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Article type: Cover
2002 Volume 51 Issue 11 Pages
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Article type: Cover
2002 Volume 51 Issue 11 Pages
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
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Toshiharu Omuka
Article type: Article
2002 Volume 51 Issue 11 Pages
1-12
Published: November 10, 2002
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One of the major factors in bringing about the new art movement of the Taisho Period is no doubt amateur illustrations which had begun to appear in popular magazines around the late Meiji Period. Since art magazines treated exclusively "orthodox" paintings and drawings, popular magazines thus gave lay artists the opportunity to make their works public. It is especially to Bunsho-sekai that varieties of artists contributed their illustrations, not a few of which would leave their marks in the history of Japanese popular art. As will be shown in this essay, the magazine played an important role in the popularization and diversification of art in the new art movement.
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Miharu Nakamura
Article type: Article
2002 Volume 51 Issue 11 Pages
13-22
Published: November 10, 2002
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Tony Au's film The Christ of Nanjing is based on Ryunosuke Akutagawa's "Nanjing-no-Christ," but the plot is greatly modified in the film version. For example, the traveller in the story is changed to the author himself in the film, who falls in illicit love with the prostitute heroine. As a result, the original story with a heavily cynical tone seems to be transformed on the screen into nothing but a love story. This banal adaptation is, however, Au's strategy to foreground cultural differences in terms of gender and colonialism through a hybrid between the Chinese director's and the Japanese writer's representations.
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Fumiyuki Okuyama
Article type: Article
2002 Volume 51 Issue 11 Pages
23-32
Published: November 10, 2002
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In December 1924, two months after the completion of the collection of poems Haru-no-shura II, Kenji Miyazawa recited his unpublished short story "Ginga-tetsudo-no-yoru" before his friends. In this essay I will trace the genesis of the short story to the collection, especially the group of poems written in October such as "Kurai-aki" and "Kogai." The key word is a "ghost photograph" often used in those poems, which sheds light on the visual aspect of "Ginga-tetsudo-no-yoru."
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Masaaki Hikita
Article type: Article
2002 Volume 51 Issue 11 Pages
33-45
Published: November 10, 2002
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There are two prefaces - one by the author Shiro Murano and the other by Katsue Kitazono - to "Taiso-shishu," a collection of poems combined with photographs. While Murano gives priority to the poems and regards the photographs as a mere appendix, Kitazono breaks down such a hierarchy, focusing on what the "sudden encounter between literature and photography" brings about. The aim of this essay is two-way; while examining the politics of Murano's literature-centered discourse which has affected most critics of this work, I will consider the meaning of Kitazono's critical attitude to the traditional distinction between the two arts.
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Junko Miyauchi
Article type: Article
2002 Volume 51 Issue 11 Pages
46-56
Published: November 10, 2002
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Since the Meiji Period Japanese fiction has been greatly influenced by Western modern art. Most realistic writers, for example, composed their novels in perspective, the viewpoint of Western paintings. But Sizuo Fujieda, although himself a realistic writer, refused to adopt the method of Western art and sought after a different kind of realism. His interest in the secular (e.g., folk art) and the sacred (e.g., religious art such as described in Sinobu Origuchi's Shisha-no-sho) in his later career is also the attempt to expose the fictional nature of Western realism in the pre-modern ways of representations.
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
57-
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Hideyuki Muroki
Article type: Article
2002 Volume 51 Issue 11 Pages
58-60
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Katsumi Nakai
Article type: Article
2002 Volume 51 Issue 11 Pages
61-65
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Masumi Morisawa
Article type: Article
2002 Volume 51 Issue 11 Pages
66-67
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Kazuaki Komine
Article type: Article
2002 Volume 51 Issue 11 Pages
68-70
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
71-
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Yasuhiro Uchida
Article type: Article
2002 Volume 51 Issue 11 Pages
72-73
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Sunao Hashimoto
Article type: Article
2002 Volume 51 Issue 11 Pages
74-75
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Kenji Suzuki
Article type: Article
2002 Volume 51 Issue 11 Pages
76-77
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Toshihiro Tanaka
Article type: Article
2002 Volume 51 Issue 11 Pages
78-79
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Susumu Sakurai
Article type: Article
2002 Volume 51 Issue 11 Pages
80-81
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Hajime Seki
Article type: Article
2002 Volume 51 Issue 11 Pages
82-83
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Hiroko Suzuki
Article type: Article
2002 Volume 51 Issue 11 Pages
84-
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Seishi Kazama
Article type: Article
2002 Volume 51 Issue 11 Pages
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Soshiro Iwasa
Article type: Article
2002 Volume 51 Issue 11 Pages
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[in Japanese]
Article type: Article
2002 Volume 51 Issue 11 Pages
87-
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[in Japanese]
Article type: Article
2002 Volume 51 Issue 11 Pages
87-
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[in Japanese]
Article type: Article
2002 Volume 51 Issue 11 Pages
88-
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[in Japanese]
Article type: Article
2002 Volume 51 Issue 11 Pages
88-
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[in Japanese]
Article type: Article
2002 Volume 51 Issue 11 Pages
88-89
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[in Japanese]
Article type: Article
2002 Volume 51 Issue 11 Pages
89-
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[in Japanese]
Article type: Article
2002 Volume 51 Issue 11 Pages
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
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Article type: Bibliography
2002 Volume 51 Issue 11 Pages
91-92
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Article type: Bibliography
2002 Volume 51 Issue 11 Pages
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Article type: Bibliography
2002 Volume 51 Issue 11 Pages
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Article type: Bibliography
2002 Volume 51 Issue 11 Pages
95-94
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
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Article type: Appendix
2002 Volume 51 Issue 11 Pages
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Article type: Cover
2002 Volume 51 Issue 11 Pages
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