WorldCat Identities

Atkins, Paul S. (Paul Stephen) 1969-

Works: 18 works in 38 publications in 1 language and 661 library holdings
Genres: Criticism, interpretation, etc  Biography  Academic theses  Educational films  Filmed lectures  Drama 
Roles: Author, Translator, Author of introduction, Editor
Publication Timeline
Most widely held works by Paul S Atkins
Japanese plays : classic Noh, Kyogen, and Kabuki works by A. L Sadler( )

6 editions published between 2010 and 2011 in English and held by 256 WorldCat member libraries worldwide

Nothing reflects the beauty of life as much as Japanese theater. It is here that reality is held suspended and emptiness can fill the mind through words, music, dance, and mysticism. A.L. Sadler translates the mysteries of Noh, Kyogen, and Kabuki in his groundbreaking book, Japanese Plays. A seminal classic, it provides a cross section of Japanese theater that gives the reader a sampler of its beauty and power
Teika : the life and works of a medieval Japanese poet by Paul S Atkins( Book )

8 editions published between 2017 and 2018 in English and held by 194 WorldCat member libraries worldwide

Fujiwara no Teika (1162 1241) was born into an illustrious lineage of poets just as Japan s ancien régime was ceding authority to a new political order dominated by military power. Overcoming personal and political setbacks, Teika and his allies championed a new style of poetry that managed to innovate conceptually and linguistically within the narrow confines of the waka tradition and the limits of its thirty-one syllable form. Backed by powerful patrons, Teika emerged finally as the supreme arbiter of poetry in his time, serving as co-compiler of the eighth imperial anthology of waka, Shin Kokinshū (ca. 1210) and as solo compiler of the ninth. This first book-length study of Teika in English covers the most important and intriguing aspects of Teika s achievements and career, seeking the reasons behind Teika s fame and offering distinctive arguments about his oeuvre. A documentary biography sets the stage with valuable context about his fascinating life and times, followed by an exploration of his Bodhidharma style, as Teika s critics pejoratively termed the new style of poetry. His beliefs about poetry are systematically elaborated through a thorough overview of his writing about waka. Teika s understanding of classical Chinese history, literature, and language is the focus of a separate chapter that examines the selective use of kana, the Japanese phonetic syllabary, in Teika s diary, which was written mainly in kanbun, a Japanese version of classical Chinese. The final chapter surveys the reception history of Teika s biography and literary works, from his own time into the modern period. Sometimes venerated as demigod of poetry, other times denigrated as an arrogant, inscrutable poet, Teika seldom inspired lukewarm reactions in his readers. Courtier, waka poet, compiler, copyist, editor, diarist, and critic, Teika is recognized today as one of the most influential poets in the history of Japanese literature. His oeuvre includes over four thousand waka poems, his diary, Meigetsuki, which he kept for over fifty years, and a fictional tale set in Tang-dynasty China. Over fifteen years in the making, Teika is essential reading for anyone interested in Japanese poetry, the history of Japan, and traditional Japanese culture. --
Revealed identity : the noh plays of Komparu Zenchiku by Paul S Atkins( Book )

5 editions published in 2006 in English and held by 163 WorldCat member libraries worldwide

Landscapes : imagined and remembered( Book )

1 edition published in 2005 in English and held by 17 WorldCat member libraries worldwide

Saigyō's "Six elements and four mandalas" sequence : the story and rhetoric of enlightenment by Bonnie L McClure( )

1 edition published in 2015 in English and held by 11 WorldCat member libraries worldwide

This paper analyzes Saigyō's little-discussed waka cycle on the six elements and four mandalas of Shingon. I first introduce the sequence in the context of other similar works by Saigyō, then turn to a discussion of the place of Saigyō's poetry as a whole within the history of Buddhist themes in Japanese poetry. Saigyō lived at a turning point when Heian-era tension between the poetic and Buddhist traditions was giving way to robust and varied philosophical defenses of their compatibility. Saigyō's work formed a defense of this compatibility via practice: he allowed his Buddhist and poetic impulses to confront each other within his poetry. After tracing this thread through Saigyō's oeuvre more broadly, I introduce the Shingon conceptualization of the six elements and four mandalas, then translate and analyze each of Saigyō's ten poems, commenting on stylistic elements and allusions and on the larger structure of the cycle. I find these poems to be representative of Saigyō's broader vision in that they treat a Buddhist concept with the same sense of narrative and inner dialogue that marks the encounter between Buddhism and poetry in Saigyō's work as a whole
The noh plays of Komparu Zenchiku (1405-?) by Paul S Atkins( )

4 editions published in 1999 in English and held by 5 WorldCat member libraries worldwide

Hyperfemininities, hypermasculinities, and hypersexualities in classical Japanese literature by Sachi Schmidt-Hori( )

1 edition published in 2012 in English and held by 3 WorldCat member libraries worldwide

This study is an attempt to elucidate the complex interrelationship between gender, sexuality, desire, and power by examining how premodern Japanese texts represent the gender-based ideals of women and men at the peak and margins of the social hierarchy. To do so, it will survey a wide range of premodern texts and contrast the literary depictions of two female groups (imperial priestesses and courtesans), two male groups (elite warriors and outlaws), and two groups of Buddhist priests (elite and "corrupt" monks). In my view, each of the pairs signifies hyperfemininities, hypermasculinities, and hypersexualities of elite and outcast classes, respectively. The ultimate goal of this study is to contribute to the current body of research in classical Japanese literature by offering new readings of some of the well-known texts featuring the above-mentioned six groups. My interpretations of the previously studied texts will be based on an argument that, in a cultural/literary context wherein defiance merges with sexual attractiveness and/or sexual freedom, one's outcast status transforms into a source of significant power. In this type of context, the conventional idea of power (i.e. wealth, high social status, lineage) may be ignored or even perceived negatively. Consequently, certain literary constructs--such as a sexual entertainer juxtaposed with a deity, an attractive bandit forgiven for his crime, or a promiscuous monk revered as a sage--should not be reduced to idiosyncrasies or paradoxes. Rather, these figures should be better understood as a manifestation of prestige possessed by the marginal persons with particular charm and appeal
Nijō v. Reizei land rights, litigation, and literary authority in Medieval Japan by Paul S Atkins( )

2 editions published in 2006 in English and held by 2 WorldCat member libraries worldwide

Japanese plays :b Classic Noh, Koygen, Kabuki by A. L Sadler( Book )

1 edition published in 2010 in English and held by 1 WorldCat member library worldwide

Revealed identity : the noh plays of Komparu Zenchiku by Paul S Atkins( )

1 edition published in 2006 in English and held by 1 WorldCat member library worldwide

The pleasures of Japanese poetry by Edwin A Cranston( Visual )

1 edition published in 2005 in English and held by 1 WorldCat member library worldwide

After brief remarks about Andrew Markus by Michael Shapiro and Edwin Cranston, Cranston discusses Waka and reads some of his own translations, from his A Waka Anthology, a compendium of his translations of classical Japanese poetry from its beginnings to the late medieval period. Followed by a brief Q & A session
Female children in medieval Japanese noh plays by Yuri Sato( )

1 edition published in 2014 in English and held by 1 WorldCat member library worldwide

Even though female characters play consequential roles in noh plays and have been analyzed, female children have not been a subject of research. Therefore, I am going to analyze female children in noh plays in terms of the relationship between female children and motivation, age, spheres, and death. The target plays are Jinen koji, Fuji's Drum, The Mirror of Pine Forest, The Pool Sacrifice, Minase, and Skylark Mountain. Through the analysis of these plays, I discovered that female children played significant roles in noh plays. However, their motivation and actions do not influence the progress of the plots. Rather, female children as equipment mark the beginning of the plots of the plays and cause other characters to carry on the story
Remapping the Sino-Japanese dialectic : Sino-Japanese interplay in linked verse compositions of Japan, 14th to 17th centuries by Kai Xie( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

This dissertation examines the juxtaposition, interaction, and integration of what Japanese authors conceived of as "Japanese" and "Chinese" elements in linked verse compositions of Japan from the 14th to 17th centuries. Through examining un- or under-explored forms of linked verse, it shows the multiple dimensions of Japanese conceptions and representations of "China" and the complexity surrounding the Sino-Japanese relationship. A significant part of this dissertation is devoted to the discussion of Sino-Japanese interplay in wakan renku (linked verse in Japanese and Chinese) and wakan haikai (popular linked verse in Japanese and Chinese), in which verses written in vernacular Japanese and verses written in the form of classical Chinese (kanbun) were composed in alternating turns. In some cases, the Chinese verses comprehensively imitated precedents by Chinese authors, and they formed a very distinctive world from the one created by the Japanese verses that generally maintained Japanese poetic traditions. These linked verse sequences thus display a juxtaposition, confrontation, and integration of two entities that vary greatly in terms of poetic topoi, idea, sentiment, and style. In many cases, however, the so-called "Chinese" verses deviated from Chinese poetic traditions. Sometimes they draw upon vernacular Japanese poetry. Sometimes individual Chinese verses build on Chinese poetry but are linked in a Japanese way. Sometimes the Chinese verses do not make sense in Chinese; they only take the form of Chinese poetry but juxtapose it with vernacularized, Japanese content. These examples show the instability and hybridity embodied by the "Chineseness." The boundary between Japanese and Chinese verses is greatly blurred and confused. Meanwhile, these examples reveal that the Sino-Japanese relationship within literary texts produced by Japanese authors is not unidirectional: vernacular Japanese texts also exerted influence on kanbun texts, making them diverge from Chinese poetic traditions. This dissertation also studies Japanese linked verse that heavily engaged with Chinese elements, focusing on compositions by the circle of Matsuo Bashō, the best-known poet in early modern Japan. On the one hand, I explore various ways Bashō' circle appropriated Chinese literature in the "Chinese style" popular linked verse, demonstrating that their absorption of Chinese literature and thought on the spiritual level contributed to sublimating popular linked verse into a serious art. On the other hand, this dissertation seeks to demonstrate that Bashō's reception of Chinese texts was sometimes mediated by Yamaguchi Sodō, who had profound knowledge in Chinese studies and was also a respected poet of popular linked verse. The existence of mediums between Chinese literature and Japanese reception casts doubt on a neat division of "Japan" and "China"
Landscapes imagined and remembered( Book )

1 edition published in 2005 in English and held by 1 WorldCat member library worldwide

Creating a public : love suicide on the Osaka stage, 1703-1722 by Jyana S Browne( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

This dissertation investigates how the representations of love suicide on stage at the dawn of the eighteenth century called forth an urban, commoner public in Osaka. As a result of the repeated bans on publishing print material about current events, the theater acted as one of the few avenues for representing contemporary life. I place the love suicide plays within the specific context of urban Osaka and offer new readings of these plays that challenge the dominant interpretation of these works as domestic tragedies that served as diversions from the realities of life under shogunal rule. I examine how Chikamatsu intervened in the discourse about love suicide with his landmark production of The Love Suicides at Sonezaki (Sonezaki shinjū), which transformed the act of love suicide from scandalous gossip to the purest expression of true love. Then, I analyze the plays in relation to four aspects of public life in the city: the status system (mibunseido), the prostitution industry, urban space, and popular religion. Through the analysis of the plays in relation to these larger structures, I investigate how they engendered an urban public through critiques, alternative identity formations, and the creation of new rituals that invited the community's participation. The plays provided a new language, imagery, and sense of pride that knit Osaka commoners together in re-imagining their spaces, their values, and themselves. My study demonstrates why theatre, and the creative arts more generally, are integral to an understanding of social and political life in early modern Japan
Hara-kiri of a woman at Nagamachi by Monzaemon Chikamatsu( )

1 edition published in 2010 in English and held by 1 WorldCat member library worldwide

What we talk about when we talk about basara by Ross D Henderson( )

1 edition published in 2017 in English and held by 1 WorldCat member library worldwide

The word basara is frequently used in discussing Japan's fourteenth century. Indeed, the period itself is often casually referred to as the "age of basara," and the fourteenth century military chronicle Taiheiki is its primary text. Basara is often taken to mean excess in dress, behavior, and consumption. However, this loose understanding is not born out by the extant references in fourteenth-century documents. Recent scholarship has pointed to a more specific descriptive meaning in this period: movement like the fluttering of loose clothing. Yet, particularly in Taiheiki's Sasaki Dōyo, there is an active "maximalist" aesthetic at work. I hope to show basara's precise meaning in context, and propose another term to describe the aesthetic phenomenon: "transgressive excess." That is, excessive in the common sense, and "transgressing" in four categories: appropriate taste, class structure, public order, and political borders. This terminological realignment allows a clearer understanding of the aesthetics of excess
Monsters, animals, and other worlds : a collection of short medieval Japanese tales by R. Keller Kimbrough( Book )

1 edition published in 2018 in English and held by 1 WorldCat member library worldwide

La quatrième de couverture indique : Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. It illuminates a rich world of literary, visual, and Buddhist culture. Each translation is prefaced by a short introduction, and the book features images from scroll paintings, illustrated manuscripts, and printed books
moreShow More Titles
fewerShow Fewer Titles
Audience Level
Audience Level
  Kids General Special  
Audience level: 0.49 (from 0.33 for Japanese p ... to 0.97 for Landscapes ...)

Japanese plays : classic Noh, Kyogen, and Kabuki works Japanese plays :b Classic Noh, Koygen, Kabuki
Japanese plays :b Classic Noh, Koygen, Kabuki
Alternative Names
Atkins, Paul S.

Atkins, Paul S. 1969-

Atkins, Paul S. (Paul Stephen), 1969-

Atkins, Paul Stephen

Atkins, Paul Stephen 1969-

English (38)