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The images of Japanese women in the Japanese contemporary literature (1935-1975) — Short-stories crowned with the Akutagawa Prize Japanese women carry with them the myth to be Japanese. But is it a reality? How were their lives before the Second World War, after it and during the economic growth until 1975? Were they unhappy submitted to this myth? I try to present the contemporary history of Japanese women through a research on the short-stories crowned with the Akutagawa Prize from 1935 to 1975. These short-stories are autobiographic, journalistic or documentary, and they are a true reflection of their time. Also, the female characters give witness of Japanese women’s lives in each period through literature, that is the most active, direct, touching and understandable form for the reader. Thus, I intend to contribute to a larger understanding of the Japanese society and culture. The first chapter is devoted to the period of war between 1935 and 1945. And the second chapter is about the period of rapid economic upturn, starting with the ruins and famine of the post-war years from 1945 to 1955. Indeed, the post-war years end in 1955 in Japan. Then, the third chapter is about the dazzling economic growth between 1955 and 1970. And finally in the fourth chapter, during the period going from 1970 to 1975, most Japanese people think they are now out of misery, being part of the middle class and happy about the situation. In total, I examine 57 short-stories : 18 in the first chapter, 10 in the second chapter, 21 in the third chapter, and 8 in the fourth chapter. Also, there are 112 female characters to analyse in all : 41 in the fist chapter, 18 in the second chapter, 33 in the third chapter and 20 in the fourth chapter. Through the evolution and changes along this period of time, the lives of our heroines change too. First, they are kept under the strict respect of social rules. And during the war, they suffer from poverty and misery. Then, the time comes for the share of tasks between women and men. From then on, women take mostly care of their homes. Besides, let us note that the importance of the education of girls is continuously stressed, even if the main aim is to make them “good wives and good mothers”. Finally, Japanese women’s morale stays intact during the period chosen for our research. A significant change seems to happen thereafter. / Images de femmes dans la littérature japonaise contemporaine (1935-1975) — cas des nouvelles couronnées par le prix Akutagawa Les Japonaises portent en elles le mythe de la Japonaise. Mais est-ce une réalité ? Quelle était leur vie pendant la période de l’avant-guerre, de l’après-guerre et de la croissance économique jusqu’en 1975 ? Étaient-elles malheureuses en étant soumises à ce mythe ? Nous avons tenté de transcrire l’histoire contemporaine des Japonaises à travers une recherche sur les nouvelles couronnées par le prix Akutagawa entre 1935 et 1975. Les œuvres sont autobiographiques, journalistiques ou documentaires, ancrées dans chaque époque et leurs personnages féminins témoignent des vies des Japonaises de leur temps sous forme littéraire, c’est-à-dire la forme la plus active, la plus directe, la plus touchante et la plus compréhensive pour le lecteur. Ainsi contribuons-nous à la compréhension de la société et de la culture japonaises. Le premier chapitre est consacré à la période de la guerre entre 1935 et 1945. Le deuxième chapitre concerne l’époque de la remontée économique rapide, partant des ruines et de la famine de l’après-guerre entre 1945 et 1955. En effet, 1955 marque la fin de l’après-guerre au Japon. Le troisième chapitre porte sur l’époque de la croissance économique fleurissante entre 1955 et 1970. Et le dernier et quatrième chapitre parcourt la période entre 1970 et 1975. C’est la période où quasiment tous les Japonais se croient sortis de la misère, ils se considèrent appartenir à la classe moyenne et ils s’en réjouissent. Quant au nombre de nouvelles, nous analysons en tout cinquante-sept nouvelles : dix-huit œuvres dans le premier chapitre, dix dans le deuxième, vingt-et-une dans le troisième et huit dans le quatrième. Et nous comptons au total cent-douze personnages féminins à étudier, soit quarante-et-un dans le premier chapitre, dix-huit dans le deuxième, trente-trois dans le troisième et vingt dans le quatrième. À travers l'évolution et les bouleversements dans le temps, les vies de nos héroïnes se modifient. D’abord, elles vivent dans la stricte obéissance de la règle sociale. Ensuite, elles tombent dans la pauvreté et la misère à cause de la guerre. Et puis arrive le temps du partage des tâches entre les hommes et les femmes et ces dernières se retirent presque complètement dans leur foyer. Néanmoins, l’éducation des filles est renforcée régulièrement, même si la raison principale est d'en faire de « bonnes épouses et bonnes mères ». Nous remarquons que la morale des Japonaises ne se transforme pas pendant la période concernée par notre recherche. Un changement significatif semble intervenir par la suite.

Made available in DSpace on 2016-06-02T19:15:00Z (GMT). No. of bitstreams: 1 5564.pdf: 1459572 bytes, checksum: 12d89dd6d0f48e26ced73933484b5c04 (MD5) Previous issue date: 2013-03-15 / This paper analyzes the capacity of Regional Cooperation by the Japanese state and the advantages obtained through strategic management of state institutions. For this research, take focus on internal historical factors and key political actors who led Japan's to become a Soft Power agent. The ultimate goal of this research is a timely contribution on the Japanese experience in the field of cooperation that may be of relevance for Brazilian diplomacy and expanding national Soft Power. / Este trabalho analisa a capacidade de produção de Cooperação Regional por parte do Estado japonês e a vantagens obtidas através de estratégias de gestão de instituições estatais. Para realização desta pesquisa, detêm-se acerca de fatores históricos internos e os principais atores políticos que levaram o Japão há constituir-se como agende de Poder Brando. A finalidade última desta pesquisa, atem-se sobre as contribuições da experiência japonesa no campo de cooperação que podem ser de relevância para a diplomacia brasileira e a ampliação do Poder Brando nacional.

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The detective fiction (tantei shōsetsu) genre is one that came into Japan from the West around the time of the Meiji Restoration (1868), and soon became wildly popular. Again in recent years, detective fiction has experienced a popularity boom in Japan, and there has been an outpouring of new detective fiction books as well as various television and movie adaptations. It is not a revelation that the Japanese detective fiction genre, while rife with imitation and homage to Western works, took a dramatic turn somewhere along the line, away from celebrated models like Poe, Doyle, and Christie, and developed into a unique subgenre of Japanese prose. However, despite its popularity and innovation, Japanese detective fiction has often been categorized as popular literature (taishū bungaku), which is historically disregarded as vulgar and common. My thesis first consists of a brief introductory history oftantei shōsetsugenre in Japan. This includes a discussion of Japanese writers' anxiety concerning imitation of Western forms and their perception of themselves as imposters and imitators. Following this, I examine the ways in whichtantei shōsetsuwriters--particularly Edogawa Ranpo (1894 - 1965), the grandfather of the genre in Japan--began to deviate from the Western model in the 1920's. At the same time, I investigate the bias againsttantei shōsetsuas a vulgar or even pornographic genre. Through a discussion of literary critic Karatani Kōjin's ideas on the construction of depth in literature, I will demonstrate how Edogawa created, through his deviance from the West, a new kind of construction in detective fiction to bring a different sort of depth to what was generally considered merely a popular and shallow genre. This discussion includes a look at the ideas of Tsubouchi Shōyō on writing modern novels, and Japanese conceptions of "pure" (junsui) and "popular" (taishū) literature. Through an examination of several of Edogawa's works and his use of psychology in creating interiority in his characters, I propose that the depth configuration, put forth by Karatani in his critique of canonical modern Japanese literature, is also present in popular fiction, like Edogawa'stantei shōsetsu. When viewed through the lens of Karatani's depth paradigm, we discover how detective fiction and the vulgarity therein may actually have more in common with "pure" fiction created by those writers who followed Shōyō's prescriptions. In the final section of the introduction, I propose a definition of Japanese detective fiction that links Edogawa's works from the 1920's to the contemporary Japanese detective novel After-Dinner Mysteries (Nazotoki wa dinaa no ato de, 2010), by Higashigawa Tokuya. Thus we see that many of the themes and conventions present in Edogawa remain prevalent in contemporary writing. Finally, I present my translation of the first two chapters of After-Dinner Mysteries.

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The images of Japanese women in the Japanese contemporary literature (1935-1975) — Short-stories crowned with the Akutagawa Prize<p><p>\ / Doctorat en sciences sociales, Orientation sociologie / info:eu-repo/semantics/nonPublished

This thesis explores the history of Christianity and conversion to it in 16th and 17th Century Japan. It argues that conversion is a complex phenomenon which happened for a variety of reasons. Furthermore, it argues that due to the political context and limitations acting upon the mission, the majority of conversions in 16th and 17th Century Japan lacked an element of epistemological change (classically understood). The first chapter explores theories of conversion suggesting that conversion in 16th and 17th Century Japan included sorts of religious change not usually encapsulated in the term conversion including adhesion, communal and forced conversion. Moreover, it argues that contextual factors are the most important factors in religious change. The second chapter explores political context contending that it was the political environment of Japan that ultimately decided whether conversion was possible. This chapter charts the evolution of the Japanese context as it became more hostile toward Christianity. In the third chapter, the context of the mission is explored. It is argued that limitations acting upon the mission shaped post-conversion faith, so that changes to practice and ritual rather than belief became the mark of a successful conversion. The fourth chapter explores methods of conversion, the factors influencing it, and post-conversion faith more directly. It argues that Christianity spread primarily through social networks, but that conversion was also influenced by economic incentive, other realworld benefits, and Christianity's perceived efficacy. Building on Chapter Three, the final chapter also seeks to illustrate that the missionaries were not successful in their attempts to spur epistemological change or instil a detailed knowledge of theology or doctrine amongst their converts.

Les Yokai sont les créatures mythiques qui tapissent le folklore japonais. Bien qu’on traduise souvent le mot Yokai par « monstre », ils ne sont pas toujours méchants. En fait, un même Yokai peut être à la fois bon ou mauvais – leur personnalité est changeante selon les histoires. Je me demande alors si le contexte historique peut expliquer ces changements caractériels. J’observe donc lors de mon étude trois différents Yokai (Kappa, Tanuki et Tengu) dans les contes de trois ères historiques japonaises différentes afin de voir s’il y a vraiment un lien – et à l’inverse, voir s’il est possible de dater un conte de par le comportement du Yokai qui y figure. / Yokais are mythical creatures found in Japanese folklore. This word is often translated with “monster”, however this does not mean that they are always evil. In fact, one same creature can be both good and bad – their personalities vary depending on the tale. I am thus wondering if historical context can explain these characteristic changes. Therefore, I will here study the behaviour of three different Yokais (Kappa, Tanuki and Tengu) in tales of three different Japanese eras to see if there is indeed a connection – and also the other way around, to see if it would be possible to date a tale based on its Yokais’ behaviour.