Die einheimische Religion Japans. Teil 2: Synkretistische Lehren und religiose Entwicklungen von der Kamakura: bis zum Beginn der Edo-Zeit [Japan's Indigenous Religion. Part 2: Syncretistic Doctrines and Religious Developments from the Kamakura Period to the Beginning of the Edo Period]

1996 ◽  
Vol 55 (1) ◽  
pp. 160
Author(s):  
Jan van Bragt ◽  
Nelly Naumann
Keyword(s):  
Edo Period ◽  
Indigenous Religion ◽  
Kamakura Period

scholarly journals "Mōko Shūrai Ekotoba" (Illustrated Account of the Mongol Invasions)

Eikon / Imago ◽  
2020 ◽  
Vol 9 ◽  
pp. 35-57
Author(s):  
Giuseppina Aurora Testa
Keyword(s):  
Edo Period ◽  
Kamakura Period

This paper is a study of a Japanese illustrated handscroll produced in the late Kamakura period (1185-1333), the Mōko Shūrai Ekotoba, that provides an invaluable pictorial account of the two attempted Mongol invasions of Japan in the years 1274 and 1281. It was copied and restored, with some images significantly altered, during the Edo period (1615-1868). While in the original handscroll the appearances of the foreign Mongols were depicted as accurately as possible, the figures added later show exaggerated features and distortions that correspond to new modes of imagining and representing peoples reflecting a new language and the shifting cosmologies brought about by the Japanese encounter with more “different” Others (Europeans).

Sonic Movements – Spatial Reflexivity

Somatechnics ◽  
2014 ◽  
Vol 4 (1) ◽  
pp. 133-148
Author(s):  
Johanna Hällsten
Keyword(s):  
Alarm System ◽  
Edo Period ◽  
Public Places ◽  
Ongoing Research ◽  
Site Specific ◽  
Rural Environments ◽  
The World ◽  
Architectural Structures ◽  
Sonic Environment ◽  
Sonic Structures

This article aims to investigate the creation of space and sound in artistic and architectural fields, with particular emphasis on the notions of interval and duration in the production and experience of soundscapes. The discussion arises out of an ongoing research project concerning sonic structures in public places, in which Japanese uguisubari ([Formula: see text]) – ‘nightingale flooring’, an alarm system from the Edo period) plays a key role in developing new kinds of site-specific and location-responsive sonic architectural structures for urban and rural environments. This paper takes uguisubari as its frame for investigating and evaluating how sounds create a space (however temporary), and how that sound in turn is created through movement. It thus seeks to unpick aspects of the reciprocal and performative act in which participant and the space engage through movement, whilst creating a sonic environment that permeates, defines and composes the boundaries of this space. The article will develop a framework for these kinds of works through a discussion on walking, movement, soundscape and somatechnical aspects of our experience of the world, drawing upon the work of Merleau-Ponty, Bergson and the Japanese concept of Ma (space-time).

AFRICAN LITERATURE AND INDIGENOUS RELIGION: A STUDY OF WOLE SOYINKA’S DEATH AND THE KING’S HORSEMAN AND D.O. FAGUNWA’S ADIITU OLODUMARE

Imbizo ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 4-20
Author(s):  
Femi Abodunrin
Keyword(s):  
21St Century ◽  
African Literature ◽  
Knowledge System ◽  
Religious Knowledge ◽  
Indigenous Religion ◽  
Vast Array ◽  
Production Of Knowledge ◽  
World Today ◽  
Metaphysical Presupposition ◽  
Performance Poetry

Religious bigotry pervades our world today. As the 21st century oscillates between what Ramin Jahanbegloo (2015) has described as the politicisation of religion and its accompanying ideologisation, this study examines the vast array of literary creativity and indigenous religion/knowledge from an ecocritical viewpoint. By indigenous, it is meant those systems of knowledge and production of knowledge that are sometimes perceived as antithetical to the Western empirical systems. Encapsulated in myths and mythical wisdom, these indigenous values have at the centre of their philosophical presuppositions a symbiotic strategy that seeks to integrate man with nature. The study examines Wole Soyinka’s Death and the King’s Horseman and D.O. Fagunwa’s Adiitu Olodumare [The Mysteries of God, Olu Obafemi (trans)], in particular, and the indigenous religious/knowledge system that they reiterate, in general, as distinct from the Western monotheistic system in ontological and metaphysical terms. Also, largely because the metaphysical presupposition of Yoruba religion is essentially performance poetry in motion, a carnivalesque perspective is employed to account for the folkloric and other elements of carnival often described as ‘the feast of time, the feast of becoming, change and renewal’.

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