![]() Richard Beadle (1994 reprint, Cambridge: Cambridge University Press, 1996), 109-33.Ģ. See also David Mills, "The Chester Cycle," in The Cambridge Companion to Medieval English Theatre, ed. 3, 9 (London: Oxford University Press, 1974-86) citations to the Chester cycle in this article are to this edition and refer to play and line numbers. Martin Stuchfield, and Uli Wunderlich for providing some of the illustrations.ġ. Clough, Miriam Gill, Fred Kloppenborg, Martine Meuwese, David Mills, Malcolm Jones, Clifford Davidson, and James Stokes for their valuable comments and suggestions on earlier drafts of this paper, and to Allan B. Louis, Missouri, in 1998, while I was a Ph.D. The original idea for the present article was first presented at the Midwest Modern Language Association conference in St. Reider fully examines their cultural history, multifaceted roles, and complex significance as "others" to the Japanese. Noriko Reiderýs book is the first in English devoted to oni. Oni appear frequently in various arts and media, from Noh theater and picture scrolls to modern fiction and political propaganda, They remain common figures in popular Japanese anime, manga, and film and are becoming embedded in American and international popular culture through such media. ![]() Usually male, their female manifestations convey distinctivly gendered social and cultural meanings. There has been much ambiguity in their character and identity over their long history. ![]() Characteristically threatening, monstrous creatures with ugly features and fearful habits, including cannibalism, they also can be harbingers of prosperity, beautiful and sexual, and especially in modern contexts, even cute and lovable. Oni, ubiquitous supernatural figures in Japanese literature, lore, art, and religion, usually appear as demons or ogres.
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