Textures of mourning : calligraphy, mortality, and The tale of Genji scrolls
著者
書誌事項
Textures of mourning : calligraphy, mortality, and The tale of Genji scrolls
(Michigan monograph series in Japanese studies, no. 84)
University of Michigan Press, 2018
- : hardcover
- タイトル別名
-
Textures of mourning : calligraphy, mortality, & The tale of Genji scrolls
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 309-322) and index
内容説明・目次
内容説明
How does mourning emerge to reshape Japanese visual culture? Textures of Mourning addresses this question by examining engrossing literary and visual portrayals of death and its aftermath from The Tale of Genji and its adaptations. Contending that the work of mourning unfolds through interwoven practices of reading, writing, painting, and public exhibition, Reginald Jackson charts how mourning spurs artistic composition, triggers visceral responses, and seduces spectators in both premodern and contemporary Japan. Textures of Mourning delineates the intimate relationship between mourning and reading at three historical tipping points: the height of imperial power in the early eleventh century, when the literary masterwork The Tale of Genji (1008) was written; the collapse of imperial hegemony in the late-twelfth century, when Genji's most famous handscroll adaptation was composed (1150); and the post-bubble recessionary context in which those handscrolls were refashioned as the "Resurrected Genji Handscrolls" (2006). As material objects wrought at comparable moments of social upheaval, these texts become vehicles through which to mourn perished ideals of vitality, prosperity, and belonging.
Textures of Mourning is the first full-length manuscript in English to investigate these texts' complex relationship across eras. By analyzing dozens of sumptuous images, the book pursues mortality's progression over four sections-"Dying," "Decomposing," "Mourning," and "Resurrecting"-each of which contextualizes factual and fictional accounts of reckoning with death to discern the mechanics of mourning's labor. A major intervention of the book is to theorize how the riveting opacity, coarse materiality, and skewed temporality of premodern forms trouble modern regimes of looking, feeling, and knowing. Drawing upon scholarship in premodern Japanese literary studies, art history, and performance studies, the book's innovative trans-disciplinary readings reorient psychoanalytic criticism and performance theory to map the fluctuating topography of calligraphic gestures.
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