著者

水野 勝仁 Mizuno Masanori

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.2, pp.92-104, 2011-03-01

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This article examines what the "plane" in Masaki Fujihata's works is. Although Fujihata is known as one of the most famous media artists, the work Unformed Symbols is not that well known--just an animation work which Fujihata started his artistic career from. In making this, and other works--i.e. the "sculpture," Forbidden Fruits and interactive art works like Beyond Pages--however, he discovered, for himself, the possibility of computer graphics, and, as I explore in this paper, came to tackle the problem of the plane with, for perhaps the first rime, the computer. I consider three of Fujihata's works in order to consider chis handling of the plane as it exists in his works. First, I compare the plane in Forbidden Fruits with Leo Steinberg's the flatbed picture plane. This consideration makes clear that the plane is no longer the privileged role for the image in a collection of data. Secondly, I make a comparison between the interactive work Beyond Pages and the Graphical User Interface in order to show that the plane in the computer, through both artwork and utilitarian feature, becomes too thin to grasp with our hands. Thirdly, I ponder why the animation Unformed Symbols overlaps the image with the real, showing that there is no difference between the plane and the solid in this "thin" world. Accordingly, I conclude that Fujihata may have created a new plane itself by creating a "thinness" which causes a "switchover between dimensions" to that of the plane. Incidentally, the architect Junya Ishigami 's Table, which has a very thin tabletop, shows some similarities to Fujihata's "thin" plane. And furthermore, in his architectural critique, Taro Igarashi refers to the tabletop of Table as Superflat. Thus, I finally point out that Fujihata's "thin" plane shares a homology with Superflat, which, as proposed by the artist Takashi Murakami and developed into the discussion about information by the philosopher Hiroki Azuma, has come to be fundamental concept for modern Japanese art, and also suggest this "switchover between dimensions."

著者

楊 韜 YANG Tao

出版者

名古屋大学大学院人文学研究科附属「アジアの中の日本文化」研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.9, pp.40-59, 2018-03-23

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In the 1930’s of China, the so-called “Cartoon (漫画, Manhua)” was a very comprehensive concept, not only did it refer to “cartoon” and “comic”, but also “sketch” in the art field. For example, Ye qianyu (葉浅予, 1907–1995) successfully created the comic series Mr.Wang (王先生) and at the same time published two series of sketches, A Collection of Sketches by Qianyu (浅予速写集; 1936), and Sketches of Travels (旅行漫画; 1936). This thesis discusses the characteristics of this two series of sketches, by comparing these with another author’s sketches, and explores how Ye Qianyu established the art genre and concept of “Cartoon” in China.

著者

栗田 秀法 KURITA Hidenori

出版者

名古屋大学大学院人文学研究科附属「アジアの中の日本文化」研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.9, pp.170-173, 2018-03-23

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町田市立国際版画美術館 2017年4月22日–6月18日, 横尾忠則現代美術館 2017年9月9日-2018年2月4日(10月12日–11月17日 臨時休館)

著者

川合 大輔

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.3, pp.166-180, 2012-03

著者

大木 龍之介 OOKI Ryunosuke

出版者

名古屋大学大学院文学研究科附属「アジアの中の日本文化」研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.8, pp.194-208, 2017-03-17

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In the field of shojo manga studies, feminist theorists favor the subgenres of “shojo fight,” “shojo science fiction” and “boy’s love” when demonstrating the gender diversity and indefinability in shojo manga. In doing so, they tend to stigmatize the subgenre called “otome chic,” which depicts the daily lives and romances of teenage girls, as reinforcing heterosexism and heterosexual kinship. However, “otome chic” magazines, which are targeted at elementary and junior high school girls, feature many shojo manga that resist and subvert gender stereotypes, heteronormativity, and patriarchy. While critics dismiss the shojo manga magazine Hana to Yume as mere “otome chic,” some of the series it publishes performatively subvert gender, heterosexism, and kinship, and radically proliferate gender parodies from the inside to the outside of shojo manga through their commercial repetitions. The magazine features a lot of gender-bending manga, most of which were met with commercial success, especially Hanazakari no Kimitachi e by Nakajo Hisaya, as well as manga like Akachan to Boku, which troubles the kinship norm; Newyork Newyork, which depicts a gay couple’s situation; and Oresama Teacher, which parodies gender norms. Moreover, Tsubaki Izumi, the author of Oresama Teacher, serializes her manga Gekkan Shojo Nozaki-kun in Gangan Online, an online version of boy’s manga magazine Gangan published by Square Enix, expanding her “otome chic” style outside the field of shojo manga. An animated version was produced based on Gekkan Shojo Nozakikun in 2014, which became a major hit. Because their manga repeatedly deconstructs gender normative privilege and displaces the gendered signifier from its signified through their discursive practices, it can be said that Hana to Yume crosses the border of gender itself. In this article, I show that a friction exists between the shojo manga, which are favored by “shojo manga studies,” and “otome chic” manga such as Hana to Yume. Afterward, I illustrate how the shojo manga in Hana to Yume succeed in crossing the border of gender stereotypes in and out of the field of shojo manga by analyzing Akachan to Boku, Newyork Newyork, Oresama Teacher, and Gekkan Shojo Nokaki-kun.

著者

日比 嘉高 HIBI Yoshitaka

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.11, pp.186-189, 2020-03-26

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あいちトリエンナーレ2019は、愛知芸術文化センター、名古屋市美術館、四間道・円頓寺、豊田市美術館・豊田市駅周辺において、2019年8月1日から10月14日まで開催された。

著者

趙 書心 ZHAO Shuxin

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.11, pp.96-107, 2020-03-26

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Tamura Toshiko’s Haru no ban (Spring Night, 1914), serialized in the literary journal Shinchō, depicts a bisexual women Ikue and her two intimate relationships: a heterosexual relation with Shikeo and a lesbian relation with Kyōko. The narrative of Ikue’s two intimate relationships occupies the first and second half of the text respectively. In this article, I first analyze the text of the first half to show the subversion of heterosexism in the narrative; then, I examine the lesbian representation of the text of the second half to suggest its possibility of deconstructing the category of “lesbian,” which was established by contemporary sexology. Previous studies have interpreted the text of the first half as a story in which heterosexism is immanent. However, as I argue in this paper, if we read the text with focused attention on its multilayered construction, we can find that the narrative of physical sensations in the text, which is barely utilized in the context of heterosexual love, subverts heterosexism. After analyzing the subversion of heterosexism of the narrative, I focus on the lesbian representation in the text. In this work, female same-sex love, described as kikei (deformity), seems to be reproducing the discourse of sexology, and to be easily exposed to scopophilia towards lesbians. However, by taking notice of the discrepancy between textual representation and sexological discourse, I argue that lesbian representation in this work does not reproduce the sexological discourse but deconstructs the sexological definition of lesbianism as sexual perversion.

著者

栗田 秀法 Kurita Hidenori

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.4, pp.30-41, 2013-03-11

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In the west, landscape representation began being developed in the 14th century and the genre of landscape painting was established in the 17th century. In Holland, realistic landscape painting was perfected. However, Nature was still praised as God's Creation and was studied as a second Bible. On the other hand, in Italy, ideal landscape painting was brought about by Annibale Carracci and refined by Nicolas Poussin and Claude Lorrain. The tradition of noble and grand representations of nature was then passed down to the 19th century as historical landscape painting. It was during the Fronde (1648-53) that historical painter Poussin created landscape paintings prolifically. For Poussin, a neostoic, nature was not always a place of delight. The artist found analogies between humans, the natural world and the world of politics and depicted the storm as a trick of Fortune. In his storm landscapes, the people without wisdom were criticized as a bad examples. In the 17th century, even if it was painted realistically, nature was not always aesthetically appealing, but it was still deciphered in analogous relations.

著者

栗田 秀法 KURITA Hidenori

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.10, pp.217-220, 2019-03-25

著者

霜山 博也 SHIMOYAMA Hiroya

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.10, pp.214-216, 2019-03-25

著者

岩川 ありさ IWAKAWA Arisa

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.10, pp.8-17, 2019-03-25

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Inbe Kawori's Imperfect Cats is a photography book published in 2018. Inbe spent 4 years interviewing 62 women and taking portraits of them. Her portraits and texts show us women's various experiences. The purpose of the present essay is to investigate the interaction between cultural gender norms and "frames of recognition." In this essay, I focus on the works of Judith Butler, especially Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 2006 [1990]) and Notes Toward a Performative Theory of Assembly (Harvard University Press, 2015). In Gender Trouble, Butler insists that "gender is not a fact, the various acts of gender create the idea of gender, and without those acts, there would be no gender at all" (Butler 2006: 190). By analyzing the representation of women in Inbe's book, I describe the various acts of gender. At the same time, I considered this essay a trans-affirmative work. Recently, some feminists made trans-phobic speeches on SNS (see details in "Transgender and Feminism" by Hori Akiko. https://wezz-y.com/archives/62688). I describe the concept of gender as historical and performative in agreement with Butler's previous research about gender performativity. In addition to Butler, I focus on the works of Eve Kosofsky Sedgwick's Epistemology of the Closet (University of California Press: 1st edition, 1990).

著者

盧 銀美 NO Eunmi

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.10, pp.142-157, 2019-03-25

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This study examines the features of voiceover, a filmic technique that has been widely used in melodrama films since the late 1930s. One function of voiceover, which was developed alongside the talkies in the late 1930s, was conceptualized by the term “monologue” and was used to represent characters’ inner voices, as well as the voice through which one character expresses their subjective view of another character’s internality. In this study, I analyze the dynamics of melodramatic modes of voiceover prevalent in the shinpa-geki style of Japanese films in the 1930s. I will focus on Naruse Mikio’s 1937 film Nadare, which depicts the lives of the Japanese upper class during that period. My analysis will illustrate the ways in which monologue voiceover allowed an ever-increasing number of filmmakers to create a kind of filmic “diversity,” where monologues functioned to express the complex inner voices of a variety of characters. This voiceover technique, widely adopted in melodrama films made after 1935, helped to dramatize the standard shinpa-geki themes of feudalistic thought or patriarchy, while creating melodramatic modes of subjective bipolarity and time tension. Investigating these features will demonstrate how voiceover served as a typical means for generating melodramatic modes of “conflict” within melodrama films during the 1930s.

著者

名取 雅航 NATORI Masakazu

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.10, pp.174-188, 2019-03-25

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The aim of this paper is to analyze how two films, Gyaku-kosen (1956) and Natsu no arashi (1956), were underestimated and consequently forgotten in the context of Japan’s postwar gender dynamics. Based on literature authored by female university students, Iwahashi Kunie and Fukai Michiko, these two films were popularized in the name of “Sun Tribe women.” By investigating discourses on these works and their social background, this paper reveals a process through which in-depth discussion about women’s agency in controlling their bodies and expressing their desires has been excluded, and it delves into the untapped significance of Sun Tribe women. At the basis of the imbricated ground for oblivion—recognition as and prejudice against the Sun Tribe culture, failure in embodying the essence of the original literature, and conflict between the visualized heroin and actress Kitahara Mie’s star image—lies a deep-rooted gender issue. Discourses on Gyaku-kosen demonstrate men’s fear toward a self-oriented body of a woman which can never be seen in the idea pictures (democracy pictures) in the occupation era or the postwar “panpan” film (prostitute film). The forgotten Sun Tribe women, Kitahara and the authors of the original stories, encourage us to reconsider the generalized history of the film, the literature, and postwar Japan.

著者

王 温懿

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.8, pp.150-166, 2017-03

著者

秦 剛

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.6, pp.70-85, 2015-03

著者

日比 嘉高

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.3, pp.32-46, 2012-03

著者

日比 嘉高 Hibi Yoshitaka

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.3, pp.32-46, 2012-03

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In this paper, I examine how contemporary transnational writers in Japan bring about their appearance (H. Arendt) in the public sphere of literature. An illusion that links nation, national language and national literature still seems to be dominant in the public sphere where people discuss and maintain "Japanese Literature". I consider here how transnational writers and their works in contemporary Japan manifest themselves with foreign styles and provide alternative discourses. Contemporary transnational authors are not only participants in the politics of recognition (C. Taylor) themselves, but their narratives also join in the space of dispute with the power of literature. I consider the power of literature a power to bridge public spheres, intimate spheres and private spaces, and to partage (J. L. Nancy) cultural distribution and placement of recognition. Cultural translation provided by transnational writers and their works stands between these phases of bridging and partaging. In the case of transnational authors of contemporary Japan, contact between heterogeneous cultures not only thematizes encounters between different cultures but also forms motifs about the meeting and comingling of the Japanese language with other languages. This reveals that the representation of cultural translation is a critically important subject in the transnational literature of contemporary Japan. In this paper, I will discuss this concretely by analyzing the short novel by Shirin Nezamaffi, "Salam." "Salam" is the story of a female university student working part-time as an interpreter for an Afghani girl applying for refugee status in Japan. My reading of the novel will focus on the following two points: on the one hand, representing failures of translation reveals the difficulty of bringing over words from different cultural backdrops and experiences; on the other hand, it depicts the difficulty of transference to public spheres via narrative. By representing a translator who deepens her understanding of her native country, Iran, and its neighbor, Afghanistan, by encountering them in through interpretation, the novel opens the door for better recognition of each of the two nation's cultures in the public literary sphere of contemporary Japan.

著者

木下 耕介

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.3, pp.140-153, 2012-03

著者

川合 大輔 Kawai Daisuke

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.3, pp.166-180, 2012-03

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本研究は、京都大学人文科学研究所・共同研究B「第一次世界大戦の総合的研究」の共同研究員として行ったものであり、その研究成果の一部である。

著者

溝渕 久美子 Mizobuchi Kumiko

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.3, pp.114-124, 2012-03

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In this article, I look into how the prizes for original stories and screenplays were established, and how the publicness of cinema was constructed under the Film Law of Japan. Since the enforcement of the Film Law in 1939, the Japanese film industry was controlled by the Japanese Government. There were not enough stories and screenplays in the film industry, because ready-made stories such as Soseki's works were difficult to fit into the requirements of wartime circumstances. So, film makers established an institute for writing and started to serialize articles titled "A Classroom for Screenplays" in a movie magazine to train writers. In addition, the Japanese government and film industry began various public offerings for original stories and screenplays in some newspapers and magazines. Unlike other jobs related to film making, writers did not need a license to work under the Film Law. This made it possible to assemble writers using public prizes. A representative example is the "Cinema and Theater Play of the Nation" prize, established in 1941. The winner "Hahakogusa (The Story of a Mother and Her Child)" written by Koito Nobu, an elementary schoolteacher, was adapted into a film by Tasaka Tomotaka and published in an anthology along with other prizewinners. People who wanted to apply need not be cultivated or rich, and their gender, job, class, education, age, or habitation did not matter. Anybody literate enough to read the application and to write stories or screenplays and agree with the purpose of the offering could apply. These prizes gave people a feeling of participation in making of national cinema for themselves. In other words, people were not only spectators who watched the films made by Japanese Government and film industry, but were also "film makers" of "National Cinema". "National Cinema" was not just films for the nation, it was also films by the nation.