Sentimental Journey/Winter Journey: Araki Nobuyoshi’S
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SENTIMENTAL JOURNEY/WINTER JOURNEY: ARAKI NOBUYOSHI’S CONTEMPORARY SHISHŌSETSU by ANNE CHRISTINE TAYLOR A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2013 THESIS APPROVAL PAGE Student: Anne Christine Taylor Title: Sentimental Journey/Winter Journey: Araki Nobuyoshi’s Contemporary Shishōsetsu This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Akiko Walley Chairperson Joyce Cheng Member Sherwin Simmons Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2013 ii © 2013 Anne Christine Taylor iii THESIS ABSTRACT Anne Christine Taylor Master of Arts Department of the History of Art and Architecture June 2013 Title: Sentimental Journey/Winter Journey: Araki Nobuyoshi’s Contemporary Shishōsetsu Senchimentaru na tabi fuyu no tabi or Sentimental Journey/Winter Journey, a photobook created and published by photographer Araki Nobuyoshi in 1991, documented two highly personal events of the photographer’s life. The first section consists of twenty- two images of Araki’s 1971 honeymoon with his wife Yōko Aoki, while the second section features ninety-one images and an essay documenting the last six months of Yōko’s life in 1989-90. This thesis measures SJ/WJ against a Japanese literary tradition invoked by Araki in his opening manifesto: the shishōsetsu. A genre of writing from the early 1900’s that read like a confessional or personal diary, the shishōsetsu was regarded as a ‘true’ story insofar as it revealed a totally transparent ‘author’ within a totally transparent ‘text.’ Given these criteria, this thesis determines the success of Araki’s SJ/WJ as a true-to-life autobiography. iv CURRICULUM VITAE NAME OF AUTHOR: Anne Christine Taylor GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Bowdoin College, Brunswick, ME DEGREES AWARDED: Master of Arts, Art History, 2013, University of Oregon Bachelor of Arts, Psychology, 2006, Bowdoin College AREAS OF SPECIAL INTEREST: Modern & Contemporary Photography PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2011-12 Art Instructor, Jordan Schnitzer Museum of Art, 2010-13 GRANTS, AWARDS, AND HONORS: Ina McClung Award in Art History, University of Oregon, 2011 Marion C. Donnelly Travel Grant, University of Oregon, 2011 v ACKNOWLEDGMENTS I wish to express sincere appreciation to Professors Walley, Cheng, and Simmons for their assistance in the preparation of this manuscript. In addition, special thanks are due to my peers in the graduate program, specifically Jessica DiTillio, Aleksandra Globig, and Catherine Denning for their friendship and support of my project. I also thank my husband-to-be, Christopher Mosher, for his patience and unconditional love during my graduate program. Lastly, I would like to thank my family members, specifically my sister Monica Taylor for her inspiration and encouragement, my father John Taylor for his ongoing support of my academic career, and my mother Margot Taylor for her tenacity and perseverance over the past two years. vi For Mom & Dad, who demonstrate the power of love in sickness and in health. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION.................................................................................................... 1 The Manifesto and Shishōsetsu.............................................................................. 3 The Shishōsetsu and Photography ......................................................................... 5 The Shishōsetsu and Photobook ............................................................................ 6 Structure of Thesis ................................................................................................. 8 Notes ...................................................................................................................... 10 II. HISTORY OF JAPANESE PHOTOGRAPHY...................................................... 12 Modernist Era ........................................................................................................ 13 Contemporary Era.................................................................................................. 18 Provoke to Personal ............................................................................................... 27 Notes ...................................................................................................................... 31 III. ARAKI: HIS LIFE AND OEUVRE....................................................................... 40 Beginnings ............................................................................................................. 45 Love and Death...................................................................................................... 48 Notes ...................................................................................................................... 54 IV. ARAKI & THE SHISHŌSETSU ........................................................................... 57 Araki and the Manifesto ........................................................................................ 60 Authorial Presence: A Marketable Lie?................................................................. 65 Roland Barthes On Photography ........................................................................... 67 Winter Journey: Authorial Presence ...................................................................... 71 viii Chapter Page Araki’s Text and Image Pairings ........................................................................... 78 Chiro and the Balcony: Sites of Memory & Mourning ......................................... 81 The Use of Embedded Text For Authenticity........................................................ 86 Is SJ/WJ Authentic? ............................................................................................... 88 Notes ...................................................................................................................... 89 V. CONCLUSION...................................................................................................... 93 Notes ...................................................................................................................... 100 APPENDICES ............................................................................................................. 101 A. FIGURES FOR CHAPTER II .......................................................................... 102 B. FIGURES FOR CHAPTER III ......................................................................... 119 C. FIGURES FOR CHAPTER IV......................................................................... 131 D. TRANSLATION BY SAMUEL R. ORME ..................................................... 188 REFERENCES CITED................................................................................................ 195 ix LIST OF FIGURES Figure Page 2.1. László Moholy-Nagy, Photogram, 1926 ............................................................. 102 2.2. Man Ray, Rayograph, 1922................................................................................. 102 2.3. Albert Renger-Patzsch, Echeveria, 1922............................................................. 103 2.4. Natori Yōnosuke, Illustrations for “L’Armée de sa majesté”.............................. 104 2.5. Hamaya Hiroshi, Singing During the Torioi Ceremony ...................................... 105 2.6. Various artists, Photographs from Front, 1942 ................................................... 105 2.7. Hamaya Hiroshi, Snow Land, 1956 ..................................................................... 106 2.8. Domon Ken, Right Hand and Left Hand, 1942-43.............................................. 106 2.9. Lt. Gaetano Faillace, Emperor Hirohito and General MacArthur ...................... 107 2.10. Henri Cartier-Bresson, Behind the Gare St. Lazare, 1932 ................................ 108 2.11. Kimura Ihee, Morikawa-chō, Hongō, 1953....................................................... 109 2.12. Domon Ken, Mr. and Mrs. Kotani, 1957........................................................... 109 2.13. Domon Ken, The Children of Chikuhō, 1960.................................................... 110 2.14. Kimura Ihee, Young Men, Niida, Akita City, 1952 ............................................ 110 2.15. Kimura Ihee, Young woman, Omagari, Akita, 1953.......................................... 111 2.16. Otto Steinert, Call, 1950.................................................................................... 111 2.17. Narahara Ikkō, images from Human Land ........................................................ 112 2.18. Nagano Shigeichi, An elderly couple, 1956....................................................... 113 2.19. Tōmatsu Shomei, Occupied Japan -- Sailors, 1960 .......................................... 113 2.20. Shinoyama Kishin, Nude, 1970 ......................................................................... 114 2.21. Nakahira Takuma, From Kitarubeki kotoba no tame ni, 1970 .......................... 115 x Figure Page 2.22. Nakahira Takuma, From Kitarubeki kotoba no tame