Kumiko Yamamoto | Tokyo University of Foreign Studies (original) (raw)

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Papers by Kumiko Yamamoto

BRILL eBooks, Dec 31, 2002

Encyclopaedia Iranica Online, 2021

professional Iranian storytelling tradition of epic and religious narratives. NAQQĀLI, profession... more professional Iranian storytelling tradition of epic and religious narratives. NAQQĀLI, professional Iranian storytelling tradition of epic and religious narratives. It is also known as dramatic storytelling. It can be performed with musical accompaniment or using a large canvas (parda) on which epic or religious heroes are depicted (para-dāri). It involves both oral and written traditions in which kingly, heroic, and religious tales have been transmitted. In 2011, it was listed by UNESCO as intangible heritage and included in the Urgent Safeguarding List (UNESCO, 2011).

Shahnama Studies III offers new insights into the reception of the Shahnama or Book of Kings, com... more Shahnama Studies III offers new insights into the reception of the Shahnama or Book of Kings, composed by the Persian poet Firdausi in the 10th-11th century in eastern Iran.

Ḥamza versus Rustam: Comparing the Ḥamzanāma with the Shāhnāma

Bulletin of the School of Oriental and African Studies, 2023

This paper compares the Ḥamzanāma (Book of Ḥamza) with the Shāhnāma (Book of Kings), the two most... more This paper compares the Ḥamzanāma (Book of Ḥamza) with the
Shāhnāma (Book of Kings), the two most popular works performed by
the storytellers of Safavid Iran (1501–1736), focusing on their heroes,
Ḥamza and Rustam, respectively. Following an overview of the
Ḥamzanāma that helps to identify its main intertexts, themes, and narrative
elements: the Shāhnāma; the Islamic Alexander tradition; and ʿayyārī
(trickery); the paper re-examines how Ḥamza is modelled after Rustam
by looking at his epithets and narrative functions. It then turns to their
differences, which are most discernible in Rustam’s epithet used as the
name of Ḥamza’s enemy, the split between the ideals of jawānmardī
(generosity) and ʿayyārī, and Ḥamza’s unheroic weaknesses. This latter
serves to emphasize God’s compassion at his martyrdom while giving
storytellers an impetus to continue their performances.

Oral Literature of Iranian Languages: Kurdish, Pashto, Balochi, Ossetic, Persian & Tajik, Companion Volume II to a History of Persian Literature, 2010

Oral Narration in Iranian Cultures, eds. Maryam Nouzaei, Carina Jahani, and Agnes Korn, Wiesbaden: Dr. Ludiwig Reichert Verlag, pp. 39-54, 2022

www.reichert-verlag.de Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt.... more www.reichert-verlag.de Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Speicherung und Verarbeitung in elektronischen Systemen. Gedruckt auf säurefreiem Papier (alterungsbeständig -pH7, neutral) Publié avec le concours du Centre National de la Recherche Scientifique (CNRS) -UMR 8041 CeRMI (Centre de recherche sur le monde iranien) Umschlagabbildung: Tapestry fragment (detail) with Sasanian motifs found in Antinoë (Egypt); from: R. Pfister (1936), Matériaux pour servir au classement des textiles égyptiens postérieurs à la conquête arabe. Revue des arts asiatiques 10/1: 1-16, 73-85.

The present work examines the role played by oral tradition in the evolution of the Persian (writ... more The present work examines the role played by oral tradition in the evolution of the Persian (written) epic tradition, which virtually began with the Shadhname of Ferdowsi (ShNF). The text is also the culmination of a long development that stretches back into ancient times. In the process of transmission of narratives, both writing and oral tradition are assumed to have played a role. While Ferdowsi's written sources have been studied, the influence of oral tradition on his work remains largely unexplored. In order to explore oral influence on the ShNF, the thesis suggests a new approach. Based on formal characteristics of naqqali (the Persian storytelling tradition as it is known from later times), a set of criteria is proposed to demonstrate the extent to which a written text shows structures which could be explained as deriving from oral composition, here called "Oral Performance Model" (OPM). The OPM consists of formal and thematic criteria. The former consider whet...

brill.nl

This study investigates the role of the oral tradition in the development of the written Persian ... more This study investigates the role of the oral tradition in the development of the written Persian epic with particular reference to the Shah-nama of Abul Qasim Firdausi (c. 1000 CE) and a later, "secondary epic," the Garshasp-nama of Abu Mansur 'Ali b. Ahmad Asadi (c. 1064-66 CE). Firdausi put together and transformed ancient legendary material, derived both from written and oral traditions, into a new literary genre that signified the turning point in the dissemination of the Persian "national legend." Kumiko Yamamoto has used the term national legend in "the sense of the legends of the Persian-speaking population of the Iranian cultural era" before the emergence of Islam (p. xix, n. 1). Yamamoto suggests that the problem of the genesis of the Shah-nama has reached a "dead end," particularly when it comes to the question of borrowing from a direct textual tradition. The author has therefore sought to look for indirect influence of the oral tradition, shifting the focus from the origin of the Shah-nama to the characteristics and structure of the text itself. Using the same framework, she also illustrates the oral features of the Garshasp-nama. The whole exercise-packed in five chapters with a brief in