A horrific tale of murder and revenge set in 13th century Japan. One of the first Edo Manga following strict regulations on literature decreed by the Shogun. Gone are the sarcastic and ironic takes on everyday life. This new style of Edo Manga no longer take place in contemporary (late 18th & early 19th centuries) society, rather they are set long in the past and focus on themes of fealty, loyalty, honor and service to ones lord.
Articles crafted from lacquer, silk, cotton, paper, ceramics, and iron were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and their facture was a matter of serious concern among makers and consumers alike. In this innovative study, Christine M. E. Guth offers a holistic framework for appreciating the crafts produced in the city and countryside, by celebrity and unknown makers, between the late sixteenth and mid-nineteenth centuries. Her study throws into relief the confluence of often overlooked forces that contributed to Japan’s diverse, dynamic, and aesthetically sophisticated artifactual culture. By bringing into dialogue key issues such as natural resources and their management, media representations, gender and workshop organization, embodied knowledge, and innovation, she invites readers to think about Japanese crafts as emerging from cooperative yet competitive expressive environments involving both human and nonhuman forces. A focus on the material, sociological, physiological, and technical aspects of making practices adds to our understanding of early modern crafts by revealing underlying patterns of thought and action within the wider culture of the times.
An Edo Manga Double Issue! Two stories by Santo Kyoden. Help! A Ninja Stole My Soul! was published in 1789 and is a humorius and sarcastic look at the plight of an average-joe Samurai who loses track of his soul. The second story is The Great Serpent Turns 3000 Years Old and was published in 1787. A story of a giant snake that moves to a new village just before he is due to turn into a dragon.
The Cambridge History of Japanese Literature provides, for the first time, a history of Japanese literature with comprehensive coverage of the premodern and modern eras in a single volume. The book is arranged topically in a series of short, accessible chapters for easy access and reference, giving insight into both canonical texts and many lesser known, popular genres, from centuries-old folk literature to the detective fiction of modern times. The various period introductions provide an overview of recurrent issues that span many decades, if not centuries. The book also places Japanese literature in a wider East Asian tradition of Sinitic writing and provides comprehensive coverage of women's literature as well as new popular literary forms, including manga (comic books). An extensive bibliography of works in English enables readers to continue to explore this rich tradition through translations and secondary reading.
These books by the popular Manga writer and artist Santo Kyoden were originally published in 1789. This volume contains two humorous stories that were popular with both common Edo citizens (the city that would become Tokyo) and Samurai. The Girl Who Became a Taoist Immortal is a story about romance and betrayal at a gathering of Taoist Immortals. The Diary of Lord Fudo of Three River Island imagines the Buddhist Deity Fudo Lord of Light lives a rather downtrodden life in Edo. These early Manga were popular during the 18th and 19th centuries in Japan.
An Edo Era Manga originally published in 1800. This is a humorous story about a group of retired men and women who encounter a Taoist Immortal. They request to become students so they too may live forever.
This volume presents a series of five portraits of Edo, the central region of urban space today known as Tokyo, from the great fire of 1657 to the devastating earthquake of 1855. This book endeavors to allow Edo, or at least some of the voices that constituted Edo, to do most of the speaking. These voices become audible in the work of five Japanese eye-witness observers, who notated what they saw, heard, felt, tasted, experienced, and remembered. “An Eastern Stirrup,” presents a vivid portrait of the great conflagration of 1657 that nearly wiped out the city. “Tales of Long Long Ago,” details seventeenth-century warrior-class ways as depicted by a particularly conservative samurai. “The River of Time,” describes the city and its flourishing cultural and economic development during the late eighteenth and early nineteenth centuries. “The Spider’s Reel” looks back at both the attainments and calamities of Edo in the 1780s. Finally, “Disaster Days,” offers a meticulous account of Edo life among the ruins of the catastrophic 1855 tremor. Read in sequence, these five pieces offer a unique “insider’s perspective” on the city of Edo and early modern Japan.
Historical Dictionary of Japanese Traditional Theatre is the only dictionary that offers detailed comprehensive coverage of the most important terms, people, and plays in the four principal traditional Japanese theatrical forms—nō, kyōgen, bunraku, and kabuki—supplemented with individual historical essays on each form. This updated edition adds well over 200 plot summaries representing each theatrical form in addition to: a chronology; introductory essay; appendixes; an extensive bibliography; over 1500 cross-referenced entries on important terms; brief biographies of the leading artists and writers; and plot summaries of significant plays. This book is an excellent access point for students, researchers, and anyone wanting to know more about the Japanese theatre.
The official manga adaptation of the fan-favorite adventure RPG game! The young witch Wadanohara has just returned from a journey across the oceans, searching for a clue to her lost memories. Now that she has come home, along with her familiars Memoca, Dolphi and Fukami, Wadanohara must continue her quest while ensuring the safety of the ocean kingdom she hails from. But a mysterious figure from her past has appeared and demands that she leave her ocean home forever. What dark event transpired in Wadanohara’s past and what does it portend for her future?
