Japanese Writers Research Articles

The Geopolitical Imaginaries in Moby-Dick; or, The Whale and Hakugei: Legend of the Moby Dick

This paper explores the geopolitical imaginaries in Herman Melville’s Moby-Dick; or, The Whale (1851) and in the Japanese science fiction animation titled Hakugei: Legend of the Moby Dick (1997-1999) by the Japanese animation artist Osamu Dezaki. Although it is an adaptation of Moby-Dick, the setting of Hakugei has been creatively changed from the sea to space. In the mid-nineteenth century, when Melville chose the sea as the setting of his quest novel, the sea was inextricably intertwined with the nineteenth-century myth of U.S. expansionism. Melville presents a double vision of imaginary islands in the South Sea and the actual geopolitical relationships between existing transatlantic countries. Yet in the second half of the twentieth century, especially in the wake of Transpacific tensions, the sea as a place of quest among Japanese writers could not be delineated in the same kind of prefigurative language used by Melville, such as by drawing on symbolism. Instead, the animation reflects a Cold War psychology that was prevalent among Japanese after the defeat of World War II. As this paper suggests, Hakugei displays both fear and hope for the geopolitical transformation of the Pacific Rim countries and their future safety by choosing outer space as a site for the fable. It is in this way that the Japanese animator Dezaki draws on Melville’s Moby-Dick as a source text by engaging geopolitics, anti-war psychology, and uneasiness toward expansionism. Melville’s pacifism can be argued for as major transcultural influence, at the very least, driving Hakugei’s anime characterization. In fact, going beyond drawing on certain characters, including Ahab, Dezaki retains Melville’s anxiety over the proximity of creation and destruction in yet another era of increasing concern for world peace.

Haruki Murakami: A Global Literary Journey from Japan to the World

In a world increasingly shaped by globalization, the migration of literature across borders has become more fluid and pervasive than ever before. This phenomenon extends beyond literature to encompass music, film, and other forms of art, facilitated by advancements in technology that grant simple access to global audiences. Haruki Murakami, one of the most important figures of modern Japanese literature, emerges as one of the prime examples of writers who have transcended national boundaries to earn international acclaim. Understanding Murakami's ascent to prominence requires acknowledging the Westernization of Japanese literature following the Meiji period. This era marked Japan's transition from an isolated feudal society to a modernized nation influenced by Western ideals. The societal shift towards Westernization, driven by aspirations of military and economic strength, altered the reception of Japanese writers in Western literary circles. Murakami's immersion in Western culture, coupled with his experiences living abroad and his deliberate incorporation of Western motifs into his works, distinguishes him from his contemporaries in the Japanese literary scene. While critics may scrutinize his portrayal of Japan and find it lacking authenticity, Murakami's global appeal lies in his ability to capture universal themes of isolation, identity, and existential angst that resonate with readers worldwide. Murakami's journey from a local Japanese author to a global literary icon exemplifies the transformative power of literature in an increasingly interconnected world. By bridging cultural divides and transcending linguistic boundaries, Murakami's works serve as a testament to the enduring impact of storytelling in uniting humanity across the vast tapestry of human experience. In this context, this study aims to discuss Murakami's journey from his origins in the Japanese literary market to his recognition on the global stage.

JAPANESE TYPOGRAPHY ESSENTIALS: LEARNING FRAMEWORK OF TYPOGRAPHY IN JAPAN (Japanese Typography as a Visual Form of Japanese Writing)

JAPANESE TYPOGRAPHY ESSENTIALS: LEARNING FRAMEWORK OF TYPOGRAPHY IN JAPAN (Japanese Typography as a Visual Form of Japanese Writing)

Respect, Symbiosis, and Pluralism: Ideas of Ethics in Paradise Lost and Klara and The Sun

Literary ethics criticism regards literature as the specific ethical expression of human society at a particular stage of history, regarding literature as “the art of Ethics”. Ethical Literary Criticism takes it as its duty to explain the ethical function of literature, aiming at explaining the ethical phenomena in literature and making value judgments on them. In his Paradise Lost, which is regarded as “a monument in the history of European literature”, Milton explores ethical issues and considers the boundaries between good and evil in the classic Genesis stories of Satan's failure to rebel and Adam and Eve's expulsion from Paradise after stealing the forbidden fruit. As the edifying significance of literature gradually diminishes, the ethical thoughts embodied in literary works change with the times and break through the limitations of the times at intervals; in contemporary times, Kazuo Ishiguro, a Japanese writer with a “dual identity”, observes and participates in the life of Josie's family from the perspective of the AI in his novel Klara and The Sun, recounting insights into love and humanity and reflecting abundant ethical reflections on identity and moral goodness and evil, which shares some similarities with Paradise Lost written in the 17th century. Therefore, the thesis focuses on the three dimensions of self-internal, self and other, and self and morality attempting to show the ethical reflections on self-identity cognition, the relationship between man and other, the boundary between good and evil, and rationality and irrationality in Paradise Lost and Klara and The Sun, in order to reveal ethical changes of the times and explore the ethical ideals shared by Milton and Kazuo Ishiguro.

Step-by-Step: Learning Japanese Writing on Android for Beginners

Step-by-Step: Learning Japanese Writing on Android for Beginners

Феномен возвратной преемственности в японской литературе первой половины XX века (на примере произведений Танидзаки Дзюнъитиро «Лианы Ёсино» и «Мать Сигэмото»)

The article is devoted to the phenomenon of so-called “retrospective continuity” in Japanese literature of the first half of the 20th century. It’s based on two works by famous Japanese writer Tanizaki Junichirō: “Arrowroot” and “Captain Shigemoto’s Mother”. The research consists of analyzing cultural and historical context of the novellas; some peculiarities of their structure and stylization; and also references to legends and classical Japanese literature. The phenomenon of “retrospective continuity” is explained in relation to the impact of Japan’s modernization and westernization on its literary process and society. It also reveals the importance of “turning to the past” for the Tanizaki’s creative path and development of new Japanese literature.

Japanese Writers and Works on Djawa Baroe: Behind the Selection of the Five Works

Abstract. Literature became one of the propaganda tools of the Japanese military government during the Japanese occupation of Indonesia (1942-1945). This research focuses the object of study on four short stories and one play written by Japanese writers published in Djawa Baroe magazine (1943-1945), including "Kitjizo Kemedan Perang" by Hino Ashihei, "Ditempat Asoehan Garoeda" by Niwa Fumio, "Batoe" by Kawai Tetsukichi and "Perkawinan 25 Tahoen" by Sasaki Takamaru. The qualitative descriptive method was used to analyze data on each writer's background and the original versions published in Japan to examine the reasons and significance for selecting the five works. The findings show that four writers, Hino Ashihei, Niwa Fumio, Kikuchi Kan, and Sasaki Takamaru, had produced many works and were well-known writers in Japan. Meanwhile, Kawai Tetsukichi was a newcomer writer, but his work "Batoe" was considered new and attracted the editor of Chūōkōron magazine. Furthermore, research on the original versions of the five works published in Japan discovers that all five works were published in Japan between 1938 and 1943 and then republished in Djawa Baroe from January 1, 1944, to March 15, 1944. Some original works are short and almost the same as those published in Djawa Baroe, but some were long novels, so only small parts were published in Djawa Baroe. However, the versions published in Djawa Baroe contained significant propaganda parts of each work and were suitable for Djawa Baroe's readers during the war. The writer`s reputation and the contents of each work were the main reasons the works were selected for publication in Djawa Baroe. Keywords: Djawa Baroe, Japanese literature, Japanese Writer, Asia-Pacific War

The translation of childhood trauma—Taking the English and Chinese translation of Michikusa as an example

Michikusa (1915) is an autobiographical novel penned by the renowned Japanese writer, Natsume Sōseki. Researchers typically employ it to probe the intricate interplay between the author/protagonist's evolution and the historical milieu of Meiji-era Japan. Scholars such as Chiaki Ishihara have advocated for a new avenue of inquiry, advocating the application of psychoanalytic perspectives in exploring Natsume Sōseki's corpus. Surprisingly, this direction remains relatively uncharted, with the scholarly realm notably lacking discussions on its Chinese and English translations through the lens of literary criticism. This article undertakes an in-depth investigation into the translation of Michikusa's portrayal of childhood trauma into English and Chinese, facilitated by the construction of a comprehensive trilingual corpus. Employing a psychoanalytic framework for interpretation, it discerns that the childhood scenes play a foundational role in shaping the protagonist's post-traumatic personality facets, significantly influencing his relationships with his immediate and extended family. The findings underscore a critical gap: despite the pivotal nature of childhood trauma scenes, the conflict, sorrow, and torment within the source texts are often inadequately conveyed. Translations frequently involve undue omissions, adaptations, or distortions, thereby potentially obstructing the target audience's accurate comprehension and interpretation. Furthermore, this study establishes that a nuanced understanding of trauma and post-traumatic stress disorder (PTSD) studies equips translators to convey trauma with greater fidelity. This contribution to literary criticism holds promise for enhancing existing translations, providing a nuanced perspective on the significance of accurately representing trauma in literary works.

中日“西厢故事”中才子形象的对比考察

The word “Gifted scholar” riginated from Chinese literature During the exchange of Chinese culture with East Asian countries, “Gifted scholar” was absorbed by Japan, which was influenced by Chinese culture, and became a synonym for the hero in Japanese romance novels. As an imitative work of the Chinese Yuan drama “The Romance of the West Chamber”, the Japanese Chinese-character novels “The Romance of Happy Couple ” has both similarities and differences with the Image of Gifted scholar in the Story of “The Romance of the West Chamber”. Based on text analysis, this paper will sort out the content about the image of the gifted scholar in the Chinese and Japanese “The Story of the West Chamber”, highlight the different aspects of the image of the gifted scholar in the two works, and focus on exploring the reasons for this difference. The Japanese writer Miki Aika was influenced by Chinese Confucian culture. The male protagonist in “The Romance of Happy Couple” inherited the image of talented scholar who combines talent, amorous feeling and appearance from “The Romance of the West Chamber”. On the other hand, due to the cultural characteristics of the Japanese nation and the development of the Meiji Restoration, the image of the gifted scholar in Japan's “The Story of the West Chamber” has changed again. By examining and comparing the image of the gifted scholar in Chinese and Japanese “The Story of the West Chamber”, this paper explains that although the external image of the hero in the <The Romance of Happy Couple> is similar to that of the Chinese gifted scholar, his inner core characteristics still contain Japan’s national character and contemporaneity.

Analyzing the Spiritual Connotation of Japanese Pop Culture from the Course of Modernization Based on Contemporary Japanese Writers

The development of pop culture in Japan has long historical roots. Since its post-war modernization, Japan has successfully transformed itself from an old culture-importing country to a culture-exporting country. The article focuses on a number of epochal points since Japan's post-war renaissance, analyzing a number of representative Japanese authors and their works from 1945 to the present, and understanding the birth and spread of Japanese popular culture. Studies have shown that the development of Japanese popular culture has been heavily influenced by European and American culture, but has also demonstrated rebellion and reflection on past cultures and ideologies, ultimately opening up a wide range of cultural areas on this basis. The article takes the representative writers and works of contemporary Japan as the blueprint for research, and finds that Japanese pop culture has a unique rebellious character and humanistic sentiment in its spiritual connotation. In the present day, the Japanese national psyche, on the other hand, interacts and influences popular culture.

Tokyo in Tashkent: The Afro-Asian Writers Association and Japanese Cold War Dissent

Abstract In October 1958, seven Japanese writers attended the first great cultural event of the Bandung era, the week-long Afro-Asian Writers Conference held in Tashkent, the capital of Soviet Uzbekistan. The ‘literary Bandung’ resulted in the creation of the Afro-Asian Writers Association (AAWA), a source of growing interest among historians of anti-colonialism for the institutions it founded to support a literary culture unmediated by London, Paris or New York, and thereby advance political solidarity among colonized and newly independent countries in the so-called Third World. The participation of writers from Japan, a former empire aligned with the United States, has no place in the historiography of post-war Japan, the Cold War or decolonization. Japanese participants and observers used the conference and the AAWA as a means of dissent equally unfamiliar in received narratives. They argued that commitment to the decolonization of Asia and Africa offered a means to resist amnesia about Japan’s colonialist history and obstruct its role in the American empire. The work of Japanese writers in Tashkent and after reveals a broader genealogy of Afro-Asianism and anti-colonial internationalism and opportunities for dissent made possible by crossing between post-imperial and postcolonial worlds in the Bandung era.

Suppression of Memory as Totalitarian Strategy: A Critique of Yoko Ogawa’s The Memory Police

In the contemporary world, activities of the people have been monitored and scrutinised by the ever strong vigilant governments. The Fascist governments, in particular, are changing the dynamics of the countries as well as the world by moulding and shaping the minds of people according to their objectives. The opponents of the state are silenced or liquidated. The present paper on renowned Japanese writer Yoko Ogawa’s science fiction work, The Memory Police (2019) has been done to highlight similar issues. The article is divided into three sections. The first section of the article examines how totalitarian regimes function, particularly by playing upon the minds and memories of its citizens. The paper also points out as how people engage with memory as a weapon of protest and as a near-sentient being are confronted with an iniquitous opposition whose main objective is to destroy it. The second section focuses how the psychological toll of forgetting is manifested in the physical world. For instance, when objects vanish from reality, they vanish from memory too, and vice versa. Finally, in the third section, analogies are drawn between the metaphoric cosmos of the novel and in the previously witnessed progressively hypernationalistic and dictatorial governments acquiring control over the world.

Examining the Popularity of Yoshimoto Banana with Reference to the Historical Ties Between Italy and Japan

This article investigates the popularity of the contemporary Japanese writer Yoshimoto Banana abroad, especially in Italy. This has its own particular reasons. Italy was the first western country where she achieved immense popularity beyond her home country Japan. The article mulls over the notable developments and other key factors why Italy became the entry point of Yoshimoto Banana to international level of popularity supported with the historical references from the key incidents of historical contact between Japan and Italy. This includes description in travelogues as old as from thirteenth century by various notable historical figures who either came to Japan from Italy or vice versa. It further probes the appreciation received by Yoshimoto Banana through reception of various critical choice awards and an ever expanding fan base in Italy, which is rare for an author from Asian origin.

Existential Motives in the Works of the Japanese Writer Dazai Osamu

Existential Motives in the Works of the Japanese Writer Dazai Osamu

Маркери філософії абсурду в романах Кобо Абе «Зошит кенгуру» та Валерія Шевчука «Срібне молоко»: порівняльний аспект

The article is devoted to the study of the philosophy of absurdity in the works of Japanese writer Kobo Abe and Ukrainian author Valery Shevchuk. The work examines the novels «Kangaroo Notebook» and «Silver Milk» with the aim of identifying common and different markers of absurdity, as well as analyzing their existential basis. The study of absurdity in these works allows a deeper understanding of their uniqueness for their time and relevance for the modern reader. Absurdity in the works of Abe and Shevchuk is presented as a way of reflecting human alienation in a world that has lost its meaning. They address the theme of an individual's search for his place in a world where traditional values and social structures cease to be effective. Existentialism, as the philosophical basis of their works, helps to reveal the inner conflicts of the heroes struggling with their own identity and the absurdity of existence. The novels of Kobo Abe and Valery Shevchuk are unique for their time due to their innovative approach to exposing human nature through the lens of the absurd. Abe's Kangaroo Notebook explores the boundaries between reality and illusion, using symbolism and metaphor to convey an absurd worldview. «Silver Milk» by Shevchuk, in turn, demonstrates the absurdity of human existence through fantastical elements and psychological portraits of heroes searching for meaning in a senseless world. A comparative analysis of these two works allows not only to identify common features in approaches to the topic of absurdity, but also to emphasize the cultural and national features of their expression. Such studies are important for the expansion of the literary base and a deeper understanding of the influence of different cultures on the interpretation of philosophical concepts. The relevance of the works of Kobo Abe and Valery Shevchuk does not diminish over time, because they offer universal answers to questions that remain important for humanity in any era. This article highlights the importance of intercultural dialogue in literature and the potential of such comparative studies to understand global literary processes.

Healing Trauma and Reconstruction of Japanese Identity in the Post-War Period in the Novels by Kazuo Ishiguro and Haruki Murakami

Both Kazuo Ishiguro, a British Japanese writer, and Haruki Murakami show their views of Japanese history and try to explore the relationship between individuals and their country in the flow of history in their novels. “A Pale View of Hills” and “An Artist of the Floating World” by Ishiguro and “The Wind-up Bird Chronicle” and “Killing Commendatore” by Murakami refer to the Pacific War and use the post-war period when trauma and identity became outstanding issues in Japanese society as the background of the stories. From the perspective of trauma and identity theories, this article clarifies the similarities and differences of Ishiguro and Murakami in the way of representing the trauma caused by identity crises that Japanese generations coped with and the changes of Japanese identity in the post-war period. Through analyses of Japanese citizens’ and immigrants’ trauma of finding and choosing identities in the four novels, this article also indicates Ishiguro and Murakami’s messages of healing trauma and reconstructing Japanese identity.

Implemented Project Based Learning on Japanese Writing Skills

The purpose of this study is to determine the effectiveness of project-based learning on Japanese writing skills. The study employs a quasi-experimental design. This study was carried out at a private university in Jakarta during the odd semester of 2023-2024. Participants included 50 students from a Japanese writing class. As a result, the data is derived from observations, documents, and tests. The t-test is used in the data analysis technique: Two-Pair Sample for the Mean. According to the findings of the study, project-based learning improved Japanese writing skills. Students have received enough training to actively write Japanese both individually and in groups. As a result, project-based learning is quite effective and can continue to be developed with learning media.

Just as I Please

Due to reasons such as the COVID-19 pandemic, I haven’t been able to visit Taiwan for nearly four years. Last week, albeit for a short duration, I finally visited Taipei for the first time in four years and reconnected with old friends after a long absence. I also met Mr. Lu Fangxiong, the second son of Lu Heruo, who was a representative Japanese writer in pre-war Taiwan. Mr. Fangxiong provided me with a wealth of valuable materials for the writing and publication of my book. Because Lu Heruo passed away as a result of the White Terror, his bereaved family went through great hardships in the post-war period. Naturally, the family was extremely cautious regarding the publication of the diaries that Lu Heruo left behind. It was Mr. Fangxiong who took the initial step toward their publication by providing copies to several researchers. Subsequently, Mr. Fangxiong has continued to contribute to the advancement of Lu Heruo studies by publishing memoirs on various occasions and by appearing in documentary programs to share his insights. He has been making efforts to reconstruct the post-war journey of the Lu family and of Mr. Fangxiong himself, which must have been a challenging undertaking. One of important facets of Lu Heruo’s work was the depiction of the family histories of the Taiwanese people, and similarly, Mr. Fangxiong is also portraying his own family’s history in a unique manner. In fact, the title of this humble piece, ‘Just as I Please’, is borrowed from an essay title contributed by Lu Heruo in the inaugural issue of the journal “Taiwan Literature” in May 1941. I hope that this journal will leave a mark on the history of Japanese literary research, akin to the impact of what is regarded as “the iconic monument in Taiwanese literature, the journal ‘Taiwan Literature’”.

Suicides of elite Japanese writers: The case of Ryunosuke Akutagawa.

Background . To mark the 130th birth anniversary of Japanese writer Ryunosuke Akutagawa (1892-1927), I revisit his suicide (as recorded by his hand) in comparison to that of his junior contemporaries, who also chose a similar mode of death. Data sources . Two works of Akutagawa, namely Tenkibo (1926: Death Register) and Aru Ahono Issho (1927: The Life of a Stupid Man) in English translation of Jay Rubin were used as the main sources, in addition to published literature about his creativity. Results . In his final work, The Life of a Stupid Man, completed in the penultimate month before suicide, 7 among the 51 brief descriptions, Akutagawa had described his thoughts on illness and death, in addition to visiting his biological mother in a lunatic asylum, and studying a cadaver for his famous short story 'Rashomon'. These descriptions offer a fascinating perspective on Akutagawa's state of mind, before his suicide. Akutagawa's suicide is also compared with the suicides of five other renowned Japanese writers (Osamu Dazai, Yasunari Kawabata, Misuzu Kaneko, Yukio Mishima and Juzo Itami). Conclusion . Before his suicide, doctors offered Akutagawa various diagnoses: 'insomnia, gastric hyperacidity, gastric atony, dry pleurisy, neurasthenia, chronic conjunctivitis, brain fatigue'. Though it is uncertain, what percentage of hereditary factor(s) played a role, why the practitioners of the medical profession in 1920s Japan failed to save the life of this creative individual still remains a question.

The Dark and Dry Well: Hidden Psychotic Disorders in Murakami Haruki’s Novel

The personal secrets of humans are just as though a deep and dark well. The peculiarities that occur within human beings not only attract numerous psychiatrists to unravel them but also captivate a Japanese writer, Haruki Murakami. In his novel entitled The Wind-Up Bird Chronicle, he conveys subjective experiences through his main character. The novel tells the story of Toru Okada’s subconscious journey. It is where human memories connect with various ancient subconscious thoughts, strange illusions appear, and unheard voices manifest to ordinary humans. These are common indications of schizophrenia symptoms. The research reveals the challenge in identifying this syndrome, as affected individuals become detached from the “true reality.” Consequently, a more structured approach is deemed necessary to facilitate their reintegration. With the assistance of mythology, wherein this narrative serves as a collectively recognized storyline, those trapped within their fantastical worlds can effectively communicate and establish connections with those residing in the “true reality.