Courtly Visions : the Ise Stories and the Politics of Cultural Appropriation.

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Courtly Visions: The Ise Stories and the Politicsof Cultural Appropriation; Copyright; Dedication; Contents; Acknowledgments; INTRODUCTION: READING THE ISE STORIES ACROSS HISTORY, GENDER, AND CLASS; 1 THE ROMANCE OF THE PICTURE: SCREEN-PICTURES, SCREEN-POEMS, AND THE ISE MONOGATARI; Narihira and Prince Koretaka's Salon; The Ise and Screen-Poems (byobu-uta); Ise Screens; 2 FEMALE READERS AND EARLY HEIAN ROMANCES: THE HAKUBYO ISE STORIES ILLUSTRATED SCROLL FRAGMENTS; The Texts of the Ise monogatari; Hakubyo Painting and Women''s Autobiographical Writing in the Heian Period; The Hakubyo Pictures.

Hakubyo PaintingIdentifying the Hakubyo Ise monogatari Scenes; The Hakubyo Ise monogatari emaki and Female Readers; The "Feminine Re-Guard"; Conclusion; 3 ALLUSION AND AUTHORITY: THE LOVE SONG OF LORD TAKAFUSA; Reception of the Ise monogatari in Imperial Anthologies through the Time of Teika; Narihira as Model Courtier; The Love Song of Lord Takafusa; The Love Song as Medieval Enlightenment Tale; The Love Song and Lèse Majesté; 4 THE KUBO VERSION: THE ISE STORIES AS CULTURAL CAPITAL; Identifying the Episodes; The Kubo Ise and Kyogoku Poetry; The Kubo Ise and Lady Nijo.

5 THE LOVE SONG OF LORD TAKAFUSA ILLUSTRATED SCROLLFrom the Takafusa shu to the Tsuya-kotoba emaki; Emperor Fushimi and the Ise monogatari; The Love Song of Lord Takafusa Illustrated Scroll; The Political Function of the Takafusa-kyo tsuya-kotoba emaki; 6 TANTRIC COMMENTARIES AND POPULAR HUMOR: THE VARIANT ISE STORIES ILLUSTRATED SCROLLS; The Introduction of the Ihon Ise monogatari emaki; Representations of Sumiyoshi Daimyojin; Ise monogatari and the Noh Theater; Wit and Humor in the Ihon Illustrated Scrolls; Kacho Fugetsu; 7 THE ESTABLISHMENT OF AN ICONOGRAPHY: THE SAGA EDITION ISE STORIES.

The Creation of the Saga-bon Ise monogatari: Part IOgi no soshi and Ise iconography; The "British Library Line" of Texts; The Creation of the Saga-bon Ise monogatari: Part II; Reprise as Conclusion: The Saga-bon "Lineage"; A. The Honokuni Bunko-bon Ise monogatari emaki; B. The Tosa-ha and the Suntory Ise monogatari Screens; C. The Mitsumochi-bon; D. The Saga-bon Ise monogatari and Saigyo monogatari emaki; 8 ISE ICONOGRAPHY AS VISUAL "SECRET TRANSMISSION" (HIDEN): THE CREATION OF THE ISE ICONOGRAPHY OF THE SOTATSU ATELIER; The Sotatsu Ise monogatari Album Leaves (shikishi).

Sotatsu Screens of the Ise monogatariThe British Museum Ise monogatari screen; The Ise Stories' Two Iconographies; EPILOGUE: THE ISE STORIES AND THEIR IMAGERY IN THE LATER EDO AND MODERN PERIODS; Other Developments in the Seventeenth Century; Ise on Stage; Further Eighteenth-Century Developments; Narihira and Genji in the Nineteenth Century; Mitate Series; Chiryu, and Ise in the Geographic Imagination; Ise monogatari in the Meiji Period; Ise monogatari to the Beginning of the Twenty-First Century; Endnotes.

Appendix A. Translation of The Love Song of Lord Takafusa Illustrated Scroll (Takafusa-kyo tsuya-kotoba emaki).

Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation traces-through the visual and literary record-the reception and use of the tenth-century literary romance through the seventeenth century.

Includes bibliographical references (pages 324-337) and indexes.

English.

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