@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002909,
 author = {Trede, Melanie and TREDE, Melanie},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {34},
 month = {Mar},
 note = {pdf, What happens when the text of a myth is joined by illuminations of the highest patronage and quality? Will the text-image combination result in an imbalance or even rivalry between the religious, political and social implications of a myth versus its aesthetic representations? Can the sheer materiality of a work transmogrify the contents of a myth to the extent that its visual appeal overshadows its message?
Applying the approach of “the cultural biography of things”, developed by the anthropologist Igor Kopytoff, this paper looks into the creation of the “Karmic Origins of Hachiman” (Hachiman engi) sponsored by Ashikaga Yoshinori in 1433 (Eikyô 5) and their manifold afterlives. The Yoshinori production is based on earlier versions of the Hachiman engi, as colophons on the scrolls suggest. The manifold visual changes in the 1433 handscrolls amount to what I would call an “aesthetic turn” in the history of painted Hachiman engi.
The afterlives of the scroll, on the other hand can be divided into four categories:
1. The devotional object worthy to be copied as a sacred text in the 16th and 17th centuries; 
2. A model for professional painters who emulate the style, compositions and coloring of the scrolls from the mid 17th through the 19th centuries.
3. The popularized sacred treasure of the Konda shrine, advertised in printed guidebooks beginning in the late 17th century.
4. The scrolls are the subject of art historical evaluation and canonization.
This last category is a prime example of how engi texts in their material manifestation as painted works can turn into the stuff of modern mythification on a different level.},
 pages = {171--180},
 publisher = {国文学研究資料館},
 title = {研究発表　永享五年八幡縁起絵巻の「ライフ」とその「アフターライフ」},
 year = {2011},
 yomi = {トレーデ, メラニー}
}