Academic literature on the topic 'Rokuj? Genji'

Resumen: Aunque sea paulatinamente, la animación japonesa se está despojando de su connotación negativa. Autores como Hayao Miyazaki han elevado el Anime por encima de muchos perjuicios, y algunas de sus obras incluso consiguen alcanzar una profundidad psicológica y artística más allá de las películas “live”. Este es el caso de Gisaburo Sugii y Osamu Dezaki, dos autores que, adaptando el Genji Monogatari respectivamente, completan la visión de un personaje vital para comprender tanto lo fantasmático como el papel de la mujer en la cultura japonesa: Rokujō no Miyasudokoro.Anime Adapting (and Complementing) High Literature. The Suffering of “The Lady from the Sixth Avenue” Abstract: Japanese animation, although gradually, divests itself of its negative connotation. Authors like Hayao Miyazaki have upgraded Anime beyond many prejudices, and some of their works even achieve a psychological and artistic profundity aside from “live” films/movies. This is the case of Gisaburo Sugii and Osamu Dezaki, two authors that, adapting Genji Monogatari respectively, have achieved a broad and complete vision of a vital character to understand the ghostly thing in Japanese culture: Rokujō no Miyasudokoro.

How should we understand the role robes play within noh dance-drama's enactments of femininity? In the above poem Genji's jilted lover, Rokujō, bemoans her inability to keep her vengeful spirit from besieging the Lady Aoi, for whom Genji has spurned her. Within the worldview of Murasaki Shikibu's early eleventh-century narrative, to bind the hem was to tether the restless spirit to its host's body, like a tourniquet stanching spectral energies from seeping to infect victims. The famous noh play Aoi no Ue (Lady Aoi), in which Aoi is played not by an actor but by a short-sleeved robe (kosode), activates the poem's metaphor onstage. Moreover, the Japanese poem's final term, tsuma, signifies both as “robe hem” and “wife,” foregrounding a gendered dimension sutured to problematic notions of feminine deportment and mobility whose dramatic manifestations merit exploration.

Durante a época clássica japonesa, eram produzidos vários textos de ficção em prosa direcionados às mulheres da nobreza. Estas obras eram chamadas monogatari e, inicialmente, eram consideradas parte de um gênero literário menor justamente por serem vistas como um mero passatempo para as damas ociosas. Os primeiros monogatari foram produzidos por homens, mas a obra mais emblemática do gênero, Narrativas de Genji, foi criada pela dama da corte Murasaki Shikibu e teve influência de textos anteriores do mesmo gênero, poesia, literatura clássica chinesa e mitologia japonesa. Já no século XII, com a produção dos rolos de pinturas Genji Monogatari Emaki iniciou-se uma longa tradição de recepção cultural da obra da autora, que continuaria nos séculos seguintes e, a partir dos anos 1970 foi herdada por um novo meio de expressão cultural, o shõjo mangá. Em 1979 começou a ser publicada a série Asaki Yumemishi de Waki Yamato, que é considerada uma das principais adaptações em quadrinhos da obra e influenciou muitas das versões que a sucederam. A obra recria, utilizando elementos estéticos e narrativos do gênero shõjo de mangá, a maior parte do enredo da obra original, algo que ocorre em poucas adaptações em quadrinhos das Narrativas de Genji. Outras versões analisadas neste trabalho são Genji Monogatari Sennen no Nazo, de Tõko Miyagi, que adapta uma light novel onde são recriados alguns episódios do texto base que se combinam a eventos originais, Genji Monogatari de Serina Miõ, que é dividida em episódios focados em algumas das damas presentes na obra original e Onna Hikaru Genji no Ikemen Nikki, que traz episódios curtos onde as personagens são recriadas com o gênero invertido. Para mostrar algumas das características da transposição do texto original para o shõjo mangá nos focamos na personagem Rokujõ no Miyasudokoro, verificando as diferenças e semelhanças do modo de representação da personagem em cada uma das versões e como a sua trajetória narrativa é retrabalhada para se adequar às convenções do shõjo mangá
Various fictional works in prose aimed at noblewomen have been created during Classical Japanese Era. These works are part of a literary genre called monogatari, which was, in the beginning, considered lower, a pastime for ladies. Most early monogatari were written by men, but the most emblematic of them, The Tale of Genji, is a creation of a court lady known as Murasaki Shikibu and was influenced by literary works in the same genre, poetry, classical Chinese literature and Japanese mythology. The Tale of Genji reception is a long tradition which began in the twelfth century, with the production of the picture scrolls Genji Monogatari Emaki. This tradition continued through centuries and, since the 1970s, was inherited by shõjo manga, a new medium of expression. In 1979 the series Asaki Yumemishi written by Waki Yamato started being published. It is considered one of the most important manga adaptations of the Tale of Genji and influenced several versions published after it. In this version, most of the plot of the original work is recreated using aesthetic and narrative elements of the shõjo manga genre, which occurs only in a few adaptations. This dissertation will also deal with other shõjo versions of the work, which are Genji Monogatari Sennen no Nazo, by Tõko Miyagi, an adaptation of a light novel that recreates some episodes of the original interspersed with new events; Genji Monogatari by Serina Miõ, an episodic series focused on some female characters and Onna Hikaru Genji no Ikemen Nikki, a series of short chapters where the characters are portrayed with reversed genders. Aiming to show some aspects of the transposition of the original text to shõjo manga, we will be focusing on the character Rokujõ no Miyasudokoro, verifying differences and similarities on her modes of representation in each version and how its narrative trajectory is reworked to fit the conventions of shõjo manga

This essay explores conceptual and cultural notions of “nature” in the Heian period and especially the many representations of nature in The Tale of Genji. Nature represented is nature codified; concrete nature imagery was employed in sustained ways to sketch the emotional state of protagonists. Yet nature could also trigger, rather than resonate with, emotional response. Central is a series of readings of the gardens of the Rokujō estate in The Tale of Genji; in turn, those readings are framed in a larger survey of garden design theory, practices, and uses in the Heian period. Gardens in this tale offer profound insights into both how Heian courtiers related to nature and the structure of its protagonists’ relationships. In this sense, “nature” and basic structures in the tale are intimately connected.