Academic literature on the topic 'Japanese War poetry'

As a local poet of Gansu during the war period, Ms. Yuexia’s poems have become an integral part of the literary scene in Gansu during this period. Since her creative works were concentrated in the early period of the Anti-Japanese War, Ms. Yuexia’s poems present a somber beauty like the war situation, with distinctive wartime experience and sense of confusion and disillusionment in terms of subject matter, imagery, and emotion. Through Ms. Yuexia’s poetry, we can not only observe the process of learning and absorbing the old and new poetic styles in the debate and competition in the early 1930s, but also understand the real picture of Gansu’s literary world in the period of the Anti-Japanese War on the basis of her poetry.

Abstract This article examines the construction of lyric identities by Li Xuanti, a classical-style poet, cultural celebrity and prominent civil servant in collaborationist regimes based in Nanjing during the Second Sino-Japanese War. It argues that Li used his poetry to explore the confusion, ambivalence and sense of cultural pride while living with the occupiers. Despite his collaboration, a frequent identity that appears in Li’s poetry is that of a yimin (loyalist), who has retreated to the inner world of reclusion. With the progress of the war, however, another identity eventually emerged in Li’s poetry, namely that of a patriot. Historical allusions in Li’s poems thus acquire double-entendre, expressing his ambivalent loyalty. Li was also at the social centre of a group of like-minded collaborators and accommodators in Nanjing, bound by their common practice of classical-style poetry and arts. Their community thus becomes a special case of study for the sociology of survival under the Japanese occupation.

(Title: Physical and Inner Structure of the Poetry of Kimi Shinita Mou Koto Nakare by Yosano Akiko) This research examines Japanese poem shintaishi, Kimi Shinita Mou Koto Nakare by Yosano Akiko using structural and feminism approach. This research aims to understand the structurally context and the meaning of feminism contained in the poem. Yosano Akiko, whose real name is Shou Hou, is the first famous Japanese female poet in the late Meiji era. At that time when Japan was struck by war, the position of women in social and political life had shifted the view that physically women are not strong enough to contribute to the war that reduced the role of women. Women do not see war with an objective view but rather see it subjectively, which they associated with the author’s own condition. The results showed that in addition to convey her aspirations as a woman after the war, there were several images which are contained in Kimi Shinita Mou Koto Nakare.

In the middle of World War II, my father, Kenneth Lo, accompanied Joseph Needham on a lecture tour to Colchester Co-operative Society dedicated to the support of China’s war effort and to boycotting Japanese goods. They were comrades-in-arms, soft-left socialists, inspired by the Spanish Civil War, George Orwell and WH Auden alike to take up the pen and the campaign circuit. This article is a reflection on the politics and aesthetics of research, on decentring the Eurocentric narrative of the history of science, but also on the role of poetry in the quest for a better world. Grounded in socialist, Christian and 20th-century scientific utopian belief, All under Heaven was to be One Community. Post Needham, but in the Needham spirit, I ask what shared vision drives our research?

This thesis is in two parts. The first and major part consists of a historical novel followed, in part two, by an essay. The title of this thesis, “Navigating the Wreck”, refers metaphorically to the Fall of Singapore in 1942, the ensuing human tragedy unleashed on the people of Singapore and Malaya, and the literary and historical processes of exploring, interpreting and depicting the past. The Japanese occupation of Singapore has, to date, been described mostly by Western historians and former prisoners of war who have forged a predominant patriarchal narrative. In that narrative—despite the all-encompassing nature of the occupation and the cataclysmic effect it had on civilians—women are virtually invisible. The objective of this thesis is to privilege women’s experiences by ethically gathering, analysing and re-imagining the accounts of a group of women of different ethnic and cultural backgrounds—Chinese, Indian, Malay, Eurasian—who lived through the occupation, using historical fiction to engage as broad a readership as possible. As well as literary praxis, research centres on analysis of relevant literature, including eight ethnically diverse published female memoirs and eleven women’s oral histories held by the National Archive of Singapore. The essay discusses the artefact-centred, pragmatic and self-reflexive bricolage approach of this thesis, its feminist and phenomenological framework and my ethical responsibility and outsider authorial position as a white Australian woman reliant on local witness accounts. Feminist concerns addressed in the thesis are invisibility, plurality and intersectionality and I adopt a critical feminist phenomenology based on five aspects of Simone de Beauvoir’s The Second Sex to discuss the aims and the research and writing processes of the thesis. Working within that framework, I summarised and categorised female oral interview data from audio and written transcripts enabling comparison of each woman’s individual experience of the war and the effects that the occupation had on each woman’s life situation, revealing a diverse set of experiences, some of which influenced my literary choices. By immersing myself in the particular remembered experiences of each of the female interviewees and considering their stories against the tapestry of my own extensive lived experience of the physical, cultural and social world of Singapore, as well as an in-depth investigation of other historical data and male and female written memoirs, I identified gaps and silences that needed to be addressed. These include the strategic household, wage earning, food-supplying and charitable role that women played in the dangerous and difficult situation of the occupation as well as the ignored or marginalised active participation of women in Singapore’s pre-war anti-colonial communist movements, support for and armed participation in anti-Japanese activities in China as well as the jungle-based guerrilla militias in Malaya, and the urban anti-Japanese underground in Singapore. The essay weaves the creative thinking and practical processes of researching and writing the novel through discussion of practice, literature, theory, methodology and craft, retrieving and exposing what is usually submerged in the creative process to indicate a matrix of production.

碩士
國立屏東教育大學
中國語文學系碩士班
102
During the Qing dynasty, author of the word, with "Pi-Hsin-Chi-Tuo" as the basis. The Tang and Song dynasties CI-carrying "Lyrics and Poetry to be solemn to be fascinating," "words are frills concept of" converting "poetry has a history, also has a history of" " The history of Ci poetry " that opened up a new realm of words. This article refers to the " The history of Ci poetry " is the word with the creation of historical interaction, with the word allegory for politics, depicting their own reflections. Du-Fu records of social unrest through poetry movement in acatastrophic setback for Tang dynasty with "History of poetry" spirit of the same characteristics. " The history of Ci poetry " works in the Late Qing Dynasty, most are during the Guang-xu Period. Writers face Sino-French war, First Sino-Japanese War, the Hundred Days Reform, as well as the Boxer Uprising, these events led to The Eight Power Expeditionary Force, " The history of Ci poetry " works has increased rapidly in the internal and external environment.The article is divided into six chapters, each chapter reads as follows: Chapter I, "Introduction":explaining motives and objectives and outlines " The history of Ci poetry " and "The First Sino-Japanese War" status of research on, find the exposition of research space. Chapter II, " " The history of Ci poetry " works during the First Sino-Japanese War times background":the first survey of Councils in the First Sino-Japanese War, and from the remote and proximate analysis of war. Through the author experienced background, the words "CI" implications of induction. Chapter III, "" The history of Ci poetry " concept of the development in the Late Qing Dynasty": first of all, explore the " The history of Ci poetry " and "The history of poetry" associated both to clarify two concepts of origin and succession. Chronological order elaborate a number of authors of the word " The history of Ci poetry " consciousness and conception in the Qing dynasty, narrative " The history of Ci poetry " insights and understandings of the term CI in the Qing dynasty, which established " The history of Ci poetry " theory. Second, an overview of the author's life and the word " The history of Ci poetry " views the development of relations in the First Sino-Japanese during the War, understand its express " The history of Ci poetry " significance. The fourth chapter, "straddling discussion " The history of Ci poetry " of content in the First Sino-Japanese during": focuses on the First Sino-Japanese period, works has " The history of Ci poetry " features detailing analysis, is divided into "described personal of sad money in war during", and "lamented faithful of subordinates was dismissed", and "satire power who of fatuous" total three discusses, through " The history of Ci poetry " of content analysis on the, understanding the First Sino-Japanese writer to convey the meaning. The fifth chapter, "discusses" The history of Ci poetry " works during the First Sino-Japanese development implications for CI": induction " The history of Ci poetry " development and the theory of "CI" works of the First reflection and practice in Sino-Japanese times. Looking forward to " The history of Ci poetry " adopting and surpassing of new ideas, used to determine the author of the words in the First Sino-Japanese for " The history of Ci poetry " literary value and historical position. The sixth chapter, "conclusions": integration chapters focus shows the experiences and results of research of this thesis to highlight " The history of Ci poetry " research value and limitations, and reveals the value of research discoveries and papers of individuals, and expects to contribute to future research.

碩士
東吳大學
中國文學系
105
Abstract During the Anti-Japanese War, Chen Chanxin joined the Fourth Military Group of Republic of China Air Force (ROCAF) led by Captain Gao Zhihang and Li Guidan successively and served as a civilian secretary. The poet has been learning sentonical poems since childhood. He created a large number of sentonical poems related to the Anti-Japanese War during the service in the army and contributed them to National Poetry sponsored by Lu Jiye, China Air Force published by the government of Republic of China and Xinhua Daily of Chongqing led by Zhou Enlai, which made him famous in the poetry field. Guo Moruo acclaimed his as “master of sentonical poems” and Liu Yazi praised him that “his poems united the air force and he was versed in both letters and martial arts”. In 1939, Zhang Zhongren first praised Chen Chanxin as “Poet of Air Force” and he enjoyed the reputation of “Poet of the Air Force” with “Poet of the Army” Feng Yuxiang and “Poet of the Navy” Sa Zhenbing. Afterwards, Chen Chanxin arranged the sentonical poems of Tang he wrote during the Anti-Japanese War and named them as Anti-Japanese Poems and Vicissitudes Poems (Volume One and Volume Two. Volume Two doesn’t involve the theme of Anti-Japanese War, hereinafter referred to as Vicissitudes Poems). Chen Chanxin expressed that his purpose was to “make the past serve the present and conduct propaganda for the Anti-Japanese War”. In the same year, both Guo Moruo and Liu Yazi wrote prefaces for Vicissitudes Poems. However, the poems failed to be printed due to the war. They hadn’t been published until 1986. Anti-Japanese Poems and Vicissitudes Poems have collected 927 Tang poems, whose contents mainly describe the heroic deeds against Japanese and praise the soldiers in the Anti-Japanese War, as well as the poet’s reply to the famous literary intellectuals at that time. As the poet served in the Fourth Military Group of Republic of China Air Force, he was able to describe the anti-Japanese battles fought by the pilots of the Fourth Military Group and other units in detail. Most of the pilots sacrificed their lives nobly during the war. There are 132 sentonical poems of Tang describing the Anti-Japanese War fought by ROCAF in Anti-Japanese Poems and Vicissitudes Poems. The contents include the pilots’ training, exercise, fight, sacrifice, air strike and transferring. In terms of literature classification, the poems belong to “air force literature taking air force as target of writing”; in terms of the theme, the poems belong to the war poems describing frontline combats with literary, historical, military and political significance. The air force martyrs celebrated in the poems are mostly the poet’s comrades in arms. Therefore, the poems belong to the heroic narrative pattern, which not only promote the anti-Japanese and patriotic value, but also show the deep affections of comrades in arms. Mainland scholars have also analyzed the characteristics of the description of the anti-Japanese soldiers in Anti-Japanese Poems and Vicissitudes Poems. For example, Wang Jinhou said: “The spirit of patriotism expressed in the poems and the description of the deeds of patriotic heroes who sacrificed their lives for the country in the sentonical poems have expressed the author's strong feelings of patriotism.” Zong Tinghu commented: “The poet uses many sentonical poems to mourn the soldiers who sacrificed their lives for the resistance against Japanese invaders… It’s amazing that the sentonical poems of Tang can describe modern air battles so vividly. The poet also deeply expresses his resolution of avenging the Japanese aggression in the poems.” The functions and characteristics of Chen Chanxin’s sentonical poems of Tang include “epic nature”, “autobiographical nature” and “major development of sentonical poems in realistic writing”. Zhang Minghua said: “The sentonical poems of Chen Chanxin describe the ups and downs of China in the recent sixty years and it’s the real sentonical poems (epic poems) … It also records in detail the poet’s life, suffering and emotional highs and lows under different historical backgrounds. It reveals the poet’s personal experience and has the characteristic of “autobiographical nature” … Wen Tianxiang used 200 Wenxin Sentonical Poems of Du Fu to describe the tragic history before and after the fall of the Southern Song Dynasty and created the function of realistic writing of sentonical poems, which was a great development for sentonical poems. It’s right for Chen Chanxi to follow Wen Tianxiang’s footsteps, but actually he has advanced further than Wen and his poems are an important development for Wen’s Sentonical Poems of Du Fu.” According to above analysis, the sentonical poems of Tang by Chen Chanxin describing the Anti-Japanese War fought by ROCAF have four characteristics: First, in terms of the category of literature, the poems belong to air force literature, which describes the heroic deeds of the air force during the war, celebrates the spirit of sacrifice for the country and praises the anti-Japanese action of ROCAF. It’s a piece of literature whose target of writing is air force and simply describing the war. Second, the poems have both literary and historical characteristics. Based on personal experience in the air force, the poet recoded the battles fought by ROCAF against Japanese as well as expressed his own feelings in the poems. Third, in terms of ideological connotation, the poet expressed his attention to the country's rise and fall and his concerns for people’s destiny. Fourth, the poems have educational function for later generations. Involving the theme of “anti-aggression and anti-surrender”, the poems condemn the Japanese militarism for the war of aggression and warn later generations not to follow the same old disastrous road. The thesis is divided into four chapters. The first chapter is the introduction, which is divided into four sections. In the first section, the author clarifies the motivation and purpose of the study. Chen Chanxin are highly skilled at Tang poems, which involve the new theme that heroes of ROCAF fight against Japanese aggression. However, relevant studies are lacked in the academic field. In the second section, the research results of literature include four aspects: first, the research results of sentonical poems and sentonical poems of Tang; second, the research status of Anti-Japanese Poems and Vicissitudes Poems. It’s shown that the existing research literature is mainly short journal articles and the number is limited. Third, the research results of Anti-Japanese literature, whose research field is vast. The scope of the author’s study mainly focuses on the sentonical poems of Tang describing the Anti-Japanese War fought by ROCAF, whose genre belongs to classical-form poetry; therefore, the author has payed special attention to the development trend of classical-form poetry in Anti-Japanese literature and the relationship between the writer groups and the creative environment where Chen Chanxin lives at that time; fourth, the history of Anti-Japanese War and the war history of ROCAF. The author focuses on the war history of the Fourth Military Group of Republic of China Air Force served by Chen Chanxin so as to establish the background in the army and the prototypes of characters in the sentonical poems of Tang. The third section is the scope, methods and procedures of study. The scope of the study is the 132 sentonical poems of Tang describing the Anti-Japanese War fought by Republic of China Air Force in Anti-Japanese Poems and Vicissitudes Poem. Then the author takes the theme identification of the sentonical poems and war poems of different dynasties as the support for the study of sentonical poem theories. The methods of study include induction and analysis. The author adopts the method of “mutual verification between literature and history” to establish the poems with ambiguous description and the prefaces of poems that should have been written. The author explores and searches the history of Anti-Japanese War, the war history of ROCAF, personal biographies and family memories and forms the cross-field study taking study on sentonical poems of Tang as main body and the war history of air force as supplement so as to increase the depth and extent of the study. The fourth section explains the value and limit of the study. The value lies in that Chen Chanxin recorded history and created new literary form by using sentonical poems of Tang to describe the Anti-Japanese War fought by ROCAF and that he combined his personal experience in the Fourth Military Group of Republic of China Air Force during the Anti-Japanese War. The limit of the study is that it’s difficult to conduct comprehensive analysis on the technical theories and research perspectives of the sentonical poems, such as the metrical verse and the rhyme. Compared to other poets’ works that also describe the Anti-Japanese War fought by ROCAF, Chen Chanxin’s poems are large in number and require long-term and comprehensive study. The second chapter involves the research of the life experience of Chen Chanxin. The author first introduces the background, atmosphere and ideological trend of that time and then describes the life experience of Chen Chanxin in four stages. In the first stage, the author describes his birth, study experience and offering of service to ROCAF at the age of 25; in the second stage, the author describes the experience that he was dismissed from ROCAF because he kept company with literary intellectuals of Chongqing during the Anti-Japanese War. The Battle of Defending Wuhan in 1938 is the watershed of this stage. It is the first stage of the white-hot war between Republic of China Air Force and Japan, which is also the peak of the creation of the sentonical poems of Tang describing the Anti-Japanese War fought by ROCAF; in the third stage, the author describes the poet’s plain life after he left the air force and returned to his hometown in his thirties and the attack and trauma he suffered during the Cultural Revolution. The poet hadn’t stopped writing poems until the political rehabilitation; in the fourth stage, the author describes the experience that Chen Chanxin devoted himself to all kinds of cultural communication in his later years, especially keen to promote the Matzu culture of Putian. The poet has worked long in the literary field with many works to his credit and has won a lot of honors. The third chapter is the study on 132 sentonical poems of Tang describing the Anti-Japanese War fought by Republic of China Air Force in Anti-Japanese Poems and Vicissitudes Poems, which is divided into four sections. In the first section, the author explores and confirms the definition and classification of sentonical poems. By adopting predecessor’s definition and classification method of sentonical poems, the author streamlines the development process of sentonical poems in different dynasties, the evolution characteristics from Earlier Song Dynasty to Qing Dynasty and the important conceptions of the theory of sentonical poems raised by modern scholars, such as the development in each dynasty, the integration of form and style, the change of creation, the creation peak of sentonical poems and the literature on the theory of sentonical poems from previous dynasties to now, which has been organized as the theoretical support for the study of sentonical poems. The second section first lists the literal intellectuals’ praises for Chen Chanxin, then introduces the collation, chronological order and classification of the sentonical poems of Tang describing the Anti-Japanese War fought by Republic of China Air Force. The third section analyzes the 132 sentonical poems of Tang describing the Anti-Japanese War fought by Republic of China Air Force one by one. The author divides the poems into four periods according to the chronological order of Anti-Japanese Poems and Vicissitudes Poems. After discussing in detail the poetry creation in different periods, the author uses one section to summarize the characteristics of the poems in this period. The first period of creation is since the poet joined the Fourth Military Group of Republic of China Air Force in 1936; the second period of creation is after the completion of Nanjing Defense Campaign in 1937; the third period is from the loss of Wuhan in 1938 and the transferring to Chengdu. The poet wrote the largest number of poems in this period, as well as witnessed the greatest sacrifice of pilots of ROCAF; the fourth period is since the poet was dismissed from the ROCAF from 1939 to 1941. Many scholars have arranged the poems according to chronological order. The characteristic is that the poems are arranged clearly and neatly, so it is easy to compare and explore the correlation and differences. Based on the study and analysis of sentonical poems of Tang, the author focuses on the influence of sentonical poems theories on the poet’s skills of writing sentonical poems of Tang and the four important tones, including the poetic characteristics of the description of the battles fought by the air force and the heroic deeds of pilots, the frontline combat features of war poems, the poet’s patriotic ideas and the humanistic feelings of caring for common people in order to find the significance and purpose of the poems in terms of literature, history and national defense. The conclusion discusses the cause of anti-Japanese literature, which is “the combination of enlightenment and salvation with the time and people”. All kinds of literary forms involve the theme of Anti-Japanese War, “which brought the change of the whole literary environment. At the moment of national crisis, the readers' aesthetic psychology and the author's creative psychology started to lean toward the Anti-Japanese War”. Then the author clarifies the definition of “Air Force Literature” in anti-Japanese literature: “It describes all things related to the air force.” The sentonical poems of Tang describing the Anti-Japanese War fought by Republic of China Air Force reflect the strong patriotic enthusiasm and the spirit of self-sacrifice of pilots, which aims at inspiring anti-Japanese will at that time. Chen Chanxin described his real experience during the service in the air force and accurately defined the air force anti-Japanese theme in the scope of literature. The conclusion of the study on the sentonical poems of Tang describing the Anti-Japanese War fought by Republic of China Air Force can be divided into two aspects. First, the author integrates the theories raised by previous scholars, who believed that Anti-Japanese Poems and Vicissitudes Poems recorded the anti-Japanese events, characters and reflected people's sufferings and the poet’s personal ambition and political arguments. The poet intended to record the history and had the heart of benevolence of caring for the nation and the destiny of people. The essence of the poems was the record of history and the narrative of events. They were the patriotic epic poems crossing the fields of literary and history as well as the autobiography of the poet during the Anti-Japanese War. The second aspect is the conclusions found by the author, which are divided into three directions. First, the scope and style of the sentonical poems of Tang describing the Anti-Japanese War fought by ROCAF. In terms of scope, the poems belong to the war poems that describe real frontline combats. In terms of style, the poet describes the real frontline combats with sincere feelings and forms a refined and detailed self-language by collecting others' poems. The contents focus on the heroic deeds of air force pilots during the war, reflect the anti-Japanese resolution of national government of the Republic of China and respond to the demands of the military and the people for the fight. The whole style of the poems has the duality of magnificence and sorrow. The author then discusses the artistry of the sentonical poems of Tang describing the Anti-Japanese War fought by ROCAF. As the air force is a modern emerging arm that doesn’t exist in ancient times, the contents include pre-war training, stunts, real air combat and describe the new war heroes whose fight against the enemy by aircrafts and excellent skills. The visual description and documentary of the contents of air combats are new and different from the contents of traditional war poems. Second, the integrity and patriotic spirit of air force martyrs don’t have any “teasing” characteristic of sentonical poems and it expresses the awe-inspiring righteousness to attempt the impossible. The justice and legitimacy of fighting against Japanese imperialist invaders and the soldiers’ responsibility of protecting the country make the sentonical poems of Tang have no characteristics of “playing” and “teasing”. Third, the poems constitute the complete narrative structure of the air force fighting against Japanese invasion by the form of “group poem”. Group poem is a perfect carrier for the poet’s extensive knowledge, profound thoughts and life experience and can express the “event progress” and “meaning connection” of documentary and narrative writing. It has inclusive contents, systematic structure and unique lyric style; with the characteristic of complete narrative structure, group poem can select representative events to narrate and describe in large scale and show its richness. Fourth, the sentonical poems compare the image of Chinese pilots and Japanese pilots vividly. The author analyzes the characteristics of utilization of the words in the poems. The poems are totally natural, as if written by the poet himself. The poet collected the lines of different poets and joined them together to create new poems and used the analogy and contrast of words to demonstrate the justice of China and the injustice of Japan. The lines of different poets are integrated into one harmonious poem and never seem farfetched. In the end, the author analyzes the essence of the poems and the poet’s ideological connotation by comparing the air force war history, then use poems to analyze poems and explain events, which demonstrates the new theme of Anti-Japanese War fought by ROCAF. The poems involve the theme of “anti-aggression and anti-surrender” and condemn the Japanese militarism for the war of aggression. Pilots have sacrificed their lives for literary intellectuals to write magnificent literature and history, which encourages the poet to express his admiration and gratitude through sentonical poems of Tang and thus creates new prospect for anti-Japanese literature of ROCAF in terms of sentonical poem literature. The poems also have great educational significance of condemning the Japanese militarism for the war of aggression and warning later generations not to follow the same old disastrous road.

Vladivostok is likened to the Bosphorus. The remoteness of the Far East made it difficult for the European part of the Russian Empire to recognise Vladivostok geographically. Therefore, through analogy to the Mediterranean, it was consciously integrated into the state. On the other hand, by using kanji combinations, which evoke images of traditional Japanese poetry, the Japanese created a sense of familiarity with Vladivostok. In most cases, regarding the social situation during the Revolutionary and Intervention War periods, researchers’ interest was restricted to the scheme of the conflict between the Red Army and the White Army and the victory or defeat of the October Revolution. However, more than 30 years after the dissolution of the USSR, the events of this period are now being examined by scholars mainly from the perspective of the residents and outsiders in various regions who, without knowing the consequences of the revolution, were both anticipating and anxious about significant social changes. The multicultural nature of the Far East is being discussed on the occasion of the centenary of the Siberian exodus. This article examines the cultural situation in and around Vladivostok, focusing on developments such as the education system and modernist currents in the arts. Vladivostok served as both an entrance to Siberia for the Japanese or other foreign troops and an exit for emigres.

The turtle (kame) is of great importance in East Asian culture and it is seen as a supernatural creature. In Japanese literature, we can find examples of the turtle in works dating back to the Nara period, such as Tangokuni fudoki and Nihonshoki. Just like the crane, the turtle is a symbol of longevity. However, from the Kamakura period a new and unique interpretation of the turtle as the “singing/crying turtle” makes its appearance. Of this topos, known as kame naku, we can find only very few examples in literature until the Meiji era and the most known are the waka anthologies Shinsen waka rokujō and Fuboku wakashō, and Kyokutei Bakin’s kigo collection Haikai saijiki shiorigusa. However, from the beginning of the modern age, kame naku has been used by many poets as a kigo connected to spring and its frequency has hugely increased. After the war, it began to appear not only in poetry but also in novels and essays. The best known examples of this being Mishima Yukio’s short novel Chūsei, Uchida Hyakken’s essay Kame naku ya, Kawakami Hiromi’s work Oboreru. Using kame naku as a keyword, in this paper we will analyze the attitudes and approaches of modern and contemporary poets and novelists toward the topos.

In the pages of the journal Friends in Elegance, launched in May 1951, Japanese and Chinese literary figures envisioned restoring the harmony of regional amity through the shared heritage of Sinitic poetry. Focusing on figures such as the Sinological Imezaki Tenpō, this chapter restores the vision of a literary Sinosphere, one untouched by war and violence, and transcending empire and Cold War. With a deft touch Mathew Fraleigh delves through the work of Sinitic poets including Miura Eiran, Kokubu Seigai and Mori Kaisan and traces the attempt to foster Sino-Japanese friendship through a shared cultural inheritance. One, in which expressions of benevolence, celebrations of peace held open the possibilities of a regional unity transcending the Cold War. Ending on an elegiac moment of hope, the chapter points to how a shared literary landscape might once again provide a realm of cooperation beyond politics and force of arms.

Japanese music played a central role in the formation of American musical modernism. This chapter focuses on the position of Japanese music in the careers of Henry Eichheim and Henry Cowell. For Eichheim, Japan had “a poetry no other country seems to possess.” Inspired by the writings of Lafcadio Hearn, Eichheim traveled to Japan between 1915 and 1928 and composed multiple pieces based on Japanese material. Japan was of central importance throughout Cowell’s life. In the 1930s Cowell studied shakuhachi with Kitaro Tamada who later wrote poignantly to Cowell from his Japanese American Internment Camp. Cowell traveled to Japan in 1957 and 1961 during the Cold War and composed several Japanese-inspired works, including for koto. Juxtaposing the musical journeys of these two composers and proselytizers highlights the roles Japanese music played for those Americans who sought to sound “ultra modern” in the twentieth century.

This chapter approaches the crisis in early twentieth-century Japanese poetry through the work of the Japanese symbolist poet Kanbara Ariake. It begins with an analysis of a challenging early poem by Ariake, then examines the contemporary reception of Japanese symbolism more broadly conceived, focusing on claims that symbolist poetry was difficult. Difficulty was almost invariably treated as an undesirable attribute in a poem, and describing a poem as hard to read was, in Japanese as in English, never intended as a compliment. The chapter also seeks to answer the following questions: What made some poems difficult but not others? Who decided what counted as a difficulty? Ultimately, the chapter tracks, step by step, the invention and dissemination of a poetic form—a form that was invented as a vehicle for translation by Ueda Bin, then adapted and repurposed by the symbolist poets Susukida Kyūkin and Kanbara Ariake in their own poems.

The paper analyzes Sasamegoto (Whispered Conversations, 1463–1464), a treatise by Shinkei, the influential Buddhist poet and thinker of the Muromachi period (1392–1568). In this treatise on the collaborative poetry of “linked verse” (renga), the author addresses the category of the “Way” (michi) or the “Way of Poetry” (uta-no michi), which he interprets on the basis of ancient Chinese philosophers (Confucius and Lao Tze) and early Japanese authors of Zen school (e. g., Mujū Ichien, who wrote the Shasekishū — The Collection of Sand and Rocks, 13th century) and even endows it with a new meaning. In Shinkei’s view, the Way is not only mastery and its perfection. This is a sum total of many diverse things: the entire corpus of belles-lettres, theoretical treatises, schools, teachers and disciples, ideal poets, trends, styles, inner discipline, lifestyles, the past and the present.

Higher well-being correlates positively with multiple psychological and social outcomes, including workplace success and better academic outcomes for students. Poetry and meditation, independently, have been demonstrated in prior studies to increase well-being in a variety of contexts, including physical and mental health challenges. To our knowledge, this is the only published cross-cultural study that merged contemplative practices and poetry within the well-being paradigm, particularly among general, non-clinical adolescent populations. The purpose of this exploratory study was to examine the use of meditation and mantric poetry in a cross-cultural, educational context. The materials included <em>The Jewels of Happiness:</em><em> </em><em>Inspiration and Wisdom to Guide your Life-Journey</em> paperback and audiobook—a collection of poetry and prose to enhance positive emotions. A content analysis was conducted with post-secondary student essays and secondary students’ comments, subsequent to an experience of meditation and mantric poetry in their respective academic settings. Post-secondary students (n = 34) were enrolled in an English as a Second Language (ESL) course in Japan, and secondary students (n = 30) were enrolled in an English Language Arts (ELA) class in the United States. The most commonly occurring themes that emerged across the two cohorts were <em>inner peace, happiness, life-changing experience, </em>and<em> overcoming a challenge.</em>

A construction of breakwaters and other shoreline structures on part of a coast influences drift sand transport in the bay, and causes comprehensive topographic changes on the beach. This study investigated shoreline and coastal changes, taking as an example of Shiraragahama Beach in Miiraku on the northwestern end of Fukue Island, Nagasaki Prefecture (Kyushu, Japan). Miiraku, adjacent to Saikai National Park, appears in the revered 8th century poetry collection “Manyoshu” and served as a port for a ship taken by the Japanese envoy to China during the Tang Dynasty (618-709). Because of the recent development of breakwaters for a fishing harbor, the shore environments of this beach have changed significantly. In this study, the status of silt deposits and topographic changes on this beach arising from the construction of a harbor breakwater were evaluated by comparing aerial photographs taken in different years. Next, the changes in the shoreline visible from aerial photographs from 1947 to 2014 were analyzed. Lastly, the altitude of the beaches was measured using accurate survey methods. The following results were obtained: 1) coastal erosion made rock cliffs to fall off along the shore and deposited sand on this beach; 2) the more serious advances or retreats of the shoreline took place around shoreline structures; 3) sandbars and beach cliffs were formed.

A construction of breakwaters and other shoreline structures on part of a coast influences drift sand transport in the bay, and causes comprehensive topographic changes on the beach. This study investigated shoreline and coastal changes, taking as an example of Shiraragahama Beach in Miiraku on the northwestern end of Fukue Island, Nagasaki Prefecture (Kyushu, Japan). Miiraku, adjacent to Saikai National Park, appears in the revered 8th century poetry collection “Manyoshu” and served as a port for a ship taken by the Japanese envoy to China during the Tang Dynasty (618-709). Because of the recent development of breakwaters for a fishing harbor, the shore environments of this beach have changed significantly. In this study, the status of silt deposits and topographic changes on this beach arising from the construction of a harbor breakwater were evaluated by comparing aerial photographs taken in different years. Next, the changes in the shoreline visible from aerial photographs from 1947 to 2014 were analyzed. Lastly, the altitude of the beaches was measured using accurate survey methods. The following results were obtained: 1) coastal erosion made rock cliffs to fall off along the shore and deposited sand on this beach; 2) the more serious advances or retreats of the shoreline took place around shoreline structures; 3) sandbars and beach cliffs were formed.

In this presentation, I will show that various multimodal resources—such as utterance, prosody, rhythm, schematic images, and bodily reactions—may integratively contribute to the holistic achievement of poeticity. By incorporating the ideas from “ethnopoetics” (Hymes 1981, 1996) and “gesture studies” (McNeill 1992, 2005), I will present a plurimodal analysis of naturally occurring interactions by highlighting the interplay among the verbal, nonverbal, and corporeal representations. With those observations, I confirm that poeticity is not a distinctive quality restricted to constructed poetry or “high” culture, but rather an endowment to any kind of natural discourse that is co-constructed by various semiotic resources. My claim specifically concerns a renewed interest in an ethnopoetic kata ‘form/ shape/ style/ model’ embraced as performative “habitus” among Japanese speakers (Kataoka 2012). Kata, in its broader sense, is stable as well as versatile, often serving as an organizational “template” for performance, which at opportune moments may change its shape and trajectory according to ongoing developments. In other words, preferred structures are not confined to an emergent management of performance, but should also incorporate culturally embedded practices with immediate (re)actions. In order to promote this claim, I explore a case in which mutually coordinated performance is extensively pursued for sharing sympathy and camaraderie. Such a kata-driven construction was typically observed in a highly involved, interactional interview about the Great East Japan Earthquake, in which both interviewer and interviewee were recursively oriented and attuned to the same rhythmic and organizational pattern consisting of an odd-number of kata. Based on these observations, I argue that indigenous principles of organizing discourse are as crucial as the mechanisms of conversational organization, with the higher-order, macro cultural preferences inevitably infiltrating into the micro management of spontaneous talk.

Cute female characters frequently appear in Cool Japan content, such as anime, video games and manga. When designing a character, color is one of the most important factors. Previous studies showed that yellow characters tended to have a cute connotation like Pokémon. A character with yellow hair also had a cute impression. Particularly, a character with yellow hair and blue irises was perceived as one of the cutest types of character. A pair of yellow and blue consists of complementary colors and generally it is said that a pair of complementary colors gives an uncomfortable impression. It could be hypothesized that the small area of the pair of blue irises functioned as the effect color when combined with the wide area of yellow hair, and these colors were perceived as congruent. A Swiss artist, theorist and educator, Johannes Itten (1888-1967) calculated the ratios of areas of different colors based on a German poet, playwright, novelist and critic, Johann Wolfgang von Goethe (1749-1832). Goethe insisted the ratios of brightness of different colors are “yellow: orange: red: violet: blue: green = 9:8:6:3:4:6”. Then, the ratios of area of different colors for congruency were “yellow: orange: red: violet: blue: green = 3:4:6:9:8:6”, in Itten’s theory. Itten’s theory shows an inverse tendency from the phenomenon of a cute character. According to Itten’s theory, the area of blue must be wider than yellow. However, the theories of Itten and Goethe were based on their intuition. In the present study, a perceptual experiment was conducted to directly measure the ratios of areas of different colors for congruency, to test Itten’s theory. Twelve colors were selected from Itten’s color wheel; yellow, orange, red, violet, blue and green, and 132 pairs of two different colors were prepared. Two adjacent squares were painted in two different colors and 20 participants from the Kanazawa Institute of Technology were requested to adjust the boundary of the two areas to make them most congruent, using the software Illustrator. The results of the experiment showed that the ratios were “yellow: orange: red: violet: blue: green = 5:6:5:6:7:6”. The ratio of 5:7 for yellow and blue colors were smaller than Itten’s theory, but the tendency was consistent with Itten’s theory. To conclude, the phenomenon observed in cute characters in Japanese content could not be illustrated by the ratio of areas of the complementary colors of yellow and blue. The phenomenon may be explained rather by the cultural effects where Japanese people admired Western people with blond hair and blue eyes.