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Journal articles on the topic 'Japanese mythology'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Tu, Xiaofei, and Wendy Xie. "The Kojiki/Nihon Shoki Mythology and Chinese Mythology: Theme, Structure, and Meaning." Religions 12, no. 10 (October 18, 2021): 896. http://dx.doi.org/10.3390/rel12100896.

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This essay will compare myths found in the Kojiki and the Nihon Shoki with thematically and structurally similar Chinese myths, and other Japanese texts, in order to shed light on the meanings of both Japanese and Chinese mythology. The authors’ approach is partly in the critical textual study tradition that traces back to Gu Jiegang and Tsuda Sokichi, and partly informed by comparative mythologists, such as Matsumae Takeshi, Nelly Naumann, and Antonio Klaus, with attention to Proppian and Levi-Straussian motifs in structural studies. First, we shall discuss some common themes in Chinese and Kojiki/Nihon Shoki myths. Second, we shall point out common structures in both Chinese and Japanese myths. Finally, we shall try to show how such common themes and structures could potentially help us understand the meanings of the myths in discussion.

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2

Vasic, Danijela. "Solar deity in Japanese mythology." Bulletin de l'Institut etnographique 72, no. 1 (2024): 59–78. http://dx.doi.org/10.2298/gei2401059v.

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In order to create an orderly state, the first imperial chronicles emerged in the early 8th century in the territory of modern Japan through the integration and systematization of mythical elements that proved the legitimacy of the government and the descent of the imperial Yamato lineage from the supreme deity of the Shinto pantheon - the Great Sun Goddess Amaterasu. This mythic paradigm was created on the existing mytho-historical foundations fostered by cultural and political contacts with the Korean kingdoms and the Chinese empire. There is evidence that the cult of the solar deity, originally portrayed as a male principle, originated in a corpus outside the Yamato mythological system. And since male-female pairs of rulers were common (first it was the gods, later the ruler and the shamaness), it is possible that at some point the distinction between the sexes was blurred and then the female side prevailed. However, the female ancestral deity does not indicate a period of matriarchy. This symbolic type of goddess, who initiates a patrimonial lineage with rare female exceptions, was created by members of a privileged group of powerful men to legitimize their own power structures. Moreover, the cult of the mother goddess is not limited to the solar principle, but is associated with weaving, silk production, and agriculture. Thus, the simple assertion that the Yamato imperial lineage descended from the goddess Amaterasu raises numerous questions and doubts, which this essay attempts to answer.

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Hoshina, Hideto. "The Mythology of Insect-Loving Japan." Insects 13, no. 3 (February 26, 2022): 234. http://dx.doi.org/10.3390/insects13030234.

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Japanese people are perceived to have a relatively more favorable disposition towards insects than individuals from other nations. Given that insects frequently appear in myths from all over the world, I researched Japanese mythology as a potential origin of this positive outlook toward insects. I reviewed the ancient records Kojiki, Nihonshoki, and Fudoki, and found seven cases where insects appear. In all cases, the insects played relatively minor roles. They did not speak, nor were they under the command of gods or emperors. They did not feature as main characters in ancient poetry, and gods/emperors did not take the shape of any insects. In only two instances were insects featured in a positive light. In general, relationships between gods, emperors, and insects are weak in Japanese mythology, and hence mythology does not appear to be the primary source of Japanese affinity for insects.

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Noh,Sung-Hwan. "Ancient Korea in the Japanese Mythology." Journal of North-east Asian Cultures 1, no. 16 (September 2008): 583–606. http://dx.doi.org/10.17949/jneac.1.16.200809.024.

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5

Hoston, Germaine A. "Conceptualizing Bourgeois Revolution: The Prewar Japanese Left and the Meiji Restoration." Comparative Studies in Society and History 33, no. 3 (July 1991): 539–81. http://dx.doi.org/10.1017/s0010417500017175.

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That the Meiji Restoration marked Japan's proruption as a modern industrial nation-state has become a commonplace among those who study Japanese political history. The event may lack the romantic drama and mythology of the French revolutionary upheaval of almost a century before, yet the Restoration has remained a source of fascination for scholars seeking patterns in the events that transcend national boundaries to form the seamless web of human history.

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Ito, Toshiko. "Wandelnde Horizonte des Weltwissens." Journal of Educational Media, Memory, and Society 10, no. 1 (March 1, 2018): 82–105. http://dx.doi.org/10.3167/jemms.2018.100106.

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*Full article is in GermanChanging Horizons of World Knowledge: On the Presentation of Space in Primary School Geography Textbooks of the Japanese EmpireEnglish abstractThe presentation of space in primary geography textbooks of the Japanese Empire (1868–1945) changed according to the political climate. In the liberal phase of the 1870s, Japanese geography schoolbooks dealt with the entire earth. In the revisionist phase of the 1880s, in order to encourage a sense of national identity, no knowledge of lands outside of Japan was imparted to lower primary school students. In the phase of colonial expansion from the 1890s, the world reemerged in geography school books, with an increasing emphasis on the reorganisation of East Asia. Drawing on premodern mythology, primary geography textbooks served to consolidate the Japanese concept of empire in accordance with the respective political situation. German abstractDie Raumvorstellung in den elementaren Geographieschulbüchern des Japanischen Kaiserreichs (1868–1945) änderte sich mit dem politischen Klima. In der liberalen Phase der 1870er Jahre behandelten die Geographieschulbücher alle Erdräume. In der revisionistischen Phase der 1880er Jahre wurde den unteren Grundschülern zur Wahrung der nationalen Identität kein Wissen über die Erdräume außerhalb Japans vermittelt. In der kolonialen Expansionsphase ab den 1890er Jahren fanden die Erdräume außerhalb Japans wieder Eingang in die Geographieschulbücher, wobei die Neuordnung Ostasiens immer stärker betont wurde. Auf der vormodernen Mythologie basierend dienten die elementaren Geographieschulbücher der Festigung des japanischen Reichsgedankens nach Maßgabe der jeweiligen politischen Lage.Keywords: Geographieschulbücher, Großostasiatische Wohlstandssphäre, Japanisches Kaiserreich, koloniale Expansion, nationale Identität, Raumvorstellung

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Panchuk, Ekaterina, and Alena Alekseeva. "YOUKAI AS AN IMPORTANT FACTOR IN THE FORMATION OF JAPANESE CULTURE." Scientific Papers Collection of the Angarsk State Technical University 2021, no. 1 (July 5, 2021): 289–92. http://dx.doi.org/10.36629/2686-7788-2021-1-1-289-292.

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The analysis of the concept of "youkai" in Japanese mythology, its origin is given, the varieties of youkai are considered. There are references to youkai in ancient monuments of Japanese culture, their reflection in literature and fine arts, modern film and game industries

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8

MacWilliams, Mark. "Japanese Mythology: Hermeneutics on Scripture - By Jun'chi Isomae." Religious Studies Review 37, no. 3 (September 2011): 236–37. http://dx.doi.org/10.1111/j.1748-0922.2011.01544_2.x.

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Duthie, Torquil. "Japanese Mythology: Hermeneutics on Scripture (review)." Monumenta Nipponica 66, no. 2 (2011): 335–38. http://dx.doi.org/10.1353/mni.2011.0033.

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10

Shultz, John A. "Japanese Mythology: Hermeneutics on Scripture, by Jun’ichi Isomae." Relegere: Studies in Religion and Reception 1, no. 2 (2011): 371–73. http://dx.doi.org/10.11157/rsrr1-2-537.

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11

Keliyan, Maya. "Postmodern Japan Middle Class Related Mythology and Nostalgia." Slovak Journal of Political Sciences 12, no. 2 (May 1, 2012): 1–16. http://dx.doi.org/10.2478/sjps-2013-0004.

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Abstract The paper explores the transformations of middle class mythology in contemporary Japan, studying phenomena, connected to the objective and subjective middle class identification. After 1970s, when the share of people self-identified with the middle class reached 90% Japanese identity has been shaped around the sense of “all nation belonging to the middle class”. The economic prosperity after World War Two and the fact that within two generations Japan turned from a poor country into a rich society, provide the foundations of the myth of “a middle class society”, zealously maintained by political parties and the media. Since the end of the 1990s, the issue of growing economic inequality is becoming a topic of intense discussion. During this period Japanese society underwent recessions and crises followed by periods of revival; as a result Japan changed its direction from the lavish lifestyle of the 1980s to growing sense of deepening social inequalities. These transformations brought about the popularity of a new myth, this time about melting and even vanishing middle class, and nostalgic reminiscences of “happy late 1970s and 1980s” when supposedly Japanese people used to live in better society. The March 11, 2011 natural disasters and the ensuing nuclear crisis in Japan have destroyed another myth - that of prime importance of consumers` comfort, and of nuclear power plant safety. The ecologically and environmentally responsible consumption and lifestyle are an important resource for achieving vitally important task of revitalizing our-day Japan

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Pulkkinen, Tuuli, Mia Vepsäläinen, Henna Konu, Katja Pasanen, and Raija Komppula. "Mytologiasta vetovoimaa? – Kalevalan kiinnostavuus itäaasialaisten kohderyhmien näkökulmasta." Matkailututkimus 19, no. 1 (September 16, 2023): 6–28. http://dx.doi.org/10.33351/mt.122979.

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Myths and legends are representative of the unique cultural aspects of ethnic communities and, thus,fruitful resources of meaningful stories that can attract tourists and simultaneously convey meaning to their experiences. This study aims to increase understanding of the attractiveness of mythology-based tourism products among East Asian target markets. The aim is to examine how interested Chinese, Japanese and Koreans are in products that are based on stories and themes of Finnish mythology, as represented in the Finnish national epic Kalevala. Thematic interviews were conducted among Chinese, Japanese and Koreans living in Finland. In the interviews two stories from Kalevala (the stories of Aino and Sampo) were utilized along with three themes strongly linked to Kalevala: nature, sauna and bear. The findings indicate that Kalevala and Finnish mythology are not familiar enough in the Asian target markets to be a significant pull factor itself for the tourists. However, the interest in the stories and mythical content shows that they can be used as elements that add value to tourism products. The findings also show differences in what the Chinese, Japanese and Koreans value and pay attention to. The findings provide customer insight for tourism product development in the target markets. Attention should be paid to how the stories and mythical themes are integrated into tourism products. Highlighting the linkages of Kalevala to the cultures of the target markets could also make it more appealing and easier to understand.

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13

Borgen, Robert, and Marian Ury. "Readable Japanese Mythology: Selections from Nihon shoki and Kojiki." Journal of the Association of Teachers of Japanese 24, no. 1 (April 1990): 61. http://dx.doi.org/10.2307/489230.

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14

Akbay, Okan Haluk. "JAPON MİTOLOJİSİNDE KADIN İMGESİ / WOMAN IMAGE IN JAPANESE MYTHOLOGY." Selçuk Üniversitesi Edebiyat Fakültesi Dergisi, no. 32 (January 23, 2015): 79. http://dx.doi.org/10.21497/sefad.70580.

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15

Afrianti, Muflikhatun. "DEWI IZANAMI DAN DEWA IZANAGI DALAM AGAMA SHINTO JEPANG (STUDI SEMIOTIK DALAM FILM NORAGAMI ARAGOTO)." RELIGI JURNAL STUDI AGAMA-AGAMA 14, no. 2 (January 7, 2019): 169. http://dx.doi.org/10.14421/rejusta.2018.1402-02.

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This study examines the mythology of Izanami Goddess and Izanagi God in Japanese Shinto religion and representations of Izanami Goddess and Izanagi God in the film Noragami Aragoto Adachitoka’s creation directed by Kotaro Tamura. This study is important because the story of Izanami Goddess and Izanagi God has never been adopted in modern scientific literature even though it has been listed in several anime in Japan. The research data was collected through documentation on the Kojiki and Nihonsoki books as well as capturing scenes of Noragami Aragoto films. Then analyzed using Christian Metz's language cinematography theory and Rudolf Otto's sacred theory. The results showed that firstly, based on the phenomenological perspective and sacrity from Rudolf Otto, Izanami Goddess and Izanagi God in Japanese Shinto mythology were the ancestors of the Mother and Father of the Gods and divine beings and played an active role in the creation of islands in Japan along with its contents. Secondly, in the Noragami Aragoto film, the perspective of cinematographic language Christian Metz, Izanami Goddess and Izanagi God are represented as mysteries of Father and Mother of Ebisu God (Hiruko) and Yaboku God (Awashima or Aha) with backgrounds that are very different from each other.Key Words: mythology, Shinto, Izanami, Izanagi, cinematographic language, and sacred.

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16

Sarkar, Anik. "Modern Anxieties and Traditional Influence in Horror Anime." Humanities 12, no. 5 (October 13, 2023): 118. http://dx.doi.org/10.3390/h12050118.

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Japan has a longstanding tradition of horror narratives that feature a variety of macabre embodiments. They draw upon ancient folklore, thereby providing a unique perspective on spirits specific to Japanese culture. The influence of these countless supernatural beings from Japanese mythology and folklore has molded many incarnations seen in popular culture, which have been commonly deemed “strange” and “weird”. This study seeks to demystify the ambiguity and “strangeness” surrounding three Japanese anime series, Another, Yamishibai, and Mononoke. It attempts to analyze how each of these anime employs folklore and traditional art-styles to portray a modern society plagued with sociocultural complications.

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Plumb, Amy. "Japanese Religion, Mythology, and the Supernatural in Anime and Manga." International Journal of the Humanities: Annual Review 8, no. 5 (2010): 237–46. http://dx.doi.org/10.18848/1447-9508/cgp/v08i05/42930.

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18

Antoni, Klaus, Julia Dolkovski, and Louise Neubronner. "Introducing the Research Project “Sacred Narrative – The Political Dimension of Japanese Mythology”." Nowa Polityka Wschodnia 37, no. 2 (2023): 29–71. http://dx.doi.org/10.15804/npw20233702.

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The Kojiki and Nihon shoki have been integral to the formation of Japanese identity, especially since the 18th century. As such, they were constantly exposed to processes of sacralization and desacralization, i.e., the attribution and removal of authority. The research project “Sacred Narrative – The Political Dimension of Japanese Mythology” is concerned with how certain systems of thought or ideology used these texts in a way that raised them to an elevated position or deprived them of it. Organized in three focus areas, the project delves into the topic of the historical change the Kojiki and Nihon shoki underwent in terms of interpretation and instrumentalization from the Edo period up to modern-day Japan. These investigations are integrated into the research group “De/Sacralization of Texts” at the University of Tübingen that started its work in January 2022. In this interdisciplinary context, “Sacred narrative” seeks to promote the integration of East-Asian textuality into general theory formation.

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19

홍성목. "Ancient Korean Japan Exchanges Depicted in Japanese Mythology - Focusing on Sharks -." Journal of the society of Japanese Language and Literature, Japanology ll, no. 77 (May 2017): 401–22. http://dx.doi.org/10.21792/trijpn.2017..77.020.

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20

Kim, Youngju. "A Study of Medieval Japanese Myths: Focusing on Empress Jingu Mythology." Hankuk University of Foreign Studies Literature Studies 72 (November 30, 2018): 183–204. http://dx.doi.org/10.22344/fls.2018.72.183.

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Akgün, Buket. "Mythology moe-ified: classical witches, warriors, and monsters in Japanese manga." Journal of Graphic Novels and Comics 11, no. 3 (January 17, 2019): 271–84. http://dx.doi.org/10.1080/21504857.2019.1566155.

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22

斎, 藤英喜. "“Death” and “Rebirth” in Japanese mythology ― a view from the standpoint of the history of the interpretation of mythology ―." Journal of Japanese Studies 46 (September 15, 2015): 175–92. http://dx.doi.org/10.18841/2015.46.07.

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23

MacWilliams, Mark. "Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime by Yoshiko Okuyama." Journal of Japanese Studies 43, no. 1 (2017): 205–10. http://dx.doi.org/10.1353/jjs.2017.0025.

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24

Elmer, Patrick. "On the Origins of the Japanese Language." Vienna Journal of East Asian Studies 11, no. 1 (December 1, 2019): 212–39. http://dx.doi.org/10.2478/vjeas-2019-0008.

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Abstract In this article, I deal with the historical development of the Japanese language by applying a multi-disciplinary approach that uses data from a variety of fields. My research indicates that the home-land of the Japonic language family may have been in the lower Yangtze River Valley, from where its speakers moved to the Korean Peninsula and eventually to Japan during the Yayoi period. This spread is associated with the dispersal of wet rice agriculture from the area south of the Yangtze River via the northeastern Asian mainland, where it was in contact with cultures cultivating millet. Old Japanese mythology and genealogical data suggests that the earliest known ethnic group that spoke Japonic may have been the Hayato people of southern Kyūshū.1

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Suter, Rebecca. "Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime, written by Yoshiko Okuyama." Journal of Religion in Japan 6, no. 1 (2017): 71–74. http://dx.doi.org/10.1163/22118349-00601003.

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26

Ng, Benjamin Wai-ming. "The Yijing Principles in the Japanese Creation Myth: A Study of the Jindai-No-Maki (‘Chapters on the Age of the Gods’) in the Nihon Shoki (‘The Chronicles Of Japan’)." Literature & Theology 37, no. 2 (June 1, 2023): 132–41. http://dx.doi.org/10.1093/litthe/frad007.

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Abstract The Yijing (‘Classic of Changes’) is an important text in Daoist and Confucian traditions in China. It also served as a building block of ancient Japanese culture. The Japanese creation myth described in the Jindai no maki (‘Chapters on the Age of the Gods’) of the Nihon shoki (‘Chronicles of Japan’, 720 CE) was strongly influenced by such Yijing-related concepts as taiji (‘Supreme Ultimate’), yinyang (the two complementary and contradictory forces in the universe), qiankun (first two trigrams representing heaven and earth), sancai (three powers or realms of the universe: heaven, earth, man), wuxing (five phases or agents), and bagua (eight trigrams). The Japanese creation myth was later Confucianised in the Tokugawa period (1603–1868), when Japanese Confucian and Shinto scholars provided the Neo-Confucian metaphysical underpinning for Shinto mythology. Based on a close reading of the Jindai no maki, this study aims to investigate how Yijing-related concepts were used to construct the Japanese creation myth and how Tokugawa Confucian and Shinto scholars further elaborated upon it.

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Renshaw, Steven L. "The Inspiration of Subaru as a Symbol of Cultural Values and Traditions in Japan." Culture and Cosmos 16, no. 1 and 2 (October 2012): 175–91. http://dx.doi.org/10.46472/cc.01216.0231.

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Subaru is known by many throughout the world as the Japanese name for the Pleiades. Having some basis as a seasonal marker in antiquity and later appearance in the development of national mythology, imagery related to Subaru developed to reflect cultural values, and its seasonal appearance served as a practical guide for numerous activities of the culture. To gain a basic understanding of how symbolic associations with Subaru have been inspired by its place in the heavens as well as its use for citizens, four areas of interest are viewed: (1) astronomical and seasonal significance of the asterism as reflected in early Asian cosmology, (2) associations in the national mythology of the sun goddess Amaterasu, (3) lore found throughout the islands related to practical uses of Subaru as a marker for time keeping, agriculture, fishing, and other activities, and (4) individual and cultural symbolism associated with archetypal identification.

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Ermakova, L. M. "Space and the Gods of Space in Japanese Myths." Russian Japanology Review 5, no. 1 (August 3, 2022): 76–96. http://dx.doi.org/10.55105/2658-6444-2022-1-76-96.

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This article focuses on the concept of space and two different structures of space in the mythological chronicles Kojiki and Nihon Shoki. It considers two main invisible divine gods of space, probably connected to Chinese mythology and appearing in the mythological chronicles first – Ame-no-minaka-nushi and Kuni-no-tokotachi. It traces their evolution in history and also deals with obtaining by some of Japanese gods, within the Buddhist worldview, a fantastic appearance and the key role in cosmogenesis. It also deals with the connection of the first verbal descriptions of the appearance of the Japanese lands as a living creature or a symbolic thing seen from above with the ritual of “viewing the realm” (kunimi), and also with a technique of Chinese-Japanese painting wherein an object is portrayed as seen from above (for the purpose of which, in the cases of indoor scenes, a building is depicted without a roof), etc.

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Endo, Yukihide. "The Artistic Imagination Gives New Life to Monsters of Japanese Mythology and Folklore." International Journal of Literary Humanities 11, no. 2 (2014): 61–69. http://dx.doi.org/10.18848/2327-7912/cgp/v11i02/43894.

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30

Littleton, C. Scott. "The indo-european strain in japanese mythology: a review of some recent research." Mankind Quarterly 26, no. 1 (1985): 152–74. http://dx.doi.org/10.46469/mq.1985.26.1.10.

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31

Kim, Myungok. "A Study on the Origin of Ninigi No Mikoto in the Japanese Mythology on the Basis of the Korea-Japan Tenson Korin Mythology." Korean Society of Culture and Convergence 43, no. 3 (March 31, 2021): 801–19. http://dx.doi.org/10.33645/cnc.2021.03.43.3.801.

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32

Lepekhova, Elena. "The transformation of the wrathful deity Mahākāla into the god of happiness and good luck Daikokuten in Japanese Buddhism." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 135. http://dx.doi.org/10.31857/s086919080020211-9.

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The transformation of the wrathful deity Mahākāla into the god of happiness and fortune Daikokuten in Japanese Buddhism. This study is devoted to the process of the transformation of the wrathful Hindu deity Mahākāla into the god of happiness and fortune Daikokuten in Japanese Buddhism. While in Hinduism and Vajrayāna Buddhism, Mahākāla was a wrathful deity, performing the functions of the Dharma protector, then as a result of the transference of this deity to the Japanese culture, his functions changed. The earliest examples of this process have been already marked in China, from where they later went to Japan. In the paper are traced the description of Mahākāla in the Japanese Buddhist textual tradition in the most notable Japanese text “Daikokutenjin-ho 大黒天神法” (“The Law of the Great Black God”), his iconography and the transformation in local folklore. The formation of Mahākāla iconography in Japan was influenced by a process of the Shintō-Buddhist syncretism, which combined the esoteric doctrines of the Tendai school, traditional Japanese Shintō mythology, Buddhist cosmology and related elements of Hinduism. All these trends are also well traced in Japanese folklore. As a sequence, we could come to conclusion that the process of transformation of the wrathful Hindu deity Mahākāla into one of the Japanese gods of happiness Daikokuten was influenced by the desire to rid Mahākāla of his original destructive deadly attributes, since they were not combined with the original Japanese Shintō tradition, referring to death and its manifestations as an impurity.

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Byczkowska-Owczarek, Dominika. "Dance as a Sign: Discovering the Relation Between Dance Movement and Culture." Kultura i Społeczeństwo 63, no. 3 (September 27, 2019): 63–74. http://dx.doi.org/10.35757/kis.2019.63.3.4.

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This article presents examples of the relationship between culture, dance, and the body in the fields of communication (with oneself, the community, God/deity), the social hierarchy, social values, relations between the individual and the group, and relations between genders, from the perspective of the sociology of the dance. The sociological perspective also indicates the various historical, ritual, control, and regulatory roles that traditional and modern dances play in the communities in which they arise and are performed. The second part of the text contains a case study of the Japanese ankoku butoh dance. The author presents the philosophical roots of the dance (e.g., Japanese mythology, Zen Buddhist philosophy) and the creator’s personal experiences (childhood trauma and post-war social situation) as factors that influenced the dance’s development. The example of ankoku butoh illustrates the interrelation between cultural meanings and dance movements.

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Sasaki-Uemura, Wesley. "Making Japanese Citizens: Civil Society and the Mythology of the Shimin in Postwar Japan." Social History 37, no. 1 (February 2012): 84–86. http://dx.doi.org/10.1080/03071022.2011.651608.

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35

UNO, S. "Making Japanese Citizens: Civil Society and the Mythology of the Shimin in Postwar Japan." Social Science Japan Journal 16, no. 1 (January 1, 2013): 173–76. http://dx.doi.org/10.1093/ssjj/jys039.

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Matsuzawa, Setsuko. "Making Japanese Citizens: Civil Society and the Mythology of the Shimin in Postwar Japan." Social Movement Studies 11, no. 3-4 (August 2012): 464–66. http://dx.doi.org/10.1080/14742837.2012.725597.

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Choi, Yeong-Cheol, and Mi-Seon Kim. "The World of God in “Demon Slayer” –Focusing on the relationship with Japanese mythology–." Cartoon and Animation Studies 69 (December 31, 2022): 123–44. http://dx.doi.org/10.7230/koscas.2022.69.123.

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38

Karlová, Petra. "The Emergence of Japanese Ethnology." Archiv orientální 82, no. 2 (September 10, 2014): 581–601. http://dx.doi.org/10.47979/aror.j.82.2.581-601.

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This paper attempts to clarify the emergence of Matsumoto Nobuhiro as an ethnologist in the period 1919–23. Matsumoto Nobuhiro (1897–1981) was an ethnologist who is known as a pioneer in Southeast Asian studies and the Japanese mythology in Japan. Previous researches have already pointed out the influence of Yanagita Kunio and of the French School of Sociology on Matsumoto’s academic work from the late 1920s. However, they did not examine Matsumoto’s research in the early 1920s when Matsumoto started studying ethnology. The clarification of the formation o fMatsumoto’s ethnology in this period can contribute to the understanding of emergence and formation of ethnology in Japan. Based on the analysis of Matsumoto’s writing in the period 1919–23, this paper explains that Matsumoto became ethnologist because he joined the discussion on the human origins under influence of Evolutionism. It argues that he researched primitive culture of various peoples in order to clarify the origins of the Japanese and Chinese culture. Further, the paper shows that Matsumoto became ethnologist due to studying Western ethnology under the guidance of ethno-psychologist Kawai Teiichi and folklorist Yanagita Kunio, and it mentions also influenceofMatsumoto’s teachers of Chinese history on the formation of Matsumoto’s ethnology. Therefore, the paper demonstrates that the Japanese ethnology emerged from the discussion on the human origins under influence of Evolutionism by importing Western ethnological theories in close relation with the Japanese folklore studies and history.

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Karlová, Petra. "The Emergence of Japanese Ethnology." Archiv orientální 82, no. 2 (September 10, 2014): 359–79. http://dx.doi.org/10.47979/aror.j.82.2.359-379.

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This paper attempts to clarify the emergence of Matsumoto Nobuhiro as an ethnologist in the period 1919–23. Matsumoto Nobuhiro (1897–1981) was an ethnologist who is known as a pioneer in Southeast Asian studies and the Japanese mythology in Japan. Previous researches have already pointed out the influence of Yanagita Kunio and of the French School of Sociology on Matsumoto’s academic work from the late 1920s. However, they did not examine Matsumoto’s research in the early 1920s when Matsumoto started studying ethnology. The clarification of the formation o fMatsumoto’s ethnology in this period can contribute to the understanding of emergence and formation of ethnology in Japan. Based on the analysis of Matsumoto’s writing in the period 1919–23, this paper explains that Matsumoto became ethnologist because he joined the discussion on the human origins under influence of Evolutionism. It argues that he researched primitive culture of various peoples in order to clarify the origins of the Japanese and Chinese culture. Further, the paper shows that Matsumoto became ethnologist due to studying Western ethnology under the guidance of ethno-psychologist Kawai Teiichi and folklorist Yanagita Kunio, and it mentions also influenceofMatsumoto’s teachers of Chinese history on the formation of Matsumoto’s ethnology. Therefore, the paper demonstrates that the Japanese ethnology emerged from the discussion on the human origins under influence of Evolutionism by importing Western ethnological theories in close relation with the Japanese folklore studies and history.

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Petrushko, Vitalii. "Cosmogonic views in the mythology of the Korean people." Ethnic History of European Nations, no. 67 (2022): 123–27. http://dx.doi.org/10.17721/2518-1270.2022.67.16.

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The traditional culture of the Korean people is not considerably studied in Ukrainian historiography, compared to Chinese or Japanese mythologies. While Korean traditional culture has much in common with the nations of the East Asia region, it also has many unique socio-cultural phenomena that are very perspective for research. The mythology of the Korean people has come down to our time thanks to traditional Korean shamanism, which was greatly influenced by Buddhism and Taoism. This unical confluence of religious systems deserves attention from researchers. Korean mythology does not have a strict hierarchy of gods, as is the case in Western mythologies. Despite this, it is full of original plots and characters, which can have many different versions. Cosmogonic legends in Korean mythology are represented in many variations of sacred shamanic stories, recorded from the mouths of Korean shamans Mu. After the partition of the Korean Peninsula in 1945, ethnographic science suffered greatly. While traditional Korean shamanism still exists legally in South Korea, it is outlawed in the North, and many shamans – important carriers of ethnographic material – have been subjected to political repression. Most of the stories studied in this article were written before the partition of Korea in the 1920–1930s. Some of the stories were also recorded in South Korea in the 1970–1980s. The article analyzes in detail the cosmogony narratives in Korean sacred shamanic stories; classifies, explores and compares various legends about the creation of the universe and highlights the main features of traditional Korean cosmogony. Also, the article reveals the chronological and geographical boundaries of ethnographic research in Korea, during which stories were recorded that contain traditional cosmogonic plots.

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Yeo, Dennis. "The virtual cultural tourist: Film-induced tourism and Kubo and the Two Strings." Mutual Images Journal, no. 10 (December 20, 2021): 3–20. http://dx.doi.org/10.32926/2021.10.yeo.virtu.

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Over the past two decades, there has been growing research in film-induced tourism. Much of this research is focused on how film influences tourist destination choices. There has been less emphasis, however, on the nature and types of movies that may induce this attraction to such locations. By examining Kubo and the Two Strings (Knight, 2016), a stop-motion animation produced by Laika Studios, this paper aims to apply film studies to explore current understandings of film-induced tourism. This paper argues that Kubo is itself a form of film-induced tourism by positioning the viewer as a virtual cultural tourist whose cinematic experience may be likened to a veritable media pilgrimage through Japanese culture, history and aesthetics. The movie introduces the viewer into an imagined world that borrows from origami, Nō theatre, shamisen music, obon rituals and Japanese symbolism, philosophy and mythology. The resulting pastiche is a constructed diorama that is as transnational and postmodern as it is authentic and indigenous.

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Riordan, Kevin. "Yeats's Photographs and the World Theatre of Images." Theatre Survey 65, no. 1 (January 2024): 14–36. http://dx.doi.org/10.1017/s0040557423000303.

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W. B. Yeats's dramatic career was transformed in the 1910s through a series of collaborations in London. In an essay from the period, “Certain Noble Plays of Japan,” he writes: “I have invented a form of drama, distinguished, indirect and symbolic.” This form, like many other modernist inventions, is better understood as something else, in this case the alchemy of his earlier work, some eclectic influences, and the contributions of his American, English, French, and Japanese collaborators. Together, this group of artists drew on Irish mythology, the occult, the continental avant-garde, and—as often has been stressed—Japanese noh. Originally, the “Certain Noble Plays” essay was published as an introduction to a related noh project, Ezra Pound's liberal completion of Ernest Fenollosa and Hirata Kiichi's incomplete translations. There have been at least four book-length studies on the relationship between Yeats and noh, as well as many theses and articles. It remains an exemplum of transnational modernist theatre.

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이, 경화. "A study on the god of epidemics in Japanese mythology and folklore - Focused on Omononusi -." Journal of Japanese Studies 44 (January 15, 2015): 127–47. http://dx.doi.org/10.18841/2015.44.06.

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Park, Mi-Kyong. "A Study on the Spectrum of Good and Evil in Japanese Mythology –Focused on Nihonshoki-." JOURNAL OF HUMANITIES STUDIES 111 (June 30, 2018): 243–70. http://dx.doi.org/10.46346/tjhs.111..10.

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Rezvushkina, Sofya A., and Kirill E. Rezvushkin. "The Mythological Frontier as a Key to Understanding the Other: A Review of the “Myths from A to Z” Book Series." Journal of Frontier Studies 9, no. 1 (March 7, 2024): 211–25. http://dx.doi.org/10.46539/jfs.v9i1.544.

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The authors employ the concept of the “mythological frontier” for analyzing the mythology of small communities, acknowledging that geographic and linguistic borders often do not coincide with mythological boundaries. Using philosophical anthropology, the mythological frontier helps to define the limits of the Other, enabling engagement with myth and the mythological from the periphery of contemporary consciousness. This paper aims to critically assess the “Myths from A to Z” series published by Mann, Ivanov, Ferber. This series covers a wide range of mythologies, including Scandinavian, Egyptian, Celtic, Indian, Greco-Roman, Sumerian, Japanese, Korean, Romanian, Slavic, Volga, and Karelian-Finnish. Myths are crucial for understanding the environment and drawing upon our cultural legacy, playing a significant role in helping individuals find meaning in the world and establish shared cultural and personal identities. The authors adopt various approaches to analyze the mythology of specific communities, focusing on the relationships between myth and culture, myth and fairy tale, or myth and epic. They also attempt to reconstruct comprehensive mythological systems or the historical pasts of the communities under study. A common theme across most books in the series is the self-construction and understanding of the Other (a different culture) through the “mythological frontier”, although this is not always explicitly stated.

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MacWilliams, Mark. "Manufacturing Shintō as a “World Religion”." Journal of Religion in Japan 6, no. 3 (June 17, 2018): 171–207. http://dx.doi.org/10.1163/22118349-00603005.

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Abstract How is Shintō presented in Anglo-American world religions textbooks? While not included in the earliest of such survey courses, it regularly appears in such texts from the early 20th century to the present. Why is Shintō included as one of “great” or “world” religions given how greatly it differs from the likes of Christianity and Islam? Textbook authors include Shintō by constructing an image of it that reflects their own model of world religions, an image that is also based on the “Shintō” that Meiji Japanese officials and scholars invented for their own political-ideological purposes. The standard portrayal of Shintō in Western textbooks has remained more or less the same for a century: It is described as (1) an archaic religion; (2) centered on Japanese imperial mythology; (3) nature worship; (4) apolitical, emphasizing personal piety at shrines. While the most recent editions have tried to incorporate new scholarship in their portrayal, they still rely a world religions model of Shintō that is seriously misleading, failing to adequately present Shintō’s complexities as a tradition.

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Yoshida, Yui. "Significance of Military Power in the Jindai Moji Text Hotsuma Tsutae—With a Focus on Susanoo and Yamato Takeru." Religions 13, no. 3 (February 24, 2022): 199. http://dx.doi.org/10.3390/rel13030199.

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The jindai moji (神代文字—“characters of the Age of the Gods”) are pseudocharacters (疑字: “giji”) created in the early modern period, which purport to be an ancient Japanese writing script. One of the most famous examples of literature written in the jindai moji is the epic poem Hotsuma Tsutae, which is regarded as an account of the development of medieval mythology in the early modern age. It includes tales of evil lords known as the hatare (rendered as 魔王 in Kanbun), who bring chaos to the land and are vanquished by a divine army led by gods. Ultranationalists in early modern Japan enthusiastically embraced these jindai moji writings. This article examines the significance of the divine battles in the early modern jindai moji literature.

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Bernauer, Lauren. "Jun'ichi Isomae, trans. Mukund Subramanian: Japanese Mythology: Hermeneutics on Scripture. London: Equinox Publishing, 2009; pp. vii + 181." Journal of Religious History 38, no. 3 (August 26, 2014): 429–30. http://dx.doi.org/10.1111/1467-9809.12188.

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Noviana, Fajria. "Representasi Hero’s Journey Pada Tokoh Chihiro Dalam Anime Spirited Away Karya Miyazaki Hayao." IZUMI 8, no. 1 (May 31, 2019): 52. http://dx.doi.org/10.14710/izumi.8.1.52-64.

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(Title: Representation of Hero’s Journey on Main Character Chihiro in Hayao Miyazaki’s Spirited Away Anime) This paper is the result of a qualitative descriptive type of literature study. The purpose of this study was to reveal the heroic journey process of main character of Spirited Away anime named Chihiro, based on the Hero’s Journey theory proposed by Vogler. Data about Chihiro's heroic journey are obtained from anime with note taking techniques. The method used in the analysis is the method of content analysis based on the theory of Hero's Journey. From the results of the analysis, it can be seen that the main character Chihiro has undergone a total of the twelve stages of the hero’s journey. Chihiro's adventure has succeeded in changing her personality which was initially timid, spoiled, and whiny to be brave, independent, calm and confident, and full of compassion. Chihiro's heroic journey proves the true definition of a hero according to Vogler, while also proving that to win a fight does not always use physical strength. There are times when thinking intelligence and emotional intelligence are much more needed. In addition, this anime also features a lot of kamisama which was once believed by the Japanese. Miyazaki might want to remind again about the existence of Japanese gods by displaying them in this anime, either those actually found in Japanese mythology or Miyazaki's own creations. Thus, the story of Spirited Away which has a mythical structure as stated by Vogler becomes much more alive and interesting.

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Tsukahara, Shinji, and Jude Pultz. "Displaying Mythological Characters." Journal of Religion in Japan 9, no. 1-3 (September 22, 2020): 10–36. http://dx.doi.org/10.1163/22118349-00901003.

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Abstract The large figures displayed atop the floats in the Sawara Grand Festival portray characters drawn from mythology and history that have been strongly associated with Japanese nationalism and imperialism. In order to investigate the meanings that these float figures hold for the participants and audience of the festival, this article acknowledges the close relations between folklore and politics and interprets the works themselves as agents that enact emotions and responses, rather than focusing on the creative intentions of the producers. The figure subjects were freely chosen by the people of Sawara, mostly during the prewar period, and were based on characters that were popular at the time—namely, the emperors and their mythological ancestors and historical champions. In the present, however, the figures are rarely seen in light of their nationalistic origins. Instead, they are appreciated more for their aesthetic beauty and as mascots of the various wards of Sawara.

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