"Written Chinese served as a prestigious, cosmopolitan script across medieval East Asia, from as far west as the Tarim Basin to the eastern kingdom of Heian period Japan (794–1185). In this book, Brian Steininger revisits the mid-Heian court of the Tale of Genji and the Pillow Book, where literary Chinese was not only the basis of official administration, but also a medium for political protest, sermons of mourning, and poems of celebration. Chinese Literary Forms in Heian Japan reconstructs the lived practice of Chinese poetic and prose genres among Heian officials, analyzing the material exchanges by which documents were commissioned, the local reinterpretations of Tang aesthetic principles, and the ritual venues in which literary Chinese texts were performed in Japanese vocalization. Even as state ideology and educational institutions proclaimed the Chinese script’s embodiment of timeless cosmological patterns, everyday practice in this far-flung periphery subjected classical models to a string of improvised exceptions. Through careful comparison of literary and documentary sources, this book provides a vivid case study of one society’s negotiation of literature’s position—both within a hierarchy of authority and between the incommensurable realms of script and speech."

"This exceptionally rich set of essays substantially advances our understanding of the Heian era, presenting the period as more fascinating, multi-faceted, and integrated than it has ever been before. This volume marks a turning point in the study of early Japanese culture and will be indispensable for future explorations of the era." —Andrew Edmund Goble, University of Oregon "As a Japanese historian, I enthusiastically recommend Heian Japan, Centers and Peripheries, the first multi-author English-language academic work to offer a synthetic treatment of the Heian period. Japan’s emperor system is the last remaining sovereignty of its kind in human history, and this volume is indispensable when considering what sovereignty itself means in the present. To that end, the classical patterns established in the Heian period are superbly analyzed in this volume through the dual approach of ‘centers and peripheries.’" —Hotate Michihisa, Historiographical Institute, University of Tokyo The first three centuries of the Heian period (794–1086) saw some of its most fertile innovations and epochal achievements in Japanese literature and the arts. It was also a time of important transitions in the spheres of religion and politics, as aristocratic authority was consolidated in Kyoto, powerful court factions and religious institutions emerged, and adjustments were made in the Chinese-style system of ruler-ship. At the same time, the era’s leaders faced serious challenges from the provinces that called into question the primacy and efficiency of the governmental system and tested the social/cultural status quo. Heian Japan, Centers and Peripheries, the first book of its kind to examine the early Heian from a wide variety of multidisciplinary perspectives, offers a fresh look at these seemingly contradictory trends. Essays by fourteen leading American, European, and Japanese scholars of art history, history, literature, and religions take up core texts and iconic images, cultural achievements and social crises, and the ever-fascinating patterns and puzzles of the time. The authors tackle some of Heian Japan’s most enduring paradigms as well as hitherto unexplored problems in search of new ways of understanding the currents of change as well as the processes of institutionalization that shaped the Heian scene, defined the contours of its legacies, and make it one of the most intensely studied periods of the Japanese past. Contributors: Ryûichi Abé, Mikael Adolphson, Bruce Batten, Robert Borgen, Wayne Farris, Karl Friday, G. Cameron Hurst III, Edward Kamens, D. Max Moerman, Samuel Morse, Joan R. Piggott, Fukutò Sanae, Ivo Smits, Charlotte von Verschuer.

The Cambridge History of Japanese Literature provides, for the first time, a history of Japanese literature with comprehensive coverage of the premodern and modern eras in a single volume. The book is arranged topically in a series of short, accessible chapters for easy access and reference, giving insight into both canonical texts and many lesser known, popular genres, from centuries-old folk literature to the detective fiction of modern times. The various period introductions provide an overview of recurrent issues that span many decades, if not centuries. The book also places Japanese literature in a wider East Asian tradition of Sinitic writing and provides comprehensive coverage of women's literature as well as new popular literary forms, including manga (comic books). An extensive bibliography of works in English enables readers to continue to explore this rich tradition through translations and secondary reading.

In The Tale of Genji and Its Chinese Precursors: Beyond the Boundaries of Nation, Class, and Gender, Jindan Ni departs from a “nativist” tradition which views The Tale of Genji as epitomizing an exclusively Japanese aesthetic distinct from Chinese influence and Buddhist values. Ni contests the traditional focus on Japanese essentialism by detailing the impact of Chinese literary forms and presenting the Japanese Heian Court as a site of dynamic and complex literary interchange. Combining close reading, the archival work of Japanese and Chinese scholars, and comparative literary theory, Ni argues that Murasaki Shikibu avoided the constraint of a single literary tradition by drawing on Chinese intertexts. Ni’s account reveals the heterogeneity that makes The Tale of Genji a masterpiece with enduring appeal.

This work is an anthology of 225 translated and annotated Sinitic poems (kanshi 漢詩) composed in public and private settings by nobles, courtiers, priests, and others during Japan’s Nara and Heian periods (710-1185). The authors have supplied detailed biographical notes on the sixty-nine poets represented and an overview of each collection from which the verse of this eminent and enduring genre has been drawn. The introduction provides historical background and discusses kanshi subgenres, themes, textual and rhetorical conventions, styles, and aesthetics, and sheds light on the socio-political milieu of the classical court, where Chinese served as the written language of officialdom and the preeminent medium for literary and scholarly activity among the male elite.

In Kanbunmyaku: The Literary Sinitic Context and the Birth of Modern Japanese Language and Literature, Saito Mareshi demonstrates the centrality of kanbun and kanshi in the creation of modern literary Japanese and problematizes the modern antagonism between kanbun and Japanese.