Abstract:This article explores two works of fiction dealing with illness from the mid 2010s, a high-water mark for literature of this kind. Ogino Anna’s “Nue” and Yamauchi Reinan’s The Spirit of Cancer (Gan damashi) both were published in Bungakukai and both focus on living with cancer. In contrast to nonfiction accounts of illness (tōbyōki), these fictional treatments of cancer employ a variety of literary devices, including fantasy, metaphor, and nonlinear narrative. I argue that reading Ogino’s and Yamauchi’s works together allows us to see the role of illness—and cancer in particular—as lived experience, imagined presence, and artistic vehicle in twenty-first century Japan.
{"title":"Plotting Illness: Cancer in Ogino Anna’s “Nue” and Yamauchi Reinan’s The Spirit of Cancer / がん闘病者のフィクションについて語る： 荻野アンナ「鵺」と山内令南の闘病記「癌だましい」","authors":"Amanda. C. Seaman","doi":"10.1353/jwj.2020.0006","DOIUrl":"https://doi.org/10.1353/jwj.2020.0006","url":null,"abstract":"Abstract:This article explores two works of fiction dealing with illness from the mid 2010s, a high-water mark for literature of this kind. Ogino Anna’s “Nue” and Yamauchi Reinan’s The Spirit of Cancer (Gan damashi) both were published in Bungakukai and both focus on living with cancer. In contrast to nonfiction accounts of illness (tōbyōki), these fictional treatments of cancer employ a variety of literary devices, including fantasy, metaphor, and nonlinear narrative. I argue that reading Ogino’s and Yamauchi’s works together allows us to see the role of illness—and cancer in particular—as lived experience, imagined presence, and artistic vehicle in twenty-first century Japan.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"28 1","pages":"1 - 20"},"PeriodicalIF":0.0,"publicationDate":"2021-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79120847","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}
Translator’s Note Ogino Anna (born 1956) is a fiction writer, critic, and professor of French literature at Keio University. She received the Akutagawa Prize in 1991 for her short story “Water on One’s Back” (Seioiri mizu); since then, she has published numerous stories, novels, and other works, including The Crab, He, and I (Kani to kare to watashi, 2007), a tour de force of parody and trauma chronicling her partner’s struggle with, and eventual death from, cancer. The story translated here, “Nue,” first appeared in the literary journal Bungakukai (World of Literature) in May 2015, and subsequently was included in her 2017 story collection The River of Cassis (Kashisugawa). The unnamed narrator of “Nue,” in recovery from cancer surgery and in the early days of chemotherapy, lives in Yokohama, leaving the city only rarely. In addition to her own illness, the protagonist must deal with a querulous elderly mother who demands her attention, nags her, criticizes the food she diligently prepares, and demeans her for being ill. Here, as in other of her works, Ogino addresses the themes of liminality and hybridity, portraying a middle-aged woman who is sick yet also healthy, a patient yet also a caregiver, a mother in many ways to her own mother. This fluidity is emblematized by the slippage of verb tenses in Ogino’s
荻野安娜(生于1956年)，小说家、评论家，庆应义塾大学法国文学教授。1991年，她凭借短篇小说《背上的水》(Seioiri mizu)获得芥川奖;从那以后，她发表了许多故事、小说和其他作品，包括《蟹、他和我》(Kani to kare to watashi, 2007)，这是一部模仿和创伤的杰作，记录了她的伴侣与癌症的斗争，最终死于癌症。《nuue》于2015年5月首次发表在文学杂志《文学世界》上，并于2017年被收录在她的故事集《卡西斯河》(鹿川)中。《Nue》的无名叙述者，在癌症手术和化疗的早期恢复期，住在横滨，很少离开这座城市。除了她自己的疾病之外，主人公还必须应对一位爱抱怨的老母亲，她要求她注意，唠叨她，批评她努力准备的食物，并贬低她生病。在这里，和她的其他作品一样，尾野纪子探讨了界限性和杂糅性的主题，描绘了一个生病却又健康的中年妇女，一个病人却又一个照顾者，在许多方面对她自己的母亲来说是一个母亲。这种流动性的象征是在荻野的动词时态的滑移
{"title":"Nue / 鵺","authors":"O. Anna, Amanda Seaman 荻野アンナ","doi":"10.1353/jwj.2020.0007","DOIUrl":"https://doi.org/10.1353/jwj.2020.0007","url":null,"abstract":"Translator’s Note Ogino Anna (born 1956) is a fiction writer, critic, and professor of French literature at Keio University. She received the Akutagawa Prize in 1991 for her short story “Water on One’s Back” (Seioiri mizu); since then, she has published numerous stories, novels, and other works, including The Crab, He, and I (Kani to kare to watashi, 2007), a tour de force of parody and trauma chronicling her partner’s struggle with, and eventual death from, cancer. The story translated here, “Nue,” first appeared in the literary journal Bungakukai (World of Literature) in May 2015, and subsequently was included in her 2017 story collection The River of Cassis (Kashisugawa). The unnamed narrator of “Nue,” in recovery from cancer surgery and in the early days of chemotherapy, lives in Yokohama, leaving the city only rarely. In addition to her own illness, the protagonist must deal with a querulous elderly mother who demands her attention, nags her, criticizes the food she diligently prepares, and demeans her for being ill. Here, as in other of her works, Ogino addresses the themes of liminality and hybridity, portraying a middle-aged woman who is sick yet also healthy, a patient yet also a caregiver, a mother in many ways to her own mother. This fluidity is emblematized by the slippage of verb tenses in Ogino’s","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"44 1","pages":"21 - 34"},"PeriodicalIF":0.0,"publicationDate":"2021-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81578984","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}
Abstract:The field of transgender studies has produced much interesting research since the 1990s. Incorporating feminist theory, queer theory, and poststructuralist theory, transgender theory provides a means to analyze trans people’s life experiences by emphasizing aspects of physical embodiment in gender and sexual identity. This article adds to this body of work by examining Japanese trans women’s gender identity in relation to their linguistic practice. It rejects the essentialist view of gender and challenges a poststructuralist view of understanding gender only as a social construct. It analyzes how “a fluid self-embodiment and a self-construction of identity” interact linguistically “in the context of social expectations and lived experiences (Nagoshi and Brzury, 2010: 435).
{"title":"Performativity of Gender in Speech: Life Experiences of Japanese Trans Women / 言語行為におけるジェンダーパフォーマティビティー：トランスジェン ダーの場合","authors":"Hideko Abe","doi":"10.1353/jwj.2020.0004","DOIUrl":"https://doi.org/10.1353/jwj.2020.0004","url":null,"abstract":"Abstract:The field of transgender studies has produced much interesting research since the 1990s. Incorporating feminist theory, queer theory, and poststructuralist theory, transgender theory provides a means to analyze trans people’s life experiences by emphasizing aspects of physical embodiment in gender and sexual identity. This article adds to this body of work by examining Japanese trans women’s gender identity in relation to their linguistic practice. It rejects the essentialist view of gender and challenges a poststructuralist view of understanding gender only as a social construct. It analyzes how “a fluid self-embodiment and a self-construction of identity” interact linguistically “in the context of social expectations and lived experiences (Nagoshi and Brzury, 2010: 435).","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"47 1","pages":"35 - 57"},"PeriodicalIF":0.0,"publicationDate":"2021-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88408765","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}
Natsume Jon Teppei Fusanosuke, Jon Holt, Teppei Fukuda
Abstract:Natsume Fusanosuke is a seminal scholar of Manga Studies whose influential works include How to Read Manga (Manga no yomikata, coauthored, 1995) and Why Is Manga So Interesting? Its Grammar and Expression (Manga wa naze omoshiroi no ka: sono hyōgen to bunpō, 1997). This essay, the near-culminating chapter of the latter book, presents, in streamlined language and condensed form, what Natsume deems the central aspects of panel constructions in shōjo manga (girls’ comics): the use of panel encapsulations and layering to liberate narratives from sequential time; the abolishment of the principle of compression (asshuku) and release (kaihō) to create a relaxed sense of freedom; and the development of blank white space (or, “the gutter”) into “break space” (mahaku) for symbolic use within narratives. Natsume describes these techniques and their development since the 1970s as reactions to classical approaches of panel organization defined by such 1960s artists as Ishinomori Shōtarō. Natsume sees shōjo manga artists’ playful deconstructions of standard panel configurations as another wave of creativity and development in the manga genre, making manga “interesting” (omoshiroi) and special in world comics. Natsume argues that, by the 1990s, artists across the manga industry were using shōjo-manga panel configurations, regardless of whether they were creating shōjo manga or boys’ or men’s comics (shōnen manga or seinen manga).
摘要:Fusanosuke夏目是漫画研究领域的重要学者，其代表作有《如何阅读漫画》(Manga no yomikata，合著，1995)和《为什么漫画如此有趣?》它的语法和表达(Manga wa naze omoshiroi no ka: sono hyōgen to bunpki, 1997)。这篇文章是后一本书的接近高潮的一章，以流线型的语言和简洁的形式，展示了夏目认为shōjo漫画(少女漫画)中面板结构的核心方面:使用面板封装和分层，将叙事从顺序时间中解放出来;废除压缩(asshuku)和释放(kaihhi)的原则，创造放松的自由感;将空白空间(或“沟”)发展为“空白空间”(mahaku)，用于叙事中的象征性使用。夏目将这些技术及其自20世纪70年代以来的发展描述为对石森Shōtarō等20世纪60年代艺术家定义的面板组织的经典方法的反应。夏目漱石认为shōjo漫画艺术家对标准面板配置的有趣解构是漫画类型的另一波创造力和发展，使漫画在世界漫画中变得“有趣”(omoshiroi)和特别。夏眼认为，到20世纪90年代，漫画行业的艺术家们都在使用shōjo-manga面板配置，无论他们创作的是shōjo漫画，还是男孩漫画或男性漫画(shōnen漫画或seinen漫画)。
{"title":"Panel Configurations in Shōjo Manga / 夏目房之介の評論: 少女マンガ のコマ構成 夏目 房之介","authors":"Natsume Jon Teppei Fusanosuke, Jon Holt, Teppei Fukuda","doi":"10.1353/jwj.2020.0005","DOIUrl":"https://doi.org/10.1353/jwj.2020.0005","url":null,"abstract":"Abstract:Natsume Fusanosuke is a seminal scholar of Manga Studies whose influential works include How to Read Manga (Manga no yomikata, coauthored, 1995) and Why Is Manga So Interesting? Its Grammar and Expression (Manga wa naze omoshiroi no ka: sono hyōgen to bunpō, 1997). This essay, the near-culminating chapter of the latter book, presents, in streamlined language and condensed form, what Natsume deems the central aspects of panel constructions in shōjo manga (girls’ comics): the use of panel encapsulations and layering to liberate narratives from sequential time; the abolishment of the principle of compression (asshuku) and release (kaihō) to create a relaxed sense of freedom; and the development of blank white space (or, “the gutter”) into “break space” (mahaku) for symbolic use within narratives. Natsume describes these techniques and their development since the 1970s as reactions to classical approaches of panel organization defined by such 1960s artists as Ishinomori Shōtarō. Natsume sees shōjo manga artists’ playful deconstructions of standard panel configurations as another wave of creativity and development in the manga genre, making manga “interesting” (omoshiroi) and special in world comics. Natsume argues that, by the 1990s, artists across the manga industry were using shōjo-manga panel configurations, regardless of whether they were creating shōjo manga or boys’ or men’s comics (shōnen manga or seinen manga).","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"135 1","pages":"58 - 74"},"PeriodicalIF":0.0,"publicationDate":"2021-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86349196","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}
Abstract:A number of critically acclaimed Japanese literary works call attention to the evolving position of the single, independent woman within the twenty-first-century family unit and, by extension, society as a whole. Kawakami Hiromi's Strange Weather in Tokyo (Sensei no kaban 2001), Shibasaki Tomoka's Spring Garden (Haru no niwa, 2014), and Murata Sayaka's Convenience Store Woman (Konbini ningen, 2016) stand out in this regard. Key issues raised in the novels revolve around relations between an unmarried, adult daughter in her mid-to-late thirties and her parent(s)—issues that encompass assumptions regarding that daughter's role as her parents' future caregiver, especially in light of Japan's rapidly aging population. The novels also call attention to Tokyo as a place of possibility, where even women with relatively modest incomes can make their own life choices. The characters—Kawakami's Ōmachi Tsukiko, Shibasaki's Nishi, and Murata's Furukura Keiko—fluidly come together to offer new ways of understanding the continuing resistance by Japanese women to conventional expectations of marriage and childbearing that by the 1970s had already grown into an identifiable movement.
摘要:日本一些广受好评的文学作品引起了人们对单身、独立女性在21世纪家庭乃至整个社会中地位演变的关注。川上广美的《东京的奇怪天气》(Sensei no kaban 2001)、柴崎友冈的《春园》(Haru no niwa, 2014)和村田早香的《便利店女人》(Konbini ningen, 2016)在这方面表现突出。小说中提出的关键问题围绕着一个三十八九岁的未婚成年女儿和她父母之间的关系——这些问题包括了女儿未来作为父母照顾者的角色的假设，尤其是考虑到日本人口的迅速老龄化。这些小说还提醒人们注意，东京是一个充满可能性的地方，在这里，即使收入相对中等的女性也可以做出自己的人生选择。这些角色——川上的Ōmachi月子，柴崎的西，村田的古仓圭子——流畅地结合在一起，为理解日本女性对传统婚姻和生育期望的持续抵制提供了新的途径，到20世纪70年代，这种抵制已经发展成为一种可识别的运动。
{"title":"The Thirty-Something \"Tokyo Daughters\" of Kawakami Hiromi's Strange Weather in Tokyo, Shibasaki Tomoka's Spring Garden, and Murata Sayaka's Convenience Store Woman = 川上弘美の「センセイの鞄」、柴崎友香の「春の庭」、と村田沙耶香の「コンビニ人間」における 三十代の「東京の娘達」","authors":"B. Thornbury","doi":"10.1353/jwj.2020.0000","DOIUrl":"https://doi.org/10.1353/jwj.2020.0000","url":null,"abstract":"Abstract:A number of critically acclaimed Japanese literary works call attention to the evolving position of the single, independent woman within the twenty-first-century family unit and, by extension, society as a whole. Kawakami Hiromi's Strange Weather in Tokyo (Sensei no kaban 2001), Shibasaki Tomoka's Spring Garden (Haru no niwa, 2014), and Murata Sayaka's Convenience Store Woman (Konbini ningen, 2016) stand out in this regard. Key issues raised in the novels revolve around relations between an unmarried, adult daughter in her mid-to-late thirties and her parent(s)—issues that encompass assumptions regarding that daughter's role as her parents' future caregiver, especially in light of Japan's rapidly aging population. The novels also call attention to Tokyo as a place of possibility, where even women with relatively modest incomes can make their own life choices. The characters—Kawakami's Ōmachi Tsukiko, Shibasaki's Nishi, and Murata's Furukura Keiko—fluidly come together to offer new ways of understanding the continuing resistance by Japanese women to conventional expectations of marriage and childbearing that by the 1970s had already grown into an identifiable movement.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"40 1","pages":"57 - 77"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72906518","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}
Abstract:Japan's defeat in the Second World War represented an opportunity for radical reform of the institutions and practices of art and for rethinking the role of art and artist in the public sphere. Calls for change and revolution were couched in terms of "democratization." Women were some of the earliest and most obvious beneficiaries of the Allied Occupation of Japan's democratization policies. This article asks how female artists sought to capture the potential of social and political change for women in particular and society in general at this transformative moment in Japanese history. Focusing on Akamatsu Toshiko and Migishi Setsuko, two of early postwar Japan's most successful female painters, it reveals how women artists across the spectrums of artistic practice and political conviction enacted women's liberation in the public sphere and engaged in the democratization of art.
{"title":"Art and Women's Liberation in a Newly Democratic Japan, with a Focus on Migishi Setsuko and Akamatsu Toshiko = 「日本の民主化における美術と女性の解放：三岸節子と赤松俊子を 中心に」","authors":"Alicia Volk","doi":"10.1353/jwj.2020.0003","DOIUrl":"https://doi.org/10.1353/jwj.2020.0003","url":null,"abstract":"Abstract:Japan's defeat in the Second World War represented an opportunity for radical reform of the institutions and practices of art and for rethinking the role of art and artist in the public sphere. Calls for change and revolution were couched in terms of \"democratization.\" Women were some of the earliest and most obvious beneficiaries of the Allied Occupation of Japan's democratization policies. This article asks how female artists sought to capture the potential of social and political change for women in particular and society in general at this transformative moment in Japanese history. Focusing on Akamatsu Toshiko and Migishi Setsuko, two of early postwar Japan's most successful female painters, it reveals how women artists across the spectrums of artistic practice and political conviction enacted women's liberation in the public sphere and engaged in the democratization of art.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"21 1","pages":"21 - 56"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90667605","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}
Abstract:The novel Manji (Quicksand, 1931) by Tanizaki Jun'ichirō, about a destructive love affair between two women, has been analyzed extensively for its use of Kansai dialect and its complex narrative style. This article argues for a new interpretation of Manji as a parody of 1920s girls' culture (shōjo bunka), in particular the S relationship (S kankei) or romantic friendship between two girls. Tanizaki uses signifiers of girls' culture in Manji to spin a tale of comedy and perversion. The novel reconfigures the S relationship to cater to the male gaze, containing and controlling the potentially disruptive shōjo character. Although the novel embeds the female characters in girls' culture, rather than a chaste friendship between two girls, Manji features a perverse sexual relationship between two adult women, ending in an attempted love suicide. By examining the references to girls' culture in the novel, as well as the theme of love suicide and censored content related to abortion and birth control, this essay shows how Tanizaki comedically, deliberately revised girls' culture tropes for male readers. Tanizaki uses mockery to contain and control the aspects of the S relationship threatening to the patriarchal order, using the recognizable markers of girls' culture to create a sexualized, voyeuristic tale of the shōjo as perverse and dangerous.
{"title":"The Girl in the Whirlpool: Girls' Culture (Shōjo Bunka) in Tanizaki's Manji = 谷崎潤一郎の『卍』における少女文化","authors":"D. Shamoon","doi":"10.1353/jwj.2020.0002","DOIUrl":"https://doi.org/10.1353/jwj.2020.0002","url":null,"abstract":"Abstract:The novel Manji (Quicksand, 1931) by Tanizaki Jun'ichirō, about a destructive love affair between two women, has been analyzed extensively for its use of Kansai dialect and its complex narrative style. This article argues for a new interpretation of Manji as a parody of 1920s girls' culture (shōjo bunka), in particular the S relationship (S kankei) or romantic friendship between two girls. Tanizaki uses signifiers of girls' culture in Manji to spin a tale of comedy and perversion. The novel reconfigures the S relationship to cater to the male gaze, containing and controlling the potentially disruptive shōjo character. Although the novel embeds the female characters in girls' culture, rather than a chaste friendship between two girls, Manji features a perverse sexual relationship between two adult women, ending in an attempted love suicide. By examining the references to girls' culture in the novel, as well as the theme of love suicide and censored content related to abortion and birth control, this essay shows how Tanizaki comedically, deliberately revised girls' culture tropes for male readers. Tanizaki uses mockery to contain and control the aspects of the S relationship threatening to the patriarchal order, using the recognizable markers of girls' culture to create a sexualized, voyeuristic tale of the shōjo as perverse and dangerous.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"48 1","pages":"20 - 3"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79932580","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}
Abstract:Fashion has been a feature of shōjo manga (girls' comics) since the beginning of the genre in the 1950s. However, the topic has received scant scholarly attention. This is possibly due both to fashion's ubiquity and to the bias that things like dresses are merely "feminine vanity." Yet exploring the varied uses of clothing in shōjo manga has become even more important with the rise in popularity of female manga artists.This article focuses on a popular work from the 1990s, A White Satin Ribbon (Shiroi saten no ribon, 1994). Created by Iwadate Mariko, the manga tells the story of a girl's infatuation with her grandmother's lace feminine dress, which she sees as an embodiment of "shōjo (girlish) identity." I argue that, by combining tropes from romantic fairy tales, notions about aging, and discourses about shōjo, Iwadate's manga enacts a complex and more nuanced version of girlhood that is constructed and embodied through a dress. While many female artists have aesthetically objectified shōjo manga, Iwadate subtly subverts the fulfilment of the desires of both the protagonist and, by extension, the readers. I propose that Iwadate's manga offers a platform to critique the role of fashion in evoking emotions of desire, affection, and jealousy.
摘要:自20世纪50年代shōjo少女漫画诞生以来，时尚一直是该漫画的一大特色。然而，这个话题很少受到学术关注。这可能是因为时尚无处不在，也可能是因为人们认为像裙子这样的东西仅仅是“女性的虚荣”。然而，随着女性漫画家越来越受欢迎，探索shōjo漫画中服装的各种用途变得更加重要。本文关注的是20世纪90年代的一件流行作品，《白色缎带》(shirroi saten no ribon, 1994)。这部漫画由岩手麻子创作，讲述了一个女孩对祖母的蕾丝女性连衣裙的迷恋，她认为这是“shōjo(少女)身份”的体现。我认为，通过结合浪漫童话中的比喻，关于衰老的概念，以及关于shōjo的话语，岩手的漫画通过一件衣服构建和体现了一个复杂而微妙的少女时代。虽然许多女性艺术家在审美上客观化了shōjo漫画，但岩手巧妙地颠覆了主人公和读者的欲望的实现。我认为岩手的漫画提供了一个平台来批判时尚在唤起欲望、感情和嫉妒情绪方面的作用。
{"title":"Shrouded in Memory: Time, Desire, and Emotions in Iwadate Mariko's A White Satin Ribbon = 白い帳に包まれた記憶: 岩館真理子の『白いサテンのリボン』に見る時間、欲望と感情の描写","authors":"M. Monden","doi":"10.1353/jwj.2020.0001","DOIUrl":"https://doi.org/10.1353/jwj.2020.0001","url":null,"abstract":"Abstract:Fashion has been a feature of shōjo manga (girls' comics) since the beginning of the genre in the 1950s. However, the topic has received scant scholarly attention. This is possibly due both to fashion's ubiquity and to the bias that things like dresses are merely \"feminine vanity.\" Yet exploring the varied uses of clothing in shōjo manga has become even more important with the rise in popularity of female manga artists.This article focuses on a popular work from the 1990s, A White Satin Ribbon (Shiroi saten no ribon, 1994). Created by Iwadate Mariko, the manga tells the story of a girl's infatuation with her grandmother's lace feminine dress, which she sees as an embodiment of \"shōjo (girlish) identity.\" I argue that, by combining tropes from romantic fairy tales, notions about aging, and discourses about shōjo, Iwadate's manga enacts a complex and more nuanced version of girlhood that is constructed and embodied through a dress. While many female artists have aesthetically objectified shōjo manga, Iwadate subtly subverts the fulfilment of the desires of both the protagonist and, by extension, the readers. I propose that Iwadate's manga offers a platform to critique the role of fashion in evoking emotions of desire, affection, and jealousy.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"1 1","pages":"106 - 78"},"PeriodicalIF":0.0,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88499281","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}
Abstract:Ethel Weed (1906-1975) was one of the few American women who devised and implemented U.S. foreign policy during the U.S. occupation of Japan from 1945-1952. As Chief Women's Information Officer she was in charge of all initiatives aimed at the "democratization" Japanese women. While previous works on Ethel Weed have examined her public persona, this article turns to her private thoughts by examining letters that Weed wrote home during her time in Japan. These letters show that Weed drew great inspiration from the Japanese women with whom she worked during the occupation. As this article contends that Weed was awed and inspired by the struggles of the women, both prominent and ordinary, whom she came to know. Moreover, through her work in Japan, she came to believe that the people of the world, including those in once warring nations, must begin to learn from one another.
{"title":"Lt. Ethel Weed through Her Letters: The Personal Reflections of a Woman in the U.S. Occupation of Japan / 私信に見るE・ウィード少尉：米国の対日占領下における女性像","authors":"Malia McAndrew","doi":"10.1353/jwj.2019.0001","DOIUrl":"https://doi.org/10.1353/jwj.2019.0001","url":null,"abstract":"Abstract:Ethel Weed (1906-1975) was one of the few American women who devised and implemented U.S. foreign policy during the U.S. occupation of Japan from 1945-1952. As Chief Women's Information Officer she was in charge of all initiatives aimed at the \"democratization\" Japanese women. While previous works on Ethel Weed have examined her public persona, this article turns to her private thoughts by examining letters that Weed wrote home during her time in Japan. These letters show that Weed drew great inspiration from the Japanese women with whom she worked during the occupation. As this article contends that Weed was awed and inspired by the struggles of the women, both prominent and ordinary, whom she came to know. Moreover, through her work in Japan, she came to believe that the people of the world, including those in once warring nations, must begin to learn from one another.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"608 1","pages":"108 - 127"},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86684323","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}
Abstract:In 993 or 998, Kamo no Yasunori no Musume (Daughter of Kamo no Yasunori) compiled a sequence of some 240 poems, along with a prose preface and chōka (long poem) that echoes many of the same points. Her sequence is one of a number of long sequences of poems accompanied by prose prefaces composed by poets from the 960s; her is the first or second by a woman. In her preface, Musume deploys what had been a male discourse of complaint about career dissatisfaction to address her plight as a woman confined to her natal home, her life suspended. Musume's text shares qualities with other Heian women's writings, and what besides a successful relationship would have fulfilled her is not fully articulated, for no model was available to her. Unique to her text, however, is an examination of broader inequalities in her society, which implicitly reflect her own plight. The common thread that unites much of her thinking is the insight that some lives are thwarted owing to circumstances beyond a person's control.
{"title":"A Life Suspended: The Preface and Long Poem Accompanying Kamo no Yasunori no Musume's Poetry Collection / 閉ざされた一生: 賀茂保憲女集の序と長歌","authors":"","doi":"10.1353/jwj.2019.0004","DOIUrl":"https://doi.org/10.1353/jwj.2019.0004","url":null,"abstract":"Abstract:In 993 or 998, Kamo no Yasunori no Musume (Daughter of Kamo no Yasunori) compiled a sequence of some 240 poems, along with a prose preface and chōka (long poem) that echoes many of the same points. Her sequence is one of a number of long sequences of poems accompanied by prose prefaces composed by poets from the 960s; her is the first or second by a woman. In her preface, Musume deploys what had been a male discourse of complaint about career dissatisfaction to address her plight as a woman confined to her natal home, her life suspended. Musume's text shares qualities with other Heian women's writings, and what besides a successful relationship would have fulfilled her is not fully articulated, for no model was available to her. Unique to her text, however, is an examination of broader inequalities in her society, which implicitly reflect her own plight. The common thread that unites much of her thinking is the insight that some lives are thwarted owing to circumstances beyond a person's control.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"1 1","pages":"3 - 32"},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82192290","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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