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Article type: Cover
1996 Volume 45 Issue 5 Pages
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Article type: Cover
1996 Volume 45 Issue 5 Pages
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Article type: Appendix
1996 Volume 45 Issue 5 Pages
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Article type: Appendix
1996 Volume 45 Issue 5 Pages
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Shusaku Yoshida
Article type: Article
1996 Volume 45 Issue 5 Pages
1-9
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In Kojiki there is a tale of divine union in the other world where men and women follow a certain pattern of meeting and separation; falling in love by "inspired sight" while falling apart by "awe-stricken sight". The "inspired sight" means "correspondence and sympathy," and the "awe-stricken sight" "alienation and antipathy". Nevertheless there is an exceptional case in the tale. The relations of Toyotamabime/Yamasachi or of Yuryaku/Akaiko, while apparently tracing the pattern, betray it in the end. Although they see each other by "awe-stricken sight" at first, both of the couples never fall apart but instead become aware of a spiritual bond between them in the middle of exchanging poems. Thus we can read the awakening of individual feelings in the patterned world of mythology.
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Hiroo Takeda
Article type: Article
1996 Volume 45 Issue 5 Pages
10-20
Published: May 10, 1996
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In this essay I will analyze representations of the supernatural power by which a Buddhist statue supposedly plays the role of a medium between this and other worlds, mainly treating the mysterious tales in Nihon-Ryoi-ki. In these tales we can see the change which the form of rapport with spiritual beings had undergone, from a direct communication with invisible gods to one through the medium of the idol. In the former case, the gods' will manifests itself in various kinds of curses, whereas in the latter it appears in a more human style, as in the tale of a statue complaining of pain. In other words, rapport had come to be represented in a more corporal fashion.
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Gen Tada
Article type: Article
1996 Volume 45 Issue 5 Pages
21-31
Published: May 10, 1996
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Obviously Bussokuseki-ka (poems inscribed on the stone base of a Buddhist statue) derive to a large extent from Nehan-kyo in their morals and ideas. Bussokuseki-ki (writings on the statue base) are as strongly influenced by the same source as the former. So in this essay I will examine these poems and writings in relation to the religious text. Bussokuseki-ka possibly played the function of translating the esoteric language of Nehan-kyo into plain Japanese. The function is, however, not limited to mere translation. By turning the inaccessible style into a familiar one (here I refer to it as a "workable signifier"), the poems also worked as a commentary on Nehan-kyo and made its religious spirit available to common people.
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Fusae Kawazoe
Article type: Article
1996 Volume 45 Issue 5 Pages
32-43
Published: May 10, 1996
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Undoubtedly the author of Kagero-Nikki is the forerunner in female literature of the Ocho era when we think of the great influence that she actually made on other female writers. But in her life the author, Michitsuna-no-Haha, came to be more indifferently treated by her husband Kaneie as she was developing her writing talent and establishing herself as a full-fledged writer. Michitsuna-no-Haha was both an artist and house-wife in her married life. She wove texts as well as textiles. Thus the question of the origin of this miraculous and extraordinary text inevitably demands a biographical reading. In other words, we need to re-read it as the story of a writer/wife who experienced love and estrangement and always felt tension between two kinds of "textual" weaving.
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Miyako Yoshii
Article type: Article
1996 Volume 45 Issue 5 Pages
44-54
Published: May 10, 1996
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In Genji-Monogatari all the major male characters are endowed with the ability to sing in beautiful voices. Especially among them Ben-no-shosho is an interesting figure. He first appears as a child in the "Sakaki" part, who sings "Takasago". From that time he is called "Takasago-Utaishi-Kimi" after the title of the lay and the frequent reference to that name reminds the reader of the scene of his first appearance. This name also suggests the ominous situation under which Hikaru-Genji is placed.
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Hisayo Imai
Article type: Article
1996 Volume 45 Issue 5 Pages
55-64
Published: May 10, 1996
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In Genji-Monogatari Hikaru-Genji and Murasaki-no-Ue are represented as an ideal pair who apparently correspond with each other through their "spiritual union". But in the form of their dialogue Hikaru-Genji is the main narrator while his wife passively responds to him. Then the "spiritual union" is politically motivated: it is based not as much on real partnership as on belief in the gender system. Later in the latter part of "Wakamurasaki" she is so shocked with the loss of her status as his wife that she falls fatally ill. But by the very loss she is eventually turned from the yoke of her lover's influence, and ironically she can make poems in her own form and voice.
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Masatoshi Sano
Article type: Article
1996 Volume 45 Issue 5 Pages
66-67
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Koji Goto
Article type: Article
1996 Volume 45 Issue 5 Pages
68-71
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Yoshinobu Kondo
Article type: Article
1996 Volume 45 Issue 5 Pages
72-73
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Koichi Shimamura
Article type: Article
1996 Volume 45 Issue 5 Pages
74-77
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Yoshiaki Yamamoto
Article type: Article
1996 Volume 45 Issue 5 Pages
80-81
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Satoru Miyasaka
Article type: Article
1996 Volume 45 Issue 5 Pages
82-83
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Hideki Masugi
Article type: Article
1996 Volume 45 Issue 5 Pages
84-85
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Hisao Hayashi
Article type: Article
1996 Volume 45 Issue 5 Pages
86-87
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Toshio Takahashi
Article type: Article
1996 Volume 45 Issue 5 Pages
88-91
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Article type: Bibliography
1996 Volume 45 Issue 5 Pages
92-93
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Article type: Bibliography
1996 Volume 45 Issue 5 Pages
95-94
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Article type: Appendix
1996 Volume 45 Issue 5 Pages
96-
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Article type: Appendix
1996 Volume 45 Issue 5 Pages
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Article type: Appendix
1996 Volume 45 Issue 5 Pages
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Article type: Cover
1996 Volume 45 Issue 5 Pages
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Published: May 10, 1996
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