Relevant bibliographies by topics / Edogawa Ranpo

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Edogawa Ranpo'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Edogawa Ranpo"

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Rumak, N. G. "EXPRESSIVE FUNCTION OF JAPANESE ONOMATOPOETIC WORDS IN SHORT STORIES BY EDOGAWA RANPO." Вестник Московского государственного лингвистического университета. Гуманитарные науки, no. 10 (2021): 138–49. http://dx.doi.org/10.52070/2542-2197_2021_10_852_138.

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阿式 佳子. "A study on THE PSYCHOLOGICAL TEST by Ranpo-Edogawa -The relationship between psychoanalysis and the mystery-." Journal of Japanese Language and Literature 83, no. 2 (November 2012): 325–43. http://dx.doi.org/10.17003/jllak.2012.83.2.325.

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Lee, Jeehyung. "Subversive expansion of eugenic ideology projected on deformity - Edogawa Ranpo, The disquieting world of the “Demon of the isolated island” -." Japanese Cultural Studies 65 (January 31, 2018): 227–46. http://dx.doi.org/10.18075/jcs..65.201801.227.

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Han, Jung-Sun. "The Redefinition of the Modern Japanese Detective Genre and Edogawa-Ranpo : Noticing on the Transition from ‘hentai’ to ‘erotic･grotesque’ Around 1930." Journal of Japanology 53 (April 30, 2021): 249–73. http://dx.doi.org/10.21442/djs.2021.53.11.

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Ozaki, Natsuko. "The Politicality of Modern Japan: Korea Editions’ Use of Korean Literature." International Journal of Korean History 27, no. 1 (February 28, 2022): 45–74. http://dx.doi.org/10.22372/ijkh.2022.27.1.45.

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It is well known that the editor of Modern Japan (Modan Nippon), published by Bungei Shunju, was Ma Haesong, a native of the Korean peninsula. Although Modern Japan fell short of attaining the same level of popularity as Kōdansha’s King (Kingu), it reached a broader range of readers than the rival modern magazine New Youth (Shin seinen), associated with the important writers Edogawa Ranpo and Yokomizo Seishi. Indeed, Modern Japan cultivated a profile somewhere between that of King and New Youth. However, perhaps due to its middling status, the magazine has yet to be the subject of a comprehensive study in any of the fields of literary, cultural, or publishing studies. This paper looks specifically at two special extra editions of Modern Japan, called the Korea Editions, published in 1939 and 1940 respectively. These special editions contained a hybrid of both state propagandistic elements and editor Ma Haesong’s perspective on his homeland. Although there is some extant research on the Korea Editions from several points of view, there is still room for a detailed analysis of how exactly Korean writers and literary works were introduced in their pages, and what type of literature was included. Specifically, this paper examines the literary criticism of Kim Saryang and Han Sik, clarifying their differing appraisals of the contemporary literary situation. Then, it analyzes the style and content of Pak T’aewŏn’s short story, “A Street Darkly” (Michi ha kuraki wo). Through highlighting this combination of perspectives, I hope to illuminate the politicality of Modern Japan realized through a rereading of the Korea Editions.
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Sharp, Jasper. "Edogawa Rampo: A Hellish Mirror." Film International 4, no. 1 (February 2006): 24–33. http://dx.doi.org/10.1386/fiin.4.1.24.

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Rahmah, Yuliani, and Dwi Meinati. "RAMPO NOIR : Proses Alih Wahana Cerpen “Kagami Jikoku” Karya Edogawa Rampo." KIRYOKU 5, no. 1 (May 31, 2021): 54–62. http://dx.doi.org/10.14710/kiryoku.v5i1.54-62.

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Penelitian ini merupakan penelitian lanjutan pada cerpem Kagami Jikoku,sebuah cerpen terkenal yang ditulis oleh Edogawa Rampou. Setelah dilakukan penelitian terhadap struktur cerpen tersebut, penelitian lanjutan dilakukan untuk menganalisis proses-proses alih wahana yang terjadi dari cerpen Kagami Jigoku ke dalam film Rampo Noir. Dengan menggunakan metode deskriptif kualitatif analisis proses alih wahana dilakukan pada unsur pembangun ceritanya. Sebagai hasilnya diketahui bahwa proses ekranisasi yang terjadi pada cerpen ke dalam film mencakup seluruh perubahan yang meliputi perubahan bervariasi, penambahan, dan penciutan. Unsur-unsur pembangun cerita yang mengalami seluruh proses ekranisasi adalah unsur tokoh, latar, dan alur. Unsur tokoh dan alur mengalami seluruh proses ekranisasi sementara unsur latar hanya mengalami proses penambahan dan perubahan bervariasi tanpa adanya penciutan. Dari proses tersebut diketahui pula bahwa pendekatan adaptasi yang digunakan dalam proses alih wahana ini adalah loose, karena meskipun cerita pada kedua media tersebut berbeda karena mengalami penyesuaian tetapi ide cerita dari cerita aslinya tetap dijaga.
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Marling, William. "Vision and Putrescence: Edogawa Rampo Rereading Edgar Allan Poe." Poe Studies 35, no. 1-2 (January 12, 2002): 22–30. http://dx.doi.org/10.1111/j.1754-6095.2002.tb00139.x.

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Posadas, Baryon Tensor. "Rampo's repetitions: the doppelganger in Edogawa Rampo and Tsukamoto Shin'ya." Japan Forum 21, no. 2 (April 20, 2010): 161–82. http://dx.doi.org/10.1080/09555801003679074.

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Rahmah, Yuliani. "Edogawa Rampo’s short story Kagami Jigoku: A Structural Study." KIRYOKU 4, no. 1 (June 6, 2020): 7–17. http://dx.doi.org/10.14710/kiryoku.v4i1.7-17.

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The purpose of this research is to analyze the intrinsic elements found in the short story Kagami Jigoku by Edogawa Rampo. By using structural methods the analysis process find out the intrinsic elements which builds the Kagami Jikoku short story. As a result it is known that the Kagami Jikoku is a short story with a mystery theme as the hallmark of Rampo as its author. The characteristic of this short story can be seen from the theme which raised the unusual obsession problem of the main characters. With the first person point of view which tells in unusual way from the other short stories, the regression plot in Kagami Jikoku is able to tell the unique phenomenon of Japanese society and its modern technology through elements of place, time and socio-cultural aspects of Japanese society in the modern era
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Dissertations / Theses on the topic "Edogawa Ranpo"

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Angles, Jeffrey Matthew. "Writing the love of boys: representations of male-male desire in the literature of Murayama Kaita and Edogawa Ranpo." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1071535574.

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Driscoll, Mark W. "Erotic empire, grotesque empire work and text in Japan's imperial modernism /." online access from Digital dissertation consortium, 2000. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9953667.

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Peloux, Gerald. "L'acte de lecture dans l'œuvre d'Edogawa Ranpo (1984-1965) : une réflexion sur la littérature policière d'avant-guerre au Japon." Phd thesis, Université Paris-Diderot - Paris VII, 2012. http://tel.archives-ouvertes.fr/tel-00947362.

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Edogawa Ranpo est considéré comme le fondateur du roman policier japonais moderne. Son style original, qui semble inclure le lecteur dans le texte grâce à différents dispositifs narratifs, nous apparaît comme une des raisons majeures de son succès ininterrompu depuis les années vingt. L'objet de cette thèse est avant tout de proposer une réflexion sur le statut du lecteur et sur la représentation intratextuelle de l'acte de lecture. Après avoir replacé l'écrivain dans son contexte historique et éditorial et dégagé ainsi le socle commun partagé par les lecteurs de romans policiers au Japon de l'époque, nous abordons, à travers ses oeuvres programmatiques réunies dans le recueil de nouvelles, Le test psychologique, publié en 1925, le contrat de lecture qu'il met alors en place. Il se dégage de ces récits très variés une volonté claire de proposer des textes toujours à la frange des conventions du genre, avec une prédilection pour un format qui favorise un rapport direct avec le lecteur sous la forme de très nombreux appels au lecteur. Ce dispositif original mis en place dans ses nouvelles est conforté à la fin des années vingt lorsqu'il commence à écrire des romans policiers en feuilletons à destination des revues grand public. Dans ce nouveau format, Edogawa Ranpo renvoie à son lecteur, par le prisme de récits rocambolesques et grâce aux techniques de mise en abyme et du refus de l'illusion référentielle, l'image d'une pratique voyeuriste, marquée du sceau de la monstruosité formelle. Le lecteur, jeune ou adulte, est constamment interpellé, rappelé à son statut et doit dans le même temps accepter un contrat de lecture qui met l'accent sur la narration et non sur l'histoire. Edogawa Ranpo utilise tous les outils de l'intertextualité pour transmettre à ses lecteurs un savoir générique à propos du roman policier et, dans le même temps, les placer dans une position de spectateurs, ce que nous appelons " spectacularisation " de l'acte de lecture. L'analogie des dispositifs narratifs des textes d'Edogawa Ranpo avec ceux des arts populaires (panorama, rakugo, cinéma muet), par un recours massif au commentaire, doublé de l'effet spéculaire de l'autoréférentialité, fait de l'oeuvre de Ranpo un objet exemplaire de métafiction s'appuyant sur des schémas de lecture paralittéraires.
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Peloux, Gérald. "L' acte de lecture dans l'oeuvre d'Edogawa Ranpo (1894-1965) : une réflexion sur la littérature policière de l'avant-guerre au Japon." Paris 7, 2012. http://www.theses.fr/2012PA070123.

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Edogawa Ranpo est considéré comme le fondateur du roman policier japonais moderne. L'objet de cette thèse est de proposer, à travers l'analyse du style original de cet écrivain qui semble inclure le lecteur dans le texte grâce à différents dispositifs narratifs, une réflexion sur le statut du lecteur et de l'acte de lecture. Après avoir dégagé le socle commun partagé par les lecteurs de romans policiers au Japon au début du XXe siècle, nous analysons le contrat de lecture mis en place par ses oeuvres programmatiques réunies dans son premier recueil de nouvelles (1925). S'y dégage une volonté claire, reprise dans ses longs formats dès la fin des années vingt, de proposer des textes à la frange des conventions du genre, avec une prédilection pour un format favorisant un rapport direct sous la forme de très nombreux appels au lecteur. Edogawa Ranpo renvoie à son lecteur, par le prisme de récits rocambolesques et grâce aux techniques de mise en abyme et du refus de l'illusion référentielle, l'image d'une pratique voyeuriste, marquée par une monstruosité formelle. Le lecteur constamment rappelé à son statut doit aussi accepter un contrat mettant l'accent sur la narration et non sur l'histoire. L'écrivain utilise les outils de l'intertextualité pour transmettre un savoir'• générique à propos du roman policier et, dans le même temps, place les lecteurs dans une position de spectateurs. L'analogie des dispositifs narratifs de ses textes avec ceux des arts populaires, par un recours massif au commentaire, doublé de l'effet spéculaire de 1' autoréférentialité, fait de son oeuvre un objet exemplaire de métafiction s'appuyant sur des schémas de lecture paralittéraires
Edogawa Ranpo is considered the founder of modem Japanese detective fiction. The analysis of the reader's status and of the act of reading, through the author's original style which seems to include the reader in the text by using different narrative systems, is the main point of this thesis. This study first draws the common ground shared by the readers of detective novels in Japan at the beginning of the 20th century. Then it examines through his programmatic works, a collection of short stories (1925), the reader's contract thus established. A clear intention emerges here and is developed in his serialized novels published from the end of the twenties: he proposes texts that are always on the edge of the genre, with a preference for a format that emphasizes a direct relationship which takes the form of numerous appeals to the reader. Edogawa Ranpo echoed to the reader the image of a voyeuristic reading, marked by a formai monstrosity, through a fantastic story and thanks to techniques of mise en abyme and to the refusai of the referential illusion. The reader is constantly reminded of his status. At the same time, he must accept a reading contract that focuses on the narrative and not on the story. Edogawa Ranpo uses all means of intertextuality to provide the reader with a generic knowledge about the detective story while, at the same time, he places him in a spectator position. The analogy of narrative systems of Edogawa Ranpo's texts with those of popular entertainment, with an extensive use of comments, coupled with the self-reflexivity specular effect, makes his works an example of metafiction based on paraliterary
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Kindler, Jessica Claire. "Tokuya Higashigawa's After-Dinner Mysteries: Unusual Detectives in Contemporary Japanese Mystery Fiction." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1011.

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The detective fiction (tantei shōsetsu) genre is one that came into Japan from the West around the time of the Meiji Restoration (1868), and soon became wildly popular. Again in recent years, detective fiction has experienced a popularity boom in Japan, and there has been an outpouring of new detective fiction books as well as various television and movie adaptations. It is not a revelation that the Japanese detective fiction genre, while rife with imitation and homage to Western works, took a dramatic turn somewhere along the line, away from celebrated models like Poe, Doyle, and Christie, and developed into a unique subgenre of Japanese prose. However, despite its popularity and innovation, Japanese detective fiction has often been categorized as popular literature (taishū bungaku), which is historically disregarded as vulgar and common. My thesis first consists of a brief introductory history oftantei shōsetsugenre in Japan. This includes a discussion of Japanese writers' anxiety concerning imitation of Western forms and their perception of themselves as imposters and imitators. Following this, I examine the ways in whichtantei shōsetsuwriters--particularly Edogawa Ranpo (1894 - 1965), the grandfather of the genre in Japan--began to deviate from the Western model in the 1920's. At the same time, I investigate the bias againsttantei shōsetsuas a vulgar or even pornographic genre. Through a discussion of literary critic Karatani Kōjin's ideas on the construction of depth in literature, I will demonstrate how Edogawa created, through his deviance from the West, a new kind of construction in detective fiction to bring a different sort of depth to what was generally considered merely a popular and shallow genre. This discussion includes a look at the ideas of Tsubouchi Shōyō on writing modern novels, and Japanese conceptions of "pure" (junsui) and "popular" (taishū) literature. Through an examination of several of Edogawa's works and his use of psychology in creating interiority in his characters, I propose that the depth configuration, put forth by Karatani in his critique of canonical modern Japanese literature, is also present in popular fiction, like Edogawa'stantei shōsetsu. When viewed through the lens of Karatani's depth paradigm, we discover how detective fiction and the vulgarity therein may actually have more in common with "pure" fiction created by those writers who followed Shōyō's prescriptions. In the final section of the introduction, I propose a definition of Japanese detective fiction that links Edogawa's works from the 1920's to the contemporary Japanese detective novel After-Dinner Mysteries (Nazotoki wa dinaa no ato de, 2010), by Higashigawa Tokuya. Thus we see that many of the themes and conventions present in Edogawa remain prevalent in contemporary writing. Finally, I present my translation of the first two chapters of After-Dinner Mysteries.
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Ivasa, Lídia Harumi. "Tradução comentada de três contos de Edogawa Rampo: uma investigação das primeiras obras da literatura policial no Japão." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-26052017-111049/.

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A literatura policial teve origem com o surgimento das grandes cidades, que possibilitou o anonimato do criminoso e a criação de uma força policial para combater essa criminalidade. No Japão, após o período Meiji (1868-1912), são publicadas as primeiras traduções de contos policiais ocidentais, com autores como Edgar Allan Poe e Arthur Conan Doyle. Influenciado por essas leituras, Hirai Tar (1894-1965) escreve as primeiras histórias do gênero ambientadas no Japão, sob o pseudônimo de Edogawa Rampo, difundindo um dos gêneros mais populares no país hoje. Este trabalho apresenta o escritor Edogawa Rampo ao leitor brasileiro, além de propor uma tradução comentada de três contos policiais, mostrando as opções tradutórias e as diferenças culturais que permeiam o texto de partida e o de chegada, embasado pelas Teorias da Tradução. Selecionamos três contos do início da carreira de Rampo, a saber: Nisen dka, Dzaka no satsujin jiken e Shinri shiken, traduzidos respectivamente para o português como A moeda de cobre de dois sen, Assassinato na ladeira D e Teste psicológico. Além disso, apresentamos um breve contexto do gênero policial no Japão na época de Rampo e atualmente.
Crime literature originated from the emergence of the big cities, which enabled the anonymity of the criminal and the creation of a police force to fight this criminality. In Japan, after the Meiji period (1868-1912), the first translations of Western crime short stories are published, with authors such as Edgar Allan Poe and Arthur Conan Doyle. Influenced by these readings, Hirai Tar (1894-1965) writes the first stories of this genre set in Japan, under the pseudonym Edogawa Rampo, spreading one of the most popular genres in the country today. This work presents the writer Edogawa Rampo to the Brazilian reader, besides proposing a commented translation of three crime short stories, presenting the translating options and the cultural differences which permeate the source text and target text, based on the Theories of Translation. We have selected three short stories from the beginning of Rampo\'s career, which are: Nisen dka, Dzaka no satsujin jiken e Shinri shiken, respectively translated to Portuguese as A moeda de cobre de dois sen, Assassinato na ladeira D and Teste psicológico. We also present a brief context of the crime genre in Japan at Rampo\'s time and at the present.
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Tsai, Chih-Yung, and 蔡志勇. "Forms of educated idler in modern Japanese Literatures, with reference to Soseki Natsume, Ranpo Edogawa and Yasunari Kawabata." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/bd8a9t.

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碩士
國立臺灣大學
日本語文學研究所
104
As seen in many late modern Japanese Literatures, the so-called “ educated idler ” was depicted in forms with rich diversity, especially from the works of Soseki Natsume, where the image of “ educated idler ” became a widely recognizable symbol of its kind. During the late Meiji period, the term “ educated idler ” in general was used to referring to someone who had access to receive higher education but did not engage in any particular work activities. This study aims to unveil the diversified forms of “ educated idler ” appeared in modern Japanese Literature and to identify the transformation of its representations given the social and historical context of the time period. In this study, I will be mainly focusing on Japanese writers Soseki Natsume, Ranpo Edogawa and Yasunari Kawabata, who had gained vast popularity in the late Meiji, Taisho and early Showa period respectively. Historical sources along with other references will be utilized in uncovering deep insights into characters that can be perceived as to have association with the image of “ educated idler ” to further highlight the diversities this representation truly possesses. Overall, this study has identified that the “ educated idler ” appeared in the works of Soseki Natsume has commonly two types of representation. One embodies a form of civilization criticism, as depicted in "And Then" where the protagonist Daisuke criticizes the Capitalism-centered society surrounding him and expresses alienation towards his father who is still under the influence of Feudalism. The second type can be seen from the protagonist Keitaro of “ To the Spring Equinox and Beyond ”, who comes from rural region and finds himself in dilemma between the act of pursuing pleasure and effort to elevate himself from being an “ educated idler ” in the city. This representation shows similarity with the depiction of characters appeared in the works of Ranpo Edogawa, where “ educated idler ” becomes less critical of the society and more focused on one’s pleasure fulfillment. From this perspective, the male protagonist from Yasunari Kawabata’s “ Snow Country ”, Shimamura, can also be categorized as an “ educated idler ”, as he withdraws himself from facing the reality but often feels regretful in the process of pursuing pleasure.
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Books on the topic "Edogawa Ranpo"

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Edogawa Ranpo zenshū. Tōkyō: Kōbunsha, 2003.

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Kobayashi, Nobuhiko. Kaisō no Edogawa Ranpo. Tōkyō: Metarōgu, 1994.

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Edogawa Ranpo tettei tsuiseki. Tōkyō: Bensei Shuppan, 2009.

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Shōichi, Honda, ed. Utsushiyo no Ranpo: Chichi Edogawa Ranpo no omoide. Tōkyō: Kawade Shobō Shinsha, 2006.

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1953-, Shinpo Hirohisa, and Yamamae Yuzuru, eds. Edogawa Ranpo shōsetsu kīwādo jiten. Tōkyō: Tōkyō Shoseki, 2007.

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illustrator, Umeda Kiyoshi 1940, ed. Edogawa Ranpo to sono jidai. Tōkyō-to Chiyoda-ku: PHP Kenkyūjo, 2014.

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Edogawa Ranpo to taishū no nijisseiki. Tōkyō: Shibundō, 2004.

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Edogawa, Ranpo. Kagami jigoku: Edogawa Ranpo kaiki gensō kessakusen. Tōkyō: Kadokawa Shoten, 1997.

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Edogawa Ranpo sakuhinron: Hitori futayaku no sekai. Ōsaka-shi: Izumi Shoin, 2012.

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Ishii, Toshihiro. Kaze no tān rōdo: Daisanjūsankai Edogawa Ranpo-shō jushōsaku. Tōkyō: Kōdansha, 1987.

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Book chapters on the topic "Edogawa Ranpo"

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"Detecting the Unconscious: Edogawa Ranpo and the Emergence of the Japanese Detective." In HEAM 345 Saito, Detective Fiction & Rise o.t. Japanese Novel, 235–76. BRILL, 2012. http://dx.doi.org/10.1163/9781684175215_008.

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Ballesteros González, Antonio. "La influencia de Edgar Allan Poe en Japón: Edogawa Rampo." In Literatura, crítica, libertad. Estudios en homenaje a Juan Bravo Castillo. Ediciones de la Universidad de Castilla-La Mancha, 2021. http://dx.doi.org/10.18239/homenajes_2020.13.24.

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"A Modernist Nostalgia: The Colonial Landscape of Enlightenment Tokyo in Akutagawa Ryūnosuke and Edogawa Rampo." In Rethinking Japanese Modernism, 125–47. Global Oriental, 2012. http://dx.doi.org/10.1163/9789004211308_008.

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Conference papers on the topic "Edogawa Ranpo"

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Tolubanova, Oksana Igorevna. "The imagery of a mirror in the story of Edogawa Rampo "The Hell of Mirrors"." In IX International Scientific and Practical Conference. TSNS Interaktiv Plus, 2018. http://dx.doi.org/10.21661/r-474743.

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