Wednesday, December 31, 2014

Lecture by Andrew Gerstle: Parody and Satire in Shunga: Takehara Shunchosai's "Pillow Book for the Young" (1776)

Andrew Gerstle, Professor, Japanese Studies, SOAS, University of London. CJS Winter 2012 Noon Lecture Series.

A Video Conversation with Tawada Yoko, w/ Prof Amir Eshel of Stanford U. (2009)

went to my first maid cafe last night

went to my first maid cafe last night (http://bit.ly/1tiVb16);only way to describe it: an abomination of desolation; fifty middle-aged virgin males waving glow sticks and clapping as they march merry-go-round around a "forever 16" yr old girl dancing on a raised platform; I have no problem with fantasy / the spirit of ludic imagining / or even the love of pre- early-nubile girls; but this cult of puerility / retardedness must be eradicated。(That said, friend □□□ □□□ dancing around the stage with glow sticks was one of the most entrancingly beautiful things I have ever seen....)

Sunday, December 28, 2014

博士論文予備審査は無事に終了

今日の博士論文予備審査は無事に終了。審査員たちから沢山の素晴らしく且つ鋭い指摘・コメント・批判を受けたのでこれから3月の提出〆切に間に合うよう書き直しを頑張ります。博論の要旨を日本語で簡単に説明するためにこのレジュメを作ったのでどうぞご覧下さい。

モリソン・ライアン
Waves Into the Dark:石川淳初期作品論』博士論文概要


*著者の略歴と出版の概要
*先行研究における二つの傾向→抵抗性・政治性と反私小説の観点
*拙論主張→それよりも、日本近代文学において主流であったとされる写実的リアリズムに対する対抗言説(counter-discourse)として石川文学を理解すべきである。
*そして、作品によってその対抗言説の内容・戦略・立場・方法・対象・ターゲットなどが大いに異なる。
*この論文の目標は初期における五つの代表的作品のそれらを明確にすること。
*明治以降のリアリズム・前期自然主義・後期自然主義の概要と、それらに対する反発としてのロマン主義、象徴主義、モダニズムなどの文学運動の概要。


1部、二つの「自画像」

1章「佳人」(1935) --写実的リアリズムに対する対抗言説としての私小説パロディ

「私小説」の基礎前提を覆すために4つの手法を使用
(1) 深層における間テキスト性 (deep intertextuality)→「芸術家小説」形式と「憑依小説」形式の構造・要素を借用
(2) 語りにおけるパフォーマンス性 (narrative performativity)、著者と語り手が単一でないことを誇張
(3) 表面的媒介 (surface mediation)→過去の文学テキストへの直接的言及・引用の汎用
(4) 寓意性 (allegoricity)→隠喩・象徴に富む「探求物語」(quest narrative) の形式をとる

2章 「山桜」(1936) --写実的リアリズムに対する対抗言説としての「寓意的ファンタスティック」

*日本における幻想文学の在り方
*T・トドロフによる「the fantastic」の概念と「山桜」の関係
*錯覚する「私」とその三つの視点
*「表象の危機」というテーマ、言語の二重役割


2部、初期評論、『文学大概』(1942)

3章「短編小説の構成」(1940) --写実的リアリズムに対する対抗言説としての(間接的な)小説論

主張→直接の課題である「短編小説」を説明することによってそれと対照的である「小説」の正体を示唆的に論じている。

*長さによる小説分類方法の批判
*小説の出来方についての記述→「俗信」と実過程
*短編小説の二種類(コントとヌーベル)とそれぞれの出来方・特徴・起源系譜
*石川による小説概念、「短編」観

4章「文章の形式と内容」(1940) --写実的リアリズムに対する対抗言説としての純粋散文エクリチュール論

「エクリチュール」という概念と照らし合わせながら石川による「純粋散文」概念の詳細を解明する。

*モダニズムにおける「純粋」概念の概要
*「文章」の二つの意味
*「文章」の記述的理論、普遍的4条件→(1) 物質性・可視性、(2) 話し言葉との相違・距離(言文一致批判)、(3) 特殊性・国家性の必然性、(4) 非私的公的な行為として
*「文章」の規範理論、純粋散文エクリチュールの4条件→(1) 話し言葉との相違・距離(言文一致批判)、(2) 「型」に頼らず、(3) 技術的に発展し過ぎず、(4) 詩的要素の排斥
*「内容的価値論争」などの「形式と内容問題」を巡る文学論争の概要、そしてその問題を超越する「意識されざる内容」の提供

5章 「江戸人の発想法について」(1943) --写実的リアリズムに対する反言説としての俳諧美学

主張→江戸人の発想方についてと言いながらこの評論は実は近代の発想方についての暗示的な批判書である。

序→石川の「江戸留学」と先行研究におけるその解釈の傾向
*俳諧・連歌・狂歌・天明期・大田南畝・川柳などの概要
*「抵抗としての江戸」(Edo as opposition)という歴史的背景と石川の江戸
*「お竹伝説」とその裏にある複数のテキスト
* 近世の発想方と近代の発想の暗示的対比
* 俳諧化とその5つの「転換の操作」→見立て・俗化・やつし・本歌取り・本詩取り

6章 まとめ


付録 英訳

Friday, December 26, 2014

Denis Villeneuve's Incendies (2010; in full)

Today's highly recommended viewing: Denis Villeneuve's Incendies (2010; in full; w/ quality Eng subtitles), a kind of loose retelling of Sophocles' Oedipus Rex, set during [and after] the Lebanese Civil War.

For Literary Translators:A Conversion Formula to Remember

Literary translators are often faced with the problem of how to translate "x pages of 400-character Japanese handwritten manuscript paper" (400字詰原稿用紙x枚). One option is to simply translate it verbatim, i.e. "x pages of  400-character Japanese handwritten manuscript paper." The problem with this, of course, is that no one will know how long that is.

A better way to handle this problem is to convert the number of handwritten manuscript pages to the number of English words. To do this, you will need to remember two simple formulas.

Formula 1: One sheet of Jpn manuscript paper = 400 Jpn characters

Formula 2: One English word = approximately 2.5 Japanese characters.

Let us now do an example conversion....

Example 1: So how many English words is, say, 200 pages of Japanese manuscript?

Answer→ (Step 1) 200 pages = 80,000 Jpn characters ; (Step 2) 80,000÷2.5 = 32,000 Eng words ; Answer = 32,000 Eng words。

Now you try a few examples problems....

Example 2: How many English words is 500 pages of 400-character Japanese manuscript paper?

Example 3: How many English words is 1000 pages of 400-character Japanese manuscript paper?

Example 4: How many English words is 42,451 pages of 400-character Japanese manuscript paper?

Thursday, December 25, 2014

26 Yale U. lectures by Prof Dale B. Martin on the New Testament

recommended Christmas Day viewing:these 26 Yale U. lectures by Prof Dale B. Martin on the New Testament:here is Lecture 1

Margarethe von Trotta's "Hannah Arendt" (2012)

Today's recommended Christmas viewing: Margarethe von Trotta's Hannah Arendt (2012), about Arendt's coverage of and response to the 1961 trial of A. Eichmann:



Also, here is part I of her 1961 report "Eichmann in Jerusalem": http://nyr.kr/1rgOf9b (click on image of text).

Best Christmas Gift Ever

I just received the greatest Christmas gift a translator of Ishikawa Jun's early works could hope for: extremely detailed/meticulous/thoughtful comments/revisions of my dissertation appendix from Prof Shibata Motoyuki, Monkey Business founder and one of the eight living gods of Jpn/Eng literary translation !

Monday, December 22, 2014

Study Guide: Tawada Yōko’s “Where Europe Begins” (1991)

Study Guide: Tawada Yōko’s “Where Europe Begins” (1991)

Morrison

Study Guide: Tawada Yōko’s “Where Europe Begins” (1991)[1]

*To purchase Susan Bernofsky/Yumi Selden’s translation of the story, click here.
*To view Tawada Yōko’s Official Homepage, click here.

Tawada Yōko (1960–):  Tawada Yōko majored in Russian at university, but during her first job developed a passion for all things German and moved to Germany for postgraduate study. She got her Master’s at Hamburg University and her PhD at Zurich before returning to Germany to write. Her first publication was a collection of poems. In 1991 her novella Kakato o nakushite (Missing Heels, tr. 1998) won the Gunzo Prize for New Writers. The novella Inu mukoiri (The Bridegroom Was a Dog, tr. 1998) was awarded the Akutagawa Prize in 1993, and Yogisha no yako ressha (Suspects on the Night Train), a series of linked stories, received the Tanizaki Jun’ichirō Prize in 2003. Tawada lives in Germany and writes in both Japanese and German. She describes her approach in her essay Ekusofoni (Exophony), stressing that what’s important is not each individual language, but the space between them. “I don’t want to be an author who writes either in language A or language B,” she declares. “I want to find that poetical ravine that divides the two and tumble into it.” In 1996 she won the Robert Bosch Stiftung Chamisso Prize and in 2005 was awarded the Goethe Medal. In 2011 her novel Yuki no renshusei (The Trainee of Snow) won the Noma Prize for Literature. (Source: J-lit, Books from Japan)

Study Questions

1. Describe the narrative structure of the work. Summarize the five “diary excerpts” (parts 3, 7, 8, 11, 15); the four “first travel narratives” (parts 5, 9, 12, 18); the two “something I told a woman three years after the journey” sections (parts 6, 10); and the “excerpt of the letter to my parents” (part 17). What effect is produced by constructing the story as a patchwork of various types of narrative?

2. Describe the narrator. Where is she located (temporally and spatially)? What was she like before her trip to Moscow, during her trip, and after her trip? What is her motivation for wanting to go to Moscow? How much of the experience on the boat/train does she remember?

3. Tawada Yōko’s works are often described as “writerly” (see below definition). What elements in this work are “writerly”? Explain.

4. Make a list of the salient images/symbols of this work (e.g. foreign water, water, white serpent, Fire Bird, paper snake, white birch tree, omul, seahorse, knife, umbilical cord, volcano, etc.). Describe these images/symbols and their significance.

5. Discuss the narrator’s parents/upbringing. What picture can we construct from the fragments that are given?

6. Identify and summarize the various myths/legends that are referred to in the work. Discuss their context/significance/function/relevance to the story.

7. Anton Chekhov’s play Three Sisters (1901; transl. Elisaveta Fen) serves as a kind of urtext to this story. Discuss the relation between these two texts.

8. What does the work tell us about the boundaries/divisions between nations, continents, cultures, languages, etc.?

Related Literary Terms

*Readerly and Writerly Texts: Translated from Barthes’ neologisms lisible and scriptible, the terms readerly and writerly text mark the distinction between traditional literary works such as the classical novel, and those twentieth century works, like the new novel, which violate the conventions of realism and thus force the reader to produce a meaning or meanings which are inevitably other than final or “authorized.” Barthes writes:

The writerly text is a perpetual present, upon which no consequent language (which would inevitably make it past) can be superimposed; the writerly text is ourselves writing, before the infinite play of the world (the world as function) is traversed, intersected, stopped, plasticized by some singular system (Ideology, Genus, Criticism) which reduces the plurality of entrances, the opening of networks, the infinity of languages. (S/Z 5)

Readerly texts, by contrast, are anything but readerly; they are manifestations of “The Book.” They do not locate the reader as a site of the production of meaning, but only as the receiver of a fixed, pre-determined, reading. They are thus products rather than productions and thus form the dominant mode of literature under capital.
Behind these distinctions lies Barthes’ own aesthetic and political projects, the championing of those texts which he sees as usefully challenging—often through the method of self-reflexivity—traditional literary conventions such as the omniscient narrator. For Barthes, the readerly text, like the commodity, disguises its status as a fiction, as a literary product, and presents itself as a transparent window onto “reality.” The writerly text, however, self-consciously acknowledges its artifice by calling attention to the various rhetorical techniques which produce the illusion of realism. In accord with his proclamation of “The Death of the Author.” Barthes insists, “the goal of literary work (of literature as work) is to make the reader no longer a consumer, but a producer of the text” (S/Z 4). (Source: Virginia.edu)





[1] Originally published in German (“Wo Europa Anfängt”) and Japanese (「ヨーロッパの始まるところ」) in 1991. English translation: Where Europe Begins. Susan Bernofsky and Yumi Selden, with a preface by Wim WendersNew York : Published for James Laughlin by New Directions Pub. 2002.

Saturday, December 20, 2014

Primary Source Quotations from Dissertation [note: unedited/unpolished; not for citation]

Surely one of the most terrible/difficult/annoying parts of writing a Jpn-literature dissertation is deciding which primary source excerpts to use and then translating them into readable English. Here are the primary source quotations from my dissertation. Lots of awkward/nonsensical/unreadable spots; suggestions/corrections are welcome. [Note: full translations of these five works (and other works by Ishikawa Jun) can be found in the appendix to my dissertation, "Waves into the Dark: A Critical Study of Five Key Works from Ishikawa Jun’s Early Writings" (forthcoming)].

Morrison
Primary Source Quotations from Dissertation [unedited/unpolished; not for citation]


[currently being revised; will post again once revisions are completed]

Friday, December 19, 2014

1970 film production of A. Chekhov's The Three Sisters (1901)

preparing for Monday's Tawada Yoko lecture by watching this excellent 1970 production of A. Chekhov's Three Sisters (1901; transl. Elisaveta Fen), which is a kind of urtext to Tawada's story; the film features a young Anthony Hopkins;study guide forthcoming...

I Once Gave Paul Auster Nightmares

When I die, please write the following epitaph on my tombstone: "He once--via his translation of a Takahashi Gen'ichiro story--gave Paul Auster nightmares (fast-forward to 2:30)." Be sure to include the "fast-forward to 2:30."



*To purchase my translation of Takahashi Gen'ichirō's "Demon Beasts" (Kichiku) in  Volume 4 of Monkey Business, click here.

*To listen to an audio recording of the story, click here.

Wednesday, December 17, 2014

Best Joke in Japanese of the Last 420 Years

And the award for the best joke in Japanese of the last 420 years goes to legendary wit and Hideyoshi Toyotomi advisor Sorori Shinzaemon 曽呂利新左衛門 (? ~ 1603)→
One day Sorori came to Hideyoshi and said that there was a cucumber eating a cucumber. Hideyoshi did not believe him, and agreed to give him a reward if he could prove it. Sorori took Hideyoshi out and pointed to a man sitting by the side of the road eating something. Hideyoshi complained that he was just a man. Sorori said,“Look well. That man is a wood seller [きうり]. He has a bundle of firewood on his back, and he is eating a cucumber [きうり]. That's why I told you that a KIURI (wood seller) is eating a KIURI (cucumber).

Source: Salvatore Attardo's Encyclopedia of Humor Studies (2014) [direct quote from Dr. Marguerite A. Wells's entry on humor in classical Japan]

Sunday, December 14, 2014

萩原朔太郎「猫町」の YOUTUBE 朗読

Study Questions for Hagiwara Sakutarō’s “The Town of Cats” (1935; Nekomachi- sanbunshifūna shōsetsu, translated by Jeffrey Angles)

Or, in PDF format...
Study Questions for Hagiwara Sakutarō’s “The Town of Cats” (1935; Nekomachi- sanbunshifūna shōsetsu, transl...

Study Guide: Hagiwara Sakutarō’s “The Town of Cats” (1935; Nekomachi- sanbunshifūna shōsetsu)

*To purchase Jeffrey Angles' English translation of the story, click here.
*To read the story in the original, click here.

Terms/Related Concepts/Topics

Look up the following terms/related concepts/topics, and consider their relation to the text. (Note: I have already started to fill in some of these.)

1. Drug use, availability, and distribution in modern Japan:
2. Parallax: the apparent displacement of an observed object due to a change in the position of the observer.
3. Metaphysics: Traditional branch of philosophy concerned with explaining the fundamental nature of being and the world. Traditionally, metaphysics attempts to answer two basic questions: What is there? What is it like?
4. Dislocation (and the aesthetics of):
5. Defamiliarization (Rs: ostranenie; Jp: 異化) : The distinctive effect achieved by literary works in disrupting our habitual perception of the world, enabling us to 'see' things afresh, according to the theories of some English Romantic poets and of Russian formalism (Baldick, 1990).
6. Wanderlust: a strong impulse to travel.
7. Plato’s Theory of Forms: The idea that behind the flux of phenomenal appearances lies an immutable realm of non-material abstract (but substantial) forms (or ideas) that possess the highest and most fundamental kind of reality. The Form (or Idea) is an aspacial, atemporal, objective blueprint of perfection, as contrasted with idol (image/appearance), which is merely the Form’s particular aspect, which exists materially and temporally. According to this theory, each concrete particular is an imitation of its abstract and eternal Form.

8. Zhuangzi’s 莊子 butterfly: Once Zhuangzi dreamt he was a butterfly, a butterfly flitting and fluttering around, happy with himself and doing as he pleased. He didn't know he was Zhuangzi. Suddenly he woke up and there he was, solid and unmistakable Zhuangzi. But he didn't know if he was Zhuangzi who had dreamt he was a butterfly, or a butterfly dreaming he was Zhuangzi. Between Zhuangzi and a butterfly there must be some distinction! This is called the Transformation of Things.” (Zhuangzi, Ch 2, tr. Burton Watson 1968:49). Original: 昔者莊周夢為蝴蝶,栩栩然蝴蝶也,自適志與,不知周也。俄然覺,則蘧蘧然周也。不知周之夢為蝴蝶與,蝴蝶之夢為周與?周與蝴蝶則必有分矣。此之謂物化。
9. Arthur Schopenhauer (1788-1860): German philosopher best known for his book, The World as Will and Representation.
10. The fourth dimension:
11. “The Fantastic” (Todorov’s concept): According to Bulgarian theorist Tzvetan Todorov (1939- ), the fantastic is characterized by: a) a hesitation on the part of the reader in deciding whether to interpret the events of the story as real or unreal, natural or supernatural; and/or b) a similar hesitation evident in the characters or narrator(s). To qualify as “fantastic,” the reader must be able to resist reading the story as a simple allegory or extended metaphor; in short, he must read it literally and metaphorically. “Fantastic” works are often divided into two types: strange (in which rational explanation is predominant) and marvelous (in which supernatural explanation is predominant).
12. Spirit Possession in Japanese Folklore:
13. Utopia/Dystopia:
14. Metamorphosis:
15. Prose Poem (sanbunshi):

Study Questions

Answer all of the following questions. I expect at least one full paragraph for each answer.

1. Consider the three references that appear in the work (the Schopenhauer quote, the Horace reference, and the Zhuangzi reference). Explain each reference in relation to the overall theme(s) of the work.

2. The narrator provides several interpretive frameworks for explaining the strange happenings described in the work. List and describe each of these interpretive frameworks. Which framework does the narrator seem to prefer? Which framework is the reader most likely to use?

3. As we discussed in class, “hesitation”—either in a character or in the reader—is the hallmark of “the fantastic.” Explain instances of “hesitation” that occur in/are produced by this work.

4. In the title, Hagiwara refers to his work as a “prose poem” (sanbunshi)? What makes the work a “prose poem”? (In other words, what are the work’s poetic qualities and its prosaic qualities?)

5. What metaphysical claims is the work suggesting/making? What is this “riddle” that the narrator keeps referring to?

6. Describe the town of U and its residents. Can this section of the story be read as a metaphor/allegory/critique of Japanese society at the time? As a prophecy of what was to come in the late 1930s? Explain.

7. Describe the meaning/significance of the residents’ metamorphoses into cats. Why cats? What do the cats represent? Given all the buildup, isn’t this a bit anticlimactic?

8. Discuss the final section of the story. In your view, can the “true” aspects of reality be seen only when one is removed from ordinary modes of viewing? Or is reality knowable only through reason, science, objective observation, and the like? What does the work tell us about the limits and potentials of “reason” and “intuition”?

9. What other works that we have read in class is this story similar to? Explain the similarities.

Wednesday, December 3, 2014

Study Guide: Murakami Haruki: "TV People" (1990)

Study Guide: Murakami Haruki: "TV People" (1990)

Morrison
Murakami Haruki: TV People (1990)[1]

*To read the story in the original Japanese, click here.
*To read Alfred Birnbaum’s English translation, click here.

Murakami Haruki (1949- ): Murakami Haruki is the most widely translated Japanese novelist of his generation. Murakami’s first novel, Kaze no uta o kike (1979; Hear the Wind Sing), won a prize for best fiction by a new writer. From the start his writing was characterized by images and events that the author himself found difficult to explain but which seemed to come from the inner recesses of his memory. Some argued that this ambiguity, far from being off-putting, was one reason for his popularity with readers, especially young ones, who were bored with the self-confessions that formed the mainstream of contemporary Japanese literature. His perceived lack of a political or intellectual stance irritated “serious” authors (such as Ōe Kenzaburō), who dismissed his early writings as being no more than entertainment. Murakami’s first major international success came with Hitsuji o meguru bōken (1982; A Wild Sheep Chase), a novel that acquires an eerie quality from the mysterious sheep that comes to possess the narrator’s friend, known as “the Rat.” The narrator and the Rat reappeared in Murakami’s next important novel, Sekai no owari to hādoboirudo wandārando (1985; Hard-Boiled Wonderland and the End of the World), a fantasy that was successful with the public and was the winner of the prestigious Tanizaki Prize. One of Murakami’s most ambitious novels, Nejimaki-dori kuronikuru (1994–95; The Wind-Up Bird Chronicle), represents a departure from his usual themes: it is devoted in part to depicting Japanese militarism on the Asian continent as a nightmare. Andāguraundo (1997; Underground) is a nonfiction account of the sarin gas attack carried out by the AUM Shinrikyo religious sect on a Tokyo subway in 1995. The novel Supūtoniku no koibito (1999; Sputnik Sweetheart) probes the nature of love as it tells the story of the disappearance of Sumire, a young novelist. Subsequent novels include Umibe no Kafuka (2002; Kafka on the Shore) and Afutā dāku (2004; After Dark). Several short-story collections, including Blind Willow, Sleeping Woman (2006), translate Murakami’s stories into English. He also wrote a memoir, Hashiru koto ni tsuite kataru toki ni boku no kataru koto (2007; What I Talk About When I Talk About Running), which centers on his love for marathon running. An experienced translator of American literature, Murakami also published in Japanese editions of works by Raymond Carver, Paul Theroux, Truman Capote, Ursula K. Le Guin, and J.D. Salinger.  (Encyclopædia Britannica)

Study Questions

1. Describe the first-person narrator. Where is he located (temporally and spatially)? Who is the “you” whom he repeatedly addresses? Describe his tastes/interests, job, marriage, relation with supervisor/colleagues, mental state, eccentricities, etc. Is he a “reliable narrator”? Why does he refer to himself as a “modern-day Luddite”?

2. Describe the “TV People.” How does the narrator respond to them, and they to him? Do they actually exist?

3. How do the TV People disrupt the narrator’s normal sense of reality, eventually causing his world to crumble? Are the TV People to be read as a symbol/metaphor for something? If so, what?

4. How do the narrator’s colleagues respond to the TV People? What happens when the narrator brings up the subject of the TV People with one of his colleagues? Why this response? Is everyone “in on it,” as it were?

5. Describe “the wife.” Describe her personality, tastes, job, relation with husband, etc. Why doesn’t she say anything regarding the new TV?

6. Discuss the function/significance of the motif of the ticking clock.

7. Describe the sudden shift of mood that begins on page 210.

8. Discuss the possible causes for the wife’s absence/disappearance in the final scene. According to the TV People, what has happened to her? Why do they know? Explain the TV People representative’s comment: “It’s gone too far. She’s out there.”

9. Discuss the narrator’s dream (described on page 212) and its significance.

I dream about a meeting. I’m standing up, delivering a statement I myself don’t understand. I open my mouth and talk. If I don’t, I’m a dead man. I have to keep talking. Have to keep coming out with endless blah-blah-blah. Everyone around me is dead. Dead and turned to stone. A roomful of stone statues. A wind is blowing. The windows are all broken; gusts of air are coming in. And the TV People are here. Three of them. Like the first time. They’re carrying a Sony color TV. And on the screen are the TV People. I’m running out of words; little by little I can feel my fingertips growing stiffen. Gradually turning to stone.

What is the raw material, manifest content, and latent content of this dream? Does the narrator actually awake from the dream, as he thinks? Or is he still asleep and dreaming through the final episode? Explain.

10. Is the final episode a dream, a hallucination, or reality? What is the meaning of the “airplane” that is being built by the TV People in the TV? Why does the narrator’s hand begin to shrink in the final lines of the work?

11. Discuss the final lines. Will the phone ring, as the TV People have predicted? What is a likely conclusion to this story? Why does Murakami leave us hanging in suspense?

Further Reading

1. Michael Seats. Murakami Haruki: The Simulacrum in Contemporary Japanese Culture. Lanham, Md.: Lexington Books, 2006.
2. Japan Foundation. A Wild Haruki Chase: Reading Murakami Around the World. Berkeley, Calif.: Stone Bridge Press, 2008.
3. Matthew Strecher. “Magical Realism and the Search for Identity in the Fiction of Haruki Murakami,” Journal of Japanese Studies 25.2 (Summer 1999): 263–98.







[1] First published in Bungei shunju January 1990. It originally appeared under the longer title TVピープルの逆襲 (TV pīpuru no gyakushū, literally "The TV People Strike Back"); it received this shorter final title for all further appearances. Birnbaum's English translation originally appeared in The New Yorker September 10, 1990.

Monday, December 1, 2014

女大学:モリソン先生による幸せな人生を送るために知っておかねばならない十八項の掟・警戒。

曾ては周りにいる女性たちのために「女大学」という下らない小冊子を書いたが、今は周りに恋愛のことを知らなさ過ぎる男性も沢山いることに気付き「男大学」という小冊子を作成中です。完成し次第ここで載せます。出来上がるまではまず「女大学」を再読せよ。

女大学:モリソン先生による幸せな人生を送るために知っておかねばならない十八項の掟・警戒。

未婚版

1.自分にしか興味ない女ほど醜い女はいない。
2.自分の外見を気にし過ぎる女または男の前で自分の外見について語る女ほど醜い女はいない。
3.五時以降は正式な相手でない男と同部屋に入るなかれ。
4.既婚者と一線を越えないこと。基本的に関わる必要もない。最終的に傷つくどころか因果応報で自分が結婚した時に浮気される可能性が高まる。(ただし「女大学」著者モリソンにお酌する位は時々OK。)
5.整形厳禁。どんなに軽い手術であれ。整形で外見が以前より良くなった前例は一つもない。
6.週に三回運動・体操をすること。正しく規則的な食生活を送り身体を大事にすること。
7.自分を全面的に大事にする相手でなくては付き合わないこと。
8.女たらしやスケコマシなどの男性タイプを一生回避拒否せよ。
9.刹那的刺激を追求するより長期的充実感安定感を求めるべし。
10.歳を重ねるにつれ映像界から象徴界へと成長していくこと。つまりイメージ・表面・外見の次元から言語・象徴・思考・思想・知識・知恵の次元へと上昇していくこと。人は言葉なり。
11.世の中は変な男で溢れているから若くして淫乱禁止。(中年以降はOK。)
12.人を利用したり道具扱いしたりしないこと。
13.恋愛においてある程度必要であろう放置プレイなどの駆引芸を程よく採用。
14.人に思いやりを持つこと。特に自分ほどは恵まれていない人達に対して。
15.親の金をなるべく浪費しないこと。贅沢は敵だと考えて生きよ。
16.品がすべてだ。それを失ったら人生はもう終わりだ。(注意→真の品は金銭、贅沢、所有物などと無縁だと忘れてはならぬ。)
17.化粧を濃くしたり娼婦的格好をしたりしないこと。自らを娼婦化しない女は男に娼婦扱いされない。
18.既成の勝組負組構造で考えて生きるのではなく女大学の理念に即する正しい世界観・価値観を以て生きよ。

とりあえずそれくらいかな。悪しからず。