Yamato monogatari.

"I-shu kokatsujiban"--Dealer's note.

Ise monogatari /

Contained in a wooden box (24.5 x 18.2 cm).

Eiga monogatari shōkai

Mode of access: Internet.

[Shintei] Ikkyū shokoku monogatari /

"Ima kokoni osametaru wa, Hirata Shisui shū, Minamoto Motosada hosei ni te Tenpō 7-nen no shuppan ni kakaritaru Ikkū shokoku monogatari zue to, Monamoto Motosada shūi, Kōka 3-nen no shuppan ni kakareru Ikkyū shokoku monogatari zue shūi to o awashitaru mono nari" kaidai yori.

Taketori no okina no monogatari kai

Mode of access: Internet.

Gikeiki, Soga monogatari.

Includes index.

Sagoromo monogatari /

Mode of access: Internet.

Nakagami Kenji : un projet littéraire et social autour du statut des intouchables japonais

L’étude porte sur la question des burakumin, les intouchables japonais, dans deux oeuvres de l’écrivain japonais Nakagami Kenji (1946-1992), lui-même issu de cette communauté. Mille ans de plaisir, recueil de six contes basés sur des récits de vie, et le roman Miracle forment une suite organisée autour des mêmes lieux, des mêmes personnages et des mêmes thèmes. Ils décrivent la condition sociale d’une collectivité mise au ban de la société japonaise malgré sa modernisation. Ils se distinguent par leur caractère d’ethnofiction. Nakagami cherche à réhabiliter les burakumin en valorisant le patrimoine religieux et folklorique dont ils sont dépositaires. Il puise dans les genres traditionnels comme le monogatari ou les contes et légendes du Japon. Il s’inspire également d’auteurs modernes japonais (Mishima, Tanizaki) et d’auteurs étrangers (Faulkner, García-Márquez). À partir de cet intertexte et pour faire barrage à l’occidentalisation, il élabore un style « hybride » digne de la littérature nationale (kokubungaku). Les oeuvres traditionnelles sont réinterprétées dans une esthétique postmoderne ayant une fonction ironique et critique contre l’idéologie impériale répressive qui continue d’alimenter la discrimination envers les burakumin. L’analyse porte sur les procédés qui sous-tendent le projet social et le projet littéraire de l’auteur. Elle se divise en trois parties. La première donne un aperçu biographique de l’auteur et décrit les composantes de son projet social qui consiste à vouloir changer l’image et le statut des burakumin. La deuxième partie décrit les éléments religieux et folkloriques des deux oeuvres et analyse en contexte leur signification ainsi que leur fonction, qui est de mettre en valeur les traditions préservées par les burakumin. La troisième partie montre en quoi le répertoire traditionnel (monogatari) et les intertextes sont mis au service du projet littéraire proprement dit.

The politics of slowness and the traps of modernity

This chapter re-evaluates the diachronic, evolutionist model that establishes the Second World War as a watershed between classical and modern cinemas, and ‘modernity’ as the political project of ‘slow cinema’. I will start by historicising the connection between cinematic speed and modernity, going on to survey the veritable obsession with the modern that continues to beset film studies despite the vagueness and contradictions inherent in the term. I will then attempt to clarify what is really at stake within the modern-classical debate by analysing two canonical examples of Japanese cinema, drawn from the geidomono genre (films on the lives of theatre actors), Kenji Mizoguchi’s Story of the Late Chrysanthemums (Zangiku monogatari, 1939) and Yasujiro Ozu’s Floating Weeds (Ukigusa, 1954), with a view to investigating the role of the long take or, conversely, classical editing, in the production or otherwise of a supposed ‘slow modernity’. By resorting to Ozu and Mizoguchi, I hope to demonstrate that the best narrative films in the world have always combined a ‘classical’ quest for perfection with the ‘modern’ doubt of its existence, hence the futility of classifying cinema in general according to an evolutionary and Eurocentric model based on the classical-modern binary. Rather than on a confusing politics of the modern, I will draw on Bazin’s prophetic insight of ‘impure cinema’, a concept he forged in defence of literary and theatrical screen adaptations. Anticipating by more than half a century the media convergence on which the near totality of our audiovisual experience is currently based, ‘impure cinema’ will give me the opportunity to focus on the confluence of film and theatre in these Mizoguchi and Ozu films as the site of a productive crisis where established genres dissolve into self-reflexive stasis, ambiguity of expression and the revelation of the reality of the film medium, all of which, I argue, are more reliable indicators of a film’s political programme than historical teleology. At the end of the journey, some answers may emerge to whether the combination of the long take and the long shot are sufficient to account for a film’s ‘slowness’ and whether ‘slow’ is indeed the best concept to signify resistance to the destructive pace of capitalism.

Non-cinema: the location of politics in film

Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin and his defence of ‘impure cinema’, that is, of cinema’s interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film (In film nist, 2011), whose anti-cinema stance in announced in its own title; and The Mirror (Aineh, 1997), another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi’s deconstruction of cinematic acting in his exploration of the geidomono genre (films about theatre actors) in The Story of the Last Chrysanthemums (Zangigku monogatari, 1939), and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing (Joshua Oppenheimer et al., 2012).

Shôjo mangá: de Gengi Monogarati a Miou Takaya

Pós-graduação em Artes - IA

Bungei sōsho,

1. Chūshingura bunko--2. Chinsetsu yumihari-zuki, Shunkan Sōzu shima monogatari, Raigō Ajari kaisoden--3. Saikaku bunshū--4. Dōchū hizakurige zenshū--5. Kyōkaku zenden--6-8. Nansō satomi hakkenden--9. Engeki kyakuhonshū--10. Chūgi fukushūden--11. Kikōbun hen--12. Sewa jōruri meisakushū.

Kyōto sōsho /

[1] Kyōwarabe, Atooi, Tsuginefu -- [2] Dekisai Kyō miyage, Horik awa no mizu, Kyō uchimairi, Miyako kagetsu meisho -- [3] Rakuyō meishoshū, Keishi junranshū, Kinki rekiranki -- [4] Fusō keikashi, Meisho miyakodori, Kyō machikagami -- [5] Kyō suzume, Ymashiro meiseki junkōshi, Keijō shōran, Miyako meishoguruma -- [6-7] Yamashiro meishōshi -- [8] Kyōhabutae, Kyōhabutae oridome, Yamashiro meisho jisha monogatari, Rakuyō jūnisha reigenki -- [9-13] Kyōtobō mokushi -- [14] Miyako meisho zue, Miyako meisho zue shūi -- [15] Yōshū fushi, Hinami kiji -- [16] Sakuin.

Kokubun taikan,

[1-6] Monogatari bu ichi--[6-7] Nikki sōshi bu--[8-9] Rekishi bu ichizō-nizō--[10] Sakuin.

Heianchō monogatarishū /

Includes index.