Since her arrival, the fellow has completed several academic articles related to her first book manuscript, as well as additional research using the library at Waseda University and other resources in the Tokyo area.
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Her article “The Disgust and Desire of Sweets: Consuming Femininities through Shojo Manga,” forthcoming in 2019 in the U.S.-Japan Women’s Journal, uses analyses of gendered Japanese popular culture to contribute to understandings of the relationship between food, femininities, and feminisms. Another article, titled “Ekuni Kaori’s Tears in the Night: The Brilliance of Queer Readings for Contemporary Japan,” is forthcoming in 2021 in the Journal of Japanese Studies and argues for the reevaluation of Japanese women writers as one way to challenge the “end of Japanese literature” narratives of the late 20th century and early 21st century.
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In addition to these publications, she has given academic talks related to her research in Japan and in the United States. In October 2018 at Kanagawa University, she presented on “‘Lesbian’ Representation in Japanese Media,” discussing forms of female homoeroticism and homosociality found across multiple genres in Japanese popular culture. In March 2019, as part of the Yanai Initiative Symposium titled The Woman in the Story, she presented a paper titled “Waseda Bungaku’s ‘Women’s Issue’: Transnational Feminist Encounters in the Twenty-First Century,” which dealt with forms of academic and popular feminism found in a special issue of female contributors.

The aim of this project was to elucidate the conditions of media censorship in Japan from the 1930s to the 1950s by focusing on the Iwanami Shoten publishing house. Towards this end, we analyzed the primary materials that we collected from our visits to Iwanami Shoten’s archives, and conducted comparative surveys of a range of Japanese and American sources regarding literary censorship. As a result, we were able to establish a detailed account of the wartime rise of media censorship in Japan. Furthermore, our analysis of texts published during the postwar Occupation Period revealed the distinctive features of the systems of censorship enforced by the Japanese Ministry of the Interior and the GHQ/SCAP respectively.

In this research project, I was able to fulfill my original objective of advancing international comparative work on Home Ministry (Naimusho) and GHQ censorship in early 20th century Japanese literature. Traveling to various research and academic institutions in the United States, Canada, and more, I presented on the results of the archival work I conducted in the Gordon W. Prange Collection and further developed my research. I collected and organized new materials related to censorship under the Home Ministry in imperial Japan and under GHQ/SCAP (General Headquarters / Supreme Commander for the Allied Powers) in occupied Japan, published a number of scholarly articles and books, and formed international bases for new research.

My residence at Waseda University from June 18, 2016 to August 11, 2017 along with the support of faculty and staff, library access, resources for housing and office, and research funds enabled me to complete my book manuscript on Japanese literary modernism. In looking at formalist texts written in the 1920s, the book synthesizes close-reading textual studies with mass-media discourse analysis approaches in order to offer a new perspective on Japanese modernist fiction and introduce new approaches to the study of Japanese literature. It is currently under review for publication by the University of Cornell Press. The manuscript for my book, Disruptions of Daily Life: Japanese Literary Modernism in the World, which I completed during my residence at Waseda University, has been submitted to the Columbia Weatherhead Institute and is now under review by the University of Cornell Press. I have also completed and submitted an article on Tanizaki Jun’ichiro’s A Fools Love, which is based on the first chapter of this book, to the Journal of Japanese Studies. This summer I plan to undertake the revisions required for the publication of my book at the University of Cornell Press. I will also make revisions to the article I have submitted to the Journal of Japanese Studies if and when they are requested.

An empirical research and analysis was conducted on the lives of novelist from 1950s to 1970s based on diaries and other materials. The purpose of this research was to redefine the meaning of conversion to "cultural resources" through looking at the kind of roles novelist were expected to fulfill and the extent to which they were able to satisfy those roles while the media underwent immense growth and changes during post-war period. It also examined how the market value of literature was established through individual and cross-sectional analysis with a view to political/economic background. Furthermore, a large number of "cultural resources" were uncovered following an investigation into cultural administrative entities and cultural projects such as libraries and literary museums, and it revealed how such phenomenon had spread to regions other than urban areas.

The main achievement was completing a book manuscript, tentatively titled Colonizing Language: Cultural Production and Language Politics in Imperial Japan. The manuscript was submitted for review with Columbia University Press, a prestigious university publisher, and a contract was signed in early November. The book is currently scheduled to be released in spring 2018. Other publications and presentations are listed in detail in section 13.
International exchange was also fostered through a keynote lecture given by the guest researcher and held at Waseda University on October 13, 2016. Entitled “Linguistic Imperialism and the Aporia of Silence in ‘Artists of the Peninsula’ and Spring on the Peninsula,” the lecture attracted students and faculty from the Waseda community as well as from Tokyo University and other surrounding universities. Official discussants included Michael Bourdaghs, a professor of Japanese literature at Chicago University; Hitomi Yoshio, a professor of Japanese literature at Waseda University; and Lee Sungsi, also a professor of Japanese literature at Waseda University.

Kawabata Yasunari’s winning of the Nobel Prize in Literature in 1968 was a symbolic event that Modern Japanese Literature became part of the World Literature. Needless to say, translation played a crucial role in this event. When we look at the process up to this event, however, we see twists and turns. During the occupation period, translation was used in GHQ censorship to control Japanese. In the 50s, translation of Japanese Literature increased dramatically to promote US Cold War Scheme. Our project made clear that translation occur within the complex negotiations of translators with the publishers and editors who had their own political and commercial agenda.

The goal of this research project is to present a historical analysis of the censorship of literary expression and the media, especially as it was impacted by the mutually imbricated censorship apparatuses of the Home Ministry, prior to and during World War II, as well GHQ/SCAP in the post war period. For this project, I have gathered and collated materials relating to both of these censorship organs. While taking into consideration scholarship, both inside and outside of Japan, which has treated the implementation of censorship under the Home Ministry and GHQ/SCAP separately, I expand on such studies by considering the imbrication of the two censorship systems. Based on this, I have foregrounded these differing censorship systems and their characteristics when handling literature, while making clear the connections between them. I have gathered together and presented a part of these findings in scholarly articles and other written output.

This study reconsidered<writers> and <literary works> as 'cultural resources', investigated the problems in the literature market in the 1950s and 60s, and revealed its actual situation. It not only considered how critical discourses in the literary world have been formed and what phenomena they have caused, but also revealed some aspects of changes in post-war Japanese society and culture through observing writers' way of life. Given that 'general public' consumed a lot of literature as commercial products in the age of rapid economic growth, it is assumed that the whole literature including all genres became the product for mass consumption. This study analyzed and considered the role which literature played in the economic growth on an unprecedented scale.

With the start of the American occupation of Japan, control of the censorship apparatus shifted to GHQ/SCAP(General Headquarters/Supreme Commander for the Allied Powers), which regulated public expressions in Japan from1945through1949.A Closer examination of the Prange Collection and others reveals another dimension to the Occupation period. They show that responses to censorship were not at all uniform, and that multiple intertwining factors underlined the discourse of the Occupation period : the thoughts of writers, the policies and actions of the publishers and editors, and the decisions of the censors.

Through a comparative study of China and France, this research demonstrated how a discourse on the crisis of nation and ethnicity spread through the media and became cliched by focusing on modern warfare in Japan during WWII. On the other hand, from the perspective of literary and cinematic expression, this research also determined that the hidden potential for Japanese literary works and films to criticize the discourse on the crisis of nation and ethnicity existed at this time.

In this research, we tried to grasp synthetically the publishing company of the Taisho and Showa term, and a literary trend. In particular, a publishing company called Kinseido was observed. Masuo Fukuoka founded this publishing company in the middle of Taisho, and it had deep relation with literary activities of those days and writers. And many interesting series and magazines were published. First, we performed investigation and collection in the library or the antiquarian bookshop, in order to store the fundamental data about the publication of Kinseido. And the database of the Kinseido publication was created. This is still insufficient and it is necessary to continue investigation from now on also. However, this data has a big meaning as fundamental data for considering the publication activities of Kinseido. Moreover, we collected the data about the publication activities of Masuo Fukuoka, a founder, and Kinseido. From these data, the publication activities of Kinseido were able to be considered synthetically and on many sides. By these trials, the actual condition of the publication activities of Kinseido became clear concretely. And the relation between a publishing company and a writer also became clear. We are one side of such investigation and wrote the paper about publication of the Taisho and Showa term, and literature. The head investigator mainly announced the relation between the "literary world" from Taisho to the Showa term, and literary comment. The investigator mainly announced the relation between neosensualist's writers and publication media. We were sure of the validity of this theme. We are planning extending investigation and research about other publishing company and publishers based on this research.

During this research an investigation was carried out on the pluralistic relationship between the following three spheres.
1.The historical transfiguration of the relationship between novels written from the Taisho period thru the Showa period and their respective illustrations becomes evident through an examination of the response toward the genre reformation process in the novels, bookmaking style, and censorship.
2.The relationship between lines and images as seen in movies from the late Meiji period thru the Showa period is clarified according to the reaction toward the differences between silent and talkie films, the mutual effects of screenplays and literary works, and censorship.
3.In order to demonstrate the differences between audio-visual representation and literary representation a theoretical analysis on film cinema was conducted. Notably, a re-evaluation of theories related to structuralism and semiotics was carried out along with the re-construction of theories related to post modernism to illuminate the possibility for adaptation in film history
The research conducted clarifies the following three points through a pluralistic investigation of the relationship between audio-visual representation, print culture, and literature.
A.As a result of the excessive response to censorship by literary works belonging to the genre of belle-lettres, illustrations were largely abandoned and written descriptions of characters and scenes became the primary aim of writers. On the other hand, the popular novel made great use of the developing printing press and it became evident that novels focusing on dialogue were gradually gaining a position of relative importance in the sequence of historical events.
B.In the beginning, belle-lettres authors held the position of cinema screenplay writers, but gradually this position was replaced by popular literature authors. This phenomenon is closely related to the fact that the popular novel was refining the technique of dialogue centrality. It can also be said that undaunted omissions of time and space during scene changes in film were techniques handed down from the popular novel.
C.For films that adopted such techniques inherent to the popular novel, these techniques became even further polished, and as is apparent in the works of Ozu Yasujiro, a abridged-type films was on its way to being born. Nonetheless, this was not a uniquely Japanese phenomenon. That is to say, from a theoretical standpoint it becomes clear that it was an incident able to greatly alter the representation of time and space in film.

今年度は昨年度に引き続き、新感覚派文学に特徴的な言語観を、1920年代マス・メディアの拡大にともなう文学受容の場およびメディア状況の変容という視点から解明するべく、継続して研究を進めた。
様々なマス・メディアが交錯する1920年代で特に力点を置いたのは、映画と出版である。出版のなかでは、1920年前後に創刊された総合雑誌「改造」(1919年創刊)と「文藝春秋」(1923年創刊)を重視し、これらの雑誌が作家の創作ならびに表現とどのように関連するかを検討した。
このような研究計画のもと、今年度は、大学院生やデータ入力に習熟した社会人の助力を仰ぎながら、前年度に調査、収集したデータを整理する一方、研究成果を公表することに力を注いだ。
現段階で公表した主な論文は、以下の4点である。「出発期「文藝春秋」のメディア戦略」(「日本近代文学」第66集日本近代文学会2002年5月185-201頁)、「新感覚派の光と影」(「文学」第3巻第6号岩波書店2002年11月123-132頁)、「一九二八年の横光利一-上海へ、新たなる展開への模索」(「アジア遊学」第48号勉誠出版2003年2月198-207頁)、「出版メディアと作家の新時代-改造社と横光利一の一九二〇-三〇年代」(「文学」第3巻第8号岩波書店2003年3月35-51頁)である。

The purpose of this research was to verify the Japanese literature, culture of the 20th century and the relation of the media synthetically. The next various points became clear by the joint research on two years.
1. Modern literature circulates by the letterpress printing such as a book and a magazine. It found that we had to verify the actual condition of the letterpress printing concretely.
2. Letterpress printing is not a universal medium, but it is one form of the transitional media. Then, it could confirm that the decline of today's literature related to the decline of the type medium.
3. It found that it was important to pay attention to not only letterpress printing but also an image expression, the recitation, and so on.
4. It found that popular literature, a monster film, and so on were the important clues to grasp a cultural modern phenomenon.
5. It could confirm that the consciousness concerned with the researcher's, own discrimination and the gender had to be asked to it to verify a matter of media.
But, because the range of this theme was wide, we couldn't complete all research in these two years. From now on, we want to continue the research about this theme.

今年度は、出版メディアの拡大にともなう文学受容の場及びメディア状況の変容という視点と、近代日本の国語政策という視点から、1920年代日本文学の再検討を行うことを研究テーマとし、前年度に引き続いて、早稲田大学図書館、日本近代文学館などにおける資料の調査・収集を行うと同時に、前年度からの継続研究を発展させ、逐次、可能なものから論文化することにつとめた。
1920代の横光利一をてかがりとして、外国文学受容の問題を出版メディアとの相関性のもとに検討し、また、近代日本の国語政策と作家との関連を、同様に横光利一に即して考察をした。これら研究の成果は、それぞれ、「鏡としてのドストエフスキー・ストリンドベリイ-大正期・横光利一への視角」(「国文学 解釈と鑑賞」第829号2000・6至文堂)、「横光利一にとって「国語」とは何か」(「昭和文学研究」第41集2000・9昭和文学会)として公刊した。
これと並行して、同時代の作家や文壇との関連、研究史の展望なども含めて、文学と文学研究の機制を把握する作業も行った。その成果の一部として、「横光利一研究展望」(『川端文学への視界15』2000・6教育出版センター)、「徳田秋声と横光利一-「芭蕉と歯朶」評を中心に」(『徳田秋声全集』「月報20」 2001・1八木書店)、「書評・小田桐弘子著『横光利一-比較文化的研究』(「比較文学」第43号2001・3日本比較文学会)がある。

　２００４年４月から２００５年３月まで、早稲田大学で特別研究期間を取得し、４〜６月には中華人民共和国の北京日本学研究センターに研究員として滞在し、研究に従事した。その後、８〜９月、２００５年２〜３月にはフランス共和国に滞在、パリ第７大学に所属し研究を推進した。２００５年３月には、アメリカ合衆国・コロンビア大学のドナルド・キーンセンターで招待講演を行うと同時に、同大学の教授陣、大学院生らと親交を深めた。研究期間中、アジア・欧洲・北米で研究活動を展開し、世界各国の多くの研究者との実りある学術交流を通じて、日本文学研究の国際化の基盤をつくることができたのが最大の収穫であった。

　本研究は、横光利一の1930-40年代と二つのメディア検閲との関連を総合的に研究することを目的として計画された。二つのメディア検閲とは、明治時代から第二次世界大戦敗戦まで帝国日本で実施された内務省の検閲と、アメリカ軍によって占領期に行なわれたGHQ/SCAP（General Headquarters/Supreme Commander for the Allied Powers　連合国軍最高司令官総司令部）の検閲である。横光利一が1930-40年代に発表した著作と同時代のメディア規制との関連を、内務省・GHQ/SCAPの資料調査と本文の校合を行うことで総合的に解明するべく、この作家の代表作『旅愁』を対象に研究を実施した。メリーランド大学プランゲ文庫における調査で得られた新資料を活用しながら、横光利一とメディア規制とのかかわりを内務省とGHQ/SCAPという、二つの異なる検閲との関連から総合的に分析する基盤をつくるべく、岩波文庫『旅愁』上巻・下巻を2016年8月、9月に刊行した。上巻には、研究成果の一部となる「解説」を執筆した。その後、学術論文を雑誌『文学』（岩波書店、2016年11月）に発表した。

　2014年9月17、18日の2日間にわたり、フランス共和国の首都・パリで川端康成の国際シンポジウムが開催された。この国際シンポジウムを、セシル坂井氏（パリ・ディドロ第７大学）、和田博文氏（東洋大学）、紅野謙介氏（日本大学）、マイケル・ボーダッシュ氏（シカゴ大学）とともに企画した。シンポジウムのタイトルは「川端康成21世紀再読―—モダニズム、ジャポニズム、神話を越えて」（Relire Kawabata au 21esiècle - modernisme et japonisme au-delà des mythes）である。十重田は、「占領期言語統制下の創作と出版活動」と題する研究発表において、アメリカ軍による占領終了前後に見られた錯綜するメディア規制と川端の小説との関連を考察した。&nbsp;

2008年度単年度の研究期間で重視したのは、横光利一の直筆原稿の蒐集と閲覧を通じて、これまで行ってきた当該研究テーマをより発展させる基盤をつくることであった。いくつかの図書館で調査を行うと同時に、横光利一の原稿（書簡）を購入するなど、その成果は十分に達成することができた。また、これまで調査をした横光利一の直筆原稿の見直しもあわせて行い、研究課題にかかげた「総合的」な研究としてまとめるべく、調査と考察を進めた。そうすることで得た成果の公表は、2009年度から2010年度にかけて行う予定である。すでに準備を整え、日本近代文学の直筆原稿を総合的に検討する研究会での報告を経た後に、学術論文としてまとめる段取りがついている。本格的な研究成果の公表は2009年度以降となるものの、2008年度中にも、関連する研究成果を公にしている。その一つが、「1926年、文学と映画との遭遇」（『比較文学研究』、東大比較文学会、2008年11月）である。横光利一に関するこの論文は、2008年5月にアメリカ合衆国のコロンビア大学（キーンセンター）、ハーバード大学（ライシャワーセンター）での講演をもとに学術論文としてまとめたものである。なお、発表は次年度になるが、すでに校正を終えている研究論文に、「メディアに映し出される〈文学の神様〉の欧州紀行――一九三六年、横光利一の外遊とその報道をめぐって――」（『横光利一　欧洲との出会い――「歐洲紀行」から「旅愁」へ――』、おうふう、2009年5月刊行予定）がある。この論文では、横光利一の欧州旅行での手帳を参照し、新聞・雑誌などのマス・メディアに掲載された横光をめぐる言説を考察しながら、彼の外遊とその報道について検討している。

横光利一とマスメディアとの相関性を総合的に解明しようとする本研究では、今年度、主に以下の二点のテーマに取り組んだ。一点目は、マスメディアが拡大、多様化する大正後期から昭和初期に、横光利一をはじめとする新感覚派がどのように展開したか、ということ。もう一点目は、第二次世界大戦後のアメリカのGHQ／SCAP（General Headquarters／Supreme Commander for the Allied Powers）による検閲と横光の「旅愁」との関係について検討することである。前者については、「富ノ澤麟太郎――光と影の散歩者」（『日本のアヴァンギャルド』2005・5　世界思想社　214-227P）、「新感覚派文学の中国における受容の一側面――『色情文化』を中心に――」（「曙光」第3号　翰林書房　2005・12　55-62P）、「広告から見た大正期「文藝春秋」の展開」（「国文学研究」第148号　早稲田大学国文学会　2006・3　98-109P）として、後者については「さまよえる本文――第二次世界大戦後版「旅愁」の成立」（『横光利一の世界』　翰林書房　2006・3　予定）として、それぞれ論文に著した。 なお、研究ノートの「文学者の神話形成をめぐるノート――横光利一と「文学の神様」について――」（「昭和文学研究」第51集　2005･9　昭和文学会　75-79P）では、「文学の神様」という神話作用の再考を行った。ここでは、これまで「小説の神様」＝志賀直哉、「文学の神様」＝横光利一とされてきた定説に再検討を加え、「文学の神様」＝横光利一がマスメディアと文壇状況によっていかにつくりだされ、変容したかを明らかにし、あわせて、そのプロセスを検討することにより、この作家の神話作用を批評的に考察した。 他に、本研究に関連する研究成果として、日本比較文学会第67回全国大会シンポジウムでの発表「新感覚派の文学と映画が出会うとき」(2005年6月18日）、フランス国立東洋言語文化学院（ＩＮＡＬＣＯ）での講演「引き裂かれたメディア――占領期日本文学検閲の一側面」(2006年3月6日）がある。

今年度は昨年度に引き続き、新感覚派文学に特徴的な言語観を、1920年代マス・メディアの拡大にともなう文学受容の場およびメディア状況の変容という視点から解明するべく、継続して研究を進めた。 様々なマス・メディアが交錯する1920年代で特に力点を置いたのは、映画と出版である。出版のなかでは、1920年前後に創刊された総合雑誌「改造」（1919年創刊）と「文藝春秋」（1923年創刊）を重視し、これらの雑誌が作家の創作ならびに表現とどのように関連するかを検討した。 このような研究計画のもと、今年度は、大学院生やデータ入力に習熟した社会人の助力を仰ぎながら、前年度に調査、収集したデータを整理する一方、研究成果を公表することに力を注いだ。現段階で公表した主な論文は、「研究成果発表」に示した以下の４点である。他にも、２００３年度中に、研究成果を発表する準備を進めている。

　1920年代に活躍した作家たちの活動を、同時代の様々な文化・社会現象と関連に留意しながら検討していくこと。それが、特定課題研究助成費を活用しながらの研究テーマであった。　こうしたテーマのもと、1926（大正15）年に、横光利一川端康成をはじめとする新感覚派の作家たちと映画監督の衣笠貞之助らによって結成された「新感覚派映画聯盟」の検討を中心に行った。1920年代日本の前衛芸術家たちの交流を検討することで、この時代の芸術思潮を照射できると考えたからである。　今回特に注目したのは、これまで本格的検討の行われてこなかった、横光利一と「新感覚派映画聯盟」第一回作品「狂った一頁」との関連である。「狂った一頁」の映画及びシナリオに見られるモチーフや表現の痕跡は、この時期の横光の小説に認められる。そればかりではなく、「新感覚派映画聯盟」という芸術交流の「場」において共有された芸術城の理念は、横光の創作理念、とりわけ、昭和初年代に標榜された「形式主義」と深く関わっている。映像そのものの形式や構成を重視し、映像の純粋性を追求した同時代の前衛映画「狂った一頁」とこの映画を巡る批評に接することで、横光は「形式主義」に確信を持つに至るのである。　以上のことを解明するとともに、映画をめぐる言説と文学をめぐる言説が相互関連しつつ形成されたこの時代の特色についても言及し、本研究テーマが、横光利一という一作家に限定されるものではなく、1920年代の芸術思潮の一局面を形成する、共時的広がりをもつ問題であることの意味づけも行った。