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Wizerunek najstarszej antologii poezji japońskiej „Man’yōshū” w epoce średniowiecza

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Citko M. K.

Przegląd Orientalistyczny

2015

issue 1-2

97-107

The paper analyzes the discrepancies between the Man’yōshū’s images of the medieval and contemporary eras. As it turns out, the contemporary reception of this very first extant collection of Japanese poetry is quite different from the one from the medieval period. It seems that Man’yōshū was considered to be an imperial anthology preserved in many different manuscripts, none of which was canonized or preferred in any manner. There were many different interpretations in regard to the information about this anthology’s creation, e.g. date of compilation, number of poems, identity of the compiler(s) and of the emperor who allegedly commissioned it. Such an image has its origin in the existance of a poetic discourse, participation in which became one of the requirments for early medieval poets from various poetic schools to aqcuire patronage for their poetic activity. Above all, this paper demonstrates that Man’yōshū was a much more fluid, challenged and reconsidered text in the early medieval era than we may currently think.

Zjawisko ikiryō jako przykład podróży dusz w japońskiej literaturze dworskiej (VIII-XII wiek)

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Pączkowska A.

Studia Azjatystyczne

2015

issue 1

115-132

According to ancient Japanese beliefs invisible ghosts could freely travel between the worlds of supernatural and human. However, the travel was not limited to the souls of dead. It was believed that a soul could leave the body of a living person, do mischief and return. Such occurrence was called ikiryō. This paper analyses examples of such phenomenon depicted in two literary sources: Lady Rokujō from Murasaki Shikibu’s (978? 1016?) Genji monogatari (1008) and an unnamed noblewoman from Konjaku monogatarishū (1120).In both instances emotions play great role in creating ikiryō. Women’s souls separate from the body and serve punishment for sufferings caused by unfaithful men. However, there is a distinct difference in the matter of one’s awareness in becoming ikiryō. Lady Rokujō is unaware of her soul’s travels and experiences them as traumatic episodes of psychosis. On the other hand the unnamed noblewoman willingly turns her soul into ikiryō to deliver vengeance on her ex-lover and regains peace afterwards.Ikiryō is a manifestation of one’s true emotions. It shows not only the complexity of Japanese concept of a soul but also touches on the issue of women social status during Heian period.

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1 Przegląd Orientalistyczny

1 Studia Azjatystyczne

1 Citko M. K.

1 Pączkowska A.

2 2015

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Wizerunek najstarszej antologii poezji japońskiej „Man’yōshū” w epoce średniowiecza

Zjawisko ikiryō jako przykład podróży dusz w japońskiej literaturze dworskiej (VIII-XII wiek)