Ivan Morris (1) (1925–1976)
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Ivan Morris (1) ist ein Alias für Ivan I. Morris.
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Bildnachweis: Uncredited image found at Alchtron.com
Werke von Ivan Morris
Die Werke gehören zum Alias Ivan I. Morris.
Samurai oder Von der Würde des Scheiterns. Tragische Helden in der Geschichte Japans (1975) 215 Exemplare
Madly Singing in the Mountains: An Appreciation and Anthology of Arthur Waley (1970) — Herausgeber — 37 Exemplare
現代日本短編集―タトル短編作品集〈3〉 3 Exemplare
Excerpt From The Pillow Book Of Sei Shonagon 1 Exemplar
Zugehörige Werke
Die Werke gehören zum Alias Ivan I. Morris.
Modern Japanese Literature: From 1868 to the Present Day (1956) — Übersetzer, einige Ausgaben — 288 Exemplare
The Sailor Who Fell from Grace with the Sea / The Temple of the Golden Pavilion / Confessions of a Mask (1985) — Übersetzer — 79 Exemplare
The Pillow Book of Sei Shonagon (The Penguin classics) (1967) — Übersetzer, einige Ausgaben — 43 Exemplare
Thought and Behavior in Modern Japanese Politics (1963) — Herausgeber, einige Ausgaben — 22 Exemplare
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Wissenswertes
- Rechtmäßiger Name
- Morris, Ivan Ira Esme
- Geburtstag
- 1925-11-29
- Todestag
- 1976-07-19
- Geschlecht
- male
- Berufe
- author
teacher (Japanese Studies)
vertaler Japans - Engels
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Morris's biggest source is Murasaki Shikibu's epic novel The Tale of Genji. While it is a fictional representation of the royal court, Murasaki painstakingly uses it to record the lives she observes. He freely admits that, as a result, his research only covers the upper echelons of society, but that's nothing new when it comes to studies like this. That said, Morris does a fantastic job of building up the society around Murasaki's novel. He covers the way Japan closed itself off from the outside world and how that isolation yet adoration of T'ang culture informed every aspect of their society. He paints a picture of the government structure, the religion, the festivals that ruled everyone's days, and the daily lives of the rich and powerful (or just the rich). While the picture is incomplete, it doesn't feel lacking.
Aside from setting up the Heian world for the reader, Morris spends a lot of time delving into the relationships of the people living at this time. After all, relationships were one of the defining things of this era of extreme leisure for the wealthy, and it's one Murasaki herself fixates on in her masterpiece, as well as her contemporaries. The Heian era is certainly unique in that romance is inextricably linked to relationships but in a performative sense rather than an emotional one. The position of men and women is ultra limiting for everyone unless you're the Fujiwara clan member in charge. It's as captivating as it is sad. I don't blame everyone for moping around and writing depressed poetry all the time.
The only odd thing about this book was the introduction, which I would recommend skipping. The majority of it was excusing Morris's behavior and "salvaging" his image. Now, I'm just a regular person. I'm not in academic circles, let alone Medieval Japanese circles. I didn't realize Morris was a problematic figure who needed his image to be cleaned up, and now that I've read this book, I still don't think there's anything alarming. His book was approachable. His arguments made sense, and I didn't get an overwhelming sense of racism, xenophobia, or sexism from the text. There might have been a couple small instances, but the introduction made it seem like his was some horribly outdated viewpoint that needed an apology, so I was expecting some pretty outlandish notions; yet, I didn't get that. I still rated this book 5 stars because I felt Morris did a fantastic job, and I don't think it's fair to rate a book based on what other people wrote in the introduction.… (mehr)