Gotowe bibliografie tematyczne / Nakagami Kenji

Gotowa bibliografia na temat „Nakagami Kenji”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Nakagami Kenji"

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TOMOTSUNE, Tsutomu. "Nakagami Kenji and the Buraku issue in postwar Japan". Inter-Asia Cultural Studies 4, nr 2 (styczeń 2003): 220–31. http://dx.doi.org/10.1080/1464937032000112962.

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Tansman, Alan. "History, Repetition, and Freedom in the Narratives of Nakagami Kenji". Journal of Japanese Studies 24, nr 2 (1998): 257. http://dx.doi.org/10.2307/133235.

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Zimmerman, Eve. "Paradox and Representation: Silenced Voices in the Narratives of Nakagami Kenji by Machiko Ishikawa". Journal of Japanese Studies 48, nr 2 (czerwiec 2022): 411–15. http://dx.doi.org/10.1353/jjs.2022.0042.

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Lévy, Jacques. "La dépossession de l'intime et l'enjeu autobiographique du récit. Les derniers romans de Nakagami Kenji". Ebisu 16, nr 1 (1997): 121–34. http://dx.doi.org/10.3406/ebisu.1997.977.

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Rachel DiNitto. "Out of the Alleyway: Nakagami Kenji and the Poetics of Outcaste Fiction (review)". Journal of Japanese Studies 35, nr 2 (2009): 386–89. http://dx.doi.org/10.1353/jjs.0.0093.

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Michael K. Bourdaghs. "Out of the Alleyway: Nakagami Kenji and the Poetics of Outcaste Fiction (review)". Monumenta Nipponica 63, nr 2 (2008): 442–45. http://dx.doi.org/10.1353/mni.0.0036.

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Monnet, Livia. "Ghostly women, displaced femininities and male family romances: Violence, gender and sexuality in two texts by Nakagami Kenji: Part 1". Japan Forum 8, nr 1 (kwiecień 1996): 13–34. http://dx.doi.org/10.1080/09555809608721555.

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Monnet, Livia. "Ghostly women, displaced femininities and male family romances: The politics of violence, gender and sexuality in two texts by Nakagami Kenji: Part 2". Japan Forum 8, nr 2 (sierpień 1996): 221–37. http://dx.doi.org/10.1080/09555809608721571.

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Cornyetz, Nina. "Out of the Alleyway: Nakagami Kenji and the Poetics of Outcaste Fiction. By Eve Zimmerman. Cambridge, Mass.: Harvard University Asia Center, 2007. x, 263 pp. $39.95 (cloth)." Journal of Asian Studies 69, nr 1 (luty 2010): 278–80. http://dx.doi.org/10.1017/s0021911809992269.

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Little, J. William. "Cryopreserved Autologous Nipple-Areola Complex Transfer to the Reconstructed Breast; Tatsuhiro Nakagawa, M.D., Kenji Yano, M.D. and Ko Hosokawa, M.D." Plastic and Reconstructive Surgery 111, nr 1 (styczeń 2003): 148–49. http://dx.doi.org/10.1097/00006534-200301000-00024.

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Rozprawy doktorskie na temat "Nakagami Kenji"

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

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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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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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Ishikawa, M. "Nakagami Kenji : paradox and the representation of the silenced voice". Thesis, 2015. https://eprints.utas.edu.au/23223/1/Ishikawa_whole_thesis.pdf.

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How does a writer represent the voice of the voiceless? This is the primary question in my reading of Burakumin writer, Nakagami Kenji (1946-1992). My project explores Nakagami's representation of the voices of voiceless (mukoku) people - especially Burakumin people - who are oppressed by mainstream Japanese social structures. Nakagami was always conscious of the fact that, in spite of his own background, his privilege as a writer made it difficult for him to 'represent' the voices of the dispossessed. This 'paradox of representing the silenced voice' is the key theme of my thesis. Gayatri Chakravorty Spivak theorises the (im)possibility of representing the voice of 'subalterns,' those oppressed by ideologies such as imperialism, patriarchy and heteronormativity. Arguing that the oppressed Burakumin peoples depicted in Nakagami's narratives are Japan's 'subalterns,' I draw on Spivak to analyse Nakagami's material. There is no other study, in either Japanese or English that reads Nakagami through Spivak's ground-breaking ideas. Spivak's work reveals and transcends the complicity of Western (Northern, in Gramsci' s terms) intellectuals in the suppression of the non-West (or South). I argue that Nakagami similarly interrogates the relationship between mainstream and marginalised in Japan. Nakagami's narratives have a strong geopolitical perspective that reveals the 'otherness' of his birthplace, Kumano. Nakagami identifies Kumano as Japan's marginalised 'South.' I am particularly interested in drawing on Spivak, and theorists such as Butler and Sedgwick, to profile Nakagami's depiction of marginalised Japanese women, especially Burakumin women. I wish to help readers hear the voices of these women who are often violated sexually by the men given a profile in much Nakagami scholarship. Firstly, I will revisit the voices of key male characters, and the voice of Nakagami himself, in order better to understand the role these men play in suppressing women's stories. Through reviewing conflicts between masculine pairs, especially the father and son, I will note how misogynistic homosocial practices silence the voices of the women associated with these males. The analysis references a selection of both well-known and little read Nakagami narratives. Chapter One examines the 1978 travel journal, Kishu: ki no kuni, ne no kuni monogatari (Kishu: A Tale of the Country of Trees, the Country of Roots), as an early representation of the silenced Kumano Burakumin voice. Chapter Two focuses on the 1976 short story, 'Rakudo' (Paradise) little discussed in existing scholarship, to explore the depiction of the voice of a violent young patriarch and the defiance expressed by the silence of his wife. Chapter Three considers Nakagami's masterpiece, the Akiyuki trilogy. Rather than the better known 1976 and 1977 works, 'Misaki' (The Cape) and Kareki nada (The Sea of Withered Trees), close attention is given to Chi no hate shijo no toki (1983, The End of the ' Earth, Supreme Time), written after Nakagami's declaration of his Burakumin background. The second half of the thesis focuses directly on the rarely heard voices of Burakumin women. I profile these women as independent subjects, rather than objects of male interaction. Chapters Four and Five introduce women from the Akiyuki trilogy. Satoko, the prostitute who unknowingly commits incest with her half-brother, Akiyuki, becomes a pawn in the power struggle between her father and half-brother. The aged 'oldest sister,' Yuki, sacrificed her youth in a brothel to feed her father-less family. Moyo remains traumatised by the rape that resulted in the conception of her now adult son. Nakagami's most celebrated woman character, Oryu no oba, the mid-wife and community mother of the buraku community, from Sen 'nen no yuraku (1982, A Thousand Years of Pleasure), is also discussed to support my interpretation of Burakumin women. Finally, I examine the writer's last published novel, Keibetsu (1992, Scorn), with its account of the Tokyo topless dancer, Machiko, who migrates to her husband's rural 'hometown' where she is oppressed and branded as immoral by the gaze of her partner's community. My close reading ofNakagami's representation of the voice of these sexually stigmatised women is my unique contribution to Nakagami scholarship.
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Petitto, Joshua. "Narratives of space and place in three works by Nakagami Kenji". Thesis, 2005. http://hdl.handle.net/10125/11525.

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Brisset, Maxime. "Nakagami Kenji : un projet littéraire et social autour du statut des intouchables japonais". Thèse, 2012. http://hdl.handle.net/1866/9072.

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L’étude porte sur la question des burakumin, les intouchables japonais, dans deux oeuvres de l’écrivain japonais Nakagami Kenji (1946-1992), lui-même issu de cette communauté. Mille ans de plaisir, recueil de six contes basés sur des récits de vie, et le roman Miracle forment une suite organisée autour des mêmes lieux, des mêmes personnages et des mêmes thèmes. Ils décrivent la condition sociale d’une collectivité mise au ban de la société japonaise malgré sa modernisation. Ils se distinguent par leur caractère d’ethnofiction. Nakagami cherche à réhabiliter les burakumin en valorisant le patrimoine religieux et folklorique dont ils sont dépositaires. Il puise dans les genres traditionnels comme le monogatari ou les contes et légendes du Japon. Il s’inspire également d’auteurs modernes japonais (Mishima, Tanizaki) et d’auteurs étrangers (Faulkner, García-Márquez). À partir de cet intertexte et pour faire barrage à l’occidentalisation, il élabore un style « hybride » digne de la littérature nationale (kokubungaku). Les oeuvres traditionnelles sont réinterprétées dans une esthétique postmoderne ayant une fonction ironique et critique contre l’idéologie impériale répressive qui continue d’alimenter la discrimination envers les burakumin. L’analyse porte sur les procédés qui sous-tendent le projet social et le projet littéraire de l’auteur. Elle se divise en trois parties. La première donne un aperçu biographique de l’auteur et décrit les composantes de son projet social qui consiste à vouloir changer l’image et le statut des burakumin. La deuxième partie décrit les éléments religieux et folkloriques des deux oeuvres et analyse en contexte leur signification ainsi que leur fonction, qui est de mettre en valeur les traditions préservées par les burakumin. La troisième partie montre en quoi le répertoire traditionnel (monogatari) et les intertextes sont mis au service du projet littéraire proprement dit.
This study addresses the issue of burakumin, Japanese untouchable or social outcast, in the works of the Japanese novelist Nakagami Kenji (1946-1992), who had himself come from this community. Together, A Thousand Years of Pleasure, a collection of six tales based on life stories, and the novel Miracle, form a continuum articulated around the same places, characters and themes. They describe the social condition of a community exiled by the Japanese society in spite of its modernization and stand out as works of the ethnofiction genre. Nakagami tries to rehabilitate the burakumin by the valorization of the religious and folk heritage of which they are the custodians. He draws from the traditional works such as monogatari, the folk tales and legends of Japan. He also draws from contemporary Japanese authors (Mishima, Tanizaki) as well as from foreign ones (Faulkner, García-Márquez). With this intertext as a starting point and to stand against westernization, he elaborates a “hybrid” style worthy of the national literature (kokubungaku). The traditional works are reinterpreted with postmodern aesthetics that introduce an ironic and critical tone against the repressive imperial ideology still feeding discrimination towards burakumin. The analysis bears on the processes underlying the social and literary projects of the author. The thesis is divided in three parts. The first one provides a biographic overview of the author`s life and describes the components of his social project which consisted in changing the image and status of burakumin. The second describes the religious and folk elements of both works and analyzes in context their meaning and their function, which is to emphasize the traditions upheld by the burakumin. The third and last part shows how the traditional repertoire (monogatari) and intertexts are used to support the literary project itself.
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Książki na temat "Nakagami Kenji"

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Sekii, Mitsuo. Nakagami Kenji. Tōkyō: Shibundō, 1993.

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Nakagami Kenji ron. Tōkyō-to Shinjuku-ku: Chōeisha, 2014.

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Hyōden Nakagami Kenji. Tōkyō: Shūeisha, 1998.

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Nakagami, Kenji. Nakagami Kenji essei senshū. Tōkyō: Kōbunsha 21, 2001.

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Erekutora: Nakagami Kenji no shōgai. Tōkyō: Bungei Shunjū, 2007.

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1952-, Takazawa Shūji, red. Nakagami Kenji mishūroku tairon shūsei. Tōkyō: Sakuhinsha, 2005.

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Inuhiko, Yomota. Kishu to tensei Nakagami Kenji. Tōkyō: Chikuma Shobō, 2001.

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Nakagami Kenji ron: Kumano, roji, gensō. Ōsaka-shi: Kaihō Shuppansha, 2003.

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Karlsson, Mats. The Kumano Saga of Nakagami Kenji. [Stockholm?]: Stockholms Universitet, 2001.

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Nakagami Kenji jiten: Ronkō to shuzai nichiroku. Tōkyō: Kōbunsha 21, 2002.

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Części książek na temat "Nakagami Kenji"

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Zimmerman, Eve. "Nakagami Kenji". W Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16756-1.

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Zimmerman, Eve. "Nakagami Kenji: Misaki". W Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16757-1.

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Zimmerman, Eve. "Nakagami Kenji: Karekinada". W Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16758-1.

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Zimmerman, Eve. "Nakagami Kenji: Die Kurzprosa". W Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16760-1.

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Zimmerman, Eve. "Nakagami Kenji: Sennen no yuraku". W Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_16759-1.

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Ishikawa, Machiko. "Introduction". W Paradox and Representation, 1–52. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501751943.003.0001.

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This introductory chapter offers a brief background into the works of Nakagami Kenji (1946–1992) and how he represented the voices of the socially silenced in Japan. Notably, Nakagami belonged to the Burakumin (“outcaste”). Although he is known as a Burakumin writer, and much of his writing is indeed set in a Burakumin context, not all of his material provides representations of Burakumin life. His work further depicts the diversity of backgrounds among Buraku people, including those who, like the writer himself, received financial and economic benefits from the democratic systems introduced at the time. Given this Burakumin emphasis, the chapter briefly introduces key historical and sociopolitical aspects of that experience before embarking on an analysis of the writer's works. This analysis also includes a brief overview of the extensive corpus of Nakagami scholarship which exists in both Japanese and English.
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"Icarus Descending: Expendable Males and the Poetry of Nakagami Kenji". W Out of the Alleyway, 57–85. BRILL, 2007. http://dx.doi.org/10.1163/9781684174591_004.

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Takeo, Shiroya, i Paul Bevan. "Comparative Research on the Work of Shen Congwen and Nakagami Kenji". W Routledge Companion to Shen Congwen, 189–216. Routledge, 2019. http://dx.doi.org/10.4324/9781351253727-14.

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