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Volume 30, Issue 10
Displaying 1-20 of 20 articles from this issue
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Article type: Cover
1981 Volume 30 Issue 10 Pages Cover1-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSDownload PDF (42K) -
Article type: Cover
1981 Volume 30 Issue 10 Pages Cover2-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSDownload PDF (42K) -
Setsuya UegakiArticle type: Article
1981 Volume 30 Issue 10 Pages 1-9
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSOn first reading, the famous "land-pulling" tale from the Izumo Fudoki appears poised and well balanced, but closer scrutiny reveals a lack of consistency in the details. This quality can be seen as a consequence of the process whereby this tale evolved. As a step toward documenting this evolution, I will begin by studying the place names that appear in the tale and proceed to consider how the core story might have been expanded. It is my theory that this tale first emerged as a short narrative in the western part of Izumo Province and gradually expanded into a long tale applying to the entire province.View full abstractDownload PDF (840K) -
Takeshi NakanoArticle type: Article
1981 Volume 30 Issue 10 Pages 10-19
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSThe Himekoso deities cast but faint shadows in the waning of the archaic age. Literary works and shrine histories, which give accounts of the gods Who came from overseas, reflect their growing loss of identity. This was best preserved in festivals. The overseas gods worshiped by priests may be regarded as the heirs of the Himekoso deities.View full abstractDownload PDF (1014K) -
Kin'ichi YamashitaArticle type: Article
1981 Volume 30 Issue 10 Pages 20-30
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSIn order to compare the world of the Fudoki and that of the ancient ballads of Okinawa, the following points will be considered: (1) the relationship between the circumstances of compilation of the Fudoki and those of the composition of the Omorososhi (as an example of Okinawan songs) and of the composition of official histories by the Shuri monarchy; (2) the relationship between several motifs (such as "land-pulling," celestial wives, or snake bridegrooms) common to the various Fudoki and pertinent Okinawan song groups or related tale groups. I will close by showing how the archaic world of the Fudoki lives on in the songs of the Okinawan Islands, though the two are separated by more than ten centuries in time.View full abstractDownload PDF (935K) -
Yoshinori AkimotoArticle type: Article
1981 Volume 30 Issue 10 Pages 31-40
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSI have briefly reviewed postwar Fudoki studies both to point out its under-developed state and to understand its potential. Most importantly, it is evident that the Fudoki have not begun to be grasped as literature. As one means of understanding the relationship between the numerous place-name tales and place names, I have considered the issue of the discrepancies between the place names appearing in the tables and those appearing in the tales. The findings are tentative, but I believe I have elucidated one aspect of the generation of place names.View full abstractDownload PDF (957K) -
Kuniaki MitaniArticle type: Article
1981 Volume 30 Issue 10 Pages 41-49
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSArchaic place-name legends such as those recorded in the Fudoki attempt to reincarnate the primary presence revealed in the oral identification of myths with origins, by combining the deeds of (a) gods and heroes with (b) place names. In other words, because of (a), (b) is rendered sacred, and because of (b), (a) acquires the status of truth. By establishing this mutual relationship, these legends, which purport to reveal the etymology of place names, seek to recover the plenitude of presence of mythology. These legends were generally recorded as tales of gods and heroes who gain territorial possession through the activities denoted by the verbs to see, to know, to eat, and to ask/hear. This pattern shows that such tales were formulated as imperial authority attempted to extend its control by dominating the religious rites of communal groups in the archaic period. Moreover, these gods and heroes tend to be depicted as "emperors" who wander abroad, a phenomenon intimately connected with the manifestation of archaic imperial ideology. This essay analyzes the above problems principally from the viewpoint of symbolic dualism, in this case, through the categories of hare vs. ke. By considering the significance of the Fudoki as interpretation, it seeks to grasp the relationship between archaic narrative and imperial autority.View full abstractDownload PDF (891K) -
Hideo WatanabeArticle type: Article
1981 Volume 30 Issue 10 Pages 50-51
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
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Yuri YamakiArticle type: Article
1981 Volume 30 Issue 10 Pages 52-63
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSZeami's will, Kyakuraika, was only transmitted orally to his legitimate heir Motomasa because of the latter's early death. It consists of two secret teachings for posterity, one concerning a piece called the "Kyakurai fu" (return to origins) and the other concerning the "kichizo" (right-left) dance. Whether the dance is a part of the piece-indeed, what relationship pertains between these teachings -is sll unclear, and the issue of the meaning of the will has been passed over to this day. This essay will demonstrate that the "Kichizo" dance is one possible manifestation of the "Kyakurai fu" and that it represents the culmination of life-long efforts by Zeami to add fresh luster to the angel dance. At the same time, the "Kyakurai fu" represents the crowning glory of Zeami's poetics, in which creation finds its guiding principle in the taut equilibrium to be maintained between performer and audience. The "Kyakurai fu" is a secret teaching which posits the principle of the recreation of No from generation to generation, entrusting to the actors of each age the task of supplying the specific contents. Once this is made clear, we can understand the special value that Zeami attached to this teaching, and the value it continues to have to the present day.View full abstractDownload PDF (1104K) -
Yukimasa TadaArticle type: Article
1981 Volume 30 Issue 10 Pages 64-78
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSKenji's interest in William Morris is evident from such writings as Nomin Geijutsu no Koryu (The Flourishing of the Arts in Agrarian Communities). However, the aesthetic theories expounded in Nomin Geijutsu Gairon Koyo (Outline of the Essentials of Art in Agrarian Communities) differ markedly from Morris's understanding of folk art. Kenji's theories have a religious tinge and the relationship between art and labor (agricultural labor) is but a slender one. This essay attempts to disengage Kenji's thoughts on the issue of art and labor from his writings, his poetry, and his children's stories. It argues that the aesthetic theory presented in his children's tale, Mariburon no Shojo, represents his final views on art and labor.View full abstractDownload PDF (1269K) -
Tokichi KimuraArticle type: Article
1981 Volume 30 Issue 10 Pages 79-93
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSThis essay, following upon my earlier essay, "On the Composition of Kotan," which tentatively placed the composition of Kotan after Hikari to Kage to Yume (Light, Wind, and Dreams) had taken definite shape in Tokichi's mind, demonstrates that Kotan was conceived in four parts. The essay goes on to trace the development of the author's consciousness from his earlier work to Kotan. Finally, it attempts to situate Kotans among the works of the middle period, to reflect upon its meaning, and to consider the author's aims in its composition. I offer a partial qualification of the traditional interpretation of Atsushi's efforts to break out of his metaphysical labyrinth as reflecting a desire to transform himself from spectator to actor.View full abstractDownload PDF (1417K) -
Akio ToriiArticle type: Article
1981 Volume 30 Issue 10 Pages 94-98
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
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Yoshiomi AbeArticle type: Article
1981 Volume 30 Issue 10 Pages 99-100
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
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Article type: Appendix
1981 Volume 30 Issue 10 Pages App1-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
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Article type: Bibliography
1981 Volume 30 Issue 10 Pages Misc1-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
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Article type: Appendix
1981 Volume 30 Issue 10 Pages App2-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSDownload PDF (60K) -
Article type: Appendix
1981 Volume 30 Issue 10 Pages App3-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSDownload PDF (60K) -
Article type: Appendix
1981 Volume 30 Issue 10 Pages App4-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSDownload PDF (38K) -
Article type: Appendix
1981 Volume 30 Issue 10 Pages App5-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
JOURNAL FREE ACCESSDownload PDF (39K) -
Article type: Cover
1981 Volume 30 Issue 10 Pages Cover3-
Published: October 10, 1981
Released on J-STAGE: August 01, 2017
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