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Murakami Haruki's Short Fiction and the Japanese Consumer Society By
Murakami Haruki’s Short Fiction and the Japanese Consumer Society By © 2019 Jacob Clements B.A. University of Northern Iowa, 2013 Submitted to the graduate degree program in East Asian Language and Cultures and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ___________________________ Chair: Dr. Elaine Gerbert ___________________________ Dr. Margaret Childs ___________________________ Dr. Ayako Mizumura Date Defended: 19 April 2019 The thesis committee for Jacob Clements certifies that this is the approved version of the following thesis: Murakami Haruki’s Short Fiction and the Japanese Consumer Society _________________________ Chair: Dr. Elaine Gerbert Date Approved: 16 May 2019 ii Abstract This thesis seeks to describe the Japanese novelist Murakami Haruki’s continuing critique of Japan’s modern consumer-oriented society in his fiction. The first chapter provides a brief history of Japan’s consumer-oriented society, beginning with the Meiji Restoration and continuing to the 21st Century. A literature review of critical works on Murakami’s fiction, especially those on themes of identity and consumerism, makes up the second chapter. Finally, the third chapter introduces three of Murakami Haruki’s short stories. These short stories, though taken from three different periods of Murakami’s career, can be taken together to show a legacy of critiquing Japan’s consumer-oriented society. iii Acknowledgments I would like to thank my committee, Dr. Maggie Childs and Dr. Ayako Mizumura, for their guidance and support throughout my Master's degree process. In particular, I would like to thank Dr. Elaine Gerbert her guidance throughout my degree and through the creation of this thesis. -
Columbia Music Entertainment, Inc
August 08, 2008 Press Release Columbia Music Entertainment Issues Notice of Consolidated Business Results for First Quarter of Fiscal Year Ending March 2009 Columbia Music Entertainment Inc. (hereinafter CME; Head Office: Minato-ku, Tokyo; Representative Executive Officer & Chairman: Strauss Zelnick, Chief Executive Officer (CEO): Sadahiko Hirose) today gives notice that it has issued its consolidated business results indicating the Company’s overall performance for the first quarter of the fiscal year ending March 31, 2009 (FY 2008 Q1; April 1 ~ June 30, 2008). During the current first quarter under review, the Company’s consolidated sales totaled 4,505 million yen (an increase of 2.2% compared with the same quarter of the previous fiscal year). The main reasons for this result were that although sales of the Company’s in-house produced titles and sales in the Custom Sales Business both declined, sales in the Digital Business grew by 20% year-on-year, and in addition, sales of the Company’s 100%-owned subsidiary Creative Core Inc. were included in the Q1 figures for the first time. With regard to the profit and loss situation, during the first quarter, sales of titles in the Enka/ Kayokyoku, Animation and Educational Departments all reached their planned targets, but due to slippage of major releases of J-Pop/J-Rock titles., overall sales were lower than planned. In addition, in the Custom Sales Business, in the first quarter of the previous fiscal year, mail order sales of large-scale products made a significant contribution to total sales. However, during the current first quarter under review there were no similar large-scale products, and this resulted in a decline in sales in the Custom Sales Business. -
Understanding the Establishment of Femininity in Enka Through Misora Hibari and Fuji Keiko
Situations 8.1 (2015): 23-44 ISSN: 2288-7822 A Tale of Two Stars: Understanding the Establishment of Femininity in Enka through Misora Hibari and Fuji Keiko Tong Koon Fung Benny (Australian National University) Abstract To date, most female portrayals and performances in the Japanese popular music genre of enka have been understood in terms of the homogenous ideal of the subservient, outdated image of “the traditional Japanese woman.” Yet, two of enka’s most important female singers, the “queen of enka” Misora Hibari and “the girl destined to carry enka’s star” Fuji Keiko, possess starkly contrasting images in the public imagi- nation—something that tends to question the adequacy of homogenous understandings of enka’s femininity, based allegedly on Japanese tradition. In this paper, I examine the careers of Hibari and Fuji with a focus on the conditions of musical production and promotion, utilizing biographical accounts and critiques of these two singers. Through this analysis, I argue that dominant representations of female “subservience,” “outdatedness” and of the “Japanese-ness” in enka emerged out of contingent decisions that particular musical producers and singers made within the context of the Japanese music industry in the 1960s and 1970s. The argument offers a more recent historical origin for the stereotypical femininity of enka, highlighting the dialectical relationship between individual-level musical praxis and certain Japanese social discourses in those decades. These complex forces condemned Fuji in her late career to obscurity, while ultimately securing Hibari’s status as a national symbol of perseverance. Keywords: enka, Japanese popular music, Misora Hibari, Fuji Keiko, identity construction and representation, contingency, femininity, nationalism 24 Tong Koon Fung Benny Introduction When Misora Hibari, who had built up a reputation as the “queen of enka”[enka no joō], passed away from pneumonia on June 24, 1989, major newspapers and television outlets interrupted their regular reports and programming schedules to pay lavish tributes. -
S O U N D P L a N
SOUND PLANET E C H A N N E L L I S T 2 012 . 10 … INSTRUMENTAL … Corresponds to the Internet Request A E B F C G D H I J K 01 REQUEST J-POP 01 J-POP Hits Now 01 Seasonal Music( J-Pop Best Selection) 01 Seasonal Music( Easy Listening) Seasonal Music( Nursery Instrumental) 01 J-POP & Popular Hits Now 01 Baby Songs 01 Time Notice 02 REQUEST General Japanese Pops 02 J-ROCK 02 GIRLS ROCK 02 Seasonal Music( Music Box) Seasonal Music( J-POP Instrumental) 02 GIRLS J-POP 02 Play Songs For Children 02 Temporary 1 03 REQUEST Enka / Kayokyoku 03 Enka 03 SOFT ROCK 03 usen for Café Après-midi 03 J-HOUSE 03 All Time Kids Hits 03 Temporary 2 04 REQUEST Enka / Kayokyoku 04 Idol 04 HOUSE NATION 04 HOUSE MUSIC( 125bpm) 04 J-TECHNO POP 04 Early Teen Pops Now 04 Weather Forecast 05 REQUEST J-POP/Popular 05 Japanese Folk Songs 05 salon jazz 05 LOUNGE MUSIC 05 Acoustic J-POP 05 Fairlyland Music 05 06 Kayo☆Hits Parade 06 Senior Rice Pops 06 Colorful Pop Styling 06 Afternoon Tea Music 06 Light Classic 06 Nursery Rhymes 06 Seasonal Music / Exhibition 1 07 Popular☆Hits Parade 07 Monthly Artist Selection J-POP 07 Organic Soul 07 Dance Beat Easy Listening Acoustic 07 Light Jazz 07 Melody of Acorn Forest 07 08 Healing Classic 08 Weekly Artist Selection J-POP 08 Organic SSW ~Slow Life Music~ 08 TRANCE( Instrumental) Easy Listening Casual 08 Bossa Nova BGM 08 MINNANOUTA 08 Nostalgic TV Songs 09 Jazz for Gastronomic Ambience 09 Best of Show-wa era Kayokyoku Group Sounds 09 J-LOUNGE 09 Funky Beat Heartful Strings 09 J-POP Bossa Nova BGM 09 Happy♪Kiddy Songs 09 Seasonal -
Komabatimes4.Pdf
31 Articles // April 2015 // Issue 4 English Newsletter by Komaba Students http://komabatimes.wordpress.com/ Content Academic Life ………………… page 1 Student Life …………………… page 6 Global Perspectives ………… page 14 Exploring Japan ……………… page 19 Photo: Erika Nakayama. ACADEMIC LIFE Lectures of University of Tokyo: Where two educational systems co-exist By Isshin Inada A student arrives at his international school and I observed stark differences in the approach asked. Opinions are not shared. Responses are classes begin. During class, he is bombarded in which domestic and PEAK students learn. not elicited. “The only voice I hear in almost all with difficult questions and so, like his class- The small number of students in PEAK classes my lectures is that of the professor. But this, for mates, he would simply ask the teacher for help. allows for interaction between teachers and me, is nothing extraordinary.” says Kugishima, a Later, the bell would ring, radiating happiness students. Students sit around a circular table first-year domestic student. to students who’ve realized that their tiring day which prompts active discussion and participa- has finally come to an end. The student breaks tion among students. The teachers encourages Personally speaking, the above-mentioned as- through the cheerful crowd, and makes his them to interrupt them anytime to ask questions pects of western education is beneficial to our fu- way to his second school – the Japanese cram or to share their own perspective on a particu- ture. The articulation of our opinions is an impor- school. At the cram school, he would restrain his lar matter. -
Peran Sakamoto Ryūichi Dalam Perkembangan Musik Populer Jepang
UNIVERSITAS INDONESIA PERAN SAKAMOTO RYŪICHI DALAM PERKEMBANGAN MUSIK POPULER JEPANG MAKALAH NON-SKRIPSI SEKAR HAYUNING GALIH NPM 1206248073 FAKULTAS ILMU PENGETAHUAN BUDAYA PROGRAM STUDI JEPANG DEPOK JANUARI 2016 Peran Sakamoto ..., Sekar Hayuning Galih, FIB UI, 2016 Peran Sakamoto ..., Sekar Hayuning Galih, FIB UI, 2016 Peran Sakamoto ..., Sekar Hayuning Galih, FIB UI, 2016 PERAN SAKAMOTO RYŪICHI DALAM PERKEMBANGAN MUSIK POPULER JEPANG Sekar Hayuning Galih Program Studi Jepang, Fakultas Ilmu Pengetahuan Budaya, Universitas Indonesia [email protected] Abstrak Skripsi ini membahas peranan Sakamoto Ryūichi terhadap munculnya genre baru dan perkembangan musik populer Jepang. Penelitian ini adalah penelitian kualitatif dengan desain deskriptif. Hasil penelitian menunjukkan bahwa peraj Ryuichi Sakamoto berpengaruh terhadap munculnya genre techno-pop di Jepang dan perkembangan musik jenis electronic dan semacamnya pada era selanjutnya. Hal ini dapat dilihat dari banyaknya artis-artis baru yang mengusung genre techno dan festival musik dengan genre serupa, serta tempat-tempat seperti klub yang menyediakan instrumen elektronik seperti synthesizer bagi para penggemar musik techno. THE ROLE OF SAKAMOTO RYŪICHI ON THE DEVELOPMENT OF POPULAR MUSIC IN JAPAN Abstract The study focuses on the role of Sakamoto Ryūichi for the born of new music genre and the development of popular music in Japan. This study is categorized as qualitative study with a description method. Result of the study reveals that Sakamoto Ryūichi has played a main role on the new music genre of techno-pop in Japan and the development of the other electronic-music for the following era. It can be seen from many artists who chose this new techno genre and many festival music were conducted with similar genre. -
Sound Planet E Channel List 2016.04 … Instrumental
SOUND PLANET E CHANNEL LIST 2016.04 … INSTRUMENTAL A E B F C G D H I J K 01 REQUEST J-POP 01 J-POP Hits Now 01 Seasonal Music(J-POP Best Selection) 01 ■ Seasonal Music(Easy Listening) ■ Seasonal Music(Nursery Instrumental) 01 J-POP & Popular Hits Now 01 ■ Baby Songs 01 Time Notice 02 REQUEST General Japanese Pops 02 J-ROCK 02 GIRLS POP 02 ■ Seasonal Music(Music Box)■ Seasonal Music(J-POP Instrumental) 02 GIRLS J-POP 02 Play Songs For Children 02 Temporary 1 03 REQUEST Enka / Kayokyoku 03 Enka 03 SOFT ROCK 03 usen for Café Après-midi 03 CLUB PARTY J-POP 03 All Time Kids Hits 03 Temporary 2 04 REQUEST Enka / Kayokyoku 04 Idol 04 HOUSE NATION 04 HOUSE MUSIC(125bpm) 04 Kawaii J-POP 04 Early Teen Pops Now 04 Weather Forecast 05 REQUEST J-POP / Popular 05 Japanese Folk Songs 05 salon jazz 05 LOUNGE MUSIC 05 Acoustic J-POP 05 Fairlyland Music 05 06 Kayo☆Hits Parade 06 Show-wa Era Kayo-pops 06 Colorful Pop Styling 06 Afternoon Tea Music 06 ■ Light Classic 06 Nursery Rhymes 06 Seasonal Music / Exhibition 1 07 Popular☆Hits Parade 07 R&B CLASSICS 07 Organic Soul 07 ■ Dance Beat ■ Easy Listening Acoustic 07 ■ Light Jazz 07 Melody of Acorn Forest 07 08 ■ Healing Classic 08 HIP HOP CLASSICS 08 Organic SSW ~Slow Life Music~ 08 ■ TRANCE(Instrumental) ■ Easy Listening Casual 08 ■ Bossa Nova BGM 08 MINNANOUTA 08 JBS 09 ■ Jazz for Gastronomic Ambience 09 Show-wa Era popular song Kayokyoku 60's Hits 09 J-LOUNGE 09 ■ Funky Beat ■ Heartful Strings 09 ■ J-POP Bossa Nova BGM 09 Happy♪Kiddy Songs 09 Seasonal Music / Exhibition 2 10 ■ Comfortable Easy Listening -
The Kohaku Song Contest: a Community in Performance
The Kohaku¯ Song Contest: A Community in Performance Shelley D. Brunt In a concert hall, Tokyo, an elderly couple clutch their prized tickets and watch the exciting, live event unfold before them. In Hawai’i, a group of young expatriates sing along with the lively radio broadcast. In rural Japan, a Tokyo ‘Office Lady’ sits with her parents under a heated quilt (kotatsu) and glances up at the song lyrics on the television screen between mouthfuls of New Year soba noodles.1 These situations typify the annual ritual of experiencing Kohaku¯ utagassen (The Red and White Song Contest), the eagerly anticipated popular music concert held on New Year’s Eve at NHK Hall in Tokyo.2 This long-running evening program unites professional bands and soloists to perform songs of varied subject matter, ranging from culturally specific food to scenic rural landscapes. In many ways, the contest is a light-hearted battle of the sexes: female and male performers are divided into Red and White teams, respectively.3 Seated in a row in the body of the concert hall are celebrity judges and at the end of the program they, and a capacity audience of approximately 3500 people, vote to determine the winning team. Following the program’s first broadcast in 1951,4 Kohaku¯ has evolved from a humble one- hour radio show into an extravagant television production exceeding four hours, most notably the result of advancing technologies and broadcast mediums. In recent times, Kohaku¯ has been transmitted throughout Japan and to eighty countries and regions via radio, cable and satellite media.5 What is particularly significant about Kohaku¯ is its ability to achieve extremely high television ratings in Japan. -
Cd List 2007
CD LIST 2007 JAPANESE CD ENCYCLOPAEDIA TRADITIONAL JAPANESE MUSIC/ Crossover genres CD nr. Title Artist (Genre) 1001 ”New” Ondekoza 1002 Ondekoza Ondekoza 1003 Poetry of Japan The Cleveland Orchestra Sinfonietta 1004 Fujiyama Odekoza 1005 Nihon no Oto 1006 Japanese melodies Stern, Rampal and Yo-Yo Ma 1007 Hana/Shakuhachi Nihon no Shijyou K. MIYATA / K. YAMAMOTO / Royal Pops 1008 Tsugaru Shamisen ~ Tsugaru Jyongara Bushi ~ Michiya MITSUHASHI 1009 Koto. Oiwai no shirabe Various artists (Koto music - Japanese long zither) 1010 Bon Odori Ketteiban ~ Odotte Tanoshii (Traditional folk dance) 1011 Nihon no Seigaku / Composer Series Rentaro TAKI 1012 The Art of the Koto, vol. 1: Celestial Harmonies Nanae YOSHIMURA (Koto music) 1013 On a Treetop Nanae YOSHIMURA (Koto music) 1014 Taqsim Nanae YOSHIMURA (Koto music) 1015 Voices Phantasma, Flame Nanae YOSHIMURA (Koto music) 1016 Best Take Nanae YOSHIMURA (Koto music) 1017 Berlin concert: The Quiet Ages 2000 Eitetsu Hayashi (drums, incl. Taiko) 1018 Gagaku: Court Music of Japan Tokyo Gakuso (gagaku) 1019 Yukyo: Taiko, New Sound from Tradition Furyudaigaku-Matsurishu 1020 Nagauta; Songs accompanied by shamisen and drums Various artists (Nagauta) 1021 Biwa: Traditional string instrument Various artists (Biwa music - Japanese lute) 1022 Edo Kiyari: Tokyo labour songs from Edo period Various artists (vocal only) 1023 Kiyomoto: Reciting stories accompanied by Shamisen Various artists 1024 Tokiwazu: Shamisen music Various artists 1025 Yokyoku: Vocal part of Noh music Various artists 1026 Zokkyoku: Folk -
Japanese Police, the Korean Massacre, and Private Security Firms
ISSN 1936-5349 (print) ISSN 1936-5357 (online) HARVARD JOHN M. OLIN CENTER FOR LAW, ECONOMICS, AND BUSINESS PRIVATIZING POLICE: JAPANESE POLICE, THE KOREAN MASSACRE, AND PRIVATE SECURITY FIRMS J. Mark Ramseyer Forthcoming in The Cambridge Handbook on Privatization Avihay Dorfman & Alon Harel, eds. Discussion Paper No. 1008 06/2019 Harvard Law School Cambridge, MA 02138 This paper can be downloaded without charge from: The Harvard John M. Olin Discussion Paper Series: http://www.law.harvard.edu/programs/olin_center The Social Science Research Network Electronic Paper Collection: http://ssrn.com/abstract=3402724 Key words: privatization, police, security services JEL: K14, K23, L32, L33, L51 Prepared for Avihay Dorfman & Alon Harel, eds., The Cambridge Handbook on Privatization. Draft of June 9, 2019 Address correspondence to: J. Mark Ramseyer Harvard Law School Cambridge, MA 02138 [email protected] Privatizing Police: Japanese Police, the Korean Massacre, and Private Security Firms by J. Mark Ramseyer* Abstract: Public security is often a non-excludable public good that involves economies of scale. For these obvious reasons, modern democracies provide their residents with basic security services out of the public fisc. Yet the capacity to protect overlaps with the capacity to prey. As a result, regimes in dysfunctional societies sometimes use the public security apparatus to extract benefits. Sometimes the security services use their resources to extract benefits for themselves. Public security is also a normal good: the level of security that people demand tends to increase with income. Hence, wealthier citizens often choose to purchase additional levels of security on the market. In democracies, they do this to supplement the security provided through the public police. -
Dodo Street Band Minyo Crusaders
INTRODUCING... Dodo Street Band Minyo Crusaders Nathaniel Handy speaks to genre crossing master fiddler James Catchpole speaks to the band breathing new life into Adam Summerhayes about his superb new instrumental quintet min’yō, an age-old Japanese folk tradition fallen to obscurity ust what, you might ask, is a doubted he’d do it, because he’s the best study with Yfrah Neaman, the Israeli old min’yō songs back, but in a fresh, quintet of classically trained there is. But he said yes.” The resulting violinist. Whamond had himself trained contemporary way incorporating J musicians doing playing a Gypsy- quintet has Irish, Scottish and English with Adolph Brodsky at the Royal different rhythms from outside Japan.” klezmer mash-up with classic old traditional music coursing through its Manchester College of Music. Brodsky Tanaka goes on to explain that Celtic tunes? Shouldn’t there be laws veins. But that’s only half the story. In hailed from a Russian Jewish family though the use of Latin and African against this kind of thing? Wouldn’t many ways, the godfather of Dodo Street and first played in Odessa – that beating percussion with min’yō songs may you expect more purism? Well, beware Band is Summerhayes’ grandfather – heart of Ashkenazi Jewish culture. It sound unusual, there is some history in your prejudices. There’s more to Dodo north-east fiddler Alex Whamond. doesn’t get more steeped in klezmer Japan of this kind of mix. “In the 1950s Street Band than meets the eye. “His family were fishermen from the than that. -
Title Abstracts Sub Title 英文要旨 Author Publisher 慶應義塾大学アート・センター Publication Year 2015 Jtitle Booklet Vol.23, (2015
Title Abstracts Sub Title 英文要旨 Author Publisher 慶應義塾大学アート・センター Publication year 2015 Jtitle Booklet Vol.23, (2015. ) ,p.134- 137 Abstract Notes ldole♥Heroine V Genre Journal Article URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=AA11893297-0000002 3-0134 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) Abstracts Preface This booklet focuses on “female idols” who appear in performing arts, literature, ukiyoe and comic books. As is known, the word “idol” originally indicates a “statue/ image representing deity” and later came to signify “someone who is worshipped as an idol”. In Japan, this word further evolved around the 1970s to point particularly to young and charming female celebrities who became the object of virtual romance for many men. But did not similar “female idols” always exist, regardless of time or place? Didn't these “idols” perform a special role throughout the history of culture and arts? And aren't these “idols” becoming an important media for contemporary artistic expressions? Such are the questions we posed ourselves upon requesting specialists of various genres to approach, each in their own point of view, the topic of “idol”. Study on Edo period “Idols”: Interpretation through representations Masato NAITO Adoration towards an “Idol”, or hero/heroine has always existed no matter when and where.