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"Classic tales of ritual suicide, decadence and geisha romance by Japan's greatest 20th-century novelists"--Jacket.
This is a graded reader for Japanese literature. There are 7 stories, 4 by Soseki and 3 by Akutagawa, representing 3 different reading levels. In each case the story is presented in Japanese and English with a running dictionary of terms used. An audio version of the stories is available as MP3 files on the Internet.
The Cambridge History of Japanese Literature provides, for the first time, a history of Japanese literature with comprehensive coverage of the premodern and modern eras in a single volume. The book is arranged topically in a series of short, accessible chapters for easy access and reference, giving insight into both canonical texts and many lesser known, popular genres, from centuries-old folk literature to the detective fiction of modern times. The various period introductions provide an overview of recurrent issues that span many decades, if not centuries. The book also places Japanese literature in a wider East Asian tradition of Sinitic writing and provides comprehensive coverage of women's literature as well as new popular literary forms, including manga (comic books). An extensive bibliography of works in English enables readers to continue to explore this rich tradition through translations and secondary reading.
Karatani Kojin is one of Japan's leading critics. In his work as a theoretician, he has described Modernity as have few others; he has re-evaluated the literature of the entire Meiji period and beyond. As one critic has said, Karatani's thought "has had a profound effect on the way we formulate the questions we ask about modern literature and culture ... [his] argument is compelling, moving even, and in the end the reader comes away with a different understanding not only of modern Japanese literature but of modern Japan itself." Among the many authors discussed are Soseki Natsume, Doppo Kunikida, Katai Tayama, and Shoyo Tsubouchi.
In Studies in Modern Japanese Literature, twenty-two students honor their mentor, Edwin McClellan, with essays and translations focusing on literature from the late nineteenth through the late twentieth centuries. The authors discussed range from Natsume S seki to Murakami Haruki, and the subjects that are dealt with include the flourishing of literary forms in response to the Ansei earthquake, the impact of Western styles on Japanese literature, and modern poetry. Together with the translations of short stories, fables, and a critical essay, these contributions provide an overview of modern Japanese literary history. Contributors include: Paul Anderer, Carole Cavanaugh, Robert Lyons Danly, Eto Jun, Susanna Fessler, Elaine Gerbert, Ken K. Ito, Kyoko Kurita, Phyllis I. Lyons, Andrew Markus, Minae Mizumura, James R. Morita, Christopher Michael Rich, Jay Rubin, William F. Sibley, Stephen Snyder, Tomi Suzuki, Alan Tansman, Richard Torrance, John Whittier Treat, Dennis Washburn, and Angela Yiu.
How can one construct relationality with the other through the skin, when touch is inevitably mediated by memories of previous contact, accumulated sensations, and interstitial space?
Traditional Japanese Literature features a rich array of works dating from the very beginnings of the Japanese written language through the evolution of Japan's noted aristocratic court and warrior cultures. It contains stunning new translations of such canonical texts as The Tales of the Heike as well as works and genres previously ignored by scholars and unknown to general readers.
A dual-language edition of Chinese stories—many appearing in English for the first time This new volume of eight short stories offers students at all levels the opportunity to enjoy a wide range of contemporary literature from the world’s most spoken language, without having to constantly to refer back to a dictionary. The stories—many of which appear here in English for the first time—are by well-known writers as well as emerging voices. From a story by Li Rui about the honest simplicity of a Shanxi farmer to one by Ma Yuan exposing the seamy underside of contemporary urban society, they are infused with both rural dialect and urban slang and feature a wide range of styles and points of view. Complete with notes, the stories make excellent reading in either language. Note: For each short story in this eBook edition, the full English translation is followed by its original Chinese text.
Resisting the various forms of realism popular during the Meiji "enlightenment," Izumi Kyoka (1873-1939) was among the most popular writers who continued to work in the old-fashioned genres of fantasy, mystery, and romance. Gothic Tales makes available for the first time a collection of stories by this highly influential writer, whose decadent romanticism led him to envision an idiosyncratic world--a fictive purgatory --precious and bizarre though always genuine despite its melodramatic formality. The four stories presented here are among Kyoka's best-known works. They are drawn from four stages of the author's development, from the "conceptual novels" of 1895 to the fragmented romanticism of his mature work. In the way of introduction, Inouye presents a clear analysis of Kyoka's problematic stature as a "great gothic writer" and emphasizes the importance of Kyoka's work to the present reevaluation of literary history in general and modern Japanese literature in particular. The extensive notes that follow the translation serve as an intelligent guide for the reader, supplying details about each of the stories and how they fit into the pattern of mythic development that allowed Kyoka to deal with his fears in a way that sustained his life and, as Mishima Yukio put it, pushed the Japanese language to its highest potential.
Playing in the Shadows considers the literature engendered by postwar Japanese authors’ robust cultural exchanges with African Americans and African American literature. The Allied Occupation brought an influx of African American soldiers and culture to Japan, which catalyzed the writing of black characters into postwar Japanese literature. This same influx fostered the creation of organizations such as the Kokujin kenkyū no kai (The Japanese Association for Negro Studies) and literary endeavors such as the Kokujin bungaku zenshū (The Complete Anthology of Black Literature). This rich milieu sparked Japanese authors’—Nakagami Kenji and Ōe Kenzaburō are two notable examples—interest in reading, interpreting, critiquing, and, ultimately, incorporating the tropes and techniques of African American literature and jazz performance into their own literary works. Such incorporation leads to literary works that are “black” not by virtue of their representations of black characters, but due to their investment in the possibility of technically and intertextually black Japanese literature. Will Bridges argues that these “fictions of race” provide visions of the way that postwar Japanese authors reimagine the ascription of race to bodies—be they bodies of literature, the body politic, or the human body itself.