DOCSLIB.ORG

Gender, Love and Text in the Early Writings of Kanai Mieko Hannah

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gender, Love and Text in the Early Writings of Kanai Mieko Hannah Gender, Love and Text in the Early Writings of Kanai Mieko Hannah Lucy Elizabeth Tamura Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds White Rose East Asian Centre School of East Asian Studies, School of Languages, Cultures and Societies March 2015 ii The candidate confirms that the worK submitted is her own and that appropriate credit has been given where reference has been made to the worK of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acKnowledgement. © 2014 The University of Leeds and Hannah Lucy Elizabeth Tamura iii Acknowledgements The first three years of this degree was fully funded by a postgraduate research scholarship from WREAC-ESRC (White Rose East Asian Centre – Economic and Social Research Council). Many thanks go to JFEC (Japan Foundation Endowment Committee) and BAJS (British Association for Japanese Studies) John Crump Studentship for funding maintenance costs during the final year and to GBSF (Great Britain Sasakawa Foundation) for funding a field-trip to check rare sources in Japan in July 2014. I have many people to thanK for the completion of this thesis. It is very doubtful that I would have pursued my love of Japanese literature had I not found my MA classes with Professor Drew Gerstle and Dr Stephen Dodd at SOAS so enjoyable. It was in Steve’s seminars and lectures that I first encountered writers such as Izumi KyōKa, NaKagami Kenji, Kurahashi YumiKo, and Kanai Mieko (whose short story ‘Usagi’, my class thoroughly delighted in translating together). It is also owing to Steve’s advice and guidance that I undertook a two-year research period at Waseda University with a Japanese government funded scholarship programme where I conducted much of my preliminary research for my thesis. During these two years, I attended the MA and PhD seminars of Professor Chiba Shunji and Dr Kanai Keiko, who both showed great consideration in always including me in their class discussions and presentations. My life in Tokyo would not have been anywhere near as pleasurable as it was had I not met Dr Rieko Suzuki, to whom I send huge thanks for being such a great companion and for always being ready to go for emergency glasses of wine at our favourite bar. Many thanks go to Professor Gaye Rowley for offering a stable and sane haven in her office in the Law Department at Waseda. I also send thanks to my senpai, Dr Daniela Moro, who helped me navigate my way through university life in Japan, always creating a fun and mutually supportive atmosphere. For the duration of my PhD, I wish to thanK my supervisor Dr Irena Hayter for taKing me under her wing, for her Keen theoretical Knowledge, her eye for detail, and for her continuing encouragement. Many thanks too, to my second supervisor, Professor Margaret AtacK, for her expert advice on French theorists and her precision feedback on Chapter Three at very late notice. I am most grateful to Dr Kyoko Hoshiyama, Dr Jasper Sharp, Rumi Hara, Vicky Young, Michiko Suzuki, and Maria Roemer for their companionship and support. Particular thanks go to Jasper for divulging his Knowledge of 1960s iv Japanese avant-garde film over several coffees and beers (not to mention for lending me a load of DVDs). It would not have been possible to complete this thesis without the support of my family. In the fourth year, my parents gave me bacK my old room in the attic so that I could finish writing up on a shoestring budget, and in the month before submission, they cheerfully minded my daughter for most of the day almost every day. I cannot thanK them enough. I dedicate this thesis to them, my partner Hugh, my daughter Florence and my late husband, Soshi Tamura. Finally, I must here thanK Soshi’s parents, Yoko and Iwao, for their long-standing support of me, which has often gone over and above the call of duty, and humbles me deeply. This thesis is theirs too. v Abstract This thesis examines and contextualises the early writings of Kanai Mieko, concentrating on the ways in which they instigate challenges to conventional inscriptions of gender, love, and text through a deployment of avant-garde narrative techniques. The first chapter argues that Kanai’s early writings interrogate and problematise conventional inscriptions of identity and gender: her short stories ‘Rabbits’ and ‘Rotting Meat’ borrow the form of paradoxical concepts that arise out of various surrealist avant-garde theories (such as OKamoto’s polaroppositionalism and SaKaguchi’s ‘Discourse on Decadence’) and can be read as a commentary upon the collective endeavours by contemporary feminists and women writers to create a written ‘feminine’. The second chapter further explores the subversive potential of Kanai’s writings. It argues that Kanai’s debut novella, Love Life, addresses the crisis of representation of the late 1960s by constructing two constellatory matrices of literary meaning: Ai-body-presence and F-narrative-absence. The first of these matrices, Ai-body-presence, is discernible in the inscription of the protagonist Ai’s physical origin as abject and can be read as a specific critique and enactment of how the crisis of representation affected the female body. The second, F-narrative-absence, is present in Ai’s attempts to inscribe her absent husband F, enabling her to pursue an understanding of what it means to love. The final chapter examines another matrix of literary meaning in Kanai’s writings in which text is described as if it is a body possessed of a consciousness, which Kanai herself refers to in her essay, ‘Text/Reality/The Body’, as the ‘corporeal text’. It contends that the ‘corporeal text’ acts as a challenge to conventional understandings of both the relationship between body and consciousness, and between the reader and a given text. In so doing, it pursues a deliberate textual strategy to transform the reader into an active creator of meaning. vi Table of Contents Acknowledgements ....................................................................................................... iii Abstract .............................................................................................................................. v Table of Contents ........................................................................................................... vi Notes .................................................................................................................................. vii Introduction ...................................................................................................................... 1 Chapter One: Reading 'Rabbits' and 'Rotting Meat' Through the Paradoxes of Surrealism .................................................................................. 15 1.1 Introduction .................................................................................................................. 15 1.2 Kanai's Early Critique of Joseiron ........................................................................ 19 1.3 Kanai's Literary Criticism of Gender Categories ........................................... 33 1.4 Reading 'Rabbits' as a Polaropposionalist Text ............................................ 60 1.5 Reading 'Rotting Meat' against 'Discourse on Decadence' ....................... 83 1.6 Conclusion ..................................................................................................................... 92 Chapter Two: Matrices of Meaning in Love Life ................................................. 97 2.1 Introduction ................................................................................................................... 97 2.2 The Dazai Osamu Prize Committee ................................................................. 101 2.3 Ai-Body-Presence .................................................................................................... 114 2.4 F-Narrative-Absence .............................................................................................. 143 2.5 Conclusion ................................................................................................................. 159 Chapter Three: The Corporeal Text .................................................................... 165 3.1 Introduction ................................................................................................................ 165 3.2 Towards a Theory of Corporeality ................................................................... 166 3.3 Butō, and the Dancing-Girl-in-Pain .................................................................. 175 3.4 Text/Reality/The Body ......................................................................................... 187 2.5 Conclusion ................................................................................................................. 232 Conclusion .................................................................................................................... 237 Bibliography ................................................................................................................ 243 Appendix: The Story of the Inflated Man (A Translation of 'Kūki otoko no hanashi') ........................................................................................... 261 vii Notes Translations of Japanese-language sources are my own unless otherwise indicated. Japanese titles are followed by English translations in brackets
Load more

Recommended publications
  • Peace in Vietnam! Beheiren: Transnational Activism and Gi Movement in Postwar Japan 1965-1974
    PEACE IN VIETNAM! BEHEIREN: TRANSNATIONAL ACTIVISM AND GI MOVEMENT IN POSTWAR JAPAN 1965-1974 A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN POLITICAL SCIENCE AUGUST 2018 By Noriko Shiratori Dissertation Committee: Ehito Kimura, Chairperson James Dator Manfred Steger Maya Soetoro-Ng Patricia Steinhoff Keywords: Beheiren, transnational activism, anti-Vietnam War movement, deserter, GI movement, postwar Japan DEDICATION To my late father, Yasuo Shiratori Born and raised in Nihonbashi, the heart of Tokyo, I have unforgettable scenes that are deeply branded in my heart. In every alley of Ueno station, one of the main train stations in Tokyo, there were always groups of former war prisoners held in Siberia, still wearing their tattered uniforms and playing accordion, chanting, and panhandling. Many of them had lost their limbs and eyes and made a horrifying, yet curious, spectacle. As a little child, I could not help but ask my father “Who are they?” That was the beginning of a long dialogue about war between the two of us. That image has remained deep in my heart up to this day with the sorrowful sound of accordions. My father had just started work at an electrical laboratory at the University of Tokyo when he found he had been drafted into the imperial military and would be sent to China to work on electrical communications. He was 21 years old. His most trusted professor held a secret meeting in the basement of the university with the newest crop of drafted young men and told them, “Japan is engaging in an impossible war that we will never win.
    [Show full text]
  • Introduction the Making of Decadence in Japan 1
    Notes Introduction The Making of Decadence in Japan 1. Nakao Seigo, “Regendered Artistry: Tanizaki Junichiro and the Tradition of Decadence,” (Ph.D. Diss. New York U, 1992), p. 53. 2. Homi K. Bhabha, The Location of Culture. New York: Routledge, 1994, p. 122. 3. Ibid., p. 123. 4. Ibid., p. 130. 5. Kamishima Jirō, Kindai nihon no seishin kōzō [The Structure of the Modern Japanese Mind]. Tokyo: Iwanami, 1961, p. 183. Kamishima introduces the word “reiki” (encouraging reinforcement) to describe the acculturation pro- cess that appeared to further the social phenomenon of decadence in late Meiji Japan. He argues that individualism, the decay of conventional ethics, the corruption of public morals, and a collective neurosis, etc., were ubiqui- tous by the end of the Meiji period. According to Kamishima, these social fac- tors already existed in pre-Meiji Japan, but became more visible in the 1900s. These indigenous factors were not transplanted but simply “reinforced” through contact with the West. 6. In reality, Ariwara no Narihira lived in the ninth century (825–880). Ise Monogatari offers a fictional version of Narihira and places him in the context of the year 950 or thereabouts. Karaki traces Narihira’s decadent image not on the basis of biographical facts but via the fictional image created by the author of Ise Monogatari. See Karaki Junzō, Muyōsha no keifu. Tokyo: Chikuma, 1960, p. 10. 7. Fujiwara no Kusuko (?–810), a daughter of Fujiwara no Tanetsugu and the wife of Fujiwara no Tadanushi, was Emperor Heijō’s mistress. She and her brother, Fujiwara no Nakanari, vehemently opposed the Emperor’s decision to leave the throne.
    [Show full text]
  • Between Power and Protest
    HELSINGIN YLIOPISTO Between power and protest The Japan Times and Anpo-protests in 1960 Meri Tuuli Elina Timonen Master’s thesis Political history Department of Social sciences University of Helsinki December 2020 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildingsprogram – Degree Programme Valtiotieteellinen tiedekunta Yhteiskunnallisen muutoksen maisteriohjelma Tekijä – Författare – Author Meri Tuuli Elina Timonen Työn nimi – Arbetets titel – Title Between power and protest – The Japan Times and Anpo-protests 1960 Oppiaine/Opintosuunta – Läroämne/Studieinriktning – Subject/Study track Poliittinen historia Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä – Sidoantal – Number of pages Maisterintutkielma 12/2020 70 + 3 sivua. Tiivistelmä – Referat – Abstract The aim of this thesis is to research Japan-U.S. Security Treaty protests in 1960 in global context. The Anpo-protests were selected as research topic because not much research was found of the protests. Anpo-protests begun in 1959 and ended in late 1960. The main motive was to oppose revision of U.S.- Japan Security Treaty but eventually protests led to resignation of the prime minister Kishi Nobusuke. The protests were the largest in Japanese history and left their legacy to Japanese political history and civil society. Scholars have researched Anpo-protests to some extent. However, the Anpo-protests have not been analysed in Worldwide context of Cold war which is why transnational history got selected as primary theoretical framework for this thesis. This thesis uses the Japan Times as the primary source. The Japan Times is Japan’s oldest English language newspaper firstly published in 1897. As for main method theory-guided content analysis was used.
    [Show full text]
  • Modern Japanese Literature
    College of Arts and Sciences Department of Modern Languages and Literatures Oakland University JPN 420 Japanese Literature –Nineteenth and Twentieth Centuries, 4 credits Winter 2010 Course Catalogue Description: Reading texts of various genres. Conducted in Japanese. Prerequisites: JPN 314, 318 and 355. Sensei: Seigo Nakao, PhD Office: 354 O’Dowd Hall. Office Hours: MWF: 2:30-3:30. Or by appointment. Office Phone: (248) 370-2066. Email address: [email protected] This class satisfies the General Education requirement for the Capstone Experience in the Major. Satisfies the university general education requirement for a Writing Intensive in the Major. Prerequisites for the writing intensive: JPN 314, 318, and 355; also, completion of the university writing foundation requirement. General Education Learning Outcomes: Integration Knowledge Area: As a capstone course, The student will demonstrate: - appropriate uses of a variety of methods of inquiry (through exposure to a variety of literary approaches via lectures and research) and a recognition of ethical considerations that arise (through discussions and written treatments [tests, research paper] of literary themes). - the ability to integrate the knowledge learned in general education (foreign language and culture, and literature) and its relevance to the student’s life and career. Knowledge Areas: 1. Foreign Language and Culture Students integrate the following ACTFL national standard skills in the Japanese language: speaking (class discussions), listening (lectures), reading (literary texts), culture and writing (tests, papers) in the context of Japanese literature. 2. Literature Students will develop and integrate literary knowledge of genres and periods from the nineteenth and twentieth centuries, demonstrating how literature is a manifestation of culture and how literary form functions to enable this artistic expression.
    [Show full text]
  • Marcia Regina Casturino Autonomia E Sujeição Na Aporia Da
    Marcia Regina Casturino Autonomia e sujeição na aporia da modernidade japonesa: Representações do corpo violado como expressão política TESE DE DOUTORADO Tese apresentada ao Programa de Pós-graduação em História Social da Cultura do Departamento de História da PUC-Rio como requisito parcial para obtenção do título de Doutora em História. Orientador: Prof. Maurício Barreto Alvarez Parada Rio de Janeiro Abril de 2017 Marcia Regina Casturino Autonomia e sujeição na aporia da modernidade japonesa: Representações do corpo violado como expressão política Tese apresentada como requisito parcial para obtenção do grau de Doutora pelo Programa de Pós-Graduação em História Social da Cultura, do Departamento de História, do Centro de Ciências Sociais da PUC-Rio. Aprovada pela Comissão Examinadora abaixo assinada: Prof. Maurício Barreto Alvarez Parada Orientador Departamento de História – PUC-Rio Prof. Denise Berruezo Portinari Departamento de Artes & Design – PUC-Rio Profª MisakiTanaka (Mii Saki) Departamento de Arte – PUC-SP Profª Michiko Okano Ishiki Departamento de História da Arte – UNIFESP Prof. Sérgio Bruno Guimarães Martins Departamento de História - PUC-Rio Profª. Mônica Herz Vice-Decana de Pós-Graduação do Centro de Ciências Sociais PUC-Rio Rio de Janeiro, 27 de abril de 2017. Todos os direitos reservados. É proibida a reprodução total ou parcial do trabalho sem autorização da universidade, da autora e do orientador. Marcia Regina Casturino Graduou-se em Comunicação Social/PUC-PR (1998). É Mestre em Artes Visuais pela Escola de Belas Artes/UFRJ, na área de História e Teoria da Arte, linha Imagem e Cultura (2010). Desenvolve pesquisa nos temas: arte e política; corpo e violência; sociedade e cultura; cultura japonesa.
    [Show full text]
  • Introduction: Protesting National Identity
    Introduction: Protesting national identity In 1968 and the early months of 1969 anti-Vietnam War activists gathered in the underground passageways of Shinjuku Station on a Saturday night to sing folk songs and listen to antiwar speeches. With a name that made it sound like a cross between a renegade force and a hippy movement, the Tokyo Folk Guerilla concerts saw as many as 7000 activists crowding into the underground plaza and surrounding passageways. 1 Held in a subway station below one of Tokyo’s burgeoning city centres, the concerts were in many ways an underground movement of student sects and activists embracing images from the American civil rights movement. On the other hand, with Shinjuku being one of the world’s biggest and busiest train stations the Folk Guerilla activists were coming into contact with millions of commuters from all over Japan. Shinjuku was the point of intersection between activists and the ‘ordinary people’ converging on Tokyo. In a slight metaphorical twist the protest went underground at Shinjuku in an endeavour to be inclusive and representative, to bring ‘the people’ of Japan into contact with political activism. ‘Everybody sing together,’ read one pamphlet distributed around the newly ordained ‘citizens plaza,’ ‘Sing for the protection of fundamental human rights - for freedom of thought and freedom of expression.’ 2 There was a sense of both hope and urgency underpinning the gatherings, as underground activists sought to excavate new sites for popular political expression. Far from being marginal or illicit, the activist politics implicit in the Folk Guerilla concerts were integral to the opportunity and economic prosperity that surfaced in 1960s Japan.
    [Show full text]
  • The Samurai in Postwar Japan: Yukio Mishima's “Patriotism”
    The Samurai in Postwar Japan: Yukio Mishima’s “Patriotism” Rachael Hutchinson Department of East Asian Languages & Literatures Colgate University [email protected] Table of Contents 1. Introduction 2. Audience and Uses 3. Student Reading 4. Discussion Questions and Classroom Exercises a. Samurai as Constructed Figure b. Western Appropriation of Japanese Figures c. The Text-Context Relationship d. Close Reading Exercise e. Critical Standards Exercise 5. Further Reading and Online Resources Introduction See also “The Place of the Samurai in 20th Century Japan” on the ExEAS website. This unit addresses the role of the samurai as an icon by examining Yukio Mishima’s short story “Patriotism,” which can be read as a proclamation of sorts written to promote traditional Japanese values, aesthetics and the honor of the samurai’s “warrior code” (bushidô). The unit also offers exercises for teaching students about the close reading of texts, critical standards, and the text-context relationship. Audience and Uses This unit could be useful in a wide variety of courses, including but not limited to: • Nationalism and Patriotism • Military history • World history • East Asian History • Representation and image • Gender studies (masculinity) • Gender and Nationalism • Modern Asia/Japan • Japanese history • Japanese literature • English This unit can be taught alone, as a single class exercise, or together with the accompanying unit “The Samurai in Japan and the World, c. 1900.” Taken together, the two units provide an interdisciplinary approach to understanding the place of the samurai in twentieth-century Japan and the world. The two units could be used in successive class sessions to make up a week-long study, or if time permits, spread over more sessions for a longer study.
    [Show full text]
  • Coed Revolution: the Female Student in the Japanese New Left, 1957-1972
    Coed Revolution: The Female Student in the Japanese New Left, 1957-1972 Chelsea Szendi Schieder Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Chelsea Szendi Schieder All rights reserved ABSTRACT Coed Revolution: The Female Student in the Japanese New Left, 1957-1972 Chelsea Szendi Schieder Violent events involving female students symbolized the rise and fall of the New Left in Japan, from the death of Kanba Michiko in a mass demonstration of 1960 to the 1972 deaths ordered by Nagata Hiroko in a sectarian purge. This study traces how shifting definitions of violence associated with the student movement map onto changes in popular representations of the female student activist, with broad implications for the role women could play in postwar politics and society. In considering how gender and violence figured in the formation and dissolution of the New Left in Japan, I trace three phases of the postwar Japanese student movement. The first (1957–1960) was one of idealism, witnessing the emergence of the New Left in 1957 and, within only a few years, some of its largest public demonstrations. Young women became new political actors in the postwar period, their enfranchisement commonly represented as a break from and a bulwark against "male" wartime violence. The participation of females in the student movement after its split from the Old Left of the Japan Communist Party in 1957 served to legitimize the anger of the New Left by appealing to the hegemonic ideal of young women's political purity.
    [Show full text]
  • Popular Culture and the Transformation of Japan–Korea Relations
    Popular Culture and the Transformation of Japan–Korea Relations This book presents essays exploring the ways in which popular culture reflects and engenders ongoing changes in Japan–Korea relations. Through a broad temporal coverage from the colonial period to the con- temporary, the book’s chapters analyse the often contradictory roles that popular culture has played in either promoting or impeding nationalisms, regional con- flict and reconciliations between Japan and Korea. Its contributors link several key areas of interest in East Asian Studies, including conflicts over historical memories and cultural production, grassroots challenges to state ideology, and the consequences of digital technology in Japan and South Korea. Taking recent discourse on Japan and South Korea as popular cultural super- powers further, this book expands its focus from mainstream entertainment media to the lived experience of daily life, in which sentiments and perceptions of the “popular” are formed. It will be useful to students and scholars of Japa- nese and Korean studies, as well as film studies, media studies and cultural studies more widely. Rumi Sakamoto is Senior Lecturer in Japanese at the School of Cultures, Lan- guages and Linguistics, the University of Auckland, and is convenor of Asian Studies, Chinese, Japanese and Korean programmes. She has published widely on Japanese popular culture, nationalism and war memory. She is a co- editor of Popular Culture, Globalization and Japan (Routledge, 2006) and Japanese Popular Culture (Routledge, 2014). Her current research looks at cultural repre- sentations of kamikaze pilots and self-defence forces in post-war Japan. Stephen Epstein is the Director of the Asian Languages and Cultures Pro- gramme at Victoria University of Wellington in New Zealand, and served as the 2013–14 President of the New Zealand Asian Studies Society.
    [Show full text]
  • Japan's Vietnam War: 1960S Politics, Korea, and the US in the Films Of
    AGLOS: Journal of Area-Based Global Studies AGLOS Special Issue: Copyright ©2014 Graduate School of Global Studies, Sophia University Workshop and Symposium http://dept.sophia.ac.jp/g/gs/ 2012 – 2013: 1 – 24 ISSN 1884-8052 Japan’s Vietnam War: 1960s Politics, Korea, and the US in the Films of Ōshima Nagisa By Jack Lichten Abstract: In the late 1960s, the Japanese government began providing economic and material support to the United States as they fought the Vietnam War. In response to this support, leftist groups and artists staged repeated anti-war protests demanding an end to Japanese participation. At the same time, many of these artists were attempting to explore and critique the historical relationship Japan had with its closest neighbor, Korea. These two countries shared common cultural trends, a tense colonial history, and a contemporary period suggesting an unknown future for both countries. Criticism of Japan’s relationships to both the Vietnam War and historical Korea were not unrelated; while the Japanese government’s material support to the US was substantial, the South Korean government went one step further, providing foreign (non- Vietnamese) troops exceeded in numbers only by the US military itself. Considering the anti-war and anti-Korean figures in the Japanese political scene, untangling the contemporary and historical relationships between these four countries is difficult and fraught with tension. One filmmaker, Ōshima Nagisa, made several attempts to do so, linking the present situation in Vietnam with Japan’s own history with Korea, and its current relationship to the United States. Taking a critical stance against both Japan’s own left wing and the government’s cozy relationship with the United States, Ōshima sought to explicate Japan’s relationship as a complicit violator of Vietnam in several films, most notably Nihon shunka-kō (1966) and Kaette kita yopparai (1968) but also in Muri shinjū: Nihon no natsu (1967) and Kōshikei (1968).
    [Show full text]
  • Copyright © and Moral Rights for This Phd Thesis Are Retained by the Author And/Or Other Copyright Owners
    Smith, Martyn David (2014) Representing nation in postwar Japan : Cold War, consumption and the mass media, 1952-1972. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20307 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. Representing Nation in Postwar Japan: Cold War, Consumption and the Mass Media: 1952-1972 Martyn David Smith Thesis submitted for the degree of PhD in History 2014 Department of History School of Oriental and African Studies University of London 1 Declaration for PhD thesis I have read and understood regulation 17.9 of the regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.
    [Show full text]
  • Queer Potentiality in Postwar Japan and the Post-Method American Theatre
    UNIVERSITY OF CALIFORNIA SAN DIEGO UNIVERSITY OF CALIFORNIA IRVINE Proximal and Reminiscent Nostalgias: Queer Potentiality in Postwar Japan and the Post-Method American Theatre A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Drama and Theatre by Jonathan Charles Reimer Committee in charge: University of California San Diego Professor Emily Roxworthy, Chair Professor Julie Burelle Professor Marianne McDonald Professor Daisuke Miyao University of California Irvine Professor Anthony Kubiak 2020 Copyright Jonathan Charles Reimer, 2020 All rights reserved. The Dissertation of Jonathan Charles Reimer is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California San Diego University of California Irvine 2020 iii DEDICATION This dissertation is dedicated to my grandmothers, Dorothy Reimer and Betty Creyer, both of whom crossed over into the beyond during my time in this program. You are forever loved. iv TABLE OF CONTENTS Signature Page .......................................................................................................................... iii Dedication .................................................................................................................................. iv Table of Contents ...................................................................................................................... v List of Figures ...........................................................................................................................
    [Show full text]