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J. Bardsley, J. Ericson (1997)
Be a Woman: Hayashi Fumiko and Modern Japanese Women's Literature
(1950)
Ai wa rgoku wo koete (Love Overcoming Prison
Suzumushi no mesu , ” 4 . The quoted passages are my own translations of lines from the story as it appeared in Women in the Arts
Hakushoku no machi
Bungei hy ka no kijun ” ( “ Standards for Literary Critique ” )
(2001)
For a more thorough exploration of this story and its relationship to the issue of prostitution in proletarian literature, see the chapter
(1971)
Puroretaria bungaku to sono jidai (Proletarian Literature and Its Era
Mark Seltzer (1992)
Bodies and machines
Y. Iwamoto, D. Keene (1980)
Yokomitsu Riichi: ModernistWorld Literature Today, 55
Rinji ky gy ” ( “ Temporary Closure ” ) , S saku gekkan ( Creative Writing Monthly )
E. Faison (2001)
Producing female textile workers in Imperial Japan
Waka Tsunoda, Yukiko Tanaka (1988)
To Live and to Write: Selections by Japanese Women Writers, 1913-1938World Literature Today, 62
E. Grosz (1994)
Volatile Bodies: Toward a Corporeal Feminism
Phyllis Lyons, Tayama Katai, K. Henshall (1982)
The Quilt and Other Stories by Tayama Katai.The Journal of Asian Studies, 41
Establishing shot" is a phrase borrowed from Dennis Washburn, who uses it to describe the opening of Shanghai in the postscript to his translation of the novel
(2001)
For a discussion of these works in relation to the Ty Muslin strikes, see Elyssa Faison
K. Doak, S. Lippit (2002)
Topographies of Japanese ModernismThe Journal of Asian Studies
C. Inouye, K. Karatani, Brett Bary (1992)
Origins of Modern Japanese Literature
(1954)
Inbaifu
Asa no burei
Revolutionary Flesh: Nakamoto Takakoâs Early Fiction and the Representation of the Body in Japanese Modernist and Proletarian Literature Brian Bergstrom Introductions: Nakamoto Takako as Modernist Writer, Proletarian Writer, and Woman Writer In March of 1929, Tokyo Asahi Shinbun began serializing a three-part feature by established mainstream literary critic Hirotsu Kazuo under the title âRecent Women Writers.â Hirotsu begins by admitting that he was reluctant to read a recent issue of the relatively new journal Women in the Arts (Nyînin geijutsu), but did so anyway out of a sense of obligation to the editor, Hasegawa Shigure, who was an acquaintance. His reluctance transformed into enthusiasm, however, when he read a story by Nakamoto Takako called âThe Female Bell-Cricket.â1 Impressed by the âstrength,â âtenacity,â and âicy crueltyâ Nakamoto displays in this work, Hirotsu seeks out another of her stories, âTemporary Closure,â and finds it to be similarly ruthless.2 Reading these stories leads him to assert that Nakamoto differs from her positions 14:2 doi 10.1215/10679847-2006-004 Copyright 2006 by Duke University Press positions 14:2 Fall 2006 cruel contemporaries, such as Masamune Hakucho, in that her cruelty does not âproceed from her headâ but rather from her willingness to submerge herself in the
positions asia critique – Duke University Press
Published: Sep 1, 2006
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