The thesis examines the samurai image portrayed within the film 'Tasogare Seibei' by Yamada Yōji and three novellas by Fujisawa Shūhei, upon which the film is based. An historical outline of the evolution of the samurai and their ideals is provided as a background to the works studied, with emphasis placed on the Tokugawa period. It is demonstrated that through their depictions of samurai, the novellas and the film make a significant social commentary about modernisation and Japanese values concerning power, status and wealth in the postwar period. Two of Fujisawa's novellas relevant to this thesis, 'Hoito Sukehachi' and Tasogare Seibei', have been translated here from Japanese into English. As these works have hitherto not been translated, this will facilitate a degree of access for English readers to Fujisawa's literature, which, aside from a single existing selection of short stories, is to date available in Japanese only.

No description available.

Tübingen, Univ., Diss., 2000.

Thesis (M.A.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 155-164). Also available via the World Wide Web.

Tübingen, Universiẗat, Diss., 2000.

This paper addresses the collusion with and contradiction to patriarchal power structures of race and femininity in Yamada Eimi's Bedtime Eyes and Trash. In moments of Bedtime Eyes, particularly the final novella "Jesse," and Trash, Yamada contradicts her irresponsible portrayals of Japanese female and black male identity often found in her fiction. This paper will discuss ideological shifts in Yamada's narratives through a textual analysis of Bedtime Eyes and Trash, arguing that through changes in narrative that affect character development, "Jesse" and Trash begin to deconstruct some of the detrimental power structures that shape much Yamada's fictional works.

Zugl.: Trier, Univ., Diss., 2003

Shūsaku Endō (1923-1996) is well known in Japan and abroad for his novels and his Christian faith. The present work offers for the first time an English translation of his 1973 play, Menamugawa no Nihonjin, which deals with the career of Nagamasa Yamada, a Japanese adventurer who traveled to Siam in the early seventeenth century and became one of the most powerful men in that kingdom. The introduction to the translation looks back at Endō’s career and his little known relationship with theater. The focus shifts to the play’s historical background, inquiring into Endō’s motivations in choosing this subject and how he manipulated his sources to achieve certain goals. The translation is defended and compared to a previous Italian translation. The analysis of the original work and the process of translating it is informed throughout by M.M. Bhaktin’s concept of chronotopes as used in the field of translation studies by Annie Brisset. The introduction is followed by the translation of the entire play of three acts and twelve scenes.