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Pressing past the frameworks of the (Japanese-Chinese) and (“the Three Kingdoms”), this essay explores a border-crossing “geopoetics” in order to espy distant “Persia” in the literary culture of classical Japan. In the “Picture Contest” midway through , an illustration supposedly set in far-off Persia is praised not for its exoticism but rather for its adroit synthesis of Japanese and Chinese pictorial elements. It turns out that the Persia made by Japanese persons around the beginning of the eleventh century is connected to the intermixing of all things Chinese and Japanese, especially when it comes to poetry. In other words, the of this artificial Occident is laced through with these twin poetries from Asia’s easternmost extremities. We can see this interlacing in vernacular fictions, such as ( ), in which one of the protagonists is a Persian mage reincarnated in Japan obliged to recite passages in bilingual alternation, night by night, before the monarch. Elsewhere, academicians of Chinese “letters” exhibit their boundless knowledge of this “Far West” in such bilingual works as ( ) and ( ). The latter presents itself as a learned sequel to ( )—an emblem of the Heian period’s bilingual poetics which, in its turn, attracted the attention of monk-commentators who used the anthology to develop their Indo-Buddhist cosmo-cartography, including Persia. Persia, therefore, gets woven out of this mix of poetry in Chinese and Japanese—a mixed arrangement that enjoys an unparalleled display in the scrolls of the . In its turn, itself begins to appear like an altogether “Persian” kind of terrain : a virtual terrain which belongs neither to China nor to Japan, but which is nonetheless made out of both.

Numerosas figuras mitológicas se sitúan en la intersección entre la geografía y la literatura, dando forma y nombre a espacios, paisajes y territorios. Partiendo de la premisa de que nuestra relación actual con el medio refleja un profundo malestar ante el cual la sociedad busca respuestas, esta investigación explora la contribución específica del mito medieval a la literatura contemporánea desde una perspectiva geopoética. En particular, la novela Mélusine des détritus (2002) de Chantal Chawaf ilustra la compleja relación entre el paisaje urbano y los seres humanos en un escenario distópico, donde la naturaleza lucha por prevalecer frente a fenómenos como la contaminación y la metropolización. Sobre la base de este corpus de análisis, el presente estudio propone conceptualizar el mito de Melusina como un metarrelato y vincular sus reescrituras a los imaginarios medioambientales en un contexto histórico y social de amenaza ecológica.