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Supernatural Beings From Japanese Noh Plays of the Fifth Group by Chifumi Shimazaki

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Supernatural Beings From Japanese Noh Plays of the Fifth Group

Chifumi Shimazaki, Stephen Comee

Cornell University Press · Paperback · November 30, 2012

Reading lane: Japanese Plays

This long-awaited volume presents the fifth and final category of Noh plays, often called kiri-n?, or "ending Noh," because they are staged last in a formal performance.

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At a Glance

Who It's For

Good for fans of JapanGood for readers who enjoy Japanese Plays and Japanese Literary Criticism.

Book Details

Authors
Chifumi Shimazaki, Stephen Comee
Publisher
Cornell University Press
Published
November 30, 2012
Format
Paperback
Theme
Japanese Plays · Japanese Literary Criticism
Reading lane
Japanese Plays

Affinity

Publisher Categories

  • Japanese Plays

  • Japanese Literary Criticism

  • Theater History & Criticism

About This Book

This long-awaited volume presents the fifth and final category of Noh plays, often called kiri-n?, or "ending Noh," because they are staged last in a formal performance. This group comprises fifty of the most active and exciting of all plays in the Noh repertoire. They include deities, ghosts, or living humans, as well as a plethora of supernatural beings such as tengu (strange long-nosed creatures), monstrous creatures, demons, and fiends. The fifth-group Noh with such shit...

Read full description

This long-awaited volume presents the fifth and final category of Noh plays, often called kiri-n?, or "ending Noh," because they are staged last in a formal performance. This group comprises fifty of the most active and exciting of all plays in the Noh repertoire. They include deities, ghosts, or living humans, as well as a plethora of supernatural beings such as tengu (strange long-nosed creatures), monstrous creatures, demons, and fiends. The fifth-group Noh with such shite are all supernatural or visional. None of them is totally realistic. These ghosts, deities, and monsters sometimes appear to attack men, sometimes to help them, and sometimes just to tell their stories. Dividing the plays into seven subgroups according to structure, the authors fully analyze their dramatic characteristics. The book includes line-by-line translations of eight Noh representing all of the subgroups, together with the Romanized original Japanese texts, detailed introductions, and running commentaries.

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