Pub Date : 2022-12-28DOI: 10.22628/bcjjl.2022.15.1.85
R. E. Pasaribu
This research study on how a collaborative war movie between Indonesia and Japan entitled Murudeka 17805 (2001) is received in Indonesia. Through content analysis of the movie, it is found that this movie depicts the intimate yet hierarchical relation between Indonesia and Japan, whereas Japan acts as the elder sibling who guides and will transfer their knowledge and skills to Indonesia, so that Indonesia may be able to fight against the colonizers. This is in line with the ideology of Greater East Asian War, termed “Greater Asia Co-Prosperity Sphere.” Through the comments analysis of YouTube viewers, the result shows that there are comments expressing gratitude and adoration toward Indonesian and Japanese soldiers who had fought in the battlefield, and on the other hand there are also comments criticizing Japanese colonialization and arguing that the movie itself is a propaganda movie. The number of comments expressing gratitude and adoration and expressing neutrality by inviting the readers to forget about the past is larger than the number of comments criticizing the movie. The result of this study shows that this phenomenon is related to several factors：younger generation who never experienced Japanese occupation, the history lessons in schools which focusing more on memorizing events rather than critically reflecting on the past, the act of silencing critics toward Japan by Indonesian government in 1970s, and the massive spread of Japanese pop culture in Indonesia since 1990s. Although the number is not as high as grateful and adoring comments, comments that have critical reflection toward the movie still exists. The commentators are usually those who have heard stories about Japanese occupation in the past from the previous generation or have learned about it from various sources of knowledge.
{"title":"Between Adoration and Criticism Towards Japanese Colonialism：Reception Toward Murudeka 17805 Movie in Indonesia","authors":"R. E. Pasaribu","doi":"10.22628/bcjjl.2022.15.1.85","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.15.1.85","url":null,"abstract":"This research study on how a collaborative war movie between Indonesia and Japan entitled Murudeka 17805 (2001) is received in Indonesia. Through content analysis of the movie, it is found that this movie depicts the intimate yet hierarchical relation between Indonesia and Japan, whereas Japan acts as the elder sibling who guides and will transfer their knowledge and skills to Indonesia, so that Indonesia may be able to fight against the colonizers. This is in line with the ideology of Greater East Asian War, termed “Greater Asia Co-Prosperity Sphere.” Through the comments analysis of YouTube viewers, the result shows that there are comments expressing gratitude and adoration toward Indonesian and Japanese soldiers who had fought in the battlefield, and on the other hand there are also comments criticizing Japanese colonialization and arguing that the movie itself is a propaganda movie. The number of comments expressing gratitude and adoration and expressing neutrality by inviting the readers to forget about the past is larger than the number of comments criticizing the movie. The result of this study shows that this phenomenon is related to several factors：younger generation who never experienced Japanese occupation, the history lessons in schools which focusing more on memorizing events rather than critically reflecting on the past, the act of silencing critics toward Japan by Indonesian government in 1970s, and the massive spread of Japanese pop culture in Indonesia since 1990s. Although the number is not as high as grateful and adoring comments, comments that have critical reflection toward the movie still exists. The commentators are usually those who have heard stories about Japanese occupation in the past from the previous generation or have learned about it from various sources of knowledge.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77234162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-28DOI: 10.22628/bcjjl.2022.15.1.181
Masaho Kumazawa
Kawabata Yasunari’s Waltz of Flowers (1936) is a novel that was originally a screenplay for a movie in which several popular female dancers were going to perform. Although the plan to make this film was abandoned, the screenplay of Waltz of Flowers is a good example of modernist work in the early Showa period, and the subsequent novel displays the crossover characteristics that result from combining film and dance with narrative fiction.However, in previous research on Kawabata’s work little attention has been paid to Waltz of Flowers. Instead, much critical work has been done on Snow Country (1935), which was serialized at the same time, so it must be said that there is a bias in the history of this research. To redress this deficit, this paper firstly presents the critical literature on dance in the 1930s, and emphasizes the cultural context of modern dance, as a basis for reading Waltz of Flowers. In particular, it focuses on the three dance scenes in the novel：Suzuko and Hoshie’s duet at the beginning, Hoshie’s solo dance in the middle, and “Bikkono Odori” (crippled dance) near the end. The paper argues that “Bikkono Odori” was a form of Japanized modern dance which connected the styles of Japanese modern dancers in the 1930s.
{"title":"Japanized Modern Dance “Bikkono Odori”(Crippled Dance) in Kawabata Yasunari’s Waltz of Flowers(1936)","authors":"Masaho Kumazawa","doi":"10.22628/bcjjl.2022.15.1.181","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.15.1.181","url":null,"abstract":"Kawabata Yasunari’s Waltz of Flowers (1936) is a novel that was originally a screenplay for a movie in which several popular female dancers were going to perform. Although the plan to make this film was abandoned, the screenplay of Waltz of Flowers is a good example of modernist work in the early Showa period, and the subsequent novel displays the crossover characteristics that result from combining film and dance with narrative fiction.However, in previous research on Kawabata’s work little attention has been paid to Waltz of Flowers. Instead, much critical work has been done on Snow Country (1935), which was serialized at the same time, so it must be said that there is a bias in the history of this research. To redress this deficit, this paper firstly presents the critical literature on dance in the 1930s, and emphasizes the cultural context of modern dance, as a basis for reading Waltz of Flowers. In particular, it focuses on the three dance scenes in the novel：Suzuko and Hoshie’s duet at the beginning, Hoshie’s solo dance in the middle, and “Bikkono Odori” (crippled dance) near the end. The paper argues that “Bikkono Odori” was a form of Japanized modern dance which connected the styles of Japanese modern dancers in the 1930s.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90046671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-28DOI: 10.22628/bcjjl.2022.15.1.55
A. R. P. Purnomo
Yoshimoto Banana’s novels are referred to as ‘self-help’ literature. As a result of Yoshimoto’s impactful role in literature, it has the power to be of use in self-healing. One of them is Yoshimoto Banana’s novel which describes the search for meaning within oneself by reconnecting with nature called Marika no Sofa (Malika’s Sofa). This novel tells the story of a female doctor named Junko sensei and Malika, her patient who has many personalities. The symptoms of DID (Dissociative Identity Disorder) are shown by Yoshimoto in this novel, and it shows an interesting part that is highlighted how Yoshimoto offers a method of trauma healing by traveling and dialogue. In addition, in this study, the friendship connection and empathy emotion between the therapist and her patient are seen from the imago dialogue approach in Alfred Adler’s therapy. And then, followed by the natural therapy method using green trees approach. The researcher chose to use the concept of shinrin yoku (forest bathing), which is an immersion in the natural surroundings to have a good physiological effect and provide relaxation on the mind and body. Junko sensei and Malika’s trip to Bali can also be interpreted as a desire (motivation) to leave old wounds in the healing stage. Both of them rediscovered something that had been missing in their lives for a long time, it is to feel and live a full life like humans.
{"title":"The Journey of the Wounding Heart：Trauma Healing Therapy in the Novel Malika’s Sofa by Yoshimoto Banana","authors":"A. R. P. Purnomo","doi":"10.22628/bcjjl.2022.15.1.55","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.15.1.55","url":null,"abstract":"Yoshimoto Banana’s novels are referred to as ‘self-help’ literature. As a result of Yoshimoto’s impactful role in literature, it has the power to be of use in self-healing. One of them is Yoshimoto Banana’s novel which describes the search for meaning within oneself by reconnecting with nature called Marika no Sofa (Malika’s Sofa). This novel tells the story of a female doctor named Junko sensei and Malika, her patient who has many personalities. The symptoms of DID (Dissociative Identity Disorder) are shown by Yoshimoto in this novel, and it shows an interesting part that is highlighted how Yoshimoto offers a method of trauma healing by traveling and dialogue. In addition, in this study, the friendship connection and empathy emotion between the therapist and her patient are seen from the imago dialogue approach in Alfred Adler’s therapy. And then, followed by the natural therapy method using green trees approach. The researcher chose to use the concept of shinrin yoku (forest bathing), which is an immersion in the natural surroundings to have a good physiological effect and provide relaxation on the mind and body. Junko sensei and Malika’s trip to Bali can also be interpreted as a desire (motivation) to leave old wounds in the healing stage. Both of them rediscovered something that had been missing in their lives for a long time, it is to feel and live a full life like humans.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84735200","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.206
Hyung-Goo Lee
July 2020 this research team has been conducting joint research with support from the National Research Foundation of Korea, and is now in its second year of work. The team is composed of researchers from the fields of modern and contemporary Japanese history, modern and contemporary Korean history, modern Japanese literature, and Japanese political science, and as a result it is ideally positioned to engage in multidisciplinary research. In relation to Korea-Japan relations such research is vital, because after the Second World War Japanese society pursued the goals of forming both a ‘cultural state’ and a ‘peace state’ as a result of criticism of prewar militarism. These tendencies began to exert influence on the practical politics of the period from 1945 to the 1960s, when the study of Japanese and other colonialism began in earnest. The protagonists who investigated the issues of the responsibility for the war and of colonial rule were intellectuals and cultural figures who filled the void in the study of colonial history in the 1950s.research team is focused on making an academic and social contribution that can help to transcend the historical conflicts in Korea-Japan relations and the historical absence of a regime of peace in East Asia. It does so by examining the various circuits of colonial experience and memory which came to the fore in Japanese society after the defeat in the World War 2 and the return of the Japanese settlers to Korea.
{"title":"A Study on Japanese Settlers’ Experiences and Memories of Colonial Korea","authors":"Hyung-Goo Lee","doi":"10.22628/bcjjl.2022.14.1.206","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.206","url":null,"abstract":"July 2020 this research team has been conducting joint research with support from the National Research Foundation of Korea, and is now in its second year of work. The team is composed of researchers from the fields of modern and contemporary Japanese history, modern and contemporary Korean history, modern Japanese literature, and Japanese political science, and as a result it is ideally positioned to engage in multidisciplinary research. In relation to Korea-Japan relations such research is vital, because after the Second World War Japanese society pursued the goals of forming both a ‘cultural state’ and a ‘peace state’ as a result of criticism of prewar militarism. These tendencies began to exert influence on the practical politics of the period from 1945 to the 1960s, when the study of Japanese and other colonialism began in earnest. The protagonists who investigated the issues of the responsibility for the war and of colonial rule were intellectuals and cultural figures who filled the void in the study of colonial history in the 1950s.research team is focused on making an academic and social contribution that can help to transcend the historical conflicts in Korea-Japan relations and the historical absence of a regime of peace in East Asia. It does so by examining the various circuits of colonial experience and memory which came to the fore in Japanese society after the defeat in the World War 2 and the return of the Japanese settlers to Korea.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88962821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.213
Yi-Hsiu Chen
In 1655, eight volumes of “Kana Retsujoden仮名列女伝” were published, and the episodes of this book became overwhelmed by the population. The author, Kitamura Kigin 北村季吟, is a Japanese scholar in the early Edo period and a master of classical annotations such as “Genji Monogatari Kogetsu-shō源氏物語湖月抄”.In this article, first of all, I would like to take up the part of the text, “Kana Retsujoden” and “Genji Monogatari源氏物語”, and compare and examine the two works to show in detail the translation intention of Kigin. In addition, in this article, I would like to mention “Ominaeshi Monogatari女郎花物語”(1661), which is considered to be a the same auther like “Kana Retsujo-den,” centering on “Genji Monogatari”. Using “Genji Monogatari” as a clue, I have been considering the use of Genji found in Kigin’s two Kana-zoshi(仮名草子) works “Kana Retsujoden” and “Ominaeshi Monogatari”. As a result, it was found that Kigin regards “Genji Monogatari” as a book for female lessons.
{"title":"Use of “Genji Monogatari” seen in Kigin Kitamura’s Confucian Women’s classics lessons ：Focusing on “Kana Retsujoden” and “Ominaeshi Monogatari”","authors":"Yi-Hsiu Chen","doi":"10.22628/bcjjl.2022.14.1.213","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.213","url":null,"abstract":"In 1655, eight volumes of “Kana Retsujoden仮名列女伝” were published, and the episodes of this book became overwhelmed by the population. The author, Kitamura Kigin 北村季吟, is a Japanese scholar in the early Edo period and a master of classical annotations such as “Genji Monogatari Kogetsu-shō源氏物語湖月抄”.In this article, first of all, I would like to take up the part of the text, “Kana Retsujoden” and “Genji Monogatari源氏物語”, and compare and examine the two works to show in detail the translation intention of Kigin. In addition, in this article, I would like to mention “Ominaeshi Monogatari女郎花物語”(1661), which is considered to be a the same auther like “Kana Retsujo-den,” centering on “Genji Monogatari”. Using “Genji Monogatari” as a clue, I have been considering the use of Genji found in Kigin’s two Kana-zoshi(仮名草子) works “Kana Retsujoden” and “Ominaeshi Monogatari”. As a result, it was found that Kigin regards “Genji Monogatari” as a book for female lessons.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77912665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.4
Sam-hun Park
There has been a confrontational structure to the relationship between Korea and Japan for several years, as the South Korean government reneged on the Japanese military “comfort women” agreement, and the Supreme Court’s ruling on compensation for forced laborers led to Japanese restrictions on Korean exports. In tandem with these developments, anti-Japanese sentiment in Korean society has been growing stronger, as have anti-Korean attitudes in Japanese society. This article suggests that the experience of the 2002 Korea-Japan joint World Cup was not conducive to better relations, but was rather the starting point of the current xenophobia within each country in relation to the other.
{"title":"The Conflictual Legacy of the Korea-Japan Joint World Cup","authors":"Sam-hun Park","doi":"10.22628/bcjjl.2022.14.1.4","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.4","url":null,"abstract":"There has been a confrontational structure to the relationship between Korea and Japan for several years, as the South Korean government reneged on the Japanese military “comfort women” agreement, and the Supreme Court’s ruling on compensation for forced laborers led to Japanese restrictions on Korean exports. In tandem with these developments, anti-Japanese sentiment in Korean society has been growing stronger, as have anti-Korean attitudes in Japanese society. This article suggests that the experience of the 2002 Korea-Japan joint World Cup was not conducive to better relations, but was rather the starting point of the current xenophobia within each country in relation to the other.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84505202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.89
Zhenghao Qiu
This paper re-appraises the Taiwanese colonial writer Zhang Wen-huan’s Japanese novel, “Father’s Demand” (Chichi No Yōkyū), published in 1935, as a form of “conversion literature” in terms of its narrative style and in relation to the nexus of ideas in the literary field of its time. First, I examine the difference between the contemporary autobiography and the literary portrayal of popular life on the basis of the prevailing literary discourses in 1930s Taiwan, and I then show the threshold or hybrid status of Zhang Wen-huan’s texts, positioned between the two genres. Next, I examine the discourse of “conversion literature” and of the “I-novel” in 1930s Japan and clarify how Zhang’s “Father’s Demand” reflected the perspective of the literary elite but also differentiated itself from their work. Furthermore, by paying attention to the representation of prisoners in the work, I clarify the difference between the depiction of intellectual subjectivity in “Father’s Demand” and in other Japanese works of conversion literature. By analyzing the letters in the final section of the novel, I present the contradictions in the subject formation of colonial intellectuals and identify their prior state. Through these analyses, I reconsider the so-called “conversion” in “Father’s Demand,” viewing it not as a return to a specific identity, but as a focus on the body and other pre-subjective entities.
本文将台湾殖民作家张文欢1935年出版的日文小说《父亲的要求》(Chichi No Yōkyū)作为一种“转换文学”，从叙事风格和当时文坛的思想联系两方面进行重新评价。本文首先以1930年代台湾盛行的文学话语为基础，检视当代自传与大众生活的文学描写之间的差异，然后展示张文欢文本在这两种体裁之间的门槛或混合状态。接下来，我考察了20世纪30年代日本“转换文学”和“自我小说”的话语，并阐明了张的“父亲的要求”如何反映了文学精英的视角，同时又与他们的作品区分开来。进而，通过对作品中囚徒形象的关注，厘清《父亲的要求》中对知性主体性的描绘与日本其他皈依文学作品的区别。通过对小说最后部分书信的分析，我提出了殖民地知识分子主体形成的矛盾，并确定了他们的前期状态。通过这些分析，我重新审视了《父亲的要求》中所谓的“皈依”，认为它不是对特定身份的回归，而是对身体和其他前主体实体的关注。
{"title":"The Fluctuations in Self-Narration in 1930s Colonial Taiwan：On Zhang Wen-huan’s “Father’s Demand” and Conversion Literature","authors":"Zhenghao Qiu","doi":"10.22628/bcjjl.2022.14.1.89","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.89","url":null,"abstract":"This paper re-appraises the Taiwanese colonial writer Zhang Wen-huan’s Japanese novel, “Father’s Demand” (Chichi No Yōkyū), published in 1935, as a form of “conversion literature” in terms of its narrative style and in relation to the nexus of ideas in the literary field of its time. First, I examine the difference between the contemporary autobiography and the literary portrayal of popular life on the basis of the prevailing literary discourses in 1930s Taiwan, and I then show the threshold or hybrid status of Zhang Wen-huan’s texts, positioned between the two genres. Next, I examine the discourse of “conversion literature” and of the “I-novel” in 1930s Japan and clarify how Zhang’s “Father’s Demand” reflected the perspective of the literary elite but also differentiated itself from their work. Furthermore, by paying attention to the representation of prisoners in the work, I clarify the difference between the depiction of intellectual subjectivity in “Father’s Demand” and in other Japanese works of conversion literature. By analyzing the letters in the final section of the novel, I present the contradictions in the subject formation of colonial intellectuals and identify their prior state. Through these analyses, I reconsider the so-called “conversion” in “Father’s Demand,” viewing it not as a return to a specific identity, but as a focus on the body and other pre-subjective entities.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89278203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.51
Yiheng Xiao
Kunikida Doppo (1871-1908) wrote a diary named Azamukazaru no Ki (Diary Without Deceit) over the course of five years. Azamukazaru no Ki not only gained a large audience, but has also been recognized as a “Shūyō Sho” (self-cultivation work) in the process of repeated reprints, which have included new material. However, this text has not received sufficient attention in prior studies, and often serves merely as reference material for studies on Kunikida or his literary works. In the few studies that are centered on this text itself, the dimension of “Shūyō Sho” has not received much attention. From the starting point of “Shūyō Sho”, this paper clarifies Kunikida’s position in the discourse of “Hanmon Seinen” (anguished youth) and “Shūyō Nikki” (self-cultivation diary), and discusses how contemporary readers during the “Shūyō Boom” read Azamukazaru no Ki. It argues that Doppo, as a “Hanmon Seinen” in distress in the midst of his process of self-discovery, is engaged in “Shūyō” through the self-management and self-healing mechanism of “Shūyō Nikki”. Through this analysis, this paper adopts a new approach to the diary as a form of literature through the prism of “Shūyō”.
国木多坡(1871 ~ 1908年)用5年时间写了一本名为《无诈日记》的日记。《azamukaru no Ki》不仅获得了大量的观众，而且在不断转载的过程中，加入了新的内容，被公认为“Shūyō修身作品”。然而，这一文本在以往的研究中没有得到足够的重视，往往只是作为研究国木田或其文学作品的参考材料。在为数不多的以文本本身为中心的研究中，“Shūyō Sho”的维度并没有受到太多的关注。本文以“Shūyō秀”为切入点，厘清国木田在“苦情少年”和“Shūyō修身日记”话语中的地位，并探讨“Shūyō热潮”时期的当代读者如何阅读《风》。认为Doppo作为一个在自我发现过程中陷入困境的“汉蒙塞宁”，通过“Shūyō尼基”的自我管理和自我修复机制参与“Shūyō”。通过这一分析，本文以“Shūyō”为棱镜，对日记作为一种文学形式进行了新的审视。
{"title":"“Anguished Youth” and “Self-Cultivation Diary”：A Study on the Modern Diary Azamukazaru no Ki","authors":"Yiheng Xiao","doi":"10.22628/bcjjl.2022.14.1.51","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.51","url":null,"abstract":"Kunikida Doppo (1871-1908) wrote a diary named Azamukazaru no Ki (Diary Without Deceit) over the course of five years. Azamukazaru no Ki not only gained a large audience, but has also been recognized as a “Shūyō Sho” (self-cultivation work) in the process of repeated reprints, which have included new material. However, this text has not received sufficient attention in prior studies, and often serves merely as reference material for studies on Kunikida or his literary works. In the few studies that are centered on this text itself, the dimension of “Shūyō Sho” has not received much attention. From the starting point of “Shūyō Sho”, this paper clarifies Kunikida’s position in the discourse of “Hanmon Seinen” (anguished youth) and “Shūyō Nikki” (self-cultivation diary), and discusses how contemporary readers during the “Shūyō Boom” read Azamukazaru no Ki. It argues that Doppo, as a “Hanmon Seinen” in distress in the midst of his process of self-discovery, is engaged in “Shūyō” through the self-management and self-healing mechanism of “Shūyō Nikki”. Through this analysis, this paper adopts a new approach to the diary as a form of literature through the prism of “Shūyō”.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89711654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.107
Wei Song
In her novel Shanghai, the titular city seems to have become psychologically distant from Hayashi Kyoko. This paper analyzes the continuity of life in Shanghai in the post-war period, focusing on the issue of occupied territories that has not received much attention to this point in the studies on Shanghai. Through the prism of post-colonialism, this paper examines the causes of “Shanghai becoming far away” in terms of the remaining sense of control people felt over their lives, the impact of the border crossers from occupied territories, and the tensions within the discourse on the experience of the war. The paper starts with a brief introduction to the author Hayashi Kyoko and her novel Shanghai, and theories of post-colonialism. Second, it clarifies how Hayashi expresses her sense of both control and guilt by describing her preparations before leaving for Shanghai. Next, this paper analyzes how Hayashi describes and views the border crossers produced by Japanese colonialism. Finally, it analyzes the problem of discussing the experience of the war in the novel, as the “I” expresses Hayashi’s own experience, but there is no confidence in its delivery of the truth. This paper explores the reasons for Shanghai becoming “far away” from Hayashi and how the legacy of the occupation is expressed in the novel.
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Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.143
Jianing Liu
This essay is an exploration of the influence on Shibusawa Tatsuhiko’s short story Madonna’s Pearl of the French novelist Mac Orlan’s short story Roi Rose. Both novels tell the story of a baby who is boarded onto a ghost ship and grows into a teenager. Upon examination of the catalog of the Shibusawa Tatsuhiko Collection, it is evident that Shibusawa did not read the original French version of the novel Roi Rose, but drew on the Japanese translation included in the anthology of French novels published in Japan in 1927. Through a close reading and comparison of the two texts Madonna’s Pearl and Roi Rose, this paper identifies the common theme of the importance of The Flying Dutchman, as well as several similar scenes in both novels. But Shibusawa does not merely transfer the setting of the Western story to Japan; he also uses surrealist collage techniques to reinvent the novel in terms of both content and form. In this task Shibusawa took a lead from Wagner’s opera Tristan and Iseult in making Madonna’s Pearl an erotic novel with dramatic overtones.
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