. artykuł na temat japońskiej poezji buddyjskiej, a w szczególności wierszy w formie bussokusekika, czyli „pieśni o kamieniu ze śladami stóp buddy”, a także dōka, czyli „pieśni drogi” i zbioru Ninjutsu dōka, czyli Wierszy o drodze ninjutsu (XVII wiek).
2. pierwszy kompletny przekład na język polski zbioru bussokusekika, czyli „pieśni o kamieniu ze śladami stóp buddy” ze świątyni Yakushiji (wiersze w zapisie japońskim, w transkrypcji alfabetem łacińskim oraz przekład na język polski).

Yōsōki (Records about a Creepy Monk, 1902) is a lesser-known short story of Izumi Kyōka, one of the most popular writers of the Meiji period. Kyōka, known for his fantastic, pictorial and folksy stories, belonged to the renowned literary circle Kenyūsha, founded by Ozaki Kōyō, that committed itself to light fiction and firmly rejected didactically motivated literature. The story Yōsōki presented here for the first time in German translation, stands prototypically in the tradition of the fantastic-aesthetic literature characteristic for Kyōka’s writing.

Miyazawa's poem, well-known in Japan, is an early example of Japanese Modernism. It reverses the usual sociolectic roles of optimistic Spring and the negatively-marked Buddhist deity Shura in order to paint a negative picture of farming folk, who show no interest in religion.

This paper is inspired by Prof. Tzvetana Kristeva’s monumental study on the poetic image of tears, Namida no shigaku: Ōchō bungaku ni okeru shiteki gengo (The Poetics of Tears: Poetic Language in the Literature of the Heian Court), and is based on my Ph.D. research done under her supervision. The paper discusses the poetic image of tears in the Sarashina nikki (Sarashina Diary, ca. 1058), written by Takasue no Musume, Takasue’s daughter. The image of tears is a recurrent motif throughout the Sarashina Diary, but it is especially prominent in its opening and closing parts, which present it in contrasting ways. In the opening part, a travelogue from the Eastern provinces to the capital, the image of tears is not explicit and is suggested through the use of toponyms, utamakura and landscape descriptions. I traced the poetic allusions and associations with tears created by the toponyms and utamakura in the travelogue, using the CD-ROM version of the complete waka collection Kokka Taikan...

This article aims to analyze five poems from the first chapters of the book Izumi Shikibu nikki (1008 b.C.), which are intertwined among themselves through the implicit or explicit presence of hototogisu, the bird that symbolizes summer in classical Japanese poetry. In addition, this article offers a historical contextualization and a summary of the life of Izumi Shikibu, the poet and author of the book under analysis. It is based mainly on the works of Fujioka (1994), Wallace (2005) and Cunha (2019, 2020), works which allowed to conclude that: there were multiple reasons that led to the creation of books such as the one under analysis – among those, mainly the emergence of hiragana and the life of the Heian court ladies-in-waiting; Izumi was a very talented author who lived a tragic life but succeeded in immortalizing her greatest love story as part of the Japanese literary canon; and lastly, that the analyzed poems have in common not only the summer, but also the ‘yearning for someone’-theme, as well as bringing to light the poet’s intentions and the proof of her expertise.

This paper (in Polish) presents available evidence of Hellenistic epigram books and discusses the character of the poetic anthologies, i.e. poetry books of that period. Two major documents discussed in the article are the "Milan Papyrus" − a third-century BC anthology of epigrams ascribed to Posidippus, and the so-called "Vienna Epigram Papyrus" − a papyrus of the same period including a list of epigram incipits, presumably as a basis for compiling a new anthology. It is argued here that collecting poetry, epigrams in particular, is an essential and specific means of poetic communication in the Hellenistic age, which affect the status of a single poem. It is best to conceptualize an epigram as a part of a larger whole − a fragment − rather than a self-contained entity.

The purpose of this article is to analyze the selection and organization of poetic material of two medieval poetic collections, Shinsanjurokkasen and Koyasan Kongozanmai-in tanzaku, created respectively in the middle of the 13th and the middle of the 14th centuries, and to give information about the manuscripts of these collections stored at the Russian State Library in Moscow.

This paper is inspired by Prof. Tzvetana Kristeva's (2001b) monumental study on the poetic image of tears, Namida no shigaku: Ōchō bungaku ni okeru shiteki gengo (The Poetics of Tears: Poetic Language in the Literature of the Heian Court), and is based on my Ph.D. research done under her supervision. Throughout my Ph.D. studies, Prof. Kristeva guided me with passion and dedication. She helped me discover the beauty of Japanese classical literature, and the exciting possibility of numerous and novel readings of poetic texts. The Sarashina nikki (The Sarashina Diary, ca. 1058) 1) written by Takasue no Musume, Takasue's daughter (1008-1059), 2) is one of the literary works within the genre of nikki bungaku ("diary literature" or "literary diaries") created by middle-class aristocratic women in the Heian period (794-1185). 3) 1) This title, Sarashina nikki, was not given by the author, but by subsequent copyists and scholars for purposes of identification. Sarashina is a mountainous region in central Japan, not mentioned in the work. However, there is an indirect allusion to the place in one of the final poems in the diary. 2) Takasue's daughter or Sugawara no Takasue no Musume (The daughter of Sugawara no Takasue). Like the other women diary authors, her name is not known, because women's names were not included in genealogical records during the mid-Heian period. 3) Nikki bungaku, "diary literature," refers to the group of first-person autobiographical works written in vernacular Japanese in the mid-Heian period (900-1100). These works do not fit strictly into the category of a diary because they contain poems and rarely include dated entries. The unique literary quality of nikki bungaku, created by a mixture of personal reflection and poetry, gave rise to different terms for the genre in English: "lyrical diaries," "memoirs," "poetic diaries," "poetic memoirs."

The article analyzes the rules for recording poems on kaishi sheets of paper by poets during or for the poetic events. The main source of the study is the recording of a poetic collection Shokukokinshū kyōen waka (1266) composed of poems read during a banquet in honor of the completion of the work on the imperial anthology Shokukokinshū. The Gunshō Ruijū publication was used as a source for the investigation, as this publication preserves the principles of recording poems on kaishi sheets. The record of Shokukokinshū kyōen waka is analyzed in context of the karon texts of the time-provisions regarding the recording of poems on sheets of kaishi by Fujiwara no Kiyosuke, Juntoku-in, Fujiwara no Teika.

The purpose of this article is to analyze the selection and organization of poetic material of two medieval poetic collections, Shinsanjurokkasen and Koyasan Kongozanmai-in tanzaku, created respectively in the middle of the 13th and the middle of the 14th centuries, and to give information about the manuscripts of these collections stored at the Russian State Library in Moscow.

The Ise monogatari (The Ise Stories, aka Tales of Ise, tenth cen.) is the oldest continuously illustrated secular narrative in Japanese history. The present article explores to what extent, and how, contemporary manga artists engage with or use this rich visual tradition, examining three examples, in the seinen (young male-oriented), shōjo (young female-oriented), and gyagu (gag) genres, yet all arguably categorizable as gakushū, or educational, manga. Perhaps surprisingly, only the gag manga artist, Kurogane Hiroshi, takes advantage of the Ise’s long visual history, and the author of the article concludes by drawing parallels with the early modern artistic practice of mitate-e, or visual parody.

Godzilla, known as a hero in Japanese monster films and a global icon in popular culture, is associated with the conflict of representation between the Japanese national identity and the Western understanding of this Japanese monster. As Godzilla became a global icon, the audience response and film critics of Godzilla films in Japan and the US are different. Those perceptions about this monster are linked with the contexts of the film industry between Japan and Hollywood, the history between Japan and the US after the Second World War, and the social and cultural difference between Japan and the West. I will examine the first Japanese Godzilla film, Godzilla (1954) and its Hollywood re-edited version, Godzilla: King of Monsters (1956) in order to understand the cinematic body of monsters in relation to national identity. I shall ask in this paper, what is the relationship between the monstrous body and the construction of national identity in the Japanese and American social contexts, if the national subjectivity is grounded in racial and cultural difference and the techno-organic monstrosity is concerned with the disruption of difference? On one hand, the concept of national identity is derived from an “imagined community” with shared experiences and authentic history, and on the other hand, the physical body embodies and sustains this collective identity through social rituals. Thus, the hybridity of the monstrous body may or may not limit the understanding of national identity and its racialisation. In particular, cinema as a modern ritual of mass communication reinforces the imaginative nationhood, and the excessiveness of the cinematic body is amplified through performance, costume, and special effects.

ウジェーヌ・ドラクロワ『アルジェの女たち』(1834)は、オリエントのハーレムの女性を画材にしたオダリスク絵画の代表的名画であり、以降のオリエンタリズム絵画、裸婦像に多大な影響を及ぼした。しかし、1830 年のフランスのアルジェ占領があってこそ、画家はハーレム内部に入ることができ、ゆえにこの絵を描くことができた。フランスのアルジェリアに対する植民地支配の産物とも言える。また名画として鑑賞されてきたこの絵を、フランス語表現の女性作家はどのような視点で見て、どのように自己の作品に反映させ、自らのアイデンティティを構築していくか。この論考はその後半部で、アルジェリアとフランス両方にルーツをもつフランス人作家、レイラ・セバールのシェラザード三部作を検討し、80 年代に顕在化する北アフリカ系フランス人の若者の自己構築の諸相を、この名画と関連づけて考察する。Eugene Delacroix\u27s Women of Algiers in their Apartment (1834), one of the masterpieces of "Odalisque paintings" representing femaleslaves or concubines in a harem, has a great influential power on posterior paintings such as of Renoir, Matisse, and Picasso. Fromhistorical and political viewpoints, it is the French conquest of Algeria in 1830 that enabled Delacroix to intrude into a harem to watchand sketch these women. The present paper is the latter part of tne above-mentioned study, in which an Algerian-French writer, Leila Sebbar\u27s "Sherazade" trilogy is examined in the relation of O...

Celem badawczym artykułu jest przedstawienie Ise monogatari (Opowieści z Ise) –najwybitniejszego dzieła należącego do podgatunku opowieści dworskich zwanego uta monogatari (proza liryczna). Na tle innych typów opowieści dworskich (ōchō monogatari) uta monogatari stanowi niezwykle oryginalną odmianę prozy, w której elementy fabularne pełnią rolę drugorzędną, a świat przedstawiony jest kreowany przede wszystkim poprzez poetyckie przetworzenia realiów życia. Ogniwem łączącym w tym utworze poszczególne eseje poetyckie w jedną całość jest postać mukashi otoko, „mężczyzny z dawnych czasów”, pod którą ukrywa się Ariwara Narihira (825-880), poeta i dworzanin. Niniejszy artykuł przedstawia główne wyróżniki gatunkowe, jak również uwarunkowania światopoglądowe i społeczne, które sprawiły, że utwór ten utożsamiany jest z estetyką dworskiej elegancji miyabi.

Text představuje oblast tzv. písní hraničářů (sakimori no uta) obsažených ve významné básnické antologii Man’jóšú z 8. století. Autorka nastiňuje historický kontext problematiky hraničářů ve vztahu k regionu severního Kjúšú, dále uvádí místo sakimori no uta ve jmenované antologii a poskytuje základní charakteristiku a kategorizaci těchto básní. Zvláštní pozornost je věnována opakovaně uplatňovanému motivu pásu obi a jeho symbolice.

Jippensha Ikku’s Tōkaidōchū hizakurige is a roman fleuve published be-tween the second year of Kyōwa (1802) and the sixth of Bunka (1809). Origi-nally the author’s intention was to end the novel with the first edition, de-scribing a journey to Hakone. However since the two main characters, Yajirōbee and Kitahachi, became unexpectedly famous, he was forced to continue his novel for the next eight years, making the Hizakurige one of the first “bestsellers”. Thanks to the increasing popularity of the book, both the author and its publisher Murataya Jirōbee became rich, especially after the fifth volume, when the masterpiece started to be published also in Kansai. In this essay I analyse how they managed to increase the readership by introduc-ing inventive and innovative elements into the plot; I also try to outline the strategy used to involve a wider and culturally non homogeneous audience.

This article examines the connections between author, oeuvre, and institutions as reflected in the discourse of intellectual ownership from the late twelfth to the early sixteenth century. I address the issue by reconstructing the genealogies of authorship and "copyright" in literary treatises and by investigating a controversial poem in Ungyoku waka shō, a hitherto overlooked poetry collection dating from 1514. By unveiling how premodern authors represented themselves and their peers by means of literary reappropriation, I illustrate the intertextual and intersubjective trajectories that embodied these politics of authorship.

From ancient times to the Warring States period Toyotomi Hideyoshi fondling the hand of his favorite, Ishida Mitsunari. 1 1 Mashiba Hisayoshi(真柴久吉) was the name used by kabuki theatrical convention for the character Hashiba Hideyoshi(豊臣秀吉), that is, the military leader Toyotomi Hideyoshi (1536-98). 'Hisayoshi' is shown fondling the hand of a pageboy who, from the seven-star crest on his sleeve, must be his favourite Ishida Mitsunari (石田三成, 1560-1600). The image here clearly implies that the two are in a "sexual relationship". However, there is no passage in the illustrated biography Ehon Taiko-ki (Picture Book: Annals of the Regent [Hideyoshi]) of 1797-1802 that mentions sexual relations between Hideyoshi and

Japońska farsa kyōgen kształtowała się w ścisłym związku z teatrem nō i początkowo była formą w dużym stopniu improwizowaną; później teksty sztuk zaczęto ustalać i spisywać w ich pełnym brzmieniu. Artykuł przedstawia język sztuk kyōgen, ich stałe elementy, takie jak przedstawienie się na początku, sposoby reagowania na słowa drugiego aktora, i powtarzające się w wielu tekstach stałe zdania lub frazy. Do XIX wieku teatr japoński rozwijał się bez kontaktu z teatrem europejskim, można jednak dostrzec pewne zbieżności pomiędzy farsą kyōgen a włoską commedia dell’arte, dlatego też formy te zostały skonfrontowane i wyliczone zostały podobieństwa i różnice.

Man'yōshū 万葉集 (MYS; Collection of Ten Thousand Leaves, 759-785)-the first extant collection of waka 和歌, or Japanese court poetry-has been researched by many generations of Japanese literature scholars in and outside Japan. Various experts have approached the collection with different research methodologies and theories. In this article, I present yet another way of looking at Man'yōshū, its poetry, and its reception history as an alternative to current editorial practices in premodern Japanese literary studies. Many modern editions of premodern literary works present allusions to Man'yōshū in the following manner: when indicating relevant honka 本歌 (source poems) and/or sankōka 参考歌 (reference poems), citations usually point to such poem(s) as they appear in the earliest extant complete manuscript of the collection, the Nishi Honganji-bon 西本願寺本, which while dating from the late Kamakura 鎌倉 period (1185-1333) was in fact discovered in 1913, and introduced to the public only in the 1930s. Alternatively, modern editors provide (from sources outside Man'yōshū) those textual references closest, in their opinion, to the language of the annotated poem; even these references, however, are usually listed according to the date of their creation/publication, revealing more concern for chronology than for possible channels of appropriation. 1 Furthermore, likely for practical reasons, modern editions of Japanese classics only rarely provide multiple textual variants of Man'yōshū poems from different manuscripts, and even then only occasionally list the secondary sources containing those texts. Such annotation practices have led to the impression that premodern Japanese poets had access to and used Man'yōshū manuscripts when composing their own Expanding the Web of Intertextuality

The aim of this paper 1 is to inquire into the significance of mudan-Paeonia suffruticosa Andrewsabove the mere botanic information. The adventurers and plant-hunters grasped little of it in the time they tried to acquire the plant in China at the end of the 18 th century and after. The information on the plant from the Jesuits and other embassies from the 17 th century onward was scarce but kicked off the search for the so-called "peony". In a humanist approach "ad fontes" primary sources are evaluated to approach the phenomenon of mudan in Tang and Song dynasty times. Four dimensions of symbolic significance can be related to: 1.»mudan» as symbol of the country, the empire and cultural independence 2. as symbol of beauty, love and love-crazy 3. as a symbol for power, wealth, power of will and resilience 4. as a symbol of home-sickness, the origin of culture and family and past glorious times. With methodological tools of a Zurich historyof-knowledge approach the phenomenon of mudan is interpreted as an example of construction of symbolic knowledge by an elite and as an example of collision of divergent systems creating order and meaning in the Western and Chinese hemispheres until today.

L'oiseau poème s'irradie Dans l'alvéole Qui déplie le ciel (p 172) Le haïboun (ou haïbun) est une forme littéraire japonaise qui conjugue prose et poésie. Plus précisément, le récitatif anecdotique en prose y est interrompu par des poèmes brefs, les haïkus (ou haïkous), qui en constituent les moments-clés et étendent le propos vers une dimension inattendue de réflexion ou de rêverie 1. La construction du présent haïboun est, quant à elle, originale, puisque, pour les moments-clés poétiques, on a ici remplacé les haïkus par des citations de poèmes de Hédi Bouraoui. Toutes les citations sont issues de l'anthologie bilingue français-italien : Hédi Bouraoui, Transpoétiquement vôtre, Anthologie (1966-2016) 2. La poésie se dévoile Dans des replis inattendus Pour les bateaux Elle sert de voile Qu'elle entraîne Dans les rues (p 28) Penser, c'est feuilleter toutes les Alternatives Sur soi… autrui… le contexte qui nous unit Au Village global d'hier et d'aujourd'hui (p 152).

Dreams and Ghosts is the title of a book published in 1897 by Andrew Lang. Andrew Lang's title provides in itself an ideal summary of this article, the first one in a series devoted to the theme of necromancy in pre-modern and modern Japanese letters. This essay is an enquiry into the genealogy of the fantastic tale (gensō bungaku) in the modern era in Japan and an examination of the strong connections it established with traditional religion and the classics. In order to be read meaningfully, modern Japanese tales of the fantastic call for a closer examination of their classical forebears. They also require to be read in the light of various religious discourses born in the modern era, especially Buddhism. Eventually, they need to be confronted to their coeval Western counterparts in order to grasp both the differences in their treatment of the supernatural and the similarities in the motifs they commonly use. The following pages deal with two illustrious writers Kōda Rohan (1867-1947) and Izumi Kyōka (1873-1939) who were the most famous heralds of resistance to modernity among the literati. Their best fictions belong to the genre (in fact, Kyōka 's entire career was devoted to the exploration of this Twilight Zone of Japanese imagination). Rather than giving a general survey of their works belonging to this precise category, the article is an examination of the use they made of the notion of dreams and ghosts, as they inherited it from the medieval corpus of the nō plays. The structure of the mugen nō (nō of illusions and dreams) they transposed into their fictional works is also closely connected to the Buddhist notions of redemption, of the after life and of gender. The introduction deals with the general situation of Buddhism in modern Japanese letters and with the functions of the religious past in Rohan and Kyōka 's tales. The first part deals with the origins and the definition of the word mugen nō from Zeami's time to its revival in the Taishō era (1912-1926). The three other parts of the article are devoted to representative fictions of Rohan and Kyōka read in association with Buddhist motifs and the world of the nō plays. Many recurrent images run through texts like Taidokuro (Facing the Skull) (1890), Kōya Hijiri (The Holy Man of Mount Kōya) (1900) and Shunchū (One Day in Spring) (1906). In this article, we have dealt mainly with the oneiric structure of these texts and with the motif of the femme fatale around which the various tales develop. These two themes-one is structural (narrative patterns) and one belongs to the history of representations (ghosts), allow us to read these texts in close connection to the various classical sources meaningfully used by their authors to give birth to their fictional worlds. The form of the dream-play revived in the modern era, equally shows the possibility of transforming the writing of fiction into a necromantic rite of placation. In using Buddhist notions of the afterlife and of desire through the prismatic lens of the nō plays, these texts vindicate the classical notion of literature as a form of sacred conversation between the living and the dead.

Pendant la période de Nara, la divinité associée au port de Suminoe, dans la baie de Naniwa, a joué un rôle important comme protectrice de la navigation. Cette étude présente une mise en regard des poèmes 19-4245 et 6-1020 du Man.yô-shû, qui invoquent tous deux la divinité de Suminoe, l’un dans le cadre du départ de l’ambassade à la cour des Tang de 733, et l’autre dans le cadre de l’exil vers l’île de Shikoku d’Isonokami no Otomaro en 739.
Nous analyserons les termes utilisés dans l’adresse à la divinité afin de déterminer la proximité entre les deux textes et d’examiner l’hypothèse d’une source commune unique.

Le Man.yô-shû, compilé dans la première moitié du 8ème siècle, est l’un des plus anciens recueils de poésie japonaise qui nous soit parvenu. Dans cette étude, nous nous intéressons spécifiquement aux poèmes composés à l’occasion d’un départ pour des provinces lointaines ou un pays étranger, ce qui impliquait généralement une périlleuse traversée maritime. Sur le plan poétique, nous chercherons à mettre en évidence la spécificité du vocabulaire et des figures de style rencontrés dans notre corpus. Nous aborderons d’autre part le thème du religieux, en décrivant les croyances associées aux voyages et à la séparation. Faisant le lien entre poésie et croyances, nous tenterons de montrer la place du texte poétique relativement aux prières, rites et cérémonies.

In this article I discuss the presence of a poetic work created in the Heian period within an environment as different as the jesuit missions in Japan at the end of Civil Wars Period. Based on previous studies on the subject and historical sources of the time, I will try to clarify not only which aspects of the work were used, but also suggest influences of japanese culture in the publishing activities of the missions.

En el presente trabajo titulado Cómo traducir una obra de literatura clásica japonesa al español: Aproximación a la traducción del Kagerō nikki 蜻蛉日記, se ha apostado por una combinación de los estudios de traducción y literatura japonesa, dando lugar a una investigación y su posterior puesta en práctica a través de la traducción de un fragmento de la obra de literatura clásica japonesa Kagerō nikki. Este trabajo persigue concretar la manera óptima en la que se debería traducir la obra y justificar la importancia histórica y académica de la existencia de su traducción al castellano.