By Matsuya Company

ISBN-10: 0486228746

ISBN-13: 9780486228747

Definitive catalogue of eastern heraldic crests that includes virtually limitless number of plant, animal, chicken, and geometric types — every little thing from "wild goose" to "folding fan" to "mountain and mist," every one with dozens of diversifications. 4,260 illustrations. "The 4,260 wonderful heraldic emblems...are smooth, attention-grabbing, and perfect." — Lady's Circle Needlework.

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From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed. Chieko I. : Greenwood, 1994), pp. 132–143. 2. In the early to mid-Meiji, the terms “keishu¯ ” and “joryu¯ ” (woman’s style) were used interchangeably to define the works of women. But keishu¯ was used with more frequency when referring to women writers collectively. By the end of the Meiji period, joryu¯ replaced keishu¯ in this regard as well, except when critics referred retrospectively to the women writers of the earlier age.

University of Chicago, 1991), p. 93. Sakaki, “Sliding Door,” p. 4. As cited and translated in Tomi Suzuki, Narrating the Self: Fictions of Japanese Modernity (Stanford: Stanford University Press, 1996), p. 24. Akiyama Shun, “Ima joryu¯ bungaku to wa nani ka: Sengo shi to no kanren de,” Kokubungaku kaishaku to ky¯zai o no kenkyu¯ 15 (December 1980): 124–127, as quoted and translated in Joan Ericson, “The Origins of the Concept of Women’s Literature,” in The Woman’s Hand: Gender and Theory in Japanese Women’s Writing, ed.

They were articulate, intellectually curious, and proudly conscious of their need to assert control over their own destiny—both physical and intellectual. Writing, whether or not they took up the brush in a conscious effort to protest, offered these women access to the ever-shifting spheres beyond the ken of family, home, and appropriate social roles. introduction: meiji women writers 25 notes 1. From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed.

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