By Tomoko Aoyama, Barbara Hartley
Publish 12 months note: First released in 2009
Girl interpreting Girl offers the 1st assessment of the cultural value of women and examining in glossy and modern Japan with emphasis at the procedures concerned whilst ladies examine different girls.
The assortment examines the examining practices of actual lifestyles ladies from differing social backgrounds through the 20th century whereas a couple of chapters additionally reflect on how fictional ladies learn realization is given to the varied cultural representations of the woman, or shojo, who're the items of the examining wants of Japan's actual lifestyles and fictional ladies.
These representations look in quite a few genres, together with prose fiction, akin to Yoshiya Nobuko's Flower tales and Takemoto Nobara's Kamikaze ladies, and manga, comparable to Yoshida Akimi's The Cherry Orchard. This quantity offers the paintings of pioneering girls students within the box of lady reports together with translations of a ground-breaking essay through Honda Masuko on studying women and Kawasaki Kenko's reaction to prejudicial masculine reviews of best-selling novelist, Yoshimoto Banana.
Other themes diversity from the reception of Anne of eco-friendly Gables in Japan to women who write and browse male homoerotic narratives.
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Additional info for Girl Reading Girl in Japan
Some boys outrageously claim that only monsters have such huge eyes and tiny mouths. Others say that girls so thin must be tubercular. The genealogy of hirahira 23 It is better not to show Jun’ichi’s paintings to boys or adults. Instead, I will keep them as my secret treasures. My older cousins are lucky enough to have boxes ﬁlled with illustrations by Jun’ichi cut from old copies of Girl’s Friend. How I wish that I, too, could have such a collection. Although it was my mother who bought the Yoshiya Nobuko collected edition for me when I was still quite young, she seems not to have heard of Nakahara Jun’ichi.
5 For example, essays written by Kasai Akira, Yoshioka Minoru, Yotsuya Shimon, and Tamura Ryu-ichi on the “girl” poet Kanai Mieko and appended to her collection of poems (Kanai 1973: 136–52). 6 The ambivalence and double-sidedness is most prominent in parody, which etymologically consists of the ambiguous preﬁx “para” that could “describe both nearness and opposition” (Rose 1993: 8). 7 Takano’s journal written from her twentieth birthday on January 2 till June 22 1969, two days before her suicide, was published in 1971 as Nijussai no genten (The Origin at Twenty Years Old) and became a best seller.
Flutsch argues that this girl must assist the novel’s protagonist, To-ru, to suppress the aggressive masculinity to which his gender renders him susceptible. She also explains how Mei instructs To-ru to read and recognize what is ultimately the girl in his own psyche. Without this instruction, notes Flutsch, To-ru would fail in his “orphean search” to ﬁnd his wife and also to discover the core of his own self. Flutsch, however, cautions against interpreting Murakami’s foregrounding of 12 Tomoko Aoyama and Barbara Hartley Mei as a valorization of the girl.