bibliography

for shits and giggles, if you want to know my souces

Blumner, Holly A. “The Role of Women in the Traditional Theatre of Japan.” Constructions and Confrontations: Changing Representations of Women and Feminisms, East and West. Ed. Cristina Bacchilega and Cornelia N. Moore. Honolulu: University of Hawai'i Press, 1996. 310- 314.

Dubroff, Matthew R. “Noh Women Aloud: Finding a Feminist Voice in Noh Theatre.” Constructions and Confrontations: Changing Representations of Women and Feminisms, East and West. Ed. Cristina Bacchilega and Cornelia N. Moore. Honolulu: University of Hawai'i Press, 1996. 315- 320.

George, David E.R. “Ritual Drama: Between Mysticism and Magic,” Asian Theatre Journal, Vol. 4, No. 2 (Autumn 1987): 127-165.

Goff, Janet E. “The National Noh Theater,” Monumenta Nipponica, Vol. 39, No. 4 (Winter 1984): 445- 452.

Kano, Ayako. Acting Like a Woman in Modern Japan. New York: Palgrave MacMillan, 2001.

Kasulis, Thomas P. Shinto: The Way Home. Honolulu: University of Hawai'i Press, 2004.

Katō, Mieko. “Women's Associations and Religious Expression in the Medieval Japanese Village.” Tonomura, Walthall and Wakita. 119-133.

Kompara, Kunio. The Noh Theater: Principles and Perspectives. Trans. Jane Corddry. New york and Tokyo: Weatherhill, 1983.

Lee, Sherman E. “Noh: Masks and Robes,” The Bulletin of the Cleveland Museum of Art, Vol. 62, No. 2 (Feb. 1975): 26-35.

MacDuff, William. “Beautiful Boys in Nō Drama: The Idealization of Homoerotic Desire,” Asia Theatre Journal, Vol. 13, No. 2 (Autumn 1996): 248-258.

Mori, Mitsuya. “The Structure of Theater: A Japanese View of Theatricality,” SubStance #98/99, Vol. 31, Nos. 1 & 2 (2002): 73-93.

Morinaga, Mori. “The Gender of Onnagata As the Imitated: Its Historicity, Performativity, and Involvement in the Circulation of Femininity,” positions: east asia cultures critique, Vol. 10, No. 2 (Fall 2002): 245- 284.

Oldstone-Moore, Jennifer. Confucianism. London: Oxford University Press, 2002.

Ortolani, Benito. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism. Princeton: Princeton University Press, 1995.

---. “ Shamanism in the Origins of the Nō Theatre,” Asian Theatre Journal, Vol. 1, No. 2 (Autumn 1984): 166-190.

Rath, Eric C. “From Representation to Apotheosis: Nō's Modern Myth of Okina,” Asian Theatre Journal, Vol, 17, No. 2 (Autumn 2000): 253-268.

Richie, Donald. “Notes on the Noh,” The Hudson Review, Vol. 18, No. 1 (Spring, 1965): 70-80.

Rimer, J. Thomas. “What More Do We Need to Know About the Nō?” Asian Theatre Journal, Vol. 9, No. 2 (Autumn 1992): 215-223.

Tabata, Yasuko. “Women's Work and Status in the Changing Medieval Economy.” Tonomura, Walthall and Wakita. 99-118.

Tonomura, Hitomi. “Re-envisioning Women in the Post-Kamakura Age,” in The Origins of Japan's Medieval World: Courtiers, Clerics, Warriors and Peasants in the 14^th Century. Ed. Jeffrey P. Mass. Palo Alto: Stanford University Press, 1997. 138-169.

---, Anne Walthall and Wakita Haruko, eds. Women and Class in Japanese History. Ann Arbor: Center of Japanese Studies, The University of Michigan Press, 1999.

Vollman, William T. Kissing the Mask: Beauty, Understatement and Femininity in Japanese Noh Theater. New York: HarperCollins, 2010.

Wakita, Haruko. “The Medieval Household and Gender Roles within the Imperial Family, Nobility, Merchants and Commoners.” Tonomura, Walthall and Wakita 81-97.

Yokota, Fuyuhiko. “Imaging Working Women in Early Modern Japan.” Trans. Mariko Asano Tamanoi. Tonomura, Walthall and Wakita. 153-167.

Zeami, Motokiyo. On the Art of the Nō Drama: The Major Treatisies of Zeami. Trans. J. Thomas Rimer and Yamazaki Masakazu. Princeton: Princeton University Press, 1984.