{"id":213,"date":"2024-10-18T14:18:10","date_gmt":"2024-10-18T05:18:10","guid":{"rendered":"https:\/\/www.elsj.org\/kanto\/?page_id=213"},"modified":"2024-10-18T14:41:17","modified_gmt":"2024-10-18T05:41:17","slug":"mm2020","status":"publish","type":"page","link":"https:\/\/www.elsj.org\/kanto\/newsletter\/mmarchive\/mm2020\/","title":{"rendered":"04-01-2020 2020\u5e74\u5ea6\u30e1\u30fc\u30eb\u30de\u30ac\u30b8\u30f3"},"content":{"rendered":"\n

2020\u5e74\u5ea6\u30e1\u30fc\u30eb\u30de\u30ac\u30b8\u30f3<\/h2>\n\n\n\n

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—–
\u3010\u30aa\u30f3\u30e9\u30a4\u30f3\u30b7\u30f3\u30dd\u30b8\u30a6\u30e0\u3011Feminist\/Queer Utopias & Dystopias — Alternative Worlds Imagined Through Non-normative Desires and Bodies

\u958b\u50ac\u65e5 : 2021\u5e743\u670821\u65e5(\u65e5)
\u6642\u9593 : 9:00\uff5e13:40
\u4f1a\u5834 : Zoom\u30df\u30fc\u30c6\u30a3\u30f3\u30b0\u3092\u4f7f\u7528\u3057\u3066\u306e\u30aa\u30f3\u30e9\u30a4\u30f3\u958b\u50ac
010621_FUQD_Poster_ENG.pdf<\/a>
010621_FUQD_Poster_JPN.pdf<\/a>


\u8b1b\u6f14\u5185\u5bb9 :
Recent years have been witnessing an increase in the number of popular
cultural works that present themselves as feminist or queer. Curiously enough,
many of these works are set in alternative utopian or dystopian worlds. Even
more interesting is the fact that queer and feminist representations in these
genres seem to be respectively coagulating around two separate poles: queer
representations tend to be the locus of utopian hope, rather than dystopian
despair, as seen for instance in Sense8 (2015-2018), or the two Black Mirror
episodes \u201cSan Junipero\u201d (2016) and \u201cStriking Vipers\u201d (2019); while
representations of feminist issues within alternative worlds tend to be set in
dystopian rather than utopian frameworks, with The Handmaid’s Tale (2017-)
being a prominent example.
This raises some important questions: Is the inclusion of queer issues as
utopian horizon merely the result of market-oriented image politics and political
correctness? Or do these utopian representations of queer issues offer us new
ways of imagining alternative, better futures? If so, how? And for whom? How do
dystopian representations of feminist issues correspond to the present reality of
intersectional feminist politics? Addressing these questions, this symposium
aims to critically reflect on how feminist\/queer perspectives intersect with
utopian and dystopian imagination in recent works of popular fiction.

\u30b9\u30b1\u30b8\u30e5\u30fc\u30eb\uff1a
09:00-09:10 Opening Remarks
09:10-10:00 Keynote Lecture
Nishant Shahani (Washington State Univ.)
\u201cSensing Another World: A Materialist Critique of Utopia through a Dystopian Present\u201d
10:00-10:20 Coffee Break (5 min.) & QA (15 min.)
10:20-11:10 Research Presentations I
Natsumi Ikoma (International Christian Univ.)
\u201cFrom Frankenstein to The Handmaid\u2019s Tale: Reproduction and Feminist Dystopia\u201d
Asami Nakamura (Rikkyo Univ.)
\u201cQueer Nostalgia in \u2018San Junipero\u2019 (2016)\u201d
11:10-11:40 Coffee Break (15 min.) & QA (15 min.)
11:40-12:30 Research Presentations II
Stefan Wuerrer (Univ. of Tokyo, ICU)
\u201cTranscending the Gendered Body? Revisiting the Utopian Horizons of Sh\u014dno Yoriko\u2019s
Uramizumo Dorei Senky\u014d (2018)\u201d
Mayu Iida (Goldsmiths, University of London)
\u201c30 Years on: Revisiting the Utopian Legacy of Cyberfeminism\u201d
12:30-13:10 Lunch Break (25 min.) & QA (15 min.)
13:10-13:40 Round Table (Chair: Akiko Shimizu)

Register here: https:\/\/icu.zoom.us\/webinar\/register\/WN_rnVQGIg-SZyrQdIHh7OEPA<\/a>

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\u4e3b\u50ac\uff1a\u6771\u4eac\u5927\u5b66\u5927\u5b66\u9662\u7dcf\u5408\u6587\u5316\u7814\u7a76\u79d1 \u8868\u8c61\u6587\u5316\u8ad6\u7814\u7a76\u5ba4\uff08\u79d1\u7814\u8cbb\u7814\u7a76\u756a\u53f7 No. 19H01205; No. 16K13134)\u3001\u4e2d\u6751\u9ebb\u7f8e\uff08\u79d1\u7814\u8cbb\u7814\u7a76\u756a\u53f7No. 19K13119\uff09\u3001\u56fd\u969b\u57fa\u7763\u6559\u5927\u5b66\u30b8\u30a7\u30f3\u30c0\u30fc\u7814\u7a76\u30bb\u30f3\u30bf\u30fc


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—–
Tokyo Modernism Research Seminar 2
\u30e2\u30c0\u30cb\u30ba\u30e0\u7814\u7a76\u30bb\u30df\u30ca\u30fc\uff20\u6771\u4eac\uff08\u7b2c\uff12\u56de\uff09
\u201cThe Politics\/Poetics of Inheritance and Commemoration: Joseph Conrad and Ezra Pound\u201d
March 30th (Tuesday) 2021, 2:00pm-4:00pm [UTC+9]
2021\u5e743\u670830\u65e5\uff08\u706b\uff09\u5348\u5f8c2\u6642\u301c4\u6642

Tokyo Modernism Research Seminar 2.pdf<\/a>

Evelyn Chan (Associate Professor, the Chinese University of Hong Kong)
\u201cWork, Inheritance, and Desert in Joseph Conrad\u2019s Almayer\u2019s Folly and An Outcast of the Islands\u201d
This paper explores the question: how is the deep sense of desert possessed by Almayer in Almayer\u2019s Folly, and Willems in An Outcast of the Islands, which ends up destroying them, generated? In answering this question, I look at how Conrad engages and reworks earlier Victorian ideologies of work and inheritance. In Willems, this is the ideal of the self-made man, and in Almayer, the aristocratic ideal of idle riches, in his case to be attained through both work and marriage. Both characters feel that they are morally\u2014based on the work they put in, their individual sacrifices, and their ability and talent\u2014entitled to \u201csplendid future[s],\u201d extraordinary outcomes, and happy endings. In a tyranny of hermeneutics, their conviction in their own desert does not waver even in the face of adversity. However, the justificatory language both characters use for their desert\u2014language that, upon closer inspection, draws upon social discourses of desert based on work and inheritance\u2014are at every step dismantled by Conrad\u2019s narrative. Conrad shows how there are no absolute, fixed deserts, and that the justifications for the appropriateness, fairness, or justice of the material rewards that the characters believe are their due end up corroding personal identity instead of constructing, bolstering or enhancing it.


Andrew Houwen (Associate Professor, Tokyo Woman\u2019s Christian University)
\u201cEzra Pound\u2019s \u2018Sword-Dance\u2019 Translations of Rai Sany\u014d\u2019s Kanshi Poems on the Japanese Warring States Period \u201d
On 27 October, 2 November and 9 November 1915, the Japanese dancer It\u014d Michio performed three \u2018sword-dances\u2019 for a coterie audience in a studio at 1 Holland Lane, Melbury Road, Kensington. The texts of these \u2018sword-dances\u2019 were translated by Ezra Pound and eventually published along with two other such poems in Future the following year. Although these translations have been praised by eminent critics such as James Longenbach for their \u2018excellence\u2019, there has to date been no detailed examination of them in relation to their kanshi originals. Following my earlier talk and article on Pound\u2019s version of Nishi D\u014dsen\u2019s kenbu poem on Saig\u014d Takamori\u2019s last stand at the Battle of Shiroyama, this presentation will focus on the two sword-dance poems, \u2018Song for a Foiled Vendetta\u2019 and \u2018Honogi\u2019, that Pound translated from the kanshi composed by the neo-Confucian historian Rai Sany\u014d (1780-1832) concerning the sixteenth-century Japanese Warring States period. It will propose that Pound drew on these poems\u2019 depiction of samurai ethics to commemorate the valour and death of his friend, the French sculptor Henri Gaudier-Brzeska, on the battlefield at Neuville-Saint-Vaast in France five months earlier, and to criticize the Western civilization that had, Pound felt, caused Gaudier-Brzeska\u2019s death.

This seminar is to be held on Zoom. If you\u2019d like to participate, please register in the following link: https:\/\/forms.gle\/kTavvu4KAeqjdcKe9<\/a>
\u3053\u306e\u30bb\u30df\u30ca\u30fc\u306fZoom\u3067\u958b\u50ac\u3057\u307e\u3059\u3002\u53c2\u52a0\u3054\u5e0c\u671b\u306e\u304b\u305f\u306f\u6b21\u306e\u30ea\u30f3\u30af\u304b\u3089\u4e8b\u524d\u767b\u9332\u3057\u3066\u304f\u3060\u3055\u3044\u3002
https:\/\/forms.gle\/kTavvu4KAeqjdcKe9<\/a>
Inquiries may be sent to Kunio Shin (kshin[\u30a2\u30c3\u30c8\u30de\u30fc\u30af]g.ecc.u-tokyo.ac.jp)
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\u958b\u50ac\u65e5 : 2021\u5e743\u670814\u65e5(\u65e5)
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\u8b1b\u6f14\u5185\u5bb9 :

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\u30b9\u30b1\u30b8\u30e5\u30fc\u30eb :

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*\u7b2c\u4e00\u90e8 (13:05\uff5e14:25)*

\u672c\u591a\u307e\u308a\u3048 (\u660e\u6cbb\u5b66\u9662\u5927\u5b66\u51c6\u6559\u6388)
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\u5289\u5a1f\u3000(\u6a2a\u6d5c\u56fd\u7acb\u5927\u5b66\u5927\u5b66\u9662\u751f)
\u3000\u300c\u4e2d\u56fd\u306b\u304a\u3051\u308b\u65e5\u672c\u306e\u7ffb\u8a33\u7d75\u672c\u306e\u7279\u5fb4\u2015\u2015\u304a\u3046\u3061\u306e\u65b9\u5411\u3051\u306e\u89e3\u8aac\u306e\u53d7\u5bb9\u3092\u4e2d\u5fc3\u306b\u300d

\u6e05\u6c34\u53cb\u7406\u3000(\u65e5\u672c\u5973\u5b50\u5927\u5b66\u5927\u5b66\u9662\u751f)
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\u8c9e\u5ee3\u771f\u7d00(\u660e\u6cbb\u5b66\u9662\u5927\u5b66\u51c6\u6559\u6388)
\u3000\u300c\u30c8\u30e9\u30f3\u30b9\u30a2\u30c8\u30e9\u30f3\u30c6\u30a3\u30c3\u30af\u306e\u89b3\u70b9\u304b\u3089\u898b\u308b\u300e\u5b9d\u5cf6\u300f\u300d

*\u57fa\u8abf\u8b1b\u6f14 (14:30\uff5e15:30)*

\u5c71\u672c\u53f2\u90ce(\u6771\u4eac\u5927\u5b66\u540d\u8a89\u6559\u6388\u30fb\u662d\u548c\u5973\u5b50\u5927\u5b66\u7279\u547d\u6559\u6388)
\u3000\u300c\u5150\u7ae5\u6587\u5b66\u306e\u7ffb\u8a33\u2015\u2015\u66f8\u7269\u306e\u6587\u6cd5\u304b\u3089\u6620\u753b\u306e\u6587\u6cd5\u3078\u300d

*\u7b2c\u4e8c\u90e8 (15:35\uff5e16:55)*

\u7b39\u7530\u88d5\u5b50(\u6e05\u6cc9\u5973\u5b50\u5927\u5b66\u6559\u6388)
\u3000\u300cFantastic Mr. Fox\u2015\u2015\u30b9\u30c8\u30c3\u30d7\u30e2\u30fc\u30b7\u30e7\u30f3\u30a2\u30cb\u30e1\u3068\u3008\u672a\u6765\u304b\u3089\u306e\u8d08\u308a\u7269\u3009\u300d

\u5b89\u85e4\u8061(\u660e\u6cbb\u5b66\u9662\u5927\u5b66\u6559\u6388)
\u3000\u300c\u300e\u601d\u3044\u51fa\u306e\u30de\u30fc\u30cb\u30fc\u300f\u306e\u4e8c\u3064\u306e\u821e\u53f0\u2015\u2015\u30ce\u30fc\u30d5\u30a9\u30fc\u30af\u3068\u91e7\u8def\u6e7f\u539f\u300d

JA \u65e5\u4e0b(\u660e\u6cbb\u5b66\u9662\u5927\u5b66\u51c6\u6559\u6388)
\u3000\u300c\u30a2\u30d5\u30ea\u30ab\u6c11\u8a71\u306e\u518d\u8a71\u2015\u2015Verna Aardema \u306e Who’s in Rabbit’s House?\u300d

\u5c0f\u6797\u82f1\u7f8e(\u8328\u57ce\u5927\u5b66\u6559\u6388)
\u3000\u300c\u300e\u30d4\u30fc\u30bf\u30fc\u30fb\u30e9\u30d3\u30c3\u30c8\u306e\u304a\u306f\u306a\u3057\u300f\u306e\u4e00\u822c\u5411\u3051\u306e\u300c\u518d\u8a71\u300d\u2015\u2015\u6620\u753b\u306b\u3088\u308b\u518d\u5275\u9020\u300d

\u53c2\u52a0\u7533\u3057\u8fbc\u307f\u3010\u5fc5\u9808\u3011 :
3\u670811\u65e5(\u6728)\u307e\u3067\u306b\u4e0b\u8a18\u306eGoogle\u30d5\u30a9\u30fc\u30e0\u3088\u308a\u304a\u7533\u8fbc\u307f\u304f\u3060\u3055\u3044\u3002
https:\/\/forms.gle\/2U8B5iJZwcuvN2PLA<\/a>
\u304a\u7533\u8fbc\u307f\u3044\u305f\u3060\u304d\u307e\u3057\u305f\u3089\u3001\u958b\u50ac3\u65e5\u524d\u306bZoom\u30df\u30fc\u30c6\u30a3\u30f3\u30b0\u306e\u8a73\u7d30\u3092\u30e1\u30fc\u30eb\u3067\u3054\u6848\u5185\u3044\u305f\u3057\u307e\u3059\u3002

*\u53c2\u52a0\u306f\u7121\u6599\u3067\u3059\u3002\u3069\u306a\u305f\u3067\u3082\u3054\u53c2\u52a0\u3067\u304d\u307e\u3059\u3002

\u554f\u3044\u5408\u308f\u305b\u5148 :
\u8a00\u8a9e\u6587\u5316\u7814\u7a76\u6240
TEL:03-5421-5213
e-mail(\u30a4\u30d9\u30f3\u30c8\u5c02\u7528):gengo2[\u30a2\u30c3\u30c8\u30de\u30fc\u30af]ltr.meijigakuin.ac.jp

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\u25cb \u4f1a\u54e1\u60c5\u5831\u306b\u95a2\u3059\u308b\u554f\u3044\u5408\u308f\u305b\u306b\u3064\u3044\u3066
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\u25cb \u672c\u30e1\u30fc\u30eb\u30de\u30ac\u30b8\u30f3\u306e\u914d\u4fe1\u306b\u3064\u3044\u3066
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\u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u95a2\u6771\u652f\u90e8\u4e8b\u52d9\u5c40<\/strong><\/p>\n\n\n\n

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\u4f1a\u54e1\u306e\u7686\u69d8

\u5927\u5909\u304a\u4e16\u8a71\u306b\u306a\u3063\u3066\u304a\u308a\u307e\u3059\u3002\u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u95a2\u6771\u652f\u90e8\u4e8b\u52d9\u5c40\u3067\u3059\u3002

\u30a4\u30d9\u30f3\u30c8\u60c5\u5831\u30921\u4ef6\u304a\u5c4a\u3051\u3044\u305f\u3057\u307e\u3059\u3002\u6771\u4eac\u5927\u5b66\u306e\u79e6\u90a6\u751f\u5148\u751f\u304b\u3089\u306e\u304a\u77e5\u3089\u305b\u3067\u3059\u3002\u30c1\u30e9\u30b7\u3082\u6dfb\u4ed8\u3044\u305f\u3057\u307e\u3059\u3002

\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d 
Guest Lecture: Dr Rebecca Suter, \u201cKazuo Ishiguro\u2019s Two-World Literature\u201d
\u30ec\u30d9\u30c3\u30ab\u30fb\u30b9\u30fc\u30bf\u30fc\u6c0f\u30b2\u30b9\u30c8\u8b1b\u6f14\u4f1a
\u300c\u30ab\u30ba\u30aa\u30fb\u30a4\u30b7\u30b0\u30ed\u306e\u4e8c\u4e16\u754c\u6587\u5b66\u300d

March 6th (Saturday) 2021, 1:00pm-3:00pm [UTC+9]
2021\u5e743\u67086\u65e5\uff08\u571f\uff09\u5348\u5f8c1\u6642\u301c3\u6642

\u25cb\u767a\u8868\u8981\u65e8
The idea of world literature as a collection of works whose significance transcends local concerns and national borders has come under increasing scrutiny in recent years for being grounded in what Aamire Mufti calls \u201cone-world thinking,\u201d the legacy of an imperial system of cultural mapping from a unified perspective that typically coincides with that of former colonial powers. The works of Kazuo Ishiguro represent an interesting alternative to this paradigm. In this talk, I will discuss how setting his first two novels in a Japan explicitly used \u201cas a metaphor\u201d enabled Ishiguro to parody and subvert Western stereotypes about Japan, and by extension to challenge the universality of Western values. I will then show how this subversion is amplified in the third novel, which is perfectly legible through both English and Japanese cultural paradigms. Through a combination of thematic and narratological analysis, I will argue that by creatively exploiting his Japanese and English bicultural heritage, Ishiguro is able to produce what I call a \u201ctwo-world literature,\u201d that speaks to humanity at large yet successfully avoids presenting the values of a dominant culture as universal ones.
\u203b\u8b1b\u6f14\u306f\u82f1\u8a9e\uff0f\u8cea\u7591\u5fdc\u7b54\u306f\u65e5\u672c\u8a9e\u3082\u53ef

Dr REBECCA SUTER is associate professor of Japanese studies and comparative literature at the University of Sydney. She is the author of The Japanization of Modernity: Murakami Haruki between Japan and the United States<\/em> (2008), Holy Ghosts: The Christian Century in Modern Japanese Fiction<\/em> (2015), and Two-world Literature: Kazuo Ishiguro<\/em>\u2019s Early Novels<\/em> (2020).

This lecture is to be held on Zoom. If you\u2019d like to participate, please register in the following link: https:\/\/forms.gle\/s7CDiLfEeZXXQ3GY8<\/a>
\u3053\u306e\u30ec\u30af\u30c1\u30e3\u30fc\u306fZoom\u3067\u958b\u50ac\u3057\u307e\u3059\u3002\u53c2\u52a0\u3054\u5e0c\u671b\u306e\u304b\u305f\u306f\u6b21\u306e\u30ea\u30f3\u30af\u304b\u3089\u4e8b\u524d\u767b\u9332\u3057\u3066\u304f\u3060\u3055\u3044\u3002https:\/\/forms.gle\/s7CDiLfEeZXXQ3GY8<\/a>

\u30fb\u4e3b\u50ac\u300c\u82f1\u8a9e\u570f\u30e2\u30c0\u30cb\u30ba\u30e0\u6587\u5b66\u306b\u304a\u3051\u308b\u8907\u6570\u306e\u6642\u9593\u6027\u306b\u95a2\u3059\u308b\u5305\u62ec\u7684\u7814\u7a76\u300d\uff08\u57fa\u76e4\u7814\u7a76\uff08B\uff09\u7814\u7a76\u4ee3\u8868\u8005\u30fb\u7530\u5c3b\u82b3\u6a39\uff09
\u30fb\u30ab\u30ba\u30aa\u30fb\u30a4\u30b7\u30b0\u30ed\u7814\u7a76\u4f1a\u5171\u540c\u958b\u50ac
\u554f\u3044\u5408\u308f\u305b\u5148\u306f\u30c1\u30e9\u30b7\u3092\u53c2\u7167\u3002
Dr Suter’s Lecture.pdf<\/a>

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\u25cb \u672c\u30e1\u30fc\u30eb\u30de\u30ac\u30b8\u30f3\u306e\u914d\u4fe1\u306b\u3064\u3044\u3066
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\u65e5\u672c\u82f1\u6587\u5b66\u4f1a\u95a2\u6771\u652f\u90e8\u4e8b\u52d9\u5c40<\/strong>
\u6642\u7bc0\u67c4\u3001\u307f\u306a\u3055\u307e\u304a\u4f53\u3092\u5fa1\u5927\u5207\u306b\u306a\u3055\u3063\u3066\u304f\u3060\u3055\u3044\u307e\u305b\u3002
<\/p>\n\n\n\n


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\u4f1a\u54e1\u306e\u7686\u69d8

\u5927\u5909\u304a\u4e16\u8a71\u306b\u306a\u3063\u3066\u304a\u308a\u307e\u3059\u3002
\u30a4\u30d9\u30f3\u30c8\u60c5\u5831\u30921\u4ef6\u304a\u5c4a\u3051\u3044\u305f\u3057\u307e\u3059\u3002
\u6771\u4eac\u5927\u5b66\u306e\u79e6\u90a6\u751f\u5148\u751f\u304b\u3089\u306e\u304a\u77e5\u3089\u305b\u3067\u3059\u3002\u30c1\u30e9\u30b7\u3082\u6dfb\u4ed8\u3044\u305f\u3057\u307e\u3059\u3002

\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d\uff0d
Tokyo Modernism Research Seminar\uff0f\u30e2\u30c0\u30cb\u30ba\u30e0\u7814\u7a76\u30bb\u30df\u30ca\u30fc\uff20\u6771\u4eac
\u201cFemininity, Masculinity, and Psychoanalysis\u201d
January 9th (Saturday) 2021, 1:00pm-3:00pm [UTC+9]
2021\u5e741\u67089\u65e5\uff08\u571f\uff09\u5348\u5f8c1\u6642\u301c3\u6642

\u767a\u8868\uff11\u3000Marie G\u00e9raldine Rademacher (Postdoctoral Researcher, The University of Tokyo), \u201cHomosociality, Femininity and Female Interests”
\u767a\u8868\uff12\u3000Udith Dematagoda (Assistant Professor, Waseda Institute for Advanced Study [WIAS], Waseda University), \u201cEmpty Will: Recidivist Masculinity, Pathological Fascism and Modernist Aesthetics in the work of Wyndham Lewis and Louis Ferdinand C\u00e9line\u201d

\u3053\u306e\u30bb\u30df\u30ca\u30fc\u306fZoom\u3067\u958b\u50ac\u3057\u307e\u3059\u3002\u53c2\u52a0\u3054\u5e0c\u671b\u306e\u304b\u305f\u306f\u79e6\u307e\u3067\u3054\u9023\u7d61\u304f\u3060\u3055\u3044\u3002
\u4e3b\u50ac\u300c\u82f1\u56fd\u30e2\u30c0\u30cb\u30ba\u30e0\u306b\u304a\u3051\u308b\u53cd\u5fc3\u7406\u5b66\u306e\u7cfb\u8b5c\u306b\u95a2\u3059\u308b\u5b66\u969b\u7684\u304b\u3064\u56fd\u969b\u7684\u7814\u7a76\u300d\uff08\u57fa\u76e4\u7814\u7a76\uff08B\uff09\u7814\u7a76\u4ee3\u8868\u8005\u30fb\u9060\u85e4\u4e0d\u6bd4\u4eba\uff09
\uff0a\u767a\u8868\u6897\u6982\u306a\u3089\u3073\u306b\u9023\u7d61\u5148\u306f\u6dfb\u4ed8\u30d5\u30a1\u30a4\u30eb\u3092\u3054\u89a7\u304f\u3060\u3055\u3044\u3002
Modernism Research Seminar (20210109).pdf<\/a>
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Proust and World Literature: A Zoom of One\u2019s Own, Take One
\u3000@SF 18:00-20:00 November 13th (Friday)
\u3000@Tokyo 10:00-12:00 November 14th (Saturday)
\u3000@Hong Kong 9:00-11:00 November 14 th (Saturday)
\u3000(Please email me for the Zoom link: motsato[at sign]a7.keio.jp)

Introduction: 10:00-10:10
Talk One: 10:10-10:30
\u201cRereading Samuel Beckett’s Proust\u201d <\/em>(Yoshiki Tajiri, University of Tokyo)

Yoshiki Tajiri is professor of English at the University of Tokyo, Japan. He has written extensively on Samuel Beckett, J. M. Coetzee and twentieth-century English literature. He is the author of Samuel Beckett and the Prosthetic Body: The Organs and Senses in Modernism<\/em> (Palgrave Macmillan, 2007) and co-editor of Samuel Beckett and Pain<\/em> (Rodopi, 2012) and Samuel Beckett and Trauma<\/em> (Manchester University Press, 2018). He has also coedited Japanese books on Yukio Mishima and Kazuo Ishiguro.

Talk Two: 10:30-10:50
\u201cEnglish Proust\u201d (Motonori Sato, Keio University)
Motonori Sato is professor of English at Keio University. He writes widely on literature and cinema. He is the author of an award-winning book: Graham Greene, a Cinematic Life <\/em>(2018). He is now writing a book on Virginia Woolf and World Literature.

Talk Three: 10:50-11:10
\u201cMarcel Proust through Liu Yichang in 1960s Hong Kong\u201d(Mary Shuk-Han Wong, Lingnan University)
Dr. Mary Shuk-Han WONG, writer and comparative literature scholar in Hong Kong. She teaches in Chinese department of Lingnan University. Published widely on Hong Kong culture, literature and film. Her major scholarly works are Feminine Writing: Cinema, Literature and Everyday Live<\/em> and Hong Kong Cinema: Writer, literature and cinema<\/em>. Major edited works are Hong Kong Literature and Culture of 1950s series and Hong Kong: the 1960s<\/em>. Major creative works include essays Against the Grain, From Kafka<\/em> and short story collection Surviving Central<\/em>. She is the co-producer and literary advisor of the documentaries 1918: Liu Yichang<\/em> and Boundary: Leung Ping Kwan<\/em>.

Talk Four: 11:10-11:30
\u201cThe Poor Man\u2019s Proust\u201d(D. A. Miller, University of California, Berkeley)
D. A. Miller, for many years the John F. Hotchkis Professor at the University of California, Berkeley, has also recently been visiting professor at the University of Tokyo. His books include Hidden Hitchcock<\/em>(2016) and Jane Austen, or the Secret of Style<\/em>(2003).

Q & A: 11:30-12:00

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Reconsidering Literary Criticism: Postcritique or the Revival of Criticism?
2020\u5e74\uff17\u670826\u65e5\uff08\u65e5\uff09\u5348\u5f8c\uff11\u6642\u301c\uff14\u6642

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