- Written by Lady Murasaki Shikibu and has appeared in every book format and reading experience available
- Texts handwritten / copied until C17
- Oldest surviving text is C12 (~100 years after Mursaki finished all 54 chapters) - elaborate calligraphy and art
- Alternating text-image, symbiotic
- Next oldest is c13: only 1 chapter - each chapter bound individually and kept in special cabinets
- 6x6 inches when closed
- Section binding (testuyoso) with string - easy to take apart and redo
- Separate allowed easy lending/exchange/copy
- Led to earliest examples of book cover design
- Mulberry paper, decorated
- Suhama (stylised sandbar) - yellow pigment
- Suminagashi (flowing ink) - patterns of ink, marble-like
- These pertain to chapter 12 set in Suma by the sea, sense of temporality (nostalgia), Buddhist idea of life as fleeting, incense smoke in temple = paperscape (worlds beneath script)
- Calligraphy also affective
- Intimate reading experience - immersive
Genji albums: individual leaves and paintings and excerpts from novel
- Popular in early modern period
- Lavish - for elite women as part of wedding trousseau
- Oldest from 1510: 1 painting and text per chapter
- By Tosa Mitsunobu, famous court artist and 6 prominent calligraphers
- Warrior family in Western Japan interested in literature
- Includes a post-C17 frontispiece painting showing lady M at the temple where she wrote the book, beginning in the back of a sutra with chapters 12-13 & inspired by the moon: welcomes reader into the tale
- Using shikishi (colored papers/poem sheets) - square shape: 5 colors alternating in strict order
- Resemble imported Chinese paper - C16 saw juxtapositions of CN/JP aesthetics
- Aesthetics/form help convey atmosphere of scene
- The album does not replace the novel - for readers already familiar
- Leaves can be removed and pasted onto new formats, hanging scrolls, screens, new albums etc
- Actually remounted in 1998 into 'accordion' style
First printed edition: c17
- Previous printed works focused on Buddhism
- Absence of true commercial publishing industry before 1600
- Also issues with aesthetics of Genji calligraphy - difficult to translate into print
- 1619 saw attempts to mimick brush writing in movable type - but woodblock printing was more practical and could include pictures
- First woodblock Genji: 'Illustrated tale of Genji' (Eiri Genji Monogatari), 1650 Kyoto
- Illustrations by Yamamoto Shunsho, 222 images that established seminal new iconography
- Included commentaries, genealogy, poetry index, and sequel by another author -- comprehensive
- Print allowed different versions of Genji to be introduced to much wider readership
- Center of publishing world shifted to Edo and prospered in C18 - audience: townspeople and samurai
Inaka Genji (A Fraudulent Murasaki's Rustic Genji) - bestselling in c19, by Ryutei Tanehiko
- Borrows structure, characters, and some lines to create new work, set in C15 Ashikaga shogunate
- Draws on vernacular: ancient warrior tales, contemporary kabuki and joruri puppet theatre
- Gory violence, twists
- 76 volumes - serialised over 13 years (1829-42), until censored and Tanehiko died
- Wasn't intended to be so long, but was very popular
- Images by famous artist Utagawa Unisada
- Colorful
- Karazuri (empty printing) - giving it an invisible texture that mimicks luxurious textile volumes owned by elite
- Includes brown specks - mimicking gold decoration on paper
- Imagining Edo-period woman author: Ofuji
- Purple on her robe ('murasaki') links her to Murasaki - she is the fraudulent version of her real counterpart
- Volumes are paired: 2 per chapter, 上 and 下, visually complementary on covers
- Chapters 18-19 (4 vols) roughly correspond to original chapters 12-13 written first by Lady M: covers are connected
- Motifs relating to season of chapters' publication - plum tree
- Book bound using 'pouch binding' (fukurotoji) technique
- Book format: gokan (combined booklets)
- Booklets (maki/kan) bound together into 1 volume
- Booklets = 5 folded pouches, 10 pages - standard size for books until 1807, known as kibyoshi 'yellow-backs''
- Gokan = 2 kibyoshi, double
- Development of book formats
- Mikaeshi/mikaeshi-e: frontispiece (inner front cover) with bibliographic information, in a playful way
- Introduction for each chapter in the voice of Tanehiko
- Kuchi-e: frontispiece illustration, separated from text by frame (offset)
- In the story proper, the text is crammed/wrapped around the illustrations, blank spaces
- Chapter 1 of Inaka Genji takes us through a building, much like 'tale of the rat'
- Narrative's forward propelling resembles handscroll 'unrolling' experience
- Sometimes illustrations play with handscroll, injecting it into the story
- Aware of own status as a book - meta
- Eg 'folding' a page in illustration
- Addresses the reader
- Theatre stage-like compositions: 3 dimensionality/trompe l'oeil
- Character illustrations sometimes reference contemporary actors' ukiyo-e prints
- Characters names indicated with medallion logo: visual symbols that exist outside narrative world (extra-diegetic)
- Also small symbols to guide reader for text
- Interactions between images: telescope --> looing into the telescope represented by circle
- New visual devices to play with perspective
- Maximum potential for storytelling
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Tyberg, Jamie, 'Unlearning: From Degrowth to Decolonisation', Rosa Luxemburg Stiftung New York Office (May 2020): http://www.rosalux-nyc.org/wp-content/files_mf/degrowthfinal.pdf
- AOC's Green New Deal not entirely convincing: IPCC (2018) says we must radically transform to avoid climate catastrophe
- Must start in the US: biggest consumer, least green
- Need to remove military, police, and stop US imperialism
- "A materialist approach, in the tradition of Epicurus and Marx, would interrogate the contradictions of infinite consumption of energy on a planet with finite resources" (4)
- Degrowth resists idea of 'infinite growth'
- Degrowth is designed for arrivants and settlers (as opposed to indigenous)
- Degrowth started as social critique, now a "fully - fledged alternative to it" (4)
- Tiffany Lethabo King's The Black Shoals: Offshore Formations of Black and Native Studies calling for new ideas of society and new formulations of hte future
- The end goal of degrowht (as a process of unlearning) as decolonisation
- Sylvia Wynter: "nomadic or sedentary indigenous traditionally stateless societies" (Q5) like Masai, San, Pygmy as examples
- Rejecting Western ideas of care work as gendered: "care is fundamental in supporting the mental, physical, and relational integrity of each and every human being and our ecosystems" (5-6)
- Care-based economy
- Autonomy vs. independence: A. as inherently collective (including collective restraint)
- "argues against technological solutions to the crisis" (6)
- Sufficiency: satisfy all human needs; redistribute surplus energy for community benefit
- Need to unlearn individualism
- Degrowth as new epistemology - rewriting our current institutionalised knowledge
- Degrowth = care + autonomy + sufficiency
- Mutual aid responses to Covid is good but inherently short-term (unsustainable)
- Red Deal proposed by The Red Nation - 10 point program
- Degrowth is "a set of practices".
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