This study investigates our multiple selves as manifested in how we use language. Applying philosophical contrastive pragmatics to original and translation of Japanese and English works, the concept of empty yet populated self in Japanese is explored.

Using theoretical concepts of self, perspective, and voice as an interpretive guide, and based on the Place of Negotiation theory, this volume explores the phenomenon of linguistic creativity in Japanese discourse, i.e., the use of language in specific ways for foregrounding personalized expressive meanings. Personalized expressive meanings include psychological, emotive, interpersonal, and rhetorical aspects of communication, encompassing broad meanings such as feelings of intimacy or distance, emotion, empathy, humor, playfulness, persona, sense of self, identity, rhetorical effects, and so on. Nine analysis chapters explore the meanings, functions, and effects observable in the indices of linguistic creativity, focusing on discourse creativity (style mixture, borrowing others’ styles, genre mixture), rhetorical creativity (puns, metaphors, metaphors in multimodal discourse), and grammatical creativity (negatives, demonstratives, first-person references). Based on the analysis of verbal and visual data drawn from multiple genres of contemporary cultural discourse, this work reveals that by creatively expressing in language we share our worlds from multiple perspectives, we speak in self’s and others’ many voices, and we endlessly create personalized expressive meanings as testimony to our own sense of being.

This study of the films of Oshima Nagisa is both an essential introduction to the work of a major postwar director of Japanese cinema and a theoretical exploration of strategies of filmic style. For almost forty years, Oshima has produced provocative films that have received wide distribution and international acclaim. Formally innovative as well as socially daring, they provide a running commentary, direct and indirect, on the cultural and political tensions of postwar Japan. Best known today for his controversial films In the Realm of the Senses and The Empire of Passion, Oshima engages issues of sexuality and power, domination and identity, which Maureen Turim explores in relation to psychoanalytic and postmodern theory. The films' complex representation of women in Japanese society receives detailed and careful scrutiny, as does their political engagement with the Japanese student movement, postwar anti-American sentiments, and critiques of Stalinist tendencies of the Left. Turim also considers Oshima's surprising comedies, his experimentation with Brechtian and avant-garde theatricality as well as reflexive textuality, and his essayist documentaries in this look at an artist's gifted and vital attempt to put his will on film. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1999. This study of the films of Oshima Nagisa is both an essential introduction to the work of a major postwar director of Japanese cinema and a theoretical exploration of strategies of filmic style. For almost forty years, Oshima has produced provocative film

This book offers new insight on how key historical texts and events in Korea's history have contributed to the formation of the nation's collective consciousness. The work is woven around the unifying premise that particular narrative texts/events that extend back to the premodern period have remained important, albeit transformed, over the modern period and into the contemporary period. The author explores the relationship between gender and nationalism by showing how key narrative topics, such as tales of virtuous womanhood, have been employed, transformed, and re-deployed to make sense of particular national events. Connecting these narratives and historic events to contemporary Korean society, Jager reveals how these "sites" - or reference points - were also successfully re-deployed in the context of the division of Korea and the construction of Korea's modern consciousness.

Abstracts of journal articles, books, essays, exhibition catalogs, dissertations, and exhibition reviews. The scope of ARTbibliographies Modern extends from artists and movements beginning with Impressionism in the late 19th century, up to the most recent works and trends in the late 20th century. Photography is covered from its invention in 1839 to the present. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Published with title LOMA from 1969-1971.