Embracing Defeat: Japan in the Wake of World War II

There are profound, extensive, and surprising universals in literature, which are bound up with universals in emotion. Hogan maintains that debates over the cultural specificity of emotion are misdirected because they have ignored a vast body of data that bear directly on the way different cultures imagine and experience emotion - literature. This is the first empirically and cognitively based discussion of narrative universals. Professor Hogan argues that, to a remarkable degree, the stories people admire in different cultures follow a limited number of patterns and that these patterns are determined by cross-culturally constant ideas about emotion. In formulating his argument, Professor Hogan draws on his extensive reading in world literature, experimental research treating emotion and emotion concepts, and methodological principles from the contemporary linguistics and the philosophy of science. He concludes with a discussion of the relations among narrative, emotion concepts, and the biological and social components of emotion.

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The Mind and its Stories: Narrative Universals and Human Emotion

Although there has been a dramatic broadening of the definition of social protest in recent years to include collective behavior that was once dismissed as criminal, irrational, or insignificant, our attention has continued to be focused on movements involving direct, often violent, confrontations between the wielders of power and dissident groups. Avoidance protest, by which dissatisfied groups seek to attenuate their hardships and express their discontent through flight, sectarian withdrawal, or other activities that minimize challenges to or clashes with those whom they view as their oppressors, has at best remained a secondary concern of students of social protest. Although specific forms of avoidance protest, such as the flight of slaves in the plantation zones of the Americas or the migration or serfs to the towns of medieval Europe and peasants to the frontiers of Tsarist Russia, have merited a prominent place in the historical literature on some societies and time periods, avoidance protest has rarely been systematically analyzed as a phenomenon in itself. There have been few detailed studies of the diverse forms which avoidance protest may take and the ways in which these are shaped by the sociopolitical contexts in which they develop. This neglect is serious because in many societies and time periods (perhaps in most in the preindustrial era), modes of protest oriented to avoidance rather than confrontation have been the preferred and most frequently adopted means of resisting oppression and expressing dissatisfaction.

https://www.jstor.org/stable/pdfplus/178734.pdf

From Avoidance to Confrontation: Peasant Protest in Precolonial and Colonial Southeast Asia

In this essay I explore studies of theater and spectacle as distinct cultural institutions. Several kinds of cultural activity closely related to this topic have extensive literatures of their own, but I do not treat them here. These include play and games, sports and contests, verbal art and poetry, and dance and music outside the context of theater and spectacle. The distinction is arbitrary. The boundary between theater and spectacle and many other forms of enactment is difficult to determine. Theatrical activ­ ity is a component of many performance genres, and vice versa. Here I attempt to elucidate the specifically theatrical aspect of human life. I have not limited myself to works written by anthropologists. Indeed, I hope to excite anthropol­ ogists with an awareness of the work done in other fields. This essay treats 1. the study of performance in anthropology and related disciplines, 2. the institutions of theater and spectacle, 3. specific genres of theater and spectacle, and 4. the creation of cultural meaning within frame­ works of theater and spectacle.

The anthropology of theater and spectacle

"Numazu" is the sixth act in a long ten-act play, written by Chikamatsu Hanji and a collaborator, Chikamatsu Kasaku, for the Japanese puppet theatre (known today as bunraku). The full play, Through Iga Pass with the okaido Board Game (Igagoe dochu sugoroku), was first performed at the Takemoto Ichiza Theatre in Osaka on the twenty-seventh day of the Fourth Month of 1783, according to Japan's old lunar calendar. The play's best-known act (Act VI) is "Numazu," translated here in full. The complete play is based on an actual vendetta that came to its bloody conclusion in the town of Ueno near Iga Pass in old Iga province (modern Mie prefecture) in the Eleventh Month of 1634. Rarely is the complete drama produced today (it would take some ten hours), though several of the more popular acts are performed fairly often both in sequence and separately.1 "Numazu" is the only act that is consistently and regularly staged independently. Three great vendettas in Japanese history are commemorated in eighteenth-century popular theatre. The first is the twelfth-century Soga brothers' revenge for the murder of their father, a tale that has been told in many forms but is best known in the dramatic genre by the 1713 kabuki work Sukeroku (Brandon 1975; Thornbury 1982). Most famous of all is the

Vengeance and Its Toll in "Numazu": An Eighteenth-Century Japanese Puppet Play

Introduction. Bangladesh. Burma. Cambodia. China. Hong Kong. India. Indonesia. Japan. Korea. Laos. Malaysia. Nepal. Oceania. Pakistan. Philippines. Singapore. Sri Lanka. Thailand. Vietnam. Index to artists and genres.

The Cambridge Guide to Asian Theatre

1. Introduction Part I: A Historical Background 2. The Cultural Setting 3. The Development of Theatre Genres 4. Traditions of Theatre Part II: Theatre as Art 5. Drama 6. Music and Dance 7. Production 8. Transmission of Theatre Art Part III: Theatre as an Institution 9. Extent and Distribution 10. Theatre and the Social Contract 11. The Troupe 12. Economics 13. The Audience 14. Social Status of Troupes Part IV: Theatre as Communication 15. Past and Present 16. Theatre and Other Mass Media 17. Theatre and the Communication Process Appendix: Major Theatre Genres as Performed in 1964 Bibiliography Notes Glossary Index

James R. Brandon

Papers

The Cambridge Guide to Asian Theatre

Theatre in Southeast Asia

Theatre in Southeast Asia

On Thrones of Gold. Three Javanese Shadow Plays

On Thrones of Gold: Three Javanese Shadow Plays