Image - Name The Straits of Literature and History The Straits of Literature and History Image - Name The Straits of Literature and History Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/BucknellDSC/heresies/main/CSS/heresies_cwrc.css"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>[ESSAY TITLE]</title> <author>[ESSAY AUTHOR]</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021- Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-23)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>HTR editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>[ISSUE TITLE]</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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From \"Theses on the Philosophy of\n\t\t\t\t\t\t\tHistory\", p. 256." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", 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Translated and edited by Ivan Morris." }, "as:generator": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:url": "https://leaf-writer.lincsproject.ca/", "schema:softwareVersion": "3.6.0" } }]]> </rdf:Description> <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/"> <![CDATA[{ "@context": { "dcterms:created": { "@type": "xsd:dateTime", "@id": "dcterms:created" }, "dcterms:issued": { "@type": "xsd:dateTime", "@id": "dcterms:issued" }, "oa:motivatedBy": { "@type": "oa:Motivation" }, "@language": "en", "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#", "rdfs": "http://www.w3.org/2000/01/rdf-schema#", "as": "http://www.w3.org/ns/activitystreams#", "cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#", "dc": "http://purl.org/dc/elements/1.1/", "dcterms": "http://purl.org/dc/terms/", "foaf": "http://xmlns.com/foaf/0.1/", "geo": "http://www.geonames.org/ontology#", "oa": "http://www.w3.org/ns/oa#", "schema": "http://schema.org/", 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"id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rickey_0_0_1_0_0_0_0_0_0_0.xml?work_annotation_20241006091623440", "type": "oa:Annotation", "dcterms:created": "2024-10-06T13:16:23.440Z", "dcterms:creator": { "@id": "13", "@type": [ "cwrc:NaturalPerson", "schema:Person" ], "cwrc:hasName": "Roger Rothman" }, "oa:motivatedBy": "oa:identifying", "oa:hasTarget": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rickey_0_0_1_0_0_0_0_0_0_0.xml?work_annotation_20241006091623440#Target", "@type": "oa:SpecificResource", "oa:hasSource": { "@id": "https://leaf.bucknell.edu/sites/default/files/2025-04/rickey_0_0_1_0_0_0_0_0_0_0.xml", "@type": "dctypes:Text", "dc:format": "text/xml" }, "oa:renderedVia": { "@id": "https://leaf.bucknell.edu", "@type": "as:Application", "rdfs:label": "LEAF-Writer", "schema:softwareVersion": "3.6.0" }, "oa:hasSelector": { "@id": 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Rickey</persName></byline> <p> With whom does history empathize? For <persName key="Walter Benjamin" ref="http://www.wikidata.org/entity/Q61078" cert="high" type="real">Walter Benjamin</persName>, "The answer is inevitable: with the victor." <note type="scholarNote"><persName key="Walter Benjamin" ref="http://www.wikidata.org/entity/Q61078">Walter Benjamin</persName>, <emph>Illuminations</emph> (New York: Schocken Books, 1969). From "<title key="Theses on the Philosophy of History" ref="http://www.wikidata.org/entity/Q330979">Theses on the Philosophy of History"</title>, p. 256.</note> The reciprocity between historian and ruler is tacit: the historian makes official the ruler's authority and the ruler's authority gives the historian's work validity. This is not to suggest that no histories exist that subvert this premise. Literature is a "history" which in most cases serves the prevailing order because its very existence confirms that order's cultural richness. But literature is privileged because it can employ language's nuance and allusiveness and from the inside gently or joltingly criticize that order. Because literature is by implication a cultural artifact of a ruling order, subversive or not it is a historical spoil owing as much to the anonymous toil that gave the writer time to pursue an idea as to the original mind that conceived it.</p> <p>The connection between a ruling order and its cultural artifacts is like a strait separating two bodies of water intimately linked in time and geography. The straits of literature and history are evidenced in Japanese writing of the Heian period (794-1185 A.D.) which commands interest because of its richness of description, its pioneering of new forms, and the fact that its leading practitioners were women. Many social and cultural conditions set the stage for this unprecedented predominance of literary women. According to <persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Ivan Morris</persName>, "Though they [peasants, fishermen, forestmen and other laborers] contributed to the vast majority of the [Heian period's] population and were the only economically productive class in the country, we virtually have no authentic information about their lives." <note type="scholarNote"><persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Ivan Morris</persName>, <title key="Morris, Ivan Ira. | World of the shining prince" ref="http://viaf.org/viaf/9619151052055333530008/"><emph>The World of the Shining Prince</emph></title> (New York: Alfred Knopf, 1964), p. 83.</note> What we today know of Heian life has been garnered from the literature of that period—especially from <persName key="Murasaki Shikibu" ref="http://www.wikidata.org/entity/Q81731">Murasaki Shikibu</persName>'s <title key="The Tale of Genji" ref="http://www.wikidata.org/entity/Q8269">The Tale of Genji</title> and <persName key="Sei Shōnagon" ref="http://www.wikidata.org/entity/Q231603">Sei Shonagon</persName>'s <title key="The Pillow Book" ref="http://www.wikidata.org/entity/Q615137">The Pillow Book</title>—but these literary milestones detailing Heian court life treat a population of only about one-tenth of one percent of the five million population in Japan at that time. <note type="scholarNote"><emph>Ibid.</emph></note></p> <p> Murasaki's and Sei's originality of form and observation is unparalleled in the history of literature. These two women were contemporaries; both were brought to court from the provinces because of their talent and intelligence. Due to the complications of Japan's clan politics, there was a "court" with many satellite courts, and it is not known whether these two women ever lived in the same palace, although they were aware of each other's writings. Their social position was substantially different from that of the women outside the court who "toiled arduously, were subject to harsh treatment by their men, bred young, and died early." <note type="scholarNote"><persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Morris</persName>, p. 199.</note></p> <p>Murasaki and Sei are figures of incalculable significance because they were pioneers, because they produced work in a period which had articulated for itself a distinct masculine and feminine aesthetic, and because they wrote in Japanese at a time when the language for official and theological affairs was Chinese (cf. the European use of Latin as an "official" language). Not only did they establish traditions of the psychological novel and the diary, but their writings preserved the Japanese language for subsequent generations. In their day women were restricted to the use of Japanese while men exchanged ideas and conversation in Chinese. Even today the distinction between native syllabary and the Chinese characters incorporated into the language reflects this gender dichotomy. The native characters are called <lang>onnade</lang>, or "woman's hand," while Chinese character are known as otokomoji, "man's letters." <note type="scholarNote"><persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Morris</persName>, p. 195</note> Sei's writings are still studied today for the purity of her Japanese diction; she avoided Chinese-isms—an accomplishment comparable to writing in English without using any Latinate words.</p> <p>In the time of Murasaki and Sei there were no narrative literary traditions to maintain. Japanese literature before their time had been poetry of a calculatedly oblique nature; a long prologomena was necessary to explain the poem's meaning.</p> <p>What a remarkable achievement to conceive a psychological novel—as Murasaki did—where a poem appears as an organic expression within the context of a narrative and requires no annotation to be understood Murasaki fused the traditional poetic form with her narrative innovation, the intimate epic. Sei's <title key="The Pillow Book" ref="http://www.wikidata.org/entity/Q615137">Pillow Book</title> was so called because she suggested to the empress that notebooks of historical documents could be recycled by making them into a pillow (a word that referred to a diary as well as a head rest); Sei filled her notebook with lists, odd facts and observations from the present, thereby annotating the leaves of official history with her lively opinions. <note type="scholarNote"><persName key="Sei Shōnagon" ref="http://www.wikidata.org/entity/Q231603">Sei Shonagon</persName>, <emph>The Pillow Book of Sei Shonagon</emph> (Harmondsworth, England: Penguin Books, 1967). Translated and edited by Ivan Morris.</note> For both these women, objectivity was the domain of the historian and untenable because it neutralized differing positions. Objects and people, in the writings of Murasaki and Sei, have innumerable facets. They intimated the spirit of an object or a person by bombarding the reader with dense description: lists, textures, physical and natural detail. Collectively their historical truth is compelling because they replace "objectivity" with opinionation.</p> <p>But these two contemporaries reflected different attitudes about their culture. Sei begins a chapter of her book with: "When I make myself imagine what it is like to be one of those women who live at home, faithfully serving their husbands—women who have not a single exciting prospect in life yet believe they are perfectly happy—I am filled with scorn." <note type="scholarNote"><persName key="Sei Shōnagon" ref="http://www.wikidata.org/entity/Q231603">Sei Shonagon</persName>, p. 39.</note> In a passage where Murasaki describes <persName key="Hikaru Genji" ref="http://www.wikidata.org/entity/Q997646" type="fictional">Genji</persName>'s (and by implication her own) view of the novel, Genji observes, "Without it what should we know of how people lived in the past from the age of the Gods down to the present day? For history books...show us only one corner of life; whereas these diaries and romances which I see piled around you contain, I am sure, the most minute information about people's private affairs." <note type="scholarNote"><persName key="Murasaki Shikibu" ref="http://www.wikidata.org/entity/Q81731">Marasaki Shikibu</persName>, <emph>The Tale of Genji</emph> (New York: Alfred Knopf, 1977). Translated by Edward Seidensticker.</note> Sei and Murasaki charted divergent routes in their writing: Sei was an empiricist recording impressions of contemporary Heian manners; she lacked the self-consciousness of Murasaki, who fashioned a world in the indeterminate past in order to best intuitively comment on life in her immediate present. Sei's literary concerns were the refined tastes of the nobility and the freshness of nature. Murasaki was less impressionistic and more analytic in her evaluation of Heian society. She continuously tells us that it was best to be born a man of</p> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_023.jpg" n="23" xml:id="img_0023"/> <p> imperial blood and live at the court. But she was keenly aware of the hierarchies within the aristocracy and observed the tension between provincials and the court clique, as well as sensitively articulating the social restrictions limiting the mobility of the lower ranks within the court.</p> <p>A number of factors informed the attitudes Sei and Murasaki expressed. The birth of a woman was a happy event because in the marriage politics of Heian society a woman might grow up to marry the emperor. It was much easier in their day for a woman of "inferior" birth to marry a man of noble rank than vice versa. The professions which brought a lower-rank man to the capital—scholar or priest, say—would not automatically give him ingress to the imperial circle, while it seems likely that Sei and Murasaki were brought to the court because of their reputations as women of wit and sensibility. In Heian Japan a woman was allowed both to inherit and own property. The civil codes expressly forbade wife-beating, although the punishment for this was two degrees less than assaulting "other people." <note type="scholarNote"><persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Morris</persName>, p. 90.</note> But these facts don't pinpoint the complex and inbred quality of Heian life, which is best described by the Chinese proverb: "The people are as far from the Emper or as from heaven." Japanese appropriation of China's governmental centralization produced a bureaucracy so awkward in this land of decentralized clans that the delegation of authority was carried to extreme lengths; the source of authority was, accordingly, far removed from the functionary who directly wielded it. Because the real power was exercised by ministers and other imperial subalterns, the emperor was left with two functions: to encourage new art forms and fashion rituals of piety from the religious hybrid of Shinto and Buddhist beliefs. Women were excluded from public affairs, but they played a tremendous role in the Heian court. A well-born woman had leisure and imperial encouragement for creation and contemplation denied to male counterparts busy with official duties and polygamous pursuits (the man at the Heian court was expected to have a wife and a few mistresses).</p> <p> If Murasaki's and Sei's writings are an index to female sexual options during the Heian period, aristocratic women enjoyed a multiplicity of partners as well. Later ages would revile Sei and Murasaki for their "foully licentious"Quoted in <persName>Morris</persName>, p. 45<note type="researchNote"/> descriptions, but promiscuity was a vital element of their culture. The largely endogamous Heian court was energized by the covert alliances of provincials with sovereigns and their subalterns. The ruling clan of the Heian period—the Fujiwaras—never commanded significant military strength but established power by marrying their daughters to sovereigns. The famous <persName key="Fujiwara no Michinaga" ref="http://www.wikidata.org/entity/Q433133">Fujiwara Michinaga</persName> was father-in-law of two emperors, grandfather of a third, grandfather and greatgrandfather of a fourth, grandfather and father-in-law of a fifth. <note type="scholarNote"><persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Morris,</persName> p. 44.</note> This kind of inbreeding was the substructure of the court clique. The nominal source of power, this clique was attractive because it nurtured the creation of art. But it needed the vitality of provincials like Sei and Murasaki to regenerate its incestuous ranks.</p> <p>Once at court, Sei and Murasaki became insiders who made observations on the social arts at a time when manners were politics and politics culture. Murasaki wrote of a picture competition designed by Genji to rechannel court enmities to less destructive ends: "It was indeed a moment in the history of our country when the whole energy of the nation seemed to be concentrated upon the search for the prettiest method of mounting paper scrolls." <note type="scholarNote"><persName key="Murasaki Shikibu" ref="http://www.wikidata.org/entity/Q81731">Murasaki Shikibu</persName>.</note></p> <p>Murasaki's and Sei's importance is that while they operated in a culture that regarded women as inferior to men, they never believed that of themselves. Although in her diary Murasaki repeatedly alluded to her father's regret that because of her great intelligence she had not been born male, she characterized the richness of both male and female experiences in Genji. Although it is clear in Genji that men have more options available to them, women are equal in wit, intelligence and style. Sei, perhaps because of her position as the empress' favorite, is much more interested in the doings of imperial ladies than those of gentlemen. Murasaki's and Sei's writing was expressly power identified at a time when power was not so much a link with male dominance as it was one expression in a complex social milieu in which women participated. Murasaki and Sei dealt with emotions that are universally intelligible and exist cross-culturally—unlike the objective specificities of the official histories and philosophies in which the men of their day engaged. Educated women were able to act and write less conventionally than were men of comparable status.</p> <p>Could a Heian man have created work like Murasaki and Sei? The self-conscious Heian court was totally aware of the sexual division of speech and the exclusion of women from the public sphere. Only at court could women "circulate" and not be expected to hide behind fans and screens, the way propriety demanded women do outside the court. The masculine style, identified by scholars of Japanese literature as well as by Murasaki and Sei in various appreciations of male qualities, was "the directness of utterance and concern with society." <note type="scholarNote"><persName key="Donald Keene" ref="http://www.wikidata.org/entity/Q1240040">Donald Keene</persName>, in <emph>Half the World</emph>, edited by Arnold Toynbee (New York: Holt, Rinehart and Winston, 1973), p. 255.</note> The "feminine" preference was taken to be the interest in suggestion and intuition—which was the style imitated by men when they wrote to women or expressed themselves in affairs of the heart. A man could have written in the style of Murasaki and Sei, and, indeed, some men assumed the feminine voice and pretended to be women authors. But the incisiveness and sensibility of these female impersonators is inferior to the work of Murasaki and Sei. The inference that women sensed nuance in affairs of state while men were consigned blindly to conduct these affairs leads to a simplistic "women feel/men think" conclusion that fails to cut through psychology or historicism. Men couldn't create work like Murasaki and Sei, even though they tried. These women were successful in capturing the range of experience and feeling of both sexes.</p> <p> Why were they successful? They glorified a shining nobility. They catalogued and ordered a courtly etiquette rich in gestural nuance, which inspired contemporary court</p> <pb facs="https://raw.githubusercontent.com/BucknellDSC/heresies/main/issue04/images/Heresies_04_024.jpg" n="24" xml:id="img_0024"/> <p> behavior. They articulated a feminine position to which men could respond. Both provincials, they described a life outside the court that seemed raw and exotic to the inbred Heian court. Murasaki characterized the province/capital dichotomy when she wrote about Genji's scrolls made during his exile on the Suma coast: "Amid intense excitement...[they] produced a roll containing Genji's sketches at Suma...so masterly a hand working at complete leisure and far from the distracting influences which beset an artist in town. They saw so vividly presented both the stem manner of his life there and in some sort the feelings which this rustic life had aroused in everyone used to every luxury and indulgence." <note type="scholarNote"><persName key="Murasaki Shikibu" ref="http://www.wikidata.org/entity/Q81731">Murasaki Shikibu</persName>.</note> Soon after <title key="The Tale of Genji" ref="http://www.wikidata.org/entity/Q8269">The Tale of Genji</title> appeared at court, Genji was adopted as a Shinto deity. <note type="scholarNote"><persName key="Parker Tyler" ref="http://www.wikidata.org/entity/Q6127625">Parker Tyler</persName>, "Prince Genji: The Hero and His Culture," Art News, Nov., 1958, p. 180.</note> </p> <p>Sei's open competition with men—even with those of a higher rank—gave the Heian court a model of an openly combative woman who refused to acquiesce to the prevailing notions of female propriety. She writes with glee how she embarrassed the minister <persName key="Nobutsune Ōkuma" ref="http://www.wikidata.org/entity/Q11441779" type="real">Nobutsune</persName> (who was Murasaki's cousin): "One day when Nobutsune was serving as Intendant in the Office of Palace Works he sent a sketch to one of the craftsmen explaining how a certain piece of work should be done. 'Kindly execute in this fashion,' he added in Chinese characters. I happened to notice the piece of paper and it was the most preposterous writing I had ever seen. Next to his message I wrote, 'If you do the work in this style, it will certainly turn out strangely.' The document found its way to the imperial apartment, and everyone who saw it was greatly amused—except, of course, Nobutsune, who was furious and after this held a grudge against me." <note type="scholarNote"><persName key="Sei Shōnagon" ref="http://www.wikidata.org/entity/Q231603">Sei Shonagon</persName>.</note> Murasaki acidly noted in her diary, "Someone [Sei] who makes such an effort to be different from others is bound to fall in people's esteem and I can only think her future will be a hard one. She is a gifted woman, to be sure...how can things turn out well for such a woman?" <note type="scholarNote"><persName key="Murasaki Shikibu" ref="http://www.wikidata.org/entity/Q81731">Murasaki</persName> quoted in introduction to <persName key="Sei Shōnagon" ref="http://www.wikidata.org/entity/Q231603">Shonagon</persName> by <persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Morris</persName>.</note></p> <p>Sei and Murasaki challenged the religious as well as social assumptions of their society. They shaped as well as recorded their civilization; there are few other instances of such literary power and evocativeness. History regards Heian Japan as a golden age whose achievements rank with those of Byzantium, Athens, and Renaissance Italy. The work of these two women recorded that period with greater depth and insight than any other contemporary cultural products, so much so that virtually all that is known about the period has been learned from their writings.</p> <p>Two questions remain: What is the deeper meaning of a "golden age"? What was Murasaki's and Sei's relationship to the golden age they so consummately characterized? An age is "golden" in contrast to the generations of dross preceding and succeeding it. An age is "golden" because cultural achievements complement political strength and together give the impression of an ideal social harmony. Cultural achievements in Heian were enjoyed, as is so often the case, by a few at the expense of many. Like two facing mirrors, the literature reflected the glory of the ruling class and vice versa. But there were some distortions. In reading these works—as literature or as historical documents—there is a striking double edge to each. Murasaki's choice to place her tale in the indeterminate past suggests two contradictory readings: Did the paucity of excitement and intelligence at the court encourage her to invent a perfect and brilliant hero, or was court life so thrilling she was inspired to glorify it? Whichever, there is throughout Murasaki's novel a wistfulness of "wouldn't it be nice if it were this way" which suggests dissatisfaction with the way it was, and the characters still alive at the close of the novel are so morally and intellectually inferior to Genji that her conclusion has a hopeless tone. Sei's devotion to the imperial family and her contempt for the lower orders (an attitude that prompted a Japanese scholar to call her a "spiritual cripple") <note type="scholarNote"><persName key="Ivan Morris" ref="http://www.wikidata.org/entity/Q3826587">Morris</persName>, introduction to <persName>Shonagon</persName>.</note> reveals a mindset that for the Heian court was good breeding but for the modern reader is patronizing and blind. Sei's circumscribed vision and partisanship today says more about the exclusion of the lower classes from Heian society by omission than do the scanty histories from the period.</p> <p>Sei's and Murasaki's historical reflections are powerful and moving, simultaneously evocative of Heian pageantry and of the sadness of a society where leisure and culture was reserved for a chosen few. No culture, no "golden age" wants to be tarnished by an enumeration of its prejudices and oppressions. Murasaki's and Sei's literature both criticized and apotheosized their era and, in doing so, exemplifies the straits of literature and history.</p> </div> <div> <head>References</head> <list> <item>Hall, J. W., <title>Japan</title>. New York: Delta, 1970. </item> <item>Keene, D., <title>Japanese Literature.</title> New York: Grove Press, 1955.</item> <item>Sansom, G. B., <title>The Western World and Japan</title>. New York: Random House, 1973.</item> </list> </div> </body> <back> <div> <p>Carrie Rickey writes about movies and lives in New York.</p> </div> </back> </text> </TEI>
Image - Name From the Editorial Group From the Editorial Group Image - Name From the Editorial Group Document <?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/BucknellDSC/heresies/main/CSS/heresies_cwrc.css"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#"> <teiHeader> <fileDesc> <titleStmt> <title>[ESSAY TITLE]</title> <author>[ESSAY AUTHOR]</author> <respStmt> <persName>Haley Beardsley</persName> <resp>Editor (2021- Present)</resp> </respStmt> <respStmt> <persName>Erica Delsandro</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Mia DeRoco</persName> <resp>Editor (2023-Present)</resp> </respStmt> <respStmt> <persName>Margaret Hunter</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Diane Jakacki</persName> <resp>Invesigator, encoder</resp> </respStmt> <respStmt> <persName>Sophie McQuaide</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Olivia Martin</persName> <resp>Editor, encoder (2021)</resp> </respStmt> <respStmt> <persName>Zoha Nadeer</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Bri Perea</persName> <resp>Editor (2022-23)</resp> </respStmt> <respStmt> <persName>Carrie Pirmann</persName> <resp>HTR editor, encoder (2023-Present)</resp> </respStmt> <respStmt> <persName>Ricky Rodriguez</persName> <resp>Editor (2022-2023)</resp> </respStmt> <respStmt> <persName>Roger Rothman</persName> <resp>Investigator, editor</resp> </respStmt> <respStmt> <persName>Kaitlyn Segreti</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maggie Smith</persName> <resp>Editor (2021-Present)</resp> </respStmt> <respStmt> <persName>Maya Wadhwa</persName> <resp>Editor (2021-2023)</resp> </respStmt> <respStmt> <persName>Lucy Wadswoth</persName> <resp>Editor (2022-Present)</resp> </respStmt> <respStmt> <persName>Anna Marie Wingard</persName> <resp>Editor (2023-Present)</resp> </respStmt> <funder>Bucknell University Humanities Center</funder> <funder>Bucknell University Office of Undergraduate Research</funder> <funder>The Mellon Foundation</funder> <funder>National Endowment for the Humanities</funder> </titleStmt> <publicationStmt> <distributor> <name>Bucknell University</name> <address> <street>One Dent Drive</street> <settlement>Lewisburg</settlement> <region>Pennsylvania</region> <postCode>17837</postCode> </address> </distributor> <availability> <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)</licence> <licence>Heresies journal: © Heresies Collective</licence> </availability> </publicationStmt> <sourceDesc> <biblStruct> <analytic> <title>[ISSUE TITLE]</title> </analytic> <monogr> <imprint> <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher> <pubPlace> <address> <name>Heresies</name> <postBox>P.O. 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Initially we met anticipating discussions of quilts, pottery and weaving rugs. But discussions of quillwork, poetry, and weaving narratives came up too. It became clear that basic to our concerns was the politics of aesthetics. And in these discussions we couldn't examine either the artifacts or their politics without a constant awareness that our process was collective. We found that collectivity and deadlines make strange bedpersons. Like any revolution, any revelation, collectivity was the best of times, it was the worst of times.</p> <p>As a self-selected group of women we all shared a commitment to our topic and a commitment to the Heresies Collective, the 21 women who are the magazine's originators and publishers. Nearly half the editorial group which produced this issue are Heresies Collective members too. The others of us responded to the Heresies invitation which offers feminists the space and the means to explore and analyze women's issues in depth. Our editorial responsibility ranged from discussing issues, soliciting articles, reading and responding to submissions and working editorially with writers, to the technical production of the magazine. This lengthy process required willingness to put aside learned notions of efficiency. Criticism and self-criticism were the feedback structures that allowed us continually to re-examine our process and our ideas. We had to respond to different levels of experience and tried to avoid their expression in conscious or unconscious hierarchies. Our concern about structure had its emotional edge. We began as eleven. We are now nine. Our fledgling process was as full of pain and anxiety as it was of intelligence and optimism. We needed to weigh the comparative values of professional writing versus amateur investigation and set our own standards which emphasized the communication of issues rather than just cherished notions of good writing. Each editor had a sense of an insider/outsider tension. On the one hand, there was an unspoken set of assumptions shared by some members of the group, vocabulary and gestures which grew out of a common history, a common consciousness. On the other, there was a fear that this set of assumptions implied a clique.</p> <p>What kind of process did we create? We felt we were constantly tripping over ourselves. We were frustrated and embarrassed at all the doubling back and overlap in our discussions, especially when we were met with questions like, "If she's a pain in the ass, why don't you kick her out?" "Why do you waste so much time with democracy?" "Hierarchies are inevitable. Why don't you face it?" "Isn't a collective a camel designed by a committee?" What we created was awkward, was exhilarating. As involved as we all were with making the magazine beautiful, exciting, intellectually stimulating, this became secondary to the problem of how we could possibly accommodate ourselves to each other's needs as creative women.</p> <p>How could we collectively make a magazine that represented us all? How comfortable were we with each other's voices, with each other's images, with each other's ideas? We did not want this issue to be an organ for self-promotion. But fired by our discussions and prompted by questions raised in submitted articles, many members of the editorial group submitted articles for publication. Analogies were made to archeological digs and contemporary anthropology, and the more excited we were by the information of our contributors, the more immediately we wanted to participate ourselves.</p> <p>The Women's Movement is in a new phase. Consciousness-raising continues to be basic to any feminist enterprise. We are shifting the arena of our political activity from the private to the public. In projects like Heresies this shift takes the concrete form of a magazine, the creation of a forum, the extension of ideas and images into places where they can be discussed and critiqued. This development requires a scrutiny which at times seems inimical to the support and solidarity that are the goals of consciousness-raising. But to resort pessimistically to the conclusion that deadlines demand bureaucracies is to overlook that we are still developing the sort of consciousness and fantasy that can project alternatives. A dialectic of content and process evolved in the production of this issue. Every positive aspect had its negative underbelly, and vice versa. Our understanding of women's traditional arts expanded in response to the material submitted to us, and there were recurring motifs: time, efficiency and domesticity. Recognizing that time was a common denominator all women shared—time for one woman might mean cooking, for another weaving, for us, producing this issue—we began to realize the positive aspect of our flexibility in handling time (we were certainly not behaving "efficiently"), but we were simultaneously aware that the model for this attitude to time came from the family where the woman's work is never done and always done and where the endlessness of tasks is depleting and domesticating. From her house flows much of the art that this issue considers.</p> <p>In order to understand women's traditional arts and our responses to it we had to deconstruct and reconstruct to be able to see clearly the interrelationships between art objects and the conditions in which they are produced. This cycle of dismantling and re-creating characterized our own creative process too. The boundaries women have worked within and challenged were familiar to us. Traditionally, women's working spaces have been defined by their tent, hut or home, their psychological spaces by the rhythm of domestic demands. We often become attached to our working and psychological spaces to the extent that our process disintegrated when we moved from place to place and phase to phase. Confronted with women's traditional arts, our loyalties were torn; we wanted at the same time to celebrate and lament. Trying to reconstruct a part of the history of women's artmaking obliged us to tolerate these contradictions, to negate, affirm and transcend simultaneously what has characterized women's work. In this way, re-evaluation of the past and how it impinges on the present does not necessitate a fresh start, but a self-reflective critical appropriation of a past which, though created by the "anonymous toil" of unknown women, belongs to all of us.</p><p>Language conveys attitudes and feelings and at the same time reflects and constructs consciousness. We were sensitive to the need for scrutinizing our words when we spoke together, for questioning clichés. Elements of a new vocabulary emerged in our discussions, a vocabulary which helped us view women's traditional arts in the ways we have.</p> <p>"Filters" are the biases we bring to our projects. By acknowledging them, we wanted to challenge the myth of objectivity, to let our various feminist partisanships show. "Femmage" is the practice of collecting, recycling, reshaping and juxtaposing the artifacts of everyday life, a mode echoed in our production of this magazine. "Anonymous toil" is the labor that invisibly supports the honored products of culture. "Matronizing" attitudes are characterized by a smug feminism that knows the answers and ceases to be self-critical. Because we were dealing anthropologically with other cultures and editorially with other writers, we found ourselves fighting against falling into this stance. The entire process—from initial meetings to eventual publication—took nine months. Obviously a full-term pregnancy. The toughest part was to achieve the fine balance between the sentimental and the intellectual.</p> <p>Initially, our aim was to investigate women's traditional arts. This led us to another question: what will women of the future make and what will their contexts be? We are at a peculiar and exciting edge: one foot in the socially stratified past, the other in our utopian fantasy of the future.</p> </div> </body> </text> </TEI>