著者

隠岐 さや香 OKI Sayaka

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.18-32, 2019-03-25

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Mr. Osomatsu (Osomatsu-san) is a Japanese anime comedy series (2015–2018) based on Akatsuka Fujio’s manga series, Osomatsu-kun (1962–1969). The anime features more adult-oriented humor compared to the original manga, as it follows the lives of the sextuplet Matsuno brothers, who have fully grown up into lazy NEETs. The anime series attracted young female audiences with its character designs and its comical but delicate portrait of the everyday relationships among the brothers. The purpose of this study is to examine and explain the queer elements apparent in this series, including its bromance and accompanying incestuous connotations, human/non-human romantic relationships, and polyamorist desire between the sextuplets and the heroine, Totoko. We can find similar elements in Akatsuka’s canon, which adopts a “nonsense gag manga” style marked by a fascination with the transgression of rules. However, it is clear these elements take on different meanings in Mr. Osomatsu, with its very satiric description of today’s neoliberal market society, which excludes the Matsuno brothers from any kind of stable social relationship except with their own family. We see these queer relationships are indeed forced options for them in place of a heteronormative romantic love out of the brothers’ reach, but at the same time they make us look at a certain strategy to challenge the neoliberal norm of masculinity, to be an economically independent man capable of living a heteronormative family life. In this regard, Akatsuka’s gag heritage almost merges with the act of queering, and allows us to look into the diversities and the difficulty of masculinity in today’s Japanese society.

著者

飯田 祐子 IIDA Yuko

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.48-63, 2019-03-25

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In this paper, I examine Murata Sayaka’s works with a special focus on the concept of “genderqueer.” Genderqueer is a term born from Transgender theory, which criticizes the gender binary norm. Murata wrote about transgender characters who try to transcend gender, as well as, cisgender women, who deviate from the gender norm in extreme ways. Murata created these people to show her intolerance of the gender binary system, and by doing that, her trials resonate with the concept of genderqueer. In Convenience Store Woman, Murata reveals that “normal” is constructed with the exclusion of the others. Part of her focus is on the family system that she considers to be the most repressive. It is the basis of society and strongly gendered. The protagonist Keiko Furukura escapes from gender norms by identifying herself as a part of a convenience store. Convenience Human, the identity Furukura creates, is an allegorical non-gendered existence. In Murata’s other works, she continues to invent alternative sexuality in order to free sexual desire from the gender system. For instance, she features several types of sex with things practiced by girls, and she extends this idea and describes with enthusiasm having sex with the Earth. Her ideas are in the same direction as post-human or non-human ontology. In her most recent work, Earthian, she seeks a way to survive as an alternative post-human creature. She describes the binary confrontation “normal/abnormal” as “Earthian/alien.” The protagonists survive as aliens in the repressively gendered society, the Earth. In this paper, I demonstrate the concrete gender queerness in order to criticize the binary gender system, through Murata’s works created with her explosive imagination.

著者

隠岐 さや香 OKI Sayaka

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.18-32, 2019-03-25

---

Mr. Osomatsu (Osomatsu-san) is a Japanese anime comedy series (2015–2018) based on Akatsuka Fujio's manga series, Osomatsu-kun (1962–1969). The anime features more adult-oriented humor compared to the original manga, as it follows the lives of the sextuplet Matsuno brothers, who have fully grown up into lazy NEETs. The anime series attracted young female audiences with its character designs and its comical but delicate portrait of the everyday relationships among the brothers. The purpose of this study is to examine and explain the queer elements apparent in this series, including its bromance and accompanying incestuous connotations, human/non-human romantic relationships, and polyamorist desire between the sextuplets and the heroine, Totoko. We can find similar elements in Akatsuka's canon, which adopts a "nonsense gag manga" style marked by a fascination with the transgression of rules. However, it is clear these elements take on different meanings in Mr. Osomatsu, with its very satiric description of today's neoliberal market society, which excludes the Matsuno brothers from any kind of stable social relationship except with their own family. We see these queer relationships are indeed forced options for them in place of a heteronormative romantic love out of the brothers' reach, but at the same time they make us look at a certain strategy to challenge the neoliberal norm of masculinity, to be an economically independent man capable of living a heteronormative family life. In this regard, Akatsuka's gag heritage almost merges with the act of queering, and allows us to look into the diversities and the difficulty of masculinity in today's Japanese society.ファイル差し替え(2019/4/10).本稿はカルチュラル・タイフーン(東京藝術大学、2016年7月3日)での研究発表「アニメ『おそ松さん』にみるクィアネスとその社会・文化的文脈」の内容に加筆・修正したものである。

著者

大橋 崇行 OHASHI Takayuki

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.34-47, 2019-03-25

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Previous research on girls’ novels in modern Japan has focused on delicate and sentimental stories and novels portraying fraternal relationships among girls. In fact, especially in the novels published in Shōjo no Tomo, which is one of the quintessential girls’ magazines in the early Showa era, we can see many novels following this trend. However, the girls’ magazine Shōjo Club, published by Kōdansha, which gained more support from girls, had works that tended to be quite different from these novels. Actually, it is a group of works that include girl detective novels, historical novels, and adventure novels for girls. Also, it is necessary to point out that many detective novels were also published in Shōjo no Tomo. So, in this research, I will compare Makyō no ni Shōjo (Two Girls in the Demon, 1952–53) written by Saijō Yaso with such novels. This novel is notable because it was written as an adventure novel for boys which was originally titled Kotei no Daimajin (The Great Deity of the Lake Bottom, 1950), which was rewritten for girls. Therefore, by analyzing how this work was revised, it is possible to read what Saijō Yaso thought about what elements were necessary for girls’ novels. And in this study, I focus on how the mystery is positioned for girl readers. And, in an adventure novel whose main character is a girl detective, I conclude that the girls’ novel of Saijō Yaso was featured in bringing in fraternal relationships of girls as seen in girls’ novels. Through analyzing this work, I would like to confirm the diversity of entertainment novels for girls in Japan during the Showa period. At the same time, by considering differences from boys’ novels, I analyze the diversity of gender that was organized among girl readers.

著者

マクソン ヒラリー ホプソン ネイスン MAXSON Hillary HOPSON Nathan

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.46-57, 2020-03-26

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Food, gender, and household budgeting were intimately linked in postwar Japan, and this is most evident in kakeibo, women’s personal household account books. This article argues that our understandings of the transformation in Japanese cuisine and nutrition that took place in the late 1950s and early 1960s are incomplete without the perspective of women home cooks who kept kakeibo, as household budgeting was an important step in meal planning and food shopping. This study examines the kakeibo of Yokohama-based housewife activist, Nakamura Kimiko, paying special attention to both the ways kakeibo publishers structured the lay out of the kakeibo Nakamura used and the ways she filled them out to understand how home cooks planned meals. Articles from women’s magazines, including Shufu no tomo and Fujin no tomo are incorporated to demonstrate the ways they emphasized the connection between kakeibo and home cooking, or “balanced budget, balanced diet.” Overall, by examining kakeibo, the study found that by 1965, women home cooks had figured out how to consolidate a flood of postwar culinary changes—including new nutritional knowledge—within Japan’s traditional meal structure. The article concludes that kakeibo provide a historical narrative of culinary change from the perspective of women consumers and home cooks.

著者

加島 正浩 KASHIMA Masahiro

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.190-192, 2020-03-26

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木村文洋監督作『息衝く』上映 日時:2019年10月3日(木), 会場:名古屋大学人文学研究科棟1階130号室

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.220-232, 2020-03-26

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.11, pp.181-185, 2020-03-26

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2019年11月1日-12月25日 富山県美術館

著者

柳井 貴士

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.12, pp.126-137, 2021-03-26

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In this article I explore what zombies potentially mean in Okinawa. I do so by analyzing films in relation to the history and culture. Recent years have seen growing research on zombies, which include ones in films. This helps us to classify the films into classic zombie films, zombie films after Romero, and zombie films that deal with infectious diseases. Moreover, examining the areas of Okinawa and zombies from various angles enables us to see the problems of education and otherization throughout history, which began with the disposition of Ryukyu. Echoing the history of Haiti, these suggest what possible meanings the representation of zombie has in Okinawa. On the other hand, films, High Sai Zombie and Kumoziya Zombie, also represent zombie, but they show the case that it is impossible for zombie to survive in Okinawa, thereby suggesting certain complication of the issue.

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

藤城 孝輔

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.12, pp.112-124, 2021-03-26

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Since early in the first decade of the twenty-first century, the works of Japanese novelist Murakami Haruki have been adapted for film by various international filmmakers. Most of their adaptations have been classified as "arthouse films" because of their having been directed by celebrated auteurs with subsequent circulation in international film festivals. However, what tends to be unrecognized, owing principally to the excessive focus of previous scholarship on art cinema, is the significance of Murakami within global popular culture. While giving close examination of Murakami adaptations and elevating them to the level of high art, the scholars are unable to address how Murakami successfully crosses national borders to permeate the everyday life of people across diverse cultures. This essay examines Acoustic (Eokuseutig, Yoo Sang-hun, 2010), a South Korean omnibus film, restricting analysis here to the second episode, "Bakery Attack," which draws on Murakami's 1981 short story "Pan'ya shūgeki." The episode serves as a star vehicle for its two leading performers, Lee Jong-hyun and Kang Min-hyuk, both of whom were at the time members of the South Korean idol rock band, CNBLUE. Murakami's story has undergone significant modifications not only for relocating the 1980s Japanese narrative to fit a Korean setting in the 2010s, but also for effectively conveying the star image of the male idols as appropriate for transnational audiences. Examples of such changes include those affecting the characterization and interrelationship of the protagonists, elimination of the vagueness which colored the original story, and insertion of a reference to the history of South Korean popular music. Through the unambiguous, transculturally accessible narrative with the characters each exhibiting their performers' public image, the film establishes the rising stars' position within the South Korean entertainment scene as well as in the international market. Murakami's story is used not as a signifier of Japanese culture, but rather as a culturally transferable medium which enables the film and its stars to reach both domestic and global audiences.

著者

藤木 秀朗 フィリップス アラステア FUJIKI Hideaki PHILLIPS Alastair

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.74-94, 2020-03-26

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本稿は、Hideaki Fujiki and Alastair Phillips, “Introduction: Japanese Cinema and its Multiple Perspectives,” in Hideaki Fujiki and Alastair Phillips, eds. The Japanese Cinema Book (London: British Film Institute/Bloomsbury, 2020)の全訳である。ただし、日本語表現に合わせて、文の意味をわずかに変更したところがある。また、本稿は本書--ここでは、『日本映画論書』と訳した--の序論として書かれていることをお断りしておきたい。For this translation, Introduction in Hideaki Fujiki and Alastair Phillips eds. The Japanese Cinema Book (British Film Institute/Bloomsbury, 2020) is used by permission of Bloomsbury Publishing Plc.

著者

黒岩 裕市 KUROIWA Yuichi

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.168-174, 2020-03-26

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本稿は2019年7月26日に名古屋大学ジェンダー・リサーチ・ライブラリで行なわれた、超域文化社会センター(TCS)セミナー第7回「〈クィア〉に読む、〈クィア〉を読む--村田沙耶香『トリプル』を中心に」の報告である。

著者

ホプソン ネイスン HOPSON Nathan

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.30-45, 2020-03-26

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This article explores the history and politics of American-funded food demonstration buses (“kitchen cars”) in postwar Japan. Their express mission was to transform the Japanese national diet. I make two primary arguments. First, at least in the short to medium term, the kitchen cars were a win-win for both the United States and Japan. On the one hand, Japan benefited because the kitchen cars taught Japanese women how to cook cheap, nutritious, mostly easy dishes to improve the health of their families and the nation. On the other hand, these menus were planned specifically to increase consumption of American agricultural products, especially wheat, soy, and corn. For US agricultural and political interests, in addition to supporting the economic recovery and political stability of a Cold War ally, the kitchen cars—along with the school lunch program—were instrumental in teaching Japan to accept and consume American produce. My second argument concerns the reasons for the kitchen cars’ success. I identify the following two factors: staffing by mostly female professional nutritionists, who combined authority with approachability for the kitchen cars’ main audiences of middle-aged, married women; and the kitchen cars’ mobility, which allowed them to reach even remote villages and hamlets.