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Article type: Cover
2014 Volume 90 Pages
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Article type: Appendix
2014 Volume 90 Pages
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Article type: Index
2014 Volume 90 Pages
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Masahiro IKIZUMI
Article type: Article
2014 Volume 90 Pages
1-16
Published: May 15, 2014
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The print artists' power of imagination has been credited for the success of a series of brocade prints on the theme of the Seinan War (1877). Through a comparative study of those prints and the newspaper coverage of the War, this paper offers a new perspective on how the media fed the print artists' imagination, and what kind of result was achieved. Furthermore, it provides an analysis of how the popularity of the Seinan War brocade prints impacted the publishing world. It is important to note that the war reportage in the newspapers was essential to the creative imagination of the brocade print artists, who did not witness the war themselves. It is also noteworthy that the artists depicted the scenes of the Seinan War by drawing parallels with traditional war tales of the past. The characters, for example, were presented as having traditional virtues such as loyalty, filial piety and chastity. In the same period a variety of one-hundred-poem collections, "hyakunin isshu" (one hundred people; one tanka poem per person) gained popularity. The personalities of the Seinan War became the topics of this popular literary genre, and the success of those collections supported the publishing industry during the second decade of the Meiji Period-an era that has been called "the dark age of literature." The Seinan War had a spectrum of impact on the literary and artistic scenes. It is useful to study the ramifications of the War to obtain a fuller picture of the art and literature of the time.
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Yoshio BIRUMACHI
Article type: Article
2014 Volume 90 Pages
17-31
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"Utakata no ki" (A Sad Tale, 1890) is a story about an artist. Existing studies have analyzed the influence of the history of Western painting. They often focus on the exchange of ideas between Mori Ogai and Harada Naojiro, the model for the protagonist in the story. What needs to be addressed is what kind of trends in the German art world Ogai himself witnessed, and what role they played in the writing of "Utakata no ki." When Ogai was in Munich, the Modernist Art Movement was just erupting, and the existing structure of the art world, dominated by the Academy, was losing its hold. A clear understanding of these circumstances surrounding the young Ogai prompts the observation that the characters in "Utakata no ki" are trying to remove themselves from the Academy. Those characters all head off to Lake Starnberg. In fact, young painters in search of new forms of expression did gather in that very area. This article re-examines the story in the context of these artistic and cultural developments.
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Aya SUZUKI
Article type: Article
2014 Volume 90 Pages
32-47
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Izumi Kyoka's novel, Onna keizu (Genealogy of Women, 1907) was dramatized by the Shimpa (New School) theater group and performed in the following year. They added a scene set in the precincts of Yushima Shrine to the original text, focusing on the story of Tsuta and Chikara for dramatic effect. Kyoka later wrote his own version of the scene and published it as a play in Shin shosetsu in 1914. Scholars have criticized Kyoka for pandering to the Shimpa. However, the Shimpa script shows that they paid close attention to Kyoka's original text. Kyoka also made improvements on the Shimpa script by adding some elements that would tie more closely to other parts of the original storyline, making it flow better. Although Chikara may appear altered in Kyoka's version of the scene, his antagonism towards the Kono Family remains unchanged. The Shimpa adopted Kyoka's play, "Yushima no keidai" (Precincts of Yushima Shrine), as a part of their later performances. Kyoka also made further revisions to his novel. The Shimpa play and Kyoka's revised novel do correspond closely. One hypothesis is that the writing of the Yushima Shrine scene prompted Kyka to reconfigure the novel. The dramatization of Onna keizu was done with close attention to Kyoka's novel, and this play needs to be re-evaluated through a close comparison with Kyoka's text.
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Maiko ODAIRA
Article type: Article
2014 Volume 90 Pages
48-62
Published: May 15, 2014
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A women's magazine, Shin jo'en (The New Women's Club), encouraged women's participation in the realm of the humanities. However, at the same time its double standard prevented them from developing their writing skills to become writers themselves. While Kawabata Yasunari offered instruction to readers who were interested in sending in their own pieces to the magazine, he narrowed the topics, effectively encouraging readers to limit their sphere of activities to their own homes. This paper analyzes the process by which Kawabata's instructions created the image that those limited roles of women were universal under wartime conditions. The idea that cultural education equaled a profession was emphasized in the magazine. The women who sent in their works but did not have any job considered writing their profession, devoting themselves to writing seriously and routinely. This was a way for them to affirm their own existence. This devotion to writing, however, ultimately resulted in their abandonment of any hope for social status or remuneration for their writing.
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Young Long KIM
Article type: Article
2014 Volume 90 Pages
63-76
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Dazai Osamu's Pandora no hako (Pandora's Box) was published in Kahoku Shinpo from October 22, 1945 to January 7 of the following year. This was in the early years of the U.S. Occupation of Japan when a number of reforms were carried out, without completely overthrowing the Emperor system. Wartime was transitioning into the postwar era, observing concurrently the end of militarism and the survival of a modified Emperor system in which the Emperor became a symbolic figurehead of the nation. It was in these times that Dazai's Pandora no hako created a fictional space called "Kenko Dojo" (The Health Seminary). The novel depicts a young man who heard the Emperor's voice on the radio on August 15, 1945, and considers it a time of closure. It also depicts a scene in which someone cries out "His Majesty, the Emperor! Banzai!," which captures the sense of historical continuity. This paper analyzes Dazai's critical stance by re-examining the coexisting themes of closure and continuity in the work. It pays special attention to the letters used in the work, in which the authors of the letters refer to "that"-an incident that is understood to be common knowledge between "I" and "You." However, the content of "that" is left to the readers' imagination. The only clue given is the date of the incident that summons the historical context behind "that."
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Tsukasa IZUMI
Article type: Article
2014 Volume 90 Pages
77-92
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Kyu Eikan has been known widely among scholars of Japanese language and literature as the first Taiwanese Naoki Prize recipient, and yet there have not been many studies of his works. In order to rectify this lack, this study considers the newly emerged fact that one of his representative works,Dakusuikei (Muddled Ravine, 1954), had a Part 3 that was missing at the time of publication and during consideration for the Naoki Prize. In Part 2, the narrator, "I," decides to defect to Hong Kong, and it turns out that in Part 3 the narrator engages in the Taiwan Independence Movement in Hong Kong. One hypothesis is that Kyu himself or the publisher self-censored and eliminated it in light of the international political climate at that time. Kyu later rewrote Part 3 into a popular novel, Honkon (Hong Kong,1955), with a less political tone. This strategy of depoliticization, starting with the excision of the more political version of Part 3 from the prepublication draft of Dakusuikei, may have enabled Kyu to win a Naoki Prize. The Naoki Prize symbolizes the appreciation for Kyu among the literary circles and reading public in Japan; they, however, ignored the problems in East Asia he depicted. This paper points out the significance and the limits of this prestigious literary prize, and argues the importance of re-examining Kyu's text.
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Masaki KIMURA
Article type: Article
2014 Volume 90 Pages
93-108
Published: May 15, 2014
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Hirano Ken played an important role in the "Debate on Jun-bungaku (pure-literature)" during the 1960s. In this debate he presented his theory of "actuality" in novels, which resulted in spreading the term rapidly among literary journals at the time. This article analyzes Hirano's critical stance in the historical context of the debate. The term "actuality" (the English term, in katakana) was already in circulation as a key word in literary and art movements before the debate on jun-bungaku took place. For example, the members of Shin Nihon Bungakukai (The Association for New Japanese Literature) and Kiroku Geijutsu no Kai (The Association for Documentary Art) had been using it as a key word. Hirano was aware of this, and based on that knowledge he developed his own theory of novelistic "actuality." His critical output from this period can be understood as a strategic discourse in response to the literary and artistic trends of the time.
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Mitsuharu DANNO
Article type: Article
2014 Volume 90 Pages
109-124
Published: May 15, 2014
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This study attempts to explicate the significance of Oe Kenzaburo's novel, The Football Game of the First Year of Man'en, by situating it in a broader historical context. A large supermarket is built in a remote village of Shikoku island, and it destroys the traditions of the village community, leading the whole village to decline. Nedokoro Takashi, a son of an old family of the village, tries to combat the supermarket by reproducing in modern times the village's legendary insurrection that occurred a century before, in the first year of the Man'en Period (1860). In order to do so, he manipulates the theory of differentiation-a means of adding value to merchandise in a consumer society. This attempt fails and Takashi commits suicide. Later, it is proved that the leader of the insurrection of the first year of Man'en had acted out of a laudable desire to bring relief to the villagers of his era, andTakashi is recognized as a successor to this leader, maintaining a village tradition. Takashi's elder brother, Mitsusaburo, leaves the village with the hope of realizing on a larger stage the universal ideal his deceased brother had held dear to his heart: the liberation of humankind. This novel deserves to be considered the work of an intellectual who resisted the rapid societal transformations caused by consumer culture during the high economic growth era.
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Atsushi ISOBE
Article type: Article
2014 Volume 90 Pages
125-131
Published: May 15, 2014
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HIJIYA-KIRSCHNEREIT Irmela
Article type: Article
2014 Volume 90 Pages
132-139
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Atsuhiko WADA
Article type: Article
2014 Volume 90 Pages
140-146
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Sadami SUZUKI
Article type: Article
2014 Volume 90 Pages
147-151
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Kyoko KURITA
Article type: Article
2014 Volume 90 Pages
152-156
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Article type: Appendix
2014 Volume 90 Pages
157-
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Hiroaki NAKAYAMA
Article type: Article
2014 Volume 90 Pages
158-161
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Hideaki SAITO
Article type: Article
2014 Volume 90 Pages
162-166
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Miharu NAKAMURA
Article type: Article
2014 Volume 90 Pages
166-170
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Kazushige MUNAKATA
Article type: Article
2014 Volume 90 Pages
170-174
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Keiji SEZAKI
Article type: Article
2014 Volume 90 Pages
175-178
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Takayuki NAKANE
Article type: Article
2014 Volume 90 Pages
179-182
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Kazuhiro MATSUZAWA
Article type: Article
2014 Volume 90 Pages
183-187
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Madoka HORI
Article type: Article
2014 Volume 90 Pages
187-191
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Ritsuo TAGUCHI
Article type: Article
2014 Volume 90 Pages
192-195
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Noritsugu GOMIBUCHI
Article type: Article
2014 Volume 90 Pages
196-201
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Tsuneki OTSUKA
Article type: Article
2014 Volume 90 Pages
201-205
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Morio YOSHIDA
Article type: Article
2014 Volume 90 Pages
206-210
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Article type: Appendix
2014 Volume 90 Pages
211-
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Naotaka YAMAGUCHI
Article type: Article
2014 Volume 90 Pages
212-216
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Hirochika HAYASHI
Article type: Article
2014 Volume 90 Pages
217-220
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Masako HAYASHI
Article type: Article
2014 Volume 90 Pages
221-227
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
228-231
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
232-234
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
235-238
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
239-242
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
243-246
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
247-250
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
251-254
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
255-258
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
259-262
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
263-266
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
267-270
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
271-274
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
275-278
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
279-282
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
283-286
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
287-290
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[in Japanese]
Article type: Article
2014 Volume 90 Pages
291-294
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