By re-examining the gender-specific behaviors of both the animal-woman and her human spouse, this book recovers the sociocultural and historical contexts that underlay their behaviors to demonstrate the actual gender characteristics that shaped the original Japanese Animal-Wife tales, highlighting the assertive, rather than naive, personality of women in early Japanese folktale tradition."
By re-examining the gender-specific behaviors of both the animal-woman and her human spouse, this book recovers the sociocultural and historical contexts that underlay their behaviors to demonstrate the actual gender characteristics that shaped the original Japanese Animal-Wife tales, highlighting the assertive, rather than naïve, personality of women in early Japanese folktale tradition.
Two hundred and twenty tales from medieval Japan—tales that welcome us into a fabulous faraway world populated by saints, scoundrels, ghosts, magical healers, and a vast assortment of deities and demons. Stories of miracles, visions of hell, jokes, fables, and legends, these tales reflect the Japanese civilization. They ably balance the lyrical and the dramatic, the ribald and the profound, offering a window into a long-vanished culture. With black-and-white illustrations throughout Part of the Pantheon Fairy Tale and Folklore Library
This collection of Japanese fairy tales is the outcome of a suggestion made to me indirectly through a friend by Mr. Andrew Lang. They have been translated from the modern version written by Sadanami Sanjin. These stories are not literal translations, and though the Japanese story and all quaint Japanese expressions have been faithfully preserved, they have been told more with the view to interest young readers of the West than the technical student of folk-lore.... In telling these stories in English I have followed my fancy in adding such touches of local color or description as they seemed to need or as pleased me, and in one or two instances I have gathered in an incident from another version. At all times, among my friends, both young and old, English or American, I have always found eager listeners to the beautiful legends and fairy tales of Japan, and in telling them I have also found that they were still unknown to the vast majority...
International folkloristics is a worldwide discipline in which scholars study various forms of folklore ranging from myth, folktale, and legend to custom and belief. Twenty classic essays, beginning with a piece by Jacob Grimm, reveal the evolving theoretical underpinnings of folkloristics from its nineteenth century origins to its academic coming-of-age in the twentieth century. Each piece is prefaced by extensive editorial introductions placing them in a historical and intellectual context. The twenty essays presented here, including several never published previously in English, will be required reading for any serious student of folklore.
In this "delightfully uncanny" collection of feminist retellings of traditional Japanese folktales (The New York Times Book Review), humans live side by side with spirits who provide a variety of useful services—from truth-telling to babysitting, from protecting castles to fighting crime. A busybody aunt who disapproves of hair removal; a pair of door-to-door saleswomen hawking portable lanterns; a cheerful lover who visits every night to take a luxurious bath; a silent house-caller who babysits and cleans while a single mother is out working. Where the Wild Ladies Are is populated by these and many other spirited women—who also happen to be ghosts. This is a realm in which jealousy, stubbornness, and other excessive “feminine” passions are not to be feared or suppressed, but rather cultivated; and, chances are, a man named Mr. Tei will notice your talents and recruit you, dead or alive (preferably dead), to join his mysterious company. With Where the Wild Ladies Are, Aoko Matsuda takes the rich, millenia-old tradition of Japanese folktales—shapeshifting wives and foxes, magical trees and wells—and wholly reinvents them, presenting a world in which humans are consoled, guided, challenged, and transformed by the only sometimes visible forces that surround them.
A goblin with no body and a monster with no face. A resourceful samurai and a faithful daughter. A spirit of the moon and a dragon king. This collection of 15 traditional Japanese folktales transports readers to a time of adventure and enchantment. Drawn from the works of folklorists Lafcadio Hearn and Yei Theodora Ozaki, these tales are by turns terrifying, exhilarating, and poetic. • Striking illustrations by contemporary Japanese artist Kotaro Chiba • Special gift edition features an embossed, textured case with metallic gold ink, and a satin ribbon page marker • Part of the popular Tales series, featuring Nordic Tales, Celtic Tales, Tales of India, and Tales of East Africa Fans of Ghostly Tales, and Japanese Notebooks will love this book. This book is ideal for: • Fans of fairytales, folklore, ghost stories, Greek mythology, roman mythology, Chinese mythology, and Celtic mythology • Anyone interested in Japan's history books and culture studies • People of Japanese heritage • Collectors of illustrated classics
Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. The most comprehensive compendium of short medieval Japanese fiction in English, Monsters, Animals, and Other Worlds illuminates a rich world of literary, Buddhist, and visual culture largely unknown today outside of Japan. These stories, called otogizōshi, or Muromachi tales (named after the Muromachi period, 1337 to 1573), date from approximately the fourteenth through seventeenth centuries. Often richly illustrated in a painted-scroll format, these vernacular stories frequently express Buddhist beliefs and provide the practical knowledge and moral education required to navigate medieval Japanese society. The otogizōshi represent a major turning point in the history of Japanese literature. They bring together many earlier types of narrative—court tales, military accounts, anecdotes, and stories about the divine origins of shrines and temples––joining book genres with parlor arts and the culture of itinerant storytellers and performers. The works presented here are organized into three thematically overlapping sections titled, “Monsters, Warriors, and Journeys to Other Worlds,” “Buddhist Tales,” and “Interspecies Affairs.” Each translation is prefaced by a short introduction, and the book features images from the original scroll paintings, illustrated manuscripts, and printed books.
Analysis of the mermaid in Japanese and English fairy tales through the framework of pleasure. Lucy Fraser's The Pleasures of Metamorphosis: Japanese and English Fairy Tale Transformations of "The Little Mermaid "explores Japanese and English transformations of Hans Christian Andersen's 1837 Danish fairy tale "The Little Mermaid" by focusing on pleasure as a means to analyze the huge variety of texts that transform a canonical fairy tale such as Andersen's. Fraser examines over twenty Japanese and English transformations, including literary texts, illustrated books, films, and television series. This monograph also draws upon criticism in both Japanese and English, meeting a need in Western fairy-tale studies for more culturally diverse perspectives. Fraser provides a model for critical cross-cultural fairy tale analysis in her examination of the journey of a single fairy tale across two languages. The book begins with the various approaches to reading and writing fairy tales, with a history of "The Little Mermaid" in Japanese and English culture. Disney's The Little Mermaid and Studio Ghibli's Ponyo on the Cliff by the Sea are discussed as examples that simulate pleasurable physical experiences through animation's tools of music and voice, and visual effects of movement and metamorphosis. Fraser then explores the literary effects of the fairy tale by male authors, such as Oscar Wilde, Tanizaki Jun'ichiro, and Abe Kobo, who invoke familiar fairy-tale conventions and delineate some of the pleasures of what can be painful enchantment with a mermaid or with the fairy tale itself. The author examines the portrayals of the mermaid in three short stories by Matsumoto Yuko, Kurahashi Yumiko, and Ogawa Yoko, engaging with familiar fairy tales, reference to fairy-tale research, and reflections on the immersive experience of reading. Women characters and authors are also hyperaware of the possible meanings of Andersen's "The Little Mermaid" and of the fairy tale itself, furthering the discussion with Nonaka Hiiragi's novel Ningyo-hime no kutsu, and D[di?]'s novel Sento no ningyo-hime to majo no mori, as well as an episode of the science fiction television series Dark Angel.Fraser concludes that the "pleasure" framework is useful for a cross-cultural study of creative engagements with and transformations of a particular fairy tale. Few studies have examined Japanese fairy-tale transformations to the extent that Fraser has, presenting fascinating information that will intrigue fairy-tale scholars and those wanting to learn more about the representation of pleasure behind the imaginative and fantastical.
