Podcasts about Murasaki

This episode we start to get more into the material culture of the period with court fashion, as we look at the court robes that went along with the updated court ranks.  Granted, we only have a few resources, but from those it does seem like we can construct at least a plausible idea of what the court may have looked like at this time. For more discussion, check out the blogpost:  https://sengokudaimyo.com/podcast/episode-137   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is Episode 137:  Courtly Fashion. In the New Year's ceremony, the court officials lined up in front of the Kiyomihara Palace, arranged by their relative court rank, dressed in their assigned court robes.  The effect was impressive—the rows of officials painting the courtyard like the bands of color in a rainbow, albeit one with only a couple of hues.  The fact that they were all wearing the same style of dress and black, stiffened gauze hats only added to the effect.  The individual officers were all but lost in what was, at least in outward form, a single, homogenous machine of government, just waiting for the command of their monarch to attend to the important matters of state. We are covering the reign of Ohoama no Ohokimi, aka Ama no Nunahara oki no mabito no Sumera no Mikoto, aka Temmu Tennou.  Last episode we went over the changes he had made to the family titles—the kabane—as well as to the courtly rank system.  For the former, he had consolidated the myriad kabane and traditional titles across Yamato into a series of eight—the Yakusa no Kabane.   These were, from highest to lowest: Mabito, Asomi, Sukune, Imiki, Michinoshi, Omi, Muraji, and Inaki.  By the way, you might notice that "Mabito" actually occurs in Ohoama's posthumous name:  Ama no Nunahara oki no mabito, which lends more credence to the idea that that kabane was for those with a special connection to the royal lineage. Besides simplifying and restructuring the kabane, Ohoama also reformed the court rank system.  He divided the Princely ranks into two categories:  Myou, or Bright, and Jou, or Pure.  For the court nobles the categories were:                Shou – Upright                Jiki – Straight                Gon – Diligent                Mu – Earnest                Tsui – Pursue                Shin – Advancement Each category was further divided into four grades (except for the very first princely category, Myou, which was only two).  Each grade was then further divided into large, "dai", or broad, "kou". And this brings us to our topic today. Along with this new rank system, Ohoama's administration also instituted a new set of court sumptuary laws. Some are vague in the record—we can just make assumptions for what is going on based on what we know from later fashion choices.  Others are a little more clear.  We'll take a look at those sumptuary laws, particularly those that were directly associated with the new court rank system, but we'll also look at the clothing styles more generally. To start with, let's talk about what we know about clothing in the archipelago in general.  Unfortunately, fabric doesn't tend to survive very well in the generally acidic soils of the Japanese archipelago.  Cloth tends to break down pretty quickly.  That said, we have fragments here and there and impressions in pottery, so we have some idea that there was some kind of woven fabric from which to make clothing out of. And before I go too far I want to give a shout out to the amazing people at the Kyoto Costume Museum.  They have a tremendous website and I will link to it in the comments.  While there may be some debate over particular interpretations of historical clothing, it is an excellent resource to get a feel for what we know of the fashion of the various periods.  I'll also plug our own website, SengokuDaimyo.com, which has a "Clothing and Accessory" section that, while more geared towards Heian and later periods, may still be of some use in looking up particular terms and getting to know the clothing and outfits. At the farthest reaches of pre-history, we really don't have a lot of information for clothing.  There is evidence of woven goods in the Jomon period, and we have Yayoi burials with bits of cloth here and there, but these are all scraps.  So at best we have some conjecture as to what people were wearing, and possibly some ability to look across the Korean peninsula and see what people had, there. There are scant to no reliable records from early on in Japanese history, and most of those don't really do a great job of describing the clothing.  Even where we do get something, like the Weizhi, one has to wonder given how they tended to crib notes from other entries. There is at least one picture scroll of interest: Portraits of Periodical Offering of Liang, or Liáng -Zhígòngtú.  It is said to have been painted by Xiao Yi in the early 6th century, and while the original no longer exists there is an 11th century copy from the time of the Song Dynasty.  The scroll shows  various ambassadors to the Liang court, including one from Wa.  The Wa ambassador is shown with what appears to be a wide piece of cloth around his hips and legs, tied in front.  His lower legs are covered in what we might call kyahan today: a rather simple wrap around leg from below the knee to the foot.  He has another, blue piece of cloth around his shoulders, almost like a shawl, and it is also tied in front.  Then there is a cloth wrapped and tied around his head. It's hard to know how much of this depiction is accurate and how much the artist was drawing on memory and descriptions from things like the Weizhi or Wei Chronicles, which stated that the Wa people wore wide cloths wrapped around and seamlessly tied As such, it may be more helpful to look at depictions actually from the archipelago: specifically, some of the human-figured haniwa, those clay cylinders and statues that adorned the burial mounds which gave the kofun period its name.  Some of these haniwa are fairly detailed, and we can see ties, collars, and similar features of clothing. These haniwa primarily seem to cluster towards the end of the Kofun period, in the later 6th century, so it is hard to say how much they can be used for earlier periods, though that is exactly what you will typically see for periods where we have little to know evidence.  I'm also not sure how regional certain fashions might have been, and we could very much be suffering from survivorship bias—that is we only know what survived and assume that was everything, or even the majority. Still, it is something. Much of what we see in these figures is some kind of upper garment that has relatively tight sleeves, like a modern shirt or jacket might have, with the front pieces overlapping create a V-shaped neckline.  The garment hem often hangs down to just above the knee, flaring out away from the body, and it's held closed with ties and some kind of belt, possibly leather in some cases, and in others it looks like a tied loop of cloth.  There is evidence of a kind of trouser, with two legs, and we see ties around the knee.  In some cases, they even have small bells hanging from the ties.  Presumably the trousers might have ties up towards the waist, but we cannot see that in the examples we have. We also see individuals who have no evidence of any kind of bifurcated lower garment.  That may indicate an underskirt of some kind, or possibly what's called a "mo"—but it could also be just a simplification for stability, since a haniwa has a cylindrical base anyway.  It is not always obvious when you are looking at a haniwa figure whether it depicts a man or woman: in some cases there are two dots on the chest that seem to make it obvious, but the haniwa do come from different artisans in different regions, so there is a lot of variability. We also see evidence of what seem to be decorative sashes that are worn across the body, though not in all cases.  There are various types of headgear and hairstyles.  Wide-brimmed and domed hats are not uncommon, and we also see combs and elaborate hairstyles depicted.  On some occasions we can even see that they had closed toed shoes.  For accessories, we see haniwa wearing jewelry, including necklaces (worn by both men and women), bracelets, and earrings.  In terms of actual human jewelry, early shell bracelets demonstrate trade routes, and the distinctive magatama, or comma shaped jewel, can be found in the archipelago and on the Korean peninsula, where it is known as "gogok".  Based on lines or even colored pigment on the haniwa, it appears that many of these outfits were actually quite heavily decorated.  Paint on the outfits is sometimes also placed on the face, suggesting that they either painted or tattooed themselves, something mentioned in the Wei Chronicles.  We also have archaeological examples of dyed cloth, so it is interesting that people are often depicted in undyed clothing.  There is one haniwa that I find particularly interesting, because they appear to be wearing more of a round-necked garment, and they have a hat that is reminiscent of the phrygian cap: a conical cap with the top bent forward.  These are traits common to some of the Sogdians and other Persian merchants along the silk road, raising the possibility that it is meant to depict a foreigner, though it is also possible that it was just another local style. If we compare this to the continent, we can see some immediate difference.  In the contemporaneous Sui dynasty, we can see long flowing robes, with large sleeves for men and women.  The shoes often had an upturned placket that appears to have been useful to prevent one from tripping on long, flowing garments.  Many of these outfits were also of the v-neck variety, with two overlapping pieces, though it is often shown held together with a fabric belt that is tied in front.  The hats appear to either be a kind of loose piece of fabric, often described as a turban, wrapped around the head, the ends where it ties together trailing behind, or black lacquered crowns—though there were also some fairly elaborate pieces for the sovereign. As Yamato started to import continental philosophy, governance, and religion, they would also start to pick up on continental fashion.  This seems particularly true as they adopted the continental concept of "cap rank" or "kan-i". Let's go over what we know about this system, from its first mention in the Chronicles up to where we are in Ohoama's reign. As a caveat, there is a lot we don't know about the details of these garments, but we can make some guesses. The first twelve cap-ranks, theoretically established in 603, are somewhat questionable in their historicity, as are so many things related to Shotoku Taishi.  And their names are clearly based on Confucian values:  Virtue, Humanity, Propriety, Faith, Justice, and Wisdom, or Toku, Nin, Rei, Shin, Gi, and Chi.  The five values and then just "Virtue", itself. The existence of this system does seem to be confirmed by the Sui Shu, the Book of Sui, which includes a note in the section on the country of Wa that they used a 12 rank system based on the Confucian values, but those values were given in the traditional Confucian order vice the order given in the Nihon Shoki.   The rank system of the contemporaneous Sui and Tang dynasties was different from these 12 ranks, suggesting that the Yamato system either came from older dynasties—perhaps from works on the Han dynasty or the Northern and Southern Dynasty, periods—or they got it from their neighbors, Baekje, Silla, and Goguryeo.  There does seem to be a common thread, though, that court rank was identifiable in one's clothes. As for the caps themselves, what did they look like?  One would assume that the Yamato court just adopted a continental style cap, and yet, which one? It isn't fully described, and there are a number of types of headwear that we see in the various continental courts. Given that, we aren't entirely sure exactly what it looked like, but we do have a couple of sources that we can look at and use to make some assumptions.  These sources l ead us to the idea of a round, colored cap made of fabric, around the brim that was probably the fabric or image prescribed for that rank.  It is also often depicted with a bulbous top, likely for the wearer's hair, and may have been tied to their top knot.     Our main source for this is the Tenjukoku Mandala Embroidery (Tenjukoku-mandara-shuuchou) at Chuuguuji temple, which was a temple built for the mother of Prince Umayado, aka Shotoku Taishi.    This embroidery was created in 622, so 19 years after the 12 ranks would have been implemented. It depicts individuals in round-necked jackets that appear to have a part straight down the center.  Beneath the jacket one can see a pleated hem, possibly something like a "hirami", a wrapped skirt that is still found in some ceremonial imperial robes.  It strikes me that this could also be the hem of something like the hanpi, which was kind of like a vest with a pleated lower edge.  Below that we see trousers—hakama—with a red colored hem—at least on one figure that we can see.  He also appears to be wearing a kind of slipper-like shoe. As for the women, there are a few that appear to be in the mandala, but it is hard to say for certain as the embroidery has been damaged over the years. That said, from what we can tell, women probably would have worn something similar to the men in terms of the jacket and the pleated under-skirt, but then, instead of hakama, we see a pleated full-length skirt, or mo.  We also don't have a lot of evidence for them wearing hats or anything like that. The round necked jacket is interesting as it appears to be similar to the hou that was common from northern China across the Silk Road, especially amongst foreigners.  This garment  came to displace the traditional robes of the Tang court and would become the basis for much of the court clothing from that period, onwards.  The round necked garment had central panels that overlapped, and small ties or fastenings at either side of the neck to allow for an entirely enclosed neckline.  This was more intricate than just two, straight collars, and so may have taken time to adopt, fully. The next change to the cap-rank system was made in 647, two years into the Taika Reform.  The ranks then were more directly named for the caps, or crowns—kanmuri—and their materials and colors.  The ranks translate to Woven, Embroidered, Purple, Brocade, Blue, Black, and finally "Establish Valor" for the entry level rank. The system gets updated two years later, but only slightly.  We still see a reference to Woven stuff, Embroidery, and Purple, but then the next several ranks change to Flower, Mountain, and Tiger—or possibly Kingfisher.  These were a little more removed from the cap color and material, and may have had something to do with designs that were meant to be embroidered on the cap or on the robes in some way, though that is just speculation based on later Ming and Qing court outfits. Naka no Ohoye then updates it again in 664, but again only a little.  He seems to add back in the "brocade" category, swapping out the "flower", and otherwise just adds extra grades within each category to expand to 26 total rank grades. And that brings us to the reforms of 685, mentioned last episode.  This new system was built around what appear to be moral exhortations—Upright, Straight, Diligent, Earnest, etc.  And that is great and all, but how does that match up with the official robes? What color goes with each rank category?  Fortunately, this time around, the Chronicle lays it out for us pretty clearly. First off we are given the color red for the Princely ranks—not purple as one might have thought.  Specifically, it is "Vermillion Flower", hanezu-iro, which Bentley translates as the color of the "Oriental bush" or salmon.  In the blogpost we'll link to a table of colors that the founder of Sengoku Daimyo, Anthony Bryant, had put together, with some explanation of how to apply it.  I would note that there is often no way to know exactly what a given color was like or what shades were considered an acceptable range.  Everything was hand-dyed, and leaving fabric in the dye a little longer, changing the proportions, or just fading over time could create slightly different variants in the hue, but we think we can get pretty close. From there we have the six "common" ranks for the nobility.  Starting with the first rank, Upright, we have "Dark Purple".  Then we have "Light Purple".  This pattern continues with Dark and Light Green and then Dark and Light Grape or Lilac.  Purple in this case is Murasaki, and green here is specifically Midori, which is more specifically green than the larger category of "Aoi", which covers a spectrum of blue to green.  The grape or lilac is specifically "suou", and based on Bentley's colors it would be a kind of purple or violet. The idea is that the official court outfits for each rank would be the proper color.  And yes, that means if you get promoted in rank, your first paycheck—or rice stipend—is probably going to pay for a new set of official clothes.  Fortunately for the existing court nobles at the time, in the last month of 685, the Queen provided court clothing for 55 Princes and Ministers, so they could all look the part. And the look at court was important.  In fact, several of the edicts from this time focus specifically on who was allowed—or expected—to wear what.  For instance, in the 4th month of 681, they established 92 articles of the law code, and among those were various sumptuary laws—that is to say, laws as to what you could wear.  We are told that they applied to everyone from Princes of the blood down to the common person, and it regulated the wearing of precious metals, pearls, and jewels; the type of fabric one could use, whether purple, brocade, embroidery, or fine silks; and it also regulated woollen carpets, caps, belts, and the colors of various things. And here I'd like to pause and give some brief thought to how this played into the goals of the court, generally, which is to say the goal of creating and establishing this new system of governance in the cultural psyche of the people of the archipelago.  From the continental style palaces, to the temples, and right down to the clothing that people were wearing, this was all orchestrated, consciously or otherwise, to emphasize and even normalize the changes that were being introduced.  When everything around you is conforming to the new rules, it makes it quite easy for others to get on board. The court had surrounded themselves with monumental architecture that was designed along continental models and could best be explained through continental reasoning.  Even if they weren't Confucian or Daoist, those lines of reasoning ran through the various cultural and material changes that they were taking up.  Sure, they put their own stamp on it, but at the same time, when everything is right in front of you, it would become that much harder to deny or push back against it. And when you participated in the important rituals of the state, the clothing itself became a part of the pageantry.  It reinforced the notion that this was something new and different, and yet also emphasized that pushing against it would be going against the majority.  So court uniforms were another arm of the state's propaganda machine, all designed to reinforce the idea that the heavenly sovereign—the Tennou—was the right and just center of political life and deserving of their position.  Getting back to the sumptuary laws and rank based regulations: It is unfortunate that the record in the Nihon Shoki doesn't tell us exactly how things were regulated, only that they were, at least in some cases.  So for anything more we can only make assumptions based on later rules and traditions.  A few things we can see right away, though.  First is the restriction of the color purple.  Much as in Europe and elsewhere in the world, getting a dark purple was something that was not as easy as one might think, and so it tended to be an expensive dye and thus it would be restricted to the upper classes—in this case the princely and ministerial rank, no doubt.  Similarly brocade and fine silks were also expensive items that were likely restricted to people of a particular social station for that reason. The mention of woolen rugs is particularly intriguing.  Bentley translates this as woven mattresses, but I think that woolen rugs makes sense, as we do have examples of woolen "rugs" in Japan in at least the 8th century, stored in the famous Shousouin repository at Toudaiji temple, in Nara.  These are all imported from the continent and are actually made of felt, rather than woven.  As an imported item, out of a material that you could not get in the archipelago, due to a notable lack of sheep, they would have no doubt been expensive. The funny thing is that the carpets in the Shousouin may not have been meant as carpets.  For the most part they are of a similar size and rectangular shape, and one could see how they may have been used as sleeping mattresses or floor coverings.  However, there is some conjecture that they came from the Silk Road and may have been originally meant as felt doors for the tents used by the nomadic steppe peoples.  This is only conjecture, as I do not believe any of these rugs have survived in the lands where they would have been made, but given the size and shape and the modern yurt, it is not hard to see how that may have been the case.  Either way, I tend to trust that this could very well have meant woolen rugs, as Aston and the kanji themselves suggest, though I would understand if there was confusion or if it meant something else as wool was not exactly common in the archipelago at that time or in the centuries following. The last section of the regulations talks about the use of caps and belts.  The caps here were probably of continental origin:  The kanmuri, or official cap of state of the court nobles, or the more relaxed eboshi—though at this time, they were no doubt closely related. In fact, a year later, we have the most specific mention to-date of what people were actually wearing on their heads: there is a mention of men tying up their hair and wearing caps of varnished gauze.  Earlier caps related to the cap rank system are often thought to be something like a simple hemisphere  that was placed upon the head, with a bulbous top where the wearer's hair could be pulled up as in a bun. The kanmuri seems to have evolved from the soft black headcloth that was worn on the continent, which would have tied around the head, leaving two ends hanging down behind.  Hairstyles of the time often meant that men had a small bun or similar gathering of hair towards the back of their head, and tying a cloth around the head gave the effect of a small bump.  This is probably what we see in depictions of the early caps of state.  Sometimes this topknot could be covered with a small crown or other decoration, or wrapped with a cloth, often referred to as a "Tokin" in Japanese.  But over time we see the development of hardened forms to be worn under a hat to provide the appropriate silhouette, whether or not you actually had a topknot (possibly helpful for gentlemen suffering from hair loss).  And then the hat becomes less of a piece of cloth and more just a hat of black, lacquered gauze made on a form, which was much easier to wear.  At this point in the Chronicle, the cap was likely still somewhat malleable, and would made to tie or be pinned to that bun or queue of hair.  This explains the mention of men wearing their hair up.  This pin would become important for several different types of headgear, but ties were also used for those who did not have hair to hold the hat on properly. Two years after the edict on hats, we get another edict on clothing, further suggesting that the court were wearing Tang inspired clothing.  In 685 we see that individuals are given leave to wear their outer robe either open or tied closed. This is a clue that this outer robe might something akin to the round-necked hou that we see in the Tenjukoku Mandala, where the neck seems to close with a small tie or button.  However, we do see some examples, later, of v-necked garments with a tie in the center of the neck, so that may be the reference..  Opening the collar of the formal robes was somewhat akin to loosening a necktie, or unbuttoning the top button of a shirt.  It provided a more relaxed and comfortable feeling.  It could also be a boon in the warm days of summer.  Leaving it closed could create a more formal appearance. The courtiers also had the option of whether or not to wear the "Susotsuki", which Bentley translates as "skirt-band".  I believe this refers to the nai'i, or inner garment.  This would often have a pleated hem—a suso or ran—which would show below the main robe as just a slight hem.  Again, this is something that many would dispense with in the summer, or just when dressing a bit more casually, but it was required at court, as well as making sure that the tassles were tied so that they hung down.  This was the uniform of the court.  We are also told that they would have trousers that could be tied up, which sounds like later sashinuki, though it may have referred to something slightly different.  We are also given some regulations specifically for women, such as the fact that women over 40 years of age were allowed the discretion on whether or not to tie up their hair, as well as whether they would ride horses astride or side-saddle.  Presumably, younger women did not get a choice in the matter.  Female shrine attendants and functionaries were likewise given some leeway with their hairstyles. A year later, in 686, they do seem to have relaxed the hairstyles a bit more: women were allowed to let their hair down to their backs as they had before, so it seems that, for at least a couple of years, women under the age of 40 were expected to wear their hair tied up in one fashion or another. In that same edict, men were then allowed to wear "habakimo".  Aston translates this as "leggings" while Bentley suggests it is a "waist skirt".  There are an example of extant habakimo in the Shousouin, once again, and they appear to be wrappings for the lower leg.  It actually seems very closely related to the "kyahan" depicted all the way back in the 6th century painting of the Wo ambassador to Liang. Even though these edicts give a lot more references to clothing, there is still plenty that is missing.  It isn't like the Chroniclers were giving a red carpet style stitch-by-stitch critique of what was being worn at court.  Fortunately, there is a rather remarkable archaeological discovery from about this time. Takamatsuzuka is a kofun, or ancient burial mound, found in Asuka and dated to the late 7th or early 8th century.  Compared to the keyhole shaped tombs of previous centuries, this tomb is quite simple: a two-tiered circular tomb nestled in the quiet hills.  What makes it remarkable is that the inside of the stone burial chamber was elaborately painted.  There are depictions of the four guardian animals, as well as the sun and the moon, as well as common constellations.  More importantly, though, are the intricate pictures of men and women dressed in elaborate clothing. The burial chamber of Takamatsuzuka is rectangular in shape.  There are images on the four vertical sides as well as on the ceiling.  The chamber is oriented north-south, with genbu, the black tortoise, on the north wall and presumably Suzaku, the vermillion bird, on the south wall—though that had been broken at some point and it is hard to make out exactly what is there. The east and west walls are about three times as long as the north and south walls.  In the center of each is a guardian animal—byakko, the white tiger, on the west wall and seiryuu, the blue—or green—dragon on the east.  All of these images are faded, and since opening of the tomb have faded even more, so while photos can help, it may require a bit more investigation and some extrapolation to understand all of what we are looking at. On the northern side of both the east and west wall we see groups of four women.  We can make out green, yellow, and red or vermillion outer robes with thin fabric belt sashes, or obi, tied loosely and low around the waist.  There is another, lightly colored—possibly white, cream or pink—that is so faded it is hard to make out, and I don't know if that is the original color.  These are v-necked robes, with what appear to be ties at the bottom of the "v".  Around the belt-sash we see a strip of white peaking out from between the two sides of the robe—most likely showing the lining on an edge that has turned back slightly.  The cuffs of the robe are folded back, showing a contrasting color—either the sleeves of an underrobe or a lining of some kind.  Below the outer robe is a white, pleated hem—possibly a hirami or similar, though where we can make it out, it seems to be the same or similar color as the sleeves.  Under all of that, they then have a relatively simple mo, or pleated skirt.  The ones in the foreground are vertically striped in alternating white, green, red, and blue stripes.  There is one that may just be red and blue stripes, but I'm not sure.  In the background we see a dark blue—and possibly a dark green—mo.  At the base of each mo is a pleated fringe that appears to be connected to the bottom of the skirt.  The toe of a shoe seems to peek out from underneath in at least one instance.  They don't have any obvious hair ornaments, and their hair appears to be swept back and tied in such a way that it actually comes back up in the back, slightly.  They appear to be holding fans and something that might be a fly swatter—a pole with what looks like tassels on the end. In comparison, at the southern end of the tomb we have two groups of men.  These are much more damaged and harder to make out clearly.  They have robes of green, yellow, grey, blue, and what looks like dark blue, purple, or even black.  The neckline appears to be a v-necked, but tied closed, similar to what we see on the women.  We also see a contrasting color at the cuff, where it looks like the sleeves have turned back, slightly.  They have belt-sashes similar to the women, made of contrasting fabric to the robe itself.  Below that we see white trousers, or hakama, and shallow, black shoes.  On some of the others it is suggested that maybe they have a kind of woven sandal, but that is hard to make out in the current image.  On their heads are hats or headgear of black, stiffened—probably lacquered—gauze.  They have a bump in the back, which is probably the wearer's hair, and there is evidence of small ties on top and larger ties in the back, hanging down.  Some interpretations also show a couple with chin straps, as well, or at least a black cord that goes down to the chin.  They carry a variety of implements, suggesting they are attendants, with an umbrella, a folding chair, a pouch worn around the neck, a pole or cane of some kind, and a bag with some kind of long thing—possibly a sword or similar. The tomb was originally found by farmers in 1962, but wasn't fully examined until 1970, with an excavation starting in 1972.  The stone at the entryway was broken, probably from graverobbers, who are thought to have looted the tomb in the Kamakura period.  Fortunately, along with the bones of the deceased and a few scattered grave goods that the robbers must have missed, the murals also survived, and somehow they remained largely intact through the centuries.  They have not been entirely safe, and many of the images are damaged or faded, but you can still make out a remarkable amount of detail, which is extremely helpful in determining what clothing might have looked like at this time—assuming it is depicting local individuals. And there is the rub, since we don't know exactly whom the tomb was for.  Furthermore, in style it has been compared with Goguryeo tombs from the peninsula, much as nearby Kitora kofun is.  Kitora had images as well, but just of the guardian animals and the constellations, not of human figures. There are three theories as to who might have been buried at Takamatsuzuka.  One theory is that it was one of Ohoama's sons.  Prince Osakabe is one theory, based on the time of his death and his age.  Others have suggested Prince Takechi.  Based on the teeth of the deceased, they were probably in their 40s to 60s when they passed away. Some scholars believe that it may be a later, Nara period vassal—possibly, Isonokami no Maro.  That would certainly place it later than the Asuka period. The third theory is that it is the tomb of a member of one of the royal families from the Korean peninsula—possibly someone who had taken up refuge in the archipelago as Silla came to dominate the entire peninsula.  This last theory matches with the fact that Takamatsuzuka appears to be similar to tombs found in Goguryeo, though that could just have to do with where the tomb builders were coming from, or what they had learned. That does bring up the question of the figures in the tomb.  Were they contemporary figures, indicating people and dress of the court at the time, or were they meant to depict people from the continent?  Without any other examples, we may never know, but even if was indicative of continental styles, those were the very styles that Yamato was importing, so it may not matter, in the long run.     One other garment that isn't mentioned here is the hire, a scarf that is typically associated with women.  It is unclear if it has any relationship to the sashes we see in the Kofun period, though there is at least one mention of a woman with a hire during one of the campaigns on the Korean peninsula.  Later we see it depicted as a fairly gauzy piece of silk, that is worn somewhat like a shawl.  It is ubiquitous in Sui and Tang paintings of women, indicating a wide-ranging fashion trend.  The hire is a fairly simple piece of clothing, and yet it creates a very distinctive look which we certainly see, later. Finally, I want to take a moment to acknowledge that almost everything we have discussed here has to do with the elites of society—the nobles of the court.  For most people, working the land, we can assume that they were probably not immediately adopting the latest continental fashions, and they probably weren't dressing in silk very much.  Instead, it is likely that they continued to wear some version of the same outfits we see in the haniwa figures of the kofun period.  This goes along with the fact that even as the elite are moving into palaces built to stand well above the ground, we still have evidence of common people building and living in pit dwellings, as they had been for centuries.  This would eventually change, but overall they stuck around for quite some time.  However, farmers and common people are often ignored by various sources—they aren't often written about, they often aren't shown in paintings or statues, and they did often not get specialized burials.  Nonetheless, they were the most populous group in the archipelago, supporting all of the rest. And with that, I think we will stop for now.  Still plenty more to cover this reign.  We are definitely into the more historical period, where we have more faith in the dates—though we should remember that this is also one of the reigns that our sources were specifically designed to prop up, so we can't necessarily take everything without at least a hint of salt and speculation, even if the dates themselves are more likely to be accurate. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website,  SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  Thank you, also, to Ellen for their work editing the podcast. And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

lml show - lazyNEET & MURASAKI, Palami 10.15.25 | VISLA FM by VISLA

In this episode we recap Jake's week in San Diego! We packed in quite a bit of training and had a blast. Hope you enjoy our takeaways and upcoming episodes.  Download Sherpa, the free AI-powered journaling app for athletes. Join the convo with Josh on Discord here. Use the code "BJJHELP" for 50% off your first month on Jake's Outlier Database to study match footage, get links to resources, and more.Use code “BJJHELP” at submeta.io to try your first month for only $8!

FOR LEGAL REASONS... Elle and Mani discuss the reunion of Love Island season 7. Andy was a guest and brought the Bravo. We are sadly spending time with Huda and Austin. The wrong girls were labeled the wrong things. We don't quite agree on Ace.... at all. This reunion was too much or not enough? We discuss so we can MOVE ON. Come mix it up with us! Catch Elle (and sometimes Mani!) on YouTube. Make sure to subscribe and show Elle some love in those comments and reviews! She covers it all from politics to pop culture. Follow Elle on the things Instagram and Threads WATCH this episode (yup!) or listen ad-free on Patreon.FOLLOW Mani on the things @mixingwithmani! Catch me in my stories cutting up often

lazyNEET B2B MURASAKI 08.20.25 | VISLA FM by VISLA

At the height of Imperial Japan, during a golden age of court intrigue, obsessive hierarchy, and fabulous sophistication, who was the legendary lothario and emperor's son, Genji? What can the Tale of Genji - a great masterpiece of Japanese literature - tell us about this remarkable and alien world, and the imperial family at the heart of it? Who was the woman who wrote it, at a time when in the West it would have been unthinkable? What was the influence of China, Japan's powerful neighbour, on the world the text describes? And, does the story hold the secrets to the divine power of the Japanese emperors…? Join Tom and Dominic as they discuss the thrilling and romantic Tale of Genji; the historical man behind the myth, and the glorious world of Imperial Japan, with its glittering court.  _______ Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett + Aaliyah Akude  Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Andy shares his powerful journey—from being born in Japan to moving to the U.S. at 16 to chase his dream. Now at 25, he's living that dream: training, teaching, and competing at the highest level. A black belt under André Galvão, Andy has conquered major IBJJF titles and continues to inspire with his work ethic, mindset, and passion for jiu-jitsu. In this episode, we dive into his story, his challenges, and what it truly takes to rise and stay at the top. Listen now and get inspired by one of the sport's rising stars.Gustavo Dantas

AIR MIX実⾏委員会は、2025年3月7日（金）～9日（日）に星野リゾート ネコマ マウンテンにて、新コンセプトのもとスタイル、最強を決めるBATTLE 「MURASAKI AIR MIX STYLE BATTLES 2025」を6年ぶりに開催。

Koji Asano, a Melbourne-based Japanese voice actor and musician, hosts music segment J-Pop Hub for SBS Japanese. He picked 'Ginmokusei' by Mulasaki Ima for his 132nd episode. - メルボルンの声優・ナレーター、浅野浩治さんによる木曜日（第１～第３）の音楽コーナーJ-Pop Hub。日本の最新ドラマの主題歌を選びました。

In this episode I got to talk to my good sis Elle @justellemurasaki and it was food for my soul! We talk everything from the NAACP Image awards (Taraji and Queen Latifah) to content creation for black women through a lil' Bravo thrown in the mix and so much more! I hope you find as much joy listening as I did recording! Check out the visual version on YouTube: Shout out to my favorite podcast producer @cbreezzzey

Support the pod at patreon.com/bospod

Goku battles a ninja on the 4th floor of Muslce Tower Support us at patreon.com/bospod for bonus episodes!

幻冬舎の暗号資産（仮想通貨）/ブロックチェーンなどweb3領域の専門メディア「あたらしい経済 https://www.neweconomy.jp/ 」がおくる、Podcast番組です。この番組は「CoinTrade」の提供でお届けします。 ーーーーー 【番組スポンサー】 「CoinTrade」は上場企業グループで金融庁登録済みの暗号資産販売所。トレードはもちろん、預けるだけで暗号資産が増やせるステーキングサービスでは、国内最多の10銘柄を取り扱っています。ステーキングなら「CoinTrade」！ 詳細は以下のリンクをチェック ーーーーー https://www.gentosha.co.jp/t/nect/ ーーーーー 【解説したニュース】 ・ブルームバーグが長者番付を発表、バイナンス前CEOのCZが約3.3兆円資産増やす＝報道 ・コインチェック、暗号資産の「実現損益チェッカー」提供へ ・オーケーコインジャパン、スイ（SUI）のステーキングサービス提供へ ・バイナンスローンチプールで「Sleepless（AI）」取扱へ ・DCGの創業者バリー・シールドと代表取締役マーク・マーフィー、グレイスケールの取締役を辞任 ・Pacific MetaとSakaba Labs、パートナーシップ締結 ・web3ゲーム開発のMurasakiが約4700万円調達、サッカー町田浩樹選手や東北スパークルらから ・現物ビットコインETFの成功は「BTCの破壊につながる」、アーサーヘイズが考察 ーーーーー 【関連リンク】 ニュースの詳細や、アーカイブやその他の記事はこちらから https://www.neweconomy.jp/

durée : 00:28:45 - Poésie et ainsi de suite - par : Manou Farine - Considéré comme une œuvre majeure de la littérature japonaise du XIᵉ siècle et comme le premier roman psychologique, le "Dit du Genji" de l'écrivaine japonaise Murasaki-Shikibu a suscité une iconographie foisonnante et est une source d'inspiration toujours d'actualité pour artistes et artisans.

This week Selle is joined by Elle Murasaki and the two are talking Joe and Sophie, Remy and Paap, and the RHOSLC episode that had everyone cracking up! Instagram: Elle: @justellemurasaki Selle: @whoaskedmepodcast TikTOk: Elle: @justellemurasaki Selle: @whoaskedselle --- Support this podcast: https://podcasters.spotify.com/pod/show/whoaskedme/support

꽈추 300% 양배추네!!! With Cero & MURASAKI! - Jester 09.21.23 | VISLA FM by VISLA

Sweet Potatoes are heat loving, low maintenance garden vegetables that are also versatile and packed with vitamins. With over 15 years of experience cultivating this tropical plant, Karen and John share their insights on everything from selecting the right varieties to preparing the soil, planting, nurturing, and harvesting this root vegetable.Support the showCheck us out at: https://www.pendletons.comFollow us on Facebook at Pendleton's Country Market for updates about our farmWe can also be found on Instagram at pendletonscountrymktEmail us with questions, comments and requests for future show topics at info@pendletons.com

In this episode I got to talk to my sis, Elle from @housewivesandchitchat and we had a Chicken Soup for the soul as we always do! We talked everything from Cardi's mic throw to her pursuing her money from Tasha K, Lisa Rinna and her call for a BravoCon boycott, Bethenny Frankel (right message but wrong messenger), a little RHONY and a whole lot of real life stuff in between. And it most certainly gets real...Support the show

In this episode I got to talk to my girl Elle from Housewives and Chit Chat @housewivesandchitchat and host of Haute Topics podcast and as usual the conversation was good for my soul! We talked about content creation, touched on Summerhouse Martha's Vineyard, what Black Excellence is to us and Sheree's lil' friend... As usual, shout out to my favorite podcast producer @cbreezzzeySupport the show

Elle Murasaki of @housewivesandchitchat and the Haute Topics podcast joins Caitlin to chat about the RHOA premiere and the overall New Jersey of it all, and they even get into a little bit of the absurdity of being a mother. It truly is a chit chat with a heavy emphasis on Housewives! Please, leave a cute review, bestie! Follow @bestiesbybravo on Instagram, TikTok, Twitter, and YouTube! Check out the merch designed by Caitlin on Bestiesbybravo.com and use code for listeners BESTIES20 to get 20% OFF of everything through the month of May! Any statement made by Caitlin Marshall or her guests on the Besties by Bravo podcast are merely matter of opinion and no gossip mentioned is independently verified, it is for entertainment purposes only and "just for fun". Besties by Bravo podcast, webpages, and social media channels are not affiliated with Bravo or their parent company NBCUniversal.

On a Very Special, The Real Housewives of Rewatch - @TheSueFunke and @BrandsByBravo meet to discuss RHONY season 3 reunion with Elle Murasaki from @HousewivesandChitChat, and end up having in-depth discussions of the Bravo-verse. Join the trio as they take you back to not only Scary Island, but early Orange County, Atlanta, Jersey and other reality tv shows we all know and love. Come for the Real Housewives of New York analysis, stay for hot takes on your favorite housewives. We tried to make it nice, so pay attention puh-lease! (You don't actually have to pay attention you're totally welcome to multi-task this is all just for fun, I mean this isn't a crisis

Seamus is back and living in America! We celebrate by talking about preferred manga states, Trigun Stampede, the United Red Army in Red, and more! Then we discuss the feminist alt-manga Talk to My Back by Yamada Murasaki for a new One Shot!!! Send us emails! mangamachinations@gmail.com  Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our YouTube channel! https://www.youtube.com/mangamactv Timestamps: Intro Song: “Are You Ready For Me Baby” by Funky Giraffe, Opening, Introductions, Seamus' move to Chicago - 00:00:00 Listener Mail: Preferred manga states - 00:05:30 Whatchu Been Reading: Transition Song: “Funkymania” by The Original Orchestra, *SPOILERS* Darfox and dakazu share their thoughts on Trigun Stampede - 00:10:22 dakazu loved the space survival food manga Hara-peko Galaxy - 00:29:19 Red is a historical series about the rise and fall of extremist United Red Army in 1970′s Japan - 00:28:36 Next Episode Preview and Rundown: Twiple Dip, We will revisit three manga covered on the podcast and read the next volume, Including: Dai Dark 3by Q Hayashida, Tales of the Kingdom 2 by Asumiko Nakamura, and Chainsaw Man 13 by Tatsuki Fujimoto - 00:41:48 Main Segment One Shot: Talk to My Back, Transition Song: “It's Over” by Generation Lost, We review Yamada Murasaki's alternative manga about the woman's role as a domestic housewife in 1980′s Japanese society - 00:42:40 Next Week's Topic: Dai Dark 3/Tales of the Kingdom 2/Chainsaw Man 13, Social Media Rundown, Sign Off Song: “Crazy for Your Love” by Orkas - 01:05:39

In questa puntata a consigliarvi (e sconsigliarvi) opere c'è la fantasticonissima Marterio. Abbiamo parlato di qualsiasi cosa: di Murasaki, di killer, un giorno in pretura, di Takeshi Kitano e la leggendaria serie "i soprano".Quindi? Siete ancora qui? Correte ad ascoltare la puntata!EVVIVA!instagram di MarterioCanale youtube di Marterio

Chatting RHONJ, RHOM and so much more. Ya girl is back! And I've brought a fun friend with hot takes and great chit chat. Elle Murasaki (@housewivesandchitchat) known for viral housewives content and her housewives recaps, is here eith hot takes and all the knowledge of what's going on in the Bravosphere. And beyond because we even talk some HGTV rumors and scandals because why not. here's to a good time! Elle has joined Patreon for a potomac recap. More bonus content available there to dig in deeper into the mess. https://www.patreon.com/Mixingwithmani?utm_campaign=creatorshare_creator also I'm on Etsy now! Bravo and Basic is what I'm labeling it as. Check out VPR inspired and snarky things at https://www.etsy.com/shop/MixingWithMani?fbclid=PAAaalefDOnicYdJ4MyFDKYVYncwjrtPPXfBewITGmohC3wdtC-cmp5R7-OU4&load_webview=1&bid=yQpM6-jCKLNrPhUw-WnxLfOMtu-E Learn more about your ad choices. Visit podcastchoices.com/adchoices

Watch the full video here: https://youtu.be/6JBMjHFqorY

We love a guest who can talk about reality TV across multiple streamers, channels, and platforms, ok?! I'm joined today by a new friend, one who I have been following on social media and CRACKING UP at all of her takes across the Real Housewives franchise. I have Elle Murasaki with me today, better known on social media as Housewives & Chit Chat! Most likely, you've seen one of her viral videos where she's giving her opinion about the latest Bravo Hot Topic, the latest episode of the “Real Housewives of Potomac,” or just calling out the BS that she sees online. Well, today, she's here with me to talk about two of our favorite reality tv shows: Netflix's “The Circle” and Peacock's “Real Housewives of Miami!” Plus, we take the opportunity to audition for the next season of “The Circle.” NETFLIX… CALL ME!! Check out Elle's Website: https://www.ellemurasaki.com/?fbclid=PAAaa-d4I9dg7eXtxDxCCd8FqGc_rizXHAFLuVrlSXtnr9Iw4XS8PZEGo7C7E Follow Elle on Instagram: www.instagram.com/housewivesandchitchat Follow Elle on TikTok: https://www.tiktok.com/@housewivesandchitchat?lang=en Sponsor: Betterhelp.com/COMICS for 10% off your first month of therapy   *** HEY! Some of you have asked how you can show your appreciation for all of the content provided by your mama's favorite Black geek. How about you buy me a beer/coffee? FOLLOW THE BELOW LINK: https://www.buymeacoffee.com/realitycomics2 *** New episodes of “Reality & Comics Too” are released every Monday, Wednesday, and Thursday! DON'T FORGET TO SUBSCRIBE, RATE, AND REVIEW! I LOVE 5 STARS! EMAIL ME: realitycomicstoo@gmail.com FOLLOW ME ON INSTAGRAM: @realitycomicstoo / www.instagram.com/realitycomicstoo

This week Mandy is joined by Elle Murasaki of the Tik Tok and IG account @housewivesandchitchat. Elle also has a show on Roku's Nosy Bystanders TV called House of Murasaki that you all should check out! Mandy and Elle dive deep into this week's Real Housewives of Potomac, including all of the conflict and a even a hint of reconciliation between Ashley and Candiace. For all things Elle Murasaki check out: https://www.ellemurasaki.com Follow Elle on instagram: https://www.instagram.com/housewivesandchitchat/ Follow Mandy on instagram: https://www.instagram.com/mandyslutsker/

In this episode, I got to talk to Elle Murasaki from Housewives and Chitchat @housewivesandchitchat and I could have talked to her for hours and hours and hours (which we did before we even started recording.) And we got into all the things! We talked about Ye and the need for all communities, especially ours to come together and speak out against his behavior (and this was before we knew of his recent continued hateful rhetoric,) being black content creators, growing up and going to school in all white spaces, which then leads to a conversation about the housewives we watch and why some things for some of us aren't always entertainment and can truly be triggering… Especially Potomac. And speaking of Potomac, we talk about the housewife she went to high school with that inspired her to join the technology club to make sure there was always black representation (spoiler…it's our CandeeGal) and who she has known Candiace to be  based off of her personal experiences with her. My good sis Elle spoke to my soul this episode. And I truly cannot wait to talk to her again! Make sure to follow Elle on all her platforms! Shoutout to my favorite podcast producer @cbreezzzey ❤️Support the show

This week Selle is back after her cross country moving hiatus and she's joined by Elle Murasaki of Housewives and Chit Chat. The two discuss why the women of RHOSLC actually have no clue what's really going on and why the women of RHOP and it's fans cannot see the colorism issue that exist not only in the conversations about the show but in how certain women move throughout the space because of the comments. Don't forget to rate and review. Instagram: Elle: @housewivesandchitchat Selle personal: @selleslife Podcast: @whoaskedmepodcast TikTok: Elle: @housewivesandchitchat Selle: @selleslife

Andy Murasaki joined the IBJJF Podcast to discuss his GP super fight against Mateus Rodrigues. The match takes place on Friday November 18th as part of the IBJJF Absolute Grand Prix, which is brought to you exclusively by Black Armor Kimonos.

Are you a lover of long fiction novels? Well, did you know that you have Lady Murasaki to thank for starting the trend? Often known as Murasaki Shikibu, the lady of the chronicles was born in a time and place in Medieval Japan when the lady's court was so secluded. If it wasn't for her novel (Tale of Genji) and collections of poetry, we might have never known the intricate ins and outs of the Japanese court! We pair this girl with a sake-flavored mimosa and a whole lot of laughs. The story really starts at 4:30Some sourceshttps://libraryguides.bennington.edu/courtly/shikibuhttps://www.nippon.com/en/views/b09002/https://www.nancyduong.com/portfolio/junihitoe/Want more Queens? Head to our Patreon, check out our merch store and follow us on Instagram!Our awesome new intro music is thanks to @1touchproduction !Support this show http://supporter.acast.com/queenshistorypodcast. Hosted on Acast. See acast.com/privacy for more information.

On this episode, Elle joins me as we give our thoughts on the Season 12 finale and what we think about the heat surrounding Kathy Hilton. Elle and I also celebrate 1 year of knowing each other from TikTok! Loved getting to catch up with another fellow Housewives enthusiast! Follow and Learn more about Elle Murasaki Here: Youtube: Houswivesandchitchat Instagram: @housewivesandchitchat TikTok: @housewivesandchitchat --- Support this podcast: https://anchor.fm/georgiosays/support

Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Manga historian Ryan Holmberg introduces the influential alternative manga artist Murasaki Yamada (1948-2009) to English readers through a scholarly translation of Talk to My Back (1981-1984), Yamada's feminist examination of the fraying of Japan's suburban middle-class dreams. The manga is paired with an extensive essay by Dr. Holmberg, in which he positions Yamada's oeuvre within the history of alternative manga and Yamada's manga within her life. Alternative manga is primarily associated with male artists in the United States, but Holmberg illuminates why that came to be and how that image varies from reality through his examination of Yamada's oeuvre. Talk to My Back (Drawn & Quarterly, 2022) portrays a woman's relationship with her two daughters as they mature and assert their independence, and with her husband, who works late and sees his wife as little more than a domestic servant. While engaging frankly with the compromises of marriage and motherhood, Yamada saves her harshest criticisms for society at large, particularly its false promises of eternal satisfaction within the nuclear family. Ryan Holmberg is a comics historian and translator. He is the author of The Translator Without Talent (2020) and Garo Manga: The First Decade, 1964-1973 (2010). He has edited and translated over two dozen manga, including the 2014 Eisner Award-winning edition of Tezuka Osamu's The Mysterious Underground Men. His many essays and reviews can be found in such venues as The Comics Journal, Artforum International, and The New York Review. He has advised on exhibitions at the British Museum and the Honolulu Museum of Art, and is currently Senior Lecturer at the School of the Art Institute of Chicago. He can be found on social media @mangaberg. Amanda Kennell is an Assistant Teaching Professor of International Studies at North Carolina State University who researches Japanese culture and contemporary media. Her book, Alice in Japanese Wonderlands: Translation, Adaptation, Mediation, is forthcoming in 2023 from the University of Hawai'i Press. She consulted on the British Museum's exhibition on manga, and her work has appeared in the Journal of Adaptation in Film & Performance, the Journal of Popular Culture, Film Criticism, and the Washington Post, among other publications. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Cix is back and the gullies have a lot to catch up on! Joining them in this Bravo catch-up is Elle Murasaki of @housewivesandchitchat on TikTok! They TLC v Lifetime, pegging, Dr.Jackie, Marlo's self-sabotage, sleepy daddy Andy, Aspen fake-outs, The Caribou Club, Rinna's continued demise, and how we've lost control of RHOBH! Rate, review, and subscribe to Dumpster Dive everywhere podcasts are heard! Tom Hamlett Instagram: @thetomhamlett Cix Hamlett Instagram: @cixhamlett Elle Murasaki Instagram & TikTok: @housewivesandchitchat Dumpster Dive Instagram: @dumpsterdivepod Dumpster Dive TikTok: @2dumpsterdivas --- Support this podcast: https://anchor.fm/dumpsterdivepod/support

In episode sixteen, Greg talks life, love, the universe, and all things music with the queen of digital media, ELLE MURASAKI!!!!You can also find Elle on Instagram, Twitter, TikTok, The 3+1 Media Podcast, or on her official website.Support This Show

Dylan is joined by content creator Elle Murasaki, AKA @housewivesandchitchat, and they start with the latest updates on the RHOBH social media fiasco. Does Lisa Rinna even have a strategy at this point? Next, they recap RHOA, and discuss where the right level of delusion lies between Drew and Shereé. They also unpack Marlo and Kenya's continued issues, and how they felt about Apollo's return to the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Try the sencha here: https://nioteas.com/collections/fukamushi-sencha

In ancient Japan, the young Princess Hase is a celebrated poet and loved by all. But when her father must travel for work, Princess Hase is left with her stepmother, who wants to get rid of the girl by ordering a servant to abandon her far away in the mountains, but the servant has another plan. Find out what happens in this tale of familial love and honor.For more Granny, follow her updates at the links below!https://www.instagram.com/fairytalepodcast/https://www.storicmedia.com/fairytaleswithgrannymacduffSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of the Books on Asia Podcast, sponsored by Stone Bridge Press, host Amy Chavez talks with anthropologist, shamisen player, author, and translator Liza Dalby about her books and her new translation of the recently deceased novelist cum Buddhist nun Jakuchō Setouchi's memoir "Places."Liza is author of the Geisha, Kimono: Fashioning Culture, East Wind Melts the Ice: A Guide to Serenity Through the Seasons, and  Hidden Buddhas: A Novel of Karma and Chaos. Her previous translations include Little Songs of Geisha: Traditional Japanese Ko-Uta.Amy and Liza talk about Liza's long career writing about Japan, starting with Geisha and how that world of women changed along with the modernization of Japanese society, why the geisha survive today, and the meaning of the word "kimono." They also discuss different kinds of kimono, the difference between the yukata (often called a "summer kimono") and a robe. Liza lets us in on the controversy behind the original cover of Tale of Murasaki and how and why she convinced the publisher to change it to the current one.They also talk about the controversies behind Setouchi Jakuchō, how Liza came to translate her autobiography, and how she missed a chance to talk to Jakuchō during a visit to Kyōto.Lastly, Liza reveals her  favorite books on Japan:The Tale of Genji, by Murasaki ShikibuRobin Gill's translations of haikuthe woodblock prints of Yoshi Toshi and the late John Stevenson's booksVisit Liza Dalby's website.The Books on Asia Podcast is sponsored by Stone Bridge Press. Check out their books on Japan at the publisher's website.

Join Ethel and Shanna as they explore the 30+ year old but ever popular rock band, Spitz. Scripted & Quality Assured by: Christine AHosted by: Ethel & ShannaAudio Edited and Uploaded by: DaniloSonglist:12) 紫の夜を越えて Murasaki no Yoru wo Koete (Beyond the Purple Night) (2021)11) 愛の言葉 (Words of Love) (1995)10) 涙がキラリ☆ Namida ga Kirari (Tears Glistening) (1995)9) 猫になりたい Neko ni Naritai (I Want to be a Cat) (1994)8) 運命の人 Unmei no Hito (Fated Person) (1997)7) 優しいあの子 Yasashii Ano Ko (That Kind Girl) (2019)6) 春の歌 (Song of Spring) (2005)5) 渚　Nagisa (Beach) (1996)4) 楓　Kaede (1998)3) 空も飛べるはず Sora mo Toberu Hazu (I Should be Able to Fly in the Sky Too) (1994)2) チェリー　Cherry (1996)1) ロビンソンRobinson (1995)Support this podcast at — https://redcircle.com/japan-top-10-ri-ben-nototsupu10-jpop-hits/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Haru & Caesar comes from KTop10 to deliver the top hits coming out of Japan! This week, the chart list is shaken by an abundance of new songs, including hits from Kenshin Yonezu, Bump of Chicken, and much more! -------------Scripted & Quality Assured by: StuartHosted by: Haru & Caesar (from KTop 10)Audio Edited by: VincentUploaded by: Jack Songlist:10) NAMELY ／ UVERworld [NEW]9) なないろ (Nanairo) - BUMP OF CHICKEN [NEW]8) 紫の夜を越えて (Murasaki no yoru o koete) (Beyond the purple night) - スピッツ (Spitz) [NEW]7) INTO THE DEEP - MAN WITH A MISSION [NEW]  6) Kirari - Fujii Kaze [-2]5)  怪盗 (Phantom thief) - back number [NEW]4) Until you know love - Aimyon [-1]3) Strange - 星野源 Gen Hoshino  [+4]2) ごめんね (Gomen ne) Fingers crossed (I'm Sorry, Fingers Crossed) - 乃木坂46 (Nogizaka46) [NEW]1)  Pale Blue - 米津玄師 (Kenshin Yonezu) [NEW]Extra songs:Indie Spotlight: KOJI The Planet Stoned Plus - Black Painted Beastie BellJ-Rock Extra: CreepHyp -  憂、燦々 (Yu, Sansan) (2020)2010's flashback/ K-Pop crossover: GFRIEND - Memoria (2018)Support this podcast at — https://redcircle.com/japan-top-10-ri-ben-nototsupu10-jpop-hits/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

After the pendulum swang between two very different themed mixes over the last fortnight, it's the perfect time for a Late and Live Mix featuring music from the Initial D series, maimai MURASAKI, 18 Wheeler: Pro Trucker and more, plus arrangements from AshZone, GlacialSpoon, Rexy and more too! Tracklistings: - L.A. Machineguns: Rage of the Machines - Water Raid (Alcatraz Stage BGM) (requested by electricboogaloo) - Telan Devik - Slammin' Sea (requested by Virtua) - Space Harrier (SEGA AGES 2500 version) - Main Theme (requested by Iceferno) - Moomoo - Persona 5 Last Surprise (Future Funk Remix) - Initial D Arcade Stage 6 AA - Set Me Free (requested by Jamie) - maimai MURASAKi - Living Ghost is Alive - AshZone - Sonic Adventure 2 - Battle - Meteor Herd (AshZone Remix) - GlacialSpoon - Sonic & Knuckles "Egg Death Machine" - Initial D Arcade Stage 5 - Chemical Love (requested by Jamie) - Dj Mokram - Green Dust Highway (Sega Rally Championship) (requested by Frost) - Yakuza 4 - Butterfly City (Dexpistols Remix) (requested by TCB) - Oskill8 - Sonic The Hedgehog 2 - Chemical Plant Zone (Oskill8 Game Boy Remake) (requested by Virtua) - 18 Wheeler: Pro Trucker - Parking 56 (requested by electricboogaloo) - Rexy - Sonic the Hedgehog "Tactile Snowfall"

Episode 82 of OGC is an interview with Andy Murasaki. Andy is a black belt under Andre and Angelica Galvao and will be competing at EUG Promotions inaugural event on April 3, 2021. Topics discussed in this episode include: Competing at the upcoming EUG Promotions event Andy's strength and conditioning training Training in Japan Andre Galvao and Atos HQ Teaching Jiu Jitsu And much more... Follow Andy @andymurasaki on Instagram and be sure to catch him April 3rd on EUG Promotions!

This time, on WSP 15, Chase, Zach, and Thomas watch along as Goku makes his way up Muscle tower, facing his most dangerous foes yet!... at least, we were expecting them to be dangerous. But Murasaki is well, more Wile E. Coyote than deadly assassin. Find out what we mean on this week's episode!