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Emptiness and TemporalityBuddhism and Medieval Japanese Poetics$
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Esperanza Ramirez-Christensen

Print publication date: 2008

Print ISBN-13: 9780804748889

Published to Stanford Scholarship Online: June 2013

DOI: 10.11126/stanford/9780804748889.001.0001

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Différance and “the Jo-ha-kyū of the Myriad Arts”

Différance and “the Jo-ha-kyū of the Myriad Arts”

Chapter:
(p.56) Six Différance and “the Jo-ha-kyū of the Myriad Arts”
Source:
Emptiness and Temporality
Publisher:
Stanford University Press
DOI:10.11126/stanford/9780804748889.003.0007

Shinkei mentions “the jo-ha-kyū of the myriad arts” in reference to both the structure of the renga sequence itself and Nō drama. Each renga verse is the poet's response to the preceding one composed by someone else, and, along with Shinkei's analogy of jo-ha-kyū to hen-jo-daikyoku-ryū, implies that the principle of difference applies not only to the minimal verse-pair unit but also to the sequence as a whole. Based on his statements in his various treatises, the great Nō actor and theorist Zeami agrees that jo-ha-kyū is a principle of dynamic progression operating from the smallest to the largest units. This sequential progression is understood as différance. The principle of symbolic animation that is jo-ha-kyū informs Muromachi art represented by Nō drama and renga as well as isumie, ikebana, and the landscape garden.

Keywords:   Shinkei, jo-ha-kyū, renga, Nō drama, Zeami, différance, Muromachi art, difference, Japanese poetry

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