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This book provides a comprehensive analysis of major works in Japanese literature and film through the interpretive lens of trauma and PTSD studies. Focusing critical attention on the psychodynamics and enduring psychosocial aftereffects of social trauma, it also evaluates the themes of dissociation, failed mourning, and psychological defence fantasies. Building on earlier studies, this book emphasizes the role of protagonists in managing to effect partial recovery by composing memoirs in which they transform dissociated traumatic memory into articulate, narrative memory or bring about advanced recovery by pioneering alternative means of orally communicating, working through, and overcoming debilitating personal histories of traumatization and victimization. In so doing, Stahl also demonstrates that what holds true on the individual and microcosmic level, also does so on the collective and macrocosmic level. This new critical approach sheds important new light on canonical Japanese novels and films and enables recognition and appreciation of integral psychosocial aspects of these traumatic narratives. As such, the book will be of huge interest to students and scholars of Japanese film and literature, as well as those of trauma studies.
Japanese literature and film have frequently been approached using lenses such as language, genre and ideology. Yet, despite a succession of major social traumas that have marked, and in many ways shaped and defined much of modern Japan, Japanese fiction and cinema have not often been examined psychoanalytically. In this book, David Stahl conducts in-depth readings and interpretations of a set of Japanese novels and film. By introducing the methodology of trauma/PTSD studies, Stahl seeks to provide a better understanding of the insights of Japanese writers and directors into their societies, cultures and histories. In particular, by building on the work of practitioner-theoreticians, such as Pierre Janet and Judith Herman, Stahl analyses a number of key texts, including Kawabata Yasunari’s Sleeping Beauties (1961), Enchi Fumiko’s Female Masks (1958) and Imamura Sho- hei’s Vengeance is Mine (1979). Consequently, through using concepts of social trauma, dissociation, failed mourning, revenge and narrative memory, this book sheds new light on the psychological aftereffects and transgenerational legacies of trauma depicted in Japanese works. Trauma, Dissociation and Re-enactment in Japanese Literature and Film will be of interest to students and scholars of Japanese Literature and Cinema, as well as those interested in Japanese History and Trauma Studies.
The Japanese Cinema Book provides a new and comprehensive survey of one of the world's most fascinating and widely admired filmmaking regions. In terms of its historical coverage, broad thematic approach and the significant international range of its authors, it is the largest and most wide-ranging publication of its kind to date. Ranging from renowned directors such as Akira Kurosawa to neglected popular genres such as the film musical and encompassing topics such as ecology, spectatorship, home-movies, colonial history and relations with Hollywood and Europe, The Japanese Cinema Book presents a set of new, and often surprising, perspectives on Japanese film. With its plural range of interdisciplinary perspectives based on the expertise of established and emerging scholars and critics, The Japanese Cinema Book provides a groundbreaking picture of the different ways in which Japanese cinema may be understood as a local, regional, national, transnational and global phenomenon. The book's innovative structure combines general surveys of a particular historical topic or critical approach with various micro-level case studies. It argues there is no single fixed Japanese cinema, but instead a fluid and varied field of Japanese filmmaking cultures that continue to exist in a dynamic relationship with other cinemas, media and regions. The Japanese Cinema Book is divided into seven inter-related sections: · Theories and Approaches · * Institutions and Industry · * Film Style · * Genre · * Times and Spaces of Representation · * Social Contexts · * Flows and Interactions
This book approaches the concept of tenkō (political conversion) as a response to the global crisis of interwar modernity, as opposed to a distinctly Japanese experience in postwar debates. Tenkō connotes the expressions of ideological conversion performed by members of the Japanese Communist Party, starting in 1933, whereby they renounced Marxism and expressed support for Japan’s imperial expansion on the continent. Although tenkō has a significant presence in Japan’s postwar intellectual and literary histories, this contributed volume is one of the first in Englishm language scholarship to approach the phenomenon. International perspectives from both established and early career scholars show tenkō as inseparable from the global politics of empire, deeply marked by an age of mechanical reproduction, mediatization and the manipulation of language. Chapters draw on a wide range of interdisciplinary methodologies, from political theory and intellectual history to literary studies. In this way, tenkō is explored through new conceptual and analytical frameworks, including questions of gender and the role of affect in politics, implications that render the phenomenon distinctly relevant to the contemporary moment. Tenkō: Cultures of Political Conversion in Transwar Japan will prove a valuable resource to students and scholars of Japanese and East Asian history, literature and politics.
This book provides the first interdisciplinary examination of the popular fiction and film of the “lost decades” of Japan’s Heisei period (1989–2019). Presenting original analysis of major Heisei writers, filmmakers, and manga artists, the chapters examine the work of Urasawa Naoki, Kurosawa Kiyoshi, Murakami Haruki, and Shinkai Makoto, among others. Through the work of these cultural figures, the book also explores the struggle to define the history of Heisei—three decades of economic stagnation, social malaise, and natural disaster. In particular, it explores the dissonance between the dominant history of Japan’s recent past and the representation of this past in the popular imagination of the period. In so doing, this book argues that traumatic events from the years leading up to Heisei complicate the narration of a cohesive sense of history for the period, requiring works of fiction and film to explore new connections to the past. Incorporating literary and film theory to assess the works of culture, Locating Heisei in Japanese Fiction and Film will be useful to students and scholars of Japanese culture, society, and history.
Over the last 70 years, Japanese Studies scholarship has gone through several dominant paradigms, from ‘demystifying the Japanese’, to analysis of Japanese economic strength, to discussion of global interest in Japanese popular culture. This book assesses this literature, considering future directions for research into the 2020s and beyond. Shifting the geographical emphasis of Japanese Studies away from the West to the Asia-Pacific region, this book identifies topic areas in which research focusing on Japan will play an important role in global debates in the coming years. This includes the evolution of area studies, coping with aging populations, the various patterns of migration and environmental breakdown. With chapters from an international team of contributors, including significant representation from the Asia-Pacific region, this book enacts Yoshio Sugimoto’s notion of ‘cosmopolitan methodology’ to discuss Japan in an interdisciplinary and transnational context and provides overviews of how Japanese Studies is evolving in other Asian countries such as China and Indonesia. New Frontiers in Japanese Studies is a thought-provoking volume and will be of great interest to students and scholars of Japanese and Asian Studies. The Introduction and Chapter 1 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
Based on extensive survey data, this book examines how the population of Japan has experienced and processed three decades of rapid social change from the highly egalitarian high growth economy of the 1980s to the economically stagnating and demographically shrinking gap society of the 2010s. It discusses social attitudes and values towards, for example, work, gender roles, family, welfare and politics, highlighting certain subgroups which have been particularly affected by societal changes. It explores social consciousness and concludes that although many Japanese people identify as middle class, their reasons for doing so have changed over time, with the result that the optimistic view prevailing in the 1980s, confident of upward mobility, has been replaced by people having a much more realistic view of their social status.
This book considers the contemporary political formula of the “Chinese Dream” in the light of the treatment of dreams in Chinese literary history since antiquity. Sinic literary and philosophical texts document an extensive spectrum of dream possibilities: starting with Zhuangzi’s eminent butterfly dream, an early example of the inversion of the dreamer’s reality, through to confusing visions of the spiritual realm. In classical dramas, novels, and ghost stories, dreams see the earthly realm enter into conflict with higher realms of existence. They indulge the dreamer’s quest for sensual pleasures, but then spiritual beings relentlessly harvest the dreamers’ life energy. Dreams promise spiritual enlightenment – only to abandon the dreamer in a state of utter confusion. In the early twentieth century, traditional dream knowledge is abandoned in favour or Freudian episodes of sexual repression. In this context, the collective national dream emerges as an unexpected vehicle of the pained individual’s hope for national rejuvenation.
Drawing on the concept of the somatic self, Castro-Vázquez explores how Japanese men think about, express and interpret their experiences concerning bodyweight control. Based on an extensive ethnographic investigation, this book offers a compelling analysis of male obesity and overweight in Japan from a symbolic interactionism perspective to delve into structure, meaning, practice and subjectivity underpinning the experiences of a group of middle-aged, Japanese men grappling with body weight control. Castro-Vázquez frames obesity and overweight within historical and current global and sociological debates that help to highlight the significance of the Japanese case. By drawing on evidence from different locations and contexts, he sustains a comparative perspective to extend and deepen the analysis. A valuable resource for scholars both of contemporary masculinity and of medical sociology, especially those with a particular interest in Japan.
Representing the Other in Modern Japanese Literature looks at the ways in which authors writing in Japanese in the twentieth century constructed a division between the ‘Self’ and the ‘Other’ in their work. Drawing on methodology from Foucault and Lacan, the clearly presented essays seek to show how Japanese writers have responded to the central question of what it means to be ‘Japanese’ and of how best to define their identity. Taking geographical, racial and ethnic identity as a starting point to explore Japan's vision of 'non-Japan', representations of the Other are examined in terms of the experiences of Japanese authors abroad and in the imaginary lands envisioned by authors in Japan. Using a diverse cross-section of writers and texts as case studies, this edited volume brings together contributions from a number of leading international experts in the field and is written at an accessible level, making it essential reading for those working in Japanese studies, colonialism, identity studies and nationalism.