Search Results for kannami

...Richard N. McKinnon Kannami Kiyotsugu . By Nogami Toyoichirō . Tokyo , 1949 . 8 + 155. Copyright © The Association for Asian Studies, Inc. 1956 1956 304 FAR EASTERN QUARTERLY noun (see Arts. 5, 11 and 18). Yet iiwatasu and iiwatashi are examples where different usages may require...

...Richard N. McKinnon Abstract The Nō, Japan's first great dramatic form, was fully developed by two great performers, Kannami (1333–1384) and his son Zeami (1363–1443), in the late fourteenth and early fifteenth centuries, the heart of the Muromachi period. The Nō remained one of Japan's primary...

... definitions, two are obligingly given: "a dash of phantasy coming from a spiritual depth" (p, 16) and "the technique of expressing the profundity of sentiment" (p. 35). j BOOK REVIEWS 143 Zeami had characterized as being potentially an even greater artist than his own father, the great Kannami.2 Motomasa's...

... REVIEWS 143 Zeami had characterized as being potentially an even greater artist than his own father, the great Kannami.2 Motomasa's unexpected death left Zeami with no one to carry on the artistic tradition which Zeami had formulated during the better part of his life. This personal tragedy, especially...

... actors, the relationship between practice and performance, noh as a way of life, the classical teachings of Kannami and Zeami, 654 THE JOURNAL OF ASIAN STUDIES contemporary developments on the ideas of these two fourteenth century masters, and finally the extention of noh practices into other...

... in the attempt. Factual errors pop up occasionally (Kiyomori was never shogun; Kannami's given name was Kiyotsugu, not Mototsugu; sagi is a kind of heron or egret, not a "snipe There are some confusing inconsistencies (one example: Zeami's first treatise is called Fushikaden in one place and Kadensho in another...

... Prints [Margaret Gentles] 129 Nogami Toyoichiro, Kannami Kiyotsugu [Richard N. McKinnon] 304 Ok6chi Kazuo, Rodo mondai [George O. Totten] 423 Paine, Robert Treat, and Alexander Soper, The Art and Architecture of Japan [Sher- man E. Lee] 417 Quigley, Harold S., and John E. Turner, The New Japan...

..., and of die weary mountain journeyings in Yamauba all show a masterful handling both of evocative power and of development. This is true of a number of other plays, also by Zeami. On the contrary, the imagery in Kannami's Motomezu\a and Kojiro's Momijigari is relatively fragmentary and undeveloped. Therefore...