Using the Vietnamese propaganda magazine “Tan A” (New Asia) which Japan published, the paper discusses the portrayal of the Greater East Asia Co-Prosperity Sphere. It focuses on how Japan indoctrinated the Vietnamese people that the Greater East Asian Co-Prosperity Sphere could become an “intimate sphere” and how Japan attempted to build a sense of “intimacy” or “closeness” with Vietnam, as part of the broader strategy to promote the Co-Prosperity Sphere. The study highlights how Japan sought to present itself as a cultural and political leader, emphasizing shared Asian values, history, and the goal of liberation from Western colonial powers. Through Tân Á, Japan aimed to blur the boundaries between “insiders” (Vietnamese) and “outsiders” (Japanese) as well as propagated a narrative that promoted cultural, economic, and political solidarity between Japan and Vietnam by creating emotional ties and mutual trust. This emotional bond was part of a broader effort to present the Co-Prosperity Sphere as a “family,” with Japan as the “older brother” guiding the younger Asian nations toward collective prosperity and independence.

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The plum motif has appeared in Japanese poetry since early anthologies such as Kaifūsō and Man’yōshū, symbolizing purity and perseverance. During the Edo period, the composition of classical Chinese poetry in Japan increased significantly. From its introduction in the Nara period until the Edo period, such poetry was predominantly written by men. However, during the Edo period, an increasing number of women poets also gained recognition in this literary tradition. With sensitivity to beauty often associated with femininity, female poets frequently depicted plants and flowers in their works.This paper explores how the plum, with its rich symbolic meanings, was portrayed in classical Chinese poetry by Edo-period women poets. Additionally, it examines how the “plum” motif was employed in both lyrical and descriptive poetry, shaping the expression of feminine sensibilities in this literary form.

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Ikidurasa, translated as “the pain of living,” is a significant issue in modern Japanese society, with youth being among the most vulnerable. To address this problem, it is essential to investigate the thoughts and emotions of young people burdened by ikidurasa and identify its underlying causes.This study adopts a twofold approach. First, it reviews previous research to examine the documented causes of ikidurasa in contemporary society. Second, it analyzes the lyrics of Vocaloid songs by renowned producers Hachi and Wowaka to explore youth perspectives and emotions conveyed through music.Findings indicate that ikidurasa primarily stems from identity crises and disconnection in human relationships. Furthermore, modern Japanese youth tend to internalize their suffering, refraining from outward expression—likely due to a loss of hope in society and the future—making ikidurasa even more difficult to address.

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