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Literature in medieval times in Japan
Essay about Japanese Literature
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The first account of marriage and childbirth in early Japanese literature can be found in the Records of Ancient Matters (Kojiki), which was compiled in 712, wherein the two deities Izanami and Izanagi play the most important role in creating the Japanese islands. Izanami and Izanagi, in an attempt to produce the land of Japan, dip a jeweled spear in the ocean brine and stir it. They pull out the spear, and the brine which drips from the tip of the spear solidifies and produces an island to which they descend and dwell on. Discovering their complementary sexuality, Izanami and Izanagi decide to procreate. However, on their first and second try, they give birth to a leech child and the island of APA, both of which are not reckoned as their children due to the fact that Izanami …show more content…
The term ubuya, or parturition huts, was mentioned in the story about the daughter of the Sea God, Toyotamahime. In one variant of Nihongi, Toyotabahime meets Hohodemi in her father’s undersea palace when he visits the place, falls in love, and thereafter becomes his wife. When she becomes pregnant, she informs her husband of her pregnancy and requests that he build her a parturition hut by announcing “I have already conceived. I should not deliver the Heavenly Grandson’s child in the sea. Therefore when I give birth, I will go to your land. If you build an ubuya for me on the beach and wait for me, that would be just what I wish” (birth giving p. 9). The depiction of the ubuya in this version of the story does not imply that it was built due to birth-related pollution, but rather suggests that the ubuya was demanded by the princess herself and its purpose and the resulting isolation were to protect Toyotamahime from outside impurity. Thus, the ubuya was a sacred place which was specifically built for birthing process and childbirth was a sacred action that created
After reading the book which mentions the maternal and neonatal situation in Mali, one of the poorest countries in the world, is pitiable. (1) Child birth takes place under lantern light, in Mud bricks with profuse sweating without electricity, no running water, no emergency backup. With only the grace of God and the skill of a midwife that child birth takes place in remote villages in the country of Mali, West Africa, having the third highest total fertility
Junko Habu, Ancient Jomon of Japan: Case Studies in Early Societies (Cambridge University Press. 2004)
One custom of Umuofia that would be very different from Western culture is Polygamy, the practice of having many wives. This custom is practiced in the connected nine villages of Umuofia. In fact, a man's wealth is partially measured by the number of wives he has. A wealthy man described in Things Fall Apart, had nine wives and thirty children. Okonkwo had three wives and eight children.
Apsu, the male "begetter," is the sweet waters, while Tiamat, the female "maker," is the bitter, salt waters. Sweet and salt water mingle together at the mouths of the Tigris and Euphrates rivers, site of the origins of Mesopotamian civilization. Some translators see the word "maker" in line 4 not as an adjective describing Tiamat but as another god, named Mummu, who emerges at the same time. As you might expect, Mummu means "maker," "form," "mold," or "matrix." Besides being Apsu's vizier, Mummu is the mold or the undifferentiated substance from which things are made. Like Eros at the beginning of the Theogony, this Mummu-power is necessary to get the job of birth-creation going. Stephanie Dalley notes that "the bit-mummu was the term for a workshop that produced statues of deities" (274). N. K. Sandars, however, sees mummu as potential, or entropy (27). In this early period, nothing is named yet because nothing has appeared or been created yet. Notice that pasture-land must be formed--wrested from the desert by the hard work of digging and irrigation. The reed-beds mentioned in line 6 are handier than one might think: in southern Iraq today, the marsh dwellers live and work in floating houses and boats made from the reeds in the reed-beds. The "destinies" mentioned in line 8 are somewhat like the Sumerian me--cultural patterns and ways of living.
Shintoism is a polytheistic religion that believes the world was created by “Kami” (deities or spirits). Although Kami are thought to be invisible presences, they are treated as persons and are given names. Kami are not believed to be living beings in a distant realm; rather their presence is felt as powers in or near this world. Two of these Kami, Izanami (“female who invites”) and Izanagi (“male who invites”) are said to be the creators of the Japanese Islands, as well as three major
Adam and Eve of Genesis and Izanagi and sister Izanami of Shintoism provide examples of myths that share both a passive and active pair of people who eventually create the Earth's population. In any case, certain popular creation myths, some closely tied to prominent religions, share more common characteristics than others. An entire sub-study, called comparative mythology, gives insight into this subject. Through studies such as comparative mythology, researchers and philosophers have discovered hundreds of parallels between the myths that make up every culture, including their creation myths. As most are deeply rooted in religion, comparisons based on geographic area, themes, and similar story lines emerge as religions form and migrate.
Two closely related creation myths come from the Chinese and Japanese. Their geographical ties and trading patterns forged a link. Both share the symbolism of the egg as part an old creation myth. In the Japanese version of the myth, the two gods that were first formed, made love to each other many times and each time a new god of something was born, such as islands, wind and fire. Izam, the female finally died and the creation of other gods was put to a halt. The pattern used here was from nothing to everything, and from the birth of gods to the halt of the creation, when Izam dies.
The Heian period(794-1185), the so-called golden age of Japanese culture, produced some of the finest works of Japanese literature.1 The most well known work from this period, the Genji Monogatari, is considered to be the “oldest novel still recognized today as a major masterpiece.”2 It can also be said that the Genji Monogatari is proof of the ingenuity of the Japanese in assimilating Chinese culture and politics. As a monogatari, a style of narrative with poems interspersed within it, the characters and settings frequently allude to Chinese poems and stories. In addition to displaying the poetic prowess that the Japanese had attained by this time period, the Genji Monogatari also demonstrates how politics and gender ideals were adopted from the Chinese.
The Tale of Heike." Traditional Japanese Literature: An Anthology, Beginnings to 1600. Ed. Haruo Shirane. New York: Columbia UP, 2007. 736-39. Print.
Enuma Elish: The Epic of Creation, LW King Translator from The Seven Tablets of Creation, London 1902. Downloaded from sacred-texts.com/ane/enuma.htm February 7,2014
Matthew Gerber. “The Importance of Poetry in Japanese Heian-era Romantic Relationships”. 2007 May. 2011 June 3.
A description can never be as vivid as an event that has been experienced. An experience can never be as defining as an event that has left you changed. Under the intensity of childbirth, you're more likely to remember details that would otherwise go unnoticed. All the scenes come together to leave a permanent imprint on the mind's eye.
The Heian period was a peaceful era that is highly regarded in Japan’s history. At this time Japan was beginning to break away from Chinese influence, thus the culture of Japan was morphing into something unique and independent from that of China. An example of resulting change was Japan’s further development of their writing system known as kana, which allowed authors to express their feelings in a more Japanese way. The Japanese court also progressed independently from China and created unique concepts and values such as miyabi “courtliness,” makoto “sincerity,” and aware “sadness of impermanence” (Hooker). The expectations put on men and women in the court during the Heian period must have been concurrent with such values.
Ula is the chief deity of the people of Umuaro, a region consisting of six distinct villages united in their common worship of the Ula and the mutual protection granted by him. Ezeula, the novel’s protagonist, is Ula’s chief priest and therefore an important and influential person in Umuaro. Ezeula is a hereditary title, which upon his death will be passed to one of his four sons: the simple mask carver Edogo, the Ezeula’s favorite Nwafo, the impulsive Obika, and Oduche who has been sent by his father to the Christian mission to learn the ways of the