Course Syllabuses Re: The 3.11 Disasters

Sophia University in Tokyo has assembled a fantastic list of courses being taught in Japan and the US about the 2011 Great Tohoku Earthquake and Tsunami.

Teaching 3.11 Syllabi Collection

Most are in English or Japanese, though there is a link to one resource in Italian.

Fooling around with fûga 風雅

Some famous phrases associated with fûga (poetry, elegance) from the Bashô school.

There might be some problems with these because I'm taking them out of context. These are more or less notes to myself about their general meaning rather than 100% reliable translations. I'm just thinking about how the Bashô school describes poetic work.

• 俳諧といへども風雅の一筋なれば姿かたちいやしく作りなすべからず。 

Though it be called haikai, it is on a continuum with everything artistic, so you should compose it in a way that is vulgar neither in content nor in form.

- Bashô, cited in Mukai Kyorai's 向井去来  Tabine ron 旅寝論

• 詩・歌・連・俳はともに風雅なり。上三つのものには余す所もあり。その余す所まで俳はいたらずといふ所なし。 

Poetry in Chinese, waka, renga, and haikai are all artistic forms of expression. The first three have left areas unexplored. Of those unexplored areas, none may be called unreachable by haikai.

- Dohô 土芳, in Sanzôshi 三冊子.

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Syllabus: East Asian Calligraphy in the Community

My service learning course is underway. I'll post some reflections on our work in the course soon. For now, here's the syllabus, minus the assignments schedule:

JPN 190 FIRST YEAR SEMINAR: EAST ASIAN CALLIGRAPHY IN THE COMMUNITY Made possible by a grant from the Center for Community Partnerships at Emory University

Course Description:

The class uses brush calligraphy as a focal point from which to begin exploration of common values in the cultures of East Asia, and the ways in which some of these values can enrich life in modern, globalized communities. In premodern China, Japan, and Korea, skill in brush calligraphy was one of the most important attributes of an educated, civilized person; it was regarded as a means of both learning and of demonstrating virtue.

Although it was originally developed in China, as early Koreans and Japanese embraced Chinese knowledge, they also took on Chinese writing system and calligraphy. Thus, calligraphy as a means to educate and enrich life in China became an early example of intercultural exchange in countries far from its point of origin, and continues to offer amedium of common appreciation for people from a wide range of linguistic groups and cultural backgrounds.

During the first few weeks of the class we will read fundamental texts related to East Asian philosophy. We will also practice the basic strokes of brush calligraphy. In the second part of the course, we will meet once a week on the Emory campus, and continue our study and discussion of East Asian cultural theory. The second session of class each week will be held at Clarkston Community Center, where we will join the senior learning group in practicing and assisting with students working there (transportation is provided). During the course of these sessions at CCC, students will be invited to consider the applicability of the cultural theory to their own experience, and observe their CCC classmates'experience as well. They will be asked to keep a reflection journal, and to participate in planning and organizing an exhibition of final projects at the CCC.

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"Onna daigaku": Character Building Calligraphy II

To start part two, here's a useful list of sources on the history of women's literacy in Japan:

Link to Women and Books in Japan (Cambridge)

Okay, back to Onna daigaku. We've now reached the Kyoho period. Ishikawa tells us that in 1716, there was the simultaneous Osaka-Edo publication of Onna daigaku takarabako, the first of a flock of similarly-named texts. It followed the example of Onna Imagawa and Onna jitsugokyô in organization and content, arranged in the form of admonitions. Similarly, aside from being a reader, it was also a calligraphy copybook. Furthermore, it was profusely illustrated.

According to Ishikawa, it's not clear why this (these) texts were called Onna daigaku. The editor is not named, there is no preface, and there's no indication in the main text either. It's entirely speculative to say so, but during the early modern period education for boys was drawn from Confucian curriculum,  Song studies (= neo-Confucianism) was very influential, so the Four Books was the basis of education. The Four Books were Daxue, Zhongyong, Lunyu, and Mengzi, and of these, Daxue was the most important. So, perhaps Onna daigaku was thus named in order to function in girls' education the same way that Daxue did for that of boys? In other words, girls should have it to hand, internalize its principles -- the first, most important moral textbook.

Click "read more" for the rest.

"Onna daigaku": Character Building Calligraphy I

From Waseda's copy;
link is below

In the course of working on better understanding neo-Confucianism, I started thinking about Onna daigaku 女大学 (18th century), which borrows the name of the key neo-Confucian text I've been writing about here, Daxue. It's not a single text as much as a bit of shorthand to refer to a whole lineage of textbooks for women, the earliest of which is Onna daigaku takarabako 女大学宝箱 (Women's 'Great learning' jewel box), erroneously attributed to neo-Confucianist philosopher and educator Kaibara Ekken 貝原 益軒 (1630-1714).  Its content bears very little relationship to Daxue; its authors merely added the title to make the point that Onna daigaku should also be regarded as an essential basic textbook. Its intended audience was women, so there's none of the pithy, thought-provoking text of the real Daxue. Instead, it addresses specific behaviors expected from women -- how to get along in their own households and that of their husband.

The book I'm reading about it is called Onna daigaku shû (Onna daigaku anthology) 女大学集, by Ishikawa Matsutarô 石川松太郎 (Heibonsha, 1977). It covers textbooks for women starting in Hôei 7 (1711, Volume 5 of Ekken's "Girls' pedagogy," from 和俗童子訓 Precepts for Children in the Japanese Manner), with 8 more examples, the last of which is Fukuzawa Yukichi's Onna daigaku hyôron, (Critical Onna daigaku), 1899. It's got great annotations and commentary, and is illustrated with reproductions of woodblock editions of the texts it includes, so it's really useful. Right now I'm really interested in what it says about women's textbooks in the eighteenth century, so my notes here will summarize what it says about that. What caught my attention was the way that Onna daigaku demonstrates theories about relationship between moral education (or if you prefer, self-cultivation), calligraphy models, and visual imagery. Consciously setting to one side the deep unpalatability of the message about women always obeying men, I want to think more deeply about the issue of specialized textbooks for women and wonder what's here.

(Click "Read more" for the rest of this post.)

If you're curious about the content, a partial translation is available online, and you can read the whole thing as a book.

• Excerpts from Onna daigaku (PDF, hosted by Columbia University)
• The book is called Women and Wisdom of Japan. A number of versions are kicking around on the internet. A reprint is also available as Onna Daigaku: A Treasure Box of Women's Learning from Nezu Press, 2010.
• Also, there are some amazing digitized editions available through Japanese libraries. Try this one, at Tokyo Gakugei Repository; or this one, at Waseda.

Ishikawa's commentary describes several phases in textbooks for women. Education in the early modern period for men and women was different, as there were different expectations for the roles men and women would play in the ie (household). In describing the differences, the implication is that in the 17th century most of the education was taking place in elite families, and as social organization was based in the ie, it focused on preparing people to take their respective roles. The ie included long-dead ancestors as well as newborn grandchildren. Boys were taught scholarship, martial arts, and how to maintain the continuity of the ie in which they would spend their lives. As girls would eventually leave their natal ie and join somebody else's, they also had to learn how to get along with their husband's family as well as how to raise children and perform household tasks. The requirements for being a cultivated woman was essentially possession of these four qualities: 1) wifely virtue 婦徳, 2) wifely speech 婦言, 3) wifely appearance 婦容, 4) wifely skills 婦巧. Educational materials tended to convey their message in two different ways: abstract admonition about morals was one, and illustrative stories about exemplars was the other.

The first appearance of textbooks aimed particularly at girls corresponded with a few developments -- a peaceful state, improved printing technology, and the importation of books from China. These included Chinese texts for educating girls; thus, some of the earliest Edo-period girls' textbooks were basically annotated Chinese texts. Ishikawa mentions Kumabara Banzan's Precepts for Women 女訓 (1691). Another group of texts consisted of annotations of the imported Women's Four Books 女四書 (1656), including Women's Classic of Filial Piety 女孝経, Admonitions for Women　女誡, Women's Analects　女論語, and Precepts for the Interior 内訓. Also in 1656, Kitamura Kigin published a version of (the Chinese) Biographies of Exemplary Women called Biographies of Exemplary Women in the Japanese Syllabary 仮名列女伝. This was followed by Kurozawa Hirotada's 黒沢弘忠 Japanese Biographies of Exemplary Women 本朝列女伝(1663) and Asai Ryoi's 浅井了井 Japanese Mirror for Women 本朝女鏡 (1661).

Things developed further in the eighteenth century, as access to education and books began to extend to commoners, and correspondingly there was more demand for texts that would teach women basic literacy, letter writing skills, and proper behavior. An early best seller at this stage was based on the Muromachi-era classic Imagawa Admonitions 今川状 (by Imagawa Nakaaki); it was called Onna Imagawa 女今川 and followed a similar format of bullet-point style instructions about what not to do. In addition to its content, it was important as a model for handwriting practice.

A digital version of a copy at Waseda is here.

Other kinds of textbooks followed on from late Heian/early Kamakura boy's textbooks like Teachings on Words of Truth 実語教 and Teachings for Children 童子教: Women's Admonitions Illustrated Women's Teachings on Words of Truth 女誡絵入女実語教 and Women's Admonitions Illustrated Women's Teachings for Children 女誡絵入女童子教.

A digital version of the former at Tokyo Gakugei Repository is here.  A digital version of an edition of the latter that is not illustrated, but written in exquisite calligraphy, is here.

The content emphasized developing wisdom and good moral character, as they were supposed to collect the essential teachings of the Four Books. They were also used as models for handwriting. In addition to these, there were lots of other women's textbooks published during this period, all of which combined examples of good writing with instruction in the virtues and skills required of women in maintaining the continuity of their households.

Wow! This has gotten more detailed than I'd anticipated! Ok, I'll publish this in two parts. The rest will follow before too long.

Peter Kornicki's Bibliography of Japanese History

Professor Kornicki teaches at the University of Cambridge.

The bibliography was originally compiled in 1996 and has been revised since then. It covers Japanese history up to the Meiji period, and is searchable.

The link is here:
http://www.ames.cam.ac.uk/jbib/

Development of Japanese Studies Outside Japan

The Pre-Modern Japanese Studies listserv has an interesting thread developing, inspired by celebrations of the Queen's Jubilee in the UK. Here are some highlights.

1) Ross Bender:

I just finished reading Orienting Arthur Waley: Japonism, Orientalism, and the Creation of Japanese Literature in English by John Walter de Gruchy (Hawaii, 2003) which is chock full of fascinating insights about the origin of premodern Japanese studies.

One of my favorite factoids is that when the SOAS was founded in 1917 in London, there were seven students in the Japanese program in the first year, "rising to an average of twenty-seven a year over the next five years." After the termination of the Anglo-Japanese Alliance in 1921, the average number dropped to a mere eleven students between 1923 and 1941, and only two students actually took degrees in the period between the wars. According to de Gruchy, quoting Earl Miner, it was not until Donald Keene that the academic field of Japanese literature was actually created as an academic discipline.