Japanese Literature

Online ISSN : 2424-1202
Print ISSN : 0386-9903

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Volume 67, Issue 3

Displaying 1-11 of 11 articles from this issue

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Special Issue: The 72nd JLA Conference (1st Day): The “Third Term” and Epistemological Shift: Literary Education in Post-Postmodernism

Through the Viewpoint of Another Narrator: A Reading of “Shōnen-no-hi-no-omoide” in the Classroom

Fumiko Yamamoto

2018 Volume 67 Issue 3 Pages 2-11
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_2

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“Shōnen-no-hi-no-omoide,” the Japanese translation of Hermann Hesse's short story “Jugendgedenken,” is often used as teaching material in the subject of kokugo. The interpretation of the story is usually centered on the last confession of the guest called “I,” but in my class I try to make a different interpretation by structurally foregrounding another narrator who retells what “I” tells him. By this way of reading based on the “third term” theory, I facilitate the reader-students to see his confession from a more detached standpoint. If they can realize how “I” is entrapped in his own obsession, then they will also realize how they themselves are entrapped in their own.

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A Possibility of “Complimentary Interrelations” in the Figure of Mameta: Mochimochi-no-ki and Takehiko Saigō's Literary and Educational Outlook

Gorō Yamanaka

2018 Volume 67 Issue 3 Pages 12-26
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_12

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In his later career Takehiko Saigō, the president of the Council of Literary Education, advocated the necessity of “complimentary interrelations” to transcend the dualistic worldview. Mochimochi-no-ki, Ryūsuke Saitō's story for children, is an excellent text for learning the importance of his literary and educational outlook. As one of Mr. Saigō's students, here I will read the story to explore a possibility of “complimentary interrelations” which is implied in the figure of a boy named Mameta.

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How to Read “Rashō-mon”: The Intermutation Theory / The “Third Term” Theory

Ryūichi Nakamura

2018 Volume 67 Issue 3 Pages 27-35
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_27

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Takehiko Saigō is a literary scholar who first became known for his theory of viewpoints which was once widely applied to the teaching of kokugo. In 2008 he struck out in a new direction with the theory of intermutation which he must have elaborated under no small influence of Minoru Tanaka's theory of the “third term.” In this article I will critically compare the two theories through the reading of Ryūnosuke Akutagawa's “Rashō-mon” which focuses on its character-objects.

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Discussion

Takehiko Aizawa, Isao Yamanaka

2018 Volume 67 Issue 3 Pages 36-56
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_36

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The Meridian (The 72nd JLA Conference):

After Teaching a Narrator's Role

Akiko Saitō

2018 Volume 67 Issue 3 Pages 57-59
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_57

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To Reconstruct Literary Education in Post-Postmodernism: A Note on the First-Day Conference

Tomoki Chiba

2018 Volume 67 Issue 3 Pages 59-61
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_59

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Is Epistemological Shift Really Possible?

Kōsei Yamashita

2018 Volume 67 Issue 3 Pages 61-63
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_61

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What Ex-Emperor Saga Saw at the Kyōgoku Residence: The Roles of His Viewpoint in the “Rō-no-ue” Chapter of Utsuho-monogatari

Noriko Miura

2018 Volume 67 Issue 3 Pages 64-73
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_64

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In the “Rō-no-ue” chapter of Utsuho-monogatari there is a scene where Inumiya displays the secret technique of playing a koto harp at the Kyōgoku Residence. Ex-Emperor Saga is invited there, but he gets so completely lost in his memory of the place that he pays little attention to her performance. The ex-emperor's indifference to music graphically represents an unbridgeable discrepancy between art and politics. His frequent act of looking backward to the past also works as flashback, but paradoxically it turns out to be future-oriented in the climax of the story. In this way the ex-emperor's viewpoint plays multiple and complicated roles in Utsuho-monogatari.

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Reading:

The Shadow of Chūjō-no-Omoto: A Court Lady Who Waits on Rokujō-no-Miyasundokoro

Atsuko Ōta

2018 Volume 67 Issue 3 Pages 74-78
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_74

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Reviews:

Bae Kwan-Mun, Motoori-Norinaga's Image of Japan: The “Empire” in Kojiki-den

Ryōta Takamatsu

2018 Volume 67 Issue 3 Pages 80-81
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_80

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Hitoshi Hattori, The Complete “Nishiki-e” Pictures of Nansō-satomi-hakken-den

Masae Kurahashi

2018 Volume 67 Issue 3 Pages 82-83
Published: March 10, 2018
Released on J-STAGE: March 14, 2023

DOIhttps://doi.org/10.20620/nihonbungaku.67.3_82

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