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Lost Leaves: Women Writers of Meiji Japan by Rebecca Copeland

By Rebecca Copeland

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Most eastern literary historians have urged that the Meiji interval (1868-1912) used to be without girls writers yet for the intense exception of Higuchi Ichiyo (1872-1896). Rebecca Copeland demanding situations this declare by way of interpreting in interesting element the lives and literary careers of 3 of Ichiyo's friends, each one consultant of the variety and ingenuity of the interval: Miyake Kaho (1868-1944), Wakamatsu Shizuko (1864-1896), and Shimizu Shikin (1868-1933). In a gently researched creation, Copeland establishes the context for the improvement of woman literary expression. She follows this with chapters on all of the ladies into consideration. Interspersed all through are excerpts from works lower than dialogue, such a lot by no means prior to translated, providing an invluable window into this forgotten global of women's writing.

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Constituting itself in opposition to . . ’ ”66 In Japan, therefore, reforms of fiction along Western lines, necessarily influenced by exposure to Victorian images of the writer as a “man of letters,”67 also sought to “masculinize” while “modernizing” the heretofore old-fashioned and effeminate Japanese prose form. ”68 When Meiji men endeavored to instill the literary arts with prestige and worth, they did so by, among other things, investing the sho¯setsu with a seriousness of purpose: a mission to uncover the “truth” of society and thereby contribute to its reform.

By far the majority still viewed education for women as a detriment to their character and to their future potential as wives. Iwamoto and his editorial staff, in turn, regarded parents as a detriment to a woman’s education. In an English-language announcement describing the founding of an Orphan Girls’ School, for example, readers learn: The schoolmaster intends to live with the orphan children and bring them up according to his own standard of education. In this task he will be entirely free from the hampering influence of parents, which, according to the Jogaku, is the principal obstacle to modern female education in Japan.

He strongly advised her to avoid any reference to the lower classes in the future. How could it possibly be that an innocent girl was able to describe the lower classes so skillfully? His answer, of course, was that she could not. Either she was not an “innocent” girl or she had had someone else write the “dirty” parts. ”79 By confining women writers to upper-class subject matter and classical diction, male critics rendered the ideal of a modern Murasaki forever unattainable. That is to say, critics effectively barred women from the modern movement that tended toward “realism” and fitted them into a fossilized image of a femininity that most likely had never existed.

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