In this article, Tsuboi Hideto examines the mutually entwined pursuits of modern poetry and music... more In this article, Tsuboi Hideto examines the mutually entwined pursuits of modern poetry and music in interwar Japan, focusing especially on the work of Nakahara Chuya, Kitahara Hakushu, and the People's Poetry group. Cutting across their respective distinctions within the poetry establishment, Tsuboi draws attention to these figures' shared investment in symphonic, folk and popular music. In so doing, he identifies among them a prevailing concern for curating a poetic voice that might harmonize the conflictual registers of individual and collective expression and thereby attune the work of the poet to that of the 'people' more broadly. Meanwhile, the essay traces the currents of modernist and avant-garde thought in Japan and Europe that framed these poets' engagements with music and sound. Tsuboi then illustrates the varying degrees to which these voices, forged within the cosmopolitan milieu of the Taisho period, bent toward the nationalizing project and later gave way to the chorus of wartime fascism and imperial expansion.
After the 'March 15 incident' on Japanese Communist Party members in 1928, many activists... more After the 'March 15 incident' on Japanese Communist Party members in 1928, many activists converted in prison, and "conversion period" (tenkō jidai) appeared. The converted people (tenkōsha) then wrote notes in which they described the ideological and spiritual changes that occurred during their imprisonment. The change was prompted by the teachings of Buddhism, mainly Jōdo Shinshū, and the presence of chaplains (kyōkaishi) who mediated the teachings. The tenkōsha abandoned their faith in Marxism, returned to Japanese traditional familism, became devoted to the Emperor of Japan, and some started to practice agricultural fundamentalism. In this article, I will focus on a person named Kobayashi Morito (1902 -1984), who wrote about his own experience of conversion in Until He Left the Communist Party (1932) and also edited the notes of other conversion people and published them as Notes of a Converter (1933) and Thought and Life of the Converted（1935）, and will analyz...
Le corps dans les littératures modernes d’Asie orientale : discours, représentation, intermédialité, 2022
L'action d'écrire et le corps « Comment écrire » de Lu Xun Yoshinobu Shino Le corps comme métapho... more L'action d'écrire et le corps « Comment écrire » de Lu Xun Yoshinobu Shino Le corps comme métaphore chez Lu Xun Représentation du corps et des victimes L'inutilité de la littérature La littérature comme préservation de la mémoire des victimes Le partage de la souffrance des victimes Lecture de « Comment écrire » dans la perspective du corps Écrire le cannibalisme dans la littérature chinoise moderne Baoqing Shao « Le journal d'un fou » et le cannibalisme
Since the beginning of the twentieth century, the efforts of a terrorism that makes revolution it... more Since the beginning of the twentieth century, the efforts of a terrorism that makes revolution its goal have sprung from the dream of unity between words and action. In Ōe Kenzaburō's linked texts, "Seventeen," we find a depiction of a terrorist, or "political youth" who dreams of attaining a "peak orgasm" in communion with the "Pure Emperor." Moreover, for this youth, "terrorism" means an action undertaken by the self at the very moment of coitus between action and words. It is proper that the terrorist should be transformed from a historical anonym to a subject of language through action (prior to carrying out terror he or she cannot appear as a subject of speech). In the linked text of "A Political Youth Dies," however, the young man's action is obliterated in the flood of images coming from television, and he is stripped of language. In this sense, the youth's situation can be seen as homologous with the terrorism that is bare action stripped of speech, pervasive in our twenty-first century present. A volume containing the translation of "A Political Youth Dies" into German, together with the original Japanese text, has now appeared. Thanks to this publication, we can at last read the original Japanese text. It is now time for us, who have been "deprived of [this] text" for so long, to turn our attention to it.
Wahrend des Chinesisch-Japanischen und des Pazifischen Kriegs wurden in Japan eine riesige Anzahl... more Wahrend des Chinesisch-Japanischen und des Pazifischen Kriegs wurden in Japan eine riesige Anzahl von Kriegsgedichte geschrieben und veroffentlicht. Die meisten davon waren fanatisch und patriotisch. In diesem Essay erortere ich, wie das Kriegsgedicht wahrend und nach dem Krieg erschaffen und behandelt wurde. Wahrend des Kriegs wurden Gedichte an offentlichen Orten verschiedener Arten wie Schulen und Nachbarlichegemeinde (tonarigumi) rezitiert und solche Rezitation wurde durch den Rundfunk, den es damals erst seit zwanzig Jahren gegeben hatte, ubertragen. Infolgedessen diente das Kriegsgedicht der japanischen militarischen Propaganda, mit der es bezweckt wurde, den Kriegsgeist der Nation anzuheben. Nach dem Krieg jedoch, als die Herausgeber die Auswahl und Gedichtsammlungen veroffentlichten, wurde das Kriegsgedicht davon ausgeschlossen. Das deutet darauf hin, dass sie unter gewissem Druck standen, die von den Dichtern, um die Propaganda mit dem fanatischen Patriotismus zu machen, ge...
In this article, Tsuboi Hideto examines the mutually entwined pursuits of modern poetry and music... more In this article, Tsuboi Hideto examines the mutually entwined pursuits of modern poetry and music in interwar Japan, focusing especially on the work of Nakahara Chuya, Kitahara Hakushu, and the People's Poetry group. Cutting across their respective distinctions within the poetry establishment, Tsuboi draws attention to these figures' shared investment in symphonic, folk and popular music. In so doing, he identifies among them a prevailing concern for curating a poetic voice that might harmonize the conflictual registers of individual and collective expression and thereby attune the work of the poet to that of the 'people' more broadly. Meanwhile, the essay traces the currents of modernist and avant-garde thought in Japan and Europe that framed these poets' engagements with music and sound. Tsuboi then illustrates the varying degrees to which these voices, forged within the cosmopolitan milieu of the Taisho period, bent toward the nationalizing project and later gave way to the chorus of wartime fascism and imperial expansion.
After the 'March 15 incident' on Japanese Communist Party members in 1928, many activists... more After the 'March 15 incident' on Japanese Communist Party members in 1928, many activists converted in prison, and "conversion period" (tenkō jidai) appeared. The converted people (tenkōsha) then wrote notes in which they described the ideological and spiritual changes that occurred during their imprisonment. The change was prompted by the teachings of Buddhism, mainly Jōdo Shinshū, and the presence of chaplains (kyōkaishi) who mediated the teachings. The tenkōsha abandoned their faith in Marxism, returned to Japanese traditional familism, became devoted to the Emperor of Japan, and some started to practice agricultural fundamentalism. In this article, I will focus on a person named Kobayashi Morito (1902 -1984), who wrote about his own experience of conversion in Until He Left the Communist Party (1932) and also edited the notes of other conversion people and published them as Notes of a Converter (1933) and Thought and Life of the Converted（1935）, and will analyz...
Le corps dans les littératures modernes d’Asie orientale : discours, représentation, intermédialité, 2022
L'action d'écrire et le corps « Comment écrire » de Lu Xun Yoshinobu Shino Le corps comme métapho... more L'action d'écrire et le corps « Comment écrire » de Lu Xun Yoshinobu Shino Le corps comme métaphore chez Lu Xun Représentation du corps et des victimes L'inutilité de la littérature La littérature comme préservation de la mémoire des victimes Le partage de la souffrance des victimes Lecture de « Comment écrire » dans la perspective du corps Écrire le cannibalisme dans la littérature chinoise moderne Baoqing Shao « Le journal d'un fou » et le cannibalisme
Since the beginning of the twentieth century, the efforts of a terrorism that makes revolution it... more Since the beginning of the twentieth century, the efforts of a terrorism that makes revolution its goal have sprung from the dream of unity between words and action. In Ōe Kenzaburō's linked texts, "Seventeen," we find a depiction of a terrorist, or "political youth" who dreams of attaining a "peak orgasm" in communion with the "Pure Emperor." Moreover, for this youth, "terrorism" means an action undertaken by the self at the very moment of coitus between action and words. It is proper that the terrorist should be transformed from a historical anonym to a subject of language through action (prior to carrying out terror he or she cannot appear as a subject of speech). In the linked text of "A Political Youth Dies," however, the young man's action is obliterated in the flood of images coming from television, and he is stripped of language. In this sense, the youth's situation can be seen as homologous with the terrorism that is bare action stripped of speech, pervasive in our twenty-first century present. A volume containing the translation of "A Political Youth Dies" into German, together with the original Japanese text, has now appeared. Thanks to this publication, we can at last read the original Japanese text. It is now time for us, who have been "deprived of [this] text" for so long, to turn our attention to it.
Wahrend des Chinesisch-Japanischen und des Pazifischen Kriegs wurden in Japan eine riesige Anzahl... more Wahrend des Chinesisch-Japanischen und des Pazifischen Kriegs wurden in Japan eine riesige Anzahl von Kriegsgedichte geschrieben und veroffentlicht. Die meisten davon waren fanatisch und patriotisch. In diesem Essay erortere ich, wie das Kriegsgedicht wahrend und nach dem Krieg erschaffen und behandelt wurde. Wahrend des Kriegs wurden Gedichte an offentlichen Orten verschiedener Arten wie Schulen und Nachbarlichegemeinde (tonarigumi) rezitiert und solche Rezitation wurde durch den Rundfunk, den es damals erst seit zwanzig Jahren gegeben hatte, ubertragen. Infolgedessen diente das Kriegsgedicht der japanischen militarischen Propaganda, mit der es bezweckt wurde, den Kriegsgeist der Nation anzuheben. Nach dem Krieg jedoch, als die Herausgeber die Auswahl und Gedichtsammlungen veroffentlichten, wurde das Kriegsgedicht davon ausgeschlossen. Das deutet darauf hin, dass sie unter gewissem Druck standen, die von den Dichtern, um die Propaganda mit dem fanatischen Patriotismus zu machen, ge...
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