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Article type: Cover
1999 Volume 48 Issue 9 Pages
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Article type: Cover
1999 Volume 48 Issue 9 Pages
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Article type: Appendix
1999 Volume 48 Issue 9 Pages
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Akiko Ishizaka
Article type: Article
1999 Volume 48 Issue 9 Pages
1-11
Published: September 10, 1999
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In the well-known scene of the Wakamurasaki part of Genji-monogatari where Hikaru-Genji takes a peep at Wakamurasaki, it is noticeable that he enjoys not the girl's face, brows and hair themselves but the "aura" those parts evoke. In other words, Genji is indulged in seeing not Wakamurasaki herself but in projecting his fantasy to her body. It is the same act of appropriation that motivates him to strongly desire another woman Fujitsubo. In this sense, Genji's love is self-love, and Genji-monogatari is a story of male desire.
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Akira Suzuki
Article type: Article
1999 Volume 48 Issue 9 Pages
12-23
Published: September 10, 1999
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While most editions of Heike-monogatari rather sentimentally describe the Heikes' deportation from the capital, the Engyo edition treats it from a more complicated viewpoint. For it not only narrates the decline of the family but also points out the political cause of it, that is, a conflict between the Heike members. Considering the relation between the two opposing stories of Yorimori who stayed in Kyoto and of Koremori who left there, the representation of the kins of the Komatsus, and references to stories about other Heike members who were also banished from Kyoto, I will trace a complicated network of various discourses in the text.
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Tomoko Ueki
Article type: Article
1999 Volume 48 Issue 9 Pages
24-34
Published: September 10, 1999
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Seventeen- or eighteen-year-old women are so often used for poetical material since they are in the prime of maidenhood. In Soan-shokashu, however, are included many poems about fourteen-year-old girls. Unlike other old poems, which seldom feature a particular age unless they are congratulatory verses for longevity, this collection of poems thematically and boldly treats it. The age fourteen, a period when one moves from girlhood to womanhood, is represented here as a critical and poetical moment of femininity.
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Kei Kato
Article type: Article
1999 Volume 48 Issue 9 Pages
35-45
Published: September 10, 1999
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The form of "Banzuke-no-katari," a kyogen play of the Edo Period, changed radically from a two-act to one-act play during the Kansei Era. The reason is not so much aesthetic as economic, for the formal change of the play was to a great degree influenced by a certain commercial factor. In the Kansei Era, realistic dramas called "sewamono" were tremendously popular, which naturally led promotors to make a more profitable programming. As a result, "sewamono" performances came to be programmed on the basis of two one-act plays per day instead of a two-act play. At first this new formation was experimentally introduced in regular spring performances and gradually extended into autumn premieres called "kaomise." It is this commercial necessity that also caused the drastic change of form in "Banzuke-no-katari."
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Kenichiro Fukatsu
Article type: Article
1999 Volume 48 Issue 9 Pages
46-54
Published: September 10, 1999
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It is obvious that in Juemon-no-saigo Katai Tayama criticized modernism and tried to discover the original identity of the nation which he believed still existed even in the modernized Japan. In doing so, however, Tayama essentially depended on the very modern ideas of evolutionary time and geography. Tracing the genealogy of the nation at each progressive stage and mapping out the locus of the origin in an abstract scheme, the author paradoxically repeats what he criticizes.
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Kazushige Ohigashi
Article type: Article
1999 Volume 48 Issue 9 Pages
55-64
Published: September 10, 1999
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In this essay, I will describe Fuyo Oguri's sudden rise and fall because in this particular writer's career is encapsulated the process in which literature was being defined and established. After the great success of Seishun, Fuyo received censure for his ghost writing and was soon ostracized as a fallen writer who betrayed literature. It was also the moment when the boundary between literature and non-literature was drawn on the basis of identity and self-expression. Ghost writing must be repressed, for it is the very act which threatens a stable relation between author and text or between owner and property. Thus the story of Fuyo Oguri was part of a greater story or myth of literary self-identification.
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Article type: Appendix
1999 Volume 48 Issue 9 Pages
65-
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Katsuyuki Miyamoto
Article type: Article
1999 Volume 48 Issue 9 Pages
66-67
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Yukari Hashimoto
Article type: Article
1999 Volume 48 Issue 9 Pages
68-73
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Michihisa Hotate
Article type: Article
1999 Volume 48 Issue 9 Pages
74-75
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Akira Imai
Article type: Article
1999 Volume 48 Issue 9 Pages
76-77
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Tatsumi Kanda
Article type: Article
1999 Volume 48 Issue 9 Pages
78-79
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Masami Ishii
Article type: Article
1999 Volume 48 Issue 9 Pages
80-82
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Article type: Appendix
1999 Volume 48 Issue 9 Pages
83-
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Article type: Appendix
1999 Volume 48 Issue 9 Pages
83-
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Shinri Takahashi
Article type: Article
1999 Volume 48 Issue 9 Pages
84-85
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Izumi Sato
Article type: Article
1999 Volume 48 Issue 9 Pages
86-87
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Yasuyo Ueta
Article type: Article
1999 Volume 48 Issue 9 Pages
88-
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Yuichi Otsu
Article type: Article
1999 Volume 48 Issue 9 Pages
89-
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Yoko Kuroishi
Article type: Article
1999 Volume 48 Issue 9 Pages
90-
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Fumio Shiozaki
Article type: Article
1999 Volume 48 Issue 9 Pages
91-
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Osamu Masuda
Article type: Article
1999 Volume 48 Issue 9 Pages
92-
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Article type: Bibliography
1999 Volume 48 Issue 9 Pages
93-94
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Article type: Bibliography
1999 Volume 48 Issue 9 Pages
95-
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Article type: Bibliography
1999 Volume 48 Issue 9 Pages
97-96
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Article type: Appendix
1999 Volume 48 Issue 9 Pages
98-
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Article type: Appendix
1999 Volume 48 Issue 9 Pages
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Article type: Cover
1999 Volume 48 Issue 9 Pages
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