ピタルク パウ (ピタルク パウ)

写真a

所属

文学学術院 文化構想学部

職名

准教授

ホームページ

https://paupitarch.net/

学歴 【 表示 / 非表示

  • 2009年09月
    -
    2015年10月

    Columbia University   East Asian Languages and Cultures   博士  

  • 2007年04月
    -
    2009年03月

    東京大学   言語情報科学   修士  

学位 【 表示 / 非表示

  • コロンビア大学   博士

経歴 【 表示 / 非表示

  • 2017年09月
    -
    継続中

    早稲田大学   文学学術院   准教授

  • 2015年09月
    -
    2017年08月

    CUNY Queens College   Department of Classical, Middle Eastern, and Asian Languages and Cultures   Assistant Professor

 

研究分野 【 表示 / 非表示

  • 日本文学   近代日本文学

研究キーワード 【 表示 / 非表示

  • 大衆文化

  • 比較文学

  • メディア学

  • 近代日本文学

論文 【 表示 / 非表示

  • “Abnormal Genealogies: Diagnosing the Writer in 1920s Japan”

    ピタルク パウ

    Modernism/modernity Print Plus    2020年  [査読有り]

  • "Art, Labor, and Utopia in the Early Fiction and Criticism of Satō Haruo"

    ピタルク パウ

    Waseda RILAS Journal   ( 7 ) 223 - 233  2019年10月  [査読有り]

  • "The Translation of Japanese Literature in Spain"

    ピタルク パウ

    Waseda RILAS Journal   ( 6 ) 49 - 54  2018年10月  [招待有り]

  • スペインにおける日本文学の翻訳事情

    ピタルク パウ

    多元文化   ( 7 ) 44 - 52  2018年02月  [招待有り]

  • “Teatralidad y auto-invención en la ficción de juventud de Tanizaki Jun’ichirō”

    ピタルク パウ

    El Archipiélago: Ensayos para una historia cultural del Japón     99 - 111  2018年  [招待有り]

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書籍等出版物 【 表示 / 非表示

  • Nuevas aproximaciones a la literatura japonesa (New Approaches to Japanese Literature)

    ピタルク パウ( 担当: 編集)

    Bellaterra  2020年

  • Història del Japó (History of Japan)

    ピタルク パウ, with Oriol Junqueras, Dani Madrid, Guillermo Martínez( 担当: 共著)

    UOC  2011年

  • Mujeres en Asia Oriental (Women in East Asia)

    ピタルク パウ( 担当: 編集)

    Lectora, no. 16  2010年

  • Pasen y vean. Estudios corporales (Come in and See. Body Studies)

    ピタルク パウ( 担当: 共編者(共編著者))

    UOC  2008年

  • Los habitos del deseo: formas de amar en la modernidad

    ピタルク パウ, with Carme Riera, Meri Torras, Isabel Clúa( 担当: 共編者(共編著者))

    Ex-cultura  2005年

講演・口頭発表等 【 表示 / 非表示

  • “Tracing Embodied History in “Jokaisen kitan” (1925) by Satō Haruo”

    ピタルク パウ

    Association for Asian Studies in Asia  

    発表年月: 2020年09月

    開催年月:
    2020年08月
    -
    2020年09月
  • “Facing Each Other Stark Naked: Taishō-Era Biographies and the Author as Modern Hero”

    ピタルク パウ

    22nd Asian Studies Conference Japan  

    発表年月: 2018年06月

  • “Shimada Seijirō or the Author in the Age of Mass Production"

    ピタルク パウ

    Autorías encarnadas/Embodied Authorship  

    発表年月: 2018年04月

  • “Rioting Sickness: The Aesthetics of Mental Disability in the Short Fiction of Okamoto Kanoko (1889-1939)”

    ピタルク パウ

    American Comparative Literature Association  

    発表年月: 2018年03月

  • “Narcissism as Genius in the Short Fiction of Okamoto Kanoko (1889-1939)”

    ピタルク パウ

    American Association of Teachers of Japanese  

    発表年月: 2018年03月

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特定課題研究 【 表示 / 非表示

  • Literary Biography and the Invention of the Modern Author in Taisho Japan

    2020年  

     概要を見る

    Between the Meiji and Shōwa eras there is an essential change in the way literary authorship is conceptualized, that is patently visible in biographical narratives of modern authors. A good term of comparison for these biographical narratives are memorializations of Meiji authors that are generally centered around relationships of personal acquaintance, and emphasize master and disciple networks, and the tightly knit communities around coterie journals and other similar venues for and by writers. By contrast, Taishō biographies of writers emphasize the value of their objects’ lives as models, if not always for behavior, very often for a modern artistic sensibility that the public could participate in through their life and work. Taishō biographers, often aspiring authors themselves, argue their suitability to present the lives of their objects to the public, not because they were present in the private moments of the biography’s subjects, but because they shared with them a unique artistic sensibility through a certain fraternity of artists beyond personal connections. These features point to a conception of authorship based around individual sensibility and creativity that would supersede the relationships of mentorship and patronage that had dominated the literary world in the Meiji era.

  • Literary Biografhy and the Invention of the Modern Author in Taisho Japan

    2020年  

     概要を見る

    Between the Meiji and Shōwa eras there is an essential change in the way literary authorship is conceptualized, that is patently visible in biographical narratives of modern authors. A good term of comparison for these biographical narratives are memorializations of Meiji authors that are generally centered around relationships of personal acquaintance, and emphasize master and disciple networks, and the tightly knit communities around coterie journals and other similar venues for and by writers. By contrast, Taishō biographies of writers emphasize the value of their objects’ lives as models, if not always for behavior, very often for a modern artistic sensibility that the public could participate in through their life and work. Taishō biographers, often aspiring authors themselves, argue their suitability to present the lives of their objects to the public, not because they were present in the private moments of the biography’s subjects, but because they shared with them a unique artistic sensibility through a certain fraternity of artists beyond personal connections. These features point to a conception of authorship based around individual sensibility and creativity that would supersede the relationships of mentorship and patronage that had dominated the literary world in the Meiji era.

  • Mental Abnormality and the Female Artistic Genius in the Works of Okamoto Kanoko(1889-1939)

    2017年  

     概要を見る

    Author Okamoto Kanoko (1889-1939) shared with many of her contemporaries a deep interest in the connections between mental abnormality and artistic creativity. Okamoto herself had first-hand experience of internment in a facility for mental patients, but her essays and autobiographical writings rarely mention this episode, and certainly do not exploit it in the creation of her artistic persona. Gendered attitudes towards mental health probably lie at the root of this difference: a female writer like Okamoto would pay a much steeper price in her public image if she flirted with motifs of mental abnormality in her personal branding.In her fiction, on the other hand, I identify a common pattern in which mental illness occupies a central place in the process of artistic creation, but always split into two different characters whose relationship becomes the center of the story. One of the characters then experiences these pathological states vicariously through the other and derives their creativity at least partly from them, participating in the genealogy of the “mad artist” but without necessarily displaying the full effects of mental illness. It is possible to assume that, having had first-hand experience of mental illness herself, Okamoto would not be so cavalier about its consequences.

 

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