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honto-yo, atashi no sukinanowa, momijigari to Leito de okeshôsurunoga ichiban ureshii-noyo
On the Mimetic Faculty
The letters of advertisements are insistent in the literal sense -that is, tactile
For theoretical considerations on photography and film as "indexical" technologies, see
J. Baudrillard (1968)
The System of Objects
(1996)
rather it nags at the masses as they move along their habitual rounds
A. Friedberg (1993)
Window Shopping: Cinema and the Postmodern
M. Silverberg (2006)
Erotic Grotesque Nonsense: The Mass Culture of Japanese Modern Times
Richard Bolton (1992)
The Contest of meaning : critical histories of photographyThe Journal of Aesthetics and Art Criticism, 50
Aihwa Ong (1999)
Flexible Citizenship: The Cultural Logics of TransnationalityThe Journal of Asian Studies, 59
M. Taussig (1992)
Mimesis and Alterity: A Particular History of the Senses
Miyako Inoue (2006)
Vicarious Language: Gender and Linguistic Modernity in Japan
W. Benjamin, P. Demetz (1979)
Reflections: Essays, Aphorisms, Autobiographical Writings
A. Barry, T. Osborne, N. Rose (1997)
Foucault and Political Reason: Liberalism, Neo-Liberalism, and Rationalities of GovernmentContemporary Sociology, 26
M. Halle, P. Gray (1984)
The Selected Writings of Roman Jakobson
M. Schudson (1993)
Advertising the uneasy persuasion: its dubious impact on American society
Geisha Apprentice A: "sô? atashimo-yo, uchi no nêsantachi mo minna Leit ga ichiban datte
W. Benjamin, H. Eiland, Kevin Mclaughlin, R. Tiedemann (1999)
The Arcades Project
The original text for figure 6 is as follows (salient linguistic features of schoolgirl speech are in bold and underlined)
(2004)
For an innovative study of the way in which the advertisement constitutes the modern gendered consumer subject, see Gennifer Weisenfeld
V. Voloshinov (1973)
Marxism and the philosophy of language
rinkan ni sake wo atatamete kôyô wo taku to utani attanomo, kôyatte miruto hontoni omoshiroi-wane
R. Barthes (1980)
Camera Lucida: Reflections on Photography
B. Sato (2003)
The New Japanese Woman: Modernity, Media, and Women in Interwar Japan
D. Chakrabarty (2000)
Provincializing Europe: Postcolonial Thought and Historical Difference
Graphic Ordering of Desire
Sinclair Lewis (1999)
Work of Art
Bei-cheng Liu (2006)
On the Style and Translation of Benjamins A Lyric Poet in the Era of High CapitalismJournal of Tsinghua University
Indices, on the other hand, furnish positive assurance of the reality and the nearness of their Objects. But with the assurance there goes no insight into the nature of those Objects
W. Benjamin (1973)
Charles Baudelaire: A Lyric Poet in the Era of High Capitalism
an index is a sign which would, at once, lose the character which makes it a sign if its object were removed, but would not lose that character if there were no interpretant
Meiji fujin zasshi no kiseki" ("The Trajectory of the Women's Magazines in Meiji
(1931)
Note that all the numbers in Peirce's Collected Papers are paragraph numbers
(1997)
Jitsugyô no Nihonsha shashi hensan iinkai (Editorial Committee for a One-Hundred-Year History of Jitsugyô no Nihonsha)
(1978)
Routledge, 1993), 21. See also Walter Benjamin
W. Keane (2003)
Semiotics and the social analysis of material thingsLanguage & Communication, 23
Gennifer Weisenfeld (2004)
‘From Baby’s First Bath’: Kao Soap and Modern Japanese Commercial DesignArt Bulletin, 86
J. Meikle, R. Marchand (1986)
Advertising the American Dream: Making Way for Modernity, 1920-1940Design Issues, 3
R. Barthes, S. Sontag (1982)
A Barthes Reader
C. Inouye, K. Karatani, Brett Bary (1992)
Origins of Modern Japanese Literature
(2007)
For an illuminating political analysis of the use of montage in print media during the interwar period in Japan, see Miriam Silverberg
(2000)
See also Michael Silverstein's analysis of Benedict Anderson's concept of "imagined community" that draws on Peirce's map metaphor. Michael Silverstein
P. Osborne (2001)
Philosophy in Cultural Theory
J. Errington, M. Silverstein, JANE Hill, Bambi Schieffelin, R. Bauman, S. Gal (2000)
Regimes of Language: Ideologies, Polities, and Identities
M. Doane (2002)
The Emergence of Cinematic Time: Modernity, Contingency, the Archive
R. Marchand (2000)
Advertisements as Social TableauxAdvertising & Society Review, 1
H. Gumbrecht (2003)
Production of Presence: What Meaning Cannot Convey
M. Schudson (2000)
Advertising as Capitalist RealismAdvertising & Society Review, 1
S. Yamashita, Naoki Sakai (1992)
Voices of the Past: The Status of Language in Eighteenth-Century Japanese Discourse.The American Historical Review, 99
Simon During (1993)
The Cultural Studies Reader
(1964)
Gakusei kyûjûnenshi (Education Order's Ninety-Year-Old History
Zasshi to dokusha no kindai
(2004)
Joseishi no genryû: Onna no zasshi, kaku umare, kaku kisoi, kaku shiseri (The Headstream of Women's Magazines: How They Were Born
(1973)
Kindai dokusha no seiritsu (The Formation of The Modern Reader) (Tokyo: Yûseidô
É. Benveniste (1971)
Problems in general linguistics
H. Harootunian (2001)
Overcome by Modernity: History, Culture, and Community in Interwar Japan
Milton Ehre, M. Bakhtin, M. Holquist, Caryl Emerson (1981)
The Dialogic Imagination: Four EssaysPoetics Today, 5
(1989)
The Trajectory of the Women's Magazines in Meiji"), in Fujin zasshi no yoake (The Dawn of Women's Magazines)
김용진 (2006)
Discourse in the Novel
For a concise history of representative Japanese women's magazines including Jogaku sekai and Fujin sekai, see New Japanese Woman
(1986)
Cinema, 2 vols
(1993)
Friedberg reincarnates the nineteenth-century figure of the flaneur in the postmodern world
Togasaki , “ The Assertion of Heterodoxy of Kyoden ’ s Verbal - Visual Texts
Commodity advertisements in Japanese womenâs magazines published and circulated from the first decade of the 1900s through the 1930s, especially advertisements for feminine commodities like cosmetics, were new, modern forms of print media deeply imbricated in what was to become Japanâs Fordist political-economic and cultural formation of mass production and mass consumption that paralleled developments in the United States, Germany, and England.1 David Harvey persuasively demonstrates that Fordism positions 15:3 doi 10.1215/10679847-2007-004 Copyright 2007 by Duke University Press positions 15:3 Winter 2007 necessitated profound cultural transformations through which individual consumers were schooled in the habits, thoughts, and practices that would make them modern desiring consumer-subjects.2 The advent of modern technologies â from assembly lines, through mass transit and mass circulation magazines, to photography and radio â occasioned profound change in the mode of perceptual experience. Walter Benjamin identified shock as the quintessential perceptual experience of capitalist modernity, the corporeal and physiological response to, and shield from, the onslaught of sensory stimuli brought on by urban traffic, crowds, trains, intrusive commercial advertising, display and spectacle, heavy industrial plants, new mass media, and even the technologies of film and photography, all of which characterize the particularity of modern experience.3 Bypassing
positions asia critique – Duke University Press
Published: Dec 1, 2007
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