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In Japanese literature, poems were one of the first forms of writing. This form of writing brought a whole new level of human expression. Two well known collaborations, known as the Man’yoshu and the Kokinshu, demonstrated Japan’s literary achievements. These two anthologies, which showcased works from a wide range of social groups, set a standard for poetry writing by allowing individuals to express their feelings through words. Although the Man’yoshu and the Kokinshu were compiled of Japanese poetry, the two books played roles in separate societies, where they each held their own significance.
The Man’yoshu is most well known for being the earliest recorded collection of Japanese poetry. Also known as the “Collection of Ten Thousand Leaves”, the Man’yoshu was mainly composed of poems that were written in the middle of the 8th century, however there are older poems that’s are part of the collection. Considered to be “the oldest and greatest of the Japanese anthologies of poetry,” the Man’yoshu held a variety of different poetry styles. Many of the poems written in the Man’yoshu were based off of Chinese ideals and literary styles. Being “the most advance country in the world,” China was used as a base point for creating Japanese literature. At the time, Japanese people became aware that “poetry composition was highly valued and became a requirement for those seeking a bureaucracy position.” Using their culture and institutions, Japan began to experiment with Chinese poetry, mainly the shih. As they began to make progress, literacy in Japan grew. The Japanese people began to realize through reading Chinese poems that poetry was used as a form of expressing one’s emotions and thoughts. However having the desire to cre...
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At first Japan began to create its form of literature through the readings of Chinese poems. By using China as a foothold, Japan was able to increase its literacy by experimenting and eventually creating their own style of poetry. Through the creation of the anthology Man’yoshu Japan was finally able to express their thoughts and feelings openly by creating a wide variety of waka. This set the stage for the Kokinshu whose poems became the standard in writing Japanese poetry for the next century and lasted up until the eighteenth century.
Works Cited
Handout 2: Man’yoshu
Handout 4: Kokin waka shu
Keene, Donald. Anthology Of Japanese Literature. Groove Press. New York 1955.
Man'yoshu & The Imperial Waka Collections. http://web-japan.org/museum/others/uta/ tanka/tanka_02.htm
The Kokinwakashu. http://www.temcauley.staff.shef.ac.uk/kokinshu.shtml
Mori, Taisanboku, et al. Poets Behind Barbed Wire. Eds. Jiro Nakano and Kav Nakano. Honolulu: Bamboo Ridge Press, 1983.
The understanding of the Pacific Islands literature is still a very confusing material for many scholars. Only the indigenous residents can interpret fully interpret their own cultural concept of writing. However, in the “My Urohs” which is a slim collection of poetry published by Emelihter Kihleng in May 2008 as her first collection of poem. It provided a new path for their own people to view themselves differently and add an important element in the Pacific Islander literature. Some of the basic informations about the author was that Emelihter is a Micronesian and more specifically Pohnpeian that was born in Guam and earned a master's degree in creative writing at the University of Hawaii at Manoa in 2003.
Although still adopting a traditional literary form, the poetry writing can be regarded as an example of the heterogeneity and border-crossing of cultural-scape in globalization period. Those poems were produced under the brunt of the international mobility that is propelled by the capitalist globalization, but precisely and paradoxically, in a suspending situation caused by national regulation, a “state of exception” of this mobility. The juxtaposition of the frustration on foreign life and the flare of nationalist emotion (with the rhetoric emulating ancient barbarian-expelling heroes), may imply a paradoxical consequence in globalization: the international mobility undergirding the national awareness instead of undermining it. Following this thread, the publication of this kind of poetry in 1930s, the oblivion of it after war, and the subsequent re-discovery, recognition, and research of it can be all taken as symptomatic traces of the localization, articulation, and transformation of national consciousness (both as “Chinese” and “American”) in the continuous globalization. Needless to say, those poems are deeply flawed in terms of aesthetics due to the rather poor literacy of their authors. It would be invoking to put these poems beside those “high art” works also produced in globalization context, such as the works on the Eiffel Tower and the London fog by Huang Zunxian (黄遵宪), a late Qin intellectual caught in between the East and the West, the
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Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
Riichi, Yokomitsu. Shanghai. Michigan: The Center for Japanese Studies, The University of Michigan , 2001.
“Until the seventeenth century, Japanese Literature was privileged property. …The diffusion of literacy …(and) the printed word… created for the first time in Japan the conditions necessary for that peculiarly modern phenomenon, celebrity” (Robert Lyons Danly, editor of The Narrow Road of the Interior written by Matsuo Basho; found in the Norton Anthology of World Literature, Second Edition, Volume D). Celebrity is a loose term at times; it connotes fortune, flattery, and fleeting fame. The term, in this modern era especially, possesses an aura of inevitable transience and glamorized superficiality. Ironically, Matsuo Basho, (while writing in a period of his own newfound celebrity as a poet) places an obvious emphasis on the transience of life within his travel journal The Narrow Road of the Interior. This journal is wholly the recounting of expedition and ethos spanning a fifteen hundred mile feat, expressed in the form of a poetic memoir. It has been said that Basho’s emphasis on the Transient is directly related to his and much of his culture’s worldview of Zen Buddhism, which is renowned for its acknowledgement of the Transient as a tool for a more accurate picture of life and a higher achievement of enlightenment. Of course, in the realization that Basho does not appear to be unwaveringly religious, perhaps this reflection is not only correlative to Zen Buddhism, but also to his perspective on his newfound celebrity. Either way, Matsuo Basho is a profound lyricist who eloquently seeks to objectify and relay the concept of transience even in his own name.
The Tale of Murasaki, by Liza Dalby, is about Murasaki, a young woman who lived in the Heian period (794-1185) of Japan. She writes a story called The Tale of Genji, and earns so much recognition for it that she is invited to court to attend the empress. Not only was she known for her writing, but she drew attention by learning Chinese. In the story, a Chinese education is essential for a man hoping to be a high-ranked member of society. Because the Japanese considered Chinese culture as superior, waka, a popular form of Japanese poetry, carries less cultural value in the novel. Therefore, both high-class women and men have to learn about wakas and use them daily. A woman who can compose good wakas and is beautiful would have the best chances of going to court, which is the best way to guarantee a comfortable life. Liza Dalby’s The Tale of Murasaki accurately portrays the abilities of each sex, the importance of Chinese learning, and the role of Japanese poetry in the Heian period of Japan.
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Buddhism is a beautifully complex religion that since its widespread introduction to Japanese culture by the end of the seventh century has made enormous impacts and direct influences on the government and cultural practices of society (Hoffmann 36). The Japanese death poetry composed by Zen monks and haiku poets, compiled by Albert Hoffmann, is an excellent literary explication of the Japanese attitude towards death. This attitude is most notably derived from Buddhism, the main religion of the Japanese people. Even Japanese citizens who are not literal Buddhists still embrace the philosophies that have now become instilled in the cultural history of Japan due to such a heavy Buddhist influence on government and education throughout the centuries.
Every story, poem, or anthology alike has a part of the author’s feelings or past between their lines, which dictates their origins. The Spoon River Anthology by Edgar Lee Masters is not anything different in that regard. Every piece of writing has it’s origins and those origins can be not only interesting, but change the way the reader views the writing. This paper will not only discuss the origins of the famous Anthology, but show Edgar Lee Masters’ personal side of the origins and how those instances influenced his writing of The Spoon River Anthology.
The Man’yōshū (Collection of a Myriad) is an anthology of poetry with some 4,500 poems. The Man’yōshū is one the first anthologies of Japanese poetry but by some scholars it is considered one of the finest. In his book Japanese Culture author Paul Varley describes the poems of the Man’yōshū as follows, “Some of the Man’yōshū poems are spuriously attributed to emperors and other lofty individuals of the fourth and fifth centuries, an age shrouded in myth, and a great many more are anonymous” (43). Many poem anthologies have come and gone over the rich history of Japan but there are some key features of the Man’yōshū that keeps it apart from the many other anthologies. One of the key features is that it can be said that the poems found therein were not just written by the nobility but the hand of many classes of society contributed to the works of poetry within the anthology. From the peasants to the frontiers guards men to even the paupers of Japans societies contributed to this great anthology. Though some modern scholars believe tha...
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