Pub Date : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.123
Tatsuya Kageki
It is widely known that in his two novels, “At the Guidepost at the End of the Road” (1948) and “The Wall – The Crime of S. Karma” (1951), Abe Kobo depicted the main characters’ anguish after the Japanese defeat in the Asia-Pacific war as the result of “meaninglessness”. He came to this perspective on the basis of struggling with this feeling in his own life. This article analyzes the female Japanese characters, who form a contrast with the main male Japanese characters, in order to explore the question of why this sense of meaninglessness came about. In these novels, Japanese female characters are represented as those who cure the distress men feel because of the latter’s awareness of their responsibility for the aggressive war that took place, and because of their hedonic enjoyment of the liberated society after the war, which these male characters experience as “meaningful” as it allows them to not reflect on the war. The contrasting women characters reflect the social conditions at the time the story was written. Japanese women were not accused of war crimes, nor were they responsible for the subordinate female gender roles which persisted before the war. As a result, the female characters are free of the sense of meaninglessness, and they form a contrast with Japanese male characters who feel anguish at their awareness of their responsibility for the war, and their resultant sense of meaninglessness.
{"title":"Men from Manchuria and Women in Japan after the Asia-Pacific War：The Meaning of “Meaninglessness” in Abe Kobo’s Two “The Wall” Novels","authors":"Tatsuya Kageki","doi":"10.22628/bcjjl.2021.13.1.123","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.123","url":null,"abstract":"It is widely known that in his two novels, “At the Guidepost at the End of the Road” (1948) and “The Wall – The Crime of S. Karma” (1951), Abe Kobo depicted the main characters’ anguish after the Japanese defeat in the Asia-Pacific war as the result of “meaninglessness”. He came to this perspective on the basis of struggling with this feeling in his own life. This article analyzes the female Japanese characters, who form a contrast with the main male Japanese characters, in order to explore the question of why this sense of meaninglessness came about. In these novels, Japanese female characters are represented as those who cure the distress men feel because of the latter’s awareness of their responsibility for the aggressive war that took place, and because of their hedonic enjoyment of the liberated society after the war, which these male characters experience as “meaningful” as it allows them to not reflect on the war. The contrasting women characters reflect the social conditions at the time the story was written. Japanese women were not accused of war crimes, nor were they responsible for the subordinate female gender roles which persisted before the war. As a result, the female characters are free of the sense of meaninglessness, and they form a contrast with Japanese male characters who feel anguish at their awareness of their responsibility for the war, and their resultant sense of meaninglessness.","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":"88400011","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 : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.105
Xian-qiao Jin
Akutagawa Ryunosuke’s “Shigo” depicts ‘my’ afterlife as a return to the real world through a dream to meet ‘my’ remarried wife and friend S. Typically, “Shigo” has been read as an illustration of Freud’s theory that a dream is the fulfillment of desires and a passage to the unconscious. Therefore, in relation to this novel the focus has been on ‘my’ dream, not on ‘me’. However, as you can guess from the title of the work “Shigo”, which means “After Death”, the author’s main focus is not only the dream world, but also ‘my’ existence after death. It seems that the world of the afterlife has not yet been sufficiently considered in relation to the novel. For example, there is the question of why ‘my’ wife and friend S treat ‘me’ in the usual way, even while they recognize that ‘I’ have died. Ultimately, the question of why the dream is used to depict the afterlife has not yet been clarified. Therefore, in this paper, I will attempt a new reading of this work by re-examining the details of the dream world and the posthumous world of ‘me’, which have not been fully discussed in previous analysis.
{"title":"A Study of Akutagawa Ryunosuke’s “Shigo”：Focused on ‘my’ Afterlife in the World of the Dream","authors":"Xian-qiao Jin","doi":"10.22628/bcjjl.2021.13.1.105","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.105","url":null,"abstract":"Akutagawa Ryunosuke’s “Shigo” depicts ‘my’ afterlife as a return to the real world through a dream to meet ‘my’ remarried wife and friend S. Typically, “Shigo” has been read as an illustration of Freud’s theory that a dream is the fulfillment of desires and a passage to the unconscious. Therefore, in relation to this novel the focus has been on ‘my’ dream, not on ‘me’. However, as you can guess from the title of the work “Shigo”, which means “After Death”, the author’s main focus is not only the dream world, but also ‘my’ existence after death. It seems that the world of the afterlife has not yet been sufficiently considered in relation to the novel. For example, there is the question of why ‘my’ wife and friend S treat ‘me’ in the usual way, even while they recognize that ‘I’ have died. Ultimately, the question of why the dream is used to depict the afterlife has not yet been clarified. Therefore, in this paper, I will attempt a new reading of this work by re-examining the details of the dream world and the posthumous world of ‘me’, which have not been fully discussed in previous analysis.","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":"85492150","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 : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.39
Jae-jin Yu
This paper gives an overview of the reception of translated Japanese detective novels in South Korea from 1945 to 2021. The resulting analysis of the impact and characteristics of these translations, in the context of changes in Korean publishing and in popular culture, explains the popularity of Japanese detective novels in South Korea, and the significance of the still-current Japanese detective novel boom. Previously I have analyzed the reception of translated Japanese detective novels in South Korea from 1945 to 2009, so in this article, I will continue this analysis for the period up to 2021.The translation and publication of Japanese detective novels in South Korea began in 1961, and the number of such texts increased little by little every year until the end of the 20th century. Then, in the 2000s, the number of translations increased sharply, and since the beginning of the 2010s, detective novels have been translated and published at nearly three times the rate as was previously the case. The popularity of Japanese detective novels in South Korea has been influenced by the prevailing circumstances in the publishing world and by political and social conditions in South Korea. In addition, detective novels with a social dimension were popular from the 1960s to the 1980s, but since 1990 when they began to make an impact on mass consumer culture, more diverse detective novels and those with lighter themes have come to the fore. Finally, the unprecedented Japanese detective novel boom Korea is experiencing is due to the appearance of star writers such as Keigo Higashino and Miyuki Miyabe. This boom seems to have cultivated a more refined sense in Korean readers of the aesthetics of detective novels, and it has also been naturally influenced by the mystery narrative form in Korean popular culture.
{"title":"The Popularity of Japanese Mystery Novels in South Korea ：The Traslation Status from1945 to the 2010s","authors":"Jae-jin Yu","doi":"10.22628/bcjjl.2021.13.1.39","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.39","url":null,"abstract":"This paper gives an overview of the reception of translated Japanese detective novels in South Korea from 1945 to 2021. The resulting analysis of the impact and characteristics of these translations, in the context of changes in Korean publishing and in popular culture, explains the popularity of Japanese detective novels in South Korea, and the significance of the still-current Japanese detective novel boom. Previously I have analyzed the reception of translated Japanese detective novels in South Korea from 1945 to 2009, so in this article, I will continue this analysis for the period up to 2021.The translation and publication of Japanese detective novels in South Korea began in 1961, and the number of such texts increased little by little every year until the end of the 20th century. Then, in the 2000s, the number of translations increased sharply, and since the beginning of the 2010s, detective novels have been translated and published at nearly three times the rate as was previously the case. The popularity of Japanese detective novels in South Korea has been influenced by the prevailing circumstances in the publishing world and by political and social conditions in South Korea. In addition, detective novels with a social dimension were popular from the 1960s to the 1980s, but since 1990 when they began to make an impact on mass consumer culture, more diverse detective novels and those with lighter themes have come to the fore. Finally, the unprecedented Japanese detective novel boom Korea is experiencing is due to the appearance of star writers such as Keigo Higashino and Miyuki Miyabe. This boom seems to have cultivated a more refined sense in Korean readers of the aesthetics of detective novels, and it has also been naturally influenced by the mystery narrative form in Korean popular culture.","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":"90816172","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 : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.153
Seung-Kuk Kim
The Nanzan Institute for Religion and Culture in Nagoya, Japan, published Japanese Philosophy：A Sourcebook, which was translated into Korean and published by Bogosa in 2021 as 일본철학사상자료집 (Ilbon Cheolhak Sasangjaryo Chib). The translation was carried out through the cooperation of 19 Korean scholars who specialize in Japanese religion, philosophy, literature, and so on, who are mainly affiliated with Korea University’s Global Institute for Japanese Studies. We hope that this work will help many Koreans understand and access the sources of Japanese religious and philosophical thought.
{"title":"On the Korean translation of Japanese Philosophy：A Sourcebook","authors":"Seung-Kuk Kim","doi":"10.22628/bcjjl.2021.13.1.153","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.153","url":null,"abstract":"The Nanzan Institute for Religion and Culture in Nagoya, Japan, published Japanese Philosophy：A Sourcebook, which was translated into Korean and published by Bogosa in 2021 as 일본철학사상자료집 (Ilbon Cheolhak Sasangjaryo Chib). The translation was carried out through the cooperation of 19 Korean scholars who specialize in Japanese religion, philosophy, literature, and so on, who are mainly affiliated with Korea University’s Global Institute for Japanese Studies. We hope that this work will help many Koreans understand and access the sources of Japanese religious and philosophical thought.","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":"83667281","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 : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.75
Ranny Rastati
Sailor Moon is one of the most iconic classic anime for Indonesian audiences, especially the generation whose childhood was in the 90s. After more than two decades since its premiere, Sailor Moon still has loyal fans today. Although it has not been broadcast on Indonesian national television since the late 90s, the distribution of Sailor Moon products, both original and fake, still happen, such as clothes, bags, makeup, and knick-knacks. The question is, how does the Sailor Moon influence Indonesian girls in the 90s, so its popularity still lasts today? Based on observation and several in-depth interviews, this paper finds several arguments. First, Sailor Moon appears amid many male superheroes, giving an insight that female can be the hero of the world. Second, the audience finds the alter ego in the Sailor Moon character. Three, the values of Sailor Moon that provide understanding in shaping one’s character, such as friendship, the importance of teamwork, and pursue a dream. In addition, Sailor Moon also introduced several issues such as sexual orientation, gender identity, and portrayal of body image. Nevertheless, Sailor Moon is considered a “childhood friend,” which shapes a girl’s childhood dreams; believed that everyone can be anything and found “the moon power” in themselves.
{"title":"The Influence of Sailor Moon for Indonesian Girls in the 90s","authors":"Ranny Rastati","doi":"10.22628/bcjjl.2021.13.1.75","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.75","url":null,"abstract":"Sailor Moon is one of the most iconic classic anime for Indonesian audiences, especially the generation whose childhood was in the 90s. After more than two decades since its premiere, Sailor Moon still has loyal fans today. Although it has not been broadcast on Indonesian national television since the late 90s, the distribution of Sailor Moon products, both original and fake, still happen, such as clothes, bags, makeup, and knick-knacks. The question is, how does the Sailor Moon influence Indonesian girls in the 90s, so its popularity still lasts today? Based on observation and several in-depth interviews, this paper finds several arguments. First, Sailor Moon appears amid many male superheroes, giving an insight that female can be the hero of the world. Second, the audience finds the alter ego in the Sailor Moon character. Three, the values of Sailor Moon that provide understanding in shaping one’s character, such as friendship, the importance of teamwork, and pursue a dream. In addition, Sailor Moon also introduced several issues such as sexual orientation, gender identity, and portrayal of body image. Nevertheless, Sailor Moon is considered a “childhood friend,” which shapes a girl’s childhood dreams; believed that everyone can be anything and found “the moon power” in themselves.","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":"72380759","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 : 2021-12-30DOI: 10.22628/bcjjl.2021.13.1.15
Morio Yoshida
Southeast Asia as depicted in Japanese detective novels was not only a source of exotic mysteries, but also a space where complex histories and cultures were intertwined. One example is “Kaikyo Tenchikai”, written by Oguri Mushitaro, who stayed in Murray from 1941 to 1942. One feature of this work is that the people who solve the novel’s mystery are Iinuma, an apprentice doctor, and Kogure, a detective novelist and a member of the press. Their relationship is reminiscent of the one between Holmes and Watson, but the detective and the narrator are not clearly distinct, and in fact their voices gradually overlap. They are more like characters in spy novels than in detective novels. Another example of the genre is Yuki Shoji’s “Gomez no na ha Gomez”, in which a former Japanese soldier who assimilated into Vietnam appears, having not returned to Japan after the end of the war. Here, the theme of being a double agent overlaps with that of national betrayal. In one more example, a Japanese holdout from the end of the war living in Asia also appears in Matsumoto Seicho’s “Atsui Kinu”. Ultimately, the divergence between the ideal of the liberation of Asia, which was the cause of the Pacific War, and the reality brought about by the Japanese military invasion, casts a complex shadow over mysteries set in Southeast Asia.
在日本侦探小说中，东南亚不仅是异国神秘事件的发源地，也是复杂的历史和文化交织在一起的地方。1941年至1942年在默里居住的小栗武下太郎(Oguri Mushitaro)所写的《Kaikyo Tenchikai》就是一个例子。这部作品的一个特点是，解开小说谜团的人是见习医生井沼和侦探小说家兼媒体人小木一。他们的关系让人想起福尔摩斯和华生之间的关系，但侦探和叙述者并没有明显的区别，实际上他们的声音逐渐重叠。他们更像是间谍小说中的人物，而不是侦探小说中的人物。这一类型的另一个例子是正二由纪的《Gomez no na ha Gomez》，在这部电影中，一个被越南同化的前日本士兵出现了，他在战争结束后没有回到日本。在这里，双重间谍的主题与国家背叛的主题重叠。还有一个例子，一个战争结束后生活在亚洲的日本顽童也出现在松本清町的《Atsui Kinu》中。最终，导致太平洋战争的解放亚洲的理想与日本军事侵略带来的现实之间的分歧，给东南亚的神秘故事蒙上了复杂的阴影。
{"title":"Japanese Detective Novels and Southeast Asia","authors":"Morio Yoshida","doi":"10.22628/bcjjl.2021.13.1.15","DOIUrl":"https://doi.org/10.22628/bcjjl.2021.13.1.15","url":null,"abstract":"Southeast Asia as depicted in Japanese detective novels was not only a source of exotic mysteries, but also a space where complex histories and cultures were intertwined. One example is “Kaikyo Tenchikai”, written by Oguri Mushitaro, who stayed in Murray from 1941 to 1942. One feature of this work is that the people who solve the novel’s mystery are Iinuma, an apprentice doctor, and Kogure, a detective novelist and a member of the press. Their relationship is reminiscent of the one between Holmes and Watson, but the detective and the narrator are not clearly distinct, and in fact their voices gradually overlap. They are more like characters in spy novels than in detective novels. Another example of the genre is Yuki Shoji’s “Gomez no na ha Gomez”, in which a former Japanese soldier who assimilated into Vietnam appears, having not returned to Japan after the end of the war. Here, the theme of being a double agent overlaps with that of national betrayal. In one more example, a Japanese holdout from the end of the war living in Asia also appears in Matsumoto Seicho’s “Atsui Kinu”. Ultimately, the divergence between the ideal of the liberation of Asia, which was the cause of the Pacific War, and the reality brought about by the Japanese military invasion, casts a complex shadow over mysteries set in Southeast Asia.","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":"76442536","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 : 2020-12-28DOI: 10.22628/BCJJL.2020.11.1.101
I. S. Pratidina
{"title":"The Appetite for Revenge and Murder in Translation ：Japanese Mystery Novels and their Social Media Savvy Indonesian Readers","authors":"I. S. Pratidina","doi":"10.22628/BCJJL.2020.11.1.101","DOIUrl":"https://doi.org/10.22628/BCJJL.2020.11.1.101","url":null,"abstract":"","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79477947","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 : 2020-12-28DOI: 10.22628/BCJJL.2020.11.1.203
C. Tang
{"title":"Japan-China Relations and Conflicting Identities in The Son of Earth by Toyoko Yamasaki ：Focusing on the Character of Yixin Lu","authors":"C. Tang","doi":"10.22628/BCJJL.2020.11.1.203","DOIUrl":"https://doi.org/10.22628/BCJJL.2020.11.1.203","url":null,"abstract":"","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85724581","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 : 2020-12-28DOI: 10.22628/BCJJL.2020.11.1.57
Zhisong Wang
{"title":"The Translation of Japanese Literature in 1980s China ：Focusing on the Quarterly Magazine Japanese Literature","authors":"Zhisong Wang","doi":"10.22628/BCJJL.2020.11.1.57","DOIUrl":"https://doi.org/10.22628/BCJJL.2020.11.1.57","url":null,"abstract":"","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78108235","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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