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Ghost in the Well: The Hidden History of Horror Films in Japan 井里的鬼:日本恐怖电影的隐藏历史
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-04 DOI: 10.1080/10371397.2022.2108778
T. Iles
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引用次数: 0
Spirit of Place: Zeami’s Tōru and the Poetic Manifestation of Mugen 场所精神:泽米的Tōru与穆根的诗意表现
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-04 DOI: 10.1080/10371397.2022.2101991
Daryl Jamieson
Abstract Zeami Motokiyo was one of nō’s most important theorists and practitioners, and mugen nō one of his most sophisticated innovations. Using the play Tōru as a model, this article explores how Zeami’s nō utilised waka theory and Buddhist aesthetics that were current in his time. I will particularly focus on his use of utamakura, a poetic device of intertextual allusion via place names. In the second part of the article I will analyse Tōru’s text and music through the lens of Kyoto School philosopher Ueda Shizuteru’s theory of language. In positioning poetic spirits of place on stage, Zeami shows the power of language to manifest something like conventional reality. When watching mugen nō, the music and poetry combine to create a place wherein the audience shares the aesthetic-spiritual experience of the spirit of place manifesting in our communal mind. His staging of the opening up of the hollow expanse is the beauty of Zeami’s art.
摘要元木泽美是日本最重要的理论家和实践者之一,而木根是他最复杂的创新之一。本文以戏剧《Tōru》为范本,探讨泽米的《nō;》如何运用他那个时代流行的和合理论和佛教美学。我将特别关注他对utamakura的使用,这是一种通过地名互文典故的诗意手段。本文的第二部分将从京都学派哲学家上田静人的语言理论的角度来分析汤的文本和音乐。在舞台上对诗歌精神的定位上,泽米展示了语言的力量来表现某种传统的现实。在观看mugen nō时,音乐和诗歌结合在一起,创造了一个让观众分享地方精神在我们共同心灵中体现的审美精神体验的地方。他对空旷地带的开放是泽米艺术之美。
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引用次数: 0
Desire and the Construction of Masculine Identities Among Young Japanese Men with International Experiences 具有国际经验的日本青年男性欲望与男性身份建构
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-04 DOI: 10.1080/10371397.2022.2108776
E. Williams
Abstract This article uses qualitative interview data to analyse how young Japanese men with international experience spoke about (un)desirable masculine identities in relation to their sojourns. Specifically, this study investigates how ideas of desire and akogare (longing for something unattainable) were integral in the construction of ethno-national Japanese heterosexual male identities. By analysing intersections of race, ethnicity, gender, language and desire, this study argues that many participants perceived a hierarchy of desire abroad that elevated Western notions of hegemonic masculinity while simultaneously marginalizing heterosexual Asian masculinity. This was further complicated by participants who viewed host community women (who were often described as white native English speakers) as embodying ideal femininity. Japanese men’s subordinate masculinity was viewed as a barrier to romantic access to host community women, although for many participants, this group of women were seen as desirable romantic partners. This study also presents the stories of a small group of men who resisted marginalized masculine identities through criticism of the women in their host communities by assigning them a deviant femininity. This article illustrates how romantic desire can be used as a lens to analyse how Japanese male returned sojourners may replicate and challenge racial and gendered power structures.
摘要本文使用定性访谈数据来分析具有国际经验的日本年轻男性在旅居期间如何谈论(不)理想的男性身份。具体而言,本研究调查了欲望和akogare(渴望无法实现的东西)的观念是如何在日本异性恋男性身份的构建中不可或缺的。通过分析种族、民族、性别、语言和欲望的交叉点,这项研究认为,许多参与者在国外感受到了一种欲望等级制度,这种制度提升了西方霸权男子气概的观念,同时也边缘化了异性恋亚洲男子气概。参与者认为东道社区的女性(通常被描述为以英语为母语的白人)体现了理想的女性气质,这使情况变得更加复杂。日本男性的从属男性气质被视为与寄宿社区女性浪漫接触的障碍,尽管对许多参与者来说,这群女性被视为理想的浪漫伴侣。这项研究还讲述了一小群男性的故事,他们通过批评所在社区的女性,赋予她们越轨的女性气质,抵制边缘化的男性身份。本文阐述了浪漫欲望如何被用作分析日本男性旅居者如何复制和挑战种族和性别权力结构的镜头。
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引用次数: 1
Falling in and Out of Love with Stuff: Affective Affordance and Horizontal Transcendence in Styles of Decluttering in Japan 对物品的爱与不爱:日本整理风格的情感赋能与横向超越
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-04 DOI: 10.1080/10371397.2022.2108777
F. Gygi
Abstract The last decade has seen the rise of Japanese methods of decluttering, adding everyday stuff to the increasing number of things that the modern subject must manage to gain a sense of wellbeing. This article examines Danshari by Yamashita Hideko and the Konmari method by Kondō Marie. Using the ‘affective affordances’ of objects as an analytic lens, I will argue that paying attention to everyday practices of decluttering reveals a close connection between material landscapes, gendered subjectivities and competing ethics of personhood. These connections only become visible when we put the decluttering methods in the context of the gendered expectations regarding attachment towards objects and their care in domestic work. Objects serve as an integral part of the affective regulation of everyday life; their careful or wasteful treatment is closely linked with ethical consumption and moral personhood. Attachments to objects and injunctions against wastefulness make ridding a morally fraught task. By contrasting a close reading of the two methods with insights gained from fieldwork on everyday disposal, I will trace the ways in which affect is mobilized in order to get rid of things and put this in the broader context of consumer capitalism in twenty-first century Japan.
摘要在过去的十年里,日本的清理方法兴起了,在现代主体必须设法获得幸福感的越来越多的东西中添加日常用品。本文考察了山下秀子的丹砂法和近藤麻利的近藤麻里法。利用物体的“情感可供性”作为分析视角,我认为,关注日常清理实践揭示了物质景观、性别主观主义和人格竞争伦理之间的密切联系。只有当我们把清理方法放在家庭工作中对物体的依恋和照顾的性别期望的背景下时,这些联系才会显现出来。物体是日常生活情感调节的组成部分;对待他们的谨慎或浪费与道德消费和道德人格密切相关。对物品的依恋和对浪费的禁令使消除垃圾成为一项道德上令人担忧的任务。通过将这两种方法的细读与从日常处理的实地调查中获得的见解进行对比,我将追溯情感被调动以摆脱事物的方式,并将其放在21世纪日本消费资本主义的更广泛背景下。
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引用次数: 0
From Country to Nation: Ethnographic Studies, Kokugaku, and Spirits in Nineteenth-Century Japan 从国家到国家:19世纪日本的民族志研究、国乐和精神
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-04 DOI: 10.1080/10371397.2022.2096582
W. Puck Brecher
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引用次数: 0
Techno-Tradition: A Foray into Technology-Integrated Traditional Japanese Theatre 技术-传统:技术融合的日本传统戏剧的探索
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-04 DOI: 10.1080/10371397.2022.2092462
Lim Beng Choo, Julie A. Iezzi
Abstract Traditional Japanese theatre is a broad category that usually refers to noh, kyōgen, kabuki and bunraku. These genres formed from the fourteenth through seventeenth centuries, and are still regularly performed. Despite the many significant roles of technologies in these genres today, their increasing presence in the genres and myriad manifestations are seldom discussed. This article is an initial examination of the presence and significance of new technologies and new media in the traditional Japanese theatre ecology, focusing on developments in the past two decades including the staging of a ‘fusion noh’ with holograms as performers, to the later kabuki and bunraku plays performed with vocaloid, as well as Virtual Reality noh. By examining select case studies and focusing on the technological aspects of traditional theatre, we hope to bring focus to a critical development in traditional Japanese theatre and open further discussions about this phenomenon. We also wish to widen discussions regarding the parameters delineating what constitutes ‘traditional’ when speaking of Japanese theatre genres.
日本传统戏剧是一个宽泛的范畴,通常指能剧、kyōgen、歌舞伎和文乐。这些流派形成于14世纪到17世纪,并且仍然定期演出。尽管今天技术在这些类型中扮演着许多重要的角色,但它们在类型和无数表现形式中日益增加的存在却很少被讨论。本文是对新技术和新媒体在日本传统戏剧生态中的存在和意义的初步考察,重点关注过去二十年的发展,包括以全息图为表演者的“融合能”的舞台表演,到后来用声乐表演的歌舞伎和文乐戏剧,以及虚拟现实能。通过研究选定的案例研究和关注传统戏剧的技术方面,我们希望将重点放在日本传统戏剧的关键发展上,并就这一现象展开进一步的讨论。我们还希望扩大讨论,当谈到日本戏剧类型时,描述什么是“传统”的参数。
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引用次数: 0
Four Years in a Red Coat: The Loveday Internment Camp Diary of Miyakatsu Koike 穿红衣的四年:小池宫松的爱情集中营日记
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-04 DOI: 10.1080/10371397.2022.2108779
R. Ward
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引用次数: 0
Isolation and Solidarity: Doing Japanese Studies at an International College in South Korea during the 2020 COVID-19 Outbreak 隔离与团结:在2020年COVID-19疫情期间在韩国一所国际学院进行日本研究
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-05-03 DOI: 10.1080/10371397.2022.2072822
Tomoko Seto
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引用次数: 0
‘Ojisan gokko shiyo! [Let’s pretend to be old men!]’: Contested Graphic Ideologies in Japanese Online Language Play Ojisan gokko shiyo!让我们假扮成老人吧!日本网络语言游戏中存在争议的图像意识形态
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-01-02 DOI: 10.1080/10371397.2021.2020087
W. Robertson
ABSTRACT This article examines how social beliefs about language use and users influence writing-restricted variation in contemporary Japan by analyzing ojisan gokko (‘impersonating middle-aged men’), a practice where young Japanese women playfully message each other as though they were lecherous men. While the production of a stylized ojisan voice during ojisan gokko involves many traditional Japanese indexes (markers) of ‘male’ language, it also relies prominently on particular uses of script, emoji, kaomoji, and punctuation, ultimately creating a form of mocking which is bound to the written mode. Using indexicality as a framework, the article analyses 195 screenshots of ojisan gokko acts shared on Twitter to establish which writing-restrict forms are key to the practice, and examines the multiple social motives and origins behind these forms. Ultimately, ojisan gokko is noted to involve a complex interplay of variants traditionally linked to distinct social groups, with this combined use traced to a series of Japanese social actors observing, imitating, discussing, or parodying how others write. Consequently, ojisan gokko shows that writing-restricted variation can be highly motivated by social concerns, ideologies, and conflicts, including the desire to establish, contest, and modify which identities and forms of language use are appropriate or ‘cool’.
本文通过分析“假扮中年男子”(ojisan gokko)——一种年轻日本女性互相开玩笑地发信息的做法,就好像她们是好色的男人一样——来研究关于语言使用和使用者的社会观念如何影响当代日本写作限制的变化。虽然在“男声”过程中,一种程式化的“男声”声音的产生涉及到许多日本传统的“男性”语言指标(标记),但它也明显依赖于脚本、表情符号、kaomoji和标点符号的特殊使用,最终创造出一种与书面模式相结合的嘲弄形式。本文以索引性为框架,分析了195张在Twitter上分享的ojisan gokko行为截图,以确定哪些写作限制形式是这种实践的关键,并考察了这些形式背后的多重社会动机和起源。最后,ojisan gokko被注意到涉及到传统上与不同社会群体相关的变体的复杂相互作用,这种综合使用可以追溯到一系列日本社会行动者观察、模仿、讨论或模仿他人的写作方式。因此,ojisan gokko表明,受写作限制的变异可能受到社会关注、意识形态和冲突的高度激励,包括建立、竞争和修改哪些身份和语言使用形式是合适的或“酷”的愿望。
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引用次数: 1
Introduction to Special Issue on Writing-Restricted Variation in Japanese 日语限定变体写作特刊简介
IF 0.5 Q3 AREA STUDIES Pub Date : 2022-01-02 DOI: 10.1080/10371397.2022.2043737
W. Robertson, T. Mihic
This special issue is a cross-disciplinary examination into the social concerns and motivations behind writing-restricted variation (that is, script, punctuation, emoji, and other features that are ‘lost’ if a text is read aloud) in contemporary written Japanese. By necessity, generalist introductions to written Japanese tend to describe its simultaneous use of multiple scripts as a complex but ultimately regular peculiarity. However, once we dive into the reality of contemporary written Japanese, it becomes clear that descriptions of Japanese writing norms as static rules are problematic. A quick trip to a local store is all that is required to encounter loan words like kōhī (coffee) or bīru (beer), normatively the exclusive domain of katakana, written in hiragana or kanji (Kunert, 2020; Robertson, 2021). Scanning billboards, shop names, manga dialogue, or television teroppu (‘sub-titles’) will similarly lead to encounters with wordplay employing formally ‘incorrect’ uses of kanji, or instances of native vocabulary written in katakana or the Roman alphabet (Maree, 2015; Robertson, 2017; Tranter, 2008). Even in ‘formal’ texts one can easily find common terms like isu (chair) or megane (glasses) written in distinct scripts across a single document (Joyce, Hodošček & Nishina, 2012), and attention to newer digital spaces will quickly bring about encounters with additional forms of writing-restricted variation like emoji (digital artefacts like ) and kaomoji (vertically oriented emoticons like (^_^) and . Indeed, as the articles in this special issue show, in contemporary Japan it is hard to read a novel, send a text message, play a video game, or even visit a shrine without seeing writing that contains contrasting, creative, or formally nonstandard ways of representing Japanese. Certainly, the study of writing-restricted variation in Japanese is not new. Research on variant script use dates back to the 1950s
这期特刊是对当代日语书面语中书写限制变异(即大声朗读文本时“丢失”的脚本、标点、表情符号和其他特征)背后的社会关注和动机的跨学科研究。出于必要,通才对书面日语的介绍倾向于将其同时使用多种文字描述为一种复杂但最终有规律的特性。然而,一旦我们深入到当代书面日语的现实中,就会清楚地发现,将日语书写规范描述为静态规则是有问题的。只要去当地的商店逛一逛,就能遇到像kōhī(咖啡)或bubru(啤酒)这样的外来词,它们通常是片假名的专属领域,用平假名或汉字书写(Kunert, 2020;罗伯逊,2021)。扫描广告牌、商店名称、漫画对话或电视字幕(“副标题”)同样会导致遇到使用正式“错误”使用汉字的文字游戏,或用片假名或罗马字母书写的本地词汇实例(Maree, 2015;罗伯逊,2017;流动商贩,2008)。即使在“正式”文本中,人们也可以很容易地发现isu(椅子)或megane(眼镜)等常见术语在单个文档中以不同的文字书写(Joyce, Hodošček & Nishina, 2012),并且对较新的数字空间的关注将很快带来其他形式的书写限制变体,如emoji(数字人工制品)和kaomoji(垂直方向的表情符号,如(^_^)和。事实上,正如本期特刊的文章所显示的那样,在当代日本,阅读小说、发短信、玩电子游戏,甚至参拜神社,都很难不看到那些包含对比鲜明、富有创造性或形式上非标准的日语表达方式的文字。当然,对日语写作限制变异的研究并不新鲜。对变体文字使用的研究可以追溯到20世纪50年代
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Japanese Studies
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