Author: UH Press

Asian Theatre Journal, vol. 17, no. 2 (2000)

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Editor’s Note
Samuel L. Leiter, p. iii

PLAY

Ehon Gappô ga Tsuji: A Kabuki Drama of Unfettered Evil by Tsuruya Nanboku IV
translated and introduced by Paul B. Kennelly, p. 149

Early nineteenth-century Japanese theatre was dominated by the kabuki playwright Tsuruya Nanboku IV, who seized on the fascination with evil and the vendetta in contemporary literature to create a new type of kabuki play. This genre–of which Ehon Gappô ga Tsuji is the finest example–focuses on the role types of the handsome young villain (iroaku) and wicked woman (akuba).

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Philosophy East and West, vols. 1-25 (1951-1975): Article Index

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Article Index by Author

JSTOR logoElectronic facsimiles of all back issues more than three years old are available via JSTOR. Digital facsimiles of all back issues more than ten years old are available in ProQuest Periodicals Archive Online. Back volumes in microfilm format are available via ProQuest UMI. Volumes 1 (1951) through 26 (1976) are out of print, but are available in the JSTOR digital archive.

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Manoa, vol. 12, no. 1 (2000): Silenced Voices

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Silenced Voices cover imagePresented by Manoa: A Pacific Journal of International Writing

Silenced Voices: New Writing from Indonesia

Frank Stewart, editor; John McGlynn, feature editor

Silenced Voices presents contemporary writing from Indonesia, and at the same time a selection of fiction, poetry and essays from throughout the Pacific region. Many of the Indonesian writers in the volume were imprisoned or persecuted for their opposition to the country’s authoritarian governments and draconian restrictions on freedom of expression. Guest editor John H. McGlynn gathered the Indonesian writing, most of it banned or censored work and appearing in English for the first time.

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China Review International, vol. 7, no. 1 (2000)

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CRI initialThis issue is available online at Project Muse.

REMEMBERING TANG TSOU

Tang Tsou (1918–1999)
By Vincent Kelly Pollard, 1

FEATURES

Ruth Cherrington, Deng’s Generation: Young Intellectuals in 1980s China; Bruce Gilley, Tiger on the Brink: Jiang Zemin and China’s New Elite; Willy Wo-Lap Lam, The Era of Jiang Zemin
Reviewed by Peter Baehr, 7

Christoph Harbsmeier, Logic and Language. Volume 7, Part 1, of Science and Civilisation in China
Reviewed by Lisa Raphals, 18

The Chinese Community in French Polynesia: Scholarly Sources of Understanding
By Margaret E. Burns, 28

Barend J. ter Haar, Ritual and Mythology of the Chinese Triads: Creating an Identity Reviewed by Dian H. Murray, 36

C. X. George Wei, Sino-American Economic Relations, 1944–1949; John W. Garver, The Sino-American Alliance: Nationalist China and American Cold War Strategy in Asia
Reviewed by Pingchao Zhu, 45

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Asian Theatre Journal, vol. 17, no. 1 (2000)

Posted on by UH Press

Editor’s Note
Samuel L. Leiter, p. iii

PLAYS

Yoritomo’s Death: A Shin Kabuki Play by Mayama Seika
Translated and introduced by Brian Powell, p. 1

Kabuki, while being one of Japan’s three great classical theatre genres, has also benefited from dramatic works written especially for it by a variety of playwrights in the modern period. These are referred to as shin kabuki or “new kabuki.” Mayama Seika is one of the best known shin-kabuki playwrights, and many of the plays he wrote in the 1920s and 1930s are still performed today. He is noted for introducing dense dialogue into kabuki, but he was also a practical playwright who knew well the capabilities of the actors for whom he was writing.

Yoritomo’s Death focuses on the efforts of the shogun Yoriie (1182-1204) to learn the truth about how his father, the great general and first shogun Yoritomo, met his death. We the audience know, because we are told in Scene 1, and three other people close to Yoriie know, but Yoriie himself does not know. For him discovering the truth becomes an obsession, and his inability to force or persuade the three to tell him proves to him that his political and military power, clearly demonstrated at the beginning of Scene 2, is illusory. And because he has chosen to define himself as an individual by his acquisition of this piece of knowledge, it also destroys him as a person.

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