著者

片平 幸

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 (ISSN:1346048X)

巻号頁・発行日

vol.42, no.1, pp.125-142, 2016-07-22

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This essay examines how Puccini's Madame Butterfly has been perceived in Japan since the early 20th century. Composer Giacomo Puccini (1858_1924) wrote the opera Madame Butterfly, which premiered in Italy in 1904. The story is about a tragic love between 15-year-old Japanese girl Cio-Cio-san and American naval officer B. F. Pinkerton. The setting is in Nagasaki in the early Meiji period. This story derives from the Western imagination of the 19th century, when great interest emerged in the West toward Japan due in part to international exhibitions of the time and the influence of Japonisme in Europe. Consequently, the Japanese people and customs represented in Madame Butterfly were exotic if not awkward based on a Western fantasy of the 19th century. Madame Butterfly is an opera production of the early 20th century, and eventually very popular, performed on stage all through the 20th century. This means, then, that there were newly directed or interpreted versions of it. Nevertheless, "Japan" in Madame Butterfly has been often represented in a peculiar manner for today's audiences in Japan. So how have Japanese people reacted to the representation of Japan in Madame Butterfly ? The aim of this essay is to investigate how Madame Butterfly has been perceived in Japan. Through this, I will analyze Japanese newspaper articles from the 1910s and onward. In addition, I will argue how Madame Butterfly can be an effective material to study the issue of representation as well as cross-cultural understanding. I also report how Madame Butterfly can be explored in lectures based on my educational practice.

著者

片平 幸 Miyuki Katahira 桃山学院大学国際教養学部

出版者

桃山学院大学総合研究所

雑誌

国際文化論集 (ISSN:09170219)

巻号頁・発行日

no.41, pp.105-131[含 英語文要旨], 2009-12

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This essay examines how gardens of Japan were perceived by Western authors in the 19th century, by analyzing the writings of Edward S. Morse (1838_1925), John La Farge (1835_1910), Basil H. Chamberlain (1850_1935), and Lafcadio Hearn (1850_1904), who also played an important role in introducing Japanese culture to Western readers. Japanese gardens had already been introduced by Josiah Conder, an English architect and the author of Landscape Gardening in Japan (1893). Conder methodically explained the history, composition, and ornaments of Japanese gardens as well as introducing some well known gardens in Japan. The essay will compare and analyze how the four authors described Japanese gardens, and also the impact of Conder's writing on them. Morse, a zoologist, described how stones were precisely placed in order to compose a whole garden, and interpreted such features as reflecting the "reserve and sense of propriety" of Japanese people, based on his observation. La Farge, an artist who initiated Japonisme in the United States, visited Nikko with Okakura Tenshin (1862_1913) and Ernest Fenollosa (1853_1908) and described how a garden is drawn from nature and expresses "the ideas of peace and chastity, quiet old age, connubial happiness, and the sweetness of solitude".Chamberlain, a linguist, and Hearn, known for his numerous and influential writings on Japan, each refers to Conder's book, yet there is a stark contrast in the way they described and interpreted Japanese gardens. In Things Japanese, Chamberlain summarized the principal points of Conder's writing and presented a brief digest of Japanese gardens in a rather indifferent manner. Hearn also extracted some essential points from Conder's writing, yet he beautifully described the garden of his house in Matsue, and emphasized that how to "feel" is a key to understanding Japanese gardens. Reflecting the influence of Spencer's ideas, Hearn argued that to appreciate Japanese gardens requires one to understand Japanese people's innate sensibility.

著者

片平 幸

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 = ST.ANDREW,S UNIVERSITY BULLETIN OF THE RESEARCH INSTITUTE (ISSN:1346048X)

巻号頁・発行日

vol.42, no.1, pp.125-142, 2016-07-22

---

This essay examines how Puccini's Madame Butterfly has been perceived in Japan since the early 20th century. Composer Giacomo Puccini (1858_1924) wrote the opera Madame Butterfly, which premiered in Italy in 1904. The story is about a tragic love between 15-year-old Japanese girl Cio-Cio-san and American naval officer B. F. Pinkerton. The setting is in Nagasaki in the early Meiji period. This story derives from the Western imagination of the 19th century, when great interest emerged in the West toward Japan due in part to international exhibitions of the time and the influence of Japonisme in Europe. Consequently, the Japanese people and customs represented in Madame Butterfly were exotic if not awkward based on a Western fantasy of the 19th century. Madame Butterfly is an opera production of the early 20th century, and eventually very popular, performed on stage all through the 20th century. This means, then, that there were newly directed or interpreted versions of it. Nevertheless, "Japan" in Madame Butterfly has been often represented in a peculiar manner for today's audiences in Japan. So how have Japanese people reacted to the representation of Japan in Madame Butterfly ? The aim of this essay is to investigate how Madame Butterfly has been perceived in Japan. Through this, I will analyze Japanese newspaper articles from the 1910s and onward. In addition, I will argue how Madame Butterfly can be an effective material to study the issue of representation as well as cross-cultural understanding. I also report how Madame Butterfly can be explored in lectures based on my educational practice.

著者

片平 幸 Miyuki Katahira 桃山学院大学国際教養学部

雑誌

国際文化論集 = INTERCULTURAL STUDIES (ISSN:09170219)

巻号頁・発行日

no.41, pp.105-131, 2009-12-22

---

This essay examines how gardens of Japan were perceived by Western authors in the 19th century, by analyzing the writings of Edward S. Morse (1838_1925), John La Farge (1835_1910), Basil H. Chamberlain (1850_1935), and Lafcadio Hearn (1850_1904), who also played an important role in introducing Japanese culture to Western readers. Japanese gardens had already been introduced by Josiah Conder, an English architect and the author of Landscape Gardening in Japan (1893). Conder methodically explained the history, composition, and ornaments of Japanese gardens as well as introducing some well known gardens in Japan. The essay will compare and analyze how the four authors described Japanese gardens, and also the impact of Conder's writing on them. Morse, a zoologist, described how stones were precisely placed in order to compose a whole garden, and interpreted such features as reflecting the "reserve and sense of propriety" of Japanese people, based on his observation. La Farge, an artist who initiated Japonisme in the United States, visited Nikko with Okakura Tenshin (1862_1913) and Ernest Fenollosa (1853_1908) and described how a garden is drawn from nature and expresses "the ideas of peace and chastity, quiet old age, connubial happiness, and the sweetness of solitude".Chamberlain, a linguist, and Hearn, known for his numerous and influential writings on Japan, each refers to Conder's book, yet there is a stark contrast in the way they described and interpreted Japanese gardens. In Things Japanese, Chamberlain summarized the principal points of Conder's writing and presented a brief digest of Japanese gardens in a rather indifferent manner. Hearn also extracted some essential points from Conder's writing, yet he beautifully described the garden of his house in Matsue, and emphasized that how to "feel" is a key to understanding Japanese gardens. Reflecting the influence of Spencer's ideas, Hearn argued that to appreciate Japanese gardens requires one to understand Japanese people's innate sensibility.

著者

小池 惇平 大島 泰郎 堀 輝三 片平 幸枝 田中 一裕 河崎 行繁 小林 憲正

出版者

日本惑星科学会

雑誌

日本惑星科学会秋期講演会予稿集

巻号頁・発行日

vol.1994, 1994-10-03