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Writing Behind the Scenes
Full text linkThe book focuses on the work of the Japanese writer Enchi Fumiko (1905-1986) and in particular on a selection of her late novels and novellas which are set in the world of traditional performing arts. The author analyzes the numerous intertextual references in Enchi’s works, not only to kabuki and noh – in particular through her reinterpretation of central figures such as Ono no Komachi and Kikujidō – but also to the theatrical production of Mishima Yukio. Through a lively dialogue with gender studies, queer studies, theories of performativity and memory, Enchi’s works reveal a strategic and expert use of the expressive potential of the stage. As a place par excellence where the fluidity of gender and more generally of identity are explored, in Enchi’s works theatre becomes an efficacious tool to deconstruct discourses and subvert conventions
“Bōdārain ni ikiru hitobito no rōnen saigo no kagayaki to ryōseiguyūsei: Enchi Fumiko no Kikujidō wo megutte” (L'ultima scintilla di coloro che vivono ai margini e l'androgino: "Kikujidō di Enchi Fumiko)
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“The Construction of Alterity in Nakazato Tsuneko’s Works: A Focus on Noriai basha (1938)”
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The ‘curse of Eguchi’: ‘Prostitute-ness’ between sexual slavery and agency in Eguchi suieki (1981) by Saegusa Kazuko
Full text linkSaegusa Kazuko has dedicated many of her works and essays to topics such as marriage, childbearing, and abortion and she is known for her commitment to the defense of woman’s emancipation, and her questioning of the values driving the division of male and female roles in society. In this paper, I would like to consider the strategic use of politically incorrect views on the figure of the sex worker emerging from the text as embodiment of female agency through the analysis of the intertextuality with two other texts: "Shōgen kiroku: Jūgun ianfu-kangofu. Senjo ni ikita onna no dōkoku", account of war stories published in 1975 by the freelance writer Hirota Kazuko, and the noh drama ‘Eguchi’
“Geijutsukan to jendā: Enchi fumiko Komachi hensō ni okeru Ono Komachi ron wo megutte” (Visione artistica e gender: le teorie su Ono Komachi in Komachi hensō di Enchi Fumiko)
No full text“Construction and Deconstruction of a Myth: The Vision of Komachi from Traditional Noh to the Contribution of Mishima Yukio and Enchi Fumiko”
Full text linkThe figure of medieval Japanese poet Ono no Komachi has been one of the most controversial and inspiring of Japanese literary tradition and it is at the centre of a number of works and Noh plays. This essay analyzes how her image is interpreted in the modern Noh play by Mishima Yukio, and the novel Komachi hensō (transformations of Komachi) by Enchi Fumiko, while keeping the original Noh Sotoba Komachi (Komachi on the stupa) as reference. The two protagonists in Mishima’s play – old Komachi and the poet – are generally interpreted and explained by Mishima himself as allegories of dry and cynical realism versus dreamlike romanticism and self-deception. Nevertheless, making reference to the theory of lieux de mémoire by Pierre Nora, it is showed that the tendency to self-deception occurs in both protagonists. The visions that emerge in the two modern works are similar: indeed, the figure of Komachi becomes a metaphor for the idea of the impossibility of fixing an identity in regard to the passage of time, and shows the deception at the base of the idea of an abiding self, which is in line with many contemporary theories of the construction of identity
Variations of the Yamauba figure in "Murakumo no mura no monogatari" (1987) by Saegusa Kazuko
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