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Envisioning Women Writers: Female Authorship and the Cultures of Publishing and Translation in Early 20th Century Japan.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Envisioning Women Writers: Female Authorship and the Cultures of Publishing and Translation in Early 20th Century Japan./
作者:	Yoshio, Hitomi.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2012,
面頁冊數:	297 p.
附註:	Source: Dissertations Abstracts International, Volume: 74-03, Section: A.
Contained By:	Dissertations Abstracts International74-03A.
標題:	Comparative literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3521830
ISBN:	9781267533098

Envisioning Women Writers: Female Authorship and the Cultures of Publishing and Translation in Early 20th Century Japan.
Yoshio, Hitomi.

Envisioning Women Writers: Female Authorship and the Cultures of Publishing and Translation in Early 20th Century Japan. - Ann Arbor : ProQuest Dissertations & Theses, 2012 - 297 p.

Source: Dissertations Abstracts International, Volume: 74-03, Section: A.

Thesis (Ph.D.)--Columbia University, 2012.

This item is not available from ProQuest Dissertations & Theses.

This dissertation examines the discourses surrounding women and writing in the rapidly commercialized publishing industry and media in early 20th-century Japan. While Japan has a rich history of women's writing from the 10th century onwards, it was in the 1910s that the journalistic category of "women's literature" (joryu bungaku) emerged within the dominant literary mode of Naturalism, as the field of literature itself achieved a respectable cultural status after the end of the Russo-Japanese War (1904-5). Through a close textual analysis of fictional works, literary journals, and newspapers from the turn of the century to the 1930s, I explore how various women embraced, subverted, and negotiated the gendered identity of the "woman writer" ( joryu sakka) while creating their own spheres of literary production through women's literary journals. Central to this investigation are issues of media, translation, canonization, and the creation of literary histories as Japanese literature became institutionalized within the new cosmopolitan notion of world literature. The first chapter explores how the image of the woman writer formed around the key figure of Tamura Toshiko (1884-1945) within the interrelated discourses of Naturalism, the New Woman, and decadence in the 1910s. As the New Woman became a social phenomenon alongside ongoing debates about women's issues, feminist women inaugurated the journal Seito (Bluestocking, 1911-16) as a venue for women's literature. While this category renders their writings marginal to mainstream literature, it was a progressive, political position that marked their place within the literary world. I examine Toshiko's ambivalent position within this feminist project, and the instability of the media image of the New Woman that was always on the verge of slipping into the decadent figure of femme fatale. The second chapter examines the canonization of the late 19th-century prominent writer Higuchi Ichiyo (1872-96) at the turn of the century as a model woman writer and an embodiment of Japan's past tradition, which cast a threatening shadow on the women of Seito. Tamura Toshiko's rejection of the New Woman identity and increasing association with aesthetic decadence also came to be at odds with their feminist mission. Seito women's rejection of both Ichiyo and Toshiko was thus a necessary act in self-proclaiming the birth of the New Woman. As the number of women writers gradually increased in the late 1910s, various types of literary expression emerged beyond gendered expectations, paving the way for the mass expansion of women's writing in the 1920s. As the notion of world literature formed alongside various national literatures during the vast expansion of the publishing industry and translation culture in the 1920s, women began to envision their own alternative genealogy alongside dominant literary histories. The third chapter explores the envisioning of women's literary history by the Seito writer Ikuta Hanayo (1888-1970) and the British modernist Virginia Woolf (1882-1941), whose feminist imaginations came together through the canonization of the English translation of The Tale of Genji, originally an 11th-century work written by a woman. As the growth of translations created a sense of global simultaneity, I further examine how the rhetoric of gender was central to Japanese literary modernism through the reception of two major British modernists, James Joyce and Virginia Woolf, in Japan. The final chapter examines the writings of Osaki Midori (1896-1971), tracing her initial involvement with a community of women writers in the journal Nyonin geijutsu (Women's Arts, 1928-32), to her eventual adoption of a strategic outsider position as she began to publish in avant-garde journals. Midori's literary innovations and modernist aesthetics are closely connected to the feminist concerns of the period, offering a powerful critique of established views of gender, genre, authorship, and the nation, and showing increasing awareness of the position of women within literary history and vis-a-vis literary production. By reading her works alongside the works of Virginia Woolf, which were entering Japan's literary discourse contemporaneously, I show that Osaki Midori is an important modernist writer and a feminist thinker whose ideas are still illuminating to readers today.

ISBN: 9781267533098Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

Authorship

Envisioning Women Writers: Female Authorship and the Cultures of Publishing and Translation in Early 20th Century Japan.
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500 $a Source: Dissertations Abstracts International, Volume: 74-03, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Suzuki, Tomi.
502 $a Thesis (Ph.D.)--Columbia University, 2012.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a This dissertation examines the discourses surrounding women and writing in the rapidly commercialized publishing industry and media in early 20th-century Japan. While Japan has a rich history of women's writing from the 10th century onwards, it was in the 1910s that the journalistic category of "women's literature" (joryu bungaku) emerged within the dominant literary mode of Naturalism, as the field of literature itself achieved a respectable cultural status after the end of the Russo-Japanese War (1904-5). Through a close textual analysis of fictional works, literary journals, and newspapers from the turn of the century to the 1930s, I explore how various women embraced, subverted, and negotiated the gendered identity of the "woman writer" ( joryu sakka) while creating their own spheres of literary production through women's literary journals. Central to this investigation are issues of media, translation, canonization, and the creation of literary histories as Japanese literature became institutionalized within the new cosmopolitan notion of world literature. The first chapter explores how the image of the woman writer formed around the key figure of Tamura Toshiko (1884-1945) within the interrelated discourses of Naturalism, the New Woman, and decadence in the 1910s. As the New Woman became a social phenomenon alongside ongoing debates about women's issues, feminist women inaugurated the journal Seito (Bluestocking, 1911-16) as a venue for women's literature. While this category renders their writings marginal to mainstream literature, it was a progressive, political position that marked their place within the literary world. I examine Toshiko's ambivalent position within this feminist project, and the instability of the media image of the New Woman that was always on the verge of slipping into the decadent figure of femme fatale. The second chapter examines the canonization of the late 19th-century prominent writer Higuchi Ichiyo (1872-96) at the turn of the century as a model woman writer and an embodiment of Japan's past tradition, which cast a threatening shadow on the women of Seito. Tamura Toshiko's rejection of the New Woman identity and increasing association with aesthetic decadence also came to be at odds with their feminist mission. Seito women's rejection of both Ichiyo and Toshiko was thus a necessary act in self-proclaiming the birth of the New Woman. As the number of women writers gradually increased in the late 1910s, various types of literary expression emerged beyond gendered expectations, paving the way for the mass expansion of women's writing in the 1920s. As the notion of world literature formed alongside various national literatures during the vast expansion of the publishing industry and translation culture in the 1920s, women began to envision their own alternative genealogy alongside dominant literary histories. The third chapter explores the envisioning of women's literary history by the Seito writer Ikuta Hanayo (1888-1970) and the British modernist Virginia Woolf (1882-1941), whose feminist imaginations came together through the canonization of the English translation of The Tale of Genji, originally an 11th-century work written by a woman. As the growth of translations created a sense of global simultaneity, I further examine how the rhetoric of gender was central to Japanese literary modernism through the reception of two major British modernists, James Joyce and Virginia Woolf, in Japan. The final chapter examines the writings of Osaki Midori (1896-1971), tracing her initial involvement with a community of women writers in the journal Nyonin geijutsu (Women's Arts, 1928-32), to her eventual adoption of a strategic outsider position as she began to publish in avant-garde journals. Midori's literary innovations and modernist aesthetics are closely connected to the feminist concerns of the period, offering a powerful critique of established views of gender, genre, authorship, and the nation, and showing increasing awareness of the position of women within literary history and vis-a-vis literary production. By reading her works alongside the works of Virginia Woolf, which were entering Japan's literary discourse contemporaneously, I show that Osaki Midori is an important modernist writer and a feminist thinker whose ideas are still illuminating to readers today.
590 $a School code: 0054.
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650 4 $a Asian literature. $3 2122707
650 4 $a Womens studies. $3 2122688
653 $a Authorship
653 $a Feminism
653 $a Gender studies
653 $a Japan
653 $a Media studies
653 $a Translation studies
653 $a Women writers
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690 $a 0305
690 $a 0453
710 2 $a Columbia University. $b East Asian Languages and Cultures. $3 2101560
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792 $a 2012
793 $a English
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