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Dissertations / Theses on the topic 'Japanese literature Literature'
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1
Takayashiki, Masahito. "Autonomy in Modern Japanese Literature." University of Sydney, 2008. http://hdl.handle.net/2123/4021.
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Doctor of Philosophy(PhD)<br>This dissertation aims to examine the manner in which the concept of autonomy (jiritsu) is treated in modern and contemporary Japanese literature. This examination will be performed by analysing the autonomous attitude of a contemporary Japanese writer Nakagami Kenji (1946–1992). This dissertation focuses on examining Nakagami Kenji’s ambivalent attitude towards his act of writing. We will explore the manner in which his act of writing appears to be a paradox between self-identification and the integration into the collective. Then, we will observe the possibility in which Nakagami’s ambivalent attitude is extended to cover Maruyama Masao’s relative definition of autonomy and Karatani Kōjin’s interpretation of Immanuel Kant’s notion of freedom and responsibility. Nakagami’s attempt is certainly not confined to only his works. The notion of autonomy may be applied to perceive a similar thought that was represented by previous writers. We will also examine various never-ending autonomous attempts expressed by Sakaguchi Ango, Miyazawa Kenji and Nakahara Chūya. Moreover, we will analyse how Nakagami’s distrust of the modern Japanese language and his admiration of the body as an undeniable object are reflected in his major novels in detail and attempt to extend this observation into the works of the theatrical artists in the 1960s such as Betsuyaku Minoru, Kara Jūrō, Hijikata Tatsumi and Terayama Shūji and contemporary women writers such as Tsushima Yūko, Takamura Kaoru, Tawada Yōko and Yoshimoto Banana. These writers and artists struggled to establish their autonomous freedom as they encountered the conflict between their individual bodies that personifies their personal autonomy and the modern Japanese language that confines them in the fixed and submissive roles in present-day Japan. In this dissertation, I would like to conclude that Nakagami Kenji’s ambivalent attitude towards his act of writing can be an eternal self-legislation, that is, his endless attempt to establish autonomous freedom, which evolves from the paradox between the individual (body) and the collective (language).
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Hio, Noriko. "The influence of Victorian literature upon Japanese literature of the Meiji Period." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328709.
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Pinar, Garcia Alex. "Western Literature in Japanese Film (1910-1938)." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/667250.
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Des del inicis del cinema s’han realitzat un innumerable nombre de pel·lícules basades en obres literàries. L'adaptació cinematogràfica es pot considerar un procés interpretatiu en què el cineasta crea un nou treball artístic mitjançant la transformació de l'estructura, el contingut, l'estètica i el discurs narratiu de l’obra literària. És freqüent veure pel·lícules en les que els directors han adaptat obres literàries del seu propi àmbit cultural, però és menys comú trobar exemples de directors que han creat pel·lícules basades en obres d'una esfera cultural i tradició literària diferent.
Aquest és el cas d'alguns cineastes japonesos, com Kurosawa Akira, que va adaptar amb èxit obres destacades de la literatura universal. Moltes investigacions han centrat la seva atenció en les adaptacions realitzades per Kurosawa i altres directors japonesos en la dècada de 1950 i posteriors, un període en el qual el cinema japonès va rebre reconeixement a tot el món i va aconseguir presència internacional en prestigiosos festivals de cinema. No obstant això, hi ha hagut poca o gairebé cap atenció a la les adaptacions de literatura occidental produïdes al Japó durant els anys 1910, 1920 i 1930, al llarg de les anomenades èpoques Meiji, Taishō i Shōwa- preguerra.
L'objectiu d'aquesta investigació és, per tant, explorar les relacions intertextuals entre aquestes pel·lícules i les obre literàries en la qual es van basar, i descriure les transformacions culturals en l'estructura, el contingut, l'estètica i el discurs narratiu realitzats en el procés d'adaptació. Així, la metodologia emprada segueix l'enfocament dialògic de Stam, tenint en compte altres propostes metodològiques recents, les quals suggereixen afegir aspectes històrics, culturals i contextuals a l'anàlisi de les adaptacions cinematogràfiques. Aquesta tesi té la intenció d’aportar una nova perspectiva als estudis de les relacions intertextuals entre cinema Japonès i la literatura universal mitjançant l’anàlisi de pel·lícules produïdes durant la primera meitat del segle XX que no han estat mai o han estat molt poc estudiades.<br>Since the beginning of cinema, innumerable films have been derived from classic or popular literature. Film adaptation of a literary work can be considered as an interpretative process in which the film director creates a new artistic work through several transformations in the structure, content, aesthetics, and narrative discourse. There are hundreds of films in which the directors have adapted literary works from their own cultural sphere, but there are fewer examples of directors who have made movies based on literary works from a different culture and literary tradition.
That is the case for some Japanese film directors, such as Kurosawa Akira, who adapted foreign literature for the screen. Many scholars in the field of Film Studies have focused their attention on the adaptations made by Kurosawa and other Japanese directors in the 1950s and subsequent decades: a period during which Japanese cinema received acknowledgment worldwide and achieved an international presence in prestigious film festivals. However, there has been little or no attention to the adaptations of Western literature produced in Japan during the 1910s, 1920s, and 1930s, throughout the so-called Meiji, Taishō, and Shōwa pre-war eras.
The objective of this research is therefore to explore the intertextual relations between those films and the Western works on which they were based, and to describe the cultural transformations in the structure, content, aesthetics, and narrative discourse carried out in the process of adaptation. The methodology employed follows Stam’s intertextual dialogic approach, and takes into account the most recent theoretical frameworks, which suggest adding historical, cultural, and contextual aspects into the analysis of film adaptations. This dissertation goes far beyond the scope of the previous investigations, as it examines Japanese movies based on Western literature produced during the first half of the twentieth century that have never or barely been studied.
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Burton, William James. "In a perfect world : utopias in modern Japanese literature /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11144.
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Goudie, Teresa Makiko. "Intergenerational transmission of trauma and post-internment Japanese diasporic literature." Goudie, Teresa Makiko (2006) Intergenerational transmission of trauma and post-internment Japanese diasporic literature. PhD thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/45/.
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The thesis examines the literary archive of the Japanese diaspora in North America and uncovers evidence of an intergenerational transmission of trauma after the internment of all peoples of Japanese descent in America during World War Two. Their experience of migration, discrimination and displacement was exacerbated by the internment, the single most influential episode in their history which had a profound effect on subsequent generations. It is argued the trauma of their experiences can be located in their writing and, drawing on the works of Freud and trauma theoreticians Cathy Caruth and Ruth Leys in particular, the thesis constructs a theoretical framework which may be applied to post-internment Japanese diasporic writing to reveal the traces of trauma in all generations, traces that are linked to what Freud referred to as a posterior moment that triggered an earlier trauma which the subject may not have experienced personally but which may be lodged in her / her psyche. An examination of the literature of the Japanese diaspora shows that trauma is carried in the language itself and impacted upon the collective psyche of the entire community.
The theoretical model is used to read the tanka poetry written by the immigrant generation, a range of texts by the first American-born generation (including an in-depth analysis of four texts spanning several decades) and the texts written by the third-generation, many of whom did not experience the internment themselves so their motivation and the influence of the internment differed greatly from earlier generations. The thesis concludes with an analysis of David Mura's identification of the link between identity, sexuality and the influence of the internment experience as transmitted by his parents. The future of the Japanese American community and their relationship with their past traumatic experience also makes its way into the conclusion.
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Tierney, Robin Leah. "Japanese literature as world literature: visceral engagement in the writings of Tawada Yoko and Shono Yoriko." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/750.
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This dissertation argues that the writings of the contemporary Japanese writers Tawada Yoko and Shono Yoriko should be understood as literature that is commenting upon global processes and therefore categorized within the newly re-deployed category of "World Literature." In the first chapter I explore the political project of Shono Yoriko's fictional and polemical writings. Shono uses the bundan (literary establishment) as a platform for her critique of neo-liberal economic trends and launches a campaign that is both global in scope and kyoku-shi (hyper-personal) in tone. She counters universally applicable socio-economic trends with intensely personal myths and private vendettas against public intellectuals who deny the value of non-profit-grossing "serious" literature. In chapter two I perform a close reading of her 2004 novel Kompira as well as her busu mono (ugly tales). Kompira, I argue, is both a historical narrative of a particular kompira kami (deity) and the postulating of a system of resistance that involves hybridity and embodiment.
While Tawada Yoko is most often identified as a border-crossing, multi-lingual writer who publishes in both German and Japanese, in chapter three I argue that this "identity" threatens to eclipse the ways in which she investigates the bodily reception of language. My claim is that Tawada's interstitial explorations pose translation and bodily coding as inherent to language acquisition in general and suggests that all words carry their own libidinal imprint. In chapter four I argue that Tawada mines bodily processes for her representational strategies. In Tawada's texts the unraveling of national and masculine aesthetics forms a critical part of decoding the body as a fixed and gendered entity. . When Tawada positions the male body as an object of tactile inquiry and explores the bodily-confusion-with-another inherent in the process of ovulation as a narrative drive, I see a re-working of corporeal and cognitive logics. This reworking, I contend, is not a conclusive "righting of wrongs" but an invitation to join in the ongoing process of articulating difference in a potentially post-national world.
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Kato, Megumi Humanities & Social Sciences Australian Defence Force Academy UNSW. "Representations of Japan and Japanese people in Australian literature." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38718.
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This thesis is a broadly chronological study of representations of Japan and the Japanese in Australian novels, stories and memoirs from the late nineteenth century to the twenty-first century. Adopting Edward Said???s Orientalist notion of the `Other???, it attempts to elaborate patterns in which Australian authors describe and evaluate the Japanese. As well as examining these patterns of representation, this thesis outlines the course of their development and change over the years, how they relate to the context in which they occur, and how they contribute to the formation of wider Australian views on Japan and the Japanese. The thesis considers the role of certain Australian authors in formulating images and ideas of the Japanese ???Other???. These authors, ranging from fiction writers to journalists, scholars and war memoirists, act as observers, interpreters, translators, and sometimes ???traitors??? in their cross-cultural interactions. The thesis includes work from within and outside ???mainstream??? writings, thus expanding the contexts of Australian literary history. The major ???periods??? of Australian literature discussed in this thesis include: the 1880s to World War II; the Pacific War; the post-war period; and the multicultural period (1980s to 2000). While a comprehensive examination of available literature reveals the powerful and continuing influence of the Pacific War, images of ???the stranger???, ???the enemy??? and later ???the ally??? or ???partner??? are shown to vary according to authors, situations and wider international relations. This thesis also examines gender issues, which are often brought into sharp relief in cross-cultural representations. While typical East-West power-relationships are reflected in gender relations, more complex approaches are also taken by some authors. This thesis argues that, while certain patterns recur, such as versions of the ???Cho-Cho-San??? or ???Madame Butterfly??? story, Japan-related works have given some Australian authors, especially women, opportunities to reveal more ???liberated??? viewpoints than seemed possible in their own cultural context. As the first extensive study of Japan in Australian literary consciousness, this thesis brings to the surface many neglected texts. It shows a pattern of changing interests and interactions between two nations whose economic interactions have usually been explored more deeply than their literary and cultural relations.
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Kobayashi, Junko. ""Bitter sweet home" : celebration of biculturalism in Japanese language Japanese American literature, 1936-1952 /." Diss., University of Iowa, 2005. http://ir.uiowa.edu/etd/97.
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Perreira, Jessica M. "Masculinity on Women in Japan: Gender Fluidity Explored Through Literature and Performance." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1038.
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The first half of my thesis are my translations from Yumi Hirosawa’s Onna O Aisuru Onnatachi. The first translation is excerpts from a high school girls journal documenting her realization and acceptance of being lesbian, and her time with her first girlfriend. The second translation is a report by a freelance writer on three different lesbian bars in Shinjuku Ni-Chome. The most notable bar is an onabe bar called Little Prince. Onabe in the simplest terms are women who dress and act like men. Onabe are important to the research portion of my thesis because they allowed me to research how masculine identities among Japanese women are formed. The documentary Shinjuku Boys interviews three onabe. From them it is made clear that being an onabe is not as simple as presenting as a man but is a complex relationship with one’s body, societal norms and parental pressures. We learn that onabe is different than being trans - which some would say is Onabe’s Western equivalent - yet various part of those identities can line up. Secondly the cultural phenomena Takarazuka and the women that play the otoko-yaku, or men's roles, makes clear the idea of what masculinity is and how women should wear it on their bodies. Even though the otoko-yaku and musume-yaku hyper-perform gender their exaggeration helps clarify how the women from Queer Japan: Personal Stories of Japanese Lesbians, Gay, Transsexuals, and Bisexuals grappled with their sexuality and gender. Lastly, the fictional stories from Sparkling Rain: And Other Fiction from Japan of Women Who Love Women coupled with the firsthand accounts from Queer Japan further develops the idea and struggles of masculine women’s bodies. In my thesis I aim to look at how masculinity is written onto Japanese woman's bodies both by themselves and others, and the struggles that they encounter because of their deviant sexual and gender identities. In my thesis these are the research questions I aim to answer: What are the modes in which queer women push away masculinity? Yet how do they perform and enforce it? How do these women view or interpret other women who are more masculine? How does having a masculine identity affect one’s perception of themselves? How do these women cope with being both lesbian and masculine of center? Why are the otoko-yaku women of Takarazuka praised for their daily performance of masculinity while onabe are scrutinized for it? And if both are forms of entertainment, mainly for other women, why is one more acceptable than another?
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com, teresamgoudie@hotmail, and Teresa Makiko Goudie. "Intergenerational Transmission of Trauma and Post-internment Japanese Diasporic Literature." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061012.65617.
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The thesis examines the literary archive of the Japanese diaspora in North America and uncovers evidence of an intergenerational transmission of trauma after the internment of all peoples of Japanese descent in America during World War Two. Their experience of migration, discrimination and displacement was exacerbated by the internment, the single most influential episode in their history which had a profound effect on subsequent generations. It is argued the trauma of their experiences can be located in their writing and, drawing on the works of Freud and trauma theoreticians Cathy Caruth and Ruth Leys in particular, the thesis constructs a theoretical framework which may be applied to post-internment Japanese diasporic writing to reveal the traces of trauma in all generations, traces that are linked to what Freud referred to as a posterior moment that triggered an earlier trauma which the subject may not have experienced personally but which may be lodged in her / her psyche. An examination of the literature of the Japanese diaspora shows that trauma is carried in the language itself and impacted upon the collective psyche of the entire community.
The theoretical model is used to read the tanka poetry written by the immigrant generation, a range of texts by the first American-born generation (including an in-depth analysis of four texts spanning several decades) and the texts written by the third-generation, many of whom did not experience the internment themselves so their motivation and the influence of the internment differed greatly from earlier generations. The thesis concludes with an analysis of David Mura's identification of the link between identity, sexuality and the influence of the internment experience as transmitted by his parents. The future of the Japanese American community and their relationship with their past traumatic experience also makes its way into the conclusion.
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Nakamura, Miri. "Monstrous bodies : gender and reproductive science in modern Japanese literature /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Vanninen, Kosti. "Translating Japanese Onomatopoeia into Finnish in Literature: A Case Study." Thesis, Högskolan Dalarna, Japanska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35924.
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Japanese is a language rich in onomatopoeic and mimetic words, words that mimic sounds and other phenomena with their form. They are an integral part of the language and are used in nearly all situations, they also pose their own peculiar challenge to both learners and translators of Japanese. This study examines the Japanese onomatopoeic and mimetic words in the novel Sensei no kaban by Hiromi Kawakami, and their translations in its Finnish translation, to determine what techniques are most commonly used and why? As Finnish is also said to have a rich onomatopoeic and mimetic vocabulary, the frequency at which these terms are translated into equivalent onomatopoeic or mimetic words is also examined. The results show that the majority of the Japanese onomatopoeic and mimetic words, most of which function as adverbs, are translated as adverbs or verbs or they are completely omitted. Exactly a quarter of the examined cases have been translated using onomatopoeic or mimetic words, most of which are verbs.
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Hughey, David Jonathan 1969. "Confronting Japan's war in China in modern Japanese literature: Takeda Taijun, Murakami Haruki and Inoue Yasushi." Thesis, The University of Arizona, 1998. http://hdl.handle.net/10150/278659.
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Japan has borrowed much from its continental neighbor, China: a writing system, ideas of government, religion and aspects of culture. The importation of Chinese exemplars and the strong sense of cultural indebtedness have been balanced by a belief in the modern period that China was somehow inferior, or had lost its claim to civilizational greatness. Japan's contradictory view of China continues to this day. In the post-war era, writers such as Inoue Yasushi, Takeda Taijun and Murakami Haruki have written about the legacy of World War Two and Japan's lingering guilt and concomitant revisionism. I intend to demonstrate, via an examination of these authors, how World War Two, specifically Japan's war-time activities in China and Manchuria, and its aftermath are portrayed in fiction.
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Haga, Koichi. "The critique of virtual shifting discursive space in Japanese literature, 1960s-1980s." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1682825951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Tokuda, Soichiro. "Where is "home" for Japanese-Americans?" Thesis, State University of New York at Binghamton, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590779.
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<p> This study explores the issue of Japanese internment camp in the United States and Canada during World War Two. It argues that Japanese immigrants, who were totally innocent, became historical victims and experienced camp. During World War Two, the Japanese army attacked Pearl Harbor, a territory of the United States. This incident made mainstream American and Canadian society suspicious of Japanese immigrants, who had the same ethnicity and blood as the army, the "enemies." This study is an attempt to find the voice and feelings of those who had to experience trauma in camp. As subaltern figures, all they had to do was endure and accept their fate. As immigrants, who seemed not to have English fluency, they had to accept the requirements of America or Canada in order to be allowed to live. At the same time, this study seeks to analyze how Japanese-Americans and -Canadians forged their identity after overcoming the trauma of camp and the agony of assimilation. In so doing, this dissertation considers the work of four novelists who have written about these difficult issues. Chapter 1 explains how other Asians – Koreans and Chinese – were affected by the Japanese army and how mainstream society looked at Japanese immigrants. Chapters 2 and 3 explore Joy Kogawa's <i> Obasan</i> and <i>Itsuka.</i> Naomi, the protagonist, struggles to find a sense of "home-ness." Chapter 4 examines Monica Sone's <i> Nisei Daughter</i>. Kazuko, the protagonist, has to experience negative aspects of the United States. Chapter 5 explores Jeanne Wakatsuki Houston's <i> Farewell to Manzanar.</i> Jeanne, the protagonist, has to go through painful experiences and racism up to the last section of the novel. Chapter 6 analyzes John Okada's <i>No-No Boy.</i> Ichiro, the protagonist, suffers self-alienation. He cannot fix his identity between his duality until he can find his "home." Chapter 7 examines the authors' intentions and asks in which direction Japanese-Americans and -Canadians can move forward in the future.</p>
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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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Kao, Chia-li. "Imperialist ambiguity and ambivalence in Japanese and Taiwanese literature, 1895-1945." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3345077.
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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2008.<br>Title from PDF t.p. (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0570.
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Teixeira, Claudio Alexandre de Barros. "A recepção da poesia japonesa em Portugal." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-19052015-134532/.
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A recepção da poesia japonesa em Portugal é um estudo sobre o diálogo literário entre os autores portugueses e a tradição lírica da Terra do Sol Nascente. Iniciado no século XVI, esse intercâmbio motivou extensa produção de cartas, diários, relatos de viagem e obras de caráter filológico até a expulsão dos missionários cristãos, ocorrida durante o Período Tokugawa (1603-1867), que interrompeu todas as atividades comerciais, culturais e mesmo diplomáticas entre o arquipélago japonês e Portugal. Com a Restauração Meiji, iniciada na segunda metade do século XIX, o diálogo é restabelecido, em um contexto internacional de crescente interesse europeu pela cultura japonesa, que pode ser avaliada pelas obras publicadas no período por autores como os franceses Edmond de Goncourt e Pierre Loti, o britânico Basil Chamberlain, o norte-americano Lafcadio Hearn e o português Wenceslau de Moraes, este último autor de numerosos livros, como Relance da alma japonesa, Daí Nippon e O culto do chá. Wenceslau de Moraes traça um amplo panorama da civilização japonesa, comentando desde a religião, a moral, a política, a vida cotidiana até as formas poéticas praticadas na literatura japonesa, realizando as primeiras traduções de haicais para o nosso idioma. A recepção criativa da poesia japonesa em Portugal, porém, acontecerá apenas na segunda metade do século XX, quando poetas como Herberto Helder, Casimiro de Brito, Ana Hatherly, E. M. de Melo e Castro, Eugênio de Andrade, Albano Martins e Yvette Centeno recebem a influência da caligrafia artística japonesa, dos enigmáticos koans (). e da extrema concisão e imagética do haicai, desenvolvendo a partir daí composições autônomas, relacionadas com as preocupações formais da época, e em especial com o movimento da Poesia Experimental Portuguesa (PO-EX). Nosso propósito é estudar como cada um desses autores recebeu e transformou o influxo da tradição literária japonesa, mesclada a seus projetos literários e mitologias pessoais<br>The reception of Japanese poetry in Portugal is a study of the literary dialogue between Portuguese authors and the lyrical tradition of the Land of the Rising Sun. Started in the sixteenth century, this exchange prompted extensive production of letters, diaries , travel accounts and works of philological character until the expulsion of Christian missionaries, which occurred during the Tokugawa Period (1603-1867), when all commercial, cultural and even diplomatic activities between the Japanese archipelago and Portugal ceased. With the Meiji Restoration, which started in the second half of the nineteenth century, the dialog was restored in an international context of increasing European interest in Japanese culture, which can be evaluated by through works published in the period by such authors as the Frenchmen Edmond de Goncourt and Pierre Loti, the Englishman Basil Chamberlain, the American Lafcadio Hearn and the Portuguese Wenceslas de Moraes. This last author published such booksas Glimpse of the Japanese soul and Nippon Hence the cult of tea. Wenceslas de Moraes paints a broad picture of Japanese civilization , from religion, morality, politics and everyday life to the poetic forms practiced in Japanese literature. He also did the first translations of haiku into our language. The creative reception of Japanese poetry in Portugal, however, take place only in the second half of the twentieth century, when poets like Herbert Helder , Casimiro de Brito , Ana Hatherly , EM de Melo e Castro, Eugenio de Andrade, Albano Martins and Yvette Centeno receive the influence of the Japanese Art of callygraphy, of the enigmatic koans and of the extreme concision and imagery of haiku. From these sources, poets developed autonomous compositions related to the formal concerns of the time, especially with the movement of Portuguese Experimental Poetry (PO-EX). Our purpose is to study how each of these authors has received and transformed the influx of Japanese literary tradition, blending it into his or her literary projects and personal mythologies.
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Taylor, Cindy M. "Naturalism : its development and subsequent decline in Chinese and Japanese literature /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art2389.pdf.
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Lin, Pei-Yin. "Culture, colonialism and identity : Taiwanese literature during the Japanese occupation period." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249751.
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Slaymaker, Douglas. "Japanese literature after Sartre : Noma Hiroshi, Ōe Kenzaburō, and Mishima Yukio /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11079.
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Savas, Minae Yamamoto. "Feminine Madness In The Japanese Noh Theatre." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1222076003.
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Shen, Nai-huei. "The age of sadness : a study of naturalism in Taiwanese literature under Japanese colonization /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6689.
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沈樂軒 and Lok-hin Kevin Shen. "A comparative study of two Japanese-English and two Japanese-Chinese translations of the Tale of Genji." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B30104518.
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Inamoto, Masako. "Insignificance Given Meaning: The Literature of Kita Morio." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282123908.
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Wren, James Allan. "Differences without distinction : ideology and the performative contexts of fictional self-representation in modern Japanese literature /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6668.
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Kiyota, Tomonori. "Toward the end of the Shosetsu, 1887-1933 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9981968.
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Li, Minggang. "The early years of Bungei Shunjū and the emergence of a middlebrow literature." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211903086.
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Nave, Joshua. "When Honor Falls: A Study of Japanese Honor in Young Adult Literature." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/612.
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The concept of honor has developed over several centuries on the island nation of Japan. Due to this institutionalized growth, honor is something to be explored for how it has shaped and how it continues to mold contemporary Japanese culture. One way to examine Japanese honor is through the primary lens of Young Adult literature. By examining representations of Japanese honor in Young Adult literature, readers can learn how honor developed Japanese culture. Furthermore, readers can discern what aspects of honor in Japanese culture should be scrutinized. Through this scrutiny, readers will be able to discover how honor may be applied to contemporary society. The following texts will be explored in this thesis: Pamela S. Turner’s novel, Samurai Rising: The Epic Life of Minamoto Yoshitsune (2016), Shigeru Mizuki’s manga, Onward Towards Our Noble Deaths (1991), the joint novels of So Far From the Bamboo Grove (1986) by Yoko Kawashima Watkins, and Year of Impossible Goodbyes (1991) by Sook Nyul Choi, and finally the memoir Farewell to Manzanar (1973) by Jeanne Wakatsuki Houston. Each of these books provides a key narrative view of honor in its relation to people at various points of Japanese culture. The conclusion of this thesis will argue that the developments discovered about Japanese honor can be learned from and applied to modern society outside of Japan.
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Porto, Thaís Gonçalves Dias. "Entre o cinema e a literatura : sobre a construção identitária no romance Das nackte Auge, de Yoko Tawada /." Araraquara, 2018. http://hdl.handle.net/11449/154239.
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Orientador(a): Natália Corrêa Porto Fadel Barcellos<br>Resumo: A japonesa Yoko Tawada é um dos nomes mais importantes dentro da literatura alemã contemporânea. A autora trabalha com diferentes tipos de texto em alemão e em japonês e dedica seu projeto literário justamente a esse entre lugar no qual vive. Das nackte Auge conta a história de uma jovem vietnamita que, por conta de um engano, vai parar em Paris no final da década de oitenta. A personagem torna-se, então, um ser estranho em um país estrangeiro onde não é capaz de comunicar-se com ninguém exceto as personagens de Catherine Deneuve no cinema. A narrativa dos filmes citados na obra influencia progressivamente a narrativa do romance culminando na fusão de ambas as mídias em questão. Tawada utiliza-se dos filmes como referências midiáticas de modo a criar uma relação transtextual na qual o hipotexto (os filmes) modifica e amplia o hipertexto (o romance). A sala de cinema, que, a princípio, caracterizar-se-ia como sendo um mero local de trânsito, ou seja, um não-lugar, passa a representar um local de identificação, significação e até mesmo de comunicação, isto é, um lugar segundo o conceito de Marc Augé. O presente trabalho pretende demonstrar como tal inversão no processo de construção identitária dá-se na narrativa do romance a partir da hibridização midiática entre o cinema e a literatura, suscitando de maneira extraordinária questões acerca do olhar (desnudo) sobre o estranho, o estrangeiro<br>Abstract: The Japanese author Yoko Tawada is one of the greatests names in german contemporary literature. She works with different texts in German and Japanese. She deals in her literary project particularly with this between-place where she actually lives in. Das nackte Auge tells the story of a young Vietnamese girl who is mistakenly taken to Paris by the end of the ninteen eighties. She becomes an alien in a foreign country and is incapable of communicating with anyone else but the characters played by Catherine Deneuve in the movies that she starts to watch. The narrative of these movies progressively contaminates the novel's narrative ending up in a complete fusion of both medias. Tawada uses the movies as media references creating a transtextual relation where the hypotext (the movies) modifies and expands the hypertext (the novel). The movie theater, usually seen as a transitory place, a non-place, becomes a place of identification and even communication, i.e. a place according to Marc Augé's concept. This work intends to demonstrate how this inversion of the identity building process evolves through the media hybridization between film and literature while, in an extraordinary way, raises questions about the (naked) look at the alien, the foreigner<br>Mestre
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Wells, Marguerite Adele. "Humour in Japanese theatre with special reference to shingeki." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334109.
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Tillack, Peter Bruce. "The politics of "introspection" : two Naikō no sedai writers and the representation of social space in "contemporary" Japan /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?index=0&did=1196395441&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1180992920&clientId=11238.
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Thesis (Ph. D.)--University of Oregon, 2006.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 363-372). Also available for download via the World Wide Web; free to University of Oregon users.
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Cervelli, Filippo. "Ima deshō : the vacuum of immediacy in contemporary Japanese literature and popular culture." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:521d5f5e-d34d-454a-b622-a0454783cf80.
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The value of literature in the contemporary age is a controversial issue. The challenge posed by the interpretation of this era is expressed by the provocative remarks of critics such as Karatani Kōjin and Suzuki Sadami maintaining that after the 80s modern "pure" literature died (History and Repetition, 2012; The Concept of "Literature" in Japan, 2006). Reading Karatani and Suzuki's comments as merely provocative, signifying that a form of literature has died, this study enquires into how literature (and the arts) have changed and found new ways of expression after the historical break of 1989. The dissertation offers immediacy as a possible answer. Immediacy is a theme, a literary device stressing the present moment submerging clear notions of past and present. The precondition for immediacy is an ideological vacuum, experienced by characters across age groups and genders, where they do not share social ideologies or collective purposes. In this isolation, they concentrate only on their local realities, on what they perceive directly (physically and emotionally), acting quickly and repeatedly in the absence of critical thought. The constant action is often carried out in response to corporeal stimuli, specifically violence and sex, that grant immediate gratification in the vacuum. However, at the core characters indulging in immediacy long for inter-personal connections. Building a community based on critical thought and mutual understanding is the solution to escape from immediacy. The dissertation explores manifestations of immediacy in contemporary Japanese literature and popular culture (manga and anime) published or broadcast between 1995 and 2011. Through the analyses of cultural theories, literature by Takahashi Genichirō, Taguchi Randy and Hirano Keiichirō, and influential works in manga and anime (Neon Genesis Evangelion, Psycho-Pass and Shingeki no kyojin), it shows the theme's relevance and discusses how it contributes to the broader fields of contemporary Japanese literature and popular culture. By doing so, the dissertation also provides a study of the current artistic panorama in Japan, one that is often neglected critically, but that speaks of its culture with great force and imagination.
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Kagaya, Shinko. "NÔ : the emergent reorientation of a traditional Japanese Theater in crosscultural settings /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488191667179224.
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Hashimoto, Satoru. "Afterlives of the Culture: Engaging with the Trans-East Asian Cultural Tradition in Modern Chinese, Japanese, Korean, and Taiwanese Literatures, 1880s-1940s." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064962.
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This dissertation examines how modern literature in China, Japan, Korea, and Taiwan in the late-nineteenth to the early-twentieth centuries was practiced within contexts of these countries' deeply interrelated literary traditions. Premodern East Asian literatures developed out of a millennia-long history of dynamic intra-regional cultural communication, particularly mediated by classical Chinese, the shared traditional literary language of the region. Despite this transnational history, modern East Asian literatures have thus far been examined predominantly as distinct national processes. Challenging this conventional approach, my dissertation focuses on the translational and intertextual relationships among literary works from China, Japan, Korea, and Taiwan, and argues that these countries' writers and critics, while transculturating modern Western aesthetics, actively engaged with the East Asian cultural tradition in heterogeneous ways in their creations of modern literature. I claim that this transnational tradition was fundamentally involved in the formation of national literary identities, and that it enabled East Asian literati to envision alternative forms of modern civilization beyond national particularity.
The dissertation is divided into three parts according to the region's changing linguistic conditions. Part I, "Proto-Nationalisms in Exile, 1880s-1910s," studies the Chinese literatus Liang Qichao's interrupted translation and adaptations of a Japanese political novel by the ex-samurai writer Shiba Shiro and the Korean translation and adaptations of Liang Qichao's political literature by the historian Sin Ch'aeho. While these writers created in transitional pre-vernacular styles directly deriving from classical Chinese, authors examined in Part II, "Modernism as Self-Criticism, 1900s-1930s," wrote in newly invented literary vernaculars. This part considers the critical essays and the modernist aesthetics of fiction by Lu Xun, Yi Kwangsu, and Natsume Soseki, founding figures of modern national literature in China, Korea, and Japan, respectively. Part III, "Transcolonial Resistances, 1930s-40s," addresses the wartime period, when the Japanese Empire exploited the regional civilizational tradition to fabricate the rhetoric of the legitimacy of its colonial rule. This part especially explores the semicolonial Chinese writer Zhou Zuoren, and the colonial Korean and Taiwanese writers Kim Saryang and Long Yingzong, who leveraged that same civilizational tradition and the critiques thereof, in order to deconstruct Japanese cultural imperialism outside of nationalist discourses.<br>East Asian Languages and Civilizations
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Fay, Leann. "Human Connections with the Ocean Represented in African and Japanese Oral Narratives| Ecopsychological Perspectives." Thesis, California Institute of Integral Studies, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13419400.
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<p> This dissertation demonstrates how characteristics and functions of African and Japanese oral narrative traditions make narratives about the ocean in these traditions useful for exploring some of the complex psychological roles the ocean plays in people’s lives. A background of these oral narrative traditions and the main characteristics and functions of African and Japanese oral narratives are identified from the literature, African and Japanese ecopsychological perspectives are outlined, and a hermeneutic methodology applies text analysis to identify connections between humans and the ocean represented in a selection of text versions of ocean oral narratives. African and Japanese oral narratives are transmitted in adaptable yet continuous traditions, reflective of self and group identity, used to serve social and community functions, connected to spiritual traditions, and used as tools for power or resistance to power. Intimate connections between humans and the ocean are represented in the selection of narratives. In African oral narratives, connections are represented including merging identities of the ocean and humans, contrasting of nurturing mother and dangerous mother elements, the ocean bringing children, extreme love, and taking extreme love, connections between the ocean and performance, and representations of the ocean in colonization, slavery, healing, and empowerment. In Japanese oral narratives, intimate connections are represented including magic gifts from the ocean, water deity wives, warnings of fishing, bodily sacrifice, and connections to spiritual traditions, people, and local places.</p><p>
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Rowley, Gillian Gaye. "Yosano Akiko (1878-1942) and The Tale of The Genji." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339429.
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Koo, Siu-sun, and 古兆申. "Shanghai literature in the last stage of the Sino-Japanese War (1942-1945) =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29711393.
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Innami, Fusako. "The touchable and the untouchable : an investigation of touch in modern Japanese literature." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:29608446-afd6-4b05-b096-d4ffd5ccf3fd.
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This thesis examines how the experience of touch is depicted in modern/contemporary Japanese literature and culture. Employing touch-related 20th century French thought (Merleau-Ponty, Derrida, Nancy) and psychoanalytic theory (Klein, Anzieu, Kimura), it discusses how the representations of touch illuminate various aspects of human existence, specifically: the mediated nature of touch, the process of the bodily encounters, the formation of subject identity, sexual differences, and the way memories of touch depicted in literature affect our sense of temporality. Touch is a particularly interesting way of approaching Japanese literature because touching between people (apart from mother and child, called skinship) has been considerably repressed at least until after WW2, due to the relative absence of public practices of touch, authors’ aesthetic choices and censorship. Opposing this tendency, female authors born postwar write freely about touch. In comparison to Judeo-Christian cultures, Japanese culture has historically not been open to tactile communication, nor is explicit articulation of internal experience, as in psychoanalysis, particularly prominent. Japanese literary characters are thus especially self-conscious about touch. Following a theoretical and historical overview regarding touch and contact in the Introduction, Chapter 1 discusses different ways of mediating touch in the works of Yoshiyuki Junnosuke, Tanizaki Jun’ichirō, and Abe Kōbō. Chapter 2 argues how high levels of mediation affect the manners of engaging in direct encounters with others in Yoshiyuki, Kawabata Yasunari, and Matsuura Rieko. Chapter 3 discusses the temporality of tactile memories in Yoshiyuki, Kawabata, and Ogawa Yoko. Reflecting on such a complicated portrayal of touch in Japanese culture will help fill a gap in the existing scholarship regarding touch in literature. By critically examining the relationship between theories and literature in the East and West, this thesis also significantly contributes to the field of comparative literature and cultural studies as an example of cross-cultural research on touch.
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Almeida, André Felipe de Sousa. "O navio-fábrica caranguejeiro, de Kobayashi Takiji: tradução e considerações." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-10112016-142928/.
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A proposta do presente trabalho consiste na tradução para o português do romance Kaniksen (O Navio-Fábrica Caranguejeiro, 1929) de Kobayashi Takij. Para chegar ao objetivo proposto, procedemos uma historização da vida e obra de Kobayashi Takiji, no sentido de compreendermos a trajetória literária do autor, seu envolvimento no movimento proletário e o contexto sócio-político em que o romance foi escrito. Visando introduzir O Navio-Fábrica Caranguejeiro ao leitor deste trabalho, são feitos alguns apontamentos sobre o romance: uma apresentação de seu tema e narrativa, um breve levantamento histórico de seu surgimento, suas repercussões no Japão e no mundo, e um levantamento e comentário crítico da obra.<br>The purpose of this work is the translation of the novel Kaniksen (The Crab Cannery Ship, 1929) by Kobayashi Takij into Portuguese. To reach the proposed objective, we made a historical research about the life and work of Kobayashi Takiji, to understand the literary trajectory of the author, his involvement in the proletarian movement and the socio-political context in which the novel was written. In order to introduce The Crab Cannery Ship the reader of this work, we are made some observations about the novel: a presentation of its theme and narrative, a brief historical research of its appearance, its impact on Japan and around the world, and a survey and critical commentary about the work.
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Borgman, Lindsay Reith Frankenfeld. "Reading guide to Japanese literature: Making the texts of Aozora Bunko available to students of Japanese (Kenji Miyazawa)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1435233.
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De, Gruchy John. "Orienting Arthur Waley, japonisme, orientalism, and the creation of Japanese literature in English." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48626.pdf.
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Day, Iyko Lisa. "Beyond Obasan?, ethnic idealism, victimization, and the problem of canonizing Japanese Canadian literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57218.pdf.
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Henitiuk, Valerie Lynne. "Female resistance, spatial metaphor in Japanese women's literature of the mid-Heian period." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ60057.pdf.
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Hobbs, Ayanna Bajita Doretha. "Phallic power of African American men : a study in Japanese literature (1930-present) /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osuosu1243027903.
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Lee, Jacob Zan Adachi. "Style, Discourse, and the Completion of the Vernacular Style in Modern Japanese Literature." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3629.
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Many histories of modern Japanese literature see the "completion" of the modern vernacular style in the writings of Shiga Naoya (1883--1971), Mushakōji Saneatsu (1885--1976) and Takamura Kōtarō (1883--1956). Why and how this critical-historical perception of stylistic normalcy arose and still continues is better understood, I propose, through a close reading of key texts that identifies instances and patterns of creative manipulation of-as opposed to mere determination by or complicity with-certain philosophical, social, and historical discourses.How this creative manipulation plays out varies in prose and poetry and from text to text. In Mushakōji's Omedetaki hito (1911; The Simpleton), temporal and generic transitions establish a doubled discourse of sincerity that normalizes the genbun itchi prose into the background. In Shiga's An’ya kōro (1921--37; A Dark Night's Passing), certain syntactical and lexical innovations construct a new and rigid model of intuitive interiority. Takamura's Dōtei (1914; The Journey) reverses, to its own literary historical advantage, gendered discourses on the Japanese language and Japanese literary history.
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Meldrum, Yukari Fukuchi. "Contemporary Translationese in Japanese Popular Literature." Phd thesis, 2009. http://hdl.handle.net/10048/560.
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One of the main aims of this thesis is to examine the translational situation of popular fiction in post-industrial Japan. Specifically, the goal is to uncover two main aspects surrounding the phenomenon of translationese, the language used in translation. One aspect to be investigated is the characteristic features of Japanese translationese, and the other is readers’ attitudes toward translationese. This research is conducted within the framework of Descriptive Translation Studies (Toury, 1995). The literature review includes a background of how translationese has been approached previously and how methods from different fields (e.g., corpus linguistics, sociolinguistics) can be used in the research of translation. Through the review of the historical background of Japanese translationese and the development of Japanese writing styles, it is revealed that the translation norm in Japan had been very closely oriented toward the original text.
In the text analysis, the corpora consist of translations from English and non-translations (i.e., originally written in Japanese) in the genre of popular fiction. The goal of the text analysis is to determine whether the features of translationese are actually characteristics of translationese. The features selected for this examination include the following: 1) overt personal pronouns; 2) more frequent loanwords; 3) female specific language; 4) abstract nouns as grammatical subjects of transitive verbs; and 5) longer paragraphs. Two features (third person pronouns and longer paragraphs) are shown to be characteristic of translationese, while others were proven otherwise or questionable (loan words, female language, abstract nouns as subjects of transitive verbs).
Findings from the investigation of readers’ attitudes can help identify what constitutes the “norms” of translation (Toury, 1995, 1999) in Japanese society. Readers appear to be able to tell the difference between translation and non-translation. However, readers’ attitudes toward both translationese and non-translationese are more or less neutral or slightly positive. This may indicate that Japanese translationese has become integrated into the contemporary Japanese writing system and that readers do not regard translationese as overtly negative. This study shows that the major translation norm is becoming more domesticated translation in popular fiction, with the focus on making translations easier for the readers.<br>Translation Studies
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SHAOLING, HUNG, and 洪韶翎. "The Research of Japanese Proletarian Literature." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/35159639294223958833.
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碩士<br>輔仁大學<br>日本語文學系<br>90<br><BR> This research paper aims to explore the “proletarian literature in “Japanese proletarian literature” which takes place in the early 20th century. In addition to examining the initial ideals of “justice” and “social equality,” it also attempts by means of sorting and discourse/ statement to plow through this left-wing literature, field, which is still desolate among local researches of Japanese literature yet influential to Taiwanese literature in the period under Japanese occupation.</BR>
<BR> From the view of a Japanese literature researcher whose mother tongue is Chinese, it further examines why the results of Japanese proletarian literature and Japanese Communist Party, which teem with left-wing enthusiasm, may differ greatly from those of Taiwanese literature in the period under Japanese occupation, which incorporates the idea of “labor and social rank” into the idea of “confrontation between nationality and colonization,” and from those of the left-wing literature in China, acclaimed as “revolutionary literature” by China Communist Party, which perfectly connects itself with the race-saving feelings and thus succeeds. By surveying the factors among them, this paper aims to clarify what role the Japanese proletarian literature plays in modern and contemporary literature in Japan.</BR>
<BR> Starting with the introduction of the origin of the left wing in the West, Chapter 1 leads to explore the political, social and literary circles in Japanese modernization period, and progresses to how the proletarian literature rose and what role it played then. It also sums up so far the researches and opinions on this domain in Japanese literary circle/ in Japanese academies, classifying and analyzing the themes of related papers existent/ available in the National Institute of Japanese literature.</BR>
<BR> Chapter 2, focusing on “main part/ subjectivity,” is mainly based on the rising, varying, and the gathering and publications among intellectuals in the whole literary movement so as to present the outline/ framework of the history of proletarian literature movement in Japan.</BR>
<BR> Chapter 3, focusing on “Body/ Flesh,” entering and investigating each notable period in this literary movement, attempts to present the internal atmosphere of the proletarian literature by translating, quoting and text-analyzing the important works and writers.</BR>
<BR> Chapter 4 focusing on “Limbs,” entering and investigating each notable period in this literary movement, attempts to reveal how the political movement and literary productions are linked, how the literary ideas are presented and how the literary critiques towards the production are conducted inside the proletarian literature by translating, quoting and text-analyzing the important literary critiques and critics</BR>
<BR> Chapter 5 examines by translating, quoting and text-analyzing the surviving works, critiques and self-reflections on the past in the so-called “turning era” when the left-wing groups were destructed by the Emperor government.</BR>
<BR> Chapter 6 summarizes all the points mentioned in previous chapters and collects various evidence on the Japanese society other than literature; in addition to the opinions of previous studies that the proletarian literature dies out due to both being oppressed mercilessly by the fascistic Emperor government and being ideologically inconsistent among the sects inside the Communist Party, this paper aspires to add that it is its insistence on the genuine left wing course and denial to the prevalent values of exploitation in disguise of feudalism among all ranks in Japanese society that void its echoing with the mass and thus demolish this literary movement which has never appeared since the war.</BR>
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Tong, Pi-Ta. "The other in modern Japanese literature." Thesis, 2003. http://hdl.handle.net/2429/14988.
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The concept of the Other plays a critical role in individual as well as national
cultural identity. Each society's definition of the Other is based on its social,
political, cultural, racial and spiritual paradigms. From ancient times, the concept
of tasha or the Other has been an integral part of the Japanese world-view. At the
outset of the Meiji period (1868), the role of the Other shifted from China to the
West.
During the Meiji Restoration the Japanese embraced the Western world and
its modern technology, seeing it as a way to build Japan's strength. However, the
inherent danger of losing their culture and traditions eventually became apparent.
The Second World War and the Allied Occupation contributed to a growing
resentment of the West and a rejection of many Western values. Today Japan is a
nation that belongs to neither the Asian nor the Western world but rather exists in
a territory somewhere in between.
The complex and ambivalent attitude of the Japanese toward the West is
reflected in modern Japanese literature and is the focus of this paper. The work of
writers such as Mori Ogai ("The Dancing Girl" and "Under Reconstruction"),
Tanizaki Jun'ichiro (The Makioka Sisters), Oe Kenzaburo ("Human beings as
Sheep") and Yamada Eimi ("Bedtime Eyes") are examined for what they reveal
about the values and assumptions of Japanese culture and the changing
perceptions of the West as the Other.
Historical events from the Meiji Restoration onward are chronicled and then
interwoven with an analysis of the literature to provide insight into the conflicting
forces of tradition vs. modernity, nationalism vs. individualism, rejection vs.
reconciliation and pride vs. humiliation, which have contributed to Japan's
complex relationship with the West.
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Kusamoto, Keiko. "How can I read Aboriginal literature?: the intersections of Canadian Aboriginal and Japanese Canadian literature." 2011. http://hdl.handle.net/1993/4755.
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This study aims to examine critiques of social injustices expressed through the medium of literature by Native peoples of Canada and Japanese Canadians. My objectives are to explore literary representations of their struggles and examine how these representations and the struggles intersect. My study uses the following: “Coyote and the Enemy Aliens” by Thomas King, My Name is Seepeetza by Shirley Sterling, Obasan by Joy Kogawa, The Kappa Child by Hiromi Goto, Burning Vision by Marie Clements, and “The Uranium Leaking from Port Radium and Rayrock Mines is Killing Us” by Richard Van Camp. The findings reveal Canada’s nation state still rooted in a White settler constructed society, and a legacy of imperialism in the form of globalization that destroys Native peoples’ lands. My thesis concludes with the im/possibilities of reconciliation, also considering my own role as a person of colour, a temporary settler from Japan.