春雨直播app

春雨直播app Press’s monthly magazine “UP” carries various series of what could be called academic essays written by faculty members and others affiliated with the University of Tokyo. The essays, which cover topics in each author’s area of expertise, are written with readers outside the field in question in mind, resulting in a certain freedom that is not seen in academic papers. This book is a compilation of one such series (at least in terms of form) titled “Notes on Kanbun [Sinitic Literature]” with the addition of a subtitle and regrouping of the essays into four seasons according to content. The term Kanbun, which appears in the title, refers to classic Chinese literature and East Asian literature that arose in conjunction with this literature, while the “literature” in the subtitle is broader in scope and refers to all forms of written expression. What is the significance of such “literature” to us? While considering potential subtitles for the book, I realized that these essays, written in the context of different seasons and daily life, perhaps approach this question more closely than do academic articles.
 
At the end of “Spring” chapter, there is an essay titled “Mourning Loss.” “Mourning Loss” literally means mourning the death of a person, but in Chinese literature it refers to mourning the death of one’s wife. This tradition begins with poems written by Pan Yue of the Jin dynasty. The essay mainly focuses on the lamentation by Mei Yaochen of the Song Dynasty, but also mentions the work of Pan Yue. Actually, the first paper that I wrote, which was for my graduation thesis, was an analysis of the rhetoric of Pan Yue’s lamentation. I argued that there had been poems before Pan Yue lamenting the death of a deceased friend from the perspective of a wife mourning the loss of her husband, that some of the expressions in the “Mourning Poem” were inherited from these poems, and that such rhetoric was also consistent with the triptych structure in which the poet repeatedly laments the death of his wife. Through these analyses, I examined how the authenticity of grief in poetry has been assessed. I relied entirely on textual theory. Simply stating the magnitude of grief felt by Pan Yue would not have been sufficient as a thesis.
 
When I wrote the essay on “mourning” as part of the “Notes on Kanbun” series, it was not because I was so pressed for topics that I had to drag out my thesis. However, in a sense, that might have been the case. I could not think of anything else to write about at the time. The essay was published in June 2011. It was just shortly after the Great East Japan Earthquake, where many people had lost family members and friends. All the words that I had to offer seemed cliché. That is when the poem that I had discussed previously came to mind.
 
Looking back, the “Notes on Kanbun” series, which I continued for more than ten years, was very good training, different from lectures and academic papers, for me to think again and again about the value of words and texts. In addition, the index at the end of the book, which required some creativity in preparing, serves as a list of people and books that accompanied me during this training. It is also a map of the places where questions were born. If you have a chance to pick up this book, I would also recommend that you have a look at the index.
 

(Written by SAITO Mareshi, Professor, Graduate School of Humanities and Sociology / 2024)