著者

鈴木 貴宇

出版者

日本近代文学会

雑誌

日本近代文学 (ISSN:05493749)

巻号頁・発行日

vol.91, pp.241-244, 2014-11-15

著者

鈴木 貴宇

出版者

昭和文学会

雑誌

昭和文学研究 (ISSN:03883884)

巻号頁・発行日

vol.83, pp.209-212, 2021 (Released:2022-04-07)

著者

鈴木 貴宇

出版者

昭和文学会

雑誌

昭和文学研究 (ISSN:03883884)

巻号頁・発行日

vol.74, pp.1-14, 2017 (Released:2022-07-01)

著者

高野 宏康 Takano Hiroyasu 川西 崇行 Kawanishi Takayuki 鈴木 貴宇 Suzuki Takane 佐藤 洋一 Sato Yoichi

出版者

神奈川大学日本常民文化研究所 非文字資料研究センター

雑誌

非文字資料研究 (ISSN:13488139)

巻号頁・発行日

no.23, pp.7-11, 2010-01-10

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第1回・第3回公開研究会 報告

著者

五十殿 利治 滝沢 恭司 鈴木 貴宇 喜夛 孝臣 江口 みなみ

雑誌

服飾文化共同研究最終報告

巻号頁・発行日

vol.2012, pp.[1]-[9], 2013-03

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The purpose of this joint research is to examine the image of “Artist” in modern Japan, an image which was different from traditional literati and imported from West just like the Art itself. Late Meiji and early Taisho period saw a surge of modernism in art and literature in Japan and special attention is paid to the significance of artists’ fashion including “nude”. Major modernists in the 1920s and the 1930s such as Ryusei Kishida, Kaita Murayama, Kyojiro Hagiwara, Tomoyoshi Murayama and so on were multi-talented and transcended traditional boundaries of genres of arts and some of them attracted public attention for their fashion and thus were widely publicized as a fashion leader. These no doubt contributed to the formation of the general image of “Artist”. Our purpose is to investigate modern fashion in terms of general art(s) history, taking into consideration western original models and its transformations in modern Japan, its reception of general public and so on. Though not every aim of this joint research set initially up has attained, our researches for them have been steadily done. It is noteworthy that taking up as a subject of joint research work “separate” phenomena hitherto seen in histories of art and literature, each member of this research group and participants in its seminar as well came to grasp social and historical significances of close relations between fashion and creative activities of artists and literary figures. The most important and common view we shared as a conclusive understanding in our researches should be summarized: as Prof. Toby Slade pointed out at one of our seminars, fashion in modern Japan was as an aesthetic and social phenomenon or cultural institution rather than a practical utilitarian tool of life. That is the reason why we have discussed clothes of Artist (among others) as a way of artistic expression with social significance. The other aspect we should like to emphasize in our joint research is that we have considered the fashion in modern Japan in terms of viewpoints from within and without, that is, on and/or from Europe and America and pre-war Asian colonies. Here are our main subjects that members of this joint research have taken up respectively: 1) Tomoyoshi Murayama in “Bubikopf” (okappa or bobbed hair style) wore a knit cap and a Rubashka or Russian blouse and these made Murayama famous as an artist and a fashion leader. 2) Women moved in the society with bobbed hair and in western clothes when female writers in the early Showa era such as Chiyo Uno and Fusa Sasaki were cutting-edge professional women. 3) Leftist painters in 1920s painted workers in so-called “Nappa-fuku” or blue work clothe and they themselves wore after factory workers and around 1930 young people such as “Marx Boy” and “Engels Girl” in blue-color clothe.

著者

鈴木 貴宇

出版者

東邦大学

雑誌

東邦大学教養紀要 (ISSN:03877566)

巻号頁・発行日

no.45, pp.135-148, 2014-02

著者

鈴木 貴宇

出版者

昭和文学会

雑誌

昭和文学研究 (ISSN:03883884)

巻号頁・発行日

vol.61, pp.107-110, 2010-09