長寿社会における高齢者のアクティブエイジングとその支援 : 総合型地域スポーツクラブを対象として

早大学位記番号:新6522早稲田大

Hybridities in a Metropolitan Diasporic Space: Weng Nao’s Literary Tokyo

This paper explores a hybrid space of Tokyo in the early twentieth century in the literary world of Taiwanese writer Weng Nao. Homi Bhabha’s theory will be adapted in order to further discuss hybridities and ambivalence in the metropolitan space within diasporic literature. Amongst other Taiwanese writers in the 1930s, Weng Nao was one of the few followers of Shin-kankakuha (the Neosensualist School), which was established by Japanese modernist writers such as Kawabata Yasunari, Tanizaki Jun’ichiro, Yokomitsu Riichi, Hayashi Fumiko and Sato Waruo, and insisted on presenting literary writing in the form of pure aesthetics. His new and modernist experimental techniques of literary representation and sophisticated descriptions of the loneliness of urban life and the inner desires of the human mind made his works distinct from those of other Taiwanese diasporic authors in the 1930s. However, with regard to his specific writing style and his detailed descriptions of innermost sexual desires, Weng’s works were far beyond what was deemed acceptable by East Asian or Taiwanese literary communities in the early twentieth century and received quite a significant amount of negative criticism. In addition, being long considered to be mocking the writing style of the Japanese Neosensualist School, Chinese critics such as Gu Zitang comments on his works as “not Chinese literature at all” and “not yet totally westernized.” In fact, his literary status is far more important than Taiwanese literati could have imagined during his lifetime. In order to re-evaluate his literary status, this paper begins by exploring the significance of Tokyo and foregrounds its articulation within Weng’s diasporic experience in his metropolitan literary space. Then, I discuss the adaptations made by Weng Nao to Japanese Neosensualist writing, which, I argue, can be considered as an expression of his resistance to colonial modernist values. Finally, I propose to utilize the sense of translation in order to understand how diasporic literature as an act of writing across cultures and nations can be seen as a process of code-switching between different cultural/linguistic systems, which carries across memories and cultures from one cultural context to another. In the terms of form, context and themes, Weng’s modified modernist Tokyo writing reveals his uniqueness and resistance towards both Japanocentrism and Eurocentrism, which distinguishes him as an outstanding Taiwanese diasporic writer rather than as merely a follower of Japanese Neosensualist literature

Lost and Found: Issues of Translating Japanophone Taiwanese Literature

A high percentage of colonial Taiwanese literary works during the lateTaishōperiod to the Shōwa period (1920–1946) was written in Japanese. To writein Japanese was not only a promising way to have works published in imperial Ja-pan, but also provided a possible path for Taiwanese authors to reach a widerreadership among Japanophone communities in East Asia. However, in the im-mediate post-war years, the body of Japanophone Taiwanese literature was“tornoff”from Taiwanese literary history in the name of“decolonization.”All publica-tions in Japanese were abolished in Taiwan from 1946, and it was not until the lift-ing of the thirty-eight-year period of martial law that Japanophone Taiwanese lit-erature was finally reintroduced to post-war Taiwanese generations in Chinesetranslation. This article will tackle the issues of how Japanophone Taiwanese lit-erature was“translated back”into Chinese in order to reflect“authentic”Taiwa-nese culture. The translations of the Taiwanese writer Nao Weng’s works will beused as examples, as his modernist literary representation is particularly worthyof scrutiny and highly challenging for translators to render“faithfully.

Narrative Aesthetics and the Visual Arts in Virginia Woolf's London Writings

My thesis argues that Virginia Woolf's London writings reveal the technique of the visual arts: painting, film and photography, from Impressionism to the Post- Impressionism. Critics have focused on either Woolf's London or on Woolf s, writings and the visual arts. My research synthesises the city and Woolf's Post- Impressionist narrative aesthetics. The idea of 'androgyny' shows the transformation from `binary oppositions' to hybrid textuality. This illustrates the way which Woolf uses the aesthetics of the Bloomsbury Group in writing. Drawing on Roger Fry's and Clive Bell's theories of 'Post-Impressionism', 'significant form' and 'emotion', Woolf's 'painting-in-writing' technique visualises the 'inner life' of her characters through the outer world of `blue and green' atmosphere. Woolf's 'fläneuse' shows the androgynous `dual vision' in Jacob's Room. William James's conception of psychology helps the reader to see Woolf s `halo' metaphor. Learning from Henry James's Impressionist `process of vision' in The Ambassadors and his travel sketches of London, Woolf develops Post- Impressionist technique in Night and Day and The London Scene. While Strether internalises the external world as a passive `impression', Katharine's emotion was externalised through lines, colours and shapes in words, moving toward `psychological realism', as emotion comes to reveal the city's spatial relation. I read Cubism, Bergson's `pure duration', Deleuze's `the movement-image' and `the time-image' to theorise the way which Woolf uses cinematic techniques, such as flashback, close-up and montage. Woolf's techniques see 'inner' time through 'outer' physical movement in words, as Clarissa walks in Mrs Dalloway. Woolf criticises the Victorian aesthetics of Julia Cameron's photography, developing the Post-Impressionist female gaze to show emotion, feeling and thought. Through the 'Angel' of the 'House', Woolf's London narratives show a transformation of style from Impressionism to Post-Impressionism, as emotions of the female gaze can subvert the patriarchal society in Eleanor's 'angle of vision' in The Years

A model of romance fiction search behavior

This poster describes a preliminary model of romance fiction search behavior based on grounded theory inspired interviews with avid romance readers. The model is composed of three elements: contextual factors, search goals, and selection strategies. The portrayed behavior characteristics and associations among contexts, goals, and strategies are based on at least one participant mention in our interview. We will continue to expand and verify the model in the following investigation with a hope to construct a theoretically and empirically sound model to analytically represent romance fiction readers' information and search behavior