... translation projects—works, like Hare's book, that will contribute greatly to English-language scholarship on East Asia. Appendix 2 provides more information on the textual history of the performance notes. Appendix 3 focuses on the Chinese linguistic elements in medieval Japanese and in Zeami's works...

...Jonah Salz Developing Zeami: The Noh Actor's Attunement in Practice . By Shelley Fenno Quinn . Honolulu : University of Hawai‘i Press , 2005 . xi , 479 pp. $60.00 (cloth). Copyright © The Association for Asian Studies, Inc. 2007 2007 Zeami Motikiyo (1363?–1443?)—actor...

...Stanleigh H. Jones, Jr Zeami's Style: The Noh Plays of Zeami Motokiyo . By Thomas Blenman Hare . Stanford : Stanford University Press , 1986 . xiv, 319 pp. Figures, Tables, Appendixes, Notes, Annotated Bibliography, Index. $39.50. Copyright © The Association for Asian Studies, Inc...

...Arthur H. Thornhill, III On The Art Of Nō Drama: The Major Treatises Of Zeami . Translated by J. Thomas Rimer and Yamazaki Masakazu . Princeton, N.J. : Princeton University Press , 1984 . xlx, 298 pp. Illustrations, Glossaries, Selected Bibliography in Western Languages, Index. $35...

...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...

...Richard N. McKinnon Zeami and His Theories on Noh . By Toyoichirō Nogami . Trans. Ryōzō Matsumoto . Tokyo : Hinoki Shoten , 1955 . 89 . Bibliography, Illustrations. 600 yen. Copyright © The Association for Asian Studies, Inc. 1958 1958 1 For example, Zeami could...

... 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...

... hobuneyo [The Boat is a Sailboat] in Ted T. Takaya's ModernJapanese Drama: An Anthology (Columbia University Press, 1979), and now Zeami and Sanetomo shuppan (Sanetomo), translated by J. Thomas Rimer. In these plays, Yamazaki explores a central concern in modern Japanese culture: the question of personal...

..., biographer, and cross-cultural bon vivant. Of his plays, already filling ten volumes, three have been rendered into English: Fune wa hobuneyo [The Boat is a Sailboat] in Ted T. Takaya's ModernJapanese Drama: An Anthology (Columbia University Press, 1979), and now Zeami and Sanetomo shuppan (Sanetomo...

... to evaluate the role of Kannami as actor, playwright and "composer" in the evolution of the no into a great art. The achievements of Kannami have tended to be overshadowed by those of his son, Zeami Motokiyo (1363-1443), and except for Kobayashi Shizuo's excellent account in his Nogakushi kenkyu (Tokyo, 1945...

..., Noh conjured up visions of a tired, distant past it was detritus to be discarded in the face of irresistible Western attractions. Indeed, the first scholars to pay serious critical attention to Zeami's theoretical writings, uncovered in 1909, were Noel Peri and Arthur Waley. Their work...

... must be referring to Kose no Kanaoka, not to the Kan5 family. His romanization may be erratic, but his history is probably better than Dr. Miner would have it. Tokyo E. G. SEIDENSTICKER Zeami and His Theories on Noh. By TOYOICHIRO NOGAMI. Trans. Ryozo Matsumoto. Tokyo: Hinoki Shoten, 1955. 89...

... as a theater of revelation, as when the character of an old man turns out to be the ghost of a prominent warrior, but this is what Paul Atkins calls “transformation,” and he finds it typical of Zeami's plays. The identities revealed in the works of Komparu Zenchiku may be obscured by temporary veils...

... of seventeen traditional no plays, with introductions, and one original, modern no play by the author. The volume is a product of the author's long study of, and love for, no drama. Yasuda's understanding and appreciation of no is based primarily on the critical judgments made by Zeami in his treatises...

... constitute a rare document in the vital field of Japanese religious thought. BERNARD FAURE Cornell University On The Art Of No Drama: The Major Treatises Of Zeami. Translated by J. THOMAS RIMER and YAMAZAKI MASAKAZU. Princeton, N.J.: Princeton University Press, 1984. xlx, 298 pp. Illustrations, Glossaries...

..., her focus shifts to two critical treatises by the seminal sarugaku playwrights and actors Zeami Motokiyo (ca. 1363–ca. 1443) and Konparu Zenchiku (1405–ca. 1470), respectively, to discover “the circumstances under which the two explored the relationship among poetry, allegory, and noh” (p. 48...

... 406 JOURNAL OF ASIAN STUDIES Buddhist texts. Rimer and Yamazaki occasionally stumble when dealing with these materials. The first problem is simple mistranslation. For example, a phrase quoted by Zeami based upon a passage from the Great Preface of the Book of Songs, "the proclamation of one's heart...

... poetics of Shunzei and Chomei to the no aesthetics of Zeami and Zenchiku. The third essay by Royall Tyler resists the traditional interpretation of no as a monologic "one-man show" for the manifestation of the shite {shite ichinin shugi) by drawing attention to the complex dynamics between shite and waki...

... of the stature of Zeami and Chikamatsu, and has been exhalted as the patron deity of performing artists throughout Japan. As a character of legend, he is blind (though not always from birth), a musician, solitary resident of a straw hut in Ausaka (near the present-day Osaka) and even, sometimes, held...

... and the like on the American side to prove the persistence of the "race and power" concepts. One is grateful to Dower for pointing out these factors, which have been overlooked. But their importance must not be overemphasized. DAVID J. Lu Bucknell University Zeami's Style: The Noh Plays of Zeami Motokiyo...