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From this male-centered perspective, female jealousy provides a convenient explanation for the emergence of mono no ke within the polygynous marital system of the Heian aristocracy.

Doris Bargen | East Asian Languages & Cultures | UMass Amherst

Yet this conventional view fails to take into account the work's female authorship and its largely female audience. Relying upon anthropological as well as literary evidence, Doris G. Bargen foregrounds the motives of the possessed character and located mono no ke within the politics of Heian society, interpreting spirit possession as a female strategy adopted to counter male strategies of empowerment. Possessions become "performances" by women attempting to redress the balance of power; they subtly subvert the structure of domination and significantly alter the construction of gender.

The Tale of Genji is ⭕️⭕️⭕️

The Third Princess. The dust jacket for hard covers may not be included. Binding has minimal wear. The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins.

Doris G. Bargen

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A Woman's Weapon: Spirit Possession in the Tale of Genji

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A Woman's Weapon: Spirit Possession in the Tale of Genji

Payment methods. Other offers may also be available. The comparisons can be jarring, and although they may function to situate Heian social mores within a wider world of human social history, their relevance is often unclear, and they may do more to distract the reader than to shed additional light. Mapping Courtship and Kinship in Classical Japan contains numerous maps and genealogical charts, as well as an eight-page color insert that includes eleven plates reproducing photographs and painted images of architectural models and scenes from the Tale. At first glance, the color insert is a lovely addition to the book.

Yet, strangely, Bargen discusses few of the images that she employs. Nevertheless, Bargen frequently considers images in the course of her disquisitions——just not the ones that she includes in her book. For example, on page Bargen discusses a sixteenth-century painting by Keifukuin Gyokuei in the Spencer Collection of the New York Public Library, from which she certainly could have received permission to reproduce the image.

Likewise, on page , she discusses album leaves by Tosa Mitsunori in the Burke Collection in New York City and the Nezu Art Museum in Tokyo, both of which readily grant reproduction rights to those who seek them. Bargen seems to engage in a running conversation with other Genji scholars, including Norma Field, Haruo Shirane, Royall Tyler, Richard Okada, Mitani Kuniaki, Aileen Gatten, Lewis Cook, and numerous others, whose works and ideas she cites, discusses, and in some cases contests.