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Full-Text Articles in East Asian Languages and Societies
Flowers, Trees, And Writing Brushes: Extraordinary Lovers In The Otogi-Zoshi Kazashi No Himegimi And Sakuraume No Soshi, Haley R. Blum
Flowers, Trees, And Writing Brushes: Extraordinary Lovers In The Otogi-Zoshi Kazashi No Himegimi And Sakuraume No Soshi, Haley R. Blum
Masters Theses 1911 - February 2014
This thesis presents translations of Kazashi no himegimi and Sakuraume no sōshi, two tales belonging to the genre of medieval Japanese narrative known as otogi-zōshi, and of the subcategory known as iruimono (tales of non-humans). Chapter 1 provides context, beginning with a brief history of otogi-zōshi and a description of residual challenges in its research, including the parameters of the genre and problems with its nomenclature. This is followed by a discussion of the typical physical formats of these tales, Nara ehon and emaki, and a brief history of iruimono and plant symbolism in otogi-zōshi completes the …
Scripture And Fiction: An Aesthetic Approach To The Little Pilgrim, Brian Russo
Scripture And Fiction: An Aesthetic Approach To The Little Pilgrim, Brian Russo
Honors Theses
The Little Pilgrim is written by Korean author Ko Un and was translated into English by Brother Anthony of Taizé. This text, a fictional rendering of the Gandavyuha Sutra, is an instant classic of contemporary Buddhist literature. The Gandavyuha Sutra comprises one-third of the fifteen hundred page Avatamsaka (Flower Garland) Sutra. The Avatamsaka has been described as the epitome of Buddhist thought, Buddhist sentiment, and Buddhist experience and is popular with all schools of Mahayana Buddhism, in particular, The Pure Land and Zen. The Avatamsaka Sutra is the longest sutra of the Buddhist canon and one of the oldest, dating …
Review Essay: Negotiating The Traditional And The Modern: Chinese Women's Literature From The Late Imperial Period Through The Twentieth-Century, Li Guo
Languages, Philosophy, and Communication Studies Faculty Publications
The three books above complement each other in their coverage of Chinese women's literary genres from the late fourteenth through the early twentieth century. The authors' theoretical inquiries invite consideration of the following questions: what meaning, if any, might a feminist imagination or approach have in the Ming (1368-1644) and Qing (1644-1911) eras, early and late Republican China (1911-1948), and beyond? What do these works have in common regarding the resituating of women's literary status, the reclamation of feminine agency, and the empowerment of female subjectivity in China's literary tradition? These books can be considered in dialogue with Western feminism …