研究発表 創られた被爆者詩人アラキ・ヤスサダ ―詩に真実は必要か―

In the mid 1990s, some startling works by the newly discovered Japanese poet, Araki Yasusada, an atomic-bomb survivor from Hiroshima, began to appear in English translation in several American journals. They gained immediate attention due to the poet’s hibakusha status as well as to his poetic style that easily appealed to the taste of contemporary American poetry readers. One of the most prestigious poetry journals in the States, The American Poetry Review published a special supplement of Yasusada poems in June, 1996. But already a rurnor had begun to circulate on the Internet suggesting that Yasusada was a hoax. The editor of the APR denounced the hoax in the next issue, and even called the deception "a criminal act" in his interview with a writer for Lingua franca. Soon after, many of the future publications of Yasusada were canceled by the chagrined editors of poetry magazines.The true identity of Yasusada is not yet clear. We know that all the traces lead to an American poet named Kent Johnson. But according to him, the creator of the Yasusada persona is his friend, Tosa Motokiyu(pseudonym), who recently died in London and asked Johnson not to reveal his true identity. This incident raises several important issues. With the rise of poststructuralist theory, we have become familiar with such topics as "the deconstruction of the subject," or "the death of the author." Within such a critical milieu, one may argue that it is absurdly outdated to be so obsessed with the notion of the real author. The poem should stand on its own merit apart from who the author is, irrespective of the author’s race, ethnicity, gender, nationality, or pseudonymity. Or, do we have to make an exception for atomic-bomb literature? That is, does the authorship of the hibakusha writer belong to some inviolable, sacred realm, which should not be copied or mimicked? Also, within the context of this particular conference, we need to deal with the question of whether we could call the author-less, origin-less, "translated” poems of Yasusada “Japanese literature” at all

Translating Nishiwaki : beyond reading

This dissertation is divided into two parts. Part Two contains my translations of Japanese texts by Nishiwaki Junzaburō (1894-1982): three essays from Chōgenjitsushugi shiron (Surrealist Poetics) (1929), his first and second collections of poems written in Japanese, Ambarvalia (1933) and Tabibito kaerazu (No Traveller Returns) (1947), as well as a long poem from his "middle period," entitled "Eterunitas" (1962). Part One, consisting of three chapters, attempts to expose various theoretical issues that these translations bring forth. Through this "exposé," several major issues surface, namely, the concepts of Language, Poetry, and Translation. Further, these concepts are interrelated by a "paradisal" centre—the notion of "non-meaning." Chapter One presents a deconstructive examination of the notion of translation. Two opposing manifestations of Language, writing and reading, are set forth by way of Roland Barthes's textual concepts, "le scriptible" and "le lisible." "Writing" is here defined as a language-movement of production that opposes "knowledge," while "reading" is regarded as the consumption of codes, that is, "knowing." The question posed at this point is: what status does "translation" possess in terms of these two opposing language-movements? Is it writing or reading? Through Walter Benjamin's essay on translation, "Die Aufgabe des Übersetzers" (The Task of the Translator), as well as through Jacques Derrida's reading of it in his "Des Tours de Babel," translation is revealed to hold an essentially paradoxical function: a translation is secondary to the original in its status, yet it deconstructs the original and triggers the survival movement of Language towards its paradisal state of non-meaning. Thus translation is seen as partaking of an originary movement of writing, which Derrida elsewhere names "différance." In Chapter Two, Nishiwaki's notion of Poetry presented in his Surrealist Poetics is discussed along with Georges Bataille's notions of "dépense" and "non-savoir," as well as with Derrida's grammatology. Nishiwaki proposes a negative evolution of poetry whose ultimate end is the (self-)extinction of poetry. Similarly, Bataille locates Poetry in the self-sacrificial "jouissance," beyond identity, beyond knowledge. Derrida's notion of "arche-writing" in turn exposes the "always-already" existence of the essentially transgressive movement of "writing" everywhere in our logocentric universe. Through these discourses, then, Poetry is envisioned as the death of writing, located outside of Language, in the paradise of non-meaning. Every writing strives towards this paradisal goal. At the same time, for Nishiwaki, this paradise includes an origin (the origin of poetry) which he names "tsumaranasa (boredom, insignificance) of reality." Poetry thus begins and ends in this fundamental loss of language, meaning, and knowledge. In Chapter Three, the translated poems of Nishiwaki are discussed as representing not "reality" but a certain movement of Language, be it Benjamin's "translation" or Derrida's "arche-writing." The text of Ambarvalia essentially presents fissures in the Japanese language caused by the invasion of foreign tongues. Thus it is Nishiwaki's translatory textual strategy that produces a "new" poetic language. In No Traveller Returns, Nishiwaki's willful appropriation of past traditions is brought forth. In "Eterunitas," we witness the failure of silence, Language's failure to attain Poetry, initiating the incessant flow of writing, poetry, and translation, beyond reading.Arts, Faculty ofEnglish, Department ofGraduat

Hair disorders induced by external factors

• External factors may result in hair loss, increased hair growth, or changes in the color and texture of the hair. • External factors responsible for hair loss are drugs, radiation, traction, fungi, pesticides, plant toxins, heavy metals, and several other chemicals. • Several groups of drugs may be responsible for unintentional induction of hair growth. • Texture and color of hair may be changed by drugs, metals, and ultraviolet and other radiation. • Full recovery is the rule after elimination of the responsible factor