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19. yüzyıl kabuki oyun yazarı Tsuruya Nanboku IV'ün Sakurahime ve Yotsuya Kaidan oyunlarının karşılaştırılması
This thesis explores the evolution of female characters in 19th century Edo kabuki through a comparative analysis of two plays by Tsuruya Nanboku IV (1755-1829): Sakurahime Azuma Bunshō and Tōkaidō Yotsuya Kaidan. Initially motivated by the question of whether social changes of the era could be traced through kabuki's female figures, the research narrows its focus to investigate how differing portrayals of women may explain the varying popularity of these plays. By situating the plays within the socio-cultural context of late Edo Japan and examining the influence of the kaidan genre, the study argues that Nanboku's character Princess Sakura served as a precursor to the more radical and enduring figure of Oiwa. The analysis suggests that Nanboku's evolving experimentation with female archetypes reflects both audience expectations and a broader cultural shift, culminating in Oiwa's uniquely personal and destructive revenge—a major factor in the lasting impact of Yotsuya Kaidan.
'Kuir edebiyata' kadınların ilgisi: Çin ve Güney Kore'de BL üzerine bir çalışma
Boys Love (BL) is a genre produced by women for women that is dedicated on depicting romantic and sexual relationships between two males. It has originated in Japan during the 1970s, quickly spreading its neighbors China and South Korea where it has gained a remarkable popularity which it now enjoys in a global scale. This study traces BL's journey from Japan to China and South Korea while presenting social backgrounds on the aforementioned nations. This thesis argues that BL has emerged initially as a result of a feminist response against the women's repressed positions in society as an outlet for them to relieve their frustrations, becoming a realm to have fun through 'playing with gender' in time, hence in its essence it does not aim to represent queer identities and it does not define itself as queer therefore it is not political from a queer perspective and it cannot be classified as 'queer literature.' This study also argues that the difference in the level of severity in the reactions toward BL content by the Chinese and Korean states is due to their different tactics on how they generate consent from the people and how they position and utilize soft power as a tool in their endeavor for integrating to the global economy.
Toprak anlaşmazlıkları ve egemenlik iddiaları: Dokdo/Takeshima örneği ve ve bölgesel perspektifler
Asia has long been home to unresolved territorial and maritime disputes, particularly in the East China Sea and South China Sea. These disputes are not just about law or history but they also reflect the struggles over the regional influence. Among these, the dispute involving the islets called Dokdo by Korea and Takeshima by Japan remains one of the most long-standing and sensitive one in the region. An important cause is the uncertainty embedded in the 1951 San Franciscoso Peace Treaty. While the treaty officially ended World War II and required Japan to give up its colonial claims, it failed to clearly state who holds sovereignty over several islets, including Dokdo/Takeshima. This lack of clarity has allowed Korea and Japan to interpret the treaty in ways that support their respective positions. This thesis examines how the dispute has evolved by analyzing historical events, key treaties and diplomatic statements. To better understand the nature of the disputes, the thesis also compares it with other conflicts in East and Southeast Asia that share similar aspects. By doing so, it examines the impact of the U.S. on the formation of the postwar setting and explores how symbolic actions—like Korea's "Dokdo Day" and Japan's "Takeshima Day"—are used to strengthen national identity and public awareness. This study argues that resolving such disputes requires more than legal solutions, it also needs historical understanding and long-term diplomatic effort.
Pom Poko ve Prenses Mononoke'de modern toplumun yansımaları Yōkai
The aim of this thesis is to examine the role of yōkai ("supernatural and strange entities") in modern Japanese society by analyzing two critically acclaimed animated movies Pom Poko (1994) and Princess Mononoke (1997) by Studio Ghibli. The movies, which are both centered around yōkai and yōkai related supernatural folklore use the yōkai to reflect contemporary Japanese society. The movies achieve this by showing the negative effects of rapid modernization has on yōkai in the movies, which are usually in the form of anthropomorphized animals. These negative effects include pollution, destruction of nature, deforestation, and animal deaths related to these consequences. The animal visage of yōkai, their mysterious status as creatures of the borderlands and their deep and rich history so well integrated in Japanese culture allows the directors of the movies Isao Takahata and Hayao Miyazaki to tackle issues that plague modern Japan. I believe looking at how folklore has been incorporated into popular culture is significant in this day and age. This is why I chose two animated movies beloved by both Japanese and global audiences. By analyzing these movies, I came to the conclusion that, yōkai play a big role in Japan: A reflection of society itself. I argue that the movies use yōkai to inspire younger audiences to think critically of the nature and culture they are a part of.