Japanese Folktale Research Articles

Pendidikan Karakter Mahasiswa melalui Sastra Lisan Jepang secara Online

This study aims to find values in Japanese mukashibanashi in online media through the Youtube channel, purposing it can be implemented simultaneously in the learning process. Mukashibanashi is a Japanese folk tale. This research is a qualitative descriptive study. The source of the data comes from the web https://www.youtube.com/channel/UCaCiBKglFZkSYXmlWZBDLgw of Japanese folklore. The data collection technique used non-interactive techniques by watching and listening to the mukashibanashi video, summarizing the story, and then taking active notes using the content analysis method. Data validity to test the validity of this study using data triangulation techniques and method triangulation. The data analysis technique uses an interactive analysis model. Data analysis was performed using Miles and Huberman models and Lickona's theory (essential and main characters that must be transferred to the students). There are seven characteristics education found, namely: heart praise, compassion, compassion, cooperation, courage, hard work, and honesty. These values can be used in educating and building student character.

Explication of axiological component of the Japanese folkloreme Issun-bōshi in the English versions of eponymous fairy tale

The subject of this research is actualization of the value component of Japanese culture on the periphery of the original Japanese folkloreme “Issun-bōshi” in the nine English-language versions of eponymous fairy tale. The article examines the methods of verbal explication on the discourse level through the dialogues, descriptions, and events of the original Japanese fairy tale and its English interpretations. The author determines seven axiological characteristics of the Japanese folkloreme, such as acceptance, dependence, modesty, service, etc. It is demonstrated how depending on the dialogues and descriptions in different versions of the Japanese folk tale, the value orientations of Japanese culture are explicated inalterably or adjusted to the perceptions of the author of English version. The conducted research reveals the specificity of one culture through another language and culture, as well as variability of presentation of the value orientations, attitudes, and preferences through the prism of mentality and values of the author of the foreign-language version. The following axiological components of Japanese folkloreme were determined: designated environment; love and acceptance; service to the emperor; family ties; modesty; spiritual beauty; and the folkloreme of magic gavel. The author carries out a comparative analysis of explication of the Japanese folkloreme in different English versions of the fairy tale; reveals the axiological components explicated in the text of Issun-bōshi and the differences in value orientations described in the English versions of the fairy tale.

Восприятие ценностей, заложенных в японской сказке, англоязычной аудиторией

The paper identifies the problems the English-speaking readers come across when perceiving cultural meanings and values imparted in the Japanese folk tale. Scientific originality of the study is conditioned by the fact that the researcher analyses the value component of the Japanese folk tales, which has not been previously investigated, and also by the fact that cultural meanings of the Japanese tale are for the first time considered in the comparative aspect. The author shows how these values are representted in the English translation and reveals the factors that complicate their perception among the English-speaking audience. The conducted research allows concluding that problems in perceiving the translated Japanese tales can be divided into two categories: more evident lexico-grammatical and deeper ones, sociocultural. Due to linguistic and cultural reasons, some cultural meanings of the original text are not perceived by the English-speaking audience.

板本『一すんほうし』考 : 文と絵について

板本『一すんほうし』考 : 文と絵について

Descending into the Indeterminate State between the Determinate

Abstract When Jung received the manuscript of the Taoist-alchemical treatise entitled The Secret of the Golden Flower from Richard Wilhelm he realized what his drawings of mandalas meant and received confirmation of his theories about the Self. At the same time, Jung realized that he had encountered ‘the East’ within, as he was digging into the depths of his own psyche. Today, thanks to the publication of The Red Book (RB) and Memories, Dreams, Reflections (MDR), we can understand that through that process, Jung held dialogues with the dead. This is considered to mean that he had contact with the world of death to reach another culture—the East. Yama argues that the indeterminate state between the determinate culture and another is chaotic and uncertain, a space which may possibly lead to the world of death. Nowadays, amongst rapid globalization, many people from diverse backgrounds have opportunities to encounter different cultures for various reasons, sometimes out of interest and sometimes out of necessity. In some cases, but not all, individuals simply step across into the other culture without the experience of ‘descending into the depth,’ as Jung had. Yama explores Jung’s inner journey and his childhood memories from the view of what was taking place while he was moving symbolically from the West to the East. For further exploration of the life of someone who is destined to live between different cultures, Yama introduces a Japanese old folk tale and presents clinical material, as well as her personal experience as one who spent her adolescence outside of her native culture.

English translations of the Japanese folkloremes in the English-language translations: cultural-cognitive asymmetry

The subject of this research is the linguocultural and cognitive aspects of the original Japanese folkloremes (names of fairy characters, mythical objects, and mythical animals) and their English correlates. The authors refer to folklore as a source of profound understanding of cultural connotation, cultural beliefs, cultural distinctness, traditions and customs. The methodological equivalence of linguistic and cultural-cognitive aspects of folkloremes is underlined. The goal of this work consists in determination of the formal and conceptual transformations of Japanese folkloremes in English translation of a Japanese tale. Folkloremes of a Japanese tale have not previously been an object of special research. Comparison of the text of Japanese folk tale and its English analogue demonstrates the cultural-cognitive asymmetry between Japanese folkloremes and their English correlates. Three types of Japanese folkloremes (unique; possessing distinct characteristics; and having cultural-specific associations) determine different techniques of their translation into the English language and various types of transformations of their conceptual content. Cognitive asymmetry of Japanese and Anglo-Saxon cultures substantiate the insufficient understanding and accentuation in English texts of the Japanese important cultural dominant – social and age hierarchism, as well as the enduring significance of image of the emperor and imperial power associated with this dominant.

Isao Takahata : Inspiring Visual Styles of Japanese Film & Anime Aesthetics

The Tale of Princess Kaguya is an adaptation from The Tale of the Bamboo Cutter, a classical Japanese folktale, directed by Isao Takahata in Studio Ghibli productions. Isao Takahata is a director who has long been overlook by his longtime colleague and Studio Ghibli co-founder Hayao Miyazaki. The purpose of research about cinematography techniques or style of Isao Takahata animated film in The Tale of Princess Kaguya. The Princess Kaguya animated film is like an old Japanese painting that is similar to traditional sumi-e. The focus of this research will look into several aspects such as impressionistic style and the character design in Princess Kaguya animated film. Impressionistic art is an art style when an artist looks into situation or things with a short glimpse and paint it back using bright and vibrant colors. Most of the pictures are outdoor scenes. The concept character of Princess Kaguya created with amazing work of art using hand-drawn animation to new heights of fluidness.

일본구전설화를 통해 본 아마테라스 오미카미(天照大神) 신앙

일본구전설화를 통해 본 아마테라스 오미카미(天照大神) 신앙

From Dog Bridegroom to Wolf Girl: Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West by Mayako Murai, and: Japanese Animal-Wife Tales: Narrating Gender Reality in Japanese Folktale Tradition by Fumihiko Kobayashi

From Dog Bridegroom to Wolf Girl: Contemporary Japanese Fairy-Tale Adaptations in Conversation with the West by Mayako Murai, and: Japanese Animal-Wife Tales: Narrating Gender Reality in Japanese Folktale Tradition by Fumihiko Kobayashi

The Peasant Ghost

This edition provides critical insight into the classic Japanese folktale comonly referred to as “The Ghost of Sakura.” Themes include the narrative of the feudal peasant, the cultural importance of the collective good, and the Western view of Japanese culture. We have also included two original essays by Mitford and an article from the New York Times in order to contextualize the cultural importance of this narrative on a global scale.

Momotaro as Proletarian: A Study of Revolutionary Symbolism in Japan

This article discusses the ideological working of Momotaro, a popular Japanese folktale in which an imaginary hero liberates his people from evil demons in a distant land. During the 1930s and 1940s, this folktale was used by the imperial authorities to justify the war against “demonic Anglo-Americans.” Little known is that the same story was also appropriated by Japanese orator-communists challenging imperialism and war capitalism. The article critically examines how the folk hero acquired “class consciousness” and became proletarian, critiquing the dominant ideology.

The evolution of Japanese folktale dramas: Utayomizaru (The Monkey Poet) by Budoza Theatrical Company

The evolution of Japanese folktale dramas: <i>Utayomizaru</i> (The Monkey Poet) by Budoza Theatrical Company

Migration, Mental Illness and Terry Watada’s The Tale of a Mask

Developed and produced at Toronto’s Workman Theatre Project (WTP) in 1993, Terry Watada’s play The Tale of a Mask weaves a Japanese folktale with a contemporary tragedy inspired by a double murder and suicide in Vancouver. Since 1991, the WTP has collaborated with playwrights to develop plays that educate audiences about mental illness and destabilize representations that perpetuate stigma. The Tale of a Mask was developed as part of a WTP initiative to investigate multiculturalism, immigration, and mental illness in Canada. The eponymous mask of the title, the author argues, acts as an enigmatic symbol for mental illness read differently by different cultures.

Migration, Mental Illness and Terry Watada's The Tale of a Mask

Developed and produced at Toronto's Workman Theatre Project (WTP) in 1993, Terry Watada's play The Tale of a Mask weaves a Japanese folktale with a contemporary tragedy inspired by a double murder and suicide in Vancouver. Since 1991, the WTP has collaborated with playwrights to develop plays that educate audiences about mental illness and destabilize representations that perpetuate stigma. The Tale of a Mask was developed as part of a WTP initiative to investigate multiculturalism, immigration, and mental illness in Canada. The eponymous mask of the title, the author argues, acts as an enigmatic symbol for mental illness read differently by different cultures. Elabore et realise au Workman Theatre Project (WTP) de Toronto en 1993, The Tale of a Mask de Terry Watada est un conte japonais populaire entrelace avec une tragedie contemporaine inspiree par un double meurtre et suicide a Vancouver. Depuis 1991, le WTP a collabore avec des dramaturges pour elaborer des pieces de theâtre qui renseignent les auditoires sur les maladies mentales et destabilisent les representations qui perpetuent les stigmates. The Tale of a Mask a ete elabore dans le cadre d'une initiative du WTP pour examiner de plus pres le multiculturalisme, l'immigration et les maladies mentales au Canada. Le masque mentionne dans le titre represente, d'apres l'auteure, un symbole enigmatique de la sante mentale percu differemment par differentes cultures. How might mental illness be performed on a contemporary Canadian stage? This deceptively simple question lies at the heart of an innovative theatre company attached to the Centre for Addiction and Mental Health in Toronto. Since 1989, the Workman Theatre Project (WTP) has sought to produce plays about mental illness. Their more than 20 productions have had the dual aim of giving voice to artists who have experienced mental illness and educating the public in order to combat the stigma of mental illness. In The Last Taboo: A Survival Guide to Mental Health in Canada (2001), Scott Simmie and Julia Nunes argue that many people who have received mental health services in Canada cite stigma as worse than mental illness itself: social discrimination, stigma, and isolation may compound and exacerbate the suffering of people diagnosed with mental illness. Moreover, stigma may prevent people suffering with mental illness from seeking help, professional or otherwise. Left to cope with illness on their own, people may become vulnerable to a host of ill effects, a range of self-destructive behaviours, or suicide. For WTP members, such high stakes create a forceful need to combat stigma-a need that informs much of their creative work. The project's dramaturgical process involves collaboration between commissioned professional playwrights, actors and directors with an interest in mental illness issues, and project members.1 At its broadest level, the WTP seeks both to destabilize mental illness representations that perpetuate stigma and to highlight the impossibility of ever wholly fixing or knowing mental illness on stage. Terry Watada's The Tale of a Mask, staged at the WTP in 1993, was developed and performed as part of a broader WTP initiative to investigate multiculturalism, immigration, and mental illness in Canada. It is a tragedy based on the real life and death of Fumiyo Takabe, a Japanese immigrant who became profoundly isolated and depressed in her new home of Vancouver in 1990 and took her own life and that of her husband and sons.2 The Tale of a Mask tells a parallel story about a central character named Aiko Shinde, her husband Masato, and her son Kentaro, who experience isolation, stigma, and cultural misunderstanding when they immigrate to Toronto from Japan in 1992. In a state of extreme depression, Aiko kills Masato, Kentaro, and herself. While the play's broad narrative seems to posit a direct relationship between real and represented events, its formal structure aims to do the opposite. …

Insiders, Outsiders, and the Question of Authenticity: Who Shall Write for African American Children?

Let Portmans go to Ireland, but as you know nothing of Manners there, you had better not go with them. You will be in danger of giving false impressions. Stick to Bath & Foresters. There you will be quite at home. (Jane Austen [from a letter to Austen's niece, who had sent her manuscript of a novel], qtd. in Mercer 307) This romance was sketched out during a residence of considerable length in Italy, and has been rewritten and prepared for press in England. The author proposed to himself merely to write a fanciful story, evolving a thoughtful moral, and did not purpose attempting a portraiture of Italian manners and character. He has lived too long abroad not to be aware that a foreigner seldom acquires that knowledge of a country, at once flexible and profound, which may justify him in endeavoring to idealize its traits. Italy, as site of his romance, was chiefly valuable to him as affording a sort of poetic or fairy precinct.... (Nathaniel Hawthorne, Preface to The Marble Faun vi) My themes are universal. And because black people are people I know, and part of group that I am, that is my center, so to speak, so my characters are black. Most of time.... But it's very difficult when you're a black writer to write outside of black experience. People don't allow it; critics won't allow it. If I would do a book that didn't have blacks, people would say, Oh, what is Virginia Hamilton doing? Yet a white writer can write about anything. (Virginia Hamilton, qtd. in Rochman 1021) This is a popular Japanese folktale and tells story of a devoted pair of wild ducks. The illustrations in this beautiful book are subtle and suggestive but also an education in dress, hairstyles, hierarchical levels of society, homes, customs and, not least, in eighteenth-century Japanese art. (I have been told that there are inaccuracies in representations; cummerbunds of ladies are wrong width and upper-class ladies sport hair styles of courtesans. And Japanese never wear shoes in house. This doesn't lessen my bonding with this book and, indeed, makes me want to find out more.) (Judith Graham [commenting on The Tale of Mandarin Ducks, retold by Katherine Paterson and illustrated by Leo and Diane Dillon] 24) One central concern of scholars, literary historians, and critics these days is matter of authenticity, especially authenticity of cross-cultural and multicultural stories, and ensuing conflict or question, Who will produce literature of parallel cultures? An author of character's own particular culture - or anyone? And for those who feel it doesn't matter (that anyone who can tell a good story should do so), we must ask, What makes a story good? Replicating reality to fullest? Getting facts and feelings right? Suppressing or distorting reality to make us think and feel differently? (Giving us new images to think with - and about?) But good for whom? Writers who want or need freedom of expression? Publishers who want story to sell? Readers who want to find themselves in a book? Readers who want to find others in a book? And which readers? Those closest to author's own reality? Or those with different background experiences? Can a really story be good if it does not derive its material from traditions (the memories, beliefs, preoccupations, and concerns) of an author whose cultural origins are shared by those of story's characters? Jane Austen, with her concern for social realism, did not think so. And remark she made about the little bit (two inches wide) of ivory on which I work with so fine a brush (qtd. in Tanner 1) has now become legendary. Nathaniel Hawthorne agreed in principle, and that is why he decided to make his story The Marble Faun, set in Italy, a fantasy and why he took great pains to sidestep a realistic portrait of his Italian characters. Virginia Hamilton protests fact that she does not have liberty of white authors, who either ignore Austen's advice or follow Hawthorne's example. …

B H. Chamberlain's Translations of “Urashima”

The legend of Urashima is told in English by several writers. The legend itself has been handed down in several versions. The earliest attempt at introducing this Japanese folk tale to English readers was made by B. H. Chamberlain, when he translated a poem on Urashima from the Manyoshu, the earliest Japanese anthology.His translation was not a prose, but a poem after the manner of an English ballad, which is a favorite style with the English people in reciting the medieval legends. English and Japanese are quite different languages with almost antipodal characters. He believed that the Japanese poetry could be better understood by English readers when rendered in English poetic style. His early translations, including “Urashima”, was literary, but later his taste changed. He was no longer satisfied with the liberal translation. He wanted to be strictly faithful to the original text.He wrote for English boys and girls four Japanese fairy tales, one of which is “Urashima.” It is adapted from a popular version of the fisher boy Urashima.

サーデク・ヘダーヤトの思想と文学

Since 1976 I have translated his masterpiece The Blind Owl and his several short novels. I think that The Blind Owl is a work which can claim a position of importance in the world literature. He tried to fuse the culture of east and west through his work. And he also tried to interpret this world in which we are living through his work. Thirdly he tried to write his world of non-consciousness.His style is clear and his works abound in attractiveness. In comparison with Jamalzade, Hedayat's sentence is rather short. It is claimed that Rilke's style had influence on that of Sadeq Hedayat. In my view, however, this is not a matter of influence; it is better to say they essentially share a same disposition.There is no doubt the thoughts of Omar Khayyam had great influence upon Sadeq Hedayat. Both of them contempted Islam and showed a favor to Zoroastrianism. It can be said that they are sort of nationalist. Pessimism is a prevailing feature in their works. Sadeq Hedayat had a feeling that this world was not a suitable place where he should live. This sense had ailed him through his life.Like Rilke his sense of time was extremely keen. Subjectivity is the essence of this sense. He translated Japanese folktale “Urashima Taro” into Persian. Hedayat was interested in this tale because Einstein's theory can be appllicable to it.“One is everything” is the main theme of The Blind Owl. This thought is extremely Buddhistic. So The Blind Owl is very understandable to us Japanese.Sadeq Hedayat was a man of the sense of beauty. This sense killed him. He abhorred rajjale-ha. But he could not lead a life of compromise. He committed suicide. But, exactly, he was killed by the hand of his own sence of beauty.

Religious concepts in the Japanese folk tale

The Japanese folk tale contains oral tradition which reflects a variety of religious concepts. Some of them can be identified with faiths which have already received considerable attention from scholars. While some of the concepts undoubtedly have been brought into Japan from mainland Asia, other beliefs shown in the Japanese folk tale are still held among islanders to the south and still others have analogies in beliefs found among people across the far northern rim of the world. Students of Japanese religions are apt to pass by these latter two types of tradition or to employ Taoism as a catch-all for sources of miscellaneous concepts concerning nature and magic that are not readily recognizable in Buddhist or Confucian traditions. While Shinto itself is usually regarded as the native faith of Japan, its origins remain obscure and its teachings cannot be regarded as an entirely integrated body of doctrine. Several theories concerning the racial origins of the Japanese are proposed, but they rely on evidence dating subsequent to

A Fourth Grade Composes a Japanese Folk Tale

A Fourth Grade Composes a Japanese Folk Tale