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This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1982.
This complete translation and commentary of The Poetry Contest in Six Hundred Rounds provides a window onto one of the key texts for understanding C12th Japanese poetry, poetics and critical practice for the first time.
This valuable work presents transliterations of famous ancient and medieval Japanese texts. The texts contained in this volume are the nagauta or chôka of the Manyôshiu, one of the earliest Japanese anthologies, compiled about 760 a.d., the Taketori Monogatari, Story of the Old Wicker-worker, the preface of Ki no Tsurayuki to his well-known anthology, and the utahi of Takasago, possibly the earliest of the medieval miracle-plays. Contents include: Preface Emendations Introduction Specimen Of Script Map Of The World, As Known To The Japanese Of The Mythical Era Manyôshiu Kozhiki Uta Nihongi Uta Kokinshiu Uta Hiyakunin Uta Introduction To Taketori Taketori Kokinshiu Zhiyo Takasago Makura Kotoba
In Japanese Morphography, Gordian Schreiber takes an in-depth look at texts from pre-modern Japan written exclusively in Chinese characters as morphograms and demonstrates why the language behind the script is, in fact, to be identified as Japanese rather than Chinese.
'Kokin Wakashū' (Collection of Early and Modern Japanese Poetry) is one of the world's earliest and most important poetic anthologies. It consists of over 1,000 poems, almost all of which were probably written between the last half of the eighth century and 905, the approximate date of the work's compilation. This is the first full-scale study in English of Kokinshū (as it is usually called), the anthology that fixed the basic style of Japanese poetry, and in so doing defined the aesthetics of an entire literary tradition. Kokinshū cannot be appreciated without some knowledge of Chinese poetry and its influence on Japanese writers, Heian aesthetics ideals, the aims of the anthology's poets and compilers, the expectations of the intended audience, and the nature of Heian society. Brocade by Night attempts to provide the necessary perspective by discussing the Chinese poetry known to the Japanese, the characteristics of early Japanese composition in both Chinese and Japanese, and the social and literary atmosphere out of which Kokinshū arose. The author also discusses the content and form of typical Kokinshū poems, the structure of the anthology, and the question of individuality in a genre of convention. The role of Kokinshū principal compiler, Ki no Tsurayuki, is described, and the author examines two of Tsurayuki's other works, Tosa nikki and Shinsen waka. A companion volume, 'Kokin Wakashū', The First Imperial Anthology of Japanese Poetry, consists of new translations of Kokinshū and Tosa nikki and the first translation in any language of Shinsen waka