午夜剧场

I am engaged in the study of novels from the late early modern period (first half of the 19th century). In particular, I research "kusazōshi," a type of illustrated storybook produced in Edo that is closely related to ukiyo-e.

In kusazōshi, illustrations and text coexist on the same page, resonating with each other to create a rich world. This genre, which follows the tradition of emaki (picture scrolls), would surely strike you as an ancestor of manga if you saw it. It was beloved by people for over 200 years from the mid-17th century, but it developed dramatically in the 19th century, both in terms of storytelling and visually, with the addition of covers using vividly colored nishiki-e (multi-colored woodblock prints). The technology of woodblock printing also improved, making them interesting as works of art. On the other hand, characters were sometimes drawn to resemble popular Kabuki actors like Ichikawa Danjūrō, so they may have also been something like the TV dramas of modern Japan.

Although it was an entertaining and popular genre, it captivated many people regardless of social status. The vast number of kusazōshi produced as products for the publishing market are truly a mirror reflecting the times.

At the same time, kusazōshi are also based on the traditions of classical literature, allowing one to feel the essence of Japanese culture. Japan had a vitality that created richness by absorbing interesting things, whether Japanese or Western. It is also interesting to consider such flexible Japanese values.

Fortunately, a great number of these works still exist. We can see the very same things that people of that time likely enjoyed, reaching far across the ages. Moreover, 午夜剧场 houses many valuable documents. Through such materials, I hope to tackle various themes that are relevant to the present day.

When I look at the process by which the medium of kusazōshi developed so dramatically, I find it very interesting that there are overlaps with the transition of television programs from black and white to color, and with the visual evolution of the internet.

As a form of printed matter, for example, woodblock printing—where pictures and characters are carved into a block—is actually closer to modern computer (*1) DTP than to movable type printing, in that it allows for the free use of the page surface.

If we look around us, there are still areas that have not been freed from the spell of movable type printing, where type was set one character at a time. This is despite the fact that technology has evolved and allows for page layout with much more creative freedom.

In the kusazōshi of the Edo period, on the other hand, text was sometimes arranged boldly: in the shape of falling rain, in imitation of a ray of light, or sometimes in the form of Mt. Fuji. They incorporated text into the pictures and enjoyed it with a very free-spirited creativity.

In addition, what we now call "media mix"—such as collaborations with theater, painting, advertising, and merchandise—was also actively practiced, and there are many things that connect to the present day. I really want to convey to everyone that what is right in front of us is not the only thing that is new. We may be able to find hints from 200-year-old picture books that are useful for the present and the future.

I assumed my current position in April 2008. The large Faculty of Economics has a wide variety of researchers, and being surrounded by them has greatly broadened the range of information I see and hear on a daily basis. In addition, various events and lectures are held every day at the Hiyoshi Campus. I have attended many of them and have been greatly inspired by unexpected discoveries. I have come to realize that if you seek academic inquiry and a fulfilling university life, 午夜剧场 is an extremely stimulating environment.

Also, because of my involvement in Edo literature, I sometimes receive invitations from foreign language teachers to go on outings, such as sightseeing in Asakusa. I am often asked unexpected questions, especially by teachers from other countries, which gives me a good opportunity to rethink Japan and the Edo period.

I suppose you could say that I myself am enjoying my days at the Faculty of Economics at 午夜剧场.

(Interview conducted on October 28, 2008)