著者

茂木 謙之介 MOTEGI Kennosuke

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.118-130, 2018-03-23

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The purpose of this paper is to study the relationship between literature and religion in Japan from the 1980s to the 2000s. That era was a time when the concept of religion and the concept of literature were being relativized. This paper analyzes the relationship in Genso-Bungaku a book review and research magazine. There has been no research on Genso-Bungaku so far, so this paper will also initiate research on this magazine. Through its analysis, three things became clear in this paper. Firstly, the writers who contributed to the magazine used religious codes as hints for making creations. They were using myths and animisms as unrealistic stories. In the same period, religions were spreading in Japanese society, and it seems that the writers were influenced by this. Secondly, the critics used religious codes as a theory for criticism. The magazine emphasized book reviews, frequently introducing religious books. Critics would present knowledge from religious studies in book reviews and articles. It seems that background lead to the epidemic of occultism since the 1970s. Finally, a number of religious scholars were involved in the magazine. Although they utilized their knowledge of religious studies to comprehend fantasy literature, as the religious concepts became relative, that attempt failed to thrive. The magazine stopped being published at the same time as this trend.

著者

鄒 韻 ZOU Yun

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.74-87, 2018-03-23

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This paper discusses discourses regarding lesbianism in the Taisho period and proposes a new position where the borderline within the dichotomous structure of female heterosexuality / homosexuality does not only involve sexuality but is also entangled with gender, identity, and body image. In the 1910s, sexology became more prevalent in Japanese discourse. Psychopathia Sexualis, written by Richard Freiherr von Krafft-Ebing, is the foundation of sexology in Japan. Sawada Junjiro and Habuto Eiji wrote Hentai seiyokuron (Sexual Pervsion Theory) based on Krafft-Ebing’s book and emphasized that female homosexuals were more mentally oriented and more gender transgressive. Thus, female homosexual discourse diverged from an essentialist understanding of sexuality and created its own discursive space, connecting female homosexuality with the image of masculine women. The “same-sex love” scandal took place in 1920 when sexuality became a more popular topic. In the reporting of this news, we can see how the schema in which homosexual women being equated with masculine women had already been confirmed by the media under the influence of sexology. Homosexuality no longer described homosexual actions, but homosexual persons, and was also connected with their personalities. On the other hand, the intimate relationships among young female students converged from “ome” (written as “men and women” or “manly woman”) to “S,” which means sisterhood, due to the influence of sexology. Yoshiya Nobuko’s Hanamonogatari (Flower Tales) series is a representative work of the Taisho period about the pseudo-love story between shojos. Shirayuri is a story that closely resembles the “same-sex love” scandal. The representation of “S” in this story is told from the perspective of female eroticism, even though the characters are feminine and are enclosed in the gender role of “good wife, wise mother.” The romantic friendship of young female students did not produce a narrative of homosexuality but played the role of provoking romanticism and sentimental emotions. Thus, in the Taisho period, intimate relationships among young female students are divided into two directions: pathological female homosexuality and feminine romantic friendship.

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

葛西 周 KASAI Amane

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

no.9, pp.60-72, 2018-03

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本稿は、「近代日本の祝祭空間における「音楽」表象」(東京芸術大学大学院音楽研究科博士学位論文、2009)の一部に大幅な加筆修正を施したものである。追跡調査にあたり、2017年度科学研究費補助金基盤研究B「中国建国前夜のプロパガンダ・メディア表象:劇場文化と身体芸術のコラボレーション」(研究代表者:星野幸代)ならびに同若手研究B「戦前・戦中期東アジアにおける音楽ジャンル観の変遷」(研究代表者:葛西周)の援助を得た。

著者

鄒 韻 ZOU Yun

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

no.9, pp.74-87, 2018-03

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This paper discusses discourses regarding lesbianism in the Taisho period and proposes a new position where the borderline within the dichotomous structure of female heterosexuality / homosexuality does not only involve sexuality but is also entangled with gender, identity, and body image. In the 1910s, sexology became more prevalent in Japanese discourse. Psychopathia Sexualis, written by Richard Freiherr von Krafft-Ebing, is the foundation of sexology in Japan. Sawada Junjiro and Habuto Eiji wrote Hentai seiyokuron (Sexual Pervsion Theory) based on Krafft-Ebing's book and emphasized that female homosexuals were more mentally oriented and more gender transgressive. Thus, female homosexual discourse diverged from an essentialist understanding of sexuality and created its own discursive space, connecting female homosexuality with the image of masculine women. The "same-sex love" scandal took place in 1920 when sexuality became a more popular topic. In the reporting of this news, we can see how the schema in which homosexual women being equated with masculine women had already been confirmed by the media under the influence of sexology. Homosexuality no longer described homosexual actions, but homosexual persons, and was also connected with their personalities. On the other hand, the intimate relationships among young female students converged from "ome" (written as "men and women" or "manly woman") to "S," which means sisterhood, due to the influence of sexology. Yoshiya Nobuko's Hanamonogatari (Flower Tales) series is a representative work of the Taisho period about the pseudo-love story between shojos. Shirayuri is a story that closely resembles the "same-sex love" scandal. The representation of "S" in this story is told from the perspective of female eroticism, even though the characters are feminine and are enclosed in the gender role of "good wife, wise mother." The romantic friendship of young female students did not produce a narrative of homosexuality but played the role of provoking romanticism and sentimental emotions. Thus, in the Taisho period, intimate relationships among young female students are divided into two directions: pathological female homosexuality and feminine romantic friendship.

著者

北村 洋 笹川 慶子 KITAMURA Hiroshi SASAGAWA Keiko

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.132-146, 2018-03-23

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Since the 1890s, Japanese movie-goers have engaged American cinema in a wide consumer marketplace shaped by intense media competition. Early fandom grew around educated urban audiences, who avidly patronized action-packed serials and Universal’s freshly imported films in the 1910s. During the 1920s and 1930s, U.S. cinema continued to attract metropolitan consumers but struggled in the face of Japan’s soaring narrative output. In the years following World War II, movie-goers encountered American films in big cities as well as provincial communities through the Occupationbacked Central Motion Picture Exchange. After the Occupation, U.S. film consumption began to slow down in theaters because of Japanese cinematic competition, but the sites of reception extended into television. The momentum of American cinema revived on the big screen with the rise of the blockbuster, though the years after the 1970s witnessed an intense segmentation of consumer taste. While U.S. cinema culture has become widely available via television, amusement parks, consumer merchandise, and the Internet, the contemporary era has seen renewed challenges mounted by domestic productions and alternative sources of popular entertainment.