Analysis Of Sayuri Nitta's Memoirs Of A Geisha

Chikamatsu Monzaemon’s play, The Love Suicides at Amijima explores the disgrace of Jihei and Koharu’s misbegotten romance, the underlying conflict of the hidden innuendos aimed at the Japanese social class and the sense of duty formed between two women from unseemmingly different backgrounds. In order to fully understand these themes, on must take into account the societal structure of Osaka, Japan in the 1720s. Within this culture, every individual was instilled the notion of familial obligation and had to adhere to the rules placed upon them by society. Chikamatsu Monzaemon does an ideal job of capturing these concepts within the play.

As mentioned earlier, Miss Sasagawara does possess worthy merits such as being intellectual and refined. However, her merits are disregarded simply because she was different in appearance from the rest. Yamamoto uses Miss Sasagawara’s character to challenge the presupposed notion that people who are different are necessarily not of value and thus unable to contribute positively to society. There should not be a belittling attitude taken, such as the reception Miss Sasagawara received when she took upon herself to teach a class of girls ballet, and was the only adult rewarded with a bath towel, an intimate gift that she had to open in front of the audience, bearing in mind that this very act could possibly be seen as humiliating based on traditional conservative Japanese culture.

Ng-Chan begins to notice the growing intimacy between her father and her half sister, who represents an invasion of the relationship between her father and herself. Consequently, Ng-Chan, who has always considered herself an “only child,” displays jealousy. Her bitterness is compared to “the taste of something sharp and grey...like a tiny piece of rock…[she can] break her teeth on” if she is not careful. Thus, “somewhere along the way, [she stops] looking forward to Saturdays.” This results in a deviation in her perspective: an experience that was once enjoyable is no longer worthwhile. These changes, however, remain unnoticed by her father because she is reluctant to assert her feelings, unwilling to potentially harm their relationship. This is evident when she feels “sad about … how [her father’s] face changed” after she has expressed her unwillingness to go out with him. For this reason, she seems “go into an automatic cheer whenever [she] sees him,” and their “Saturday rituals [continue]... until the time she leaves for university.” The father’s ignorance about the transformations in her daughter’s attitude, coupled with the daughter’s inability to express her feelings, results in in an awkward deadlock in their relationship whereby neither of them can express an incentive to find a

However, their love affair shows how much the historical aspects of the Meiji Era had a huge effect to the characters. Through the story, the difference in class, nation, and gender play a huge role. Mori Ogai’s style involving emotional and psychological observations allowed to understand the historical aspects during the Meiji

“The perfect blossom is a rare thing. You could spend your life looking for one, and it would not be a wasted life” (Zwick). These are the words of Katsumoto, an important samurai warrior. The movie The Last Samurai directed by Edward Zwick is about an American War Captain named Nathan Algren who is hired to train, lead and modernize a group of Japanese soldiers to defeat a rebellion of the country's remaining Samurai in 1876. Algren is captured by the Samurai and soon becomes part of the village he is being held hostage in. There, Algren learns from the Samurai and comes to respect them. He finds that his true warrior is becoming unleashed as he trains to become a Samurai with the very people we once called his

Japanese society is traditionally collectivist; however, this dynamic had been challenged by industrialism and consumer culture, which elevated individual agency (Mihm, 1998, p.37-38). Mikage and Yuichi exist as individuals and clearly illustrate this cultural phenomenon: they do not seem to belong to any societal group and remain isolated during tragedy. Following Eriko’s death, Mikage and Yuichi are geographically separated and emotionally distant, relying on phone conversations. Mikage listens to Yuichi’s depressed speech, but finds it difficult to connect with his emotional needs: “Did he want to cry, did he want to laugh hysterically, did he want to have a long talk, did he want to be left alone?” (Yoshimoto, 2001, p.46) The anaphora of ‘did he want’ in the repetitive rhetorical questions suggests Mikage’s uncertainty and the emotional distance between the two. Yet the grief caused by Eriko’s death functions to ultimately unite Yuichi and Mikage. The simile in “I closed my eyes, just listening to that voice I missed so much. It was like lonely waves against the shore” (Yoshimoto, 2001, p. 90) suggests Mikage’s instinctive relief upon hearing Yuichi’s comforting, familiar voice. The ‘waves’ symbolise her and Yuichi meeting, conveying their close

We follow the life of Sayuri, who begins as a peasant in a fishing village, as she becomes a geisha. The real interest of this book is in the first half - her training and schooling. After that, the book devolves into a rather standard romance-novel-type plot concerning Sayuri's love for the Chairman, an important figure in her life.

In the novel Kokoro, Natsume Sōseki uses his character Sensei to represent how guilt can weigh too heavily on a person. Throughout the story, Sensei's interactions with the Narrator, both verbal and nonverbal occurrences, showcase how guilt leads to other negative emotional experiences, such as loneliness and misery. Sensei's internal struggle with guilt shapes the entirety of his adult life and the unfolding of the events in the book. This paper aims to show the implications that Sensei’s guilt has upon his life, especially his relationships with others.

Born on July 4, 1916, in Los Angeles, California, to the parents of Jun and Fumi Toguri, Iva Ikoku Toguri was an American citizen with Japanese heritage (Lerner 163; Tokyo1). Toguri and her three siblings were raised in a predominantly white neighborhood in Compton, California, where their father disapproved of them learning the Japanese language so they could better fit into American society. Toguri eventually went on to attend Compton Junior College after finishing high school and then transferred to University of California, Los Angeles where she graduated in 1941 with a zoology degree (Iva 1; Tokyo 1). Soon after college, Toguri left America to tend to an extremely ill aunt in Japan on July 5, 1941. Unfortunately, she only acquired a

In this modern era the gulf between modernized nations and nations who are not grows constantly, and if a country hopes to bridge the growing gap they must advance quickly. As with any other growth, growing pains are routine. Among others is the pain of the existence of generations whose world is changed completely over the course of a lifetime. In few places is this effect starker than in Japan’s modern history, a country whose traditional ideals had to find a way to adapt modern westernized ideals to a historically traditional nation in a small amount of time. This era, the Meiji Restoration, put Japan through their growing pains and pushed the country to compete on the global level. Natsume Soseki offers a character whose relationships in the novel “Kokoro” are analogous to the progression and end of this Meiji era and how it effected the individual and their perceptions of change.

The literary masterpiece The Tale of Genji by Murasaki Shikibu is a fictional tale that provides clear insight into the sociopolitical court life of the Heian period in Japan. In the tale we are able to see the standards of life that were expected of the aristocrats during the Heian period. The social nature of Heian court life is depicted in the many relationships of the characters through the various stories presented in The Tale of Genji. The relationships in the tale are mainly romantic relationships that surround the Shining Prince Genji, along with other relationships such as parent and child, master and servant, and relationships between social contemporaries. The romantic relationships in the tale indirectly provide the reader with

So it could be said one significant factor in Japanese culture is idealization, and Geisha is a component of this fantasy. They are pulled out from themselves as women and then become an illusory form. When Sayuri wears the twelve layers of elegant kimonos with exquisite makeup, stepped on those expensive black wooden clogs,

It is no secret that for centuries, the Japanese woman has been, to most observers, a model of elegance and graceful beauty. A picture of a kimono-clad, modest, and often silent woman has been plastered everywhere, allowing for the upmost passive subjection. If we look deeper into this image of woman, can we tell if this picture is complete? How do these women painted in representative images far in the modern world? The ideal woman in Japan is expected to be both a good wife, and a wise mother. Though these seem like reasonable expectations, there is a much deeper meaning to them that has shown signs of being outdated. During the 1800’s and 1900’s, women were subjected to society’s vision of them, and could not break free for fear of the

In his The Life of An Amorous Woman, Ihara Saikaku traces the demise of a woman whose thoughts and actions were controlled by insatiable lust and sexual desire. She begins as a wife and then progresses to a court lady-in-waiting, a concubine to a feudal lord, courtesan, priest’s mistress, brothel prostitute, and, finally a streetwalker. Though courtesans did not play a major role in ancient Japan, by the seventeenth century, the courtesan class was sanctioned by the government to the extent that official decrees created a separate district to enclose them and put up physical boundaries that mirrored the division between them and traditional prostitutes. According to Chesemore in her essay, Women of the Floating World, “as in all areas of Japanese life, attention was paid to the distinctions in the rank of the various inhabitants of this world, and clearly the courtesan reigned supreme” (Chesemore, 1990). Saikaku writes that, because of her beauty and talent, she had her choice of men, and “in the streets she walks with her head held high and does not step aside for anyone.” Far from the traditional Confucian gender roles, the amorous woman can afford to be haughty, as she was showered with gifts and other luxuries.

The Tale of Genji, which is considered as the first novel written in the world, gives us an insightful look at a historical Japanese period known as the Heian period. The Tale of Genji is not only an important part of Japanese literature, but also gives the reader a good idea of what culture and life was like in Japan during the Heian period. In this essay, I will be talking about the “ideal woman” in the Tale of Genji and how this idea reflects the characteristics of the cultural, historical, and social setting during the Heian period.