Gustav Heldt – författare

Drawing on both contemporaneous historical sources and modern literary criticism, Navigating Narratives offers unique insights into Heian Japan through a close reading of one of its most enigmatic and consequential texts. Named after the province once governed by its creator, Ki no Tsurayuki (d. 946), Tosa nikki (The Tosa Diary) purports to be the record of a voyage kept by an anonymous woman in the entourage of an ex-governor returning to the capital. This split between fictional narrator and historical author has usually led readers to place the diary in narratives privileging one of those two figures, with the result that Tosa nikki has been valued primarily as either the first Heian woman’s memoir or the last aesthetic manifesto of a man whose writings shaped the Japanese poetic tradition for centuries afterward. Navigating Narratives attempts to steer away from the anachronistic assumptions and author-centric readings informing these accounts. By focusing instead on the diary’s reception as a parody by its earliest readers, Heldt argues that it merits attention for the discursive practices, representational conventions, and non-elite social contexts it illuminates as the world’s first short novelistic work of fiction.

The Heian court of the late ninth and early tenth centuries represents one of the most innovative and influential periods in the history of Japanese poetry. It witnessed the creation of entirely new forms of verse in poetry matches, screen poems, and officially sponsored anthologies, none of which had a precedent in earlier times. At the apex of these phenomena lay compilation of the Kokin wakashu (Collection of Poems Ancient and Modern), whose status as the first imperial anthology of native poetry would make it integral to Japanese court culture for centuries afterward. Despite the enormous historical significance of these new forms of poetry and the marked interest displayed by powerful individuals in patronizing them, however, little sustained attention has been paid to the ties between the practices of producing and performing verse and processes of economic, ideological, political, and social change in this period. This book is intended to address such issues through an investigation of the ways in which different members of the court community deployed poems in the pursuit of power.

The Heian court of the late ninth and early tenth centuries represents one of the most innovative and influential periods in the history of Japanese poetry. It witnessed the creation of entirely new forms of verse in poetry matches, screen poems, and officially sponsored anthologies, none of which had a precedent in earlier times. At the apex of these phenomena lay compilation of the Kokin wakashu (Collection of Poems Ancient and Modern), whose status as the first imperial anthology of native poetry would make it integral to Japanese court culture for centuries afterward. Despite the enormous historical significance of these new forms of poetry and the marked interest displayed by powerful individuals in patronizing them, however, little sustained attention has been paid to the ties between the practices of producing and performing verse and processes of economic, ideological, political, and social change in this period. This book is intended to address such issues through an investigation of the ways in which different members of the court community deployed poems in the pursuit of power.