The flight of the Japanese butterfly: Orientalism, nationalism, and performances of Japanese womanhood

American Quarterly

Volumn 56, Issue 4, 2004, Pages 975-1001

  Yoshihara, Mari ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 47349122372     PISSN: 00030678     EISSN: None     Source Type: Journal    
DOI: 10.1353/aq.2004.0067     Document Type: Review

References (55)

1. For examples of studies that analyze opera's ability to construct various, often competing, meanings at once through music as well as narrative, visual, and histrionic means, see Catherine Clément, Opera, or the Undoing of Women, trans. Betsy Wing (Minneapolis: University of Minnesota Press, 1988 [1979])
2. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991)
3. Jonathan Bellman, The Exotic in Western Music (Boston: Northeastern University Press, 1998)
4. On Madama Butterfly, see Arthur Groos, "Lieutenant F. B. [sic] Pinkerton: Problems in the Genesis and Performance of Madama Butterfly," in The Puccini Companion, ed. William Weaver and Simonetta Puccini (New York: Norton, 1994), 169-201
5. See Mari Yoshihara, Embracing the East: White Women and American Orientalism (New York: Oxford University Press, 2003), ch. 3
6. On the cultural climate of Japan during this period, see Stephen Vlastos, Mirror of Modernity: Invented Traditions of Modern Japan (Berkeley: University of California Press, 1998)
7. Harry Harootunian, Overcome by Modernity: History, Culture, and Community in Interwar Japan (Princeton: Princeton University Press, 2000)
8. Sharon A. Minichiello, "Greater Taishō: Japan 1900-1930," in Taishō Chic: Japanese Modernity, Nostalgia, and Deco (Honolulu: Honolulu Academy of Arts, 2001), 9-15
9. Urry Eppstein, The Beginnings of Western Music in Meiji Era Japan (Lewiston: Edwin Meilen Press, 1994)
10. On the history of opera in Japan, see Nihon Opera Shinkōkai, ed., Nihon no Opera-shi ([Tokyo]: Zaidan Hōjin Nihon Opera Shinkōkai, 1986)
11. Masui Keizō, Nihon no Opera - Meiji kara Taishō e ([Tokyo]: Min-on Ongaku Shiryō-kan, 1984)
12. Nihon no Opera-shi, 80-81
13. Akiyama Tatsuhide, Nihon no Yōgaku Hyakunen-shi ([Tokyo]: Dai-ichi Hōki Shuppan, 1966), 262
14. In her interviews and autobiography, Farrar mentions a Japanese actress by the name of "Madame Fujiko" whom she hired as a maid and from whom she learned Japanese movements, gestures, and manners. The identity of this "Mme. Fujiko" has not been ascertained, but it is highly likely that Farrar was talking about Takaori Sumiko. See Yoshihara, Embracing the East, 88-90
15. Yotsuya Samon, "Nihon ni okeru 'Chō-chō-fujin,'" Gekkan Gakufu25 (June 1936): 76-79
16. Yoshimoto Akemitsu, ed., Ochō Fujin: Denki Miura Tamaki (Tokyo: Ubunsha, 1947), 285
17. Miura Tamaki Zenshū 1912-1943 (The Compete Works of Tamaki Miura, 1912-1943) (Nippon Columbia, 1995)
18. The New York World [n.d., n.p.], quoted in the Musical Courier, February 12, 1920, 9
19. The Honolulu Advertiser, April 12, 1922
20. On the gender ideology of "good wife, wise mother" and the challenges posed by the "modern girl," see Sharon H. Nolte and Sally Ann Hastings, "The Meiji State's Policy toward Women, 1890-1910," in Recreating Japanese Women, 1600-1945, ed. Gail Lee Bernstein (Berkeley: University of California Press, 1991), 151-74
21. Kendall H. Brown, "Flowers of Taishö: Images of Women in Japanese Society and Art, 1915-1935," in Taishō Chic, 17-28
22. Shibata Tamaki, "Joyō ni tsukite," Chūō Kōron 26.12 (December 1911): 100
23. Shibata Tamaki, Sekai no Opera ([Tokyo]: Kyōeki Shōsha, 1912)
24. Yoshimoto, Ochō Fujin, 58-59
25. Tanabe, Kōshō Miura Tamaki, 189-207
26. Miura Tamaki, Kageki Ochō Fujin ([Tokyo]: Ongaku Sekai-sha, 1937), 141
27. Miura Tamaki, "Watashi no Ochō Fujin 5," Jiji Shinpō, December 25, 1935, 7
28. On the story about the Japanese woman after whom Madame Butterfly was presumably modeled, see Kusudo Yoshiaki, Mou Hitori no Chō-Chō- Fujin: Nagasaki Gurabaa-tei no Onna Shujin Tsuru (Tokyo: Mainichi Shinbun-sha, 1997)
29. Bernstein, Recreating Japanese Women, chs. 7-11
30. Kano, Acting Like a Woman in Modern Japan, 6, 15-16, 92-93
31. Silverberg, "The Modern Girl as Militant."
32. Takaori Shūichi, "Sokoku Seinen Gakka wa Ikanishite Shin-tenchi ni Hatten Subeki ka 2," Ongakkai 179 (September 1916): 19
33. "Nihon ni Kaeru madeno Miura Tamaki san to sono Uramen no Kushin," Yomiuri Shinbun, May 1, 1922
34. Tokyo Mainichi Shinbun, March 26, 1909
35. Tokyo Nichinichi Shinbun, March 27, 1909
36. Yomiuri Shinbun, April 2, 1909
37. "Geijutsu to Kekkon tono Mondai," Ongakkai 2.5 (May 1909): 9-11
38. Ikuta Aoi, "Matsui Sumako to Shibata Tamaki," Chūō Kōron 27.7 (July 1912): 140-41
39. "Fujii Tamaki shi ni," Ongakkai 2.5 (May 1909): 29
40. Tokyo Asahi Shinbun, March 29, 1922
41. Tokyo Nichinichi Shinbun, July 29, 1922
42. Yomiuri Shinbun, May 28, 1932
43. Tokyo Asahi Shinbun, May 28, 1932
44. Nihon Shinbun, May 28, 1932
45. On the contradictory nature of government sanctions on "Western" music during the war years, see Akiyama, Nihon no Yōgaku Hyakunen-shi, 409-10
46. Miura Tamaki, "Nihon no Uta wo," Ongaku Bunka 1.1 (1943): 42
47. Shuhei Hosokawa presents an insightful analysis of responses to Butterfly in the Japanese community in Brazil in his "Nationalizing Cho-Cho-San: The Significance of 'Butterfly Singers' in a Japanese-Brazilian Community," Japanese Studies 19.3 (1999): 253-68
48. On the racial politics of Hawai'i during this period, particularly around the Japanese, see Ronald Takaki, Pau Hana: PUntation Life and Labor in Hawaii, 1835-1920 (Honolulu: University of Hawai'i Press, 1983)
49. Gary Okihiro, Cane Fires: The Anti-Japanese Movement in Hawaii, 1865- 1945 (Philadelphia: Temple University Press, 1991)
50. Eileen H. Tamura, Americanization, Acculturation, and Ethnic Identity: The Nisei Generation in Hawaii (Urbana: University of Illinois Press, 1994)
51. The Nippu Jiji (Honolulu), April 12, 1922
52. On the Japanese community in New York during this period, seeMitziko Sawada, Tokyo Life, New York Dreams: Urban Japanese Visions of America, 1890-1924 (Berkeley: University of California Press, 1996)
53. Japanese-American Commercial Weekly (New York), June 6, 1915; August 1, 1915
54. Horiuchi, "Kageki 'Madamu Batafurai' Jōen ni tsuki," 77-79
55. Matsudaira Satoko, "Hatsu-butai 'Ochō-fujin' no Kansō," n.t., (1930), 91. Yamada Kōsaku Collection, Microfilm 90, Scrapbook 16, frame 317