東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Performing the Okinawan woman in tai...

Konagaya, Hideyo.

FindBook

Google Book

Amazon

博客來

Performing the Okinawan woman in taiko: Gender, folklore, and identity politics in modern Japan.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Performing the Okinawan woman in taiko: Gender, folklore, and identity politics in modern Japan./
作者:	Konagaya, Hideyo.
面頁冊數:	227 p.
附註:	Adviser: Ayako Kano.
Contained By:	Dissertation Abstracts International68-04A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3260933

Performing the Okinawan woman in taiko: Gender, folklore, and identity politics in modern Japan.
Konagaya, Hideyo.

Performing the Okinawan woman in taiko: Gender, folklore, and identity politics in modern Japan. - 227 p.

Adviser: Ayako Kano.

Thesis (Ph.D.)--University of Pennsylvania, 2007.

Taiko, the art of drumming, has grown into a powerful cultural performance that constructs Japanese identity. Since its innovative emergence in the late 1950s in Japan as a new entertainment genre, recast from its earlier ritual context, it has emphasized the masculine representation of the subject through spectacular bodily performance. It has made postwar Japanese society believe it to be a distinctive heritage unbroken from the ancient origin, that is, the embodiment of Japanese spiritual unity. Underlying this cultural phenomenon has been the discourse of the "Japanese," which assumes the coherence and continuity of the nation, people, and culture. This dissertation, focusing on the semiotic manipulation of gender and race, aims to deconstruct the historical and political processes of the masculine and homogenous identity construction in taiko. It genealogically examines the structural forces that organized this cultural form within the modern Western paradigm, notably the cultural policies of the nation state and the scholarly endeavors of disciplines---folkloristics, anthropology, linguistics, and archaeology. A principal agent in this ethnography is a taiko performer Kawata Kimiko known for being the female pioneer in the genre and also for her licensed familial heritage of traditional Okinawan dance and music. Examining her experiences from the past through the present, the dissertation explores the way in which her performance has been produced within the male-dominant structure of the Japanese taiko, and the way in which Kawata's performances, emphasizing being a woman and Okinawan, have ambiguously and parodically challenged taiko's formidable power and authority. Chapter One discusses the appearance of taiko and Kawata's official debut within the postwar political and social context that have encompassed Japan, Okinawa, and the United States. Chapter Two looks into metaphoric tropes and liminoid potentialities of her performances and the socio-historical factors that conditioned them. Chapter Three scrutinizes folkloristic concepts and subject matter that constituted a particular performance of Kawata, titled Himiko in 2005. Chapter Four analyzes the semiotic system and describes the textuality of Himiko. Finally, Chapter Five argues Kawata's agency in the performative moment in Himiko.Subjects--Topical Terms:

735016
Anthropology, Cultural.

Performing the Okinawan woman in taiko: Gender, folklore, and identity politics in modern Japan.
LDR:03245nam 2200289 a 45 001 949447
005 20110525
008 110525s2007 ||||||||||||||||| ||eng d
035 $a (UMI)AAI3260933
035 $a AAI3260933
040 $a UMI $c UMI
100 1 $a Konagaya, Hideyo. $3 1272828
245 1 0 $a Performing the Okinawan woman in taiko: Gender, folklore, and identity politics in modern Japan.
300 $a 227 p.
500 $a Adviser: Ayako Kano.
500 $a Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1600.
502 $a Thesis (Ph.D.)--University of Pennsylvania, 2007.
520 $a Taiko, the art of drumming, has grown into a powerful cultural performance that constructs Japanese identity. Since its innovative emergence in the late 1950s in Japan as a new entertainment genre, recast from its earlier ritual context, it has emphasized the masculine representation of the subject through spectacular bodily performance. It has made postwar Japanese society believe it to be a distinctive heritage unbroken from the ancient origin, that is, the embodiment of Japanese spiritual unity. Underlying this cultural phenomenon has been the discourse of the "Japanese," which assumes the coherence and continuity of the nation, people, and culture. This dissertation, focusing on the semiotic manipulation of gender and race, aims to deconstruct the historical and political processes of the masculine and homogenous identity construction in taiko. It genealogically examines the structural forces that organized this cultural form within the modern Western paradigm, notably the cultural policies of the nation state and the scholarly endeavors of disciplines---folkloristics, anthropology, linguistics, and archaeology. A principal agent in this ethnography is a taiko performer Kawata Kimiko known for being the female pioneer in the genre and also for her licensed familial heritage of traditional Okinawan dance and music. Examining her experiences from the past through the present, the dissertation explores the way in which her performance has been produced within the male-dominant structure of the Japanese taiko, and the way in which Kawata's performances, emphasizing being a woman and Okinawan, have ambiguously and parodically challenged taiko's formidable power and authority. Chapter One discusses the appearance of taiko and Kawata's official debut within the postwar political and social context that have encompassed Japan, Okinawa, and the United States. Chapter Two looks into metaphoric tropes and liminoid potentialities of her performances and the socio-historical factors that conditioned them. Chapter Three scrutinizes folkloristic concepts and subject matter that constituted a particular performance of Kawata, titled Himiko in 2005. Chapter Four analyzes the semiotic system and describes the textuality of Himiko. Finally, Chapter Five argues Kawata's agency in the performative moment in Himiko.
590 $a School code: 0175.
650 4 $a Anthropology, Cultural. $3 735016
650 4 $a Biography. $3 531296
650 4 $a Folklore. $3 528224
650 4 $a Music. $3 516178
690 $a 0304
690 $a 0326
690 $a 0358
690 $a 0413
710 2 $a University of Pennsylvania. $3 1017401
773 0 $t Dissertation Abstracts International $g 68-04A.
790 $a 0175
790 1 0 $a Kano, Ayako, $e advisor
791 $a Ph.D.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3260933