Asian Centre #217

Department of Asian Studies
Asian Centre
1871 West Mall,
 The University of British Columbia
Vancouver, BC, V6T 1Z2 CANADA
tel: (604) 822-5131 fax: (604) 822-8937
e-mail: joshua.mostow(at)



Professor Joshua S. Mostow received his doctorate in the Comparative Literature and Literary Theory Program of the University of Pennsylvania. He has studied at International Christian University (Mitaka, Japan), Universite de Paris (III, VII, and Ecole pratique des Hautes Etudes), and Gakushuin University (Tokyo). He has been a visiting researcher at Gakushuin, Osaka University, and the National Institute of Japanese Literature; and visiting professor at the University of Minnesota; the University of California, Berkeley; and the Institute for East Asian Art History, Heidelberg University (Germany). He has received grants and fellowships from Toshiba International Foundation, the Sainsbury Institute for the Study of Japanese Arts and Cultures, the Japan Foundation, the Social Science and Humanities Research Council of Canada, and the Izaak Walton Killam Memorial Fellowship Committee.


Research Interests:

Inter-relations between text and image, especially in Japanese culture; reception history; Japanese women’s writing in the court tradition; the ideological construction of the Heian period in the modern era; Japanese “national erotics” (that is, the use of sexuality in cultural self-definition).



Premodern Japanese literature, in translation and in the original, including paleography; premodern Japanese text and image inter-relations; classical Japanese language; Japanese women’s self-writing; post-colonial theory; Edo sexuality; Japanese film.



Books (sole author):

Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation. Japanese Visual Culture 12. Brill, 2014.

Pictures of the Heart: The Hyakunin Isshu in Word and Image. University of Hawai’i Press, 1996.

Rpt. as Michigan Classics in Japanese Studies, No. 26, Center for Japanese Studies, The University of Michigan, 2015.

At the House of Gathered Leaves: Shorter Biographical and Autobiographical Narratives from Japanese Court Literature. University of Hawai’i Press, 2004.



A Third Gender: Beautiful Youths in Japanese Edo-Period Prints and Paintings (1600-1868), with Asato Ikeda. Toronto: Royal Ontario Museum (in preparation).

A Book of Fans: Ōgi no sōshi, with Helena Honcoopova and Yasuhara Makoto. Prague: Krolinum Press, Charles University (in press).

The Ise Stories: Ise monogatari, with Royall Tyler. Honolulu: University of Hawai’i Press, 2010.

The Hundred Poets Compared: A Print Series by Kuniyoshi, Hiroshige, and Kunisada, with Henk J. Herwig. Leiden & Boston: Hotei Publishing, 2007.


General Editor:

The Columbia Companion to Modern East Asian Literature. Columbia University Press, 2003.



『伊勢物語 創造と変容』山本登郎とジョシュア・モストウ編 大阪:和泉書院、2009。

(Ise monogatari: Creation and Change, with Yamamoto Tokurô. Osaka: Izumi Shoin, 2009.)

Parody. Proceedings of the Association for Japanese Literary Studies, vol. 10; with Sharalyn Orbaugh. AJLS, Summer 2009.

Performing “Nation”: Gender Politics in Literature, Theater, and the Visual Arts of

China and Japan, 1880-1940, with Doris Croissant and Catherine Vance Yeh. Leiden: Brill, 2008.

Gender and Power in the Japanese Visual Field, with Norman Bryson and Maribeth Graybill. University of Hawai’i Press, 2003.

Pacific Encounter: The Production of Self and Others, with E-M Kroller, et al., Institute for Asian Research, Univ. of British Columbia, 1997.


Book chapters:


(“Wakashu: One More Gender,” in One More Japanese Literary History, ed. National Institute of Japanese Literature. Bensei Shuppan, scheduled March, 2016).

“Early Heian Court Tales” and “Late Courtly Romances,” in Haruo Shirane, David Lurie, and Tomi Suzuki, eds., The Cambridge History of Japanese Literature (Cambridge University Press, in press).

“National Erotics, Gender, and the Representation of Sexuality in Heian Japan,” in Transcultural Sexualities: Materials, Conceptions, and Practices of the Affective Body between Asia and Europe, eds. Barbara Mittler and Christiane Brosius. Transcultural Research—Heidelberg Studies on Asian and Europe in a Global Context series (Heidelberg: Springer, submitted).

「「零度の読み」としての源氏物語巻名歌」、寺田澄江、清水婦久子、田渕句美子編『源氏物語とポエジー』(東京:青簡舎 2015)、340−358頁。

(“Genji monogatari Chapter-Title Poems as ‘Reading Degree Zero,’” in Terada Sumie, Shimizu Fukuko, and Tabuchi Kumiko, eds. The Tale of Genji and Poesie. Tokyo: Seikansha, 2015).

「見立絵・やつしに見るジェンダー」、ツベタナ・クリステワ編、『パロディと日本文化 』東京:笠間書院、2014,388−401頁。

(“Gender as Seen in Mitate-e and Yatsushi,” Tzvetana L. Kristeva, ed., Parody and Japanese Culture. Tokyo: Kasama Shoin, 2014, pp. 388-401.)


(“Iconography and Copying: The Ise Stories and Sôtatsu,” in Shimao Arata, Princess Akiko of Tsukasa, and Kazuko Kameda-Madar, eds., The Power of Utsushi: A Matrix of Creation and Continuity. Kyoto: Shibunkaku Shuppan, 2013, pp. 113-139.)

“Illustrated Classical Texts for Women in the Edo Period,” in The Female as Subject: Reading and Writing in Early Modern Japan, eds. P.F. Kornicki, Mara Patessio, and G.G. Rowley. Michigan Center for Japanese Studies, 2010, pp. 59-85.

「引喩と権威~『隆房卿艶詞』とその絵巻について~」、 山本登郎編 『伊勢物語 享受の展開』、東京:竹林舎 (2010) pp. 355-370.

(Allusion and Authority: The Love-Song of Lord Takafusa and its Illustrated Scroll,” in Yamamoto Tokurô, ed., The Ise Stories: The Development of its Reception. Osaka: Chikurinsha, 2010, pp. 355-370.)

「女性読者と平安初期の王朝恋愛物語~白描伊勢物語絵巻断簡を中心に」、 山本登郎とジョシュア・モストウ編 『伊勢物語 創造と変容』大阪:和泉書院、2009。

(“Women Readers and Early Heian Courtly Romances—Focusing on the Hakubyô Ise monogatari Illustrated Scroll fragments,” in Yamamoto and Mostow, eds., Ise monogatari sôzô to hen’yô [see above], pp. 65-111.)


(“The Tale of Genji and Women’s Instructional Manuals,” in Kojima Naoko, Komine Kazuaki and Watanabe Kenji, eds., The Tale of Genji and Edo Culture. Tokyo: Shinwasha, 2008, pp. 337-346.)

「『源氏物語』に登場する絵の役割, ハルオ・シラネ編『講座 源氏物語研究 第11巻 海外における源氏物語』おうふ(2008)、102−128頁。

(“The Function of Pictures in The Tale of Genji,” in Haruo Shirane, ed., Kôza Genji monogatari kenkyû, vol. 11, pp. 102-129. Tokyo: Ôfû, 2008.)

“Utagawa Shunga, Kuki’s ‘Chic,’ and the Construction of a National Erotics in Japan,” in Croissant, Yeh, and Mostow, eds., Performing “Nation” (see above), pp. 383-424.

Setsugetsuka: ‘Snow, Moon, and Cherry,’” in Bruce A. Coats, ed., Chikanobu: Modernity and Nostalgia in Japanese Prints. Leiden: Hotei Publishing, 2006, pp. 83-89.

“Iron Butterfly: Cio-Cio-San and Japanese Imperialism,” in Jonathan Wisenthal, ed., A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly. Toronto: University of Toronto Press, 2006, pp. 181-195.

“Japanese Literature in an International Context: The View from Vancouver, Canada,” in Haruki Ii, ed., Japanese Literature Research in the International Context. Tokyo: Kazama Shobô, 2004, pp. 149-157.

“Inventing a New ‘Classical’ Theme: Tan’yû and the One Hundred Poets,’ in Elizabeth Lillehoj, ed., Critical Perspectives on Classicism in Japanese Painting, 1600-1700. University of Hawai’i Press, 2004, pp. 133-167.

“Court Classics and Popular Prints: Poetry and Parody in Ukiyo-e,” in Ann Yonemura, ed., Masterful Illusions: Japanese Prints from the Anne van Biema Collection. Washington, D.C.: The Arthur M. Sackler Gallery, Smithsonian Institution, 2002, pp. 36-51.

“The Gender of Wakashu and the Grammar of Desire in Late 17th Century Edo,” in Gender and Power (see above), pp. 49-70.

“What is ‘Japanese Beauty’?: Museum as ‘Hometown,’” in David W. Edgington, ed., Japan at the Millennium: Joining Past & Future. Vancouver: University of British Columbia Press, 2003, pp. 222-244.

“Mother Tongue and Father Script: The Relationship of Sei Shônagon and Murasaki Shikibu to Their Fathers and Chinese Letters,” in Esperanza Ramirez-Christensen & Rebecca L. Copeland, eds., The Father/Daughter Plot: Japanese Literary Women. University of Hawai’i Press, 2001, pp. 115-142.

「屏風歌と歌語りと伊勢物語と」 , 後藤祥子等編『論集平安文学』第6集「平安文学と絵画」勉誠出版(2001)100−114頁.

(“Screen-poems, Poem-tales, and the Tales of Ise,” Gotô Yoshiko, et al., eds, Heian Literature and Painting, Ronshû Heian Bungaku 6. Tokyo: Benseisha, 2001, pp. 100-114.)

“On Becoming Ukifune: Autobiographical Heroines in Heian and Kamakura Literature,” in Barbara Stevenson and Cynthia Ho, eds., Crossing the Bridge: Comparative Essays on Medieval European and Heian Japanese Women Writers. New York: Palgrave, 2000, pp. 45-60.

“Modern Constructions of Tales of Ise: Gender and Courtliness,” in Constructing the Past: Canon Formation, National Identity, and Japanese Literature, edited by Haruo Shirane and Tomi Suzuki. Stanford University Press, 2000, pp. 96-119.


“Picturing Love among the One Hundred Poets,” in Love in Asian Art and Culture, Arthur M. Sackler Gallery, Smithsonian Institution, 1998, pp. 30-47.

視線のポリティクス〜平安時代女性の物語絵の読み方」鈴木杜幾子、千野香織、馬淵明子編、『美術とジェンダー 非対称の視線』東京:ブリュッケ(1997)、61−84頁。

(“The Politics of the Gaze: Feminine Reading of Illustrated Romances in the Heian Period” (trans. Ikeda Shinobu), in Art & Gender: The Asymmetrical Regard, ed. Suzuki Tokiko, et al. Tokyo: Brücke, 1997, pp. 61-84.)

“The Ovular Journey: Women and Travel in Pre-Modern Japan,” in Pacific 
Encounter (see above)

“Japanese Nikki as Political Memoirs,” in George Egerton, ed., Political Memoir: Essays on the Politics of Memory. London: Frank Cass, Ltd., 1994, pp. 106-120.



“Domesticating Kagerô: A Love That Dares Speak Its Name,” review article of Mémoires d’une éphémère (954-974) par la mere de Fujiwara no Michitsuna. Translation and commentary by Jacqueline Pigeot. Collège de France, Institut des Hautes Etudes Japonaises, 2006, in Monumenta Nipponica 65/1 (Spring 2010): 137-147.

“The Tale of Light Snow: Pastiche, Epistolary Fiction, and Narrativity Verbal and Visual,” in Japan Forum (Oxford) Special Issue: Narrativity and Fictionality in Edo-period Prose Literature, edited by Laura Moretti, vol. 21, no. 3 (May 2010): 363-387.

Tales of Ise: Reading Gender, Class, and Nation in Japanese Visual Culture,” Transactions of the Asiatic Society of Japan, fifth series, vol. 1 (2009): 21-54.

“Female Readers and Early Heian Romances: The Hakubyô Tales of Ise Illustrated Scroll Fragments,” Monumenta Nipponica, vol. 62, no. 2 (Summer 2007): 135-177.

“‘Picturing’ in The Tale of Genji,” Journal of the Association of Teachers of Japanese, Vol. 33, no. 1 (April 1999):1-25.

”Rising Son: Race, Women, and Exchange in the Film Rising Sun,” U.S.-Japan Women’s Journal (English Supplement), No. 16 (1999): 87-102.


(“‘Picturing’ in The Tale of Genji” (trans. Tanioka Takehiko), Genji Kenkyû Tokyo: Kanrin shobô), No. 2 (1997): 173-193.)

“Gender in Japanese Art,” by Chino Kaori; edited, with an introduction, by Joshua S. Mostow, Aesthetics (Tokyo), no. 7 (March 1996): 49-68.

E no Gotoshi: The Picture Simile and the Feminine Re-guard in Japanese Illustrated Romances,” Word & Image: A Journal of Verbal/Visual Enquiry vol. 11, no. 1 (April-June 1995): 37-54.

“Translating Imperialism: The Emperor System, Waka, and Its English Translation,” The Centre for Japanese Research (UBC), CJR Research Paper Series, no. 3 (1995) [32 pp.]

“Tales of Toyokage, by Regent Fujiwara no Koremasa (924-72),” The Transactions of the Asiatic Society of Japan, fourth series, vol. 10 (1995): 111-138.

“Self and Landscape in Kagerô nikki,” Review of Japanese Culture and Society (Japan), no. 5 (December 1993): 8-19.

“Painted Poems/Forgotten Words: Poem-Pictures and Classical Japanese Literature,” Monumenta Nipponica 47, 3 (Autumn 1992): 323-46.

“The Amorous Statesman and the Poetess: The Politics of Autobiography and the Kagerô nikki,” Japan Forum (Oxford) 4, 2 (October 1992): 305-15.

“Studies on Text-Image Relationships in Classical Japanese Painting,” B.C. Asian Review, No. 5 (December 1991): 204-19.

“‘Sword-Envy’ in the Takamitsu nikki and Its Influence on the Kagerô nikki,” Selected Papers in Asian Studies, New Series # 37. Western Conference of the Association for Asian Studies, 1990 [21 pp.].

“Tales of Takamura,” B.C. Asian Review, No. 3/4 (1990): 355-380.


(“A Preliminary Investigation into the Techniques of Poem-Pictures,” Mukogawa Kokubun, No. 29 (1987), 23-31.)

“On Translating Kokinshû Poetry,” Mukogawa Literary Review, No. 23 (1987), 83-115.

“Brancusi and His Poets,” Studies in Twentieth Century Literature, IX:2 (Spring 1985), 181-205.

“Indexicality in Esthetic Signs and the Art of Dante Gabriel Rossetti,” KODIKAS/Code (Tübingen) III: 4 (October 1981), 307-14; also in Semiotics 1981.



“Comparison Pictures (Mitate-e/Yatsushi) and Gender,” Civilisation of Evolution, Civilisation of Revolution: Metamorphoses in Japan 1900-2000, ed. A. Jablonski, S. Meyer, and K. Morita. Krackow: Manggha Museum of Japanese Art & Technology (2009), pp. 317-323.

「『女大学宝箱』に見る『源氏物語』享受」 [“The Reception of The Tale of Genji in The Treasure-Box of the Women’s Greater Learning and Other Edo-period Texts for Women”], 源氏物語千年紀委員会編、『源氏物語国際フォーラム集成』角川文芸出版、2009、pp. 217-227.

“Nijû seiki kôhan ni okeru waka no eiyaku” [“The English Translation of Classical Japanese Poetry in the Latter Half of the Twentieth Century”], Keynote address, Proceedings of “Japanese Literary Studies in the Twenty-first Century,” A Symposium to Commemorate the Fiftieth Anniversary of the Establishment of the Department of Japanese Literature of Rikkyô University (2007), pp. 13-23.

“Ise monogatari-e: sôzô-teki na mohô to seiji-teki na tôyô” [“Tales of Ise Pictures: Creative Copying and Political Stealing”], in Plagiarism, Imitation, Originality: Questioning the Imagination of Japanese Literature, Proceedings of the 27th International Conference on Japanese Literature, National Institute of Japanese Literature (2003), pp. 1-20.

“Gender and Cultural Capital: The Hakubyô and Kubo-Family Tales of Ise Illustrated Scrolls,” Review of Japanese Culture and Society, special issue, Japanese Art: The Scholarship and Legacy of Chino Kaori, vol. XV (December 2003): 104-105.

“Waka no gendaigo-yaku to hon’yaku: Ise monogatari o chûshin ni/Modern Renditions and Translations of Japanese Classical Poetry, with Special Reference to Tales of Ise,” Imêji toshite no “Nihon”: Nihon bungaku—hon’yaku no kanôsei/Imagined Japan: Japanese Literature—the Possibility of Translation. Osaka University 21st Century Center of Excellence Program, Interface Humanities Research Activities 2002-2003 Report, pp. 65-81; also in Journal of Japanese Language and Literature (The Japanese Language and Literature Association of Korea), vol. 46 (August 2003): 1-12.

“The Turn toward Reception: Reception History and Illustrations,” in James C. Baxter, ed., Historical Consciousness, Historiography, and Modern Japanese Values. International Symposium in North America 2002 (Banff, Alberta, Canada), (International Research Center for Japanese Studies, 2006), pp. 195-200.

“Hyakunin isshu no kaiga-ka: kyôju to kaishaku” (The One Hundred Poets: Reception and Interpretation), in Borders and Japanese Literature: Visuality and Verbal Expression (Proceedings of the 24th International Conference on Japanese Literature), National Institute for Japanese Literature (Tokyo, 2001), pp. 133-48.

“Canonization and Commodification: Illustrations to the Tales of Ise in the Modern Era,” in Stephen D. Miller, ed., Issues of Canonicity and Canon Formation in Japanese Literary Studies; Proceedings of the Association for Japanese Literary Studies, vol. 1 (Summer 2000), pp. 89-119.

“Nihon no Bijutsushi Gensetsu to ‘Miyabi,’” [“Art Historical Discourse in Japan and ‘Courtliness’”], in Tokyo Kokuritsu Bunkazai Kenkyûjo, eds., Kataru Genzai Katarareru Kako: Nihon no Bijutsushi 100-nen [The Present that Tells, The Past that is Told of: 100 Years of Art History in Japan] (Tokyo: Heibonsha, 1999), pp. 232- 239.
Also published in English as “‘Miyabi’ and Japanese Art Historical Discourse,” in (International Symposium on the Preservation of Cultural Property) The Present, and the Discipline of Art History in Japan, Tokyo National Research Institute of Cultural Properties (1999), pp. 70-76.

“Forgotten Daughters: Mother-Daughter Relationships in Classical Japanese Poetry,” in Mandakranta Bose, ed., The World My Mother Gave Me. UBC: Institute of Asian Research (1998), pp. 31-44.

Ga/Zoku as Riddle: The Ogura Nazorae Hyakunin Isshu,” in Ga/Zoku Dynamics in Japanese Literature (Proceedings of the Midwest Association for Japanese Literary Studies), vol. 3 (Summer 1997), pp. 221-240.

“‘Just Like a Picture': Metaphors of Beauty, Romance, and the Feminine Regard,” in Visions of Beauty: Proceedings of the 13th Triennial International Comparative Literature Association Congress, ed. Roseann Runte (1994).

“On Becoming Ukifune: Autobiographical Heroines in Heian and Kamakura Literature,” in Contacts Between Cultures (Proceedings of the 33rd International Congress of Asian and North African Studies), Vol. 3, Eastern Asia: Literature and Humanities, ed. B. Luk and S. Steben. (The Edwin Mellen Press, 1993), pp. 233-238.

“Minamoto no Shunrai and Uta-e,” Transactions of the International Conference of Orientalists in Japan, No. XXXII (1987), 52-64.

“Indexicality in Esthetic Signs and the Art of Dante Gabriel Rossetti,” in Semiotics 1981, ed. John N. Deely and Margot D. Lenhart (New York: Plenum Press, 1983), pp. 249-261.



New Books in East Asian Studies, with Carla Nappi:

Zadankai: Parody and Japanese Culture Symposium,” Parody and Japanese Culture, ed. Kristeva (see above), pp. 453-491

Interview, with Robert D. Wilson, Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry (on-line journal,, Spring 2007.


(“Genji monogatari no shikaku-teki kyôju-shi o megutte” [Genji monogatari and the Reception of Its Visual Culture] (interview with Mitamura Masako and Kawazoe Fusae), Genji Kenkyû (Tokyo: Kanrin Shobô), No. 9 (2004): 155-176.)



Shunga: sex and pleasure in Japanese art, ed. Timothy Clark et al. London: The British Museum, 2013. 3 entries (pp. 332-335).

Splendid Impressions: Japanese Secular Painting 1400-1900, ed. Doris Croissant. Museum of East Asian Art, Cologne, 2011. 1 introduction (“Section IV: The Legacy of the Courtly Arts, pp. 163-164), and 6 entries: (pp. 169-171 & pp. 186-190) plus translation of 7 poems (waka).

Dictionary of Sources of Classical Japan, ed. Joan Piggott, et al. Paris: Collège de France, Institut des Hautes Études Japonaise, 2006. 9 entries: Ariake no Wakare (pp. 26-27), Hon’in no Jijû shû (pp. 131-32), Kara monogatari (p. 185), Sanjûnin sen (p. 338), Sanjûrokunin kasen den (p. 339), Sanjûrokunin sen (pp. 339-40), Kasen rakusho (pp. 185-86), Chûko rokkasen (p. 49), and Chûko kasen sanjûrokunin den (p. 49).

“General Introduction” (pp. 1-18) and “The Revival of Poetry in Traditional Forms” (pp. 99-104), in The Columbia Companion of Modern East Asian Literature (see above)

Kokka (Japan), No. 1222, Special Issue (August 1997), three entries and translation of English summary for special issue on Tosa Mitsunobu Genji Album in the collection of the Sackler Art Museum, Harvard University.


  1. INVITED LECTURES (Selected)

Wakan rōei shū through Time,” Palacky University, Olomouc, Czech Republic, Feb. 16, 2015.

“Visual Narrativity, Iji dōzu, and The Ise Stories,” keynote lecture, “Degrees of Narrativity in the Japanese Visual Tradition” symposium, Hawai’i Pacific University, Kaneohe, Jan. 25, 2015.


(“Wakashu: One More Gender,” “Sexual Love of Men in the Edo Period: Shunpon and Shunga,” International Collaborative Research “Forms of Japanese Literature” 2nd International Symposium, National Institute of Japanese Literature, Dec. 6, 2014)

« Les poèmes incluant les titres de chapitres du Genji comme degré zéro de lecture, » Colloque international : Le Roman du Genji à la lumière de la poésie, Centre d’Études Japonaises—INALCO (Paris), March 22, 2014.

“Making Fun of the Classics,” “Sex art in Japan: perspectives on shunga: an international symposium,” The British Museum, Oct. 4, 2013.

“The Establishment of the Saga-bon Iconography to The Ise Tales and Its Significance,” keynote address at “Passages: Continuity and Change in the Arts of the Edo Period,” Hebrew University of Jerusalem, May 27, 2013.

Ise monogatari and Sôtatsu,” “Designing Nature: The Rinpa Aesthetic in Japanese Art, A Scholars’ Day Workshop,” Metropolitan Museum of Art, New York, Oct. 1, 2012.

Saga-bon Ise monogatari: The Most Influential Book in Early-Modern Japan,” The Rare Book and Manuscript Library, University of Illinois, Urbana-Champaign, Sept. 28, 2012.

Genji and Popular Culture: Commodifying and Gendering the Classical Past,” Saturday University Lecture Series, “Expressions of Emotion: Asian Literature and Arts,” Gardner Center for Asian Art and Ideas, Seattle Asian Art Museum, Nov. 5, 2011.

Heike Bunka: Taira Literary Culture and Its Influence,” Loveable Losers: The Taira in Action and Memory symposium, Banff Centre, Aug. 14, 2011.

“The Ōgi no sōshi genre and Ise monogatari-e,” “Nuevas corríentes en el estudio de los Libros Ilustrados japoneses,” XII International Congress, ALADAA (Asociasión Latinoamericana de Estudios de Asia y Africa), Bogotá, Colombia, 23 March 2011.

“The Ihon Ise monogatari emaki—A Reconsideration,” “Beliefs, Rituals, Stories and Art in Medieval Japan II,” an international symposium organized by Sano Midori (Gakushûin University), Harvard University, 12 March 2010.

“Narihira and Ise monogatari, 1596-1704,” “Digital Iconography: Image Databases and the Study of Edo Print Culture,” Ritsumeikan University (Kyoto), Art Research Center, 18 December 2010.

“Iconography and Copying: The Ise Stories and Sôtatsu,” keynote address, “Utsushi: The Art of Copying,” University of Hawai’i at Mânoa, 12 October 2010.

“How to Be a ‘Genteel’ Woman in Early-Modern Japan,” Guest Speaker, White Rose East Asia Centre Away Day, Sheffield, 18 May 2010.

“Narihira in con-text,” Shunga in its Social and Cultural Context Workshop, SOAS, 23 April 2010.

“The Sôtatsu-school Ise monogatari Screen in the British Museum,” One Thousand Years of Japanese Literature in Art: Celebrating Ten Years of International Research symposium, SOAS/Sainsbury Institute for Japanese Arts and Culture,” 20 March 20 2010.

The Ise Stories (Ise monogatari): Text, Image, and History,” Östasiatiska museet, Stockholm, Sweden, Oct. 29, 2009.

“Authority and Allusion: The Love-song of Lord Takafusa and Its Illustrated Scroll,” Cambridge University, Dept. of East Asian Studies, Asain Studies Centre Seminar Series, Feb. 22, 2010, inaugural annual Sainsbury Lecture on Japanese Art.

“National Erotics, Gender, and the Representation of Sexuality in Heian Japan,” Keynote address, “Theorizing Gender in a Transcultural Art World: Representations of Sexualities in Asian and European Cultures,” Heidelberg University, Germany, June 8, 2009.

Onna Daigaku Takara-bako ni miru Genji Monogatari” [The Tale of Genji as Seen in The Treasure Chest Great Learning for Women], Genji Monogatari Kokusai Forum, The Tale of Genji Millennium, Kyoto, Nov. 3, 2008.

“Comparison Pictures (Mitate-e / Yatsushi) and Gender,” Civilisation of Evolution, Civilisation of Revolution. Metamorphoses in Japan 1900-2000, The Museum of Japanese Art and Technology Manggha, Krakow, Poland, October 27, 2007.

Usuyuki Monogatari: Epistolary Fiction and Its Sub-texts,” Narrative, Narrativehood, Narrativity and Nonnarrative in Japanese Prose of the Edo Period, Università Pontificia Salesiana, Rome, May 31, 2007.

“Peeping In: The Imperial and the Pornographic,” keynote address, Seeing and Not Seeing: Visualizing the Invisible in Pre-modern Japanese Culture, SOAS/SISJAC, London, UK, May 19, 2007.

“Chikanobu and the Feminization of the Past,” an Edwin L. Weisl Lecture in Art History sponsored by the Robert Lehman Foundation, Carleton College, Minnesota, 23 February 2007.

“Nijû seiki kôhan ni okeru waka no eiyaku” [“The English Translation of Classical Japanese Poetry in the Latter Half of the Twentieth Century”], keynote address, Japanese Literary Studies in the Twenty-first Century, A Symposium to Commemorate the Fiftieth Anniversary of the Establishment of the Department of Japanese Literature of Rikkyô University, Tokyo, 3 November 2006.

“Ise monogatari-e: sôzô-teki na mohô to seiji-teki na tôyô” (“Tales of Ise Pictures: Creative 
Copying and Political Stealing”), 27th International Conference on Japanese Literature, 
National Institute of Japanese Literature, Nov. 14, 2003.

“Waka no Gendaigo-yaku to Hon’yaku: Ise monogatari o chûshin ni” (Translation and Modern Japanese Translations of Japanese Poetry, Focusing on the Tales of Ise ), 21st Century Center of Excellence (COE) Program, “Humanities’ Interface” 
International Japanese Literature Symposium, Osaka, March 16, 2003.

“The Turn Towards Reception: Reception History and Illustrations,” “Historical 
Consciousness, Historiography and Modern Japanese Values,” a meeting 
held in conjunction with the International Symposium of the International 
Research Center for Japanese Studies, Kyoto (Nichibun-ken) Banff, 
Alberta, October 30 – November 4, 2002.

“Class and Comedy: Moronobu and Narihira,” “Early Ukiyo-e: New Perspectives” symposium, 
Organised by Royal Academy of Arts, London/Sainsbury Institute for the Study of 
Japanese Arts and Cultures in conjunction with the exhibition ‘The Dawn of the Floating World’ School of Oriental and African Studies, 2-3 February 2002.

“Vision, Gender, and Representation in Classical Japan,” Zentrum für Kunst und Mediatechnologie, Karlsruhe, Germany, June 8, 2001.

“Thirteenth-Century Illustrations and Reception of the Tales of Ise,” Charles University, Prague, Czech Republic, May 18, 2001.

“Courtliness (miyabi) and the Ideology of Aesthetics,” University of California, Los Angeles, 
April 16, 2001.

“Hyakunin Isshu no Kaigaka: Kyôju to Kaishaku” (Pictorializations of the One Hundred Poets: Reception and Interpretation), 24th International Conference on Japanese Literature, National Institute of Japanese Literature (Tokyo), Nov. 16, 2000.

“Classics and Kabuki: The ‘One Hundred Poets’ Series by Kuniyoshi, Kunisada, and Hiroshige,” Ukiyo-e Society of America, Inc. and the Institute of Fine Arts, New York University, October 2, 2000.

“A New ‘Classical’ Theme: Kanô Tan’yû’s One Hundred Poets,” “Classicism in Japanese Art of the Early Edo Period,” Inaugural Sanwa Symposium, The Clark Center for Japanese Art (Calif.), June 11, 1999.

“Court, Commoner, and Country: Illustrations to the Tales of Ise from the 12th to 20th Century,” Japanisch-Deutsches Zentrum Berlin (JDZB), (sponsors: JDZB, Kunsthistorische Institut der Freien Universität Berlin; Museum für Ostasiatiche Kunst, Berlin; and Deutsche Gesellschaft für Ostasiatiche Kunst), February 24, 1999.

“Construction des Contes d’ Ise à l’époque moderne: genre [gender] et esprit courtois” (“Constructions of the Tales of Ise in the Modern Era: Gender and Courtliness”), Institute nationale des langues orientales (Paris, France), February 19, 1999.

“Muttersprache, Vaterschrift: Das Verhältnis Sei Shônagon und Murasaki Shikibu zu ihren Vätern und zum chinesichen Schrifttum”(“Mother-speech, Father-script: The Relationship of Sei Shônagon and Mursaki Shikibu to Their Fathers and Chinese Letters”), Universität Hamburg, Fachbereich Orientalistik, Seminar für Sprache und Kultur Japans, 
Gesellschaft für Natur- und Völkerkunde Ostasiens e. V. (OAG), December 4, 1998.

“The Modern Construction of the Heian Era,” Japan Forum series, Reischauer Institute of Japanese Studies, Harvard University, April 16, 1998.

“The Gender of Youngmen and the Grammar of Desire in 17th Century Edo,” Columbia University, April 22, 1998.

”Anatomy of Elegance,” Univ. of Pittsburgh Workshop on Japanese Aesthetics, April, 1998.

“‘Courtliness’ (miyabi) in Japanese Art History,” (in Japanese), “The Present, and the Discipline of Art History in Japan,” 21st International Symposium on the Preservation of Cultural Properties, Tokyo National Research Institute of Cultural Properties, Tokyo, December 3-5, 1997.

“Forgotten Daughters: Mother-Daughter Relationships in Classical Japanese Poetry,” in “The World My Mother Gave Me: A Conference on Asian Women’s Intergenerational Perspectives and Perceptions in Literature,” UBC, March 8, 1997.

“Canonizing Elegance: The Modern Construction of the Ise Monogatari,” in “Canon Formation: Gender, National Identity, and Japanese Literature,” Columbia University, March 28-30, 1997.

“Politician as Novelist: The Tales of Toyokage by Regent Koremasa (924-72),” Asiatic Society of Japan (Tokyo), Jan. 23, 1995.

“Yomu > Mirareru–Heian Jidai Josei no Monogatari E no Yomi-kata” (“To Read > To Be Seen: How Heian Period Women Read Illustrated Romances”), Bijutsushi Gakkai Higashi Shibu Taikai [Art History Association, Eastern Conference], Gakushiin University, Tokyo, November 20, 1994.

“Japan Slashing: A Conference on the Binarisms that Configure the Study of Japan,” Univ. of Calif. at Berkeley, December 1993. Paper: “Japan and the Language of the Other: Japanese Poetry in English Translation, 1866-1984.”

“Court Poetry for Samurai Audiences: Homo-erotic Imagery in the Ukiyo-e Prints of Hishikawa Moronobu,” Swarthmore College (Pennsylvania), Feb. 1, 1993.

“Visual and Verbal Play in Zen Paintings,” “Zenga: Brushstrokes of Enlightenment” Symposium, Seattle Art Museum, Oct. 20, 1990.

Uta-e and Ut Pictura Poesis Theory in Heian Japan,” Australian National University, Canberra, February 1989.

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