Japanese Drama Research Articles

Introduction to Special Issue: Language, Nationalism, Love, and Gender Roles in the Japanese Morning TV Drama Massan

Japan is undergoing significant demographic changes, including a diversification of the population. The number of foreign residents has more than doubled in the past two decades, from about 1.1 mil...

De)Constructing Nostalgic Myths of the Mother in Japanese drama Woman

In a time of uncertainty and crisis, many Japanese have sought comfort in images of an idyllic native home, centred on a devoted, nurturing mother. Paradoxically, while this romanticised conception of the 'mother' is mourned as a casualty of modernisation, it is a relatively recent invention produced in response to anxieties over the rapid social changes Japan experienced during the post-war period. The construction of this maternal fantasy has primarily been the work of men seeking solace in the warm embrace of the 'mother' as compensation for their diminishing social status. However, nostalgic representations are not invariably sweet reminiscences. The television drama Woman is one example of a media product that exploited the nostalgic image of motherhood without ignoring its contraditions. I argue that in its depiction of two contrasting returns to one's native home, the drama constructs an indulgent, child-centred idealisation of motherhood only to deconstruct it through the revelation of its artifice. In the process, it reveals the constrasting dissatisfactions of men and women in contemporary Japan.

A study on the Exploration of Typicality of Korean Storytelling: Focusing on the The korean classical novel and TV drama

이 논문은 TV드라마, 영화 등 한국 스토리텔링의 분야에서 한국적 전형성 혹은 정체성이 있는가, 만약 있다면 그것을 어떤 방법으로 탐색할 수 있을 것인가, 나아가 그 전형성의 대체적인 특징은 무엇일까 등에 대한 물음을 가지고 시작되었다. 이러한 문제를 해결하기 위해 우선적으로 한국, 중국, 일본 등에서 상호 리메이크된 드라마를 비교하였다. 원천 이야기를 공유하고 있지만 그것을 제작하는 국가의 상황에 따라 이야기 혹은 진행 구조가 달라지는 부분을 추출하고, 그 추출된 차이점이 고전소설과 연관이 있는지를 확인하는 방식으로 연구를 진행하였다. 주요 분석 대상으로 TV드라마 <꽃보다 남자>를 선정하였다. <꽃보다 남자>는 일본 만화를 원작으로 하면서 한국, 일본, 중국, 대만에서 모두 드라마로 제작되었고, 중국의 경우는 2018년에 새로운 버전의 드라마를 제작, 방영하기도 했다. 드라마 제작은 대만에서 시작되었지만 일본과 한국을 거치면서 가히 폭발적인 인기와 온갖 화제를 낳았던 드라마이다. 이들을 국가별로 비교하고 그 차이점을 추출하고 다시 조선시대 소설의 서사적 특징과 견주어 본다는 것이다. 이런 작업은 인물 설정의 방식, 의미 생성의 방식, 장면 설정의 방식 등의 측면으로 나누어 이루어졌다. 그 결과 한국은 중국, 일본과 비교하여 뚜렷한 변별적 특성을 지니고 있음을 알 수 있었다. 그리고 이 특성이 고전소설의 전형적 특성과 연관됨을 확인하였다.The paper was written to explore the archetypes of Korean storytelling. To solve this problem, we want to compare mutually remade dramas in Korea, China and Japan. The original story is shared but the story or structure of progress will be extracted depending on the state in which it is produced, and the extracted differences will be related to classical fiction. The TV dramas <Boys Over Flowers> and <Mother> were selected as the main subjects of analysis. Based on a Japanese cartoon, <Boys Over Flowers> was all made into dramas in Korea, Japan, China and Taiwan, and in China, a new version of the drama was produced and aired in 2018. Drama production started in Taiwan, but it has been extremely popular and talked about throughout Japan and Korea. Mother is also based on a Japanese drama, which has been praised as a well-made drama remade by Korea. We will compare them by country, extract the differences and compare them with the epic features of Joseon-era novels. These tasks will be divided into aspects such as how

Budaya Permintaan Maaf Di Tempat Kerja Dalam Drama Jepang: Tinjauan Sosiolinguistik

The apology is an action in which a person states his/her regret on the mistake which he/she did. The procedures in apology are closely related to the culture which is applicable in a region. This research in general aims to understand the apology culture in the workplace of Japan. The specific objectives of this research are 1) to identify the expression of apology used in the workplace; 2) to identify the apology strategy used in the workplace; and 3) to analyze the aspects which affect choices of expression and apology strategy. The qualitative research methodology was used, while the problem of research was viewed from the perspective of sociolinguistics. Source of the data in this research is a Japanese drama entitled Haken no Hinkaku (2007). In the drama, there are 78 (seventy-eight) apology expressions used in the workplace. The apology strategies are as follows: 1) directly apologizing; 2) providing explanation or stating the reason; 3) being responsible; 4) offering replacement of the damaged goods; and 5) making a promise to not repeat the same mistake. Furthermore, the aspects which play role in choosing expression and apology strategy are situation, degree of the mistake which was made, and the status of interlocutors.

Constructing fluid relationships through language: A study of address terms in a Japanese drama and its pedagogical implications

AbstractThis study investigates address practices among family members in a Japanese TV drama. It qualitatively analyses not only a speaker’s culturally normative use of address terms but also his/her deviations from the norm, including the use of terms that are atypical in Japanese communication. The study sheds light on dynamic aspects of interaction in Japanese in which the speaker creates meaning and constructs fluid relationships with other interlocutors through the use of address terms. The pedagogical implications of these findings are discussed, along with the value of using telecinematic discourse in teaching, to give learners of Japanese a socio-pragmatic understanding of address practices.

Genethliacon for Barbara Bogołębska, or on the Need to Celebrate Birthdays and Anniversaries

The most popular Polish dictionaries of literary terms, which offer the definitions of even long lost and extremely particular genres such as Indian or Japanese drama, lack even the basic information on the genre which has existed in European literature (and even outside it) for the last 23 centuries. Genethliacon is a genre which has existed since the times of Callimachus (3rd c. BC), which has been used to celebrate a person’s birth or the anniversary of their birth. Genethliacons may be of a lyrical, dramatic or rhetorical nature, and are still practised today in various languages of the world (in Latin, in line with the ancient tradition). This article provides an outline of the development of the genre within the European tradition. Initial birthday songs, usually connoting Apollo, linked people with light and poetry. What is particularly interesting is that the basic characteristics of genethliacon’s genes have not undergo any major changes throughout the many ages. The celebration of one’s birth, anniversaries and other jubilees still entails wishes, and gift-giving, including poetry developed for the occasion. It may be worthwhile to preserve such a beautiful tradition by giving someone an originally composed genethliacon, e.g. Genetliacon Barbarae Bogołębskae dedicatum.

Los géneros literarios y la etnografía del habla

Este artículo se ocupa de los géneros literarios desde un punto de vista etnolingüístico. Los acercamientos habituales a este problema consideran los géneros literarios como modalidades de la literatura en las que se evidencian determinadas actitudes de los participantes: así, la poesía destacaría la contribución del hablante, el drama la del oyente y la narrativa aspiraría a reflejar el mundo exterior. Está muy extendida la idea de que estas tres modalidades son características de la cultura occidental, en tanto que las culturas más "primitivas" sólo conocerían la poesía, o incluso el drama (es lo que sucede en China y en el Japón), pero nunca la narrativa, el género más complejo y tardío. El análisis de tres formas rituales de discurso oral en la sociedad cuna (un pueblo chibcha de Panamá) permite mostrar cómo cada una de ellas se corresponde con uno de nuestros géneros literarios, pues están en relación con las necesidades expresivas del hombre. Cuanto más "primitiva" es una sociedad, más "mágicos" parecen sus tipos de discurso, pero su necesidad comunicativa permanece inalterable.

Yeats’s noh and world drama: foreign form in tandem with local materials

In an essay on the Japanese noh drama, “Fenollosa on the noh,” Ernest Fenollosa (1853–1908) provides a unique but reverse case of Franco Moretti’s concept of “world literature.” Moretti argues that “the compromise between the foreign and the local is so ubiquitous” that “the encounter of Western forms and local reality did indeed produce everywhere a structural compromise.” I agree with Moretti that the problem is always a structural compromise between foreign form and local materials in the field of world literature. However, I contend that what is at stake in world literature is rather the problem of balancing between close readings of local/global materials and distant readings of discourse at large in structural reconstruction. Even a prominent critic of world literature like T. S. Eliot fails to see the complicated nature of William Butler Yeats’s transcultural interweaving between the foreign form of the Japanese noh drama and the local materials of Irish plays. In this context, I have attempted to provide a case of balancing between the foreign form of the Japanese noh and local materials found in Irish plays, thereby suggesting a new model for the study of world literature. Stimulated by Pound and Fenollosa’s translations of the noh plays, and having envisioned Japanese noh plays as the visionary model for his future theatre, Yeats had a new vision of world drama by investigating the potential theories of “mask” and “ghost,” thereby anticipating the vision of transcultural/transnational world literature and drama.

PENGGUNAAN PARTIKEL ILOKUSI NE DAN YO DALAM TUTURAN BAHASA JEPANG

(Title: Use of Illocutionary Particle in Japanese Language). The purpose of this study is to explain the use of illocutionary particles ne and yo, the pragmatic meaning generated from a speech and how the influence of the existence of each of these particles in a speech. Because ne and yo are pragmatic rather than semantic and this nature only occurs in verbal interactions, this article takes data from data sources, such as Japanese dramas and Japanese short stories. The data was collected using the observation method through recording and note-taking techniques, and then analyzed using contextual method.From the results of data analysis it was found that ne particles are used when a) request confirmation or ensure information, b) request or seek agreement, c) soften speech, and d) marking the feelings felt by the speaker. While yo particles are used when : a) confirming the question to get a response or reason, b) marking that information (statement) is something new for the listerner, c) emphasizing or affirming a matter/action intended by the speaker in his speech, d) marking speech means encouraging, e) marking utterances that contain expressions of the feeling of the speaker, and f) marking the urge to take action.

Truth Does Not Matter: Legal Storytelling in the Japanese Drama \u201cLegal High 2\u201d

People expect that the truth can be revealed in a trial and the decision then is made based on the truth. However, such expectation is a fantasy because the truth has disappeared since the moment when an incident occurred. What are left about this incident are merely fragments (witnesses and evidences) that need further interpretations. Interpretations are open to possibilities; possibilities mean different stories. That is to say: there is no truth (or there are many truths) but stories; truth actually does not matter in law. Law is asked to re-construct the truth logically, based on facts, and without being affected by what outside the law, and then a fair and just legal decision can be made. The idea of storytelling, from the perspective of literature—literary narrative, on the other end is opposite to legal narrative that: a story does not need to be true or real; a story can be as bizarre as it can get as long as it is explainable and acceptable when the story comes to law. In a Japanese drama “Legal High 2” a black widow spider woman is accused of murdering her fiancée and his daughter. Since this woman is the only suspect and has been involved in many marriage fraudulent cases, the prosecutor proves that she is the murder based on the motivation and evidences found (the poison she bought from internet) in the crime scene. However, the defense attorney for getting this woman acquitted tells a story absolutely different from the prosecutor’s based on the same evidences. Therefore, in this present paper I am going to discuss that: how literary narrative and legal narrative in a law drama create both legit but opposite stories that challenges the idea that law and its language is a tool used to pursue the truth based on logics and facts. And, I will compare the similarity and the difference between literary narrative and legal narrative, from the both sides of legal theory and literary theory about language, to examine the idea of “truth” in law and in literature about law.

A morphological study on the 4 mora abbreviation-Research on the Japanese drama titles-

A morphological study on the 4 mora abbreviation-Research on the Japanese drama titles-

KESANTUNAN OFF RECORD TINDAK DIREKTIF DALAM KALIMAT DEKLARATIF BAHASA JEPANG

Pragmatics is the study of meaning which is involved three aspects (triadic) spoken by the speaker or the writer and translated by the listener or the reader. This study aim at analyzing the politeness strategy in the delivery of directive utterances in the dialog of the characters in Japanese drama called Sapuri and Osen. The study which uses the qualitative method, applies documentation method in collecting the data from the dialogue of the characters in Japanese drama called Sapuri and Osen. By using recording method, the form of directive utterances can be determined. Meanwhile, the meaning and politeness strategy of directive utterances are obtained by observation method. The result of the study shows that politeness strategy which is the most spoken in both Japanese Drama (according to the most spoken) is give association clues, give hints, presuppose, use tautologies, under state, use rhetorical questions, overstate, use contradiction, use metaphors, be vague, be incomplete or use ellipsis, be ironic, and over generalize. No data are found for be ambiguous and displace hearer of politeness strategy.

Strategi Kesantunan Permintaan Bahasa Jepang dalam Drama “Engine”

This paper examines the variations of request strategies based on the theory suggested by Ide Sachiko on Japanese politeness strategies. The purpose of this study is figure out the variations of politeness strategy in Japanese request. The primary data source of this research a Japanese drama entitled “Engine”. The data were analyzed based on the Wakimae (Discernment) and Ishiryoku (Volition) concept. Japanese social rules encourage people to take into account the social distance, psychological distance, and formality in every interaction. The distance affects the selection and use of diverse futsuugo and keigo in both request topic sentence and supporting reasons and yobikake usage preference. The results of the study show that the use of yobikake, requests, and reasons were adjusted based on the social distance of the people in the conversation. Keywords : Request Strategies; Politeness; Wakimae; Volition; Social Distance.

The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein

The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

기호간 전이를 통해 살펴본 한국드라마와 일본드라마

기호간 전이를 통해 살펴본 한국드라마와 일본드라마

Nuclear Disaster and Global Aesthetics in Gerald Vizenor's Hiroshima Bugi: Atomu 57 and Ruth Ozeki's A Tale for the Time Being

This article examines how contemporary anglophone authors portray nuclear disaster as a shared experience that surpasses nationalist, ethnic, and racial categories, requiring representation through new global aesthetic forms. Gerald Vizenor combines Native American storytelling and Japanese Kabuki drama to demonstrate how the present-day ideology of nuclear peace imperialistically perpetuates the destruction wrought by the nuclear bombings of Hiroshima and Nagasaki. Similarly, Ruth Ozeki's narrative is told through a fictional encounter with the found diary of Nao Yasutani, a Japanese teenager affected by the 2011 Tōhoku earthquake, tsunami, and subsequent Fukushima Daiichi nuclear disaster. Ozeki writes herself into the story as a metafictional character as a way to assert a transnational United States–Japan connection, thereby bridging temporal, spatial, and literary divides to represent how nuclear disaster engenders social affiliations beyond national boundaries. For both Ozeki and Vizenor, nuclear threat and disaster productively sustain otherwise illegible connections across global space, whether through collective mourning or the shared risk of global nuclear fallout.

A Cross-Cultural Comparison of Food Representations on TV: A Focus on the Japanese Drama "SynyaShokudo" and its Korean Remake

A Cross-Cultural Comparison of Food Representations on TV: A Focus on the Japanese Drama "SynyaShokudo" and its Korean Remake

The Positive Politeness in Japanese and Korean TV Dramas

The Positive Politeness in Japanese and Korean TV Dramas

A study on the themes of Japanese drama 『Love me not, this summer』

A study on the themes of Japanese drama 『Love me not, this summer』

일본 드라마 속 젠더 담론의 변화 : 홈드라마에서 트렌디 드라마로 전환되는 시점을 중심으로

일본 드라마 속 젠더 담론의 변화 : 홈드라마에서 트렌디 드라마로 전환되는 시점을 중심으로