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Carmen Blacker’s spirited translation of Santo Kyoden’s Mukashi-banashi inazuma byooshi (from which the title ‘The Straw Sandal’ is taken), considered by Aston to be his masterpiece, reveals a multi-layered and fascinating tale of revenge – Japanese-style, thereby providing a classic example of this popular genre within Japanese literature. Aston makes the point that the plot of this late-eighteenth-century novel, developed over twenty chapters or episodes, is so complicated that ‘it is impossible to give an adequate summary...’ But he goes on to promise several murders, a harakiri and other suicides, terrific combats, hairbreadth escapes, strange meetings and surprising recognitions. In addition, there are scenes of witchcraft and enchantment with dreams, magic terrors and ghosts who rove by night. The Straw Sandal, which contains most of the original black and white woodblock prints together with textual notes added by the translator, will surely be widely welcomed both in the world of literature as well as that of Japanese Studies.
This book proposes new design and development models for local cultural and creative products, intended to improve the quality of these products and to preserve or enhance their local economic benefits. Building a knowledge base of design symbols and information gleaned from local history can be used to simplify the process of creative product design and increase the efficiency of product development. This book proposes a method for grasping the essential elements of symbols and culture so as to accelerate product development and capture the essence of culture in product design. In addition, it demonstrates that exhibitions applying scenario-oriented design can not only strengthen the representation of local culture, history and stories, but also support product consumption. As a result, the book offers a valuable asset for boosting the efficiency of creative product design and promoting the consumption of creative cultural products.
Take a walk in someone else's shoes in this fascinating examination of shoes and feet around the world! This one-of-a-kind A-Z reference work contains over 150 fascinating entries and intriguing sidebars that look at feet and adornment of feet across the many cultures of the world throughout time. A wide range of international and multicultural topics are covered, including foot binding, fetishes, diseases of the foot, customs and beliefs related to the foot, shoe construction, myths and folktales featuring feet or shoes, the history of footwear, iconic brands and types of shoes, important celebrities associated with shoes, and the types of footwear worn around the world. This exhaustive compilation is ideal for students and general readers interested in the human body, fashion, and medicine, and even scholars looking for more in-depth coverage on the social and cultural uses of the body will find it as a useful starting point in their research. Cross-references, suggestions for further reading, and a full bibliography of print and electronic resources are valuable tools for all readers. Students can use this reference work to draw cross-cultural comparisons, as well as study the evolution of footwear in terms of social, religious, and ethnic parameters. Aside from iconic American brands and types of shoes, this volume will also look at how feet are treated and viewed around the globe: removing shoes upon entering a house, washing feet for religious purposes, giving feet the spa treatment, and covering feet up for social customs. Perfect for undergraduate and high school students studying anthropology and world culture.
Two of Dogen's most esteemed translators provide key chapters from his Zen masterpiece, the Shobogenzo, in English with annotations to guide the reader.
Rise, Ye Sea Slugs! is a book of many faces. First, it is a book of translated haiku and contains over 900 of these short Japanese poems in the original (smoothly inserted in the main body),with phonetic and literal renditions, as well as the authors English translations and explanations. All but a dozen or two of the haiku are translated for the first time. There is an index of poets, poems and a bibliography. Second, it is a book of sea slug haiku, for all of the poems are about holothurians, which scientists prefer to call sea cucumbers. (The word cucumber is long for haiku and metaphorically unsuitable for many poems, so poetic license was taken.) With this book, the namako, as the sea cucumber is called in Japanese, becomes the most translated single subject in haiku, surpassing the harvest moon, the snow, the cuckoo, butterflies and even cherry blossoms. Third, it is a book of original haiku. While the authors original intent was to include only genuine old haiku (dating back to the 17th century), modern haiku were added and, eventually, Keigu (Gills haiku name) composed about a hundred of his own to help fill out gaps in the metaphorical museum. For many if not most modern haiku taken from the web, it is also their first time in print! Fourth, it is a book of metaphor. How may we arrange hundreds of poems on a single theme? Gill divides them into 21 main metaphors, including the Cold Sea Slug, the Mystic Sea Slug, the Helpless Sea Slug, the Slippery Sea Slug, the Silent Sea Slug, and the Melancholy Sea Slug, giving each a chapter, within which the metaphors may be further subdivided, and adds a 100 pages of Sundry Sea Slugs (scores of varieties including Monster, Spam, Flying, Urban Myth, and Exploding). Fifth, it is a book on haiku. E ditors usually select only the best haiku, but, Gill includes good and bad haiku by everyone from the 17th century haiku master to the anonymous haiku rejected in some internet contest. This is not to say all poems found were included, but that the standard was along more taxonomic or encyclopedic lines: poems that filled in a metaphorical or sub-metaphorical gap were always welcome. Also, Gill shows there is more than one type of good haiku. These are new ways to approach haiku. Sixth, it is a book on translation. There are approximately 2 translations per haiku, and some boast a dozen. These arearranged in mixed single, double and triple-column clusters which make each reading seem a different aspect of a singular, almost crystalline whole. The authors aim is to demonstrate that multiple reading (such as found in Hofstadters Le Ton Beau de Marot) is not only a fun game but a bona fide method of translating, especially useful for translating poetry between exotic tongues. Seventh, it is a book of nature writing, natural history or metaphysics (in the Emersonian sense). Gill tried to compile relevant or interesting (not necessarily both) historical -- this includes the sea slug in literature, English or Japanese, and in folklore -- and scientific facts to read haiku in their light or, conversely, bringor wring out science from haiku. Unlike most nature writers, Gill admits to doing no fieldwork, but sluggishly staying put and relying upon reportsfrom more mobile souls. Eighth, it is a book about food symbolism. The sea cucumber is noticed by Japanese because they eat it; the eating itselfinvolves physical difficulties (slipperiness and hardness) and pleasures from overcoming them. It is also identified with a state of mind, where you are what you eat takes on psychological dimensions not found in the food literature of the West. Ninth, it is a book about Japanese culture. Gill does not set out to explain Japan, and the sea slug itself is silent;but the collection of poems and their explanations, which include analysis by poets who responded to the author's questions as well has historical sources, take us all around the culture, from ancient myths to contemporary dreams. Tenth, it is a book about sea cucumbers. While most species of sea cucumbers are not mentioned and the coverage of the Japanese sea cucumber is sketchy from the scientific point of view, Gill does introduce this animal graced to live with no brain thanks to the smart materials comprising it and blessed for sucking in dirty sediment and pooping it out clean. Eleventh, it is a book about ambiguity. Gill admits there is much that cannot be translated, much he cannot know and much to be improved in future editions, for which purpose he advises readers to see the on-line Glosses and Errata in English and Japanese. His policy is to confide in, rather than slip by the reader unnoticed, in the manner of the invisible modern translator and allow the reader to makechoices or choose to allow multiple possibilities to exist by not chosing.Twelfth, the book is the first of dozens of spin-offs from a twenty-book haiku saijiki (poetic almanac) called In Praise of Olde Haiku (IPOOH, for short) Gill hopes to finish within the decade. Thirteenth. The book is a novelty item. It has a different (often witty) header (caption) on top of each page and copious notes that are rarely academic and oftehumorous.
After the death of his master Gaofeng Yuanmiao, Zhongfeng Mingben (1263-1323) left Gaofeng's mountain and lived in solitude. For many years, he resided in various small mountain hermitages (often called "Dwelling-in-the-Phantasmal Hermitages") or houseboats. He drew students from all over East Asia: Yunnan, Turfan, Mongolia, Korea, Japan, and elsewhere. The Recorded sayings of Chan Master Zhongfeng Mingben provides an introduction, from the perspective of Chan/Zen Studies, to the teachings of this key figure of Yuan-dynasty Chan. Jeffrey Broughton focuses on selected works in Zhongfeng's two Chan records, the enormous Extensive Record of Preceptor Tianmu Zhongfeng, and the much smaller ancillary Zhongfeng Record B. Included translations are Instructions to the Assembly; selected Dharma Talks; the miscellany Night Conversations in a Mountain Hermitage; the dharma talk entitled House Instructions for Dwelling-in-the-Phantasmal Hermitage; In Imitation of Hanshan's Poems (one-hundred poems); Song of Dwelling-in-the-Phantasmal Hermitage; Cross-Legged Sitting Chan Admonitions (with Preface); Ten Poems on Living on a Boat; and Ten Poems on Living in Town.
An extraordinary collection of Japanese folk tales, many in English for the first time! This book contains 79 stories from the Japanese collection Tales from Shinshu, compiled and edited by award-winning author Noboru Wada. It features traditional tales of yokai, ghosts, mountain witches, demons and apparitions frequently sighted in and around the mountainous Shinshu region in central Japan, such as: The Legend of the Snow Woman: A beautiful woman appears at Minokichi's door one night in a snowstorm. They marry and live happily, until one day her terrible secret is revealed. Kappa Taro: A legendary yokai terrifies villagers by luring them into a pond, where they drown. Can Suwa Yorito, famed for his strength, successfully challenge this terrifying demon? The Yamamba Witch's Daughter: Who would ever dream of marrying a mountain witch? Can the Yamamba's daughter find the love and happiness she seeks? These stories have been passed down for generations from grandparents to their grandchildren, sitting around the hearth on cold and snowy winter nights. They are well-known throughout Japan and are believed by the inhabitants of Shinshu to have actually occurred in the distant past!