著者

MIHALOPOULOS Bill

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.32, pp.218-220, 2019

著者

AUKEMA Justin

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.32, pp.127-150, 2019

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This paper examines the early postwar history of the physical remains of World War II through the example of Keio University’s Hiyoshi Campus. During the war, the Japanese Imperial Navy’s Combined Fleet used this site as their headquarters, and they built a massive underground tunnel system there. Furthermore, after the war, the campus was confiscated and used by the U.S. Occupation Eighth Army until 1949. Yet this history of the Hiyoshi Campus was almost completely forgotten until the late 1980s. This paper argues that the reasons for this lie in the postwar history of the site and the university. Namely, Keio intellectuals in the early postwar sought to portray the school as an historical pioneer of liberal democracy in Japan. Yet in this historical rewriting, instances of liberal cooperation with militarism such as Keio’s wartime past became inconvenient truths, and the physical wartime remains on campus, as visible reminders of this past, became unwanted and undesirable anachronisms. In this way, the paper argues that the forgetting of war sites such as the Hiyoshidai tunnels was, in some ways, a byproduct of the creation of a liberal-democratic postwar Japan.

著者

DAHL Shayne A. P.

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.32, pp.199-201, 2019

著者

GODART G. Clinton

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.32, pp.205-207, 2019

著者

TORRANCE Richard

出版者

International Research Center for Japanese Studies

雑誌

Japan review : journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

no.29, pp.3-38, 2016

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It was once thought that the prominence of Izumo gods in imperial myth was merely a function of literary structure, the creation of an antagonist to enhance the power and prestige of the Yamato polity. The idea that Izumo was, in archeological terms, insignificant in the context of discoveries in other regions contributed to theories that Izumo's importance in imperial myth was due entirely to narrative logic. With the archeological discoveries at Kanba Kōjindani in present-day Izumo City in July of 1984 and those in August 1996 at the Kamo Iwakura site in present-day Unnan City, it was no longer tenable that Izumo myth did not reflect a political and material reality during the mid to late Yayoi period. This article is an overview of the archeological evidence as a prologue to an examination of Izumo myth. It argues that the transition from Jōmon to Yayoi required about three to four centuries. It then takes up a series of archeological discoveries that establish that Izumo was the center of an Izumo cultural zone, not technologically inferior to the Kinai region. The article argues further, based in part on the evidence of tumuli and other forms of burial, that Izumo remained relatively independent through the sixth or early-seventh century, but it questions the meaning of Izumo's "surrender" to Yamato in the context of sixth or seventh century Japan.

著者

ROTS Aike P. TEEUWEN Mark

出版者

International Research Center for Japanese Studies

雑誌

Japan review : Journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

vol.30, pp.3-20, 2017-07-24

著者

GOTO-JONES Chris

出版者

International Research Center for Japanese Studies

雑誌

Japan review : journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

no.29, pp.171-208, 2016

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This experimental article explores the question of whether it is possible to examine the experience of playing fighting games (video games) as a form of self-cultivation or practice and, in so doing, whether it becomes possible to shift the debate about the potential impact of violent video games on the people who play them (and on society around them). The article draws on five years of surveys and interviews with gamers from around the world, but seeks to interpret this data through a critical and creative reading of the games themselves as well as a reading of the so-called bushidō tradition (of texts about the intersection between Zen and the martial arts). The article concludes that fighting games might be experienced as forms of martial arts in themselves, complete with potentials for self-transformation, but that this form of engagement requires appropriate intentionality from players, which provokes a space for a manifesto to guide players' intentions.

著者

SAEKI Junko

出版者

International Research Center for Japanese Studies

雑誌

Nichibunken Japan review : bulletin of the International Research Center for Japanese Studies

巻号頁・発行日

vol.8, pp.127-142, 1997-01-01

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This article analyzes Mishima Yukio's Confession of a Mask (1949), focusing on the sexuality of the male protagonist "I". Although "I" confesses his sexual desire to the same sex, it is not appropriate to apply the term "homosexual" to him, because his sexual inclination is not exactly equal to the "homosexuality" in the modern Western sense. The fact that he is attracted to men of a different age group from his own is related to the traditional make-up of the same sex couple in nanshoku (the Japanese tradition of male-love), which typically consisted of an older man and a younger boy. There were two different nanshoku traditions; monastic and military, and "I" possesses the features of both: the idolization of the love object of the former, and the educational function of the latter.However, in contrast with traditional nanshoku, which was tolerated and even celebrated in pre-modern Japan, "I" considers his same sex desires sinful and shameful. His notions about his sexuality are influenced by Western prejudices about male love seen in discourses on homosexuality in the West. At the same time, he has a strong sense of subjectivity that makes him capable of expressing and confessing his own sexual desires. With "I"'s confession, a modern subjectivity and sexual identity emerges, and in this sense, he can be called a "homosexual", in the same sense as, for example, the male protagonist Billy in John Fox's Boys on the Rock (1984), a representative work of American gay fiction. By comparing "I" with Billy, I will point out modernized and Westernized aspects of the narrator's sexuality, and conclude that the character "I" represents the mixed characteristics of indigenous and exogenous elements of male love in modernized Japan.

著者

NISHINO Ryota

出版者

International Research Center for Japanese Studies

雑誌

Japan review : journal of the International Research Center for Japanese Studies (ISSN:09150986)

巻号頁・発行日

no.31, pp.211-213, 2017

著者

BUCKLAND Rosina

出版者

International Research Center for Japanese Studies

雑誌

Nichibunken Japan review : bulletin of the International Research Center for Japanese Studies

巻号頁・発行日

vol.26, pp.259-276, 2013

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This article examines the final period of shunga, customarily defined as erotic imagery produced by the woodblock-printing technique. It takes up artist who continued the earlier traditions of shunga (such as Kawanabe Kyosai and Tsukioka Yoshitoshi) and those who developed new modes (among them, Tomioka Eisen). The new Meiji administration was anxious to suppress material it deemed inappropriate, and new censorship legislation was introduced in 1872. However, the clandestine production and sale of shungacontinued until the early 1900s. As was always the case, quality varies, but the best Meiji era shunga is distinguished by fine draughtsmanship and deluxe printing effects. As part of modernization, women gained new, more visible roles in society and these were quickly taken up as characters in shunga. Japan's engagement in hostilities with first China and then Russia provided the impetus for the further production of erotica to supply to troops. Yet, by this point such material was seen as a potential embarrassment to the nation, and its suppression thereafter intensified. At the same time, the shifting role of the naked body within visual culture had a major impact on shunga, and rival rechnologies, such as photography and lithography, were supplanting woodblock-printing. The result was the emergence of a new genre of sex-related imagery, which, when compared with shunga, is marked by its directly explicit nature and a lack of humour.

著者

HAYAKAWA Monta GERSTLE Andrew C.

出版者

International Research Center for Japanese Studies

雑誌

Nichibunken Monograph Series (ISSN:13444972)

巻号頁・発行日

vol.14, 2013

著者

SAEKI Junko

出版者

International Research Center for Japanese Studies

雑誌

Nichibunken Japan review : bulletin of the International Research Center for Japanese Studies

巻号頁・発行日

vol.8, pp.127-142, 1997

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This article analyzes Mishima Yukio's Confession of a Mask (1949), focusing on the sexuality of the male protagonist "I". Although "I" confesses his sexual desire to the same sex, it is not appropriate to apply the term "homosexual" to him, because his sexual inclination is not exactly equal to the "homosexuality" in the modern Western sense. The fact that he is attracted to men of a different age group from his own is related to the traditional make-up of the same sex couple in nanshoku (the Japanese tradition of male-love), which typically consisted of an older man and a younger boy. There were two different nanshoku traditions; monastic and military, and "I" possesses the features of both: the idolization of the love object of the former, and the educational function of the latter.