Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.220
Sho Sugimoto
I had the opportunity to participate in the 9th Forum on East Asia and Contemporary Japanese-Language Literature, an international conference which was held on October 16 and 17, 2021. Unfortunately, as in the previous year, the conference had to be held online due to COVID-19. However, it provided an invaluable opportunity for me to deepen my thinking about “glocal” culture, which was the subject of the conference. When focusing on the region of East Asia, it should be noted that “glocalism” is not unique to this global age but was also observed during the modern period. From the 19th to the 20th century, East Asia was affected by imperialism, colonialism, modernization, and westernization, the confluence of which created a complex cultural topography that gave rise to diverse “glocal” cultures. These were primarily related to the movement around the region of various writers and the translations, adaptations, and distribution of their work across borders and regions. I was able to explore the complex history of “glocal” culture in East Asia through the numerous presentations at the conference, including the main symposium “Glocal Culture in Modern and Contemporary Asia：Identity, Literature, and History.” As the COVID-19 crisis is gradually abating, I look forward to a time when the conference will be held offline, and am eager to share further fruitful discussions with participants in the future.
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Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.125
Ge Jia
With the outbreak of the second Sino-Japanese War in 1937, women were tasked by the nation with producing more human resources in preparation for the expansion and prolongation of the war. As a result, the creation of life in the private sphere came to have a public meaning. By giving birth to a child and dedicating it to the country, not only did women receive preferential treatment, they also played a role in attempting to raise the status of the nation. Haruko Ushijima (1913-2002), who was known as a Manchurian writer, wrote the novel “Woman(女)” based on her personal experience of a stillbirth in 1942. It was announced in “Geibun(藝文)” which can be seen as the stage of national policy. Nowadays, “Woman(女)” is widely seen as a novel which is concerned with the national agenda as a result of Haruko’s remarks of nationalism. However, there are some conflicts in the novel that cannot be integrated into this framework, and are even in tension with it. This paper will focus on Ushijima’s writing strategy and on these conflicts. Through this analysis, I would like to elucidate Haruko Ushijima’s authorial intentions, and in this way re-evaluate “Woman(女)”.
{"title":"Woman by Haruko Ushijima Revisited：A Writing Strategy Camouflaged in the National Agenda","authors":"Ge Jia","doi":"10.22628/bcjjl.2022.14.1.125","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.125","url":null,"abstract":"With the outbreak of the second Sino-Japanese War in 1937, women were tasked by the nation with producing more human resources in preparation for the expansion and prolongation of the war. As a result, the creation of life in the private sphere came to have a public meaning. By giving birth to a child and dedicating it to the country, not only did women receive preferential treatment, they also played a role in attempting to raise the status of the nation. Haruko Ushijima (1913-2002), who was known as a Manchurian writer, wrote the novel “Woman(女)” based on her personal experience of a stillbirth in 1942. It was announced in “Geibun(藝文)” which can be seen as the stage of national policy. Nowadays, “Woman(女)” is widely seen as a novel which is concerned with the national agenda as a result of Haruko’s remarks of nationalism. However, there are some conflicts in the novel that cannot be integrated into this framework, and are even in tension with it. This paper will focus on Ushijima’s writing strategy and on these conflicts. Through this analysis, I would like to elucidate Haruko Ushijima’s authorial intentions, and in this way re-evaluate “Woman(女)”.","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":"86394949","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.2022.14.1.73
Dewi Anggraeni
This article aims to clarify Japanese South-commissioned writers’ perception of Eurasians in 1940s Indonesia on the basis of Abe Tomoji’s retelling of a tale of treachery in his essay “Chi to Tsuchi to Kokoro— Eruberuferuto no koto nado” (1944.7). The treachery in question is that of Pieter Elberfeld, a Eurasian man accused of plotting a rebellion against Dutch East Indies Company authorities with Javanese assistance, who was then brutally executed. In 1930s Japan, this story was symbolically employed by the “anti-Western” movement. Abe portrays Eurasians as people who act without clear reasons because of their mixed-blood nature, and he represents them as “born traitors.” By employing the notion of the “contact zone” as a conceptual framework through which to interpret Abe’s essay, this article argues that this portrayal of Eurasians is related to the Japanese military policy towards enemy aliens in Indonesia. This policy exempted Eurasians from internment in camps alongside Europeans if they could prove their Asian descent. As a result, many Eurasians who once prided themselves on their European ancestry began to identify themselves as Indonesians. This article’s findings fill the void in previous research on Abe as a South-commissioned writer, which primarily focuses on Indonesian scenic beauty and the eroticization of Dutch women there.
本文旨在以安倍友治在《Chi to Tsuchi to Kokoro - Eruberuferuto no koto nado》(1944.7)中重述的背叛故事为基础，厘清日本南方作家对20世纪40年代印度尼西亚欧亚人的看法。这里所说的背叛是彼得·埃尔伯菲尔德(Pieter Elberfeld)的背叛，他是一个欧亚人，被指控在爪哇人的帮助下策划叛乱，反对荷兰东印度公司当局，后来被残忍地处决。在20世纪30年代的日本，这个故事被“反西方”运动象征性地利用。安倍将欧亚混血儿描述为“没有明确理由的人”，并将他们描述为“天生的叛徒”。通过使用“接触区”的概念作为解释安倍文章的概念框架，本文认为这种对欧亚人的描述与日本在印度尼西亚对敌方外国人的军事政策有关。这项政策免除了欧亚人与欧洲人一起被关在集中营的权利，前提是他们能证明自己是亚洲人。结果，许多曾经为自己的欧洲血统感到自豪的欧亚人开始把自己认定为印尼人。这篇文章的发现填补了之前关于安倍作为南方委托作家的研究的空白，这些研究主要关注印度尼西亚的风景美景和那里荷兰女性的色情。
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Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.15
Caiyun Zhu
It is known that Tamura Toshiko’s periodical Nü-Sheng (1942-45), which was supported by the Japanese military and Wang Jingwei’s puppet government, had a large proportion of contributing authors who were covert Communists.I found reports on a symposium held by Toshiko with Wan Mengwan and Li Yunbing, who were the chief director and the director of the Chinese Women’s Society of CI JIAN, respectively, which was part of Wang Jingwei’s puppet governmen. They contributed five articles to the early issues of Nü-Sheng. The symposium and two of these articles showed women’s passionate demand for a fuller role in society outside of the family, which was consistent with Toshiko’s advocacy of women’s rights. Their viewpoint differed from Toshiko’s in terms of whether women’s primary responsibility was home-making, and whether women taking a fuller part in society was a valid goal. Finally, in the symposium the two women’s role in Nü-Sheng and Toshiko’s attitude to them were discussed. This paper shows the consistent assertions about women’s rights that the female cadres of Wang Jingwei’s puppet government, who contributed to Nü-Sheng, shared with Toshiko, in spite of some differences between them. These findings show that there was harmony in diversity among contributors to Nü-Sheng and Toshiko in relation to giving voice to the case for women’s rights.
{"title":"The Role of the Contributing Authors Wan Mengwan and Li Yunbing, from the Chinese Women’s Society of CI JIAN, in Tamura (Satō) Toshiko’s periodical Nü-Sheng","authors":"Caiyun Zhu","doi":"10.22628/bcjjl.2022.14.1.15","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.15","url":null,"abstract":"It is known that Tamura Toshiko’s periodical Nü-Sheng (1942-45), which was supported by the Japanese military and Wang Jingwei’s puppet government, had a large proportion of contributing authors who were covert Communists.I found reports on a symposium held by Toshiko with Wan Mengwan and Li Yunbing, who were the chief director and the director of the Chinese Women’s Society of CI JIAN, respectively, which was part of Wang Jingwei’s puppet governmen. They contributed five articles to the early issues of Nü-Sheng. The symposium and two of these articles showed women’s passionate demand for a fuller role in society outside of the family, which was consistent with Toshiko’s advocacy of women’s rights. Their viewpoint differed from Toshiko’s in terms of whether women’s primary responsibility was home-making, and whether women taking a fuller part in society was a valid goal. Finally, in the symposium the two women’s role in Nü-Sheng and Toshiko’s attitude to them were discussed. This paper shows the consistent assertions about women’s rights that the female cadres of Wang Jingwei’s puppet government, who contributed to Nü-Sheng, shared with Toshiko, in spite of some differences between them. These findings show that there was harmony in diversity among contributors to Nü-Sheng and Toshiko in relation to giving voice to the case for women’s rights.","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":"75101115","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.2022.14.1.177
Kenji Oba
This paper is an investigation of “Techno-Orientalism” in postmodern Japanese and global cultural genres and subcultures since the 1980s. It concentrates on the representation of the diaspora from East Asia in the film Swallowtail Butterfly (1996), directed by Iwai Shunji (1963-). This film criticized the expansion of neoliberalism after the collapse of the “Bubble Economy” in the years 1986 to 1991 from the perspective of the diaspora, suggesting a path for the reconsideration of the connection between postmodernism and global capitalism in 1980s Japan. A postmodern genre formed in which urban space in Japan was represented as “Techno-Orientalist”, in works such as Blade Runner (1982) by Sir Ridley Scott (1937-), Akira (1988) by Otomo Katsuhiro (1954-), and Ghost in the Shell (1995) by Oshii Mamoru (1951-). Oriental “Techno Pop” music by Sakamoto Ryuichi (1952-) was also produced in the same context, and it is possible to discuss Iwai Shunji’s Swallowtail Butterfly in this context. The most important point of this movie is that Japanese actors played the roles of those who were part of the diaspora from East Asia, and they speak “Fake Chinese” and “Fake English.” This paper discusses these fake and creole languages through the prism of the theory of “Minor Literature” elaborated by Gilles Deleuze (1925-1995) and Pierre-Félix Guattari (1930-1992).
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Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.31
XiangHua Jin
Akutagawa Ryunosuke’s later story “Spring Nights” (“Bungei Shunju”), published in September 1926, is a work that has not been much discussed. During his stay in his wife’s parents’ house in Kugenuma in 1926, from June 8th to the end of the month, he received the said material from the nurse who accompanied him. In previous interpretative studies of this work, it has been perceived that the theme of the “Shadow of Death” represents creeping melancholy. However, the main focus of this work is the “strangeness” of the experience which Ms. N talked about. In other words, it seems that the author’s aim was to create a mystery that could not be interpreted on the basis of knowledge of natural science. Therefore, in this light, I would like to attempt a new reading of “Spring Nights” in this article.
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Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.191
Seong-Cheol Park
Kim Chang-saeng’s novel “Kaze no Koe” tells the story of a twin sister who flees Jeju and smuggles herself into Japan. In a sense, women from Jeju Island who live in Japan constitute a diaspora based on two pillars, Japan and Jeju Island. They have survived many hardships such as patriarchal discrimination against women, ethnic discrimination in Japanese society, and the sacrifices made during the Jeju uprising.The novel “Kaze no Koe” can serve as an illustration of how women in this diaspora are searching for their identity in this day and age, even as they are passing away over time.Therefore, in light of Kim Chang-saeng’s novel “Kaze no Koe” this paper attempts to capture the lives of women who were forced to remain socially silent. This is because the novel is a clear testimony of Japan’s colonial rule and the Cold War structure of Japanese society, and I think it can help make it possible to heal the emotional wounds suffered by many at the hands of the state. In addition, the paper looks at the dynamics of the Jeju uprising.
金昌生的小说《Kaze no Koe》讲述了双胞胎姐妹逃离济州岛，偷渡到日本的故事。从某种意义上说，居住在日本的济州岛女性构成了以日本和济州岛两大支柱为基础的侨民。她们经历了父权主义对女性的歧视、日本社会的种族歧视、济州起义期间的牺牲等诸多苦难。小说《Kaze no Koe》可以作为一个例子，说明散居海外的女性如何在这个时代寻找自己的身份，即使她们随着时间的流逝而死去。因此，本文结合金昌生的小说《Kaze no Koe》，试图捕捉那些被迫保持社会沉默的女性的生活。这是因为这部小说是日本殖民统治和日本社会冷战结构的清晰见证，我认为它可以帮助治愈许多人在国家手中遭受的情感创伤。此外，本文还研究了济州起义的动态。
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Pub Date : 2022-06-28DOI: 10.22628/bcjjl.2022.14.1.8
Satoru Miyasaka
Humanity has suffered the onslaught of several pandemics in the past, which have left many painful scars in human history. Likewise, the Covid pandemic has brought about various changes in the world. The ‘division’ of ‘meeting’ produces new results. The establishment of the International Akutagawa Ryunosuke Association (ISAS), and the changed perspective of Akutagawa Ryunosuke during a previous pandemic, are examples of this.100 years ago, Akutagawa Ryunosuke suffered from Spanish Flu, and lost his family to the disease while his friends also became ill. In the midst of the pandemic that is sweeping the world today, we can gain a new perspective by focusing on the pandemic 100 years ago and by examining Akutagawa’s reaction to it. His view on his own life and on his family deepened after the experience of that pandemic.Even from a distance we can sense the pain caused by the epidemic 100 years ago, in this way drawing closer to the hidden facts of that time. This reveals to us that, now that the end of the current pandemic is starting to look like a forlorn prospect, a novel landscape may also form before our eyes.
{"title":"A Novel Landscape in the Wake of Pandemic ：The Establishment of the International Akutagawa Ryunosuke Society (ISAS), and Akutagawa Ryunosuke’s Transformation","authors":"Satoru Miyasaka","doi":"10.22628/bcjjl.2022.14.1.8","DOIUrl":"https://doi.org/10.22628/bcjjl.2022.14.1.8","url":null,"abstract":"Humanity has suffered the onslaught of several pandemics in the past, which have left many painful scars in human history. Likewise, the Covid pandemic has brought about various changes in the world. The ‘division’ of ‘meeting’ produces new results. The establishment of the International Akutagawa Ryunosuke Association (ISAS), and the changed perspective of Akutagawa Ryunosuke during a previous pandemic, are examples of this.100 years ago, Akutagawa Ryunosuke suffered from Spanish Flu, and lost his family to the disease while his friends also became ill. In the midst of the pandemic that is sweeping the world today, we can gain a new perspective by focusing on the pandemic 100 years ago and by examining Akutagawa’s reaction to it. His view on his own life and on his family deepened after the experience of that pandemic.Even from a distance we can sense the pain caused by the epidemic 100 years ago, in this way drawing closer to the hidden facts of that time. This reveals to us that, now that the end of the current pandemic is starting to look like a forlorn prospect, a novel landscape may also form before our eyes.","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":"83833980","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.2022.14.1.159
Tao Lin
Togennite by Mushanokouji Saneatsu is a short three-act play that was first performed in September 1923.Only one year later in November 1924, the play was translated into Chinese by Tianhan and later performed by Shanghai Shinyou Xueshe’s Aimeidi Troupe in 1927 and 1930, and by the Nanguo Troupe in 1931. In addition, in 1938 Aying, a renowned modern Chinese critic and playwright, rewrote the play based on Tianhan’s translation, and entitled the resulting text Tokagen, and put it on stage with the Shanghai Dazhong Troupe in 1940.This paper focuses on Aying’s adaptation and makes a detailed comparison of Tokagen with the original Togennite in order to examine the ways in which it was rewritten. Moreover, in relation to why it was rewritten in precisely this way it discusses the reception and transformation of Togennite in China in connection with the social views and activities of the author A Ying, while considering the wartime historical background of the latter half of the 1930s. Finally, the paper concludes with a discussion of the status of A Ying’s adaptation Tokagen and Saneatsu’s Togennite in China.
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Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.139
Fitri Puspita Dewi
This paper focuses on Hayashi Fumiko’s short story “Borneo Daiya” which is written based on her experiences in Borneo in 1943. Through stories about Japanese people who were sent to Borneo during the wartime such as Ianfu (Comfort Women) and Civilian Army, Fumiko raises the reality of Japanese Colonialization in Borneo -as the land of Japanese occupation- and its reflection into Japan itself. By exploring the meaning of the diamonds mined in Borneo for each character, this study analyze how these diamonds represent the realities of Japanese Colonialism in Borneo and examine the author’s motives in writing about this theme.In the first section, this study considers the importance of geographical aspects of the novel. In the second section it examines the relationship between Hayashi Fumiko and Borneo. In the third section there is an analysis of the significance of the platonic love between Manabe and Tamae, which emerges in the shadow of the Japanese colonization of South Borneo. In the fourth section, this study illustrates the form of pseudo-patriotism that Manabe’s wife displays in offering the diamond to the government. In the fifth section, this study investigates how Tamae’s body is represented as being analagous to the diamonds themselves from a colonialist point of view. Lastly, this study discusses the author’s closeness to Borneo and the island’s significance for Hayashi Fumiko.
{"title":"A Study of Hayashi Fumiko “Borneo Daiya”：The Multiple Faces of Borneo","authors":"Fitri Puspita Dewi","doi":"10.22628/bcjjl.2021.13.1.139","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.139","url":null,"abstract":"This paper focuses on Hayashi Fumiko’s short story “Borneo Daiya” which is written based on her experiences in Borneo in 1943. Through stories about Japanese people who were sent to Borneo during the wartime such as Ianfu (Comfort Women) and Civilian Army, Fumiko raises the reality of Japanese Colonialization in Borneo -as the land of Japanese occupation- and its reflection into Japan itself. By exploring the meaning of the diamonds mined in Borneo for each character, this study analyze how these diamonds represent the realities of Japanese Colonialism in Borneo and examine the author’s motives in writing about this theme.In the first section, this study considers the importance of geographical aspects of the novel. In the second section it examines the relationship between Hayashi Fumiko and Borneo. In the third section there is an analysis of the significance of the platonic love between Manabe and Tamae, which emerges in the shadow of the Japanese colonization of South Borneo. In the fourth section, this study illustrates the form of pseudo-patriotism that Manabe’s wife displays in offering the diamond to the government. In the fifth section, this study investigates how Tamae’s body is represented as being analagous to the diamonds themselves from a colonialist point of view. Lastly, this study discusses the author’s closeness to Borneo and the island’s significance for Hayashi Fumiko.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73963326","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}
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