While the complexities of interpreting in constrained legal contexts such as trials may gradually be getting better understood by legal professionals, the particular difficulties of interpreting for the Deaf remain largely overlooked, and the recent involvement of citizen judges in Japan’s justice system makes it even more important to raise awareness about this aspect of language disadvantage. This paper focuses on a key feature of Japanese Sign Language: the non-manual markers produced by facial and body movements that accompany hand and (...) finger signs. Research shows such markers to be poorly understood by non-Deaf observers and indeed even sign language interpreters sometimes conflate them with gestures used by hearing people. (shrink)

Immerse yourself in the world of the Samurai with this classic text. Code of the Samurai is the 350-year-old summary of the rules and expectations embodied in Bushido-the ancient Japanese "Way of the Warrior." Written by Taira Shigesuke, a Samurai and prominent teacher of military techniques, it was published posthumously in 1834. This influential book was intended as a training manual for young Samurai, outlining personal and professional standards. This accessible and enjoyable translation is by Thomas Cleary, the foremost (...) translator of Asian martial classics, accompanied by the powerful line drawings of master illustrator Oscar Ratti. A new foreword by Alexander Bennett, a leading expert on Samurai history, explains the lasting importance of this classic work and its place within the canon of Japanese literature. (shrink)

This article demonstrates that Fujiwara no Toshinori composed the text of the National Treasure Heike nokyo ganmon, which has usually been attributed to Taira no Kiyomori. First, the article establishes that Toshinori was a prolific author of the ganmon genre, which required skill in composing elaborate parallel prose and a profound knowledge of Buddhist doctrine and Chinese history. It then documents the existence of many, overlooked works written by Toshinori and reveals that certain passages found in them match passages (...) in the Heike nokyo ganmon, thus proving Toshinori’s authorship. It focuses in conclusion on Toshinori’s role in producing a picture scroll for the imperial court, a task precisely analogous to that carried out by his brother, the monk Joken, and suggests that Toshinori and his family may have been responsible for a good deal of the art created in the milieu of the retired emperor Goshirakawa. (shrink)

This paper examines the introduction of European anatomy to Japan via translated medical texts in the eighteenth century. It argues how detailed illustrations of the body found in the texts presented a new discourse by which to objectify and control the body, and new metaphors and analogies by which to view society. Inspection of bodily parts through dissection and the reading of anatomical texts marked a transition to Western forms of science, to ‘reliable’ knowledge which was certified by the social (...) status of the author. By looking at one important text, the Kaitai shinsho [A New Book of Anatomy] , it will be shown that changes in representations of the body reflect the social construction of gender. (shrink)

Ce livre interroge les passages entre dire et chanter, leurs usages, leurs contraintes, les multiples façons dont ils sont nommés et mis en oeuvre, leurs enjeux esthétiques, poétiques, dramaturgiques ou anthropologiques. Il rassemble dix-sept essais comme autant d'études de cas, autour de quatre axes: " Le chant des mots "; " Représentations de la parole et enjeux dramaturgiques "; " Du souffle au cri "; " Voix plurielles et identité ". De multiples états du dit/chanté sont abordés: des manifestations du (...) parlé sur la scène de l'opéra au me siècle au retour actuel de la mélodie parlante orchestrale, des formes vocales exploratoires des années soixante aux modes du chant en poésie, de l'extra-vocalité provocatrice des XXe et XXIe siècles aux musiques rituelles où il n'est plus seulement question de chanter mais aussi de servir avec sa voix. L'ouvrage tient ensemble musicologie, ethnomusicologie et poétique. Il rend compte de structures, de pratiques et de typologies. Les oeuvres étudiées sont entre autres celles de Bernd Aloïs Zimmermann, Jonathan Harvey, Paul Valéry, Jules Massenet, Alban Berg, Claude Debussy, Manuel de Falla, Francis Poulenc, Jean Cocteau, les Beatles, les Pink Floyd, les Who, Helmut Lachenman, Yoshihisa Taïra, Jean-Christophe Marti, Franz Koglmann et aussi des chants liturgiques coptes de Haute-Egypte, de l'Eglise apostolique arménienne d'Istanbul ou encore la musique carnatique d'Inde du Sud. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Zen War StoriesSteven HeineZen War Stories. By Brian Daizen Victoria. London and New York: Routledge-Curzon, 2003. Pp. xviii + 268. Hardcover $124.95. Paper $34.95.Brian Daizen Victoria's Zen War Stories, following his highly acclaimed but also highly provocative Zen at War (Weatherhill, 1997), continues his withering attack on the embracing of wartime ideology by leading Zen masters and practitioners in Japan. Victoria seeks to show that the attitude characteristic (...) of numerous examples of prominent Zen monks and scholars was not simply a matter of benignly resisting, or even passively accepting, the rhetoric of Imperial Way Buddhism by clergy who were under pressure and powerless to stand up to the authorities. Nor was it an example of innocently recognizing historical and ideological affinities between Zen monastic discipline and military training.On the contrary, the Zen masters discussed here eagerly and enthusiastically endorsed some of the most excessive and reprehensible aspects of imperial ideology in the name of a corrupted vision of spiritual realization as a tool to spread the doctrine of the Greater East Asia Co-prosperity Sphere. They also used Zen wedded to hyper-nationalism and imperialism as a tool to misread the historical records of their own tradition and to help transport Japanese supremacy to China and Korea, while refusing to acknowledge or repent for their actions with the defeat of Japan. This outlook also infected numerous politicians and military figures, who turned to Buddhism as a way of explaining away or masking their roles leading up to, as well as during and after, World War II.In part 1 of Zen War Stories Victoria documents several masters who have become icons in the West for their apparent adherence to a Zen tradition linked with an ability to address contemporary culture. After showing in chapter 4 that Ōmori [End Page 345] Sōgen, praised for his prowess in swordsmanship and other arts, had a fascistic, "Mr. Hyde" side as manifested in the founding in 1932 of the Kinnō Ishin Dōmei (League for Loyalty to the Emperor and the Restoration), Victoria turns to the case of Yasutani Haku'un. In chapter 5, "Zen Master Dōgen Goes to War," we find that Yasutani, known as the teacher of Philip Kapleau and the inspiration for The Three Pillars of Zen, wanted to smash all universities for being traitors. He was a fanatical militarist who "transformed the life and thought of Zen Master Dōgen (1200-1253), the thirteenth-century founder of the Sōtō Zen sect in Japan, into a propaganda tool for Japanese militarism" (p. 68).In particular, Yasutani tried to argue that Dōgen's famed pilgrimage to Song China in 1223 was triggered not by a longing for the Buddhist Dharma but by a disgust with the new shogunate and an infatuation with preserving the Imperial House. According to Victoria, Yasutani's corrupted spirituality did not end with a support for militarism. He was also even more "ethnic chauvinist, sexist, and anti-Semitic" (p. 68) than his teacher Harada Daiun Sōgaku, whose "most memorable wartime quote is: '[If ordered to] march: tramp, tramp, or shoot: bang, bang. This is the manifestation of the highest Wisdom [of enlightenment]"' (pp. 66-67).After discussing in chapter 7, "Zen 'Selflessness' in Japanese Militarism," how Zen's historical relation to the samurai was misinterpreted to support the imperial ideology concerning the acceptance of death by D. T. Suzuki and other prominent representatives of Zen, including former Eiheiji temple abbot Kumazawa Taizen, part 2 takes up examples of the involvement with Buddhist thought by military and political leaders. While this section is less devastating as a critique of Zen than of Japanese Buddhism and society in general, Victoria explains in chapter 10, "Buddhism-The Last Refuge of War Criminals," how easily the moral basis of religion can be distorted and subverted. For example, as recollected by Buddhist studies scholar Hanayama Shinshō, seven Class A war criminals who had been condemned to death continued, while on death row, to cling hypocritically to Buddhism to find some feeling of solace. For instance, Hirota Kōki never abandoned his attachment to Zen and the warrior class and... (shrink)

For almost 700 years shoguns ruled Japan. These "gentleman warriors" developed a dedicated system of honor and strict guidlelines of behavior that Taira Shigesuke first brought together in his 16th century book—Bushido Shoshinshu. Present to a modern audience in clear, easy-to-read English, this new translation captures the majesty of the higher principles as well as the usefulness of the daily advice. From principles such as "a samurai should keep foremost in his mind the fact that he must die" to (...) rules regarding duty, personal obligation and even money management, this book sets out the guidelines that defined Japan's "way of the warrior." Honor and obligation are emphasised above all to the reader, who is taught that a samurai is expected to be indifferenet to pain, unquestioningly loyal, and an expert in his training. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Asura’s Harp: Engagement with Language as Buddhist PathKenneth K. TanakaAsura’s Harp: Engagement with Language as Buddhist Path. By Dennis Hirota. Heidelberg: Universitätsverlag, 2006. 156 pp.In Asura’s Harp, Hirota focuses on the Pure Land Buddhist thought of Shinran (1173–1263), the founder of Jōdo Shinshō school and one of the major figures of Japanese Buddhism. I believe Hirota’s main argument of the book is succinctly expressed on its back cover (...) blurb: “Unlike monastic traditions that seek the eradication of delusional attachments through transcendence of ordinary thought and speech, Shinran teaches that human existence is inevitably characterized by linguisticality and that the genuinely practicable path to realization lies in engagement with language.” For Hirota, language plays a central role in the religious transformative experience called Shinjin, considered a genuine awareness of the self and the world. This way of understanding religious language goes against the dominant view, especially that of Zen with its proverbial “beyond words” approach 1 and contemporary Buddhist discussions on language as being limited and even false.In the prologue of the book, Hirota points out the growing convergence in the Buddhist outlook and the current interest in Western thought. Both traditions see that “persons are not autonomous agents making judgments and initiating actions independently of others, their past, and their location in society and history” (p. 2). Instead, humans are now seen to be situated in particular temporal and spatial circumstances, with its attendant limitations, prejudices, and finitude. In terms of language, this realization has led to a shift in Western thought from metaphysical to hermeneutical concerns, thus resonating with Buddhism’s view of ordinary language [End Page 182] as “inevitably warped by attachments and informed by falsely reifying conceptualization” (p. 2).At the same time both traditions recognize the adaptive use of language, as seen especially in the Buddhist conception of “skillful means,” to provide guidance to self-realization and awareness. This, Hirota believes, offers an opportunity for a dialogue between contemporary Western thought and Buddhism.With this as the backdrop, Hirota sets out to clarify the nature and significance of language in Shin Pure Land thought with an intent to contribute to this broader discussion of religious language across religious and cultural boundaries, a formidable task for any scholar. However, there is no one, in my opinion, more qualified to carry out this task than Hirota, for he served as the chief translator of the twenty-year project that culminated in the Collected Works of Shinran (CWS)2 and has been publishing insightful and provocative writings in the study of language from Shin Buddhist perspective in both English and Japanese.3 There are very few, if any, scholars in Japan dealing with this subject with the ability to talk about it in a cross-religious and disciplinary context. In more recent years, he has taken his findings to gatherings outside Japan, particularly to Europe. In fact, this book is, in large part, an outcome of the talks he delivered several years ago in the Fürst Franz-Josef and Fürstin Gina Memorial Philosophy Lecture Series at the Internationale Akademie für Philosophie in Liechtenstein.Before I focus in on some of the central points in this book, it would be helpful to get a bird’s eye view of this book, Asura’s Harp by listing the chapter titles. The book comprises four parts: “Buddhist View of Language,” “Engagement with the Pure Land Teaching,” “Truth as Transformative Event,” and “Language and Religious Awareness.” Part 1 contains three chapters: “Shinran’s Buddhist Critique of Language,” “Reality as Language,” and “The Dialogical Structure of True Language.” Part 2 also includes three chapters: “Modes of Engagement with the Teaching,” “The Encounter with Truth,” and “The Context of Encounter.” Part 3 contains two chapters: “Shinran Face to Face” and “Hearing the Vow.” In part 4, we find two chapters: “Language and Realization of Shinjin” and “Living from the Name of Buddha.” The postscript, “Shinran and Hermeneutical Thought,” is a helpful aid in getting a little more insight into Hirota’s view on language.As is evident by the chapter titles, there is much to comprehend and digest, particularly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Zen War StoriesSteven HeineZen War Stories. By Brian Daizen Victoria. London and New York: Routledge-Curzon, 2003. Pp. xviii + 268. Hardcover $124.95. Paper $34.95.Brian Daizen Victoria's Zen War Stories, following his highly acclaimed but also highly provocative Zen at War (Weatherhill, 1997), continues his withering attack on the embracing of wartime ideology by leading Zen masters and practitioners in Japan. Victoria seeks to show that the attitude characteristic (...) of numerous examples of prominent Zen monks and scholars was not simply a matter of benignly resisting, or even passively accepting, the rhetoric of Imperial Way Buddhism by clergy who were under pressure and powerless to stand up to the authorities. Nor was it an example of innocently recognizing historical and ideological affinities between Zen monastic discipline and military training.On the contrary, the Zen masters discussed here eagerly and enthusiastically endorsed some of the most excessive and reprehensible aspects of imperial ideology in the name of a corrupted vision of spiritual realization as a tool to spread the doctrine of the Greater East Asia Co-prosperity Sphere. They also used Zen wedded to hyper-nationalism and imperialism as a tool to misread the historical records of their own tradition and to help transport Japanese supremacy to China and Korea, while refusing to acknowledge or repent for their actions with the defeat of Japan. This outlook also infected numerous politicians and military figures, who turned to Buddhism as a way of explaining away or masking their roles leading up to, as well as during and after, World War II.In part 1 of Zen War Stories Victoria documents several masters who have become icons in the West for their apparent adherence to a Zen tradition linked with an ability to address contemporary culture. After showing in chapter 4 that Ōmori [End Page 345] Sōgen, praised for his prowess in swordsmanship and other arts, had a fascistic, "Mr. Hyde" side as manifested in the founding in 1932 of the Kinnō Ishin Dōmei (League for Loyalty to the Emperor and the Restoration), Victoria turns to the case of Yasutani Haku'un. In chapter 5, "Zen Master Dōgen Goes to War," we find that Yasutani, known as the teacher of Philip Kapleau and the inspiration for The Three Pillars of Zen, wanted to smash all universities for being traitors. He was a fanatical militarist who "transformed the life and thought of Zen Master Dōgen (1200-1253), the thirteenth-century founder of the Sōtō Zen sect in Japan, into a propaganda tool for Japanese militarism" (p. 68).In particular, Yasutani tried to argue that Dōgen's famed pilgrimage to Song China in 1223 was triggered not by a longing for the Buddhist Dharma but by a disgust with the new shogunate and an infatuation with preserving the Imperial House. According to Victoria, Yasutani's corrupted spirituality did not end with a support for militarism. He was also even more "ethnic chauvinist, sexist, and anti-Semitic" (p. 68) than his teacher Harada Daiun Sōgaku, whose "most memorable wartime quote is: '[If ordered to] march: tramp, tramp, or shoot: bang, bang. This is the manifestation of the highest Wisdom [of enlightenment]"' (pp. 66-67).After discussing in chapter 7, "Zen 'Selflessness' in Japanese Militarism," how Zen's historical relation to the samurai was misinterpreted to support the imperial ideology concerning the acceptance of death by D. T. Suzuki and other prominent representatives of Zen, including former Eiheiji temple abbot Kumazawa Taizen, part 2 takes up examples of the involvement with Buddhist thought by military and political leaders. While this section is less devastating as a critique of Zen than of Japanese Buddhism and society in general, Victoria explains in chapter 10, "Buddhism-The Last Refuge of War Criminals," how easily the moral basis of religion can be distorted and subverted. For example, as recollected by Buddhist studies scholar Hanayama Shinshō, seven Class A war criminals who had been condemned to death continued, while on death row, to cling hypocritically to Buddhism to find some feeling of solace. For instance, Hirota Kōki never abandoned his attachment to Zen and the warrior class and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Awesome Nightfall: The Life, Times, and Poetry of SaigyōMichiko YusaAwesome Nightfall: The Life, Times, and Poetry of Saigyō. By William R. LaFleur. Boston: Wisdom Publications, 2003. Pp. ix + 173. Paper $14.95.A quarter of a century ago William LaFleur published his book on Saigyō, Mirror for the Moon, which the present work, Awesome Nightfall: The Life, Times, and Poetry of Saigyō, thoughtfully and masterfully supersedes. In this connection (...) I may mention the philosopher, Nishida Kitarō, whose Zen no kenkyū (An inquiry into the good) was reprinted in 1936, twenty-five years after its first publication. On that occasion Nishida, deeply moved by the thought that his earliest work was still being read, expressed his sentiment by quoting the last two lines of one of Saigyō's poems: [End Page 270]Toshitaketemata koyubeshitoomoikiyaInochi narikeriSaya no NakayamaDid I ever imagineIn my advanced ageI should cross once againThis mountain pass of Saya-no-Nakayama?Ah, it is all thanks to having lived a long life!1(Saigyō composed this poem on going for the second time to Mutsu, the northern region of Japan, forty-two years after his first visit there.)As LaFleur notes, a number of important works on Saigyō's life and his times have been published in Japan in the last two decades, which these offer us more complete sketches of his life and allow an appreciation of his poetry to a greater depth. In the first part of the book, "The Life and Times of Saigyō," the author succinctly incorporates many of these findings and relates Saigyō's poems both to historical events and to his personal life experience (pp. 1-70). The second half of the book contains LaFleur's translation of over 150 poems by Saigyō, all of which appear to be taken from his earlier book (pp. 73-152).LaFleur shows how Saigyō's life (1118-1190) was closely linked to the historical context. The time was fast changing from the insei system (political administration run by the court of the retired emperor) to the Hōgen and Heiji Disturbances, the fierce power struggle between the Taira and the Minamoto military clans, with the dramatic demise of the former and the end of the Heian period. Saigyō's path crossed with such eminent political figures as Taira no Kiyomori in 1172 and Minamoto no Yoritomo in 1186. By juxtaposing historical events with Saigyō's poems, which often bear headnotes describing the circumstances under which he composed them, a full-fledged biography of Saigyō promises to be in the offing.In the present work, LaFleur sketches Saigyō's life in bold strokes and introduces new findings for the English-reading audience, such as the homoeroticism that dominated the court of the retired Emperor Toba (1103-1156)—although Saigyō himself does not appear to have been a member of this coterie.2 LaFleur also draws our attention to the fact that Saigyō practiced religious austerities at Mt. Kōya and Ōmine (pp. 20-21). Going beyond a rather two-dimensional image of Saigyō as a nature-loving poet of the moon and the flowers, the present study presents a picture of a man caught in an impossible love affair; a highly skilled equestrian, archer, and kemari (a sort of kickball) player; and a man who caused a sensation by renouncing the world at the young age of twenty-three despite his promising career as an imperial guard. Saigyō's mental and physical strength, honed by his mountain asceticism, no doubt was essential in his making extensive journeys far and wide. We also see that the distance Saigyō created from the political arena by becoming a monk gave him a keener eye to assess the fundamental political changes that were then taking [End Page 271] place. The full import of his poems, dealing with warfare, emperors, and the court, cannot be understood when separated from the political events of the day, although Saigyō himself maintained his cool objectivity and distanced himself from them.The tantalizing speculation that Saigyō was infatuated with Empress Taikenmon'in, Emperor Toba's consort and Emperor Sutoku's mother, is highly probable... (shrink)