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Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work. -
The Making of an American Shinto Community
THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7 -
Additional Information[PDF:0.8MB]
Guide Book Michinoku Coastal Trail Ishinomaki (Kitakami, Kahoku, Ogatsu) Section ①Shirahama Beach Park and Kashima-jinja Shrine (Map title: Shirahama Swimming Beach, Shirahama Beach Park, Kashima-jinja Shrine (Beer Shrine)) In addition to the white sand beach, Shirahama Beach has a park with picnic and barbecue areas and hosts a wide variety of seasonal outdoor activities for visitors, including dragnet fishing from March through September. Nearby Kashima-jinja Shrine is reputedly home to a somewhat picky deity. According to legend, local residents would traditionally make ritual offerings of unfiltered sake (doburoku) to the deity. One year, however, the rice yield was so poor that they had to offer alcohol made from wheat instead. The following year, the rice crop was bountiful. The community expressed its gratitude with a traditional offering of sake, only to suffer a sudden outbreak of illness and injury. Putting their heads together, they came to the conclusion that the deity of this shrine preferred wheat-based offerings to rice-based sake. This preference earned Kashima the nickname the Beer Shrine, and to this day, worshippers still bring offerings of beer. Kashima-jinja Shrine was washed away by the 2011 tsunami, but the foundation of the original structure is still visible, and many of the monuments lost in the disaster have since been recovered. ②Ishinomaki Riverside Visitor Center/ Kitakami Tourism and Product Exchange Center Opened in April 2018, the Ishinomaki Riverside Visitor Center is a great place to take a break from walking the Michinoku Coastal Trail and learn about the natural wonders of the Sanriku region. -
The Culture of Japanese Fascism Asia-Pacific: Culture, Politics, and Society &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ the Culture of Japanese Fascism
THE CULTURE OF JAPANESE FASCISM ASIA-PACIFIC: CULTURE, POLITICS, AND SOCIETY &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ THE CULTURE OF JAPANESE FASCISM &EJUFECZ "MBO5BOTNBO DUKE UNIVERSITY PRESS DURHAM AND LONDON 2009 © 2009 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ♾ Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging- in-Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Columbia University, which provided funds toward the production of this book. CONTENTS MARILYN IVY Foreword: Fascism, Yet? vii ALAN TANSMAN Introduction: The Culture of Japanese Fascism 1 Part I: Theories of Japanese Fascism KEVIN M. DOAK Fascism Seen and Unseen: Fascism as a Problem in Cultural Representation 31 RICHARD TORRANCE The People’s Library: The Spirit of Prose Literature versus Fascism 56 HARRY HAROOTUNIAN Constitutive Ambiguities: The Persistence of Modernism and Fascism in Japan’s Modern History 80 Part II: Fascism and Daily Life KIM BRANDT The Beauty of Labor: Imagining Factory Girls in Japan’s New Order 115 NORIKO ASO Mediating the Masses: Yanagi Sōetsu and Fascism 138 AARON SkABELUND Fascism’s Furry Friends: Dogs, National Identity, and Purity of Blood in 1930s Japan 155 Part III: Exhibiting Fascism AARON GEROW Narrating the Nation-ality of a Cinema: The Case of Japanese Prewar Film 185 MICHAEL BASKETT All Beautiful Fascists?: Axis Film Culture in Imperial Japan 212 AkIKO TAKENAKA Architecture for Mass-Mobilization: The Chūreitō Memorial Construction Movement, 1939–1945 235 JONATHAN M. -
'National Cinema'
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 18 September 2018 doi:10.20944/preprints201809.0339.v1 Peer-reviewed version available at Arts 2018, 7, 87; doi:10.3390/arts7040087 Introduction. The Misleading Discovery of Japanese ‘National Cinema’. Marcos P. CENTENO MARTÍN1 Birkbeck, University of London [email protected] Abstract: The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the World and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text andproduction- based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality. Keywords: National Cinema; Transnational Japanese Film; taiyōzoku; mukokuseki;’kimono effect’; youth icons; postwar film festivals. 1 Lecturer in Japanese Studies, Birkbeck, University of London. -
Przekładaniec, 2019
Przekładaniec, special issue, “Translation and Memory” 2019, pp. 175–191 doi:10.4467/16891864ePC.19.016.11391 www.ejournals.eu/Przekladaniec MAŁGORZATA TRYUK■ https://orcid.org/0000-0002-6925-2711 University of Warsaw [email protected] THE CINEMATIC FIGURE OF AN INTERPRETER AT A NAZI CONCENTRATION CAMP: MARTA WEISS IN THE LAST STAGE BY WANDA JAKUBOWSKA* Abstract Despite a massive amount of archival material on Nazi concentration camps, references to camp translators and interpreters are random, brief, and laconic. They usually consist of dry facts as related in ontological narratives of the Nazi regime victims. In the present paper, these records will be confronted with the portrayal of Marta Weiss, a fictional camp interpreter presented in the 1948 docudrama Ostatni etap (The Last Stage) by the Polish film director Wanda Jakubowska, herself a former prisoner of the concentration camp in Birkenau. To this day, The Last Stage remains a “definitive film about Auschwitz, a prototype for future Holocaust cinematic narratives”. The Last Stage is also called “the mother of all Holocaust films”, as it establishes several images easily discernible in later narratives on the Holocaust: realistic images of the camp; passionate moralistic appeal; and clear divisions between the victims and the oppressors. At the same time, The Last Stage is considered to be an important work from the perspective of feminist studies, as it presents the life and death of female prisoners, femininity, labour and motherhood in the camp, women’s solidarity, and their resistance to the oppressors. The Last Stage constitutes a unique quasi-documentary source for the analysis of the role of translators and interpreters working in extreme conditions. -
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Tryuk, M. (2016). Interpreting and translating in Nazi concentration camps during World War II. Linguistica Antverpiensia, New Series: Themes in Translation Studies, 15, 121–141. Interpreting and translating in Nazi concentration camps during World War II Małgorzata Tryuk University of Warsaw, Poland [email protected] This article investigates translation and interpreting in a conflict situation with reference to the Nazi concentration camps during World War II. In particular, it examines the need for such services and the duties and the tasks the translators and the interpreters were forced to execute. It is based on archival material, in particular the recollections and the statements of former inmates collected in the archives of concentration camps. The ontological narratives are compared with the cinematic figure of Marta Weiss, a camp interpreter, as presented in the docudrama “Ostatni Etap” (“The last Stage”) of 1948 by the Polish director Wanda Jakubowska, herself a former prisoner of the concentration camp. The article contributes to the discussion on the role that translators and interpreters play in extreme and violent situations when the ethics of interpreting and translation loses its power and the generally accepted norms and standards are no longer applicable. 1. Introduction Studies on the roles of translators and interpreters in conflict situations have been undertaken by numerous scholars since 1980. They have produced valuable insights into the subject which include various types of study of an empirical, analytical -
Wff Freeman Insert
JOIN US OCT 11-15 llyy 2006 FFiieerrccee nnddeenntt Named one of the top ten ddeeppee film festivals by Moviemaker, IInn Film Threat and Film Festival Today “The Woodstock Film Festival is quite a draw,and its solid line-up attracts a broad spectrum of the New York film community to the enclave that one participant called “the world’s most famous small town.” (Indiewire) “...Woodstock is becoming one of the most distinctive festivals on the circuit.” (Stephen Garrett,Time Out New York) “The films here are wonderful,it’s a great place.” (Lili Taylor) “Woodstock is a film spa where you come away refreshed and inspired!” (Ron Mann, director, Tales of the Rat Fink) ©R WOODSTOCKFILMFESTIVAL.COM oth 2006 Key Sponsors: Presenting Sponsor: Superstar Sponsor: ABOUT WOODSTOCK FILM FESTIVAL The Woodstock Film Festival As a not-for-profit, 501(c)(3) organization, our mission is to present an annual program and celebrates new and established year-round schedule of film, music and art-related activities that promote artists, culture and inspires learning and diversity. The Hudson Valley Film Commission promotes sustainable voices in independent film with economic development by attracting and supporting film, video and media production. screenings, seminars, workshops Every fall, film and music lovers from around the world gather here for an exhilarating variety of films, concerts, celebrity-led seminars, workshops, an awards ceremony and and concerts throughout the mid- superlative parties. Visitors find themselves in a relaxed, receptive atmosphere surrounded by Hudson Valley. some of the most beautiful landscapes in the world. More than 125 films are screening, including feature films, documentaries and shorts, many of which are premieres from the U.S. -
Epistolary Encounters: Diary and Letter Pastiche in Neo-Victorian Fiction
Epistolary Encounters: Diary and Letter Pastiche in Neo-Victorian Fiction By Kym Michelle Brindle Thesis submitted in fulfilment for the degree of PhD in English Literature Department of English and Creative Writing Lancaster University September 2010 ProQuest Number: 11003475 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11003475 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This thesis examines the significance of a ubiquitous presence of fictional letters and diaries in neo-Victorian fiction. It investigates how intercalated documents fashion pastiche narrative structures to organise conflicting viewpoints invoked in diaries, letters, and other addressed accounts as epistolary forms. This study concentrates on the strategic ways that writers put fragmented and found material traces in order to emphasise such traces of the past as fragmentary, incomplete, and contradictory. Interpolated documents evoke ideas of privacy, confession, secrecy, sincerity, and seduction only to be exploited and subverted as writers idiosyncratically manipulate epistolary devices to support metacritical agendas. Underpinning this thesis is the premise that much literary neo-Victorian fiction is bound in an incestuous relationship with Victorian studies. -
Marr, Kathryn Masters Thesis.Pdf (4.212Mb)
MIRRORS OF MODERNITY, REPOSITORIES OF TRADITION: CONCEPTIONS OF JAPANESE FEMININE BEAUTY FROM THE SEVENTEENTH TO THE EARLY TWENTIETH CENTURY A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Japanese at the University of Canterbury by Kathryn Rebecca Marr University of Canterbury 2015 Table of Contents Acknowledgements ·········································································· 1 Abstract ························································································· 2 Notes to the Text ·············································································· 3 List of Images·················································································· 4 Introduction ···················································································· 10 Literature Review ······································································ 13 Chapter One Tokugawa Period Conceptions of Japanese Feminine Beauty ························· 18 Eyes ······················································································ 20 Eyebrows ················································································ 23 Nose ······················································································ 26 Mouth ···················································································· 28 Skin ······················································································· 34 Physique ················································································· -
Perth / 18 F Eb — 3 Mar Brisbane / 18
Program Festival 2021 Melbourne / 17 Feb — 16 Mar Sydney / 18 Feb — 24 Mar Brisbane / 18 — 28 Feb, Canberra / 17 — 28 Feb 28 — 17 / Canberra Feb, 28 — 18 / Brisbane Mar 3 — Feb 18 / Perth SPONSORS, PARTNERS & FRIENDS OF JIFF — CHAI SPONSORS — SILVER SPONSORS — BRONZE SPONSORS — Sponsorship & advertising enquiries [email protected] 2 COVER Top: When Hitler Stole Pink Rabbit (pg 45); Bottom: Persian Lessons (pg 34). SPONSORS, PARTNERS & FRIENDS OF JIFF — MEDIA PARTNERS — CULTURAL & PROGRAMMING PARTNERS — FRIENDS OF JIFF — Abraham Australian Migration Lauren and Bruce Fink Anonymous Milne Agrigroup Anonymous NEXA A.I.S. Insurance Noah’s Creative Juices Arnold Bloch Leibler The Pacific Group Peter Berkowitz Project Accounting Australia Connect Plus Property Solutions PSN Family Charitable Trust Escala Partners Rampersand Fraid Family See-Saw Films Ian Sharp Jewellery Shadowlane Jackie Vidor & Phil Staub Viv and Phil Green 3 The 2021 Jewish International Film Festival CONTENTS — Highlight Events . 6 Films (alphabetical order). 8 Melbourne Schedule ���������������������������������������������������������������������������������������������������������������������������������������������46 Melbourne Events . 50 Sydney Schedule . 52 Sydney Events ���������������������������������������������������������������������������������������������������������������������������������������������������������54 Perth, Brisbane and Canberra Schedules. 55 Tickets & Venue Info. 64 Booking Form . 65 Index ���������������������������������������������������������������������������������������������������������������������������������������������������������������������������67 -
Presentation for the US Holocaust Memorial Museum
The Mother of all Holocaust Films? Wanda Jakubowska’s Auschwitz trilogy by Hanno Loewy “We must first speak about the genre of this wonderful Polish film.”1 With these words in 1948 Béla Balázs, one of the first and most influential film-theorists of all times, began his discussion of Wanda Jakubowska’s Ostatni Etap (The Last Stop / The Last Stage), the first feature film, that made the attempt to represent the horrors of Auschwitz, the experiences, made in midst of the universe of mass extermination. Filmed during summer 1947 on the site of the camp itself and its still existing structures, directed and written by two former prisoners of the women’s camp in Birkenau, performed not only by actors but also by extras, who had suffered in the camp themselves, Jakubowska’s film acquired soon the status of a document in itself. [illustration #1] Béla Balázs did not only praise The Last Stop for its dramatic merits. He discussed the failure, the inadequacies of traditional genres to embody what happened in the camps. Himself a romantic Communist, but also a self-conscious Jew, he spent half of his life in exile, in Vienna, Berlin and Moscow. And in the end of 1948 he was about to leave Hungary for a second time, now deliberately, to become dramaturgic advisor of the DEFA in East Berlin. But that never happened. Just having settled his contract, he died in Budapest, in May 1949. In 1948 Béla Balázs is far away from any conceptualizing of the Shoah as a paradigm, but he senses something uneasy about the idea of having represented these events as a classical tragedy, or a comedy, or a novel.