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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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Article type: Appendix
1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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Junko Omori
Article type: Article
1995 Volume 44 Issue 6 Pages
1-13
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The aim of this essay is to examine what I call "time of conception," the unstable and ambivalent time experienced by pregnant women, in the discourse of pregnancy and childbirth in Genji-Monogatari, and to see how it deconstructs the logic of conventional narratives as well as various kinds of artifacts in human relationships. In this light, I will discuss the last section "Ukifune," in which the title character's "possible pregnancy" is mentioned, but it is never made clear to the reader. This ambiguous ending concerning her pregnancy seems to work as a narrative strategy which enables the story to be open-ended.
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Tomomi Nishida
Article type: Article
1995 Volume 44 Issue 6 Pages
14-24
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In Sarashina-Nikki there is a scene where a monk, who pays a visit to Hase Temple on behalf of the author-narrator, tells her about her future image reflected in the sacred mirror, which can be interpreted both as auspicious and ominous because of the ambivalent etymology of the word "fushimarobu" ("to be separated from a lover forever" in this context, but originally both "to mourn" and "to delight"). This episode not only describes the state of her mind, but it has the important function of laying the foundation of the text's autobiographical tone, which contributes greatly toward constructing the narrative structure. The mirror, which plays a vital role in the worship of the ancient god Amateru-Ohonkami since it reflects his worshippers' future happiness, ambiguiously tells the fortune of the author-narrator who has a strong wish to be a member of the Imperial Court. Thus this device of the mirror's prediction makes the readers follow expectantly the course the author-narrator takes subsequently in this text, while keeping them in suspense.
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Hiroshi Sunagawa
Article type: Article
1995 Volume 44 Issue 6 Pages
25-35
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The reader can see the image of an ascetic monk of the Middle Ages in the figure of Mongaku (who was called Morito before he entered the priesthood) in the Engyo version of Heike-Monogatari. He or she can also be aware of the important role of the places in the sequence of the narrative; Watanabe-no-hashi, the Saint of Higashiyama's hermitage, Shitenno Temple, and so on. In addition, the author represents the Saint of Higashiyama as a key character in the narrative. But why so? One of the answers, I think, lies in the possibility that in plotting out the narrative the author might have taken his material from the actual activities of the mendicants of the Yamato-Saidai Temple sect.
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Nobuko Arimoto
Article type: Article
1995 Volume 44 Issue 6 Pages
36-46
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When one reads Hojo-no-Umi, one must be struck with this; most of the characters in the text have neither brothers nor sisters, and, more importantly, there can be seen a kind of reincarnation without any blood relation between parents and child. Shigekuni Honda, who is characterized as a man who cannot be a "father," experiences reincarnation. In this wish-fulfillment, he realizes his dream of establishing a chronological line from fathers to sons not by means of female reproduction, but of male partheogenesis. In other words, the reincarnation in Hojo-no-Umi is the product of male desire, which I would like to name "children of male delusion."
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Masako Masuda
Article type: Article
1995 Volume 44 Issue 6 Pages
47-56
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My point in this essay is to make explicit the framework of the text - death and regeneration of a girl - in which the structure of exclusion called "bullying" is described in detail, while focusing on three major dichotomies found there; adult/child, human being/other creatures, and Eros/Thanatos. These three sets of opposite values correspond to the relation between classroom, family, and field, all of which form the world of the girl named Anzu. From this, we might interpret the text as a story of the boundary between inside and outside. This seems to be especially symbolized by human skin, which, as it were, evokes the image of the crust of a "cream puff" in the author's own particular way of representing the sense of touch.
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Kenji Matsui
Article type: Article
1995 Volume 44 Issue 6 Pages
58-59
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Kazuomi Tada
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1995 Volume 44 Issue 6 Pages
60-65
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Kiyotami Doi
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1995 Volume 44 Issue 6 Pages
66-67
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Tokiwa Inomata
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1995 Volume 44 Issue 6 Pages
68-69
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Susumu Shinohara
Article type: Article
1995 Volume 44 Issue 6 Pages
70-71
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Soshiro Iwasa
Article type: Article
1995 Volume 44 Issue 6 Pages
72-73
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Michiaki Taguchi
Article type: Article
1995 Volume 44 Issue 6 Pages
74-75
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Hirofumi Wada
Article type: Article
1995 Volume 44 Issue 6 Pages
76-77
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Article type: Bibliography
1995 Volume 44 Issue 6 Pages
78-79
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Article type: Article
1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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1995 Volume 44 Issue 6 Pages
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