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Journal articles on the topic 'National Theatre (Japan)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre

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2

Mirzoev, Vladimir, and Marina Vitkin. "Peter Hinton’s Baroque Hints." Canadian Theatre Review 67 (June 1991): 12–16. http://dx.doi.org/10.3138/ctr.67.002.

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1 I have heard more than once how important, how simply indispensable, it is to create a “national Canadian theatre.” And each time I have felt uneasy. Because theatre in the modern global village cannot but be part of the world cultural process, Canadian culture does not have the option of becoming “national” by entering complete self-isolation, as did, for example, mediaeval China and Japan, and then for centuries painstakingly developing its canon of national art.

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3

Tadashi, Uchino. "Images of Armageddon: Japan's 1980s Theatre Culture." TDR/The Drama Review 44, no. 1 (2000): 85–96. http://dx.doi.org/10.1162/10542040051058915.

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After the collapse of the “bubble economy” in the early 1990s and the 1995 Aum Shinri-kyō's terrorist gas attack, the Japanese wrestled once more with the question of their national identity. What links connect today's Japan with the pre-WWII empire, Hiroshima and Nagasaki, and the early postwar years? How is theatre implicated in the national project of memory and forgetting?

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Chen, Kexu. "A Research on the Origins of Ritual Theatre in Eastern Asia: The Associative Development of Chinese Nuo Theatre and Japanese Noh Theatre." Advances in Humanities Research 5, no. 1 (2024): 50–54. http://dx.doi.org/10.54254/2753-7080/5/2024052.

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As a region with a significant agricultural industry, the ritual theatre of East Asia played an important role in the early drama of its origins. In addition, the trajectory of the early agricultural and religious cultural interactions in East Asian countries was decisive in shaping their national cultural roots, so exploring the different developments of ritual theatre among different countries on the basis of the history of early cultural interactions can help to provide a more explicit understanding of the cultural development of ritual theatre in East Asia. This research explores the traje

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5

Karantonis, Pamela. "Takarazuka is burning: music theatre and the performance of sexual and gender identities in modern Japan." Studies in Musical Theatre 1, no. 2 (2007): 153–65. http://dx.doi.org/10.1386/smt.1.2.153_1.

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The Takarazuka Revue, an all-female music theatre troupe founded in 1913 as the flagship of an elite performance academy, with its ultimate interest in Broadway musicals and western music, theatre and dance influences, is an unlikely foil for its male antecedent,kabuki. Like the ongoing revival ofkabuki, there had been an ideological as well as entrepreneurial impetus behind the Revue's creation, which reflected changes in the nature of popular entertainment in Japan. Kobayashi Ichiz, the founder of the Takarazuka Revue, claimed that Japan needed a new form of national theatre that was based i

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6

Beranek, Leo L., Takayuki Hidaka, and Sadahiro Masuda. "Acoustical design of the opera house of the New National Theatre, Tokyo, Japan." Journal of the Acoustical Society of America 107, no. 1 (2000): 355–67. http://dx.doi.org/10.1121/1.428564.

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7

Leiter, Samuel L. "“What Really Happens Backstage”: A Nineteenth-Century Kabuki Document." Theatre Survey 38, no. 2 (1997): 109–28. http://dx.doi.org/10.1017/s004055740000209x.

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In 1967 the National Theatre of Japan (Kokuritsu Gekijô) published a facsimile version of Okyôgen Gakuya no Honsetsu (What Really Happens Backstage), a two-volume, four-part work, originally published in the midnineteenth century in Edo (Tokyo), and written by Santei Shunba, with the first volume (1858) illustrated by Baichôrô Kunisada and Ichieisai Yoshitsuya, and the second (1859) by Ichiransai Kunitsuna. The book offers numerous illustrations of kabuki stage effects, with brief explanations of their purposes. Despite its great value as a historical resource, this work had been barely known

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8

Cleveland, Janne. "Beyond Kids’ Stuff: A Review of Mermaid: A Puppet Theatre in Motion, by Alice Walsh (Kentville, NS: Gaspereau Press, 2005); Provenance, by Ronnie Burkett (Toronto: Playwrights Canada Press, 2005)." Canadian Theatre Review 128 (September 2006): 132–34. http://dx.doi.org/10.3138/ctr.128.022.

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Since its modest beginnings in 1971, Mermaid Theatre of Nova Scotia has maintained its commitment to “tell a good story, tell it simply, tell it well and tell it often” (Morrow). The story of the evolution and success of this company that creates and produces theatre for young people using puppetry, mask, dance, music and original scripts has been carefully and meticulously documented by Alice Walsh. As Walsh notes in her historiography, Mermaid: A Puppet Theatre in Motion, the company has evolved from a small experimental troupe touring shows in local schools in the Annapolis Valley to one th

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9

Din, Jun, and Violetta N. Yunusova. "Tea Ceremony in Tan Dun’s Opera “Tea: A Mirror of Soul”." Observatory of Culture 21, no. 3 (2024): 274–81. http://dx.doi.org/10.25281/2072-3156-2024-21-3-274-281.

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The study of the work of the famous Chinese composer Tan Dun (b. 1957), who in many ways determines the image of contemporary Chinese music, is closely connected with the identification of the origins of national culture, the reflection of which he pays special attention to. Among them is the ritual and ceremonial side, which has not yet become the subject of special research. That is necessary for a fuller and more adequate interpretation of the content of Tan Dun’s works. The opera “Tea”, in another version “Tea: A Mirror of Soul” (2002) seems to be indicative in terms of revealing both the

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10

Vdovina, Elena A. "Nikolai Volkonsky – the director of radio drama." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 105–18. http://dx.doi.org/10.35852/2588-0144-2022-4-105-118.

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The article deals with the creative biography of Nikolay Volkonsky and his influence on development of the radio theatre directing school in Soviet Union. Main stages of Volkonsky formation as a radio director are outlined. At the very early productions by Nikolai Volkonsky, some techniques are outlined, which soon become canon for the radio theatre. In these first national radio performances Evening with Maria Volkonskaya and Lulli the Musician, Volkonsky uses new sound directing methods that were innovative for broadcasting of that time. They at transforming the time and space of the stage a

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11

Bogart, Anne, and Maria Shevtsova. "Covid Conversations 2: Anne Bogart." New Theatre Quarterly 37, no. 2 (2021): 103–18. http://dx.doi.org/10.1017/s0266464x21000014.

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Maintaining and nurturing an ensemble theatre have been Anne Bogart’s foremost concerns in these past near-thirty years since she and Tadashi Suzuki founded the Saratoga International Theatre Institute (SITI) in 1992. Suzuki had established the Suzuki Company of Toga (SCOT) in 1976, making a secluded mountainous landscape of Japan its home to this day. Bogart’s venture in the United States, although inspired by Suzuki’s model of a production-based troupe of high artistic standards that, at the same time, developed its unique training methods, by no means merely duplicates its predecessor. In t

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Puga, Ana Elena. "Borderwork and National Identity in Two Plays by Kamisato Yudai: +51 Aviación, San Borja and The Story of Descending the Long Slopes of Valparaiso." Asian Theatre Journal 42, no. 1 (2025): 52–78. https://doi.org/10.1353/atj.2025.a962135.

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Abstract: The myth of Japanese ethnic homogeneity is challenged by the texts and performances of these two plays by Kamisato Yudai: +51 Aviación, San Borja (2015) and The Story of Descending the Long Slopes of Valparaiso (2017). The autobiographical yet also playfully surrealistic Aviación stages national borders as constitutive of a variety of Latin American-Japanese and Japanese-Latin American identities. By contrast, Valparaiso both wonders at the existing blurriness of some borders and deconstructs others, not just among countries or regions or national identities, but also among stylistic

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13

Hong, Moonyoung. "Women Playwrights at the Crossroads: A Comparative Study of Ireland and Korea in the Mid-Twentieth Century." Review of Irish Studies in Europe 7, no. 1 (2024): 77–98. http://dx.doi.org/10.32803/rise.v7i1.3252.

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This paper examines plays by Irish and Korean women playwrights whose work is often neglected in their national canons and in the male-dominated theatre scene of the mid-twentieth century. The cases of Ireland and Korea overlap in compelling ways with discussions of modernity that are being reconstructed from the perspectives of colonial subjugation (under Britain and Japan) and wartime experience (in the Irish Civil War of 1922-23 and Korean War of 1950-53). There is a close relationship between these women writers’ marginalised place in their respective countries’ literary and theatrical sce

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Susidko, Irina P., and Veronica S. Kalistratova. "International Conference Ballet in Musical Theatre: History and Present Time. An Interview with the Conference Curator Irina P. Susidko." Contemporary Musicology, no. 4 (2022): 4–16. http://dx.doi.org/10.56620/2587-9731-2022-4-004-016.

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November 21-25, 2022, the Gnesin Russian Academy of Music hosted a large-scale conference focusing on ballet. The conference took place as part of the strategic academic leadership program Priority 2030 and was effective in meeting its aims and objectives. One of them concerns the consolidation of academic efforts in the most sought-after research avenues. The conference was organized by the Center for Musical Theater Studies established in the Academy earlier this year. For the first time in history the conference was hosted by a consortium of conservatories and research institutes. Among the

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15

Innes, Christopher. "Bridging Opposites – Drama and Science – in the Plays of John Mighton." Canadian Theatre Review 131 (June 2007): 20–26. http://dx.doi.org/10.3138/ctr.131.003.

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In terms of drama that deals with science, the award-winning Canadian playwright John Mighton is almost unique in being a practising scientist as well as a professional playwright. Indeed, he holds two PhD degrees: one in philosophy and one in mathematics. He has published a highly regarded book on mathematics, under the title of The Myth of Ability, and is the founder and coordinator of a highly innovative school program designed to help students who are having difficulty with math, called JUMP (which stands for “Junior Undiscovered Math Prodigies”). He has also written six plays to date, whi

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16

Hidaka, Takayuki, and Leo L. Beranek. "Experimental theater of the New National Theater Tokyo, Japan." Journal of the Acoustical Society of America 115, no. 5 (2004): 2439. http://dx.doi.org/10.1121/1.4781780.

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17

Hidaka, Takayuki, and Leo L. Beranek. "Drama Theater of the New National Theater (NNT), Tokyo, Japan." Journal of the Acoustical Society of America 115, no. 5 (2004): 2439. http://dx.doi.org/10.1121/1.4781835.

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18

Lecińska-Ruchniewicz, Monika. "Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”." Slavia Occidentalis, no. 74/2 (December 10, 2018): 51–64. http://dx.doi.org/10.14746/so.2017.74.22.

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The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the

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19

Beranek, Leo L., Takayuki Hidaka, and Sadahiro Masuda. "Acoustical design of the medium theater of the New National Theater, Tokyo, Japan." Journal of the Acoustical Society of America 103, no. 5 (1998): 2955. http://dx.doi.org/10.1121/1.422328.

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20

Yefimenko, Adelina. "Colonial Narrative in Giacomo Puccini’s “Madama Butterfly” in the Productions in Bregenz, Venice and Frankfurt 2022/2023." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 140 (November 28, 2024): 67–86. https://doi.org/10.31318/2522-4190.2024.140.318643.

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Relevance of the study. The relevance of the article. In musical theatre, literature, cinema, and painting, the image of Madame Butterfly has been and continues to be the subject of both artistic and socio-political debate. The significance of the figure of Butterfly goes far beyond the worldfamous opera character. Various productions of the opera since the fin de siecle period prove the casualness of Madame Butterfly's repertoire leadership on the world stage. The main objective of the study and the scientific novelty. The article raises the question of the reasons for the opera's popularity

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21

IGUCHI, Tsubasa, Yuta MURAYAMA, and Keisuke SATO. "National Astronomical Observatory of Japan: Visiting Four-Dimensional Digital Universe Dome Theater." Journal of the Institute of Electrical Engineers of Japan 137, no. 1 (2017): 4–7. http://dx.doi.org/10.1541/ieejjournal.137.4.

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22

Sabova, Anna D. "The 1904-1905 Russo-Japanese War: Specifics of Coverage by French Correspondents in the Far East." Vestnik Tomskogo gosudarstvennogo universiteta, no. 468 (2021): 44–52. http://dx.doi.org/10.17223/15617793/468/5.

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The article aims at identiIying the speciIic qualities oI corerage oI the war between Russia and Japan in 1904-1905 by French newspapers. The study is based on the publications in Iour oI the leading French newspapers oI the period (Le Figaro, Le Temps, Le Journal, and Le Matin) which are presented in Gallica, the online archiye of the National Library of France (Bibliotheque nationale de France). Particular attention is Iocused on publications that reIlect the early period oI the conIlict (27 January - 10 February 1904) and sereral episodes of the war (the shelling of Port Arthur in January-F

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23

Beranek, Leo L., Takayuki Hidaka, and Sadahiro Masuda. "Acoustical design of the opera house of the New National Theater, Tokyo, Japan." Journal of the Acoustical Society of America 103, no. 5 (1998): 2954–55. http://dx.doi.org/10.1121/1.422327.

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24

Kwon, Nayoung Aimee. "Conflicting Nostalgia: PerformingThe Tale of Ch'unhyang(春香傳) in the Japanese Empire". Journal of Asian Studies 73, № 1 (2014): 113–41. http://dx.doi.org/10.1017/s002191181300168x.

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In the Japanese empire in 1938, an imperial-language theatrical adaptation of a folktale from colonial Korea,The Tale of Spring Fragrance (Ch'unhyang chŏn)opened to rave reviews in major metropolitan cities throughout Japan. The performance's popularity ignited an encore run later the same year throughout colonial Korea. The play was commissioned by Murayama Tomoyoshi and his Shinkyō Theater Troupe in Japan. The script was penned in Japanese by Chang Hyǒkchu, a bilingual writer from the colony. This article examines a forgotten moment of colonial “collaboration” between Korea and Japan when th

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Andel, Joan D., H. E. Coomans, Rene Berg, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 147, no. 4 (1991): 516–46. http://dx.doi.org/10.1163/22134379-90003185.

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- Joan D. van Andel, H.E. Coomans, Building up the the future from the past; Studies on the architecture and historic monuments in the Dutch Caribbean, Zutphen: De Walburg Pers, 1990, 268 pp., M.A. Newton, M. Coomans-Eustatia (eds.) - Rene van den Berg, James N. Sneddon, Studies in Sulawesi linguistics, Part I, 1989. NUSA, Linguistic studies of Indonesian and other languages in Indonesia, volume 31. Jakarta: Badan Penyelenggara Seri Nusa, Universitas Katolik Indonesia Atma Jaya. - Thomas Crump, H. Beukers, Red-hair medicine: Dutch-Japanese medical relations. Amsterdam/Atlanta, GA: Rodopi, Publ

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26

Gromova, M. M. "Japan in <I>Murzilka</I> Magazine (1924–2021)." Russian Japanology Review 5, no. 2 (2023): 116–35. http://dx.doi.org/10.55105/2658-6444-2022-2-116-135.

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The article attempts to generalize and analyze the materials dedicated to Japan, its folklore, culture, and literature in the children’s literary and art magazine Murzilka since its founding up to the present time. It traces the evolution of the image of Japan in the pages of the magazine for almost a hundred years, taking into consideration the historical circumstances, the SovietJapanese relations, the change in the approach to showing the peculiarities of daily life of other peoples in children’s literature. One can single out five periods of interest towards Japan in the magazine. In the s

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27

Chen, Xiaomei. "A Stage of Their Own: The Problematics of Women's Theater in Post-Mao China." Journal of Asian Studies 56, no. 1 (1997): 3–25. http://dx.doi.org/10.2307/2646341.

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Hu shi's play of 1919, The Main Event of One's Life (Zhongshen dashi), introduced spoken drama (huaju) to the modern Chinese stage, in imitation of the plays in the Western Ibsenesque tradition. Ever since then, May Fourth male playwrights such as Guo Moruo, Ouyang Yuqian, Chen Dabei, and others, in forming a tradition countering that of the Confucian ruling ideology, have treated women's liberation and equality issues as important political and ideological strategies (Chen 1995, 137–55). Female playwrights such as Bai Wei also depicted loving mothers and courageous daughters waging a fierce s

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28

Bilash, Olha. "Dancers of Japanese Descent in the Ukrainian Ballet of the Late 20th – Early 21st Centuries." Dance Studies 5, no. 2 (2022): 111–18. https://doi.org/10.31866/2616-7646.5.2.2022.269334.

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The purpose of the article is to analyze the stage work of dancers of Japanese origin who received professional training in Ukraine and played an important role in the development of the national ballet art. Methodology. The following methods were used in the research process: typology, dialectical, systemic, general-historical, historical-chronological, comparative-historical, systemic-structural, etc. Scientific novelty. The scientific novelty of the article lies in the fact that it analyzes for the first time the performing, pedagogical and organizational activities

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29

Medvedeva, Yulia P. "At the origins of musical Japanism: facets of the oriental in Saint-Saëns' opera "The Yellow Princess"." Ученые записки Российской академии музыки имени Гнесиных 1, no. 52 (2025): 26–40. https://doi.org/10.56620/2227-9997-2025-1-26-40.

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Camille Saint-Saëns’s one-act comic opera "The Yellow Princess" (1872) is one of the composer’s orientalistic works and the first example of Japonism in music. The author of the article analyzes the origins and identifies specific national vectors of orientalism in the text and musical fabric of the opera. The work is based on a comprehensive approach, including the use of culturalhistorical, comparative, comparative-analytical and musical-analytical methods. The article proves that Saint-Saëns’s oriental aspirations at the time of his work on "The Yellow Princess" were formed under the influe

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Mintz Testa, Bridget. "Making Tracks." Mechanical Engineering 138, no. 02 (2016): 36–41. http://dx.doi.org/10.1115/1.2016-feb-2.

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This review discusses various challenges and solutions to tackle them on the route that the Texas Central is developing between Houston and Dallas. A privately funded high-speed rail line promises to whisk passengers from Houston to Dallas at 200 mph; however, building the project may divide rural areas even as it unites cities. Inter-regional passenger car travel and three- to five-hour air flights are increasingly plagued by delays, hassles, and bureaucratic security theater. Researchers believe high-speed rail can compete in that market, potentially transforming the way business is conducte

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31

Terada, Yuma. "Artist of Liminality: Miwa Yanagi’s Myth Machines as Heterotopia." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (2021): 211–25. http://dx.doi.org/10.5206/tba.v3i1.13907.

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In February 2020, Miwa Yanagi: Myth Machines (2019-2020), a traveling exhibition of works by the Japanese contemporary artist Miwa Yanagi (1967-), concluded its tour across Japan after failing to incite meaningful critical response from art historians and critics. The year-long, five-museum itinerary of the solo show reflected the public’s keen interest in Yanagi’s first major exhibition in a decade, but the enthusiasm was betrayed by the paucity of scholarly attention; beyond the four essays included in the catalogue, hardly any scholar or critic seriously engaged with the artist who previous

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Long, Hoyt. "Performing the Village Square in Interwar Japan: Toward a Hidden History of Public Space." Journal of Asian Studies 70, no. 3 (2011): 754–77. http://dx.doi.org/10.1017/s0021911811000891.

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Histories of public space generally assume a strong correlation between the health of a nation's civil society and the vibrancy of its public sites, in so much as the latter provide an observable venue for free assembly and popular protest. This essay, while not opposing such a view, offers a corrective to the kind of history it encourages, wherein public space appears politically relevant only at its most visible moments. Framing the analysis is Japanese provincial writer Miyazawa Kenji (1896–1933) and his “Poran no hiroba” (Poran's Square), which survives as a piece of school theater and an

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Khomchenkova, V. V. "“The Subscription List.” The Kabuki play Kanjinchō." Japanese Studies in Russia, no. 1 (April 18, 2024): 16–43. http://dx.doi.org/10.55105/2500-2872-2024-1-16-43.

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The article is devoted to the Japanese drama Kanjinchō, its text being introduced into Russian scientific circulation. The translation was made with the participation of students from the National Research University Higher School of Economics as part of the project “Translation of Kabuki Theater Plays.” Kanjinchō is one of the most famous dramas in Japanese theatrical tradition. The story focuses on the valiant warrior Minamoto-no Yoshitsune (1159–1189), who is one of the most beloved characters in Japan. Yoshitsune defeated the Taira clan in the decisive Dannoura sea battle (April 25, 1185).

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Soloshenko, V. "Zigzags in Cultural Policy of the Soviet Union in the Cold War Epoch." Problems of World History, no. 14 (June 10, 2021): 196–208. http://dx.doi.org/10.46869/2707-6776-2021-14-9.

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Presented article has been written based on the report, which was delivered at the International Workshop “The Cultural and Academic Relations between the Eastern Bloc Countries and the West during the Cold War Period” organized by the Ohara Institute for Social Research/Hosei University (Tokyo, Japan) in cooperation with the State Institution “Institute of World History of the National Academy of Sciences of Ukraine” (Kyiv, Ukraine) and Jagielonian University (Krakow, Poland).In order for reading this article to be more accessible for the scholars of post-Soviet countries, far and near abroad

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Madysheva, Taisiia, and Larysa Derkach. "Kharkiv vocal school: on the path of continuity." Aspects of Historical Musicology 31, no. 31 (2023): 133–67. http://dx.doi.org/10.34064/khnum2-31.06.

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Statement of the problem. Objectives, methods, novelty of the research. The year 2022, which marked the 105th anniversary of the Kharkiv National University of Arts, became a tragic challenge for the entire Ukrainian public, exacerbating the issue of preserving the country’s cultural traditions and its historical memory. The formation and development of the Kharkiv school of academic vocal art is an integral and bright part of the cultural history of Ukraine, which needs to be highlighted and scientifically understood. Despite the fact that the Kharkiv vocal school has educated a whole galaxy

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Geng, Hui. "Interview with Yudi Yap: A Humanistic Vocalist and Songwriter on Music, Life, and Cultural Expression." International Journal of Education and Literacy Studies 13, no. 2 (2025): 694–702. https://doi.org/10.7575/aiac.ijels.v.13n.2p.694.

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Yudi Yap, renowned as a charismatic vocalist, has been a time-honored household name in the Malaysian music scene, with a performing career spanning over a quarter of a century. Initially trained in Fine Arts, Yudi embarked on her musical journey during her student days with “Pertubuhan Muzik KITA” (激荡工作坊)”. In the 1990s, she served as the lead vocalist of the acclaimed trio “Alternative Music House” (另类音乐人) and also co-organized two editions of the influen-tial campus songwriting competition, the “Halo Songwriting Contest” (海螺新韵奖). Since the early 2000s, Yudi has ac-tively revived and interpr

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37

Gagnon Shaigetz, Vincent, Catherine Proulx, Anne Cabral, et al. "An Immersive and Interactive Platform for Cognitive Assessment and Rehabilitation (bWell): Design and Iterative Development Process." JMIR Rehabilitation and Assistive Technologies 8, no. 4 (2021): e26629. http://dx.doi.org/10.2196/26629.

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Background Immersive technologies like virtual reality can enable clinical care that meaningfully aligns with real-world deficits in cognitive functioning. However, options in immersive 3D environments are limited, partly because of the unique challenges presented by the development of a clinical care platform. These challenges include selecting clinically relevant features, enabling tasks that capture the full breadth of deficits, ensuring longevity in a rapidly changing technology landscape, and performing the extensive technical and clinical validation required for digital interventions. Co

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Lin (林滿紅), Man-houng. "The “Greater East Asia Co-prosperity Sphere”: A New Boundary for Taiwanese People and the Taiwanese Capital, 1940–1945 (臺灣人的對外移民與投資, 1940–1945)". Translocal Chinese: East Asian Perspectives 10, № 2 (2016): 175–206. http://dx.doi.org/10.1163/24522015-01002002.

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This article deals with Taiwanese civilian emigration and overseas investment in the period of 1940–1945 when Japan engaged the Greater East Asian War. Taiwan in general, and some Taiwanese in particular, helped the reconstruction of Japanese occupied areas in this war. Overseas Taiwanese mainly worked as employees for Japanese stores, companies, mines, plantations, and Japanese government offices, but also opened stores, factories, plantations and banks by themselves. As overseas ethnic Chinese, the Taiwanese civilian emigrants examined in this paper moved in the direction opposite that of ot

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BERGMANN, Annegret. "RECONSTRUCTION OF THE NATIONAL THEATRE OF JAPAN AND KABUKI: CONTEMPORARY INTERDEPENDENCIES AND PROSPECTIVE CHALLENGES." SYNERGY 20, no. 1 (2024). http://dx.doi.org/10.24818/syn/2024/20/1.01.

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In pursuit of its mission to preserve traditional Japanese performing arts, the first National Theatre of Japan predominantly showcased Kabuki performances since its establishment in 1966. This article examines the proposed redevelopment concept for this theatre within the context of the current landscape of Kabuki productions. It sheds light on the Japanese government’s inclination to diminish its role in the future National Theatre’s construction scheduled to open in 2029, opting to realize it as a Private Partnership Project. This strategic shift underscores a focus on the tourist appeal of

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Heok-Tae, Kwon, and Satoko Oka Norimatsu. "Rethinking “Peace” of Hiroshima: Restoring the Subject, and the Logic of “the Only A-bombed Nation”." Asia-Pacific Journal 21, no. 8 (2023). https://doi.org/10.1017/s155746602302884x.

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AbstractThis article provides a critical analysis of the representations of collective memory of the atomic bombing of Hiroshima and Nagasaki at the end of the Asia-Pacific theatre of World War II. The discussion of the “subject debate” over the inscription of the Cenotaph for the A-bomb Victims, politics over the construction of the Hiroshima Peace Memorial Park and the preservation of the A-bomb Dome transpired the memory mechanisms at work with regard to the US responsibility for the A-bomb, the Japanese aggressive war leading up to the A-bomb, Japan's colonial rule of Korea, and denational

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"Book Reviews." Asian Studies Review 26, no. 4 (2002): 511–46. http://dx.doi.org/10.1111/1467-8403.00141.

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Books reviewed in this article:Chiu–Yee Cheung, Lu Xun: the Chinese “Gentle” NietzschePamela Kyle Crossley, The ManchusGloria Davies (ed.), Voicing Concerns: Contemporary Chinese Critical InquiryAndrew F. Jones, Yellow Music—Media Culture and Colonial Modernity in the Chinese Jazz AgeKam Louie, Theorising Chinese MasculinityLung–Kee Sun, The Chinese National Character: From Nationhood to IndividualityMichael Lewis, Becoming Apart: National Power and Local Politics in Toyama, 1868–1945Michael Molasky and Steve Rabson (eds.), Southern Exposure: Modern Japanese Literature from OkinawaRajyashree P

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Selden, Kyoko. "Artistic Legacy of the Fifteenth Century Selections from Japan: The Shaping of Daimyo Culture, 1185-1868." Asia-Pacific Journal 14, no. 6 (2016). https://doi.org/10.1017/s1557466016012778.

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Kyoko Selden translated the Japanese contributions to the catalogue for the exhibit on Japan: The Shaping of Daimyo Culture, 1185-1868, held at the National Gallery of Art, Washington, D.C. from October 1988 to January 1989. This expansive exhibit was the first anywhere, including Japan, to present the artistic legacy of daimyō (regional lords) from the rise of warrior rulers at the end of the Heian period in the twelfth century to the dissolution of the feudal system in 1868. Featured were portraits, calligraphy, religious sculpture, painting, armor, lacquer, ceramics, textiles, tea-ceremony

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McCormack, Gavan. "The Front Line in the Struggle for Democracy in Japan - Nago City, Okinawa." Asia-Pacific Journal 12, no. 4 (2014). https://doi.org/10.1017/s1557466014016994.

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Through the first year of his second term as Prime Minister (December 2012-December 2013) Abe Shinzo's government stirred concern on the part of neighbour countries, Japan's key “ally” the United States, and global opinion generally. Despite some suggestion of economic recovery under “Abenomics,” there was something inexplicable about Japan. Abe's revisionist historical views, his commitment to Yasukuni, and his hard-line stance on territorial disputes, had plunged relations with China and South Korea to new depths, while raising the level of tension with the United States. When Abe spoke of “

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Azim, Md. Aliul. "Japanese Culture: A Tapestry of Tradition and Innovation." Taiyo e-journal 1, no. 1 (2024). https://doi.org/10.5281/zenodo.11323888.

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Japanese culture is a captivating blend of ancient traditions and cutting-edge innovations, weaving together a rich tapestry that continues to captivate and inspire people worldwide. This paper explores the intricate threads of this cultural tapestry, highlighting key aspects of Japan's traditional heritage and modern manifestations. At the heart of Japanese culture lies a deep reverence for tradition, rooted in centuries-old practices that have been meticulously preserved and passed down through generations. From the elegant art of tea ceremonies to the graceful movements of traditional Japan

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Geilhorn, Barbara. "A Multifaceted Fukushima—Trauma and Memory in Ōnobu Pelican's Kiruannya and U-ko." Asia-Pacific Journal 17, no. 2 (2019). https://doi.org/10.1017/s155746601901492x.

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AbstractFocusing on Ōnobu Pelican's play Kiruannya and U-ko-san (2011), this article analyzes documentary theater from the area afflicted by the triple disaster of March 11, 2011. Kiruannya and U-ko provides a rich tapestry of the multiple and often contradictory features of Fukushima Prefecture in the aftermath of the Fukushima calamity, weaving a dense fabric of fictional material, newspaper clippings, and reality. I show that Ōnobu's play opposes national discourses of a spatially limited disaster, and that it offers keen insights into the highly ambivalent and emotional landscape of those

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Hand, Richard J. "Dissecting the Gash." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2389.

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Given that the new advances in technology in the 1980s had a major impact on the carefully constructed myth of authenticity in horror and pornography, ranging from flawless special effects at one extreme to the idea of the handheld voyeur movie at the other, it is rather ironic that the key progenitor to the erotic-grotesque form is a long-established and in some ways basic form: the pen and paper art of manga. This medium can be traced back to pillow books and the illustrated tradition in Japanese culture – a culture where even written language has evolved from drawings rather than alphabetic

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"Book Reviews." Asian Studies Review 24, no. 1 (2000): 115–45. http://dx.doi.org/10.1111/1467-8403.t01-1-00068.

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Books reviewed: China Murray A. Rubinstein (ed) Taiwan: a New HistoryClara Wing‐Chung Ho (ed) Biographical Dictionary of Chinese Women Vol 1: the Qing Period 1644–1911Jun Jing The Temple of Memories: history, Power, and Morality in a Chinese VillageLisa Rofel Other Modernities. Gendered Yearnings in China after SocialismHaiping Yan (ed) Theater & Society: an Anthology of Contemporary Chinese Drama Japan, Korea Michael J. Green Arming Japan: defense Production, Alliance Politics and the Postwar Search for AutonomyT. J. Pempel Regime Shift: comparative Dynamics of the Japanese Political Econ

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"Language learning." Language Teaching 37, no. 4 (2004): 264–75. http://dx.doi.org/10.1017/s0261444805222632.

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04–473Adler, Renatte K. and Loughrin-Sacco, Steven J. (San Diego State U., USA). Internships for American undergraduates: acquiring language and cross-cultural skills for a global market. Journal of Language for International Business (Glendale, Arizona, USA), 15, 1 (2004), 30–40.04–474Allum, Paul (Rikkyo U., Tokyo, Japan; Email: allum@rikkyo.ac.jp). Evaluation of CALL: initial vocabulary learning. ReCALL (Cambridge, UK), 16, 2 (2004), 488–501.04–475Barcroft, Joe (Washington U., USA; Email: barcroft@artsci.wustl.edu). Effects of sentence writing in second language lexical acquisition. Second L

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Johnson, Laurie, and Marc Richards. "Desire." M/C Journal 2, no. 5 (1999). http://dx.doi.org/10.5204/mcj.1768.

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Despite being a much used trope in intellectual activity at the moment, 'desire' may yet prove to be more resilient as a concept than some other much (ab)used tropes of the past (such as 'body', 'transgression', and, of course, the ever-popular [ab]use of parentheses). It may be possible, that is, that as we enter this 'new' millenium, intellectuals may continue to be able to use the word 'desire' without it signifying only that the intellectual is attempting to be screamingly fashionable (as, for example, seems to have been the fate befalling 'body', 'transgression', and the [ab]use of parent

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Kuang, Lanlan. "Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1155.

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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sou

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