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Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei
Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei By ©2016 Alison Miller Submitted to the graduate degree program in the History of Art and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Maki Kaneko ________________________________ Dr. Sherry Fowler ________________________________ Dr. David Cateforis ________________________________ Dr. John Pultz ________________________________ Dr. Akiko Takeyama Date Defended: April 15, 2016 The Dissertation Committee for Alison Miller certifies that this is the approved version of the following dissertation: Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei ________________________________ Chairperson Dr. Maki Kaneko Date approved: April 15, 2016 ii Abstract This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taishō (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. -
"Geisha" As Cultural Criticism
TEACHING THE “Geisha” AS CULTURAL CRITICISM By Sarah J. Pradt and Terry Kawashima The Courtesan, Gorisei. Woodblock print by Keisai Eisen, 1790 – 1848. The Japanese Fan. By Claude Monet, 1840 – 1926. Source: www.degener.com, The Rolf M. Degener Gallery, Germany. Source:The Art of Japanese Prints. Copyright ©1997 Reed International Books Limited. 26 EDUCATION ABOUT ASIA Volume 6, Number 1 Spring 2001 S PECIAL he late 1990s marked an explosion in the popularity of the geisha icon in the United States and elsewhere, fueled by Arthur Golden’s 1998 best seller Memoirs of a Geisha. The novel has inspired spin-off vodka ads S ECTION ON and a specialty tea, and Steven Spielberg’s motion picture version, while repeatedly delayed, will reportedly T 1 begin production in 2001. Visually, the image of the geisha has become more and more prominent. An image of a woman in kimono appears on the dust jacket of the U.S. edition of Golden’s novel; this 1905 photograph is apparently 2 T in the public domain and has been reproduced on various knick-knacks. Celebrities such as Madonna and Björk don EACHING “geisha-inspired” fashions, as did the “queen of the Naboo” in George Lucas’s The Phantom Menace (1999). Even before the recent popularity of the geisha, however, one could find this figure represented in elements of popular cul- ture ranging from tuna fish labels and chocolates to X-rated Web sites. It is rare to find a student who has not come into J APANESE contact with one or more representations of the geisha. -
The Tale of Murasaki Pdf, Epub, Ebook
THE TALE OF MURASAKI PDF, EPUB, EBOOK Liza Dalby | 448 pages | 21 Aug 2001 | Bantam Doubleday Dell Publishing Group Inc | 9780385497954 | English | New York, United States The Tale of Murasaki PDF Book There is no way I could have written a scholarly biography or history of her because there are too many gaps. Their mother died, perhaps in childbirth, when they were quite young. These items are shipped from and sold by different sellers. Dalby definitely has a flair for writing like a Japanese person; her images of nature are beautiful and harmonious and lucidly flow page after page and yet the reader develops a sense of what a strong woman Murasaki was, flawed and often sarcastic. My own career at court was developing moderately well, and I was then under the protection of Counselor Kanetaka, a nephew of Regent Michinaga. Is there a difference in style between the last chapter and the rest of the novel? Anyone already an enthusiast either of [The Tale of] Genji or of Arthur Golden's wonderful Memoirs of a Geisha will already be running to the bookstore for this book Archived from the original on August 2, Designated one of the One Hundred Poets , Murasaki is shown dressed in a violet kimono , the color associated with her name, in this Edo period illustration. The endorsement from Arthur Golden of Memoirs of a Geisha infamy already lowered my expectations. The atmosphere was so vividly painted, I really felt like I got a good idea of the life she lead. The complexities of the style mentioned in the previous section make it unreadable by the average Japanese person without dedicated study of the language of the tale. -
(Women of Court, Courtesans and Geisha) in the Japanese Societies from H
Hugvísindasvið Pleasure Women Court Ladies, Courtesans and Geisha, as seen through the eyes of female authors. Ritgerð til B.A.-prófs Svanhildur Helgadóttir Maí 2011 Háskóli Íslands Hugvísindasvið Japanskt Mál og Menning Pleasure Women Court Ladies, Courtesans and Geisha, as seen through the eyes of female authors. Ritgerð til B.A.-prófs Svanhildur Helgadóttir Kt.: 050171-4429 Leiðbeinandi: Gunnella Þorgeirsdóttir Maí 2011 1 Abstract Murasaki Shikibu and Masuda Sayo, though not born in the same century, have a common thread, of writing about pleasure women. The term “pleasure” is used loosely, as the women Shikibu wrote about, were aristocratic girls whose parents highest goal, was to get them accepted at court, preferably in service for the Emperor. Although having an honourable position at court, the services the ladies of court performed for the Emperor or noble men were not unlike the services of the “yujo” (or courtesan / prostitute during Edo period (1600-1868) and “geisha” (women entertainers and sex partners, first seen in the late eighteenth century), who appeared later unto the scene. The possibility that these women were in any way alike was perhaps unthinkable then, but in today’s modern societies the question may be valid, considering all the sexual innuendoes in advertisements and music videos. This question as well as other topics, such as the women’s regard for the profession, how society viewed them and their feelings about their status in life, regarding all three professions, the court lady, the yujo and the geisha 2 I. INTRODUCTION .............................................................................................................. 4 II. METHODOLOGY ............................................................................................................. 6 II. JAPANESE FEMALE AUTHORS AND THEIR ROLE IN JAPAN’S CULTURAL SOCIETY ................................................................................................................................ -
Reading Group Guide Spotlight
Spotlight on: Reading Group Guide Memoirs of a Geisha Author: Arthur Golden Arthur Golden was born in Chattanooga, Tennessee, Name: Arthur Golden- and was educated at Harvard College, where he re- Born: 956, in Chattanoo- ceived a degree in art history, specializing in Japanese ga, TN. art. In 980 he earned an M.A. in Japanese history from Columbia University, where he also learned Mandarin Education: Harvard Col- Chinese. Following a summer in Beijing University, lege, B.A. (art history); he worked in Tokyo, and, after returning to the United Columbia University, States, earned an M.A. in English from Boston Univer- M.A. (Japanese history), sity. He resides in Brookline, Massachusetts, with his 980; Boston University, wife and two children. Memoirs of a Geisha is his first novel. M.A. (English), 988. Interests: Classical guitar Career: Writer. Worked for an English-language magazine in Tokyo, 980-82. Past Writings: Memoirs of a Geisha, Knopf (New York, NY), 997. Works in Progress: A historical novel set in the United States. Media Adaptations: Memoirs of a Geisha was recorded as an audiobook, Random House (New York, NY), 997. Memoirs of a Geisha has been translated into thirty-three languages, and rights were sold for an American film adaptation in 997 to Red Wagon Productions. Memoirs of a Geisha will be adapted for a film directed by Steven Spielberg. Production begins in September 2004. www.kpl.gov/bookclubkit . Author: Arthur Golden (2) Sidelights: Arthur Golden made a splash when he came on the literary scene in 997 with the publication of his novel Mem- oirs of a Geisha, the fictional autobiography of a Japanese geisha during the 920s and 930s. -
Liza Dalby,Kimono, Fashioning Culture Clothing Codes, Color Codes (Iro- (Pp.12~63) Kasane) and Motifs
2018 Fall Semester Fashion in Japan: Art and History of the Kimono and Western Dress Culture Section 1 Instructor/Title DRUET Lucile 【Course Outline / Description】 From the origins of kimono to the anti-fashion design of Rei Kawakubo, this course will be exploring the parallel routes of traditional Japanese clothing (和服・wafuku) and western fashion (洋服・yōfuku) in Japan. From showing social ranking to expressing one’s identity, analyzing clothing in Japan will be seen as an encompassing dynamic, coming from the need of covering one's body to an artistic and performative statement about one’s identity, gender, Japanese culture, aesthetics, silhouettes and body consciousness. Employing a variety of materials (books, visual artworks, movies, magazines, illustrations etc.) this course will examine how kimono and western fashion are embedded in Japanese society, history, popular culture and visual arts and how it connects with people’s sartorial habits, inside and outside Japan. Section 2 【Course Objectives/Goals/Learning Outcomes】 Through an overview of the characteristics and history of kimono and western fashion in Japan, this course will help the students understand the aesthetic dimensions of clothing and fashion. With a particular focus on artists, designers, performers, illustrators and authors, the students will be able to grasp how creators are using kimono and western clothes for specific effects. The students will be invited to think about clothing as an intersection between tradition and modernity that generates cultural, philosophical and poetic communication. With underlying questions such as : What is it to dress up ? What is it to be fashionable ? Courses provide knowledge and skills that students can use in their everyday lives as well as their academic career. -
Huntley on Dalby, 'The Tale of Murasaki: a Novel'
H-US-Japan Huntley on Dalby, 'The Tale of Murasaki: A Novel' Review published on Saturday, December 1, 2001 Liza Dalby. The Tale of Murasaki: A Novel. New York: Vintage Anchor, 2001. 448 pp. $14.00 (paper), ISBN 978-0-385-49795-4. Reviewed by William B. Huntley (Asian Studies Program University of Redlands) Published on H- US-Japan (December, 2001) Liza Dalby, well known to many who had read her Geisha (Random House: New York, l983) has made another important contribution to Asian studies withThe Tale of Murasaki, a Novel (Chatto and Windus, London: 2000). In the former book Dalby described what the life of a Geisha is like by becoming one. Undergoing training for a year; in l983 she proclaimed she was "the only non-Japanese ever to have become a geisha" (p. 281). Now in 2000 she has taken an even greater step in imagining that she was Lady Murasaki, the author of the great novel The Tale of Genji_ and lived 1000 years ago. Once again Dalby has offered a readable, engaging account of the historical court lady whose life bridged the tenth and eleventh centuries in Heian (Kyoto) Japan. Dalby suggests her novel was by piecing fragments of Murakaki's diary into "an imagined reminiscence, much as an ancient vase might be reconstructed by setting the original fragments into a vessel of modern clayóa sort of literary archaeology" (p xiii) As well as fragments from the Diary of Murasaki, here are many echoes fom The Tale of Genji, well known to students of world literature through the Waley and Seidensticker translations. -
THE APPROPRIATED GEISHA Using Their Role to Discuss Japanese History, Cultural Appropriation, and Orientalism by Elisheva Perelman
RESOURCES TEACHING RESOURCES ESSAYS THE APPROPRIATED GEISHA Using Their Role to Discuss Japanese History, Cultural Appropriation, and Orientalism By Elisheva Perelman oving beyond Facebook to the Internet communities of Snap- from the Meiji Era (1868–1912) to the present. By looking at how geisha chat, Instagram, Twitter, and Tumblr, students would leave older were utilized to portray Japanese artistry, grace, and not least of all femi- forms of media behind. Or such is their conviction. Of course, ninity, as well as how they often served as a symbol for Japan as a nation Mprevious generations have purported to break ground where their prede- and culture—particularly abroad—students could explore whether our cessors failed to sow, and sometimes they really do. What is dramatically own contemporary appropriation, and scrutiny of it, was novel or unique. clear from a perusal of these new forms of social media is what consumes This was the approach I took to the introductory-level survey course for student thought. Certainly some of the topics one finds are of little im- undergraduate students in Asian studies titled Geisha in History, Fiction, port, but others are instances of misappropriation of culture, gender, and and Fantasy. On the advice of my colleague, Jan Bardsley, I opened the course race, which often breed the hottest discussions among their peers online. with Arthur Golden’s smashingly successful Memoirs of a Geisha, utilizing As teachers, it would behoove us to listen to our students, not because ap- the work in counterpoint to turn-of-the-twentienth-century Western novels propriation is new (it certainly is not), but because their awareness of it is. -
Wild Creations Digital Access – Workshop 4: Murasaki Shikibu and the Tale of Genji with Stephanie Chill, MFA Curatorial Assistant
Unknown Japanese Artist, Folding screen depicting scenes from The Tale of Genji, Genroku period (1688–1704), Ink, color and gold on paper, Museum purchase with funds donated by John E. Schloder in memory of his father, Charles Schloder Wild Creations Digital Access – Workshop 4: Murasaki Shikibu and The Tale of Genji with Stephanie Chill, MFA Curatorial Assistant The Impact of a Female Author Murasaki Shikibu (c. 973–1014 or 1025) was born into a lower branch of the powerful Fujiwara clan during the Heian Period (794–1192). Descended from a long line of renowned poets, she was called to the Imperial court in 1008 partly due to her family connections, but also as a result of her own 1 of 6 notoriety as the author of The Tale of Genji. At court, noblewomen were identified by their position and the title of a close male relative. In this instance, “Murasaki” was the name of the main female character and love interest of Prince Genji, and “Shikibu-shō” was the position the author’s father held in the Bureau of Ceremonial. During this time, the Heian Period, it was improper for a woman to learn or use Chinese. Women of the court used a developing writing system of uniquely Japanese syllabaries based on Chinese, while Chinese characters and language were reserved for men and bureaucratic affairs. However, Murasaki took it upon herself to learn classical Chinese literature alongside—and quicker than—her brother. Her intelligence did not go unnoticed, and her diary has mention that her father lamented the fact that she had not been born a son. -
Introduction
Introduction The Maiko, Kyoto’s Apprentice Geisha Arrive in Kyoto by train and you will see all manner of maiko—apprentice geisha—before you even leave the station. The quintessential Kyoto girl, she is the city’s mascot and character brand, literally, its “dancing girl,” as the char- acters mai and ko indicate, and her likeness appears everywhere. Perky maiko grace maps, menus, and posters of the city’s ancient gardens and temples. Milky maiko smile at you from the foam atop steaming cups of cappuccino and matcha latte (figure 1). In the station’s souvenir shops, doll- like maiko in bright kimono morph into kawaii Post- it notes, hand towels, key chains, and candy wrappers. With luck, you may even catch sight of a real maiko, her distinctive hairstyle making her instantly recognizable, as she embarks on her own travels. In April 2008, apprentices made the news when their numbers rose.1 For the first time since 1955, Kyoto had one hundred maiko. Of course, other Japanese girls in unusual garb captured media attention at home and abroad around this time, too—sporting Lolita fashion, costumed for maid cafés, or uniformed for singing in AKB48—but the maiko stood for the traditions of Kyoto.2 No wonder the so- called “maiko boom” occurred in tandem with a surge in domestic tourism to Kyoto. Driven by excitement over the purported thousand- year anniversary of Murasaki Shikibu’s legendary Tale of Genji, Japan’s most celebrated work of fiction and poetry, tourists flocked to Kyoto in 2008 to experience the “old capital.”3 Maiko numbers fell somewhat in suc- ceeding years but steadied at about eighty in 2012, where they hover in 2020. -
Inside the Secret World of the Geisha
2019 Fall Semester Inside the Secret World of the Geisha Section 1 Instructor/Title Professor Arif Iqball Office/Building 2433 Office Hours TBD Contacts (E-mail) [email protected] 【Course Outline / Description】 Painted by Picasso, sculpted by Rodin, entertainers to Queen Elizabeth, Prince Charles, and US Presidents, yet the role and image of the Japanese Geisha has often been misinterpreted outside Japan, and has shaped Western stereotypes about Japan and Japanese women. Being historically closed in a world of secrecy, not many Japanese either have been able to get access to this world with its own rules and etiquette, and with very little documentation. This course examines the primary role of the Geisha in Japan as an artist and an entertainer encompassing a variety of important social, cultural, and historical elements. Leveraging the instructor’s personal connections and research, a field trip to a seasonal dance performance, and conversations with current Geisha, as well as use of academic literature and visual documentation including historical photographs, documentaries and movie representations, this course attempts to provide a complete cultural experience to the Asian and Japanese Studies student on the true role and place of these artists in Japanese culture, and in a traditional world which runs parallel (and yet is completely different than) to the modern Japanese world of manga, anime, and robots. With emphasis on the Geisha of the five Kagai (performance districts) in Kyoto, this course not only explores the historical -
The Commodification of Kimonos
THE COMMODIFICATION OF KIMONOS: A REFLECTION ON CULTURAL APPROPRIATION A THESIS Presented to The Faculty of the Department of Asian Studies Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Boxin Li April 2018 On my honor, I have not received any unauthorized assistance on this thesis. I have fully upheld the HONOR CODE of Colorado College ________________________________________________________________________ Boxin Li i READER APPROVAL This thesis project, written by Boxin Li, meets the required guidelines for partial fulfillment of the Bachelor of the Arts Degree in Asian Studies at Colorado College. PROFESSOR JOAN ERICSON Signed: ___________________________________________ Date: _______________________________________ PROFESSOR JOHN WILLIAMS Signed: ___________________________________________ Date: _______________________________________ ii TABLE OF CONTENTS Honor Code ..................................................................................................................... i Reader Approval ............................................................................................................. ii Table of Contents............................................................................................................ 1 List of Figures ................................................................................................................ 3 Introduction ...................................................................................................................