{"title":"French Indochina as Seen from the Representations of Women Writers in the 1940s :Focusing on the Cooperative Relations between the Empire of France and Japan","authors":"Ya ZHANG","doi":"10.22628/bcjjl.2023.16.1.37","DOIUrl":null,"url":null,"abstract":"In the 1940s, several Japanese women writers took up French Indochina as their stage, for example Hasegawa Haruko’s <i>Minami no shojochi (Virgin Soil of the South</i>, Kōanihonsha, 1940), Mori Michiyo’s <i>Harewataru Futsin (Clouds Roll Away Over French Indochina</i>, Muroto shobō, 1942), Kimura Ayako’s <i>Futsu·Tai·Inshōki (Impressions of French Indochina and Thailand</i>, Aidokusha, 1943), and Yoshiya Nobuko’s “Tsuki kara kita otoko” (“The Man from the Moon,” <i>Shufu no Tomo</i>, Shufu no Tomosha, 1942.5-1943.7). In this paper, I will elucidate the major differences and points of commonality between these works. In these texts, these writers express the relationality between Japan and France before and after the joint defence agreement. Hasegawa Haruko and Kimura Ayako, who visited before the joint defence arrangement was concluded, wrote that the French treated them warily, while Yoshiya Nobuko and Mori Michiyo, who visited after “Franco-Japanese Cooperation” had been established, found themselves in friendly French society. After the Japanese occupation began, they also elucidated the disappearance of Parisian colour from French Indochina and the gradual change into a Japanese landscape. These women writers became the best choice for the empire to argue that Japanese culture was superior to French culture without exchanging live fire.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Gwagyeong Ilboneo Munhak Yeongu","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.22628/bcjjl.2023.16.1.37","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
摘要
以及信子吉也的《来自月球的人》(<i>Shufu no Tomo</i>, Shufu no Tomosha, 1942.5-1943.7)。在本文中,我将阐明这些作品之间的主要区别和共同点。在这些文本中,这些作者表达了日本和法国在共同防卫协议之前和之后的关系。长谷川晴子和木村绫子在共同防御协议达成之前访问了法国,他们写道,法国人对他们很谨慎,而在“法日合作”建立之后访问的信子义屋和森美智友发现,他们身处友好的法国社会。这些女作家成为了日本帝国在没有交火的情况下主张日本文化优于法国文化的最佳选择。
French Indochina as Seen from the Representations of Women Writers in the 1940s :Focusing on the Cooperative Relations between the Empire of France and Japan
In the 1940s, several Japanese women writers took up French Indochina as their stage, for example Hasegawa Haruko’s Minami no shojochi (Virgin Soil of the South, Kōanihonsha, 1940), Mori Michiyo’s Harewataru Futsin (Clouds Roll Away Over French Indochina, Muroto shobō, 1942), Kimura Ayako’s Futsu·Tai·Inshōki (Impressions of French Indochina and Thailand, Aidokusha, 1943), and Yoshiya Nobuko’s “Tsuki kara kita otoko” (“The Man from the Moon,” Shufu no Tomo, Shufu no Tomosha, 1942.5-1943.7). In this paper, I will elucidate the major differences and points of commonality between these works. In these texts, these writers express the relationality between Japan and France before and after the joint defence agreement. Hasegawa Haruko and Kimura Ayako, who visited before the joint defence arrangement was concluded, wrote that the French treated them warily, while Yoshiya Nobuko and Mori Michiyo, who visited after “Franco-Japanese Cooperation” had been established, found themselves in friendly French society. After the Japanese occupation began, they also elucidated the disappearance of Parisian colour from French Indochina and the gradual change into a Japanese landscape. These women writers became the best choice for the empire to argue that Japanese culture was superior to French culture without exchanging live fire.