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Article type: Cover
2006 Volume 55 Issue 9 Pages
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Published: September 10, 2006
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Article type: Cover
2006 Volume 55 Issue 9 Pages
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Article type: Appendix
2006 Volume 55 Issue 9 Pages
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Article type: Appendix
2006 Volume 55 Issue 9 Pages
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Hideko Hosaka
Article type: Article
2006 Volume 55 Issue 9 Pages
1-12
Published: September 10, 2006
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There are twenty-four love songs about "mother" in Manyo-shii. In those poems she is a woman who interferes in a love affair between the daughter and her lover. According to the poetical convention of the age, however, her interference was a precondition for a fulfillment of love. For love was not regarded as a private matter between man and woman as it is today, but it required a third party, that is, mother who represented lineage and kinship.
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Shigeru Watase
Article type: Article
2006 Volume 55 Issue 9 Pages
13-24
Published: September 10, 2006
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Nihon-giryaku, the chronicles written in classical Chinese, consists of the thirty-four volumes anonymously edited during the Heian Period. As in Chinese historical writings, in the earlier parts of the chronicles, under the influence of the philosophy of Yin and Yang, historical events are temporarily arranged in correspondence with the cycle of the four seasons. In the later volumes, however, the seasons are found to cease to have such function. This shift exemplifies the general process in which the philosophical element of Chinese literature was gradually lost in Japanese writings while only its form was assimilated into them.
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Mayo Iwahara
Article type: Article
2006 Volume 55 Issue 9 Pages
25-34
Published: September 10, 2006
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In "Maki-bashira" of Genji-monogatari, a nobleman named Higekuro discards his wife to make a courtship to Tamakazura, and the home surroundings of the family are hopelessly deteriorated by his cruel deed. Faced with her family's misfortune, his daughter Maki-no-Hashira writes waka poems on the strips of paper and inserts them into the split pillars of the house. This may seem strange, but in the Heian Period a noble family habitually left poems on the pillars when they moved out of their old house. This act also worked as a prayer for the well-being of the family. In her strong attachment to her home, Maki-no-Hashira follows the tradition of "pillar poetry" in the hope that peace and happiness will return to her home again.
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Junko Yamamoto
Article type: Article
2006 Volume 55 Issue 9 Pages
35-43
Published: September 10, 2006
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In his diary Gon-ki, Fujiwara-no-Yukinari included a poem the ex-Emperor Ichijo-In had left at his deathbed with his comment that it was "dedicated to the Empress." The "Empress" had been long believed to be Chugu-Shoshi, but according to a new interpretation recently made of the text, it is more likely that it refers to the former Empress Chfigii-Teishi. Closely reading the diary, I have also found that Shoshi is at first called the "Empress" but the title comes to be used exclusively for Teishi after her death. From this viewpoint, here I will consider how Yukinari himself appreciated and interpreted the ex-Emperor's deathbed poem.
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Yasutaka Takehisa
Article type: Article
2006 Volume 55 Issue 9 Pages
44-53
Published: September 10, 2006
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In July 1961, a film entitled Momotaro-taisen-Onimashima was released in Taiwan. While the picture was still showing, however, a rumor about it spread nationwide and seriously affected the public image of the hero. Eventually the rumor forced the film company to change not only the tone of advertisements in the newspapers but also even the title of the film itself. Such a transformation of the old story in a given social context should lead to another question, that is, how the same story was interpreted and reworked in postwar Japan.
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Inson Son
Article type: Article
2006 Volume 55 Issue 9 Pages
54-63
Published: September 10, 2006
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In his short story "Ikenie-otoko-ha-hitsuyoka," Kenzaburio Oe presented a sardonic picture of Japan in the age of the Vietnam War. Through the fable of toy bombs and the ambivalent character named Zen, Oe tried to expose the dark side of marvelous economic growth in postwar Japan, which was largely made possible by the exportation of arms to Vietnam. He also satirically epitomized a meaningless repetition of wars and reconstructions in the myth of sacrifice and man-eating. In this way Oe ruthlessly pointed out the ironical nature of the society where both the anti-war movement and the war boom self-contradictorily co-existed under the new imperial system of the United States after the annihilation of old imperial Japan.
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Akemi Shimizu
Article type: Article
2006 Volume 55 Issue 9 Pages
64-66
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Article type: Appendix
2006 Volume 55 Issue 9 Pages
67-
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Senri Sugai
Article type: Article
2006 Volume 55 Issue 9 Pages
68-73
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Toru Takahashi
Article type: Article
2006 Volume 55 Issue 9 Pages
74-75
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Maiko Otaira
Article type: Article
2006 Volume 55 Issue 9 Pages
76-77
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Richi Sakakibara
Article type: Article
2006 Volume 55 Issue 9 Pages
78-79
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Shunji Yamada
Article type: Article
2006 Volume 55 Issue 9 Pages
80-83
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Article type: Bibliography
2006 Volume 55 Issue 9 Pages
84-85
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Article type: Bibliography
2006 Volume 55 Issue 9 Pages
85-
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Article type: Bibliography
2006 Volume 55 Issue 9 Pages
87-86
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Article type: Appendix
2006 Volume 55 Issue 9 Pages
88-
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Article type: Appendix
2006 Volume 55 Issue 9 Pages
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Article type: Appendix
2006 Volume 55 Issue 9 Pages
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Article type: Appendix
2006 Volume 55 Issue 9 Pages
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Article type: Cover
2006 Volume 55 Issue 9 Pages
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Published: September 10, 2006
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