This thesis identifies the ideals of risshin shusse ("Rising in the world") as portrayed within Meiji period sugoroku boardgames targeted at elementary school students. It compares the actual...Show moreThis thesis identifies the ideals of risshin shusse ("Rising in the world") as portrayed within Meiji period sugoroku boardgames targeted at elementary school students. It compares the actual realities of children at the time to that which is portrayed in the sugoroku and places the primary sources in their historical context.Show less
This thesis focuses on Nagai Kafū’s lighting representations (both natural and manmade light) in the first decade of twentieth century, exploring how Kafū manipulates light, as well as the light...Show moreThis thesis focuses on Nagai Kafū’s lighting representations (both natural and manmade light) in the first decade of twentieth century, exploring how Kafū manipulates light, as well as the light-shadow contrast in his urban-based texts selected from different time. The analysis follows a timeline divided in roughly three parts: debut years before his journey abroad (1900-1903), journey in America and France (1903-1908) and few years after returning to Japan (1908 and after). Given the technological gap between Japan and the West in modern period and thus reflected in Kafū’s writing, knowledge of the innovations in lighting technology will be mentioned when necessary. This thesis argues that the drastic transition of his lighting passion from manmade light to natural light after his returning to Japan in 1908 shall be examined as a significant message. As an urban writer, his transition in light preference not only reveals his critical thinking of Japan’s modernization after experiencing what had been completed in the West, but also gives his vision in terms of what contributes to a livable modern city in which the inhabitants are deeply resonated with the urban fabrics, especially in a spiritual sense. Last but not the least, to some extent, the transition in lighting representations could be considered as a presage of the writer’s stylistic reverse few years later.Show less
To encounter a flower, a snowflake, or a moon in haiku it is not uncommon. A great amount of haiku follow a rule, or an aesthetic preference, that the elements of nature should be present in its...Show moreTo encounter a flower, a snowflake, or a moon in haiku it is not uncommon. A great amount of haiku follow a rule, or an aesthetic preference, that the elements of nature should be present in its form with a 5-7-5 syllables arrangement. All of these preferences were challenged in the Secondary Art Debate (daini geijutsu ronsō 第二芸術論争) after WWII. What poetry should do was beyond this form of art. This discourse was brought into heated discussion and opposed by numerous contemporary haiku poets. Nakamura Kusatao 中村草田男(1901-1983), one of the founding haiku poets of the so-called “the Humanity-pursuit group” (ningen tankyūha 人間探求派), pioneered in this debate. He publicly refuted the condemnation of haiku as a “secondary art” and dedicated his life to strengthen his position in this debate, and dedicated his entire career to the modernization of haiku. The central research question of this thesis is how Nakamura envisage the modernization of twentieth-century haiku. In the further discussion, Nakamura’s attitude towards modern haiku is to be discussed. The context that apparently stimulated Nakamura to explore innovation in haiku will be provided in the first chapter, where two major debates in his life are the center of discussion. To understand the general directions that his innovations took, his haiku theory will be introduced in the following chapter. In the third chapter, the analysis will go through his major work from the form to the content to examine the differences between Nakamura’s work and the traditional work before him.Show less
This thesis explores the motivations of the protagonists of two love suicide puppet plays written by Japanese playwright Chikamatsu Monzaemon: Sonezaki Shinjū and Shinjū Ten no Amijima. Using...Show moreThis thesis explores the motivations of the protagonists of two love suicide puppet plays written by Japanese playwright Chikamatsu Monzaemon: Sonezaki Shinjū and Shinjū Ten no Amijima. Using sociological and (socio)psychological theories - primarily the socioemotional theory of suicide by Seth Abrutyn and Anna Mueller - it seeks to expand on the psychological level of interpretation that traditionally tends to use the giri/ninjō dichotomy. The thesis concludes that the protagonists are motivated by love and suicide suggestion to die together, although the suicide itself is rather the result of a perceived lack of control, the failure of social performance and the influence of negative social emotions.Show less
Okinawa’s position within Japan has been historically regarded with ambivalence in Japanese mainstream discourse, which is particularly visible in Japanese cinema featuring the prefecture. Such...Show moreOkinawa’s position within Japan has been historically regarded with ambivalence in Japanese mainstream discourse, which is particularly visible in Japanese cinema featuring the prefecture. Such films have been predominantly produced by mainland Japanese directors, and have often been criticized for depicting Okinawa in stereotypical and essentializing ways. This thesis places Paradise View, the understudied first feature film of Okinawa-born independent director Takamine Gō, in the above-mentioned context and focuses on the film’s thematic and narrative analysis to put it forward as a case study of a film that actively evades and challenges such representations.Show less
In the late 18th century, strict political reforms in the Japanese government were enacted, which had widespread consequences. This essay considers the cultural influence of these Kansei Reforms of...Show moreIn the late 18th century, strict political reforms in the Japanese government were enacted, which had widespread consequences. This essay considers the cultural influence of these Kansei Reforms of the late 18th century on Japanese comic literature, kibyoshi in particular. Focusing on the works of author Santo Kyoden, it examines if and to what extent this short-lived popular genre was changed by these political developments.Show less
This study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911),...Show moreThis study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911), followed by the publication of official translations in Chinese at the beginning of the twentieth century , the posterior abrupt tragic decrease of the studies under the Communists and its complete death with the beginning of the Cultural Revolution (1966-1976) , which did not allow Shakespeare to resuscitate until the end of the 70s . The second chapter will be focused on the methods of translations and the theories put forward between the end of the 19th century and the beginning of the 20th century in China, while the third chapter of this study aims at observing how Chinese translators overcame the historical, grammatical and cultural differences between Shakespeare and China, how they rendered the most important traits of the Shakespearean works in Chinese. To conclude, the fourth chapter will be concentrated on the comparison between the original English version of the famous drama of “Romeo and Juliet” and its Chinese.Show less
Over the recent years Japanese animation has seen the rise of a new form of the science fiction genre, namely technoludic anime, or anime that involves video game elements. Commentative technoludic...Show moreOver the recent years Japanese animation has seen the rise of a new form of the science fiction genre, namely technoludic anime, or anime that involves video game elements. Commentative technoludic anime, the main focus of this research, are part of a critical discourse on techno- culture and its future. This genre of anime taps into themes such as gender identity, nationalism, societies of control and the disintegration of ontological boundaries while using video game portrayal and video game play as the main focus of their narrative. It also either tends to smear or beautify video games through technophobic or technophilic themes which are supported by binary opposition such as lived experience and fantasy, and the real and the virtual. Considering the popularity of video games, it is no surprise that commentative technoludic anime have not only gained recognition in "digitally native" Japan, but also resonate with viewers on a global scale. Kawahara Reki's Sword Art Online has gained massive attention and can be seen as one of the icons of this commentative technoludic anime genre. Through its technophilic-tinted themes the series stimulates philosophical thinking by proposing a different understanding of virtual worlds and ontological boundaries. Throughout its story a young otaku recluse heightens the intensity of his life by moving into a new virtual exterior, finding its beauty along the way. The story's proposition, one that accentuates the merits, beauty, and realness of the virtual, is strengthened through the addition of life-like AI characters, exciting adventure, a beautiful environment and most surprisingly, death. Furthermore, even though Sword Art Online represents its virtual world as a video game, its world lacks the characteristics of play, showing that the virtual world Sword Art Online revolves around isultimately, not really a video game, but a sensational replacement for life in the real world.Show less
In this new millennium, the world is facing many drastic changes. Technology has revolutionized our lives and we are still trying to grasp the essence of this new age. Many traditions are fading,...Show moreIn this new millennium, the world is facing many drastic changes. Technology has revolutionized our lives and we are still trying to grasp the essence of this new age. Many traditions are fading, one of them being the practice of oral storytelling, used in pre modern societies by common folks to amuse themselves and to educate children at the same time. This essay analyzes the transition from traditional storytelling to mass communication, and its implications, through the case study of Japanese snake and dragon lore. The dragon, a well established symbol of Eastern Asian cultures, is the mythical evolution of a snake, considered to belong to the same species. The two animals are treated, however, in very different ways: the first is venerated as a kami , a god, while the second, even though object of worship too, is so feared that speaking about it is still considered a taboo. During the last century oral storytelling practice has been fading out, overpowered by the attractiveness of new medias. However, while the traditional practice is slowly dying out, storytelling itself is, I argue, just changed media. This essay will look into modern portraying of snakes and dragons, comparing tradition with new media. Through the example of Oscar winner movie Spirited Away (2001) and especially through the character of the white dragon Haku, it will be shown how anime and manga can represent a new way for the transmission and preservation of folk tales and beliefs. The director, Hayao Miyazaki, created the movie with the precise aim of educate children about Japanese values and traditions. Manga and anime can be considered a new form of storytelling, accessible simultaneously by anybody and anywhere in the world, that at the same time crystallizes a set of stories and beliefs.Show less
The human fascination with fear of the unknown has been documented in art and literature across civilisations for centuries. In every culture, this has manifested itself in the forms of creatures...Show moreThe human fascination with fear of the unknown has been documented in art and literature across civilisations for centuries. In every culture, this has manifested itself in the forms of creatures as bizarre as they are terrifying. These physical forms can be inspired by the world around us or reflect aspects of our own humanity. Perhaps the most awe-inspiring of all of these are those forms associated with the ocean. This paper explores the theory that art featuring sea monsters and other supernatural creatures is a phenomenon which appears in a society undergoing significant upheaval, change or trauma. Comparing the respective contexts of British and Japanese sea monster art, it will show how similar circumstances produced art that, while very different in visual aesthetic, has a remarkable amount of features in common in terms of subject matter and context. Furthermore, it will examine the ways in which these monsters are depicted in visual art can tell us about how British and Japanese societies approached and dealt with the fear and anxiety surrounding issues such as loss of traditional social structures, political and economic instability and the rapid and unpredictable change this brought about.Show less
This thesis seeks to examine the notions of shame and guilt in the literary expression of these concepts in Endo Shusaku’s novel, Scandal (1986). With an emphasis on analyzing shame and guilt in...Show moreThis thesis seeks to examine the notions of shame and guilt in the literary expression of these concepts in Endo Shusaku’s novel, Scandal (1986). With an emphasis on analyzing shame and guilt in this fiction as key elements in the characters’ psychological struggle, the thesis aims to determine how their interweaving reveals Endo’s personal sense of identity in the context of post-war Japan. The thesis argues that, through his literary accounts, Endo has contributed to enriching this intellectual exploration of these two notions. Based on a detailed scrutiny of Scandal, the thesis also briefly reflects on previous theoretical paradigms of shame and guilt to point out Endo’s position within the diverse flow of defining these concepts.Show less
Een onderzoek naar de relatie tussen populaire prentkunst, geschiedkunde, en de Keizer van Japan in het vroege stadium van de Meiji-periode (1868-1912). Het onderzoek richt zich op de prentenreeks...Show moreEen onderzoek naar de relatie tussen populaire prentkunst, geschiedkunde, en de Keizer van Japan in het vroege stadium van de Meiji-periode (1868-1912). Het onderzoek richt zich op de prentenreeks Dainihon shiryaku zue 大日本史略図会 (Beknopte Geïllustreerde Geschiedenis van het Grote Japan, 1879-1880) van prentkunstenaar Tsukioka Yoshitoshi 月岡芳年 (1839-1892).Show less
What makes EarthBound (1994) such a landmark game, is its position as one of the first video games that consciously used the communicative potential of the medium. It did this to reflect on the...Show moreWhat makes EarthBound (1994) such a landmark game, is its position as one of the first video games that consciously used the communicative potential of the medium. It did this to reflect on the conventions of the video game medium, specifically the Japanese Roleplaying Game (JRPG) genre. This thesis analyzes EarthBound’s satire and situates it into a concrete paradigm, namely that of postmodernism.Show less
This thesis describes the development of the phenomenon of yōkai in Japan throughout time and investigates the influence of nationalism on this phenomenon using the oni as a case study.
This thesis seeks to find general commonalities and differences between Japanese science fiction and Western science fiction. exploring the definitions of science fiction and fantasy, looking at...Show moreThis thesis seeks to find general commonalities and differences between Japanese science fiction and Western science fiction. exploring the definitions of science fiction and fantasy, looking at technophobia, using the movies Ghost in the Shell and Robocop as case studies.Show less
