Dissertations / Theses: '200518 Literature in Japanese'

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Juurmaa, Nora. "De Matsui Tarô (1917-2017), écrivain brésilien d’origine japonaise, à Andreï Ivanov (1971- ), écrivain d’origine russe vivant en Estonie : conception de la "mort" dans la littérature de deux communautés issues des migrations, de 1970 à 2010 pour la communauté nippo-brésilienne et de 2008 à 2016 pour la communauté russophone d’Estonie." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3027.

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La présente étude se veut une analyse de la fonction de l’élément « mort » dans la fiction littéraire de MATSUI Tarô (1917-2017), auteur phare de la littérature japonophone du Brésil. Une comparaison est effectuée avec l’œuvre d’Andreï IVANOV (1971- ), grand nom de la littérature russophone d’Estonie. Cette thèse s’articule autour de l’argument de Michel Picard, lequel estime que dans le domaine littéraire, « quand on parle de la mort, on parle toujours d’autre chose » : « En premier lieu parce qu’il s’agit ici de tourner l’insurmontable difficulté de temporaliser l’intemporel instant mortel, mais surtout à cause des préoccupations véritables […] qui ne concernent bien entendu que la vie. Enfin celles-ci elles-mêmes ont clairement révélé qu’elles n’étaient que des espèces de symptômes, de métaphores ; que l’essentiel, dans ce topos comme chaque fois qu’il s’agit de la « mort », est inconscient. » Après avoir traité des questions relatives à l’histoire et aux politiques d’identité des communautés concernées – la communauté « japonaise » du Brésil et celle, russophone, d’Estonie –, cette thèse interroge la manière dont s’est construit le monde littéraire japonophone du Brésil. D'autres interrogations seront ensuite soulevées : pourquoi la mort apparaît-elle si souvent dans la fiction littéraire de Matsui ? Quelles fonctions ces morts occupent-elles dans son œuvre, ainsi que dans celle d’Ivanov ? Si le sujet abordé par les auteurs n’est pas la mort per se, quel est leur véritable propos ? Est-ce le passé qui meurt, comme cela semble être le cas dans La Cerisaie d’Anton Tchekhov ? Quelle est la relation de Matsui Tarô à ce passé ? Et dans le cas d’Andreï Ivanov ? Comment choisissent-ils, fût-ce de manière inconsciente, de voir le passé et de dialoguer avec lui ? Cette étude démontre que la « mort » dans les littératures de Matsui et Ivanov, s’il est un véhicule privilégié de critiques adressées par les deux auteurs à leurs communautés respectives, sert également à communiquer une vision d’avenir pour ces dernières — à savoir la proposition d’une assimilation complète. L’élément « mort » indique les raisons pour lesquelles ces auteurs refusent des concepts construits tels que « nous » (i.e. une communauté isolée)
The present study proposes an analysis of the function of “death” in the literary fiction of MATSUI Tarô (1917-2017), a leading author in Brazilian Japanese-language literature. A comparison is carried out with the oeuvre of Andrei IVANOV (1971- ), a key author in Estonian Russian-language literature. This thesis is built around Michel Picard’s argument, which proposes that in the literary field, “when we speak about death, we always speak about something else”: “Firstly because the core of the matter is to circumvent the insurmountable difficulty of temporalizing [materialising] the timeless [immaterial] moment of death, but mostly because of the actual preoccupations […] that certainly only concern life. These [preoccupations] themselves have clearly revealed that they [are] no more than symptoms, metaphors of some sort; that the crux of the matter, in this topos as well as each time that “death” is concerned, is unconscious.”After examining the historical and political contexts of the communities in question – the “Japanese” community of Brazil and the Russian-language community in Estonia – this thesis questions the ways that the Japanese-language literary world has been constructed in Brazil. Other questions are then raised: why does “death” appear so frequently in Matsui Tarô’s literary fiction? What are the functions operated by these deaths in his and Andrei Ivanov’s oeuvre? If the subject matter addressed by the two authors is not death per se, what are the real preoccupations at stake? Is it the past that dies, in a way that it seems to be the case in Anton Chekhov’s The Cherry Orchard? How does Matsui Tarô relate to this past? What about Andrei Ivanov? How do they choose, be it unconsciously, to see the past and to dialogue with it? This study shows that while “death” functions, in the literatures of Matsui and Ivanov, as a privileged vehicle conveying the criticisms that the two authors address to their respective communities, it is also used as a tool to communicate a vision for the future of these communities — that is, the proposition of a complete assimilation. The element of “death” points out the reasons why these authors refuse constructed concepts such as “us” (i.e. an isolated community)

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Takayashiki, Masahito. "Autonomy in Modern Japanese Literature." University of Sydney, 2008. http://hdl.handle.net/2123/4021.

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Doctor of Philosophy(PhD)
This dissertation aims to examine the manner in which the concept of autonomy (jiritsu) is treated in modern and contemporary Japanese literature. This examination will be performed by analysing the autonomous attitude of a contemporary Japanese writer Nakagami Kenji (1946–1992). This dissertation focuses on examining Nakagami Kenji’s ambivalent attitude towards his act of writing. We will explore the manner in which his act of writing appears to be a paradox between self-identification and the integration into the collective. Then, we will observe the possibility in which Nakagami’s ambivalent attitude is extended to cover Maruyama Masao’s relative definition of autonomy and Karatani Kōjin’s interpretation of Immanuel Kant’s notion of freedom and responsibility. Nakagami’s attempt is certainly not confined to only his works. The notion of autonomy may be applied to perceive a similar thought that was represented by previous writers. We will also examine various never-ending autonomous attempts expressed by Sakaguchi Ango, Miyazawa Kenji and Nakahara Chūya. Moreover, we will analyse how Nakagami’s distrust of the modern Japanese language and his admiration of the body as an undeniable object are reflected in his major novels in detail and attempt to extend this observation into the works of the theatrical artists in the 1960s such as Betsuyaku Minoru, Kara Jūrō, Hijikata Tatsumi and Terayama Shūji and contemporary women writers such as Tsushima Yūko, Takamura Kaoru, Tawada Yōko and Yoshimoto Banana. These writers and artists struggled to establish their autonomous freedom as they encountered the conflict between their individual bodies that personifies their personal autonomy and the modern Japanese language that confines them in the fixed and submissive roles in present-day Japan. In this dissertation, I would like to conclude that Nakagami Kenji’s ambivalent attitude towards his act of writing can be an eternal self-legislation, that is, his endless attempt to establish autonomous freedom, which evolves from the paradox between the individual (body) and the collective (language).

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Pinar, Garcia Alex. "Western Literature in Japanese Film (1910-1938)." Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/667250.

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Des del inicis del cinema s’han realitzat un innumerable nombre de pel·lícules basades en obres literàries. L'adaptació cinematogràfica es pot considerar un procés interpretatiu en què el cineasta crea un nou treball artístic mitjançant la transformació de l'estructura, el contingut, l'estètica i el discurs narratiu de l’obra literària. És freqüent veure pel·lícules en les que els directors han adaptat obres literàries del seu propi àmbit cultural, però és menys comú trobar exemples de directors que han creat pel·lícules basades en obres d'una esfera cultural i tradició literària diferent. Aquest és el cas d'alguns cineastes japonesos, com Kurosawa Akira, que va adaptar amb èxit obres destacades de la literatura universal. Moltes investigacions han centrat la seva atenció en les adaptacions realitzades per Kurosawa i altres directors japonesos en la dècada de 1950 i posteriors, un període en el qual el cinema japonès va rebre reconeixement a tot el món i va aconseguir presència internacional en prestigiosos festivals de cinema. No obstant això, hi ha hagut poca o gairebé cap atenció a la les adaptacions de literatura occidental produïdes al Japó durant els anys 1910, 1920 i 1930, al llarg de les anomenades èpoques Meiji, Taishō i Shōwa- preguerra. L'objectiu d'aquesta investigació és, per tant, explorar les relacions intertextuals entre aquestes pel·lícules i les obre literàries en la qual es van basar, i descriure les transformacions culturals en l'estructura, el contingut, l'estètica i el discurs narratiu realitzats en el procés d'adaptació. Així, la metodologia emprada segueix l'enfocament dialògic de Stam, tenint en compte altres propostes metodològiques recents, les quals suggereixen afegir aspectes històrics, culturals i contextuals a l'anàlisi de les adaptacions cinematogràfiques. Aquesta tesi té la intenció d’aportar una nova perspectiva als estudis de les relacions intertextuals entre cinema Japonès i la literatura universal mitjançant l’anàlisi de pel·lícules produïdes durant la primera meitat del segle XX que no han estat mai o han estat molt poc estudiades.
Since the beginning of cinema, innumerable films have been derived from classic or popular literature. Film adaptation of a literary work can be considered as an interpretative process in which the film director creates a new artistic work through several transformations in the structure, content, aesthetics, and narrative discourse. There are hundreds of films in which the directors have adapted literary works from their own cultural sphere, but there are fewer examples of directors who have made movies based on literary works from a different culture and literary tradition. That is the case for some Japanese film directors, such as Kurosawa Akira, who adapted foreign literature for the screen. Many scholars in the field of Film Studies have focused their attention on the adaptations made by Kurosawa and other Japanese directors in the 1950s and subsequent decades: a period during which Japanese cinema received acknowledgment worldwide and achieved an international presence in prestigious film festivals. However, there has been little or no attention to the adaptations of Western literature produced in Japan during the 1910s, 1920s, and 1930s, throughout the so-called Meiji, Taishō, and Shōwa pre-war eras. The objective of this research is therefore to explore the intertextual relations between those films and the Western works on which they were based, and to describe the cultural transformations in the structure, content, aesthetics, and narrative discourse carried out in the process of adaptation. The methodology employed follows Stam’s intertextual dialogic approach, and takes into account the most recent theoretical frameworks, which suggest adding historical, cultural, and contextual aspects into the analysis of film adaptations. This dissertation goes far beyond the scope of the previous investigations, as it examines Japanese movies based on Western literature produced during the first half of the twentieth century that have never or barely been studied.

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Tokuda, Soichiro. "Where is "home" for Japanese-Americans?" Thesis, State University of New York at Binghamton, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590779.

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This study explores the issue of Japanese internment camp in the United States and Canada during World War Two. It argues that Japanese immigrants, who were totally innocent, became historical victims and experienced camp. During World War Two, the Japanese army attacked Pearl Harbor, a territory of the United States. This incident made mainstream American and Canadian society suspicious of Japanese immigrants, who had the same ethnicity and blood as the army, the "enemies." This study is an attempt to find the voice and feelings of those who had to experience trauma in camp. As subaltern figures, all they had to do was endure and accept their fate. As immigrants, who seemed not to have English fluency, they had to accept the requirements of America or Canada in order to be allowed to live. At the same time, this study seeks to analyze how Japanese-Americans and -Canadians forged their identity after overcoming the trauma of camp and the agony of assimilation. In so doing, this dissertation considers the work of four novelists who have written about these difficult issues. Chapter 1 explains how other Asians – Koreans and Chinese – were affected by the Japanese army and how mainstream society looked at Japanese immigrants. Chapters 2 and 3 explore Joy Kogawa's Obasan and Itsuka. Naomi, the protagonist, struggles to find a sense of "home-ness." Chapter 4 examines Monica Sone's Nisei Daughter. Kazuko, the protagonist, has to experience negative aspects of the United States. Chapter 5 explores Jeanne Wakatsuki Houston's Farewell to Manzanar. Jeanne, the protagonist, has to go through painful experiences and racism up to the last section of the novel. Chapter 6 analyzes John Okada's No-No Boy. Ichiro, the protagonist, suffers self-alienation. He cannot fix his identity between his duality until he can find his "home." Chapter 7 examines the authors' intentions and asks in which direction Japanese-Americans and -Canadians can move forward in the future.

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Burton, William James. "In a perfect world : utopias in modern Japanese literature /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11144.

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Hio, Noriko. "The influence of Victorian literature upon Japanese literature of the Meiji Period." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328709.

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Kobayashi, Junko. ""Bitter sweet home" : celebration of biculturalism in Japanese language Japanese American literature, 1936-1952 /." Diss., University of Iowa, 2005. http://ir.uiowa.edu/etd/97.

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Savas, Minae Yamamoto. "Feminine Madness In The Japanese Noh Theatre." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1222076003.

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沈樂軒 and Lok-hin Kevin Shen. "A comparative study of two Japanese-English and two Japanese-Chinese translations of the Tale of Genji." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B30104518.

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Goudie, Teresa Makiko. "Intergenerational transmission of trauma and post-internment Japanese diasporic literature." Thesis, Goudie, Teresa Makiko (2006) Intergenerational transmission of trauma and post-internment Japanese diasporic literature. PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/45/.

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The thesis examines the literary archive of the Japanese diaspora in North America and uncovers evidence of an intergenerational transmission of trauma after the internment of all peoples of Japanese descent in America during World War Two. Their experience of migration, discrimination and displacement was exacerbated by the internment, the single most influential episode in their history which had a profound effect on subsequent generations. It is argued the trauma of their experiences can be located in their writing and, drawing on the works of Freud and trauma theoreticians Cathy Caruth and Ruth Leys in particular, the thesis constructs a theoretical framework which may be applied to post-internment Japanese diasporic writing to reveal the traces of trauma in all generations, traces that are linked to what Freud referred to as a posterior moment that triggered an earlier trauma which the subject may not have experienced personally but which may be lodged in her / her psyche. An examination of the literature of the Japanese diaspora shows that trauma is carried in the language itself and impacted upon the collective psyche of the entire community. The theoretical model is used to read the tanka poetry written by the immigrant generation, a range of texts by the first American-born generation (including an in-depth analysis of four texts spanning several decades) and the texts written by the third-generation, many of whom did not experience the internment themselves so their motivation and the influence of the internment differed greatly from earlier generations. The thesis concludes with an analysis of David Mura's identification of the link between identity, sexuality and the influence of the internment experience as transmitted by his parents. The future of the Japanese American community and their relationship with their past traumatic experience also makes its way into the conclusion.

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Goudie, Teresa Makiko. "Intergenerational transmission of trauma and post-internment Japanese diasporic literature." Goudie, Teresa Makiko (2006) Intergenerational transmission of trauma and post-internment Japanese diasporic literature. PhD thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/45/.

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The thesis examines the literary archive of the Japanese diaspora in North America and uncovers evidence of an intergenerational transmission of trauma after the internment of all peoples of Japanese descent in America during World War Two. Their experience of migration, discrimination and displacement was exacerbated by the internment, the single most influential episode in their history which had a profound effect on subsequent generations. It is argued the trauma of their experiences can be located in their writing and, drawing on the works of Freud and trauma theoreticians Cathy Caruth and Ruth Leys in particular, the thesis constructs a theoretical framework which may be applied to post-internment Japanese diasporic writing to reveal the traces of trauma in all generations, traces that are linked to what Freud referred to as a posterior moment that triggered an earlier trauma which the subject may not have experienced personally but which may be lodged in her / her psyche. An examination of the literature of the Japanese diaspora shows that trauma is carried in the language itself and impacted upon the collective psyche of the entire community. The theoretical model is used to read the tanka poetry written by the immigrant generation, a range of texts by the first American-born generation (including an in-depth analysis of four texts spanning several decades) and the texts written by the third-generation, many of whom did not experience the internment themselves so their motivation and the influence of the internment differed greatly from earlier generations. The thesis concludes with an analysis of David Mura's identification of the link between identity, sexuality and the influence of the internment experience as transmitted by his parents. The future of the Japanese American community and their relationship with their past traumatic experience also makes its way into the conclusion.

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Kiyota, Tomonori. "Toward the end of the Shosetsu, 1887-1933 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9981968.

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Kato, Megumi Humanities &amp Social Sciences Australian Defence Force Academy UNSW. "Representations of Japan and Japanese people in Australian literature." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38718.

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This thesis is a broadly chronological study of representations of Japan and the Japanese in Australian novels, stories and memoirs from the late nineteenth century to the twenty-first century. Adopting Edward Said???s Orientalist notion of the `Other???, it attempts to elaborate patterns in which Australian authors describe and evaluate the Japanese. As well as examining these patterns of representation, this thesis outlines the course of their development and change over the years, how they relate to the context in which they occur, and how they contribute to the formation of wider Australian views on Japan and the Japanese. The thesis considers the role of certain Australian authors in formulating images and ideas of the Japanese ???Other???. These authors, ranging from fiction writers to journalists, scholars and war memoirists, act as observers, interpreters, translators, and sometimes ???traitors??? in their cross-cultural interactions. The thesis includes work from within and outside ???mainstream??? writings, thus expanding the contexts of Australian literary history. The major ???periods??? of Australian literature discussed in this thesis include: the 1880s to World War II; the Pacific War; the post-war period; and the multicultural period (1980s to 2000). While a comprehensive examination of available literature reveals the powerful and continuing influence of the Pacific War, images of ???the stranger???, ???the enemy??? and later ???the ally??? or ???partner??? are shown to vary according to authors, situations and wider international relations. This thesis also examines gender issues, which are often brought into sharp relief in cross-cultural representations. While typical East-West power-relationships are reflected in gender relations, more complex approaches are also taken by some authors. This thesis argues that, while certain patterns recur, such as versions of the ???Cho-Cho-San??? or ???Madame Butterfly??? story, Japan-related works have given some Australian authors, especially women, opportunities to reveal more ???liberated??? viewpoints than seemed possible in their own cultural context. As the first extensive study of Japan in Australian literary consciousness, this thesis brings to the surface many neglected texts. It shows a pattern of changing interests and interactions between two nations whose economic interactions have usually been explored more deeply than their literary and cultural relations.

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Wells, Marguerite Adele. "Humour in Japanese theatre with special reference to shingeki." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334109.

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Kockum, Keiko. "Japanese achievement, Chinese aspiration a study of the Japanese influence on the modernisation of the late Qing novel /." Löberöd : Plus Ultra, 1990. http://catalog.hathitrust.org/api/volumes/oclc/24703921.html.

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Driscoll, Mark W. "Erotic empire, grotesque empire work and text in Japan's imperial modernism /." online access from Digital dissertation consortium, 2000. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9953667.

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com, teresamgoudie@hotmail, and Teresa Makiko Goudie. "Intergenerational Transmission of Trauma and Post-internment Japanese Diasporic Literature." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061012.65617.

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The thesis examines the literary archive of the Japanese diaspora in North America and uncovers evidence of an intergenerational transmission of trauma after the internment of all peoples of Japanese descent in America during World War Two. Their experience of migration, discrimination and displacement was exacerbated by the internment, the single most influential episode in their history which had a profound effect on subsequent generations. It is argued the trauma of their experiences can be located in their writing and, drawing on the works of Freud and trauma theoreticians Cathy Caruth and Ruth Leys in particular, the thesis constructs a theoretical framework which may be applied to post-internment Japanese diasporic writing to reveal the traces of trauma in all generations, traces that are linked to what Freud referred to as a posterior moment that triggered an earlier trauma which the subject may not have experienced personally but which may be lodged in her / her psyche. An examination of the literature of the Japanese diaspora shows that trauma is carried in the language itself and impacted upon the collective psyche of the entire community. The theoretical model is used to read the tanka poetry written by the immigrant generation, a range of texts by the first American-born generation (including an in-depth analysis of four texts spanning several decades) and the texts written by the third-generation, many of whom did not experience the internment themselves so their motivation and the influence of the internment differed greatly from earlier generations. The thesis concludes with an analysis of David Mura's identification of the link between identity, sexuality and the influence of the internment experience as transmitted by his parents. The future of the Japanese American community and their relationship with their past traumatic experience also makes its way into the conclusion.

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Vanninen, Kosti. "Translating Japanese Onomatopoeia into Finnish in Literature: A Case Study." Thesis, Högskolan Dalarna, Japanska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35924.

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Japanese is a language rich in onomatopoeic and mimetic words, words that mimic sounds and other phenomena with their form. They are an integral part of the language and are used in nearly all situations, they also pose their own peculiar challenge to both learners and translators of Japanese. This study examines the Japanese onomatopoeic and mimetic words in the novel Sensei no kaban by Hiromi Kawakami, and their translations in its Finnish translation, to determine what techniques are most commonly used and why? As Finnish is also said to have a rich onomatopoeic and mimetic vocabulary, the frequency at which these terms are translated into equivalent onomatopoeic or mimetic words is also examined. The results show that the majority of the Japanese onomatopoeic and mimetic words, most of which function as adverbs, are translated as adverbs or verbs or they are completely omitted. Exactly a quarter of the examined cases have been translated using onomatopoeic or mimetic words, most of which are verbs.

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Nakamura, Miri. "Monstrous bodies : gender and reproductive science in modern Japanese literature /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Perreira, Jessica M. "Masculinity on Women in Japan: Gender Fluidity Explored Through Literature and Performance." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1038.

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The first half of my thesis are my translations from Yumi Hirosawa’s Onna O Aisuru Onnatachi. The first translation is excerpts from a high school girls journal documenting her realization and acceptance of being lesbian, and her time with her first girlfriend. The second translation is a report by a freelance writer on three different lesbian bars in Shinjuku Ni-Chome. The most notable bar is an onabe bar called Little Prince. Onabe in the simplest terms are women who dress and act like men. Onabe are important to the research portion of my thesis because they allowed me to research how masculine identities among Japanese women are formed. The documentary Shinjuku Boys interviews three onabe. From them it is made clear that being an onabe is not as simple as presenting as a man but is a complex relationship with one’s body, societal norms and parental pressures. We learn that onabe is different than being trans - which some would say is Onabe’s Western equivalent - yet various part of those identities can line up. Secondly the cultural phenomena Takarazuka and the women that play the otoko-yaku, or men's roles, makes clear the idea of what masculinity is and how women should wear it on their bodies. Even though the otoko-yaku and musume-yaku hyper-perform gender their exaggeration helps clarify how the women from Queer Japan: Personal Stories of Japanese Lesbians, Gay, Transsexuals, and Bisexuals grappled with their sexuality and gender. Lastly, the fictional stories from Sparkling Rain: And Other Fiction from Japan of Women Who Love Women coupled with the firsthand accounts from Queer Japan further develops the idea and struggles of masculine women’s bodies. In my thesis I aim to look at how masculinity is written onto Japanese woman's bodies both by themselves and others, and the struggles that they encounter because of their deviant sexual and gender identities. In my thesis these are the research questions I aim to answer: What are the modes in which queer women push away masculinity? Yet how do they perform and enforce it? How do these women view or interpret other women who are more masculine? How does having a masculine identity affect one’s perception of themselves? How do these women cope with being both lesbian and masculine of center? Why are the otoko-yaku women of Takarazuka praised for their daily performance of masculinity while onabe are scrutinized for it? And if both are forms of entertainment, mainly for other women, why is one more acceptable than another?

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Shen, Nai-huei. "The age of sadness : a study of naturalism in Taiwanese literature under Japanese colonization /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6689.

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Haga, Koichi. "The critique of virtual shifting discursive space in Japanese literature, 1960s-1980s." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1682825951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Kagaya, Shinko. "NÔ : the emergent reorientation of a traditional Japanese Theater in crosscultural settings /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488191667179224.

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Borgman, Lindsay Reith Frankenfeld. "Reading guide to Japanese literature: Making the texts of Aozora Bunko available to students of Japanese (Kenji Miyazawa)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1435233.

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Kao, Chia-li. "Imperialist ambiguity and ambivalence in Japanese and Taiwanese literature, 1895-1945." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3345077.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2008.
Title from PDF t.p. (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0570.

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Tierney, Robin Leah. "Japanese literature as world literature: visceral engagement in the writings of Tawada Yoko and Shono Yoriko." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/750.

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This dissertation argues that the writings of the contemporary Japanese writers Tawada Yoko and Shono Yoriko should be understood as literature that is commenting upon global processes and therefore categorized within the newly re-deployed category of "World Literature." In the first chapter I explore the political project of Shono Yoriko's fictional and polemical writings. Shono uses the bundan (literary establishment) as a platform for her critique of neo-liberal economic trends and launches a campaign that is both global in scope and kyoku-shi (hyper-personal) in tone. She counters universally applicable socio-economic trends with intensely personal myths and private vendettas against public intellectuals who deny the value of non-profit-grossing "serious" literature. In chapter two I perform a close reading of her 2004 novel Kompira as well as her busu mono (ugly tales). Kompira, I argue, is both a historical narrative of a particular kompira kami (deity) and the postulating of a system of resistance that involves hybridity and embodiment. While Tawada Yoko is most often identified as a border-crossing, multi-lingual writer who publishes in both German and Japanese, in chapter three I argue that this "identity" threatens to eclipse the ways in which she investigates the bodily reception of language. My claim is that Tawada's interstitial explorations pose translation and bodily coding as inherent to language acquisition in general and suggests that all words carry their own libidinal imprint. In chapter four I argue that Tawada mines bodily processes for her representational strategies. In Tawada's texts the unraveling of national and masculine aesthetics forms a critical part of decoding the body as a fixed and gendered entity. . When Tawada positions the male body as an object of tactile inquiry and explores the bodily-confusion-with-another inherent in the process of ovulation as a narrative drive, I see a re-working of corporeal and cognitive logics. This reworking, I contend, is not a conclusive "righting of wrongs" but an invitation to join in the ongoing process of articulating difference in a potentially post-national world.

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Cooper, Jessica. "The Roles of Women, Animals, and Nature in Traditional Japanese and Western Folk Tales Carry Over into Modern Japanese and Western Culture." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/166.

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The roles of women, animals, and nature in traditional Japanese and Western folk tales continue to be parallel to the roles of women, animals, and nature in modern Japanese and Western Culture. This is a result of the values and morals that are encapsulated within these folk tales.

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Shibata, Miura Yuko. "Creating Japaneseness : formation of cultural identify /." Thesis, Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199196.

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Rowley, Gillian Gaye. "Yosano Akiko (1878-1942) and The Tale of The Genji." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339429.

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Fay, Leann. "Human Connections with the Ocean Represented in African and Japanese Oral Narratives| Ecopsychological Perspectives." Thesis, California Institute of Integral Studies, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13419400.

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This dissertation demonstrates how characteristics and functions of African and Japanese oral narrative traditions make narratives about the ocean in these traditions useful for exploring some of the complex psychological roles the ocean plays in people’s lives. A background of these oral narrative traditions and the main characteristics and functions of African and Japanese oral narratives are identified from the literature, African and Japanese ecopsychological perspectives are outlined, and a hermeneutic methodology applies text analysis to identify connections between humans and the ocean represented in a selection of text versions of ocean oral narratives. African and Japanese oral narratives are transmitted in adaptable yet continuous traditions, reflective of self and group identity, used to serve social and community functions, connected to spiritual traditions, and used as tools for power or resistance to power. Intimate connections between humans and the ocean are represented in the selection of narratives. In African oral narratives, connections are represented including merging identities of the ocean and humans, contrasting of nurturing mother and dangerous mother elements, the ocean bringing children, extreme love, and taking extreme love, connections between the ocean and performance, and representations of the ocean in colonization, slavery, healing, and empowerment. In Japanese oral narratives, intimate connections are represented including magic gifts from the ocean, water deity wives, warnings of fishing, bodily sacrifice, and connections to spiritual traditions, people, and local places.

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Taylor, Cindy M. "Naturalism : its development and subsequent decline in Chinese and Japanese literature /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09art2389.pdf.

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Lin, Pei-Yin. "Culture, colonialism and identity : Taiwanese literature during the Japanese occupation period." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249751.

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Slaymaker, Douglas. "Japanese literature after Sartre : Noma Hiroshi, Ōe Kenzaburō, and Mishima Yukio /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11079.

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Kawaharada, Dennis. "The rhetoric of identity in Japanese American writings, 1948-1988 /." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/9347.

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Price, Ann Mereryd. "Alienation, trains and the journey of life in four modern Japanese novels." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26903.

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This thesis examines the theme of alienation along with the train motif in the life journeys of the protagonists in four modern Japanese novels. Each chapter is devoted to an individual novel and explores its hero's feelings of socio-psychological estrangement on personal and interpersonal levels as well as the role of the train journey which serves to arouse, create or alleviate such feelings. Chapter One deals with Sanshiro (Sanshiro. 1908) by Natsume Soseki and follows the hero on his long train journey from backward Kyushu to progressive Tokyo. The people he meets on the train foreshadow the feelings of uneasiness and estrangement he will encounter in the capital. For Sanshiro, the noisy, crowded streetcars initially represent the "real world," constantly reminding him of his alienation from it. Once over his culture shock the hero's sense of not belonging shifts to his relationships with his friends. Gradually he begins to feel more comfortable with himself and the world around him. Chapter Two examines A Dark Night's Passing (An'ya Koro, 1921-37) by Shiga Naoya. In his search to resolve feelings of unacceptability arising from his childhood experiences, Kensaku takes a series of journeys, many by train, "backward" in time. The train thus serves as an agent which can transcend the barriers of both time and space, separating or reuniting people and creating or breaking down distances between places. It can arouse feelings of happiness, excitement, sadness or loneliness in its passengers or simply provide him with a place to relax and dream about a brighter future. Chapter Three focuses on Snow Country (Yukiguni. 1934-1947) by Kawabata Yasunari. Shimamura's purpose in visiting the snow country is two-fold -- he both desires to escape from and needs to confront the reality of the wasted effort in his life and resulting sense of alienation from humanity. The train complies. As it brings him into this region of Japan it completely loses any connection with reality, creating a void in which weirdly beautiful apparitions float up before our hero's very eyes. Once in this fantasy land our hero is taught to see his own coldness and how to become more human by two beautiful women. It is then left up to Shimamura to put what he has learned into action when he returns to Tokyo by the train which, heading away from the snow country, takes on very real qualities. The final chapter examines The Temple of the Golden Pavilion (Kinkakuii. 1956) by Mishima Yukio. This novel deals with Mizoguchi, a most frightening character whose mixed-up views of both himself and the world are but a thin disguise for insanity. The hero suffers terribly from the resulting feelings of not belonging as well as a great inferiority complex. The situation is complicated by his strange love-hate relationship with the Golden Temple to which he attributes human qualities. The train in this novel serves as the symbolic vehicle which transports the hero back and forth between the region of his birth and what he calls "the station of death" where he will eventually destroy both the temple and the hated half of his personality. In the conclusion the relevance of alienation, trains and the journey of life in modern Japanese literature are discussed.
Arts, Faculty of
Asian Studies, Department of
Graduate

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Page-Lippsmeyer, Kathryn. "The space of Japanese science fiction| Illustration, subculture, and the body in "SF Magazine"." Thesis, University of Southern California, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10160154.

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This is a study of the rise of science fiction as a subculture in the 1960s through an analysis of the first and longest-running commercial science fiction magazine in Japan: SF Magazine. Much of the research on science fiction in Japan focuses on the boom in the 1980s or on the very first science fictional texts created in the early years of the twentieth century, glossing over this pivotal decade. From 1959-1969, SF Magazine ’s covers created a visual legacy of the relationship of the human body to space that reveals larger concerns about technology, science, and humanity. This legacy centers around the mediation of human existence through technology (called the posthuman), which also transforms our understanding of gender and space in contemporary works. I examine the constellation of Japanese conceptions of the body in science fiction, its manifestations and limits, exploring how the representation of this Japanese, posthuman, and often cyborgian body is figured as an absence in the space of science fiction landscapes. SF Magazine was used by consumers to construct meanings of self, social identity, and social relations. Science fiction illustration complemented and supported the centrality of SF Magazine, making these illustrations integral to the production the of science fiction subculture and to the place of the body within Japanese science fiction. Their representation of space, and then in the later part of the 1960s the return of the body to these covers, mirrors the theoretical and emotional concerns of not just science fiction writers and readers in the 1960s, but the larger social and historical concerns present in the country at large.

The horrifying and painful mutability of bodies that came to light after the bombing of Hiroshima and Nagasaki manifests, in the latter years of the 1960s in science fiction, as the fantastically powerful mutating bodies of super heroes and cyborgs within the science fictional world. The bombed spaces of the postwar (largely ignored in mainstream 1960s media) were reimagined in productive ways on the covers of SF Magazine, mirroring the fiction and nonfictional contents. It is through this publication that a recognizable community emerges, a particular type of identity becomes associated with the science fiction fan that coalesced when the magazine began to offer different points of articulation, both through the covers and through the magazine’s contents. That notion of the science fiction fan as a particular subjectivity, as a particular way to navigate the world, created a space to articulate trauma and to investigate ways out of that trauma not available in mainstream works.

My work seeks to build on literary scholarship that considers the role commercial and pulp genres fiction play in negotiating and constructing community. I contribute to recent scholarship in art history that investigates the close relationship of Surrealism to mass culture movements in postwar Japan, although these art historians largely center their work on advertising in the pre-war context. Furthermore, my project reconsiders the importance of the visual to a definition of science fiction: it is only when the visual and textual are blended that a recognizable version of science fiction emerges – in the same way the magazine featuring the work of fans blurred the boundary between professional and fan. Hence, although the context of my study is 1960s Japan, my research is inseparable from larger investigations of the visual and the textual, the global understanding of science fiction, the relationship between high art and commercial culture, and contemporary media studies. This work is therefore of interest not only to literary science fiction scholars, but also to researchers in critical theory, visual studies, fan studies, and contemporary Japanese culture.

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Wren, James Allan. "Differences without distinction : ideology and the performative contexts of fictional self-representation in modern Japanese literature /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6668.

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Tillack, Peter Bruce. "The politics of "introspection" : two Naikō no sedai writers and the representation of social space in "contemporary" Japan /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?index=0&did=1196395441&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1180992920&clientId=11238.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 363-372). Also available for download via the World Wide Web; free to University of Oregon users.

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Cervelli, Filippo. "Ima deshō : the vacuum of immediacy in contemporary Japanese literature and popular culture." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:521d5f5e-d34d-454a-b622-a0454783cf80.

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The value of literature in the contemporary age is a controversial issue. The challenge posed by the interpretation of this era is expressed by the provocative remarks of critics such as Karatani Kōjin and Suzuki Sadami maintaining that after the 80s modern "pure" literature died (History and Repetition, 2012; The Concept of "Literature" in Japan, 2006). Reading Karatani and Suzuki's comments as merely provocative, signifying that a form of literature has died, this study enquires into how literature (and the arts) have changed and found new ways of expression after the historical break of 1989. The dissertation offers immediacy as a possible answer. Immediacy is a theme, a literary device stressing the present moment submerging clear notions of past and present. The precondition for immediacy is an ideological vacuum, experienced by characters across age groups and genders, where they do not share social ideologies or collective purposes. In this isolation, they concentrate only on their local realities, on what they perceive directly (physically and emotionally), acting quickly and repeatedly in the absence of critical thought. The constant action is often carried out in response to corporeal stimuli, specifically violence and sex, that grant immediate gratification in the vacuum. However, at the core characters indulging in immediacy long for inter-personal connections. Building a community based on critical thought and mutual understanding is the solution to escape from immediacy. The dissertation explores manifestations of immediacy in contemporary Japanese literature and popular culture (manga and anime) published or broadcast between 1995 and 2011. Through the analyses of cultural theories, literature by Takahashi Genichirō, Taguchi Randy and Hirano Keiichirō, and influential works in manga and anime (Neon Genesis Evangelion, Psycho-Pass and Shingeki no kyojin), it shows the theme's relevance and discusses how it contributes to the broader fields of contemporary Japanese literature and popular culture. By doing so, the dissertation also provides a study of the current artistic panorama in Japan, one that is often neglected critically, but that speaks of its culture with great force and imagination.

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Nave, Joshua. "When Honor Falls: A Study of Japanese Honor in Young Adult Literature." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/612.

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The concept of honor has developed over several centuries on the island nation of Japan. Due to this institutionalized growth, honor is something to be explored for how it has shaped and how it continues to mold contemporary Japanese culture. One way to examine Japanese honor is through the primary lens of Young Adult literature. By examining representations of Japanese honor in Young Adult literature, readers can learn how honor developed Japanese culture. Furthermore, readers can discern what aspects of honor in Japanese culture should be scrutinized. Through this scrutiny, readers will be able to discover how honor may be applied to contemporary society. The following texts will be explored in this thesis: Pamela S. Turner’s novel, Samurai Rising: The Epic Life of Minamoto Yoshitsune (2016), Shigeru Mizuki’s manga, Onward Towards Our Noble Deaths (1991), the joint novels of So Far From the Bamboo Grove (1986) by Yoko Kawashima Watkins, and Year of Impossible Goodbyes (1991) by Sook Nyul Choi, and finally the memoir Farewell to Manzanar (1973) by Jeanne Wakatsuki Houston. Each of these books provides a key narrative view of honor in its relation to people at various points of Japanese culture. The conclusion of this thesis will argue that the developments discovered about Japanese honor can be learned from and applied to modern society outside of Japan.

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Wood, Michael S. "Literary subjects adrift : a cultural history of early modern Japanese castaway narratives, ca. 1780-1880 /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2009. http://hdl.handle.net/1794/10071.

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Shelton, Abigail Leigh. "An analysis of the particle WA in Japanese narrative discourse." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407512818.

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Ondrake, Laura Katherine. "Hirabayashi Taiko: Issues of Subjectivity in Japanese Women’s Autobiography in Fiction." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250261685.

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Tsutsumi, Setsuko. "Kawabata Yasunari : interweaving the "old song of the East" and avant-garde techniques /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6657.

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Ramsay, Martin. "Single frame heroics new ways of being in the fiction of Yoshimoto Banana /." Australasian Digital Theses Program, 2009. http://hdl.handle.net.

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Thesis (PhD) - [Faculty of Business], Swinburne University of Technology, 2009.
Submitted for the degree of Doctor of Philosophy, [Faculty of Business], Swinburne University of Technology - 2009. Typescript. Includes bibliographical references (p. 237-253)

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Ono, Yumiko Murai Yoshikiyo. "Genre and transgenre in Edo literature an annotated translation of Murai Yoshikiyo's Kyōkun hyakumonogatari with an exploration of the text's multiple filiations /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/326/.

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Nakamura, Mariko. "Kaga Otohiko - known yet unknown : a study of a Japanese realist." Phd thesis, 2001. http://hdl.handle.net/1885/147179.

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Meldrum, Yukari Fukuchi. "Contemporary Translationese in Japanese Popular Literature." Phd thesis, 2009. http://hdl.handle.net/10048/560.

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One of the main aims of this thesis is to examine the translational situation of popular fiction in post-industrial Japan. Specifically, the goal is to uncover two main aspects surrounding the phenomenon of translationese, the language used in translation. One aspect to be investigated is the characteristic features of Japanese translationese, and the other is readers’ attitudes toward translationese. This research is conducted within the framework of Descriptive Translation Studies (Toury, 1995). The literature review includes a background of how translationese has been approached previously and how methods from different fields (e.g., corpus linguistics, sociolinguistics) can be used in the research of translation. Through the review of the historical background of Japanese translationese and the development of Japanese writing styles, it is revealed that the translation norm in Japan had been very closely oriented toward the original text. In the text analysis, the corpora consist of translations from English and non-translations (i.e., originally written in Japanese) in the genre of popular fiction. The goal of the text analysis is to determine whether the features of translationese are actually characteristics of translationese. The features selected for this examination include the following: 1) overt personal pronouns; 2) more frequent loanwords; 3) female specific language; 4) abstract nouns as grammatical subjects of transitive verbs; and 5) longer paragraphs. Two features (third person pronouns and longer paragraphs) are shown to be characteristic of translationese, while others were proven otherwise or questionable (loan words, female language, abstract nouns as subjects of transitive verbs). Findings from the investigation of readers’ attitudes can help identify what constitutes the “norms” of translation (Toury, 1995, 1999) in Japanese society. Readers appear to be able to tell the difference between translation and non-translation. However, readers’ attitudes toward both translationese and non-translationese are more or less neutral or slightly positive. This may indicate that Japanese translationese has become integrated into the contemporary Japanese writing system and that readers do not regard translationese as overtly negative. This study shows that the major translation norm is becoming more domesticated translation in popular fiction, with the focus on making translations easier for the readers.
Translation Studies

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Tong, Pi-Ta. "The other in modern Japanese literature." Thesis, 2003. http://hdl.handle.net/2429/14988.

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The concept of the Other plays a critical role in individual as well as national cultural identity. Each society's definition of the Other is based on its social, political, cultural, racial and spiritual paradigms. From ancient times, the concept of tasha or the Other has been an integral part of the Japanese world-view. At the outset of the Meiji period (1868), the role of the Other shifted from China to the West. During the Meiji Restoration the Japanese embraced the Western world and its modern technology, seeing it as a way to build Japan's strength. However, the inherent danger of losing their culture and traditions eventually became apparent. The Second World War and the Allied Occupation contributed to a growing resentment of the West and a rejection of many Western values. Today Japan is a nation that belongs to neither the Asian nor the Western world but rather exists in a territory somewhere in between. The complex and ambivalent attitude of the Japanese toward the West is reflected in modern Japanese literature and is the focus of this paper. The work of writers such as Mori Ogai ("The Dancing Girl" and "Under Reconstruction"), Tanizaki Jun'ichiro (The Makioka Sisters), Oe Kenzaburo ("Human beings as Sheep") and Yamada Eimi ("Bedtime Eyes") are examined for what they reveal about the values and assumptions of Japanese culture and the changing perceptions of the West as the Other. Historical events from the Meiji Restoration onward are chronicled and then interwoven with an analysis of the literature to provide insight into the conflicting forces of tradition vs. modernity, nationalism vs. individualism, rejection vs. reconciliation and pride vs. humiliation, which have contributed to Japan's complex relationship with the West.

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SHAOLING, HUNG, and 洪韶翎. "The Research of Japanese Proletarian Literature." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/35159639294223958833.

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碩士
輔仁大學
日本語文學系
90

This research paper aims to explore the “proletarian literature in “Japanese proletarian literature” which takes place in the early 20th century. In addition to examining the initial ideals of “justice” and “social equality,” it also attempts by means of sorting and discourse/ statement to plow through this left-wing literature, field, which is still desolate among local researches of Japanese literature yet influential to Taiwanese literature in the period under Japanese occupation.

From the view of a Japanese literature researcher whose mother tongue is Chinese, it further examines why the results of Japanese proletarian literature and Japanese Communist Party, which teem with left-wing enthusiasm, may differ greatly from those of Taiwanese literature in the period under Japanese occupation, which incorporates the idea of “labor and social rank” into the idea of “confrontation between nationality and colonization,” and from those of the left-wing literature in China, acclaimed as “revolutionary literature” by China Communist Party, which perfectly connects itself with the race-saving feelings and thus succeeds. By surveying the factors among them, this paper aims to clarify what role the Japanese proletarian literature plays in modern and contemporary literature in Japan.

Starting with the introduction of the origin of the left wing in the West, Chapter 1 leads to explore the political, social and literary circles in Japanese modernization period, and progresses to how the proletarian literature rose and what role it played then. It also sums up so far the researches and opinions on this domain in Japanese literary circle/ in Japanese academies, classifying and analyzing the themes of related papers existent/ available in the National Institute of Japanese literature.

Chapter 2, focusing on “main part/ subjectivity,” is mainly based on the rising, varying, and the gathering and publications among intellectuals in the whole literary movement so as to present the outline/ framework of the history of proletarian literature movement in Japan.

Chapter 3, focusing on “Body/ Flesh,” entering and investigating each notable period in this literary movement, attempts to present the internal atmosphere of the proletarian literature by translating, quoting and text-analyzing the important works and writers.

Chapter 4 focusing on “Limbs,” entering and investigating each notable period in this literary movement, attempts to reveal how the political movement and literary productions are linked, how the literary ideas are presented and how the literary critiques towards the production are conducted inside the proletarian literature by translating, quoting and text-analyzing the important literary critiques and critics

Chapter 5 examines by translating, quoting and text-analyzing the surviving works, critiques and self-reflections on the past in the so-called “turning era” when the left-wing groups were destructed by the Emperor government.

Chapter 6 summarizes all the points mentioned in previous chapters and collects various evidence on the Japanese society other than literature; in addition to the opinions of previous studies that the proletarian literature dies out due to both being oppressed mercilessly by the fascistic Emperor government and being ideologically inconsistent among the sects inside the Communist Party, this paper aspires to add that it is its insistence on the genuine left wing course and denial to the prevalent values of exploitation in disguise of feudalism among all ranks in Japanese society that void its echoing with the mass and thus demolish this literary movement which has never appeared since the war.

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Dissertations / Theses on the topic '200518 Literature in Japanese'

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