Heisei Murasaki: What Women Poets Have Found during Japan's Lost Decades

J. Smith
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Abstract

Amidst the revolutionary modernization of Meiji-era Japan, author Shimizu Shikin (1869–1933) raised the provocative question of the “modern Murasaki”—asking where the equivalent of literary giant Murasaki Shikibu (author of The Tale of Genji) was to be found during Shikin’s own time. This question was a dual move, both reminding readers of the strong presence of women writers in Japan’s classical literary world and suggesting their equally vital role in forming literary discourse as a social force in Japan’s modernizing world, despite women writers’ critical lack of recognition by the male-dominated literary establishment.1 This question later became the impetus for Rebecca Copeland and Melek Ortobasi’s 2006 anthology, The Modern Murasaki: Writing by Women of Meiji Japan. The present selection of translated poetry by Misumi Mizuki, Fuzuki Yumi, Nagae Yūki, Saihate Tahi, and Ishiwata Kimi extends the question into the current era through two further queries. First, where is the modern Murasaki in contemporary Japan? And second, what does the history of women’s poetry from Meiji Japan (1868–1912) through the Heisei era (1989–present) reveal about not only gender-aware but gendertranscendent traditions within Japanese culture? By focusing on the youngest generations of contemporary women poets, I aim both to showcase a selection of those on the cutting
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紫平成:女诗人在日本失去的几十年里发现了什么
在明治时代日本革命性的现代化进程中,作家清水慎慎(1869-1933)提出了一个颇具争议的问题,即“现代的紫部”——在清水慎慎所处的时代,哪里能找到与文学巨匠紫部(《源氏物语》的作者)相当的人物?这个问题具有双重意义,既提醒读者日本古典文坛中女作家的强大存在,又暗示她们在日本现代化世界中作为一股社会力量,在形成文学话语方面发挥着同样重要的作用,尽管在男性主导的文坛中,女作家严重缺乏认可这个问题后来成为丽贝卡·科普兰(Rebecca Copeland)和梅莱克·奥特巴斯(Melek Ortobasi) 2006年的选集《现代紫崎:明治日本女性的写作》的动力。本文所选的水月三美、福月由美、永苗Yūki、斋海太喜、石田基美等人的翻译诗歌,通过两个进一步的问题,将这个问题延伸到当前的时代。首先,在当代日本,现代的紫崎在哪里?其次,从明治日本(1868-1912)到平成时代(1989年至今)的女性诗歌历史,不仅揭示了日本文化中性别意识和性别超越的传统,还揭示了什么?通过关注当代最年轻一代的女诗人,我的目的是展示那些被切割的人的选择
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