Podcasts about Murasaki Shikibu

Romanen som vi känner den föds i slutet på 1700-talet och slår på några årtionden ut verseposet och poesin. Ny tryckteknik, fotogenlampan och moderna kommunikationer gjorde romanen tillgänglig för en större publik. Särskilt kvinnorna drogs till romanerna, som också varandes för konsekvenserna av allt för omfattande romanläsning.Romanen krävde inte samma klassisk bildning som eposet och svarade på borgarklassens behov av identifikation och individualitet.  Romanen passade in den nya offentligheten av tidningar, magasin och förläggare där många kända verk skrevs och publicerades som följetonger.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med Ingrid Elam professor emerita i litterärgestalning vid Göteborgs universitet och aktuell med boken Romanens segertåg.Världens första kända roman, Berättelsen om Genji, skrevs av den japanska hovdamen Murasaki Shikibu strax efter år 1000. Men den moderna romanens segertåg började i slutet på 1700-talet som ett barn av upplysningen. Romanen var inledningsvis en föraktad genre, men den tog snabbt över från episka hjältedikter och teater som lånade stil och format från antiken.Där eposet var ett färdigt format med stilmallar som förfinats under 2000 år var romankonsten öppen och sökande. När vi började läsa romaner gick läsandet från kollektiv högläsning till en ensam sysselsättning för individen. I takt med att samhället och vetenskapen utvecklas förändras romanen i fråga om perspektiv och berättande.Eftersom romanen säljs till läsarna på en växande marknad blir läsarna allt viktigare för författarna som tidigare försörjts av mecenater och sinekurer. Och en stor del av läsarna och författarna var tidigt kvinnor.Bild: Läsande kvinna av Anna Nordgren 1882, Wikimedia Commons, Public Domain.Musik: Schubert: Moment Musical Op. 94, No. 3, D780 av Audio Waves - Eliche Remblon, Storyblocks AudioLyssna också på När sprätthökar och rangsjuka fruntimmer hotade samhällets överlevnad Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

This episode we are looking at the early years of the official reign of Naka no Oe, aka Tenji Tenno, including the building of a brand new capital on the shores of Lake Biwa. For more information, see: https://sengokudaimyo.com/podcast/episode-126 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua and this is episode 126:  New Beginnings The local farmers couldn't help but talk.  There was so much construction, but it wasn't entirely clear what was being built.  The land between the mountains and the lake had been neatly groomed fields, but now that the government workmen had moved in, all of those fields were being cleared.  This new construction was much larger than anything that people had seen before.  Rocks were coming in from far flung quarries, and local kilns were being set up to create tiles, while woodcutters were sent into the forests to bring logs to the site. There were various stories about what was going on—a new provincial government office, or perhaps a new temple, but perhaps the most outlandish was that this was going to be some kind of royal palace.  The sovereign himself was taking in interest in this little slice of Afumi, and he was going to abandon the Home Territories of Yamato and bring his entire court to the shores of Lake Biwa. What a far-fetched story!  …Wasn't it? Last episode we recapped a lot of the history of Prince Naka no Oe and how he had come to this point: the Isshi Incident, the Taika reforms, as well as the reigns of his uncle, Prince Karu, aka Koutoku Tennou, and his mother, Takara Hime, aka Saimei Tennou.  With Takara Hime's death, Naka no Oe was now – finally, as he might have thought -- running things officially.  He had prosecuted the war in Baekje, and with that loss, he had turned his focus back to the archipelago.  He now had refugees to settle, and defenses to set up.  And then there were the embassies that would be coming, in an apparent attempt to normalize relations post-conflict.  That could only go so far, however, given that Tang and Silla had simply turned their war efforts against Goguryeo.  So one imagines that any diplomatic discussions were held with the understanding that the international order was still in flux. And so we arrive in the 8th month of 665, as some of the first defensive castles were being erected.  That same month, Tamna—the kingdom on the modern island of Jeju—sent ambassadors to the Yamato court.  The diplomatic ties between Yamato and Tamna were a relatively recent occurrence, but with Baekje gone, one wonders if Yamato wasn't feeling out a new alliance on the continent.  That said, Tamna does not appear to have been a major player on the international stage.    They had been a tributary of Baekje, and may have even been one of the last holdouts of the proto-Japonic language for a long time.  Indeed, a 15th century Joseon history records a foundation myth of Tamna that emphasizes close early ties with the Japanese archipelago. The following month saw another visit by Tang ambassadors, only a year after Guo Wucong had come to the court.  Guo Wucong had been wined and dined, and things seem to have gone well, as this time he returned, but he wasn't the one leading the embassy this time.  That honor went to Liu Degao, sub-prefect of Yizhou, among his many titles.  Yizhou is the same location where the previous missions from Yamato to the Tang court had made landfall.  Presumably, Liu Degao would have had experience with the embassies that passed through Yizhou, so he seems a logical choice to be sent over to the archipelago. This seems like an escalation, with a more titled ambassador leading the party. It is possible that the Tang were trying to not only reset their relationship with Yamato, but also attempt to woo them to their side.  The Tang likely knew that if they defeated Goguryeo, then they would have another problem to work out:  The alliance with Silla.  At the moment both Tang and Silla were in a partnership of convenience, but the Tang empire didn't get where it was by just giving up territory. And Silla was, itself, ambitious.  It would be in the Tang dynasty's best interest to have Yamato on its side in case Silla became a problem.  At the very least, the Tang court could have just been trying to make sure that Yamato would stay out of any continental entanglements, such as by supporting Goguryeo. Within the Yamato court, it is unclear which way, exactly, they were leaning at this point.  The court was clearly building defensive positions—fortresses and more.  At the same time, there were likely those who welcomed any return to stable relations with the Tang.  After all, there were still Wa in Chang'an and elsewhere, and there was still a hunger in the archipelago for the books and other goods that the Silk Road could provide.  On the other hand, they may have felt more at home with Goguryeo, or even Silla.  The bonds with the Korean peninsula were older and likely stronger.  And, as long as the Tang Empire was busy with other states, then perhaps they would be too preoccupied to attack Yamato. Liu Degao and his entourage had arrived at Tsushima on the 28th day of the 7th month.  They would have been put up there for a time, and entertained.  If this embassy followed later conventions, they would have likely pulled into a harbor, like the one near Kofunakoshi.  This is a narrow spot between the two parts of Tsushima, where we know that in the 9th century, ships from the Tang empire would stop, register goods and people, and likely have them transferred to Japanese ships.  All of the checking and cataloging would happen  at nearby Bairinji temple. Even if they didn't have to transport everything to another ship, it is likely that they would held at Tsushima for a while for security purposes.  Tsushima was ideal, both for its distance, halfway between the Korean peninsula and the Japanese archipelago, but also for its shape, with numerous places that ships could sit at anchor in secluded bays away from any weather or rough seas that could otherwise cause problems. We don't know exactly what the Tang embassy's stay was like, but we know that they were at Tsushima for roughly two months, which was probably the time it took to get a message to the Yamato court and back.  We know how long it was because we learn that it is on the 20th day of the 9th month that they finally made landfall at Tsukushi, or Kyushu, and two days later they forwarded a letter-case to the Yamato court. Two months later, we know they were at the court, as there was a banquet held for Liu Degao on the 13th day of the 11th month, and then a month after that, Liu Degao and the rest of the mission were presented gifts, after which they left and returned to the Tang court.  We are also told that Mori no Kimi no Ohoishi, along with Sakahibe no Muraji no Iwashiki and Kimi no Kishi no Harima all went to the Tang court that same month, no doubt traveling with Degao and Wucong. On the first month of the following year, Neungnu of Goguryeo was sent to the Yamato court to offer tribute.  On the same day, the 11th day of the first month, Tamna also sent someone identified as Prince Siyeo to offer presents.  Immediately, I'm wondering about the way that this is presented.  Both of these states – Goguryeo and Tamna - were allies of the former Baekje kingdom.  I have to wonder how the Goguryeo ships made their way—did they come down the western side of the peninsula, through the Bohai sea, and thus past possible Tang patrols between their peninsular and continental territories, or did they head through the East Sea, aka the Japan Sea, where they would have to pass by the coast of Silla, whom they were also not on great terms with?  The fact that both missions are mentioned at the same time suggests that maybe the Goguryeo embassy sailed down to Tamna, on Jeju Island, and then the two groups made their way over to Yamato together from there. Other things about this entry to note is that the Chroniclers use different terms for these visits to the Yamato court.  Goguryeo uses a term that Aston translates as “offering tribute” while Tamna uses a different term indicating that they were “offering presents”.  This may be as simple as the difference in the various relationships between the polities, as viewed by the Chroniclers.  After all, there was a long relationship between Yamato and Goguryeo, which was considered one of the three Han, or Samhan.  Whether true or not, I could certainly see the Chroniclers feeling that Goguryeo was in a subordinate relationship with Yamato.  Tamna, on the other hand, was a more recent addition to the Yamato diplomatic sphere.  As such, it would be understandable, to me if the Chroniclers still saw it as a more independent entity. It also may hint at different messages being communicated.  As far as we can tell, Tamna wasn't under direct threat by the Tang empire—though they may have been feeling a little bit of heat, given the fall of Baekje and the Tang empire's new outpost on the peninsula.  Goguryeo, however, was under more direct threat, and had been in conflict with the Tang for years.  On top of that, based on what we can tell, it seems that Yeong Gaesomun, the despot who had been ruling Goguryeo and helping it defend against the Tang, had just passed away.  It may have been that the Goguryeo court was seeking support against Tang and Silla, as they were in a moment of instability, themselves.  As such, “Tribute” might indicate that they were more formally petitioning Yamato for support. Goguryeo envoy Neungnu left about 5 months later, on the 4th day of the 6th month but then another envoy, this time Minister Eulsyang Oemchu, arrived a little more than four months later.  Much like with the Tang, this feels like Goguryeo was upping the ante, sending higher ranking officials to negotiate with Yamato.  That lends some credence to the theory that there was something of a bidding war going on for Yamato's involvement in international affairs.  For Yamato, however, it would seem that getting involved in continental affairs was hardly something they were itching to do.  Instead, they continued their moves to fortify. In local events, we know that on the 11th day of the 10th month of 665, while the Liu Degao delegation was still in Yamato, there was a great “review”, by which they seem to mean a sutra reading, at Uji.  It is unclear just where this was held, as I haven't found reference to any particular temple.  However, it does indicate that there was activity in the area. Uji is probably most popular, today, for its role as a setting in the Tale of Genji.  There indeed numerous reminders there of the Heian period, including the hall of Ujigami Shrine, and the famous Hou-ou-do, or Phoenix Hall, of the Byoudouin. In 1053, Fujiwara Yorimichi inherited the villa from his father, Fujiwara Michinaga, and he converted it into a Pure Land temple.  Michinaga is thought to have been one of the people on whom Murasaki Shikibu based the character of the Shining Prince, Hikaru Genji.  That's all too late for this moment in the Chronicles, of course., but we do have earlier references to Uji as a place, as well as in various names.  It seems to have been part of the territory of the Hata, who controlled much of the area of modern Kyoto and environs.  There is a temple, Houjouin, also known as Hashidera, which claims to date back to the 7th century, and may have been the site of the above-mentioned sutra reading in 665.  According to the Temple's own legend, it was built around 604, when Hata no Kawakatsu built the famous Uji bridge, or Hashi, on the orders of Prince Umayado, aka Shotoku Taishi.  Other sources give the date as 646.  The temple was rebuilt in the 13th century, and as far as I can tell, nothing remains of the original temple, but it is possible that it was the site of this review. The next non-Diplomatic record of the Chronicles is from the 3rd month in 666.  The Crown Prince went to the house of Saheki no Komaro no Muraji, paying a sympathy call as Saheki appears to have passed away after having been gravely ill.  Saheki no Komaro no Muraji was one of those who had helped Naka no Oe in the Isshi Incident.  He had been introduced to the plot by Nakatomi no Kamatari, and then critical in the literal execution at the court.  He later led forces against Furubito no Oe, assuming that “Sahekibe no Komaro” is the same as “Saheki no Muraji no Komaro”.  There is also a relative, possibly his son, Takunaha, who was one of the Yamato court's overseas envoys.  Thus, one can understand that he had some importance to the Royal family, and we can probably assume that he had been involved in much more.  The Crown Prince, we are told, lamented him on account of his loyal service from the very beginning. One of the confusing things in this part of the Chronicle is the term “Crown Prince”.  It doesn't help that the Chroniclers were pulling from different records, and sometimes using anachronistic titles for individuals.  Naka no Oe had been known as the Crown Prince since the time of Takara Hime, whether he actually was or not.  Now he was in charge of the government, but it isn't clear that he had been formally invested as tennou.  More than that, there is mention of an investiture in either 667 or 668, several years after his quote-unquote “reign” had begun.  This makes some sense.  After all, when Takara Hime passed away, there was a foreign war to prosecute, and that probably took a fair bit of resources.  Plus, Naka no Oe had been running things for a while before that, or so we are told.  It would make sense if things just kept on going as they had been, and they held the actual investiture when they got around to it. We also know that he was busy with building projects: not just for the defense of the archipelago, but even a new capital and a new palace.  We'll talk about it a bit more, later, but suffice it to say that he may have been taking his time and gathering everything together. All of this makes the Chronicles themselves somewhat confusing.  They throw around the terms “Crown Prince” and “Sovereign”—well, “Sumera no Mikoto”—almost interchangeably.  Meanwhile, they've also stated that the Crown Prince was Prince Ohoama, Naka no Oe's younger brother. Based on my read of things, I believe we can distinguish between the two by whether or not it specifically calls them out as just “Crown Prince”, or “Crown Prince, younger brother to the sovereign”.  The latter is clearly Prince Ohoama, and the first is most likely Naka no Oe.  After all, in this instance, why would Prince Ohoama be the one so struck by the death of Saheki no Muraji?  Based on the story the Chronicles have told us, wouldn't it make more sense that it was Naka no Oe lamenting the death of one who had helped put him on the throne, rather than sending his brother? So keep that in mind as we go through the narrative.  I'll try to point out whom I believe they are speaking about, at least until we reach the point where Naka no Oe actually is invested. Getting back to the Chronicles, in the 7th month of the year 666, some four months after the illness and death of Saheki no Komaro no Muraji, another disaster struck—this time a natural disaster.  Great floods were reported—how widespread we aren't told.  This is often a problem in a land with many mountains that often gets large rains.  It is especially problematic when much of your agriculture is based on being just at or below the level of the rivers and streams so that it can be flooded on purpose.  We are told that the government remitted the land-taxes and commuted taxes that year, likely as a form of disaster relief to those affected by the flooding. In 666, we are also told a story that actually links this reign to the previous.  We are told that a monk, named Chiyu, gave the sovereign something called a south-pointing chariot.  I'll talk about what this was in another episode.  What's important here is to note that there was a previous entry in the era attributed to Saimei Tennou, aka Takara Hime, where a monk named Chiyu, or something similar, using different characters, also created a south-pointing chariot.  Likewise, we are later told in this reign how Naka no Oe installed a clepsydra, a water clock.  This is also mentioned in the previous reign.  It is possible that these reference completely different accounts.  Or they could be connected in some way. The south-pointing chariot is probably not something that we'll have evidence of, as it would have been mobile and probably deteriorated over time.  However, the water clock would have been a fixed installation with some clear architectural remnants, and indeed we think we know where at least one was built in Asuka.  Both of the water clock entries say that it was the “first” time, so make of that what you will. Also in 666, we see that some 2000 people of Baekje were settled in the East, possibly meaning the Kanto region, though this could be anywhere between modern Nagoya out to the far eastern edge of Honshu.  They were maintained at the government expense for three years, after which they were expected to have built new lives for themselves. In later periods, there is much to be said about “Men of the East”.  There are those that point to this region as being the origin point of many of the warrior traditions that would arise and become the military samurai.  Some of the weapons and fighting styles, especially some of the horse-riding archery seems to point to continental influences that made their way to the Kanto region and beyond.  One has to consider just how much did they bring with them and how did it grow, often beyond the view of the court and the court chronicles.  For now, though, it seems to have largely been a form of a refugee program, since the Baekje no longer had a kingdom to return to. Finally, we have an omen.  In the winter of 666, the rats of the capital, in Asuka, headed north to Afumi.  As with previous entries about rats departing a capital for a direction, this is again meant as an omen.  It probably didn't happen.  But it does foreshadow an account in the following year, when, on the 19th day of the 3rd month, the capital, surprise-surprise, moved to Afumi. And perhaps I shouldn't be flippant.  It was a surprise to have the capital move to Afumi.  There are accounts of legendary sovereigns that had their palace outside of the Nara Basin or Kawachi area, but at this point Yamato had been really building up those areas.  So why would they suddenly relocate to Afumi, of all places? Well, probably because of the same thing that had been driving the rest of their large-scale building projects during this period—from the Water Castle protecting the Dazai to the various Baekje style fortresses from Tsushima down to the Nara Basin.  Afumi was a naturally defensive position.  And in such an uncertain time, having a well-defended capital must have seen like a very good idea.  In fact, though they didn't formally change the capital until the 3rd month of 667, they probably had started work on it as soon as they got back from the loss at Hakusukinoe. As far as locations go, it wasn't necessarily a bad choice.  There were still routes to the port at Naniwa, which could still house various delegations when they arrived.  There were also routes to the east, leading to Owari and the rest of central and eastern Honshu, as well as mountain passes to get to the Japan Sea.  The area where the new palace was located was in the district of Ohotsu.  Ohotsu means something like “Big Port” and I don't know if it was already a major port along the banks of Lake Biwa or if that was a name that came from having the capital there.  Ohotsu was a long-inhabited area, even well before the 660's, and an important site for trade.  In the southern end of modern Ohotsu city is Ishiyama-dera, the stone mountain temple, it which was built in the 8th century, but in front of the temple are the remains of the largest freshwater shellmound in Asia.  As you may recall from some of our earliest episodes talking about the prehistoric period in the Japanese archipelago, shell mounds are typically evidence of ancient settlements, remnants of dump sites where they could throw their detritus.  This probably included a lot more than just shells, but shells, bones, and sometimes things like pottery sherds, would remain.  And while much of the wood and waste of the period would have disintegrated over time, shells do not.    These shell mounds accordingly provide important insight into the lives of people back in that day, and the size can also help us understand things about how large a settlement might have been or how long it was there.  The sheer size of the shellmound at Ishiyama-dera likely indicates that the region had been settled for many centuries prior to the 600's. In addition to the shellmound, and more closely related to the current times we are discussing, is evidence of a rock quarry found at the temple site and showing evidence of techniques familiar to people of the 6th to 8th centuries. You see, Ishiyama is a source of a particular white stone called wollastonite.  The quarry sits below the main hall of the temple, and so it probably would not have been quarried after the hall was built, which was in the 700s, so the site is believed to have been active before that.  From the composition of the stone and the markings on the remnants, we can see similarities to stones in the base of one of the buildings at Kawaradera, in Asuka, which we've talked about before and which was one of the pre-eminent temples of its day.  So this demonstrates a link between the region and the court even before the construction of the new Ohotsu palace. Speaking of the palace, we've known of its exact position since 1974,  when archeologists found evidence of the foundation of a large complex in a residential district in Nishikori.  While some initially suggested it was an old temple, further evidence makes it pretty clear that it was the dairi, or inner sanctum, of a palace.  This is very much in the same mould as the Toyosaki Palace in Naniwa and the various palaces in Asuka from around the same period.  In front of the dairi would have been the actual government buildings, but that area has not been excavated. That brings up another question: was this a full-on capital city, Ohotsu-kyo, or just a palace, the Ohotsu-no-miya?  So far we have only found the palace, But since the area is fairly built up, it may take time to find more, assuming it hasn't been destroyed by previous urban development in the area.  There are some hints that there was more: while there were already at a couple of temples that had been built by the mid-7th century, we see several temples built in ways that not only borrow features from important Asuka temples, like the layout of Kawaradera, but they also match the alignment of the Otsu palace ruins, hinting that they were built at the same time.  For example, there is are the ruins of an abandoned temple in Shiga-Minami – actually once thought to have been the Otsu palace. There was also Soufukuji, a temple in the mountains nearby meant to protect the Northwest from malign influences, likely based on continental geomantic concepts, part of what we might today think of as Feng Shui. This same kind of protective temple building is what we see in later capital cities. Of course, we know that this would not be a permanent capital for the nation of Yamato or of Japan—we aren't that far off from the Nara period, and then, a century later, the capital at Heian-kyo.  But that couldn't have been known at the time.  There was no way to know how long tensions with the continent would last, and it was just as possible that people at the time expected this to be a permanent move.  Its preeminence lasted, too: we do have evidence that even centuries later, the region was still known as an ancient “capital”. No matter what Naka no Oe's intentions were in moving the capital to Afumi, however, it didn't exactly go over well.  It was apparently quite unpopular—so unpopular that the move was mocked in song of the time.  That said, Naka no Oe's mind was made up, and the move took place regardless.     Before moving the capital, however, there was still business to attend to.  Takara Hime and Princess Hashibito were reinterred together in the Misasagi on Wochi Hill.  We are told that men of Goguryeo, Baekje, and Silla all mourned along the processional route.  The Crown Prince—I'm assuming Naka no Oe, this time given his connection to both of these women—apparently had started the work on a stone sarcophagus.  By this was probably meant the actual stone vault of the tomb, rather than just the coffin, which was also likely made of stone.  This was in Kuramaki, in Takatori, in the Takaichi District of the Nara Basin. Three months after the move to the new capital, the district of Kadono, in the west of modern Kyoto, presented to the sovereign a white swallow—an omen of some sort. The following month, on the 11th day of the 7th month, Tamna sent another embassy, led by a Minister known as Cheonma, with presents for Yamato.  This may have been the first envoy to actually visit the new Ohotsu capital, but certainly not the last. Cheonma stuck around for a few months.  In the intercalary 11th month, which is to say the extra 11th month of 667, inserted to keep the lunar and solar calendars at least partially aligned, Cheonma and his companions were presented with brocade and other cloth, as well as axes, sickles, and swords, presumably to take home to Tamna. While Cheonma was at the court, there was apparently another bit of diplomatic ping-pong going on.  Liu Jenyuan, the Tang general in charge of Baekje, sent Szema Facong and others to escort Sakahibe no Iwashiki and those with him to the Dazai in Tsukushi.  They didn't stay long, though—we are told they arrived on the 9th day of the 11th month and left only 4 days later, on the 13th day of the same.  When they left, however, they, themselves, were given escorts of Yuki no Muraji no Hakatoko—the same one whose memoirs we relied on for that previous trip to the Tang court—as well as Kaso no Omi no Moroshi.  So I guess they were escorting the escorts?  At what point does it end?  Hakatoko and others made it back about three months later, on the 23rd day of the first month of 668, and reported on their own escort mission.  That suggests that they didn't escort them that far.  They may have just seen them back to the Korean peninsula and that was it. Hakatoko's escort mission did mean that he missed a rather important event—the Crown Prince assuming the dignity.  That is to say, Naka no Oe finally took the title of sovereign.  A note in the text suggests that there were other sources that said it was the third month of the previous year—the same time that the Otsu capital was built.  Four days later they held a banquet in the palace for all of the court ministers. A little over a month later, his wife, Yamato bime, was appointed queen.  We are then told of his other wives and consorts. To be clear, Naka no Oe had been collecting consorts for ages.  So let's talk about a few of them. To start with there was Yamatobime, the Yamato Princess, daughter of none other than Naka no Oe's half-brother, Prince Furubito no Oe, his former rival to the throne. Then there was Wochi no Iratsume, aka Princess Miyatsuko, the daughter of Soga no Kurayamada no Ishikawa Maro.  She had a son, Prince Takeru, who died in 651 at the age of 8.  That suggests that she and Naka no Oe had been together since at least 643, two years before the Isshi Incident.  Another one of her daughters, Princess Uno, would go on to marry Naka no Oe's younger brother, Prince Ohoama, the new Crown Prince. Wochi no Iratsume seems to have died of grief in 649, after her father and much of her family were destroyed on the orders of her husband, Naka no Oe.  We are told that Naka no Oe also married Wochi no Iratsume's younger sister as well, Mehi no Iratsume.  She had two daughters, Princess Minabe and Princess Abe.  At this point Abe was only about 7 or 8 years old, herself, but she would eventually be married to Prince Kusakabe, the son of Prince Ohoama and Princess Uno, whom we just mentioned. Naka no Oe also had two other consorts.  Tachibana no Iratsume was the daughter of Abe no Kurahashi no Maro no Oho-omi—he was the first Sadaijin, or Minister of the Left, at the start of the Taika reforms, immediately following the Isshi Incident.  And then there was Hitachi no Iratsume, the daughter of Soga no Akaye. Soga no Akaye is an interesting figure.  You may recall the name from Episode 118.  Soga no Akaye was the acting minister in charge in Yamato when Prince Arima tried to start up a revolt against Takara Hime.  It was in his house where Prince Arima laid out his plan, but a broken armrest convinced Soga no Akaye to turn against the conspirators and turn them in.  And so it is interesting to hear that his daughter was married to Naka no Oe. We are also told of four “palace women” that Naka no Oe is said to have had children with.  The implication seems to be that these were women at the palace but they were not formally recognized with the same status as that of the formal consorts and, of course, the queen, his primary wife.  This fits in with at least one theory I've seen that Naka no Oe was something of a ladies' man.  It seems he got around even more than Murasaki Shikibu's fictional “Shining Prince”, Hikaru Genji.  We are told that there were at least 14 children among the nine official wives—and one has to consider that they were unlikely to record many of the women whom he may have slept with that he didn't also have children with.  And there is a theory that one of those not mentioned, may have been his own sister, full blooded sister.  Specifically, his sister Princess Hashibito, who was married to none other than Naka no Oe's uncle, Prince Karu, aka Jomei Tennou. To be clear:  we have no clear evidence that they were anything other than close siblings, but as you may recall how we mentioned back in Episode 114 that there was something that caused a falling out between Prince Karu and Naka no Oe, such that Naka no Oe disobeyed the sovereign's direct order in moving himself and the royal family back to Asuka.  That meant Naka no Oe, his wives, his mother, AND his sister, Princess—now Queen—Hashibito.  So, yeah, he absconded with Prince Karu's wife who was Naka no Oe's full-blooded sister.  And, as we've noted before, ancient Yamato's concept of incest was pretty narrow.  It was only if you had the same mother that you were considered full siblings—even if the father were someone else.  I suspect that this is related to the matrilineal nature of succession as well, which is why it was so important to insist that the ancient sovereigns had a direct lineal connection to the royal line through their mother as much as through their father. So if Naka no Oe and his sister were having any kind of relationship that was considered wrong or scandalous, then that could also help explain why he didn't take the throne sooner, and why it passed over to his mother.  But now, both Takara Hime and Hashibito were quite literally dead and buried, and Naka no Oe had ascended to the throne. Of the so-called “Palace Women” that  are listed as being likewise married to—or at least in a relationship with—Naka no Oe, I'd like to focus on one:  Iga no Uneme no Yakako.  For one, she is specifically mentioned as an uneme—one of the women sent to the court specifically to serve in the palace.  But her parentage isn't further illuminated other than the name “Iga” which is probably a locative, possibly referring to the area of Iga. This is also interesting because we are also told that she gave birth to a son named Prince Iga, also known as Prince Ohotomo.  Despite his mother's apparently unremarkable status, Prince Ohotomo seems to have been quite the apple of his father's eye.  He was born in 648, so in 668 he was about 20 years old, meaning that around this time he was probably just coming into his own at court.  He was married to his cousin, Princess Touchi, daughter of his uncle, Crown Prince Ohoama.  He was also married to Mimotoji, who appears to have been a daughter of Nakatomi no Kamatari, meaning that he was pretty well connected. But we'll get into that in a future episode.  For now, I think we'll leave it here: with the move of the capital to Ohotsu and the formal ascension of Naka no Oe to the throne. We'll talk about what that might mean in the future.  Until then, thank you once again for listening and for all of your support. 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.

In this episode, Trevor and Paul are joined by Chris Via of Leaf by Leaf to celebrate the experience of reading big books. From the books that once intimidated us to the ones we now can't imagine our overburdened shelves without, we dive into what makes a book feel "big." Along the way, we share personal stories, favorite strategies for tackling doorstoppers, the books that stretched us as readers, and reflect on why some big books stay with us for life. Whether you're a lifelong lover of big books or someone who's still building up your wrist strength, this is an episode for you.We'd love to hear from you, too—what are your favorite big books? Which ones are still looming on your to-be-read pile, daring you to pick them up? Let us know!Join the Mookse and the Gripes on DiscordAn easy place to respond to our question above is over on Discord!We're creating a welcoming space for thoughtful, engaging discussions about great novellas—and other books things. Whether you want to share insights, ask questions, or simply follow along, we'd love to have you.ShownotesBooks* War and Peace, by Leo Tolstoy, translated by Anthony Briggs* 2666, by Roberto Bolaño, translated by Natasha Wimmer* The Guermantes Way, by Marcel Proust* FEM, by Magda Carneci, translated by Sean Cotter* Blinding, by Mircea Cărtărescu, translated by Sean Cotter* Solenoid, by Mircea Cărtărescu, translated by Sean Cotter* Novel Explosives, by Jim Gauer* Bookwork: Conversations with Michael Silverblatt* The Recognitions, by William Gaddis* The Dying Grass: A Novel of the New Perce War, by William T. Vollmann* Faust, Part One: A New Translation with Illustrations, by Johann Wolfgang van Goethe, translated by Zsuzsanna Ozsváth and Frederick Turner* Invidicum, by Michael Brodsky* The Ice-Shirt, by William T. Vollmann* The Aesthetics of Resistance, by Peter Weiss, translated by Joachim Neugroschel* Middlemarch, by George Eliot* Great Granny Webster, by Caroline Blackwood* Pilgrimage, by Dorothy Richardson* Lonesome Dove, by Larry McMurtry* Moby Dick, by Herman Melville* Train Dreams, by Denis Johnson* Magpie Murders, by Anthony Horowitz* Nausea, by Jean-Paul Sartre, translated by Richard Howard* Schattenfroh, by Micheal Lentz, translated by Max Lawton* The Sword of Shannara, by Terry Brooks* The Brothers Karamazov, by Fyodor Dostoevsky, translated by Andrew R. MacAndrew* It, by Stephen King* The Stand, by Stephen King* Shogun, by James Clavell* Tom's Crossing, by Mark Z. Danielewski* Women and Men, by Joseph McElroy* Swann's Way, by Marcel Proust* Lies and Sorcery, by Elsa Morante, translated by Jenny McPhee* Miss MacIntosh, My Darling, by Marguerite Young* The Blue Room, by Hanne Ørstavik, translated by Deborah Dawkin* Against the Day, by Thomas Pynchon* Ulysses, by James Joyce* 4 3 2 1, by Paul Auster* Invisible Man, by Ralph Ellison* Shadow Ticket, by Thomas Pynchon* The Tunnel, by William H. Gass* A Suitable Boy, by Vikram Seth* The Golden Gate, by Vikram Seth* The Story of a Life, by Konstantin Paustovsky, translated by Doug Smith* The Tale of Genji, by Murasaki Shikibu, translated by Royall Tylor* A Little Life, by Hanya Yanagihara* The People in the Trees, by Hanya Yanagihara* Stone Upon Stone, by Wiesław Myśliwski, translated by Bill Johnston* Needle's Eye, by Wiesław Myśliwski, translated by Bill JohnstonOther* Leaf by Leaf* Episode 1: Bucket List Books* Episode 99: Books We Think About All the Time, with Elisa Gabbert* The Untranslated: Schattenfroh by Michael LentzThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Episode 164 Chapter 25, Electronic Music in Japan and The Asia-Pacific. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 25, Electronic Music in Japan and The Asia-Pacific from my book Electronic and Experimental music.   Playlist: ELECTRONIC MUSIC IN JAPAN AND THE ASIA-PACIFIC   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Early work of tape music. 13:50 01:36 2.     Toru Takemitsu, “Vocalism Ai (Love)” (1956). For magnetic tape (condensed from a 72-hour tape montage. 04:11 15:22 3.     Makoto Moroi and Toshiro Mayuzumi, “Shichi No Variation (7 Variations)” (1956). Tape music for sine wave generators. 14:51 19:32 4.     Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958). For magnetic tape. 03:28 34:24 5.     Group Ongaku, “Object” (1960). Recorded on May 8, 1960, at Mizuno's house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 07:34 37:50 6.     Toru Takemitsu, “Water Music” (1960). For magnetic tape. 09:41 45:26 7.     Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration).” For magnetic tape and reader. 07:05 55:06 8.     Group Ongaku, “Metaplasm Part 2” (1961). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Tadashi Mori (conductor), 09:08 01:02:10 9.     Akira Miyoshi (composer), opening excerpt to Ondine (1961). For orchestra, mixed chorus and electronic sounds. 04:32 01:11:18 10.   Joji Yuasa ‎– “Aoi No Ue” (1961). For voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio. 29:50 01:15:50 11.   Kuniharu Akiyama, “Noh-Miso” (track 1) (1962). Tape music. Hitomi-Za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each part. 01:44 01:45:40 12.   Toshi Ichiyanagi, “Parallel Music” (1962). Tape music recorded at NHK Electric Music Studio, Tokyo Japan. 09:12 01:47:22 13.   Kuniharu Akiyam, “Demonstration of Nissei Theater” (excerpt) (1963). “Demonstration of Nissei Theater” composed in 1963 for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo. 05:15 01:56:36 14.   Toshi Ichiyanagi, “Sound Materials for Tinguely” (1963). “Music For Tinguely” was composed at the studio of Sogetsu Art Center. This rare track comprises sound materials used for that composition. 03:31 02:01:54 15.   Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." 04:24 02:05:26 16.   Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965). Tape piece for violin and chamber orchestra. 10:01 02:09:46 17.   Joji Yuasa, “Icon on the Source Of White Noise” (1967). Tape work using white noise as material and designed for a multi-channel system. In the original version, several sound images of various widths (e.g. three loudspeakers playing simultaneously) moved at different speeds around the audience, who were positioned inside the pentagonal loudspeaker arrangement. 12:13 02:19:44 18.   Makoto Moroi, “Shosanke” (1968). Tape work fusing electronic sounds with those of traditional Japanese instruments. 13:20 02:31:54 19.   Minao Shibata, “Improvisation for Electronic Sounds” (1968). Tape piece for electronic sounds. 09:27 02:45:12 20.   Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage. 06:57 02:54:40 21.   Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70. 08:49 03:01:34 22.   Toshiro Mayuzumi, “Mandara” (1969). Tape piece for electronic sound and voices. 10:22 03:10:24 23.   Takehisa Kosugi,  “Catch-Wave” (Mano Dharma '74)” (1974). “Mano-Dharma '74” is an excerpt from a meta-media solo improvisation performed by Takehisa Kosugi. From his notes: “Sounds speeding on lights, light speeding on sounds music between riddles & solutions. ‘the deaf listen to sounds touching, watching.” 26:32 03:20:42 24.   Yoshi Wada ‎– Earth Horns with Electronic Drone, excerpt, (1974). Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974. 10:51 03:47:10 25.   Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” (1963). Music and effects later used for Astroboy. 06:59 03:57:48 26.   Joji Yuasa, “My Blue Sky (No. 1)” (1975). Tape parts realized at NHK Electronic music studio. 15:43 04:05:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Voilà, Tsukimi fait enfin sa rentrée, après de 8 mois de pause ! Nous inaugurons par la même occasion un nouveau cycle. Tandis que les interviews mensuelles vont continuer comme d'habitude, les épisodes courts quant à eux évoluent : nous allons cette année plonger dans l'histoire japonaise. Chaque épisode sera ainsi dédié à la découverte d'une tranche de l'histoire japonaise par le biais d'une figure historique dont je ferai le portrait.Et pour inaugurer cette série, nous allons parler de ma figure historique japonaise préférée : il s'agit d'une dame de cour ayant vécu au Xe siècle, et qui est considérée comme l'une des plus fines plumes du Japon, car elle aurait écrit rien moins que le tout premier roman de l'histoire : nous allons dresser le portrait de la remarquable Murasaki Shikibu, autrice du Dit du Genji. Bonne écoute !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Was Mulan real? Did Mulan exist? And, if so, how accurate is the movie Mulan? This week we get down to business to uncover the history behind our favorite female warrior. We meet other important women from East Asian history. Tamoe Gozen, a Japanese Samurai from the 12th century, whose bravery and romances were featured in Heike monogatari (The Tale of Heike), and Murasaki Shikibu, the author of what's thought of as the world's oldest novel, Genji monogatari (The Tale of Gengi). And, of course, we sing a couple of lines from that killer movie soundtrack (singing podcast?). Women in history had something worth fighting for!

As we've reached the halfway point in the rise to power of Yoritomo, in this episode we take a break from the main story to look at some of the main books, films, TV shows, and podcasts that deal with this period of early Japanese history. The episode includes tips and suggestions for anyone who's interested to know more about the Gempei War and the life of Japan's First Shogun...List of sources and media mentioned in this episode:Books and sources:The Tale of the Heike - tr. Helen McCullough (Stanford University Press)The Tale of the Heike - tr. Royall Tyler (Penguin Classics)The Founding of the Kamakura Shogunate / Azuma Kagami - tr. Minoru Shinoda (Columbia University Press)Before Heike and After: Hogen, Heiji, Jokyuki - tr. Royall Tyler (Arthur Nettleton)Yoshitsune (Gikeiki) - tr. Helen McCullough (Stanford University Press)The Gempei War 1180-85 - Stephen Turnbull (Osprey)The Tale of Genji by Murasaki Shikibu tr. Royall Tyler (Penguin Classics)The World of the Shining Prince - Ivan Morris (Vintage)The Heike Story by Eiji Yoshikawa - tr. Fuki Uramatsu (Tuttle)Kwaidan - tr. Lafcadio Hearn (Tuttle)TV shows & Movies:Kwaidan (1964) - dir. Masaki KobayashiRashomon (1950) - dir. Akira KurosawaThe Men Who Tread on the Tiger's Tail (1945) - dir. Akira KurosawaTaira Clan Saga (1955) - dir. Kenji MizoguchiGate of Hell (1953) - dir. Teinosuke KinugasaThe 13 Lords of the Shogun (2022), Taira no Kiyomori (2012), Yoshitsune (2005) - NHKPodcasts:A History of Japan (Justin Hebert)History of Japan (Isaac Meyer)Read Japanese Literature (Alison Fincher)Geeks and GaijinsThe Samurai ArchivesThe First Shogun podcast website: https://firstshogun.buzzsprout.com

Recuperamos al gran Maese Ibarzabal hablando de dos escritoras japonesas cuya relación nos recordará a la de Quevedo y Góngora; será en El Camino del Samurái. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Inktraveler saca una Kaweco en color lavanda dedicada al escritor Murasaki Shikibu, autor de "El Cuento de Genji" y primera novela del mundo mundial. :-) Esta edición trae un clip retro, un marca páginas muy chulo, y la caja viene también con un diseño especial y una funda muy chula. El plumín es M. Ya la tengo entintada. Y como estamos a principios de enero, que empiecen los juegos del hambre. --- Podcast asociado a la red de SOSPECHOSOS HABITUALES. Suscríbete con este feed: https://feedpress.me/sospechososhabituales

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! [INTERVIEW] Le Dit du Genji est un chef d'œuvre de la littérature japonaise, ses illustrations aussi ! Au XXe siècle, le grand maître tisserand japonais Itarô Yamaguchi se lance dans la confection de quatre rouleaux pour mettre en image le roman de Murasaki Shikibu. Ils lui demanderont plus de trente ans de travail, et vous pouvez admirer le résultat à l'occasion de l'exposition 'À la cour du Prince Genji, 1000 ans d'imaginaire japonais' qui se tient du 22 novembre 2023 au 25 mars 2024 au musée Guimet, le musée national des arts asiatiques ! Au cœur de l'Histoire vous fait la visite ! Partez à la découverte de l'art japonais du tissage de la soie et des liens qu'il a permis de tisser avec la France en écoutant l'entretien entre Virginie Girod et Aurélie Samuel, la commissaire de l'exposition.> À l'occasion de l'exposition 'À la cour du Prince Genji, 1000 ans d'imaginaire japonais' qui se tient du 22 novembre 2023 jusqu'au 25 mars 2024 au musée Guimet à Paris , Virginie Girod vous propose une excursion japonaise au cœur de l'histoire. Itarô Yamaguchi est un maître tisserand qui a fait ses armes dans le quartier de Nishijin à Kyoto, très réputé pour ses productions textiles. Elles ont la particularité de tisser la soie en insérant des feuilles de papier doré ou argenté pour donner du relief et rigidifier le tissu. Alors que le secteur est en difficulté, le Japon s'ouvre au monde à partir de 1868 : c'est l'ère Meiji. 'Les Européens vont arriver au Japon, les Japonais vont venir en France. Trois japonais de Kyoto arrivent à Lyon et apprennent à tisser à la mécanique Jacquard', raconte Aurélie Samuel. Fonctionnant grâce à un système de cartes perforées, ils sont bien moins coûteux que les anciens métiers à la tire et leur déploiement au Japon va redynamiser l'industrie textile à Nishijin.Pour réaliser son chef d'œuvre, Itarô Yamaguchi va jusqu'à perfectionner le métier Jacquard pour réaliser ses tissus sophistiqués, 'des étoffes façonnés'. Il a déjà 70 ans lorsqu'il se lance dans l'illustration du Dit du Genji. Ce monument de la littérature japonaise, considéré comme le premier roman psychologique de l'histoire, a été écrit au XIe siècle. C'est la période Heian qui correspond à 'l'avènement d'une culture spécifiquement japonaise, il faut savoir que jusqu'à lors c'est essentiellement l'influence chinoise en fait qui dominait la culture japonaise', précise Aurélie Samuel.'Dès le XIIe siècle, le Dit a été illustré par des artistes : peintres, sculpteurs, laqueurs, considéré comme un trésor national. Lorsqu'au XXe siècle, Itarô Yamaguchi décide de livrer un chef-d'œuvre digne de ce nom sur l'art du tissage, pour montrer qu'il s'agit d'un art majeur, il décide de reproduire ces peintures. Ce n'est pas une copie, c'est un vrai travail historique'. C'est aussi un travail monumental qui demandera plus de trente ans. Aurélie Samuel détaille : 'il va teindre jusqu'à 14 fois le même fil pour avoir toutes les subtilités de la teinture qui vont accrocher la lumière d'une manière différente à chaque fois'. Ces rouleaux, Itarô Yamaguchi va les offrir à la France. 'Justement parce que c'est la patrie de Joseph-Marie Jacquard. Le métier Jacquard a totalement sauvé l'industrie Nishijin, dont lui-même fait partie, il a voulu remercier la France !'.Thèmes abordés : tissage peinture japon soie 'Au cœur de l'histoire' est un podcast Europe 1 Studio- Présentation : Virginie Girod - Production : Camille Bichler et Nathan Laporte- Réalisation : Pierre Cazalot- Composition de la musique originale : Julien Tharaud - Rédaction et Diffusion : Nathan Laporte- Communication : Kelly Decroix- Visuel : Sidonie Mangin

Découvrez l'abonnement "Au Coeur de l'Histoire +" et accédez à des heures de programmes, des archives inédites, des épisodes en avant-première et une sélection d'épisodes sur des grandes thématiques. Profitez de cette offre sur Apple Podcasts dès aujourd'hui ! Connaissez-vous Murasaki Shikibu ? Elle est l'auteure de la saga littéraire du Le Dit du Genji. Monument de la littérature japonaise, ce roman de plus d'un millier de pages raconte l'ascension et les passions amoureuses d'un prince impérial. Murasaki Shikibu a elle-même vécu à la cour impériale japonaise à son apogée, durant la période Heian, qui s'étend du VIIIe au XIIe siècle.> À l'occasion de l'exposition 'À la cour du Prince Genji, 1000 ans d'imaginaire japonais' qui se tient du 22 novembre 2023 jusqu'au 25 mars 2024 au musée Guimet à Paris , Virginie Girod vous propose une excursion japonaise au cœur de l'histoire. L'histoire de la femme de lettres Murasaki Shikibu commence dans 'un monde au-dessus des nuages', le monde de la cour impériale dans le Japon de l'époque Heian. Sous l'influence de la Chine, le Japon se réforme et connaît une période de prospérité, ce qui favorise les arts et les lettres. La capitale est déplacée à Heian-Kyô, l'actuel Kyôto, et une famille en particulier s'impose dans les plus hautes sphères du pouvoir : le clan Fujiwara. Murasaki Shikibu naît pendant cet âge d'or. Elle appartient à la noblesse moyenne, sans doute une branche cadette du clan Fujiwara. Brillante, elle maîtrise le chinois dont l'apprentissage est alors réservé aux garçons. Sa réputation de jeune fille savante a déjà fait le tour de Kyôto : autour des années 1000, l'homme le plus puissant de son clan, le ministre Fujiwara no Michinaga, lui propose de devenir dame de compagnie de sa fille, la toute jeune impératrice Shōshi. C'est là qu'elle se consacre à la rédaction de son chef-d'œuvre, Genji monogatari, Le Dit du Genji. Riche de 54 livres, de plus de 1000 pages et de 500 personnages, cette grande fresque qui se veut réaliste raconte la vie du Genji, qui désigne un fils d'empereur ne pouvant pas prétendre au trône. Le Dit du Genji est considéré comme le premier roman psychologique de l'histoire. Pour l'écrire, Murasaki Shikibu s'inspire des aristocrates qu'elle côtoie à la cour, où ses livres rencontrent un vif succès. Murasaki Shikibu meurt vers l'âge de 38 ans, on ignore la cause de son décès. Son Genji Monogatari devient immédiatement un classique. Les manuscrits sont sans cesse recopiés, puis imprimés. Ils sont encore aujourd'hui à la base de la culture littéraire nippone et inspirent de nombreux artistes dans tous les domaines, jusqu'aux mangas pour les adaptations les plus récentes. Thèmes abordés : Japon, littérature, Dit du Genji, cour impériale 'Au cœur de l'histoire' est un podcast Europe 1 Studio- Présentation : Virginie Girod - Production : Camille Bichler - Réalisation : Pierre Cazalot- Composition de la musique originale : Julien Tharaud - Rédaction et Diffusion : Nathan Laporte- Communication : Kelly Decroix- Visuel : Sidonie Mangin Sources : Ressources en ligne : https://histoiredujapon.com/2021/01/26/reperes-epoque-heian/ https://www.persee.fr/doc/dhjap_0000-0000_1989_dic_15_1_926_t1_0008_0000_4 Bibliographie : Daniel Struve, Sumie Terada et Christopher Lucken (dir.), « Roman du Genji et société aristocratique du Japon ancien », Médiévales, 72, Printemps 2017, 190 p.

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.

“À la cour du Prince Genji” 1000 ans d'imaginaire japonaisau Musée national des arts asiatiques – Guimet, Parisdu 22 novembre 2023 au 25 mars 2024Interview de Aurélie Samuel, conservatrice du patrimoine et commissaire de l'exposition, et de Monsieur Akira Nonaka, fils de Itarô Yamaguchi (1901-2007) maître tisserand à Kyoto (en japonais avec traductrice),par Anne-Frédérique Fer, à Paris, le 20 novembre 2023, durée 26'08,© FranceFineArt.https://francefineart.com/2023/11/22/3498_a-la-cour-du-prince-genji_musee-national-des-arts-asiatiques-guimet/Communiqué de presseCommissariat de l'exposition :Aurélie Samuel, conservatrice du patrimoineCélèbre pour le raffinement extrême de son art de cour et son effervescence artistique, le Japon impérial de l'époque de Heian (794-1185) a notamment donné naissance à une oeuvre majeure de la littérature classique japonaise, le Dit du Genji. Écrit au 11e siècle par une femme, la poétesse Murasaki Shikibu, et considéré comme le premier roman psychologique de l'Histoire, le Genji est à l'origine, depuis sa création il y a mille ans, d'une iconographie extrêmement riche, influençant jusqu'aux mangakas contemporains. Il a ainsi inspiré de nombreux artistes et artisans du Japon à travers les siècles, parmi lesquels Itarô Yamaguchi (1901-2007), maître tisserand à Kyoto, dont quatre rouleaux tissés exceptionnels sont présentés pour la première fois dans leur intégralité.La première partie de l'exposition invite le visiteur à se plonger dans le Japon ancien, à travers l'évocation d'une architecture traditionnelle. Le visiteur y explore l'époque Heian (794-1185) et son art de cour. Cette période de liberté pour les femmes, et à la production artistique particulièrement riche, voit notamment l'émergence d'une littérature féminine, unique dans l'histoire du Japon. Si la poésie chinoise kanshi reste l'apanage des élites masculines gouvernantes, les femmes, elles, s'emparent des poèmes de style waka qu'elles rédigent à l'aide d'un système d'écriture cursive dérivé du chinois et adapté à la langue japonaise d'alors. Affranchies du modèle chinois, elles vont produire des oeuvres mêlant waka et prose, sous forme de journaux ou d'histoires racontées.Texte le plus célèbre, écrit au 11e siècle par la poétesse Murasaki Shikibu, le Dit du Genji (Genji monogatari) est aujourd'hui considéré comme l'oeuvre la plus représentative de la littérature classique du Japon. À travers une évocation subtile de tous les raffinements de la cour impériale, le Dit du Genji ouvre la voie à une exceptionnelle créativité picturale et suscite une iconographie extrêmement riche, qu'attestent laques, estampes, tissus, kimonos, sculptures, peintures et objets précieux, provenant du musée Guimet et de plusieurs collections françaises et japonaises. Marie-Antoinette elle-même collectionnait des boîtes en laque représentant des scènes du Genji… Ce roman fondateur pour la culture japonaise a inspiré de nombreux artistes et artisans jusqu'à nos jours, et jusqu'aux nouvelles formes d'art. Le manga notamment, qui réinterprète les codes picturaux, les thèmes et les scènes de l'histoire du Genji avec une époustouflante inventivité, dont le plus célèbre est sans doute Asaki yume mishi de Waki Yamato (né en 1948). Œuvre magistrale, le Dit du Gengi est encore adapté de nos jours, comme en témoigne la récente édition de Sean Michael Wilson, illustrée par Inko Ai Takita, qui tapissera les murs et le sol d'un espace de l'exposition.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Episode 2373: Our featured article of the day is Murasaki Shikibu.

Did you know that a woman wrote the very first novel ever? (We didn't!) In this week's mini, we learn more about Murasaki Shikibu's master work “The Tale of Genji.” The novel's blend of passion, intrigue, and psychological depth has earned this ancient Japanese work comparisons to modern sensations like "Sex in the City" and "50 Shades of Grey," while also drawing parallels to the literary genius of Proust. In this episode: Murasaki Shikibu: Japanese author of "The Tale of Genji”Eleanor of AquitaneHenry VIII"Sex and the City""50 Shades of Grey"Marcel Proust"Six” (musical)Elizabeth Smart: Canadian-born author of "By Grand Central Station I Sat Down and Wept""The Sopranos" (TV series) Virginia WoolfTyler Translation: Recommended English translation of "The Tale of Genji"For episodes and show notes, visit: LostLadiesofLit.com Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

Maura and Chloé talk about Murasaki Shikibu (~973 - ~1014); the badass Japanese writer who penned one of the world's first novels. Hosted on Acast. See acast.com/privacy for more information.

In the last episode of Season 6, Alan Tansman introduces Japanese literature, a canon that stretches back 1500 years, and includes writers such as Murasaki Shikibu and Haruki Murakami. Learn more about Japanese Literature: A Very Short Introduction here: https://global.oup.com/academic/product/japanese-literature-a-very-short-introduction-9780199765256 Alan Tansman is Professor and Louis B. Agassiz Chair in Japanese at the University of California, … Continue reading Japanese Literature – The Very Short Introductions Podcast – Episode 70 →

Après un épisode hors-série, retour à notre format habituel pour notre épisode 60, présenté par Florent accompagné de Maxime et Gwenaëlle ! Au programme : La morale anarchiste de Pierre Kropotkine Journaux des dames de cour du Japon ancien, Murasaki Shikibu et Izumi Shikibu La couleur des choses, Martin Panchaud Continuez à nous envoyer vos listes de livres à podcastdmed@gmail.com !

Romanen som vi känner den föds i slutet på 1700-talet och slår på några årtionden ut verseposet och poesin. Ny tryckteknik, fotogenlampan och moderna kommunikationer gjorde romanen tillgänglig för en större publik. Särskilt kvinnorna drogs till romanerna, som också varnades för konsekvenserna av allt för omfattande romanläsning.Romanen krävde inte samma klassisk bildning som eposet och svarade på borgarklassens behov av identifikation och individualitet. Romanen passade in den nya offentligheten av tidningar, magasin och förläggare där många kända verk skrevs och publicerades som följetonger.I detta avsnitt av podden Historia Nu samtalar programledaren Urban Lindstedt med Ingrid Elam professor emerita i litterärgestalning vid Göteborgs universitet och aktuell med boken Romanens segertåg.Världens första kända roman, Berättelsen om Genji, skrevs av den japanska hovdamen Murasaki Shikibu strax efter år 1000. Men den moderna romanens segertåg började i slutet på 1700-talet som ett barn av upplysningen. Romanen var inledningsvis en föraktad genre, men den tog snabbt över från episka hjältedikter och teater som lånade stil och format från antiken.Där eposet var ett färdigt format med stilmallar som förfinats under 2000 år var romankonsten öppen och sökande. När vi började läsa romaner gick läsandet från kollektiv högläsning till en ensam sysselsättning för individen. I takt med att samhället och vetenskapen utvecklas förändras romanen i fråga om perspektiv och berättande.Eftersom romanen säljs till läsarna på en växande marknad blir läsarna allt viktigare för författarna som tidigare försörjts av mecenater och sinekurer. Och en stor del av läsarna och författarna var tidigt kvinnor.Bild: Läsande kvinna av Anna Nordgren 1882, Wikimedia Commons, Public Domain.Musik: Schubert: Moment Musical Op. 94, No. 3, D780 av Audio Waves - Eliche Remblon, Storyblocks AudioLyssna också på När sprätthökar och rangsjuka fruntimmer hotade samhällets överlevnadKlippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

El Genji Monogatari o “La Historia de Genji” es una de las obras clásicas de la literatura japonesa. Fue escrita a principios del siglo XI, por Murasaki Shikibu, quien era una mujer que formaba parte de la corte de la Emperatriz a finales del siglo X y comienzos del siglo XI, durante la era Heian. “La historia de Genji” o el Genji Monogatari cuenta la historia del príncipe Genji, su vida amorosa y sus aventuras en la corte imperial del periodo Heian, e incluso abarca la vida de su hijo y su "nieto" tras su muerte. Esta obra es considerada por muchos como una obra cumbre de la literatura japonesa, a la cual se recurre para descubrir algo acerca de la "esencia japonesa". El Genji cuenta con 54 capítulos y casi 800 poemas, lo cual la hace una obra bastante extensa, compleja e intimidante para muchos lectores. Pero, ¿a qué vienen tantos poemas? ¿Por qué es considerada una obra clásica de la literatura japonesa? En este episodio, platicamos con el Dr. Ariel Stilerman y el Dr. Pau Pitarch sobre estas preguntas y por qué es considerada "la primera novela psicológica del mundo", por qué es una obra a la que se acude para conocer algo de la esencia del pueblo japonés, y de por qué es relevante para los lectores contemporáneos. El Dr. Pitarch es profesor de literatura japonesa moderna en la Universidad de Waseda, Tokio. Tiene un doctorado en literatura japonesa por la Universidad de Columbia y un master de la Universidad de Tokio. Es también administrador de la página "Kappa Bunko" sobre literatura japonesa. El Dr. Ariel Stilerman es profesor del Departamento de Idiomas y Culturas del Este de Asia, en la Universidad de Stanford. Cuenta con un doctorado de la Universidad de Columbia y una maestría de la Universidad de Waseda, ambos en literatura japonesa. Su investigación se centra principalmente en la literatura japonesa pre-moderna, específicamente en las poesía de la corte imperial. Créditos: Locución y guión: Patricia Portillo y Sofía Ortega Equipo técnico: Moisés Pérez Música de cortinilla: Jorge Aja Música adicional: "Samurai Showdown" de Sir Cubworth Este podcast es una colaboración entre Fundación Japón en México y Fundación Japón, Madrid. Visita nuestros sitios web y síguenos en nuestras redes sociales: Fundación Japón en México - Homepage Fundación Japón en México (jpf.go.jp) - Instagram: Fundación Japón en México (@fjmex1) • Instagram photos and videos - Facebook: Fundación Japón en México 国際交流基金メキシコ日本文化センター | Mexico City | Facebook Fundación Japón, Madrid - Inicio :: FUNDACIÓN JAPÓN MADRID (fundacionjapon.es) - Instagram: Fundación Japón, Madrid (@bibliotecafjm) • Instagram photos and videos - Facebook: Fundación Japón, Madrid | Facebook

Eccoci con una nuova puntata delle "Pillole di letteratura giapponese" con NipPop! Oggi la nostra Paola Scrolavezza ci parlerà de "Il diario di Murasaki Shikibu", pubblicato in Italia da Marsilio nella traduzione di Carolina Negri. Murasaki Shikibu è l'autrice del celebre "Genji monogatari", il "classico per eccellenza" della letteratura giapponese, una delle opere letterarie più conosciute non solo in patria, ma in tutto il mondo. Il suo diario, che racconta un momento particolare della sua vita, ci offre una descrizione vivida della quotidianità delle dame in servizio alla corte imperiale nell'epoca Heian: le acconciature, i dettagli degli eleganti kimono, ma anche riti, festività, relazioni amorose e intrighi di palazzo. Inoltre, attraverso la lettura del Murasaki Shikibu Nikki emerge un altro aspetto interessante della vita nel periodo Heian: la condizione delle donne aristocratiche e delle dame di corte all'interno di una società dallo stampo fortemente patriarcale come quella che era l'aristocrazia del Giappone classico. ----------------------------------- SEGUICI SU: - Web Page: https://www.nippop.it - Facebook: https://www.facebook.com/nippopbologna - Twitter: https://twitter.com/NipPopOfficial - Instagram: https://www.instagram.com/nippopofficial - YouTube: https://www.youtube.com/user/nippopbologna

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.

We don't even know the real name of the 11th century author Murasaki Shikibu. But we do know that her book, The Tale of Genji, is arguably one of the most influential Japanese texts to date. Genji quickly captured its readers' imaginations with political intrigue and court drama, but it can also be read as an astute critique of Japanese elite society. Reginald Jackson is an associate professor of Pre-modern Japanese Literature and Performance at the University of Michigan. He is the author of Textures of Mourning. 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

We don't even know the real name of the 11th century author Murasaki Shikibu. But we do know that her book, The Tale of Genji, is arguably one of the most influential Japanese texts to date. Genji quickly captured its readers' imaginations with political intrigue and court drama, but it can also be read as an astute critique of Japanese elite society. Reginald Jackson is an associate professor of Pre-modern Japanese Literature and Performance at the University of Michigan. He is the author of Textures of Mourning. 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

We don't even know the real name of the 11th century author Murasaki Shikibu. But we do know that her book, The Tale of Genji, is arguably one of the most influential Japanese texts to date. Genji quickly captured its readers' imaginations with political intrigue and court drama, but it can also be read as an astute critique of Japanese elite society. Reginald Jackson is an associate professor of Pre-modern Japanese Literature and Performance at the University of Michigan. He is the author of Textures of Mourning. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

We don't even know the real name of the 11th century author Murasaki Shikibu. But we do know that her book, The Tale of Genji, is arguably one of the most influential Japanese texts to date. Genji quickly captured its readers' imaginations with political intrigue and court drama, but it can also be read as an astute critique of Japanese elite society. Reginald Jackson is an associate professor of Pre-modern Japanese Literature and Performance at the University of Michigan. He is the author of Textures of Mourning. Learn more about your ad choices. Visit megaphone.fm/adchoices

We don't even know the real name of the 11th century author Murasaki Shikibu. But we do know that her book, The Tale of Genji, is arguably one of the most influential Japanese texts to date. Genji quickly captured its readers' imaginations with political intrigue and court drama, but it can also be read as an astute critique of Japanese elite society. Reginald Jackson is an associate professor of Pre-modern Japanese Literature and Performance at the University of Michigan. He is the author of Textures of Mourning. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Lady Murasaki's Tale of Genji is one of the most celebrated novels in Japanese history. The story follows the life of Hikaru Genji, a child of nobility born into ancient Japan's Heian Period. It was written by a woman known only as Murasaki Shikibu, who lived during this tumultuous time and recorded the customs and details of court life. This episode is also available as a blog post: http://martinifisher.com/2022/09/06/what-happened-behind-lady-murasakis-tale-of-genji-discovering-the-secret-lives-and-times-of-11th-century-heian-japan/

Analizamos cómo la viralización de los vídeos en redes sociales puede afectar a la privacidad de los menores y en nuestra sección "Ellas" descubrimos la vida de la poetisa japonesa Murasaki Shikibu. Conocemos el nuevo proyecto del artista Javier Idoipe, en el que nos muestra sonidos, imágenes y energía del Pirineo. 

Viajamos al Japón del siglo XI para descubrir a la poetisa Murasaki Shikibu.

Cuéntame un libro. 1. Las mil y una noches 2. La historia de Genji --- Send in a voice message: https://anchor.fm/irving-sun/message

An Ethan-only special episode (sorry) in which Ethan gives us just a taster of the massive medieval Japanese novel The Tale of Genji, by Murasaki Shikibu, and makes his case that a Japanese woman may have written the first “true” novel.Next time Michael and Ethan will begin discussion of our next Mongo Book: Gargantua and Pantagruel, by Francois Rabelais. Join the discussion! Go to the Contact page and put "Scotch Talk" in the Subject line. We'd love to hear from you! And submit your homework at the Michael & Ethan in a Room with Scotch page. Donate to our Patreon! BUY A NIHILIST BLANKET! Your Hosts: Michael G. Lilienthal (@mglilienthal) and Ethan Bartlett (@bjartlett) MUSIC & SFX: "Kessy Swings Endless - (ID 349)" by Lobo Loco. Used by permission. "The Grim Reaper - II Presto" by Aitua. Used under an Attribution-NonCommercial-ShareAlike License. "Thinking It Over" by Lee Rosevere. Used under an Attribution License.

Evin is joined by cosplayer and fan The Stolen Century (the_stolen_century on Instagram or thinking-with-quadrants on Tumblr) who kindly shares some fascinating anecdotes about finding fan culture in northeastern Europe, and draws insightful parallels between modern fandom and the interests of courtly ladies in medieval Japan. Support FFiGA at patreon.com/wtmradio The music you're hearing is "Watch Ur Behavior" by Spiedkiks.

On this episode of The Unfinished Print it is with honour, and great pleasure that I am able to present to you, my interview, with British  artist Rebecca Salter. We speak on her mokuhanga, her own work and work produced together with the Satō woodblock workshop in Kyōto. We discuss where Rebecca believes mokuhanga has gone since writing her book, Japanese Woodblock Printing (2001), a book which constantly inspires me in my own work. This book helps me to understand, what has felt at times to be such an esoteric and complicated art form, just a little bit more.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Rebecca Salter - website, interviews with Royal Academy, 1 and 2. University of West England - once called Bristol Polytechnic, is a public research University located in Bristol, England. British Museum - is a public museum, located in London, England, and is focused on human history, arts and culture. It was established in 1753.  Kyoto City University of Arts - is a public university of the arts located in Kyōto, Japan, and was established in 1880. lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate.  screen printing - also called, serigraphy, is a method of printing by using stencils and forcing the ink through a screen onto paper, or other fabric. More info, here. Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. intaglio printmaking - is a style of printmaking, the opposite of relief printmaking, where scratches are made with a burin on the plate (copper, zinc, aluminum) and then dipped in acid. Ink and pigment is rubbed on with a brayer, brushes, etc. More info can be found, here.    scrolls - called kakemono 掛物 or emakimono 絵巻物  in Japanese. These scrolls contain many different types of themes and subjects. More info can be found, here. monoprint - is a print made from a re-printable block, such as wood, or an etched plate. It is usually a one and done type of printing with only one print being made. blue and white Japanese ceramics - are ceramics made for the Japanese market. Originally imported into Japan in the 17th Century from China, local Japanese ceramists from northern and southern Japan began locally producing ceramics. As trading with the Dutch escalated more porcelain wares were being imported from Europe into the Japanese port of Imari. Imari became the word to describe these types of blue and white ceramics.  Genji Monogatari emaki - is an elaborate scroll produced in 12th Century, Japan. It is based on the famous Tale of Genji, a tale written in the 11th Century and is attributed to Murasaki Shikibu (around 973-1014). You can find images of this scroll, here.  Edo Culture - the Edo Period of Japan (1603-1868) was a period of peace and prosperity for the Japanese military government, or bakufu. Led by the Tokugawa family, Edo period culture flourished in theatre, literature, and the arts. For a fantastic book on the subject please seek out, Edo Culture: Daily Life and Diversions of Urban Japan by Kazuo Nishiyama (trans. Gerald Groemer) and Edo Kabuki in Transition: From the Worlds of the Samurai to the Vengeful Ghost by Satoko Shimazaki.  Edo v. Kyōto Kabuki - kabuki theatre is a bombastic and powerful theatre from Japan. In its long history it has been generally attributed to both  Edo (Tōkyō) and Kyōto.  Edo kabuki is called aragoto kabuki and Kyōto kabuki is called wagoto kabuki. Aragoto kabuki is generally very loud and external, whereas Kyōto kabuki is more understated and gentle.  Satō woodblock workshop - is a traditional Japanese woodblock production house based in Kyōto, Japan. Here is an article from The Journal of Modern Craft with Rebecca Salter regarding this workshop.  Japanese woodblock of the 1950's and 1960's - post-war Japan was growing at an exponential rate, and this was true for the Japanese woodblock print. As the sōsaku-hanga movement began to out last the shin-hanga of the 1920's in terms of production, where most people could produce prints on their own,  American scholars , Oliver Statler (1915-2000), and James Michener (1907-1997), helped catalogue and document the burgeoning Japanese woodblock print movement through their books, The Floating World (1954), by Michener, and Modern Japanese Prints: An Art Reborn (1956) by Statler, for a Western audience. Along with the Western art scene and the 1951 São Paulo Art Biennial, Japanese woodblock prints began to be respected as a stand alone piece of fine art.  kozo paper -  is paper made from mulberry bark and is commonly used in woodblock printmaking, and cloth.  Echizen, Fukui - is a city located tin the prefecture of Fukui. The paper produced from this region is kozo, mitsumata, and gampi.  More information can be found from the website of Echizen Washi Village. Mosquito net technique - is a technique in ukiyo-e, and can of course be reproduced by the modern mokuhanga practitioner, where very fine lines are carved on two wood blocks and, when printed together, create the image of slight, thin netting. Rebecca Salter details this technique in her book, Japanese Woodblock Printing (2001)   Yale Center for British Art - located in New Haven, Connecticut, the YCBA is dedicated to British art of all types.  Louise Caan - is a British architect and teacher based in Oxford where she teaches architecture at the Oxford Brookes School of Architecture.  urushi zuri - is a technique which is used in traditional Japanese woodblock and mokuhanga, where pigment is mixed with nikawa (animal glue), and printed to enhance the enjoyment of the print. Usually seen in black hair, or garments represented in the print.  Japanese museums dedicated to Japanese woodblock -  if you are visiting Japan and are interested in the Japanese woodblock print you are spoiled for choice. This list is definitely not complete so I would advise doing some research for local museums which may be open in different parts of Japan you may be visiting. This list is a mix of museums dedicated specifically to the woodblock print, or museums dedicated to woodblock print artisans.  Finally, check online for larger art museums , galleries, and department stores, in the area that you're visiting to see whether they are having any shows dedicated to woodblock print artists, genres, etc. while you're there. I've added hyper-links. The Japan Ukiyo-e Museum  - Matsumoto, Nagano Sumida Hokusai Museum - Ryogoku, Tōkyō Ōta Memorial Museum of Art -  Harajukiu/Omotesando, Tōkyō Tokaidō Hiroshige Museum - Shizuoka City, Shizuoka Hokusai Museum - Obuse, Nagano Kamigata Ukiyo-e Museum -  Ōsaka CIty, Ōsaka Nakagawa Batō Hiroshige Museum - Nakagawa, Tōchigi Kawanabe Kyōsai Museum - Warabi, Saitama Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada.  She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it. My interview with Naoko Matsubara can be found, here.  Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has  produced an incredible mount of work. My interview with Katsu can be found, here.  Brook Andrew - is an Australian contemporary artist who has shown internationally.  Ukiyo-e Censorship - the military Tokugawa government (bakufu) was not happy about being criticized. Ukiyo-e prints often lampooned authority with their imagery. Other artistic pursuits in Japan at the time, such as kabuki theatre, did the same. In ukiyo-e and Tokugawa history there were “reforms” which the bakufu created in order to stem this type of criticism. The Ehon Taikōki of 1804, which focused on woodblock prints and poetry, and The Tempo Reforms of 1841/42 that focused on actor prints, the manufacturing of woodblock prints,  and their price, to name just a few reasons.  William Evertson - is an American woodblock printmaker and sculptor based in Connecticut, USA, who's themes focus on the politics and process of The United States.   Annie Bissett - is an American mokuhanga printmaker based in Rhode Island, USA. She explores American life, past and present,  sexuality, and the esoteric through her prints. My interview with Annie Bissett can be found, here.  Paul Binnie - is a Scottish mokuhanga printmaker and painter, based in San Diego, USA. Having lived and worked in Japan in the 1990's, studying at the Yoshida atelier while there, Paul has successfully continued to make mokuhanga and his paintings.  Royal Academy of Arts Summer Exhibition - is a summer exhibition held at the Royal Academy in London, England. It is an open submission, one which started in 1769, showcasing all types of artistic mediums.  余韻 - (yoin) - is a Japanese word which means “lingering memory.” The Lake District - is an area in North West of England which has numerous mountains, lakes, and a National Park. It has been an inspiration for many artists, writers, and actors for years. It is a UNESCO World Heritage Site.  © Popular Wheat Productions opening and closing credit music - Cut/Copy - Rendevous from the album, I Thought of Numbers (2001) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***      

The Tale of Genji (or Genji Monogatari) is a classic work of Japanese literature written in the early 11th century by the noblewoman and lady-in-waiting Murasaki Shikibu. The work recounts the fictional life of Hikaru Genji, or "Radiant Prince", who is the son of an ancient Japanese emperor (known to readers as Emperor Kiritsubo) and a low-ranking concubine called Kiritsubo Consort. Due to the intense political conflicts at the court and out of protection for his son,  the emperor removes Genji from the line of succession, demoting him to a commoner by giving him the surname Minamoto, so that he pursue a career as an imperial officer. The tale concentrates on Genji's romantic life and describes the customs of the aristocratic society of the time. With us today is Prof. Edward Kamens, Sumitomo Professor of Japanese Studies, East Asian Languages and Literatures at Yale University. Prof. Kamens will share his expertise on the history of the work's translations as well as how other modes of  interpretation shape  our understanding of the work.Reading List:Murasaki Shikibu, The Tale of Genji Edward Kamens, "Flares in the Garden,Darkness in the Heart: Exteriority, Interiority, and the Role of Poems in The Tale of Genji," in Studies in Modern Japanese Literature: Essays and Translations in Honor of Edwin McClellan For aficionados interested in Japanese versions:Shin Nihon koten bungaku taikei Shin Nihon koten bungaku zenshuThis podcast is sponsored by Riverside, the most efficient platform for video recording and editing for podcasters.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Since I began this series with a discussion of how we got to the point where women could write novels at all, I thought it would be fitting to wind it down with a discussion of how far we've come since Murasaki Shikibu and the world's first (great) novel. I'll also give you an explanation of how I chose the ones I chose and a long list of the women I didn't cover, in case you're in need of your next great read. And really, who isn't?See the website for sources and a transcript.

Querendo mudar de assunto porque a vida tá muito chata? Vamo fazer um apanhadão geral com Emiliano Unzer sobre esse continente xicante.   Ficha técnica Hosts: Leticia Dáquer e Thiago Corrêa Convidado: Emiliano Unzer Edição: Leticia Dáquer Capa: Leticia Dáquer Data da gravação: 29/03/2022 Data da publicação: 30/03/2022 Coisas mencionadas no episódio  Livro: Genji Monogatari, de Murasaki Shikibu  Livro: Shahnameh, de Abolqasem Ferdowsi Episódio do podcast Babel sobre farsi   Músicas/áudios:  Deewani Mastani (do filme Bajirao Mastani) VAVA - 我的新衣 My New Swag (Feat. Ty. & 王倩倩) Altai Kai - Shunu Warrior The beauty of Persian poetry | Hamid Reza Mohammadi | TEDxHSU Goomar, do filme Padmaavat   A Balada do Pistoleiro Emiliano Unzer Livro: Himalaya: A Human History (Ed Douglas)    Thiago Corrêa Curta de animação: Bestia Documentário: American Factory (2019)   Leticia Dáquer Livro: O Deserto dos Tártaros (Dino Buzzatti)   Jabás Emiliano Unzer Canal do YouTube do Emiliano Unzer Livro: História da Ásia Livro: A Tinta e o Turbante Instagram: @emilianounzer  E-mail: prof_emil@hotmail.com   Leticia Dáquer Twitter: @pacamanca Blog: www.pacamanca.com    Thiago Corrêa Twitter: @thiago_czz Parceria com Veste Esquerda: Agora tem camiseta do Pistolando direto no site da Veste Esquerda! Mas o código de desconto PISTOLA10 dá 10% de desconto na sua compra da nossa e de outras camisetas maneiríssimas esquerdopatas!   Parceria com Editora Boitempo: compre livros por esse link aqui pra gente ganhar uns trocados de comissão :)   Esse podcast é produzido pelo Estopim Podcasts. Precisa de ajuda pra fazer o seu podcast? Chega mais, que a gente te ajuda.   #MULHERESPODCASTERS Mulheres Podcasters é uma ação de iniciativa do Programa Ponto G, desenvolvida para divulgar o trabalho de mulheres na mídia podcast e mostrar para todo ouvinte que sempre existiram mulheres na comunidade de podcasts no Brasil. O Pistolando apoia essa iniciativa.  Apoie você também: compartilhe este programa com a hashtag #mulherespodcasters e nos ajude a promover a igualdade de gênero dentro da podosfera.   Links do Pistolando www.pistolando.com contato@pistolando.com Twitter: @PistolandoPod Instagram: @PistolandoPod   Apóie o Pistolando no Catarse, no Patreon e agora também no PicPay. Se preferir fazer um pix, nossa chave é contato@pistolando.com   Descrição da capa: Fotografia de um mapa japonês antigo. Vemos colinas, planícies e áreas de floresta e várias coisas escritas em japonês, presumivelmente nomes de cidades e acidentes geográficos. O tom é amarelado, enquanto que as áreas de vegetação são indicadas em verde mesmo. No alto, à esquerda, a logo do Pistolando, branca. Ao lado, número e título do episódio. Centralizado na parte inferior, a logo da Estopim, também branca.

Con Laura y Hira de @japones.con.nipponismo hablamos hoy de 3 grandes mujeres japonesas. Nos cuentan las historias de Murasaki Shikibu, de Ichiyō Higuchi y de Hōjō Masako. ¿Habíais oído hablar de ellas? ¿Qué mujeres japonesas conoces? ¡Cuéntanos! #podcast #podcastviajes #podcastjapón #podcastjapon #mujeres #8m #japan #culturajhaponesa #japón #japon --- Send in a voice message: https://anchor.fm/stories-de/message

Murasaki Shikibu gilt als Autorin des ersten Romans aller Zeiten und weiß Bescheid über die skandalösen Intrigen am japanischen Kaiserhof des 11. Jahrhunderts. Ihr Hauptwerk Genji Monogatari zählt bis heute zum Kanon der Weltliteratur. Apropos Kanon: im Anschluss unterhalten wir uns über die deutschsprachige Literaturbranche der Gegenwart. :: EMPFEHLUNGEN :: The Tale of Genji OVA [1987] https://www.youtube.com/watch?v=0o66aZVDbug&t=750s Fate/Grand Order https://fate-go.us Nicole Seifert: FRAUEN LITERATUR: Abgewertet, vergessen, wiederentdeckt. Sarah Kuratle: Greta und Jannis Katharina Köller: Was ich im Wasser sah :: PLAYLIST :: Tale of Genji – Ron Korb Kouga - Genji Monogatari Sennenki Original Soundtrack :: SHOWNOTES :: Podcast: Stuff you missed in history class: Murasaki Shikibu and the Tale of Genji Ridiculous Romance: Muraski Shikibu & The Tale of Genji The Essay BBC Radio 3: Murasaki Shikibu: Imperial Insider https://www.univie.ac.at/rel_jap/kami/Murasaki_Shikibu https://www.univie.ac.at/rel_jap/kami/Genji_monogatari https://de.wikibrief.org/wiki/The_Diary_of_Lady_Murasaki https://www.republik.ch/2021/09/21/wie-viel-patriarchat-ist-in-der-literatur https://diekanon.org https://www.derstandard.at/story/2000124695173/frauenliteratur-gibt-es-nicht https://www.deutschlandfunk.de/literatur-von-frauen-nachzaehlen-macht-benachteiligung-100.html https://www.derstandard.at/story/2000107185349/sexismus-im-literaturbetrieb-frauen-wehren-sich-satirisch https://www.srf.ch/kultur/literatur/dichterdran-als-buch-dem-sexismus-auf-den-fersen https://the100greatestbookschallenge.wordpress.com/2016/06/30/sexism-in-classic-literature/ Videos: Klassiker der Weltliteratur: Murasaki Shikibu | BR-alpha https://www.youtube.com/watch?v=SaukvdSHTCU The Groundbreaking Life of Murasaki Shikibu #OrdinaryWomenhttps://www.youtube.com/watch?v=KZyBpUOVH_4 Abgewertet und verdrängt? Frauen in der Literatur https://www.ndr.de/fernsehen/sendungen/kulturjournal/Abgewertet-und-verdraengt-Frauen-in-der-Literatur,kulturjournal8174.html :: MUSIK :: Cosimo Fogg – Jazzaddicts Feel My Sax - DJ Quads Imperial Forces – Aaron Kenny Blacksmith - Godmode

The Tale of Genji is often listed as the world's first novel. Is it a novel? Is it the first? That's highly contentious, but whatever you decide, Lady Murasaki Shikibu wrote this classic a very long time ago. See sources and more details on the website.

In questo sesto episodio del nostro podcast, Paola Scrolavezza ci parla de La storia di Genji, il grande capolavoro di Murasaki Shikibu, edito da Einaudi nella splendida traduzione dal giapponese di Maria Teresa Orsi. ----------------------------------- SEGUICI SU: Web Page: https://www.nippop.it Facebook: https://www.facebook.com/nippopbologna Twitter: https://twitter.com/NipPopOfficial Instagram: https://www.instagram.com/nippopofficial YouTube: https://www.youtube.com/user/nippopbologna

Take an illuminating literary voyage around the globe, without any Covid restrictions to hamper your travels, using classic and modern works that are in conversation with one another and with the world around them. David Damrosch explores how our idea of the world has been shaped by 80 exceptional books, following an itinerary from London to Venice, Tehran and points beyond, via authors from Woolf and Dante to Nobel Prize–winners Orhan Pamuk, Wole Soyinka, Mo Yan, and Olga Tokarczuk. To chart the expansive landscape of world literature today, Damrosch explores how writers live in two very different worlds: the world of their personal experience and the world of books that have enabled great writers to give shape and meaning to their lives. In his literary cartography, Damrosch includes compelling contemporary works as well as perennial classics, hard-bitten crime fiction as well as haunting works of fantasy, and the formative tales that introduce us as children to the world we're entering. Taken together, these 80 books offer us fresh perspectives on enduring problems, from the social consequences of epidemics to the rising inequality that Thomas More designed Utopia to combat, as well as the patriarchal structures against which many heroines have to struggle—from the work of Murasaki Shikibu a millennium ago to Margaret Atwood today. NOTES MLF: Humanities This program is part of our Good Lit series, underwritten by the Bernard Osher Foundation. SPEAKERS David Damrosch Ernest Bernbaum Professor of Comparative Literature, and Chair of Comparative Literature Department, Harvard University; Director, Harvard's Institute for World Literature; Author, Around the World in 80 Books George Hammond Author, Conversations With Socrates In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on December 2nd, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

Take an illuminating literary voyage around the globe, without any Covid restrictions to hamper your travels, using classic and modern works that are in conversation with one another and with the world around them. David Damrosch explores how our idea of the world has been shaped by 80 exceptional books, following an itinerary from London to Venice, Tehran and points beyond, via authors from Woolf and Dante to Nobel Prize–winners Orhan Pamuk, Wole Soyinka, Mo Yan, and Olga Tokarczuk. To chart the expansive landscape of world literature today, Damrosch explores how writers live in two very different worlds: the world of their personal experience and the world of books that have enabled great writers to give shape and meaning to their lives. In his literary cartography, Damrosch includes compelling contemporary works as well as perennial classics, hard-bitten crime fiction as well as haunting works of fantasy, and the formative tales that introduce us as children to the world we're entering. Taken together, these 80 books offer us fresh perspectives on enduring problems, from the social consequences of epidemics to the rising inequality that Thomas More designed Utopia to combat, as well as the patriarchal structures against which many heroines have to struggle—from the work of Murasaki Shikibu a millennium ago to Margaret Atwood today. NOTES MLF: Humanities This program is part of our Good Lit series, underwritten by the Bernard Osher Foundation. SPEAKERS David Damrosch Ernest Bernbaum Professor of Comparative Literature, and Chair of Comparative Literature Department, Harvard University; Director, Harvard's Institute for World Literature; Author, Around the World in 80 Books George Hammond Author, Conversations With Socrates In response to the COVID-19 pandemic, we are currently hosting all of our live programming via YouTube live stream. This program was recorded via video conference on December 2nd, 2021 by the Commonwealth Club of California. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mujeres chingonas de la historia: Murasaki Shikibu #audiolibros #historia #mujeres #novelista #escritoras #MurasakiShikibu Audiolibro: Las chicas rudas de la historia Narración: Vanya Reads Mezcla de audio y producción: Vanya Reads Música: wünsche/SPEECHLESS Imagen: Wikimedia Commons YouTube: vanyareads Puedes dejarme una propina aquí, me ayudará a mejorar la calidad de todo lo que hago y podré continuar haciendo lo que me apasiona: - patreon.com/vanyareads - paypal: zyan.benavides@gmail.com Redes sociales: ¡Sígueme para ver avances de futuros proyectos y autores! https://www.instagram.com/vanyareads/ ¿Quieres que lea a algún autor? ¡Deja tus sugerencias o peticiones en instragram! ¿Quieres saber más? La Novela de Genji: https://www.gandhi.com.mx/libros/la-novela-de-genji Diario: https://www.gandhi.com.mx/libros/diario-de-la-dama-murasaki

This week, we question everything, because Justin has written six trivia answers, and Hallie has to give the who, the what, the when, the where, the why, and the how. We also drill down on movie censorship, baseball pitches, and one of Justin's favorite pieces of classical music!2:46: Q1 (Movies & TV): Who: He was president of the Motion Picture Producers and Distributors of America from 1922 to 1945, and the Motion Picture Production Code that governed the content of Hollywood films from 1934 to 1954 is nicknamed for him.10:23: Q2 (Arts & Literature): What: Often called the first novel in history, it was first published prior to 1021 by Japanese noblewoman Murasaki Shikibu.19:04: Q3 (Times & Places): When: The decade in which sovereignty over Hong Kong and Macau was transferred to China.28:35: Q4 (Music): Where: It's the location that Antonin Dvorak's ninth symphony is “from”, per its title.36:38: Q5 (Everything Else): Why: Because this temperature, equivalent to -273.15 degrees Celsius, is the coldest temperature physically possible.51:22: Q6 (Sports & Games): How: By releasing the ball off the index finger to impart lateral spin, with velocity in between a fastball and a curveball.Theme music: "Thinking it Over" by Lee Rosevere, licensed under CC BY 2.0E-Mail: quizandhers@gmail.com Facebook: https://www.facebook.com/quizandhers/Twitter: https://twitter.com/quizandhersInstagram: https://www.instagram.com/quizandhers/3 Beers In Podcast: https://www.3beersinpodcast.com/

We set court politics aside in this episode to explore the life and work of Murasaki Shikibu, the eleventh-century lady-in-waiting who penned a work which is considered by many scholars to be the world's first novel: The Tale of Genji.For artistic renditions of Murasaki Shikibut and Sei Shonagon, check out the supplemental post!Support the show (https://www.patreon.com/AHistoryOfJapan)

The brilliant writer Murasaki Shikibu didn't experience much romance in her personal life in the late 1st century. But she captured the attention of Japan by releasing The Tale Of Genji one episode at a time. Altogether the tale is one of the first novels ever produced, and it's still celebrated today as a symbol of enduring love and marital harmony. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

The 11th-century courtier who wrote what is thought to be the world's first novel. Christopher Harding portrays the lives of five colourful characters from Japan's past to answer the question, "Who are the Japanese"? Beginning in the 20th century, he works backwards through time to reveal different dimensions of Japanese identity, encompassing sport, art, culture, politics, warfare and religion. In his fourth essay, he compares Japan and the UK as mirror images of each other: two island nations, "both known for a certain reserve in their national characters, and both enjoying the stability that comes with constitutional monarchy." Murusaki Shikibu, who wrote "The Tale of Genji", had a ringside seat as lady-in-waiting to the eleventh century imperial court. "Here was a society blessed both with an almost impossible level of sophistication - in its poetry, pastimes, dress and general comportment and with female chroniclers capable of wringing every last delicious detail out of the personal foibles, fashion faux-pas and social missteps of those who inhabited it." Dr Christopher Harding is Senior Lecturer in Asian Studies at the University of Edinburgh. His books include, "The Japanese: A History in Twenty Lives" and "A History of Modern Japan: In Search of a Nation, 1850 – the Present" The quoted translations are taken from "The Diary of Lady Murasaki" (Penguin, 1996) by Professor Richard Bowring. Producer: Sheila Cook Editor: Hugh Levinson

ようこそ! ¡Bienvenidos al podcast Japonés para todos! ¿Sabes cómo llegaron los caracteres chinos a Japón? ¿Sabes de dónde surge el hiragana o el katakana? En este episodio te contamos todo sobre el surgimiento de la escritura en Japón, el periodo Asuka que es donde entra la escritura y los cambios en arte, política y lo social, también sobre periodo Nara donde surgen los primeros escritos formales con el Kojiki y el Nihin Shoki. ¿Tienes algún comentario? ¿te animas a participar? ¿quieres aprender japonés? escríbenos en el Instagram @japanesefordummies En este episodio: Nicolás Sensei de Japanese for Dummies y Ale Medina desde México. Coordinación: Rayen Huirilef. Producción: Alejandra Carvajal. 'Japonés para todos' el podcast para los interesados en la cultura japonesa donde se comparten opiniones, conocimientos, e información sobre elementos de la cultura, costumbres y el idioma de Japón. Y si te preguntas ¿Dónde encuentro los libros de los que hablan en el episodio? Aquí están los links: Genji Monogatari de Murasaki Shikibu: https://drive.google.com/file/d/13ch4Hnu9LxMr_u9mENJDj9-hRAO2Jg8n/view?usp=sharing Música MÚSICA JAPONESA – Music Mix channel https://www.youtube.com/watch?v=xbtOhNK--N4

TEMA: Mulheres escritoras====================================Aproveitando a semana da mulher a coluna abordará as escritoras mulheres e tudo o que elas tiveram de vencer para se tornar a referência que são.A literatura é um espaço majoritariamente masculino e, obviamente, isso não acontece por que os homens tenham mais capacidade, repertório e melhores histórias para escrever do que as mulheres. Por muito tempo, o impacto de pressões socioculturais decretava que as mulheres se dedicassem exclusivamente ao lar. Portanto, uma mulher que ousasse ter uma atividade intelectual estava cometendo uma séria transgressãoAté o começo do século XX, por exemplo, as que se atrevessem a publicar livros usando seus próprios nomes eram severamente criticadas, pois estavam extrapolando o papel a elas designado.Mesmo assim, elas estiveram presente, agregando valor ao mundo da literatura, desde muito tempo. Conta-se que, provavelmente, o primeiro romance do qual se tem notícia foi escrito por uma mulher: Murasaki Shikibu, uma japonesa da classe nobre, que escreveu no ano 1007 um livro chamado “A História de Genji”.Em uma triste comparação, podemos falar de Emily Brontë, que lançou o clássico_ O Morro dos Ventos Uivantes_ em 1847, e de J.K. Rowling, que lançou o primeiro livro da série _Harry Potter_ em 1997. Com 150 anos que separam a publicação dos dois livros, as duas escritoras inglesas usaram pseudônimos masculinos para suas obras. Brontë assinava como Ellis Bell, pois na época mulheres não podiam ser escritoras e Joanne Rowling?(o K é uma homenagem a sua avó, Kathleen?), um século e meio depois, foi aconselhada por seus editores a adotar a abreviação “J. K.” por acreditarem que o público não leria o livro se soubesse que havia sido escrito por uma mulher.No entanto, assim como em todas as outras esferas sociais, na literatura as mulheres também ocupam seu espaço cada vez mais. Escritoras como Mary Shelley, Virginia Woolf, Agatha Christie, Simone de Beauvoir e Florbela Espanca abriram passagem para que, no mundo, outras também pudessem disseminar seus anseios e vivências através dos livros.No Brasil, as mulheres vêm conquistando, com muita luta, seu posto em muitos setores da sociedade, entre eles a literatura. Nísia Floresta Brasileira Augusta, nascida no Rio Grande do Norte, foi uma das primeiras mulheres a romper o espaço particular dos homens na Literatura e publicou textos em jornais. Seu livro, “Direitos das mulheres e injustiça dos homens” (1932), é o primeiro a tratar dos direitos das mulheres à instrução e ao trabalho no Brasil. Outras escritoras também desafiaram o mundo literário brasileiro, como Ana Eurídice Eufrosina Barandas, considerada a primeira cronista do país; Raquel de Queiroz, primeira mulher a ingressar na Academia Brasileira de Letras; Clarice Lispector, uma das escritoras brasileiras mais importantes do século XX; e Nélida Pinon, primeira mulher a ser Presidente da Academia Brasileira de Letras.É claro que ainda estamos longe do ideal, mas é notório que novas escritoras a cada dia conquistam mais espaço no mercado editorial. E nesse cenário, felizmente, ganhamos todos. Afinal, o que seria de nós, leitores, sem as obras que tratam das mais diversas e complexas questões da vida sem o olhar sensível, detalhista e perspicaz da mulher?existem muitas escritoras que ganharam (e continuam ganhando) destaque na literatura mundial, como Jane Austen, Virginia Woolf, J. K. Rowling, Agatha Christie, Hilda Hist, Stephenie Meyer, Suzanne Collins, Gillian Flynn, Veronica Roth, Cassandra Clare, Cornelia Funk, Cressida Cowell, entre outras.Que tal celebrar a semana da mulher lendo um livro escrito por uma?

Insiste @alejandrohdzlun con una tercera charla con los compañeros del podcast sobre libros que darían pie a hacer cualquier HistoCast. Le toca @Rodericus_Rex para hablar sobre el libro La novela de Genji. Esplendor de Murasaki Shikibu.

Olá ouvintes do Kokoro!! Trazemos a vocês mais um AnimeSphere. E hoje, sendo apenas Jorge e NerdMaster, os dois comentam sobre um das melhores animações do Studio Ghibli: Castelo no Céu (Laputa)!! Não percam! Citações do episódio Ficha Técnica Lançamento Nos cinemas japoneses: 02/08/1986 Nas emissoras de televisão japonesas: a partir de 02/04/1988 Home Vídeo (VHS, DVD) japonês: 15/04/2003 Nos cinemas brasileiros: 14/07/1989 Disponível na Netflix Duração: 124 minutos Direção: Hayao Miyazaki Produção: Yasuyoshi Tokuma (líder), Isao Takahata Estúdio: Responsável pela produção no Japão: Studio Ghibli Não foi dublado para o português Fonte: Original Roteiro: Hayao Miyazaki Trilha Sonora: Joe Hisaishi Personagens Principais Sheeta Keiko Yokozawa – Dorami (Doraemon), Benio Hanamura (Haikara-san ga Tooru), Sophia (Mirai Keisatsu Urashiman), Natsumi Asaoka (The Kabocha Wine), Junko (Time Bokan). Pazu Mayumi Tanaka – Kuririn / Yajirobe (Dragon Ball, Dragon Ball Z, Dragon Ball Kai, Dragon Ball Super), Monkey D. Luffy (One Piece), Kirishima Kanna (Sakura Taisen), Ryuunosuke Fujinami (Urusei Yatsura), Koenma (Yuyu Hakusho) Dola Kotoe Hatsui – Ela dublou muitos filmes live action, mas para a animação, além de Laputa, dublou Apollodoria, na animação de Cleópatra (filme do Tezuka). Tio Pom Fujio Tokita – Kujira (especial de Maegami-Taro), Hyoujuu (Gongitsune – filme), Narrador (Manga Nihon Mukashi Banashi – transmitido na televisão japonesa em 1976), Ermitão de Kitayama (filme de Murasaki Shikibu – o Conto de Genji), Guardião do Farol (Filme: Night on the Galactic Railroad). Principal Vilão/Antagonista Muska Terada Minori – Andou (Dragon Head (filme live-action)), Seriado para TV Space Sagittarius, Narrador (Yamishibai: Histórias assustadoras do Japão, televisionadas em 04/2017), Amagi Kureshima (Kamen Rider Gaim Gaiden), Ryubee Sonozaki/Terror Dopant (Kamen Rider W) Nossos episódios citados 04: A Viagem de Chihiro 45: O Castelo Animado 51: Túmulo dos Vagalumes 60: A Tartaruga Vermelha 64: Yuyu Hakusho parte 1 79: O Serviço de Entregas da Kiki 87: Ponyo 99: Yuyu Hakusho parte 2.1 – Arco do Toguro 106: Yuyu Hakusho parte 2.2 138: Cavaleiros do Zodíaco – Arco de Hades (por causa do Star System) Episódios de podcasts parceiros citados Paranerdia 159: Kamen Rider Outras Citações Equipe Rocket "branca", do bem. A palavra “desesperançosa” existe. Só ver sua definição no Priberam. Filme do Studio Ghibli, “Da Colina Kokuriko”, site Adoro Cinema. Filme “Steamboy”, site Adoro Cinema. Filme “Rocketeer”, site IMDB. Cidade nas nuvens, Vectora, de Tormenta.Imagem de Holy Avenger. Clichês do Ghibli Máquinas Complexas: OK Comida Gostosa: OK Vilões Engraçaralhos: OK Personagem Feminina Forte: OK Sidekick Masculino que ajuda a Protagonista: OK Vilão que só é desocberto no final: OK Trilha sonora, Joe Hisaishi: OK Personagens Principais que se apaixonam: OK Um ou mais velhinhos sábios: OK Lugar bagunçado / Puxa manga da camisa pro esforço: OK Soundtrack usada Tenkuu Shiro no Rapyuta Original Soundtrack Contato E-mail: contato@animesphere.com.br Twitter Facebook Telegram Instagram YouTube Seja nosso padrinho Padrim do AnimeSphere Compre as nossas Canecas Oficiais Loja Giges / AnimeSphere Agregadores YouTuner TeiaCast – Mundo Podcast Spotify CastBox Podbean Páginas amigas Anime See Três Quartos Cego, Canal YouTube Loja Giges Participantes Jorge Twitter Facebook Instagram Firefalcon’s World RPG e Edição de Podcast MindStorm Productions NerdMaster Paranerdia Padrinhos Nível Kawaii Jotta Santos (Instagram) Dan Endo (você encontra em nosso grupo de ouvintes) Guilherme de Almeida, vulgo Tomate (você encontra em nosso grupo de ouvintes) https://ia601502.us.archive.org/21/items/as158_laputa/as158_mixdown.mp3

Olá ouvintes do Kokoro!! Trazemos a vocês mais um AnimeSphere. E hoje, sendo apenas Jorge e NerdMaster, os dois comentam sobre um das melhores animações do Studio Ghibli: Castelo no Céu (Laputa)!! Não percam! Citações do episódio Ficha Técnica Lançamento Nos cinemas japoneses: 02/08/1986 Nas emissoras de televisão japonesas: a partir de 02/04/1988 Home Vídeo (VHS, DVD) japonês: 15/04/2003 Nos cinemas brasileiros: 14/07/1989 Disponível na Netflix Duração: 124 minutos Direção: Hayao Miyazaki Produção: Yasuyoshi Tokuma (líder), Isao Takahata Estúdio: Responsável pela produção no Japão: Studio Ghibli Não foi dublado para o português Fonte: Original Roteiro: Hayao Miyazaki Trilha Sonora: Joe Hisaishi Personagens Principais Sheeta Keiko Yokozawa – Dorami (Doraemon), Benio Hanamura (Haikara-san ga Tooru), Sophia (Mirai Keisatsu Urashiman), Natsumi Asaoka (The Kabocha Wine), Junko (Time Bokan). Pazu Mayumi Tanaka – Kuririn / Yajirobe (Dragon Ball, Dragon Ball Z, Dragon Ball Kai, Dragon Ball Super), Monkey D. Luffy (One Piece), Kirishima Kanna (Sakura Taisen), Ryuunosuke Fujinami (Urusei Yatsura), Koenma (Yuyu Hakusho) Dola Kotoe Hatsui – Ela dublou muitos filmes live action, mas para a animação, além de Laputa, dublou Apollodoria, na animação de Cleópatra (filme do Tezuka). Tio Pom Fujio Tokita – Kujira (especial de Maegami-Taro), Hyoujuu (Gongitsune – filme), Narrador (Manga Nihon Mukashi Banashi – transmitido na televisão japonesa em 1976), Ermitão de Kitayama (filme de Murasaki Shikibu – o Conto de Genji), Guardião do Farol (Filme: Night on the Galactic Railroad). Principal Vilão/Antagonista Muska Terada Minori – Andou (Dragon Head (filme live-action)), Seriado para TV Space Sagittarius, Narrador (Yamishibai: Histórias assustadoras do Japão, televisionadas em 04/2017), Amagi Kureshima (Kamen Rider Gaim Gaiden), Ryubee Sonozaki/Terror Dopant (Kamen Rider W) Nossos episódios citados 04: A Viagem de Chihiro 45: O Castelo Animado 51: Túmulo dos Vagalumes 60: A Tartaruga Vermelha 64: Yuyu Hakusho parte 1 79: O Serviço de Entregas da Kiki 87: Ponyo 99: Yuyu Hakusho parte 2.1 – Arco do Toguro 106: Yuyu Hakusho parte 2.2 138: Cavaleiros do Zodíaco – Arco de Hades (por causa do Star System) Episódios de podcasts parceiros citados Paranerdia 159: Kamen Rider Outras Citações A palavra “desesperançosa” existe. Só ver sua definição no Priberam. Filme do Studio Ghibli, “Da Colina Kokuriko”, site Adoro Cinema. Filme “Steamboy”, site Adoro Cinema. Filme “Rocketeer”, site IMDB. Clichês do Ghibli Máquinas Complexas: OK Comida Gostosa: OK Vilões Engraçaralhos: OK Personagem Feminina Forte: OK Sidekick Masculino que ajuda a Protagonista: OK Vilão que só é desocberto no final: OK Trilha sonora, Joe Hisaishi: OK Personagens Principais que se apaixonam: OK Um ou mais velhinhos sábios: OK Lugar bagunçado / Puxa manga da camisa pro esforço: OK Soundtrack usada Tenkuu Shiro no Rapyuta Original Soundtrack Contato E-mail: contato@animesphere.com.br Twitter Facebook Telegram Instagram YouTube Seja nosso padrinho Padrim do AnimeSphere Compre as nossas Canecas Oficiais Loja Giges / AnimeSphere Agregadores YouTuner TeiaCast – Mundo Podcast Spotify CastBox Podbean Páginas amigas Anime See Três Quartos Cego, Canal YouTube Loja Giges Participantes Jorge Twitter Facebook Instagram Firefalcon's World RPG e Edição de Podcast MindStorm Productions NerdMaster Paranerdia Padrinhos Nível Kawaii Jotta Santos (Instagram) Dan Endo (você encontra em nosso grupo de ouvintes) Guilherme de Almeida, vulgo Tomate (você encontra em nosso grupo de ouvintes)

"People recognized that what’s being depicted here is sometimes despicable or deplorable but at the same time alluring, extraordinarily artistic and extraordinarily revealing about life and human nature. A lot of art is about a lot of very unpleasant stuff and you can’t cancel it because of that. You can’t move away or avert your eyes because it’s not morally upright." 'The Tale of Genji' has fascinated readers around the world for a thousand years. The female writer Murasaki Shikibu, born into the middle ranks of the aristocracy during the Heian period (794–1185 CE), wrote The Tale of Genji―widely considered the world’s first novel―during the early years of the eleventh century. Dennis Washburn, Professor at Dartmouth College, is here to explore the great work with us. Washburn, who spent decades on his masterful translation that the Washington Post called "fluid, elegant" makes a case for why we in the modern world should read this great work, or at least portions. The conversation also explores some themes that come up often on university campuses and beyond-- what do we do with works of art that make us uncomfortable? What do we do with Leni Riefenstahl, Hitler's favorite director, for example? How does Washburn himself teach college students rape scenes right out of Genji? The convenient thing to do is ignore and gloss over the offending portions or not teach the work at all. But Professor Washburn, passionate professor and probing scholar, makes an eloquent case for not cancelling art that disturbs us, but instead confronting it fresh each time we encounter it. Dennis Washburn is the Burlington northern Foundation professor of Asian studies at Dartmouth College and Associate Dean of the Faculty. He holds a Ph.D. in Japanese Language and Literature from Yale University and has authored and edited studies on a range of literary and cultural topics. These include: The Dilemma of the Modern in Japanese Fiction; Translating Mount Fuji: Modern Japanese Fiction and the Ethics of Identity; and The Affect of Difference: Representations of Race in East Asian Empire. In addition to his scholarly publications, he has translated several works of Japanese fiction, including Yokomitsu Riichi’s Shanghai, Tsushima Tsushima Tuko’s Laughing Wolf, and Mizukami Tsutomu’s The Temple of the Wild Geese, for which he was awarded the US-Japan Friendship Commission Prize. In 2004 he was awarded the Japan Foreign Minister’s citation for promoting cross-cultural understanding. ----------------- www.talkingbeats.com Please consider supporting Talking Beats with Daniel Lelchuk via our Patreon: www.patreon.com/talkingbeats In addition to early episode access, bonus episodes, and other benefits, you will contribute to us being able to present substantive interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever.

We don’t even know the real name of the 11th century author Murasaki Shikibu. But we do know that her book, The Tale of Genji, is arguably one of the most influential Japanese texts to date. Genji quickly captured its readers’ imaginations with political intrigue and court drama, but it can also be read as an astute critique of Japanese elite society.  Reginald Jackson is an associate professor of Pre-modern Japanese Literature and Performance at the University of Michigan. He is the author of Textures of Mourning and is currently working on a book titled A Proximate Remove: Queering Intimacy and Loss in The Tale of Genji.  https://lsa.umich.edu/asian/people/faculty/reginald-jackson.html

Vintage Electronic Music from Japan, Part 1 Western Influence to Eastern Identity: Electronic Music in Japan from 1953 to 1963. Playlist: Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Makoto Moroi and Toshiro Mayuzumi, “7 Variations” (1956). Toru Takemitsu, “Vocalism AI (Love)” (1956). Group Ongaku, “Metaplasm Part 2” from Music of Group Ongaku (1961, SEER Sound Archive). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Cello – Mikio Tojima Cello, Drums, Tape – Shukou Mizuno Guitar – Genichi Tsuge Piano – Chieko Shiomi* Saxophone, Tape – Yasunao Tone Violin, Saxophone, Tape – Takehisa Kosugi Tadashi Mori (conductor), Akira Miyoshi (composer), opening excerpt to Ondine for orchestra, mixed chorus and electronic sounds. (1961, Time). Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration)” from Waka and Other Compositions (1960 Folkways). Joji Yuasa ‎– “Aoi No Ue” for voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio (1961).   NHK = Nippon Hoso Kyokai (Japanese Broadcasting Corp.)   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of vintage Japanese electronic music: Kuniharu Akiyama, 'Demonstration' Of Nissei Theater (excerpt). Music for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo (1963, Edition Omega Point) Toshiro Mayuzumi, “Mandara” for electronic sounds and voices (1969, Philips). For more information about the history of Japanese electronic music, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).  

Í kringum árið 1000 háðu tvær keisaraynjur kalt stríð við hirðina í Heian og afleiðingar þess eru tvö stærstu bókmenntaverk Japanssögunnar. Ævintýrið um Genji sem skrifað var af Murasaki Shikibu, hirðkonu í þjónustu Fujiwara-ættarinnar, þykir enn þann dag í dag með því besta sem skrifað hefur verið á japönsku, en verkið er líka ráðgáta. Hvernig gat miðaldakona skrifað jafn nútímalega skáldsögu?

Participación en el programa "Asia Hoy", de Radio Nacional de España, conducido por el periodista español Eloy Ramos; para conversar sobre el taller dedicado a "Genji no monogatari", de Murasaki Shikibu, obra cumbre de la literatura japonesa, considerada la primera novela de la historia. Únete a nuestra comunidad en tu canal favorito: YouTube: https://youtube.com/ContactoJapon. @contactojapon en Facebook + Instagram. ¿Más información? Escríbenos a info@contactojapon.com. Aprender japonés, estudiar o trabajar en Japón: https://contactojapon.com

Die erste Romanschriftstellerin der Welt, ca. 973-1012, Japan.

Women write amazing shit today and they wrote amazing shit a long time ago and kids are missing out on these masterworks of literature and drama simply because misogyny and racism are the cornerstones of every public school English curriculum. Let Willz sit on the ‘Choice Books’ shelf for once so students can explore and love these women’s words and perspectives instead:  Murasaki Shikibu * Diary of Lady Murasaki Shikibu * The Tale of Genji Mary Zimmerman * Metamorphosis Emily Wilson * The Odyssey (Translation)

Join us as we talk about the first modern novelist, Murasaki Shikibu. Murasaki grew up in 10th century Japan & is the godmother of what we would consider the modern novel. Come discover what that really means. This week's recommendations:  The Tale of Genji by Murasaki Shikibu The Diary of Lady Murasaki The Tale of Genji (1987) - Anime Don't forget to share with us on Instagram! @oysdpodcast #oysdpodchallenge  Intro/Outro Music: Tripped and Fell in Love (instrumental) by Yacht.

On today's casual Friday talk, Tracy and Holly talk about the surprising level of recognition Joan Curran got from male contemporaries, war debris, and the skeevier aspects of the "Tale of Genji." Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Murasaki Shikibu, sometimes known in English as Lady Murasaki, lived during Japan’s Heian period. She was a lady-in-waiting to Empress Shoshi, and is credited with writing the Japanese classic literature work, "Tale of Genji." Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Written by Murasaki Shikibu this is the first novel written in Japan by a noble Japanese woman. Written a out a thousand years ago this tale takes you on the life journey of Genji (a total playboy) giving a marvelous description of how love and romance moved about in the Ancient Japanese world.

Novelist Murasaki Shikibu   Want answers? Send your questions, comments and thoughts about life to universe@thelinlife.com   Thank you so much for listening to The Lin Life Universe. I hope you've been enjoying it. Please leave a review! 

The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest this month is Biblibio as we discuss the importance of women in translation, the upcoming #WITMonth and #100BestWIT project.  Podcast Transcript Mentioned in this episode; Translations Database The Diary of a Young Girl by Anne Frank (translated by Susan Massotty) Elena Ferrante Macbeth by Jo Nesbø (translated by Don Bartlett) Warwick Prize for Women in Translation Belladonna by Daša Drndić (translated by Celia Hawkesworth)  #WITMonth #100BestWIT Convenience Store Woman by Sayaka Murata (translated by Ginny Tapley Takemori) The 100 Best Novels in Translation by Boyd Tonkin The Tale of Genji by Murasaki Shikibu (translated by Royall Tyler) & Other Stories Feminist Press Women in Translation Tumblr Translating Women   Read_WIT online Twitter: Read_WIT Instagram: ReadWIT   Find Meytal online Blog: Biblibio Twitter: Biblibio   Support the show via Patreon Social Media links Email: losttranslationspod@gmail.com Twitter: @translationspod Instagram: translationspod Litsy: @translationspod Facebook: https://www.facebook.com/translationspod/ Produced by Mccauliflower.

Every weekday for a full year, listeners can explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know -- but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Pioneers, Creators, Villainesses, STEMinists, Warriors & Social Justice Warriors, and many more. Encyclopedia Womannica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Encyclopedia Womannica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith and Andi Kristins. Special thanks to Shira Atkins, Alli Lindenberg and Edie Allard. Follow Wonder Media Network: Website Instagram Twitter

In this episode, Dr. Yoshio reassesses the category of the "woman writer" (joryū sakka) during the Taishō period, tracing the emergence of an interwar transnational women's literature.  We discuss the importance of Seito, the works of Tamura Toshiko, and Virginia Woolf's reactions to Murasaki Shikibu's The Tale of Genji, before talking about Dr. Yoshio's translations of contemporary writer Kawakami Mieko. 

This week, Allison and Max tell the stories of two Badass Bitches from Asia. One gave birth to a form of writing that would eventually give us epics like Game of Thrones and Lord of the Rings; The other pulled herself up by the bootstraps, all the way to the pinnacle of Chinese authority, and guided a nation into the future: Murasaki Shikibu and The Empress Dowager Cixi. / This episode originally aired on March 21, 2016 / Intro and Ad Music provided by BenSound.com / Logo Art by Lauren Cierzan / Join the Conversation! thebitcheryofhistory.com / Facebook / Twitter / Instagram / Max: @QuirkyTitle Allison: @AHPowell91 / The Team: Janette Danielson (@Neddie94) Sydney Tannenbaum (@sydneyxmastree) Jess Lee (@jessmlee)

About one of the most famous Japanese women

This week, we cover the life and work of one of Japan's most famous authors: the 11th century courtier Murasaki Shikibu. Why do we know so little about who she was? What inspired her to write Genji? Why do I dislike her work so viscerally? And how did it become so famous?

The Tale of Genji by Murasaki Shikibu depicts the various social and romantic shenanigans presumably common in the Heian (peace) period of Japan. Ahead of its time in many ways; simultaneously of its time in many others.

År 1002 börjar en japansk hovdam, Murasaki Shikibu, skriva en berättelse om prins Genji och alla kvinnor han möter. Vad hon inte vet är att hennes bok långt senare ska klassas som den första romanen. Murasaki skrev sin berättelse för mer än tusen år sedan. Trots det är det nog många i västvärlden som skulle säga att de fått lära sig att det är Cervantes Don Quijote som är den första romanen. Även om den skrevs 600 år senare. Hur kommer det sig? Följ med till Mursaki Shikibus värld och få en bild av livet vid denna tid i Japan och lyssna till en del av boken som bygger på klassiska kinesiska dikter. Gunilla Lindberg-Wada, professor emerita i japanologi, berättar om de komplexa karaktärerna som vi möter i Berättelsen om Genji och de målande miljöbeskrivningarna. Programmet är en repris från den 13 november 2017. Det här är andra delen i serien om de historiska kvinnorna. Här kan du lyssna på del 1: Hon blev han och revolutionerade militärsjukvården Malin Olofsson Lo Söllgård vet@sverigesradio.se

Matt reports this week on the poet and author of the first novel, Murasaki Shikibu. She lived in 10th Century Japan, and today she holds an incredible legacy.Lorna makes some very poor guesses early on, and we work out what our surnames would have been. And as always, another episode, another existential crisis for Lorna. Twitter: @IdiotHistoryPod Email: IdiotHistoryPod@gmail.com Individual Twitters: @MattSingleton17  @lornabarryy

This week features a lot of amazing ladies, from civil rights activists Joan Trumpauer Mullholland, to the world's first novelist Murasaki Shikibu, to the fictional but entirely brilliant Scottish folktale heroine Katherine Crackernuts. Amy also tells a brief (super brief) scary story, and blows Becky's mind a little with a tale of what happens with supermarkets meet science. Bonus stories in the form of Tumblr's analysis of Genesis (the bible chapter, not the band), when The West Wing met Hamilton, and we ponder how male authors would describe us. Find us on social media on @andthenwhatpod and email us on andthenwhatpod@gmail.com

With a strong claim to be the first novel in history, the Japanese classic The Tale of Genji (ca. 1001-1012), by Murasaki Shikibu, or Lady Murasaki, is one of the world’s greatest literary masterpieces. But who was Lady Murasaki, and what compelled her to write this story of an idealized prince and his many lovers? How innovative was she? And do the intrigues of the imperial Japanese courts from a thousand years ago still have the power to fascinate, entertain, and instruct us today?  Show Notes:  Contact the host at jackewilsonauthor@gmail.com or by leaving a voicemail at 1-361-4WILSON (1-361-494-5766).  You can find more literary discussion at jackewilson.com and more episodes of the series at historyofliterature.com. Check out our Facebook page at facebook.com/historyofliterature. On Twitter, you can follow Jacke Wilson at his handle @WriterJacke. You can also follow Mike and the Literature Supporters Club (and receive daily book recommendations) by looking for @literature SC. Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). “Ritual” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0   Learn more about your ad choices. Visit megaphone.fm/adchoices

Rana Mitter rereads The Tale of Genji. Sometimes called the world's first novel it was written in the early years of the 11th century and has been credited to the noblewoman and lady-in-waiting Murasaki Shikibu. This year's Bradford Literature Festival is focusing on the modern translation from Dennis Washburn, Professor at Dartmouth College (USA). Dennis Washburn joins Rana along with Jennifer Guest and Christopher Harding. Also in this programme, Brian Christian, co-author of new book 'Algorithms to Live By' on how maths helps us make decisions, and clinical psychologist Rasjid Skinner on Islamic approaches to psychology. Richard Bowring, Dennis Washburn, Juliet Winters Carpenter discuss The Tale of Genji at the Bradford Literature Festival on Saturday, 28th May 2016 | 2:00 pm - 3:15 pm Hadj Abdur Rasjid Skinner presents Islamic Approaches to Psychology at the Bradford Literature Festival on Saturday, 28th May 2016 | 10:30 am - 1:00 pm Brian Christian is the author of Algorithms to Live By and of The Most Human Human. Producer: Luke Mulhall

Den har kallats världshistoriens första roman. Berättelsen om Genji är den stora japanska klassikern, ett mastodontverk som skrevs redan i början av 1000-talet av hovdamen Murasaki Shikibu och som blivit såväl film och opera som "mobiltelefonroman". Vad är det i Genji Monogatari som gör sig aktuellt i varje ny tid? Hur har den tolkats genom historien? Och hur kan vi läsa den idag? Kan skildringen av prins Genjis kvinnoerövringar och erotiska eskapader rentav sägas ha feministiska motiv? Gäster i studion är Stina Jelbring, lektor i japanska, och Gunilla Lindberg-Wada, professor emerita i japanska – båda verksamma vid Stockholms universitet. Bildningspodden – en podcast för vetgiriga – produceras av Magnus Bremmer och Klas Ekman för Humanistiska fakulteten vid Stockholms universitet.

Carolyn Morley reads from The Tale of Genji by Murasaki Shikibu, translated by Royall Tyler, published by Penguin Classics. "Melancholy overwhelmed him as soon as he set out across the moor's vast expense. The autumn flowers were dying...The scene had an intensely eloquent beauty."