These writings are inspired by the medieval-period Japanese Noh play Yamamba, and by Ohba Minako’s short story “Smile of a Mountain Witch” which contemporizes the Yamamba legend.Yamamba (sometimes written as “Yamauba”) is an elderly figure who is alternately described as a “witch” or a “holy spirit.” The first act of the Noh play presents a priest and dancer on pilgrimage to Zenkoji Temple (literally “Temple of the Good Light”) who encounter a powerful and ambiguous figure of an old woman in the mountain. The travellers comment on the strange changes in Nature that day, with the sky suddenly darkening. By the second act, the old woman has exited and returned to reveal herself fully as Yamamba, her true self, with matted white hair and a reddened face. Yamamba is a paradoxical figure. She aids the woodsman and the weaver, but also hides the sun behind storm clouds and frightens the traveller. Stamping the ground, pointing to the center of the earth with her fan, Yamamba leans on her cane (decorated with evergreen leaves) and shares with us her journey as she traverses the mountain paths, in pain.

The first book of its kind: a collection of the most important genres of Japanese performance--noh, kyogen, kabuki, and puppet theater--in one comprehensive, authoritative volume.

The book Transformation of Tradition and Culture is a work of comparative literary research and culture investigation. The book studies world literatures from the USA, the DR, Mexico, Spain, Portuguese, and Japan; US cultures such as the Barbie doll; Mexican mural studies; Japanese subcultures, manga, anime, movies, and food culture; media study; and women in society. It is a book of an authors experiences, culture, and historical footsteps with people from all over the world. Sharing ones own culture with people from different cultural backgrounds is vital for everyone to learn about their own culture, languages, society, economy, politics, and customs.

This volume has a dual purpose. It aims to define the state of Japanese literary studies in the field of women's writing and to present cross-cultural interpretations of Japanese material of relevance to contemporary work in gender studies and comparative literature.

Alluring, nurturing, dangerous, and vulnerable the yamamba, or Japanese mountain witch, has intrigued audiences for centuries. What is it about the fusion of mountains with the solitary old woman that produces such an enigmatic figure? And why does she still call to us in this modern, scientific era? Co-editors Rebecca Copeland and Linda C. Ehrlich first met the yamamba in the powerful short story “The Smile of the Mountain Witch” by acclaimed woman writer Ōba Minako. The story revealed the compelling way creative women can take charge of misogynistic tropes, invert them, and use them to tell new stories of female empowerment. This unique collection represents the creative and surprising ways artists and scholars from North America and Japan have encountered the yamamba.

"Revised and expanded, this second edition of The Book of Yōkai features an all new yōkai picture gallery-with dozens of stunning color images-tracing the visual history of yōkai across centuries. With additional entries and fifty new illustrations, Michael Dylan Foster unpacks the history and cultural context of an even larger cast of yōkai, interpreting their varied meanings and introducing people who have pursued them through the ages. Monsters, spirits, fantastic beings, and supernatural creatures haunt the folklore and popular culture of Japan. Broadly labeled yōkai, they appear in many forms, from tengu mountain goblins and kappa water sprites, to shape-shifting kitsune foxes and long-tongued ceiling-lickers. Popular today in anime, manga, film, and video games, many yōkai originated in local legends, folktales, and regional ghost stories. The Book of Yōkai invites readers to examine how people create, transmit, and collect folklore, and how they make sense of the mysteries in the world around them"--

Japanese nõ theatre or the drama of 'perfected art' flourished in the fourteenth and fifteenth centuries largely through the genius of the dramatist Zeami. An intricate fusion of music, dance, mask, costume and language, the dramas address many subjects, but the idea of 'form' is more central than 'meaning' and their structure is always ritualized. Selected for their literary merit, the twenty-four plays in this volume dramatize such ideas as the relationship between men and the gods, brother and sister, parent and child, lover and beloved, and the power of greed and desire. Revered in Japan as a cultural treasure, the spiritual and sensuous beauty of these works has been a profound influence for English-speaking artists including W. B. Yeats, Ezra Pound and Benjamin Britten.