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Ascj 2007: Abstracts ASCJ 2007 abstracts ASCJ 2007: ABSTRACTS For the convenience of those wishing to print out only the abstracts of specific sessions, page ranges are given in the chart below. Saturday, June 23 Sunday, June 24 Session 1 Dream Work in India and Japan: A Cross- Session 22 Social Stratification in East Asia (pp. 37- Cultural, Interdisciplinary Perspective (pp. 2-3) 38) Session 2 East Asian Urban Transition: Manifold Session 23 Media Representations of Women in the Scales of Contemporary Spatial and Cultural Public Space: Comparative Studies of Modern Japanese Transformation (pp. 4-5) and Chinese Society (pp. 39-40) Session 3 Roundtable: New Horizons in Japanese Session 24 Great Collaborations: Image, Text, Literary Studies I—Canonization and Popularization: Producer, and Consumer in Edo Publishing (pp. 41-42) Reconfigurations of the Past (p. 6) Session 25 Dehistoricized Korean Womens Diaspora: Session 4 Waste, Water, and Affliction: Disease the Zainichi Korean Women, the Korean “Comfort Ecology in Urban Japan (pp. 7-8) Women” and Korean Women in U.S. Military Base Session 5 Japanese Colonial Images of Korea and Towns (pp. 43-44) Koreans (pp. 9-10) Session 26 Cultural Data: New Media and Visual/Print Session 6 Individual Papers: Asian History (pp. 11-12) Culture in Postmodern Japan (p. 45) Session 7 Aestheticization of Women and Politics in Session 27 Individual Papers: History and Japanese and Korean Works from the 1900s to 1940s Representation in East Asia (pp. 47-48) (pp. 13-14) Session 28 Reconceptualizing Modern Japan-China Session 8 Identity and History in East Asian Education Relations: A Diplomatic and Intellectual History (pp. and Politics (pp. 15-16) 49-50) Session 9 Roundtable: New Horizons in Japanese Session 29 Ecological and Health Risks: The Search Literary Studies II—Gender, Genre, and Sociality (p. for a Safe Civil Society in East Asia (pp. 51-52) 17) Session 30 For Love or Money: Nikkei Assimilation in Session 10 Visualizing Asian Modernity: Reality and Contemporary Japan (pp. 53-54) Fantasy in Japanese and Chinese Films (pp. 18-19) Session 31 Cultural Politics of Language and Session 11 Representations of Youth at Risk (p. 20) Subjectivity from Colonial Korea: Failed Encounters in Session 12 Internationalization and Globalization in the Japanese Empire (pp. 55-56) Modern Japan, 1857–2007: Fiscal, Monetary, Financial Session 32 Individual Papers: East Asian Literature (pp. 21) (pp. 57-58) Session 13 Individual Papers: Japanese Thought and Session 33 Gender Politics and Textual Visuality in Religion (pp. 22-23) Medieval Japanese Buddhist Narratives (pp. 59-60) Session 14 Individual Papers: The Internationalization Session 34 Gender and Body in Japan (pp. 61-62) of Japan (pp. 24-25) Session 35 Individual Papers: Marriage, Family, Session 15 Images and Reception in East Asia (pp. 26- Gender (pp. 63-64) 27) Session 36 Japan in Northeast Asian Voices of a Session 16 Roundtable: New Horizons in Japanese Female Student, a Prosecutor, a Businessman and an Literary Studies III—Text-Image, Media, and Print Ethnographer (pp. 65-66) Culture (p. 28) Session 37 Sacrifice and Regret: The Rhetoric of Session 17 Visual Connections of East Asia: Views Temporality in Contemporary Japan (pp. 67-68) and Visions (pp. 29-30) Session 38 Crossing Historical and Generic Lines: Session 18 Perspectives on Civil Society in Asia Strategic Formations in the History of the Japanese Social Stratification in East Asia (pp. 31-32) Performing Arts (pp. 69-70) Session 19 Historical Perspectives on Innovation and Session 39 Images in Texts: Representations of the Industrial Development in Japan (pp. 33-34) Filipino and the Japanese (pp. 71-72) Session 20 Individual Papers: Asian Political and Session 40 Japan in Northeast Asian International Economic Relations (pp. 35-36) Relations: Maritime and Trade Interactions (pp. 73-74) - 1 - ASCJ 2007 abstracts Session 1: Room 1452 Dream Work in India and Japan: A Cross-Cultural, Interdisciplinary Perspective Organizer / Chair: Kate Brittlebank, University of Tasmania Analysis of personal dreams and/or visions can provide scholars with a useful tool for accessing an individual’s imaginative or inner world. Through the disciplines of history, literary criticism and art history, the papers in this panel consider the role of dreams and visions in the lives or three people: Tipu Sultan (1750–1799), Shimamura Hōgetsu (1871–1918) and Foujita Tsugouharu (1886–1968). The first draws on recent scholarship, on the place of dreams within the Islamic cultural universe, to explore the significance of the Mysore ruler’s dream book; the second reassesses Hogetsu’s attitude to naturalism, a literary theory ostensibly rooted in knowledge and science; while the third investigates the personal meaning of Foujita’s “My Dream” (1947), a painting executed on the eve of exile. 1) Kate Brittlebank, University of Tasmania Re-Viewing the Past: An Analysis of Tipu Sultan’s Dreams Despite the fact that Tipu Sultan’s Mysore was never subjugated to British rule, nor even signed a subsidiary alliance with them, the manner of his death—at their hands, in 1799—and his constant opposition to their activities on the subcontinent, have meant that his life has predominantly been studied through a colonial or postcolonial lens. This paper proposes a different approach, taking as a heuristic device an analysis of Tipu’s record of his dreams. Nile Green has pointed out that research conducted over the past few decades, into the place of dreams and visions within the Islamic cultural universe, has brought “new insight into the Muslim past, allowing an often intimate encounter with past individuals and private experiences scarcely granted by the analysis of other kinds of documentation.” Tipu Sultan’s khwab nama, or dream book, is arguably the most personal document associated with the eighteenth-century Indian ruler available to historians. The paper discusses the dreams in the light of Green’s view that the “cultural embeddedness of dreams” gives them potential as “a useful means of charting some of the parameters of the inner imaginative universe of the Muslim past.” In doing so, it also considers Tipu’s reasons for recording the dreams that he did and what they tell us about his own perceptions of his place in an alternative historical narrative, one that was deeply rooted in a Muslim view of the past. 2) Massimiliano Tomasi, Western Washington University Visions of the Past: Shimamura Hōgetsu’s “Torawaretaru bungei” and the Roots of Japanese Naturalism Shimamura Hōgetsu (1871–1918) was one of the Meiji era’s most prominent literary critics. A rhetorician and scholar, Hōgetsu was also the leading theoretician of the period’s most central literary movement-naturalism. His review of Shimazaki Tōson’s Hakai (The Broken Commandment, 1906) and such articles as “Shizenshugi no kachi” (The Value of Naturalism, 1908) became important milestones in the literary developments of the late Meiji years. Despite his central role in the establishment of the movement, however, Hōgetsu was harshly criticized for the alleged anti-naturalist posture he took in “Torawaretaru bungei” (Literature in Shackles), an essay that appeared in January 1906, three months before the publication of Tōson’s Hakai. In this piece, Hōgetsu revisited Europe’s literary history through the persona of Dante, who appeared to him during an imaginary encounter in the Gulf of Naples, near Mount Vesuvius. Dante predicted the imminent arrival of symbolism, dismissing an approach to literature based on knowledge and science rather than emotions. This has been interpreted by some as a rejection of naturalism on the part of Hōgetsu, at a time when many considered him the only critic capable of granting a legitimate theoretical framework to the movement. This paper argues against such interpretation. Analyzing its unique textual structure, including Hōgetsu’s decision to choose an imaginary Dante as spokesman for his views on literature, this paper offers a contextual reading of “Torawaretaru bungei” that demonstrates the importance of this piece in the evolution of Japanese naturalism and the unfolding of late Meiji literary discourse. 3) Aya Louisa McDonald, University of Nevada, Las Vegas Painting as Exorcism: An Analysis of Foujita’s “My Dream” (1947) At the end of the Pacific War, Foujita Tsugouharu (1886–1968) was one of Japan’s most celebrated war artists. A leading member of the Japanese art world, who had enjoyed success in Paris in the 1920s, since the early 1940s he had been in charge of a group of artists documenting the major events of Japan’s war in Asia. Early in 1945 he had completed one of his most important paintings–a disturbingly visceral, highly realistic visual document of the fall of Saipan (1944) highlighting the tragic suicides of the non-combatant, native population, including many women and children depicted in extremis. Controversial, the painting raised questions about Foujita’s intent, even loyalty to Japan. - 2 - ASCJ 2007 abstracts Around 1946, the Japanese war artists, expecting to be prosecuted as war criminals, allegedly selected Foujita to take responsibility for all the war art. Their fears were unfounded but, “for the good of the future of Japanese art,” Foujita was branded an outcast and exiled from Japan. One of Foujita’s most important post-war paintings, executed as he awaited an exit visa and revealing a new direction in his art, is a curious work, depicting a sleeping nude woman encircled by several small animals dressed in costume. Most remarkable is its title: “My Dream.” The paper asks who is the dreamer and what is the dream? Attempting to decipher the meaning of the painting, it suggests that, at least in part, it is the exorcism of the horrors of war and the personal pain of betrayal and humiliation. Discussant: Ian Mabbett, Monash Asia Institute - 3 - ASCJ 2007 abstracts Session 2: Room 1453 East Asian Urban Transition: Manifold Scales of Contemporary Spatial and Cultural Transformation Organizer / Chair: Heide Jaeger, Manchester Metropolitan University In recent years, different scholars have addressed the changing urban space of the Asian city.
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