Osaki Midori and the Role of the Girl in Shōwa Modernism
Osaki Midori and the Role of the Girl in Shōwa Modernism
复制标题
大崎绿与昭和现代主义中女孩的角色
DOI：
10.1080/10357820802299684
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发表时间：
2008
期刊：
影响因子：
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通讯作者：
T. Aoyama
中科院分区：
文献类型：
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作者：
Kawasaki Kenko;L. Fraser;T. Aoyama
日本的少女文化通常被狭隘地视为一种延缓期文化，在这种文化中，年轻人可以选择延长青春期，推迟成年期的到来。据推测，它吸引了几代日本女孩，这些女孩有望成为日俄战争（1904-05）后开始出现的新中产阶级的家庭主妇。然而，仔细看看少女杂志、插图、全是女性的音乐讽刺剧等，就会发现一幅更为复杂的画面，其中女孩文化分支成独特的表达途径。这在一定程度上解释了少女文化对当代亚文化的长期而丰富的影响。从性别、性和阶级的角度来分析这种女孩文化，并审视边缘艺术家和跨界艺术家在其表达中的参与，是特别有益的。为了将其各种文化表现形式置于语境中，调查shojo概念本身的扩展，转移和偏离也很有趣。本文的前半部分将讨论昭和初期（1926- 1989年），自“现代女孩”兴起以来，少女的表现形式。下半部分将特别关注作家大崎绿（1896-1971年）以及她的一些文本中的少女形象。
Sh ojo [girl] culture in Japan is often treated rather narrowly as a moratorium culture, in which the young are able to choose to prolong their adolescence and delay the onset of adulthood. It is assumed to have appealed to generations of Japanese girls expected to become housewives in the new middle class that began to emerge after the Russo-Japanese War (1904–05). However, a closer look at sh ojo magazines, illustrations, all-women musical revues and the like reveals a more complex picture, in which girl culture branches out into unique avenues of expression. This goes some way to explaining the prolonged and rich influence sh ojo culture continues to exert on contemporary subcultures. It is particularly rewarding to analyse this girl culture from the perspectives of gender, sexuality and class, and to look at the participation of both liminal and border-crossing artists in its expressions. It is also interesting to investigate the expansion, transference and deviations of the concept of sh ojo itself in order to contextualise its various cultural manifestations. In the first half of this paper I will discuss the representations of the sh ojo in the early Sh owa period (1926–89), since the rise of the ‘‘modern girl’’. The second half will focus particularly on the writer Osaki Midori (1896–1971) and the figure of the sh ojo in some of her texts.