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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 2 of 2 (0.032 seconds)Spelling suggestions: "subject:"sanshirō"" "subject:"sanshiro""
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A Visual Theory of Natsume Sōseki: the Emperor and the Modern Meiji ManGo, Nicole Belinda 31 December 2010 (has links)
This thesis explores the affect of the emperor-centred visual culture on Sōseki’s use of visual methodologies in his travel writing in London and Manchuria, as well as his novel Sanshirō. In Part I of this thesis, I argue that Sōseki’s anxiety and ambivalence was in part due to the visual culture created around an imperial image infused with symbolic power. Part II of this thesis is almost a reversal of the first, as it discusses Sōseki’s use of deliberately visual methodologies to express his anxiety and ambivalence towards modernity. In light of my discussion of these complex visual techniques, I conclude by briefly addressing the allegations of Sōseki’s complicity in Japanese imperialism and the (non-)politicization of his work. While Sōseki’s anxiety and ambivalence may have been caused by the extremely visual culture centred on the emperor, it also provided him with a means and methodology for expressing his pessimism.
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A Visual Theory of Natsume Sōseki: the Emperor and the Modern Meiji ManGo, Nicole Belinda 31 December 2010 (has links)
This thesis explores the affect of the emperor-centred visual culture on Sōseki’s use of visual methodologies in his travel writing in London and Manchuria, as well as his novel Sanshirō. In Part I of this thesis, I argue that Sōseki’s anxiety and ambivalence was in part due to the visual culture created around an imperial image infused with symbolic power. Part II of this thesis is almost a reversal of the first, as it discusses Sōseki’s use of deliberately visual methodologies to express his anxiety and ambivalence towards modernity. In light of my discussion of these complex visual techniques, I conclude by briefly addressing the allegations of Sōseki’s complicity in Japanese imperialism and the (non-)politicization of his work. While Sōseki’s anxiety and ambivalence may have been caused by the extremely visual culture centred on the emperor, it also provided him with a means and methodology for expressing his pessimism.
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