Western musicals, both set in the West and in Asia, have been performed in Japan and still are, but a musical set in the West that is entirely written by Japanese, with thus a Japanese perspective,...Show moreWestern musicals, both set in the West and in Asia, have been performed in Japan and still are, but a musical set in the West that is entirely written by Japanese, with thus a Japanese perspective, is quite rare. The Man Who Never Sleeps by the Takarazuka revue Company is a musical about Western history and historical figures, written completely by Japanese. Not only will this musical therefore have a Japanese perspective, but as the Takarazuka Revue is a niche culture in itself, there is also the Takarazuka perspective. With my thesis I want to research in what way these two views are projected through this musical set in Europe, with the following research question: How are the values of the Takarazuka Revue and the identity of Japanese society projected upon famous Western historical figures in “Napoléon, The Man Who Never Sleeps -At the End of his Love and Glory-“?Show less
""What is the role of the supernatural in lessening the burden of disaster in Edo prints?"" is the question that I want to answer in this thesis by looking at diseases and the Great Ansei Earthquakes.
A closer look at the collaborative aspects of the Late Edo-period printing industry, the various techniques that were employed, and the way this process shaped the final product.
In the Heian period, miyabi began as a means for the political underdog to establish his superiority through cultural knowledge. Later it became a more widespread ideal among courtiers, dictating...Show moreIn the Heian period, miyabi began as a means for the political underdog to establish his superiority through cultural knowledge. Later it became a more widespread ideal among courtiers, dictating social and cultural comportment. Though many works of miyabi literature, often written by women, are celebrated nowadays, both miyabi and women were severely undermined by Buddhism at the time of their creation. Buddhism deemed women impure and unable to reach enlightenment, due to menstruation and childbirth. Literature, as a wordly attachment, was deemed sinful. This view of literature was combatted at later the miyabi literature was revered as something which could show the way of the Buddha to the people. When the licensed pleasure quarter of Edo, the Yoshiwara, was opened in 1618, miyabi was used to create a sophisticated image that made the trip to the outside the city seem worth the effort. Tales and images of a dream world with beautiful and sophisticated women – the Edo version of a Heian court lady - drove many customers to the quarter. The Yoshiwara, although the only legal place, was not the only place that offered sex. To keep making a profit, the Yoshiwara brothel owners had to use marketing tactics. It became fashionable to be tsū, a man who knew the ways of the Yoshiwara. In collaboration with brothel owners, guidebooks and critiques were published, that showcased and ranked the best of the Yoshiwara. Sophisticated portraits of high-ranking prostitutes looked nearly identical, but only those with the knowledge needed could ‘read’ the images and perceive the details about the women, as well as pick up on the erotic undercurrent.Show less
When the ports opened in Yokohama a new type of ukiyo-e print was made. The Japanese people were fascinated by the new residents and the foreigners were an interesting subject for woodblock prints....Show moreWhen the ports opened in Yokohama a new type of ukiyo-e print was made. The Japanese people were fascinated by the new residents and the foreigners were an interesting subject for woodblock prints. The appearance of the foreigners on these prints changed a lot in comparison to earlier depictions of foreigners, for example the Nanban screens or tojin pictures. The different depictions of foreigners could be a marker for all kind of social and economic changes. Also the views that the Japanese people had of foreigners were changing and this was apparent because of the more Japanese looking foreigners on the prints. The times were shifting from the feudalistic Edo period into the more modern Meiji period. This meant that a lot of new people, culture, and technology was introduced. Not only did this affect the subject matter of prints but also the attitude the Japanese people had towards foreigners. Curiosity, hostility, and also fascination were felt during the time the ports were just opened and foreigners were let in, but these feelings were not always conveyed through the prints. In this thesis I will do a visual analysis on how the depictions of foreigners changed. Also through visual analysis I will discuss the social changes and attitudes of the Japanese people and the function of the prints.Show less
This thesis takes a brief look at Edo era Yoshiwara art, and the disparity between what it portrays and represents. Furthermore, it takes a look at the way this art is currently portrayed and...Show moreThis thesis takes a brief look at Edo era Yoshiwara art, and the disparity between what it portrays and represents. Furthermore, it takes a look at the way this art is currently portrayed and spoken about; examining its place in modern art discourse.Show less
This thesis looks at Chikamatsu Monzaemon's domestic puppet play "The Love Suicide at Amijima" as a multi-level performance. It revisits the textual interpretations of Donald H. Shively and Donald...Show moreThis thesis looks at Chikamatsu Monzaemon's domestic puppet play "The Love Suicide at Amijima" as a multi-level performance. It revisits the textual interpretations of Donald H. Shively and Donald Keene, and the musical interpretation of Andrew Gerstle, while adding a study of visual elements for a full interpretation. It argues that textual elements alone do not lead to an adequate interpretation. Furthermore, it argues that Chikamatsu's stylized representation of reality, as opposed to a naturalistic one, does not impact the quality negatively, as is suggested by Shively.Show less
This thesis seeks to deepen the understanding of Japan’s colonial gaze and the underlying colonial characteristics in the representations of Taiwanese colonized people through visual analysis of...Show moreThis thesis seeks to deepen the understanding of Japan’s colonial gaze and the underlying colonial characteristics in the representations of Taiwanese colonized people through visual analysis of contemporary photographic postcards. It argues that the Japanese colonial gaze in the photographic representations of Taiwanese women in the 1920's and 30's helped to establish a power relationship of colonizer and colonized through the use of different perspectives and at the same time justified this unequal relationship. This colonial gaze is explained to enclose a variety of gazes into one: The Western gaze, the masculine gaze and the ethnographic gaze.Show less
With this thesis, I want to focus on Kuniyoshi’s supernatural prints portraying one Japanese warrior house in particular: the Taira 平 clan. The Taira clan, also known as the Heike 平家, was one of...Show moreWith this thesis, I want to focus on Kuniyoshi’s supernatural prints portraying one Japanese warrior house in particular: the Taira 平 clan. The Taira clan, also known as the Heike 平家, was one of the most prominent noble families of the Heian period (794 - 1185), even controlling the Emperor until they were finally defeated. Their tragic demise during the decisive naval Battle of Dan-no-Ura 壇ノ浦の戦い (1185) of the Genpei War 源平合戦 (1180 - 1185) at the hands of the Minamoto 源 clan, has gone down as one of the most infamous events in Japanese history. The rise and fall of the Taira has been popularized by the canonical work Heike Monogatari 平家物語, which describes the events leading up to and during the Genpei War. Although the author and the date of creation of the Heike Monogatari are unknown and much of its contents have been proven to be fictious, the Heike Monogatari has remained as one of the most important Japanese pieces of literature throughout the ages. Thus, it is no wonder that the tragic story of the Heike still captured the imagination of ukiyo-e artists during the late Edo period (1600 - 1868). By visually analyzing supernatural prints featuring the Taira clan of Utagawa Kuniyoshi (1798 - 1861), I hope to shed light on some elements underexplored by previous researchers. Rather than simple political satire, I argue that the charm of these prints for Edo townspeople was actually far wider and more varied. Dissecting the prints’ artistic and cultural elements one by one, I will attempt to lay bare the period eye and to surmise how a person living in the Edo period could have enjoyed them. I hope my research might deepen our shared understanding of Edo popular culture and its social and cultural background.Show less
In this thesis, I will emphasize the relationship between the visual depiction of Japanese historical warriors in Tokugawa period (1603–1868 AD) woodblock prints produced in nineteenth century...Show moreIn this thesis, I will emphasize the relationship between the visual depiction of Japanese historical warriors in Tokugawa period (1603–1868 AD) woodblock prints produced in nineteenth century Tokugawa Japan on the one hand and the historical imagination among the commoners or chōnin (“townspeople”) who inhabited the city of Edo (present-day Tokyo) and who were mainly responsible for producing and consuming warrior prints on the other. In order to accomplish this, I will use the warrior Minamoto Raikō (948–1021 AD) as a case study. Furthermore, I will relate this historical imagination, or historical consciousness, among the Edo chōnin with their cultural identity as Edokko (“child of Edo”). That is, I will focus on what cultural meanings ancient and medieval warriors in warrior prints had, i.e. what they signified, for the Edo chōnin regarding their Edokko identity.Show less
