Barbara E Thornbury
Biographic Data
| ID | 197734 |
|---|---|
| NAME | Barbara E Thornbury |
| GIVEN NAMES | Barbara E |
| FAMILY NAME | Thornbury |
| SIGNATURE | THORNBURY B E |
| AFFILIATIONS | Temple University |
| ORCID | 0000-0003-3531-4811 |
| VERIFIED | Yes |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 22 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 2 |
Re-Imagining Shakespeare in Contemporary Japan
Mapping Tokyo in Fiction and Film
Sukeroku's Double Identity
The aim of this book is to show that seemingly illogical double identity of the townsman, Sukeroku, and the samurai, Soga Goro, in the play Sukeroku is a surviving element of what was once a complex and coherent structure based on a traditional performance calendar. To show how the calendar function and what Sukeroku's double identity signifies, the book is divided into two parts. Part One studies the structure of Edo kabuki. The first chapter, w…
Cultural references in the novels of Fuminori Nakamura
The five novels by award-winning Japanese writer Fuminori Nakamura that were translated into English and published in quick succession through 2016 offer an interesting case study in current literary translation practices and challenges. The manner in which Japan-related cultural references are being handled in translations of Nakamura’s work demonstrates that the linguistic demands on readers of fiction translated from Japanese – and expectation…
Tokyo, gender and mobility
Multiple strands of early twenty-first-century Tokyo’s gendered narratives find expression in a large body of internationally circulated short stories, novels and films from Japan that figuratively incorporate portions of the city’s actual transportation infrastructure. It is an infrastructure that frames and defines Tokyo – a ‘city of trains’ – as a socially dynamic geographical entity. Urban rail-system-rich texts such as Noboru Tsujihara’s ‘My…
America's Japan and Japan's Performing Arts
America's Japan and Japan's Performing Arts studies the images and myths that have shaped the reception of Japan-related theater, music, and dance in the United States since the 1950s. Soon after World War II, visits by Japanese performing artists to the United States emerged as a significant category of American cultural-exchange initiatives aimed at helping establish and build friendly ties with Japan. Barbara E. Thornbury explores how "Japan" …
Negotiating the Foreign
Presentations in the United States of theatre from Japan are sites of linguistic contestation and tension. Non-Japanese-speaking audiences rely on technologies of access to foreign words spoken (and cultures experienced) live onstage. The titles flashed on screens, the translations and commentary transmitted through battery-powered devices, and the explanations printed in program booklets send audiences a message of remoteness, of difference, of …
America's Kabuki -Japan, 1952–1960
Visits to the United States by the Azuma Kabuki Dancers and Musicians in the mid 1950s and the Grand Kabuki in 1960 took place against the backdrop of a Cold War imperative to secure Japan as an American friend in Asia. Even before the Occupation officially ended in April 1952, kabuki was being promoted in the United States as the preeminent example of a Japanese culture that could be presented with no reference to the Japan that had been America…
National Treasure/National Theatre
One of the least-known traditional forms of Japanese theatre is kumi odori, which is actually of extreme importance in Okinawa, where it was born and has evolved since the early eighteenth century. In this article Barbara E. Thornbury discusses kumi odori--especially the problems related to its paradigmatic situation as a major cultural artifact that recently has received governmental support in the form of an expensive national theatre devoted t…
The Folk Performing Arts
Puppets of Nostalgia
The Folk Performing Arts
The Folk Performing Arts
Folk Performing Arts
The Gods Come Dancing
Kabuki Dancer
Behind the Mask
Like the masks frequently used to define character in its dramas and dances, the very term performing (minzoku geino) is itself a kind of mask, but one that obscures more than it clarifies. Certainly it is useful to have a label for the variety of traditional presentations that stand in contrast to and, at the same time, form part of a continuum with the professional stage arts of no, kyogen, kabuki, and bunraku. The commonly used term performing…
The Cultural Properties Protection Law and Japan's Folk Performing Arts
La loi sur la protection des proprietes culturelle (« Bunkazai hohohō ») et sa clause designant les proprietes culturelles populaires intangibles ont influence les arts de spectacle populaires japonais : la loi etablit ces arts comme etant une des proprietes culturelles du Japon, elle donne de l'impulsion aux etudes nationales qui permettent d'avoir une vision complete des arts qui existent, et elle contribue a leur survie en stimulant la formati…
From Festival Setting to Center Stage
Japan's folk performing arts (minzoku geino)-the traditional dramas, dances, and musical presentations integral to many local festivalsare in trouble. On the one hand, the continuing movement of young people from rural areas to major urban centers has hollowed out a number of communities.' And, on the other hand, Japanese society overall has changed to such a degree in the last several decades that few peoplewhether in large cities or tiny villag…
Puppets on Strings and Actors on Floats
Barbara E. Thornbury, Puppets on Strings and Actors on Floats: Japan's Traditional Performing Arts in a Festival Setting, The Journal of the Association of Teachers of Japanese, Vol. 26, No. 2 (Nov., 1992), pp. 181-192
Sukeroku's Double Identity
The aim of this book is to show that seemingly illogical double identity of the townsman, Sukeroku, and the samurai, Soga Goro, in the play Sukeroku is a surviving element of what was once a complex and coherent structure based on a traditional performance calendar.\n To show how the calendar function and what Sukeroku's double identity signifies, the book is divided into two parts. Part One studies the structure of Edo kabuki. The first chapter,…
Sukeroku's Double Identity
During the Tokugawa period kabuki was annually divided into four major production periods, comprising altogether about two hundred days of performance time.*PRODUCTION STARTING DATE kao-mise ("face-showing") 11th month, 1st day spring 1st month, 15th day bon (refers to bon festival) 7th month, 15th day farewell 9th month, 9th day Strictly speaking, two more periods can be added: the third-month and fifthmonth productions, beginning, respectively,…
Seiyojin no Kabuki Hakken
The Folk Performing Arts
The Cultural Properties Protection Law and Japan's Folk Performing Arts
La loi sur la protection des proprietes culturelle (« Bunkazai hohohō ») et sa clause designant les proprietes culturelles populaires intangibles ont influence les arts de spectacle populaires japonais : la loi etablit ces arts comme etant une des proprietes culturelles du Japon, elle donne de l'impulsion aux etudes nationales qui permettent d'avoir une vision complete des arts qui existent, et elle contribue a leur survie en stimulant la formati…
Sukeroku's Double Identity
The aim of this book is to show that seemingly illogical double identity of the townsman, Sukeroku, and the samurai, Soga Goro, in the play Sukeroku is a surviving element of what was once a complex and coherent structure based on a traditional performance calendar. To show how the calendar function and what Sukeroku's double identity signifies, the book is divided into two parts. Part One studies the structure of Edo kabuki. The first chapter, w…
The Folk Performing Arts
Folk Performing Arts
Seiyojin no Kabuki Hakken
Sukeroku's Double Identity
During the Tokugawa period kabuki was annually divided into four major production periods, comprising altogether about two hundred days of performance time.*PRODUCTION STARTING DATE kao-mise ("face-showing") 11th month, 1st day spring 1st month, 15th day bon (refers to bon festival) 7th month, 15th day farewell 9th month, 9th day Strictly speaking, two more periods can be added: the third-month and fifthmonth productions, beginning, respectively,…
Sukeroku's Double Identity
The aim of this book is to show that seemingly illogical double identity of the townsman, Sukeroku, and the samurai, Soga Goro, in the play Sukeroku is a surviving element of what was once a complex and coherent structure based on a traditional performance calendar.\n To show how the calendar function and what Sukeroku's double identity signifies, the book is divided into two parts. Part One studies the structure of Edo kabuki. The first chapter,…
Puppets on Strings and Actors on Floats
Barbara E. Thornbury, Puppets on Strings and Actors on Floats: Japan's Traditional Performing Arts in a Festival Setting, The Journal of the Association of Teachers of Japanese, Vol. 26, No. 2 (Nov., 1992), pp. 181-192
From Festival Setting to Center Stage
Japan's folk performing arts (minzoku geino)-the traditional dramas, dances, and musical presentations integral to many local festivalsare in trouble. On the one hand, the continuing movement of young people from rural areas to major urban centers has hollowed out a number of communities.' And, on the other hand, Japanese society overall has changed to such a degree in the last several decades that few peoplewhether in large cities or tiny villag…
The Cultural Properties Protection Law and Japan's Folk Performing Arts
La loi sur la protection des proprietes culturelle (« Bunkazai hohohō ») et sa clause designant les proprietes culturelles populaires intangibles ont influence les arts de spectacle populaires japonais : la loi etablit ces arts comme etant une des proprietes culturelles du Japon, elle donne de l'impulsion aux etudes nationales qui permettent d'avoir une vision complete des arts qui existent, et elle contribue a leur survie en stimulant la formati…
Behind the Mask
Like the masks frequently used to define character in its dramas and dances, the very term performing (minzoku geino) is itself a kind of mask, but one that obscures more than it clarifies. Certainly it is useful to have a label for the variety of traditional presentations that stand in contrast to and, at the same time, form part of a continuum with the professional stage arts of no, kyogen, kabuki, and bunraku. The commonly used term performing…
Kabuki Dancer
The Gods Come Dancing
Puppets of Nostalgia
The Folk Performing Arts
The Folk Performing Arts
Folk Performing Arts
National Treasure/National Theatre
One of the least-known traditional forms of Japanese theatre is kumi odori, which is actually of extreme importance in Okinawa, where it was born and has evolved since the early eighteenth century. In this article Barbara E. Thornbury discusses kumi odori--especially the problems related to its paradigmatic situation as a major cultural artifact that recently has received governmental support in the form of an expensive national theatre devoted t…
The Folk Performing Arts
America's Kabuki -Japan, 1952–1960
Visits to the United States by the Azuma Kabuki Dancers and Musicians in the mid 1950s and the Grand Kabuki in 1960 took place against the backdrop of a Cold War imperative to secure Japan as an American friend in Asia. Even before the Occupation officially ended in April 1952, kabuki was being promoted in the United States as the preeminent example of a Japanese culture that could be presented with no reference to the Japan that had been America…
Negotiating the Foreign
Presentations in the United States of theatre from Japan are sites of linguistic contestation and tension. Non-Japanese-speaking audiences rely on technologies of access to foreign words spoken (and cultures experienced) live onstage. The titles flashed on screens, the translations and commentary transmitted through battery-powered devices, and the explanations printed in program booklets send audiences a message of remoteness, of difference, of …
America's Japan and Japan's Performing Arts
America's Japan and Japan's Performing Arts studies the images and myths that have shaped the reception of Japan-related theater, music, and dance in the United States since the 1950s. Soon after World War II, visits by Japanese performing artists to the United States emerged as a significant category of American cultural-exchange initiatives aimed at helping establish and build friendly ties with Japan. Barbara E. Thornbury explores how "Japan" …
Tokyo, gender and mobility
Multiple strands of early twenty-first-century Tokyo’s gendered narratives find expression in a large body of internationally circulated short stories, novels and films from Japan that figuratively incorporate portions of the city’s actual transportation infrastructure. It is an infrastructure that frames and defines Tokyo – a ‘city of trains’ – as a socially dynamic geographical entity. Urban rail-system-rich texts such as Noboru Tsujihara’s ‘My…
Cultural references in the novels of Fuminori Nakamura
The five novels by award-winning Japanese writer Fuminori Nakamura that were translated into English and published in quick succession through 2016 offer an interesting case study in current literary translation practices and challenges. The manner in which Japan-related cultural references are being handled in translations of Nakamura’s work demonstrates that the linguistic demands on readers of fiction translated from Japanese – and expectation…
Mapping Tokyo in Fiction and Film
Sukeroku's Double Identity
The aim of this book is to show that seemingly illogical double identity of the townsman, Sukeroku, and the samurai, Soga Goro, in the play Sukeroku is a surviving element of what was once a complex and coherent structure based on a traditional performance calendar. To show how the calendar function and what Sukeroku's double identity signifies, the book is divided into two parts. Part One studies the structure of Edo kabuki. The first chapter, w…
Re-Imagining Shakespeare in Contemporary Japan
Art (21 works) · History (18 works) · Asian Culture and Media Studies (13 works) · Japanese History and Culture (13 works) · Visual arts (13 works) · Literature (10 works) · The arts (10 works) · Aesthetics (8 works) · Sociology (8 works) · Law (7 works)