Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

2 results

  • 62 - Melodrama, family romance, and the novel at the turn of the century

  • from Part V - The modern period (1868 to present)
  • Edited by Haruo Shirane, Columbia University, New York, Tomi Suzuki, Columbia University, New York, David Lurie, Columbia University, New York
  • Book:
    The Cambridge History of Japanese Literature
    Published online:
    05 January 2016
    Print publication:
    17 December 2015, pp 605-612

  • Summary

    The final two decades of the seventeenth century saw in the intellectual life of Japan two developments that would prove to have influence on waka poetry, first on its poetics but later also on its practice. These were Kokugaku and Kogaku. Waka had traditionally eschewed all diction of foreign derivation, and its poetics came to occupy pride of place in Kokugaku writing. Both Kamo no Mabuchi and his nominal disciple Motoori Norinaga were poets of some repute but today they are remembered for their theories. Waka poetry was practiced by many literati, polymaths accomplished in several arts who tended to look askance at popular culture and who remained aloof from coteries and schools. The final generation of Edo period waka poets may be represented by two whose works are still often cited and admired: O kuma Kotomichi and Tachibana Akemi, both of whose merchant-class origins bespeak the extent of liberation of the art from its aristocratic monopoly two centuries earlier.

  • 63 - Modern Japanese poetry to the 1910s

  • from Part V - The modern period (1868 to present)
  • Edited by Haruo Shirane, Columbia University, New York, Tomi Suzuki, Columbia University, New York, David Lurie, Columbia University, New York
  • Book:
    The Cambridge History of Japanese Literature
    Published online:
    05 January 2016
    Print publication:
    17 December 2015, pp 613-622

  • Summary

    In the Tokugawa period, poetry played an important role in the ethical and political philosophies of many Confucians in the Ancient Learning or Kogaku movement, such as Ito Jinsai and Ogyu Sorai, who sought to recover the original meaning of Confucian texts, which they believed had been distorted by later commentaries. Poetry played a similar role for many scholars of Kokugaku or nativism, such as Kamo no Mabuchi and Motoori Norinaga, who advocated a purely native Japanese culture freed from Confucianism and other foreign influences. Sorai linked empathy to a political ideal of decentralized feudalism, which he saw as characteristic of ancient China up until the Zhou dynasty, and contrasted with the centralized bureaucracies of the Qin dynasty and later. In his later works Mabuchi put forth a philosophy of Japanese cultural superiority in which he claimed that Japan originally possessed a spontaneous social harmony and unity with nature that were lacking in China.