Joshua S. Mostow

Henk Herwig

"The Hundred Poets Compared discusses a print series by three of the most famous Japanese print artists of the 19th century: Kuniyoshi, Hiroshige, and Kunisada. This series of one hundred prints is known as the Ogura nazorae hyakunin isshu (Companions of the Ogura One Hundred Poets, One Poem Each) and constitutes a typical example of serial graphics from the world of Ukiyo-e." "Each print compares one of the poems from the most-beloved collection of Japanese poetry, The One Hundred Poets, One Poem Each (Hyahunin isshu), with a scene from Japanese history or theatre."--BOOK JACKET.

A Print Series by Kuniyoshi, Hiroshige, and Kunisada

The Hundred Poets Compared

Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation traces—through the visual and literary record—the reception and use of the tenth-century literary romance through the seventeenth century.

The Ise Stories and the Politics of Cultural Appropriation

Courtly Visions

Tokurō Yamamoto

Kurtis Hanlon

In An “Ise monogatari” Reader, eleven international scholars present cutting-edge research on this canonical literary work, its history, influence, commentary tradition, and early modern publishing history.

Contexts and Receptions

An Ise monogatari Reader

Maribeth Graybill

Norman Bryson

In this, the first collection in English of feminist-oriented research on Japanese art and visual culture, an international group of scholars examines representations of women in a wide range of visual work. The volume begins with Chino Kaori's now-classic essay Gender in Japanese Art, which introduced feminist theory to Japanese art. This is followed by a closer look at a famous thirteenth-century battle scroll and the production of bijin (beautiful women) prints within the world of Edoperiod advertising. A rare homoerotic picture-book is used to extrapolate the grammar of desire as represented in late seventeenth-century Edo. In the modern period, contributors consider the introduction to Meiji Japan of the Western nude and oil-painting and examine Nihonga (Japanese-style painting) and the role of one of its famous artists. The book then shifts its focus to an examination of paintings produced for the Japanese-sponsored annual salons held in colonial Korea. The post-war period comes under scrutiny in a study of the novel Woman in the Dunes and its film adaptation. The critical discourse that surrounded women artists of the late twentieth-century - the Super Girls of Art - i

Gender and Power in the Japanese Visual Field

This collection of Japanese womens diary literature (nikki bungaku) begins with The Takemitsu Journal (also known as The Tale of the Tōnomine Lesser Captain, c. 962), an important precursor and model for the famous Kagerō Diary, and Tales of Toyokage (c. 971), a fictionalized reworking of his own poems by Regent Koremasa himself. It also includes the first complete English translations of the Honin no Jiju and of the narrative section of The Collected Poems of Lady Ise. The volume concludes with the Tales of Takamura (1185-1333), which Mostow describes as a site of struggle between masculine and feminine narrative styles.

Shorter Biographical and Autobiographical Narratives from Japanese Court Literature

At the House of Gathered Leaves

"The selections have been translated and extensively annotated, with annotation appearing on the facing page on the text. At the House of Gathered Leaves not only explains the development of an important genre of Japanese writing but also provides a new and politically engaged way of reading other major texts such as The Pillow Book of Sei Shonagon and The Diary of Murasaki Shikibu."--BOOK JACKET.

This extraordinary one-volume guide to the modern literatures of China, Japan, and Korea is the definitive reference work on the subject in the English language. With more than one hundred articles that show how a host of authors and literary movements have contributed to the general literary development of their respective countries, this companion is an essential starting point for the study of East Asian literatures. Comprehensive thematic essays introduce each geographical section with historical overviews and surveys of persistent themes in the literature examined, including nationalism, gender, family relations, and sexuality. Following the thematic essays are the individual entries: over forty for China, over fifty for Japan, and almost thirty for Korea, featuring everything from detailed analyses of the works of Tanizaki Jun'ichiro and Murakami Haruki, to far-ranging explorations of avant-garde fiction in China and postwar novels in Korea. Arrayed chronologically, each entry is self-contained, though extensive cross-referencing affords readers the opportunity to gain a more synoptic view of the work, author, or movement. The unrivaled opportunities for comparative analysis alone make this unique companion an indispensable reference for anyone interested in the burgeoning field of Asian literature. Although the literatures of China, Japan, and Korea are each allotted separate sections, the editors constantly kept an eye open to those writers, works, and movements that transcend national boundaries. This includes, for example, Chinese authors who lived and wrote in Japan; Japanese authors who wrote in classical Chinese; and Korean authors who write in Japanese, whether under the colonial occupation or because they are resident in Japan. The waves of modernization can be seen as reaching each of these countries in a staggered fashion, with eddies and back-flows between them then complicating the picture further. This volume provides a vivid sense of this dynamic interplay.

The Columbia Companion to Modern East Asian Literature

The Hyakunin Isshu, or One Hundred Poets, One Poem Each collection, is a sequence of one hundred Japanese poems in the tanka form, selected by the famous poet and scholar Fujiwara no Teika (1162-1241) and arranged, in part, to represent the history of Japanese poetry from the seventh century down to Teika's own day. The anthology is, without doubt, the most popular and widely known collection of poetry in Japan - a distinction it has maintained for hundreds of years. In this study, Joshua Mostow challenges the idea of a final or authoritative reading of the Hyakunin Isshu and presents a refreshing, persuasive case for a reception history of this seminal work. In addition to providing a new translation of this classic text and biographical information on each poet, Mostow examines issues relating to text and image that are central to the Japanese arts from the Heian into the early modern period. By using Edo-period woodblock illustrations as pictorializations of the poems - as "pictures of the heart," or meaning, of the poems - text and image are pieced together in a holistic approach that will stand as a model for further research in the interrelationship between Japanese visual and verbal art.

The Hyakunin Isshu in Word and Image

Pictures of the Heart

This book provides, for the first time in English, the kind of information that allows an accurate appreciation of the meanings and quality of Japanese poems.... Mostow's reception-oriented approach in this poem-by-poem discussion inspires an excellent essay on the history of English translations of this collection. --Choice "Joshua Mostow offers a brilliant and multifaceted exploration of Japanese poetics through translations, commentaries, and both literary and visual readings of the most influential of all poem anthologies. This book penetrates to the heart of traditional Japanese aesthetics." --Stephen Addiss, University of Richmond "...a rigorous and engaging study of an extremely important Japanese text. It is filled with information and shows a real appreciation for the often unarticulated assumptions that lay behind certain understandings--both Japanese and Western--concerning meaning and significance in a work of literature. The study breaks still further ground by articulating, and in the most persuasive fashion, issues relating to text and image that are central to the Japanese arts in virtually all periods. Professor Mostow has written a book that should interest not only specialists in the fields of Japanese literature and fine arts, but virtually anyone who enjoys reading poetry in an active and thoughtful fashion." --J. Thomas Rimer, University of Pittsburgh

In this, the first collection in English of feminist-oriented research on Japanese art and visual culture, an international group of scholars examines representations of women in a wide range of visual work. The volume begins with Chino Kaori's now-classic essay "Gender in Japanese Art," which introduced feminist theory to Japanese art. This is followed by a closer look at a famous thirteenth-century battle scroll and the production of bijin (beautiful women) prints within the world of Edo-period advertising. A rare homoerotic picture-book is used to extrapolate the "grammar of desire" as represented in late seventeenth-century Edo. In the modern period, contributors consider the introduction to Meiji Japan of the Western nude and oil-painting and examine Nihonga (Japanese-style painting) and the role of one of its famous artists. The book then shifts its focus to an examination of paintings produced for the Japanese-sponsored annual salons held in colonial Korea. The postwar period comes under scrutiny in a study of the novel Woman in the Dunes and its film adaptation. The critical discourse that surrounded women artists of the late twentieth-century--the "Super Girls of Art"--is analyzed, followed by a consideration of gender ambiguity and cross-gender identification in contemporary anime and manga. Contributors: Grunhild Borggreen, Norman Bryson, Chino Kaori, Doris Croissant, Ikeda Shinobu, Kim Hye-shin, Chigusa Kimura-Steven, Joshua S. Mostow, Sharalyn Orbaugh, David Pollack.

Joshua S. Mostow

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