Faculty Profiles - HOSHINO, Yukiyo

Presentations -

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『婦女生活』に見る日本 International conference

星野幸代

東アジア日本研究者協議会（EACJS）第４回国際学術大会

建国后至一九五〇年代初期中国芭蕾的探索 International conference

星野幸代

国际学术研讨会「战后中日艺术交涉――继承与展开」

The Comfort Dance Troupe during World War II in Japan. Dance Studies Association Annual Conference International conference

Yukiyo Hoshino

Dance Studies Association Annual Conference

严歌苓小说《小姨多鹤》中的身体写作解读 International conference

星野幸代

“新时代的女性文学与性别研究”高峰论坛

1920－30年代上海のガールズ・ショー・ビジネスの隆盛と衰退 Invited International conference

星野幸代

踊る中国――都市空間における身体とジェンダー

日中戦争下のモダンダンス：戦後の継承と展開に向けて Invited

星野幸代

日本比較文学会関西支部第５４回大会

凌叔華の一九三〇年代：戦時下のセクシュアリティと創作 Invited International conference

星野幸代

華中科技大学日本語科設立20周年記念大会曁第三回日本語・日本文化国際学術討論会

日中戦争下のモダンダンス：現在の共同研究まで Invited

星野幸代

中国文芸研究会 2018 年度夏合宿

Dai Ailian's Anti-Japanese Dance: Focusing on Her Programs During the Second World War International conference

Yukiyo Hoshino

Dance Studies Association annual Conference

“閨秀作家”凌叔華の1930年代

星野幸代

1930年前後の文化生産とジェンダー

The Function of Revolutionary Ballet in Zhang Yimou's Coming Home International conference

International Association of Cultural Studies

Event date： 2017.7

Language：English Presentation type：Oral presentation (general)

Venue：Seoul, Songkonghue University Country：Korea, Republic of

This study analyzes the function of revolutionary dance in the later films of Zhang Yimou, a filmmaker with an international reputation. Recently, the dances danced during the Cultural Revolution in China have become strange symbols that represent this period in Chinese history. For instance, in Zhang's Coming Home, the lead in the ballet The Red Detachment of Women poses in arabesque, an attitude found in classical ballet, holding a gun at the ready. This is a rather peculiar stance. Additionally, her vivid red costume and her black hair in one braid meet the Western gaze as the Oriental Other, that is, in the category of Exotic China. Dandan, the daughter of Lu Yanxi and Wanyu, the hero and the heroine of this film, informs the authorities of her father's hideout and breaks up the family in exchange for getting a lead role in a revolutionary dance program. This storyline is a representative pattern of the disruption of the family during the Cultural Revolution. Later, a few decades after the Cultural Revolution, Dandan tries to bring back her mother's memory by dancing the lead role. Wanyu, however, does not react to her performance, forming a contrast to the enthusiasm of Chinese people from days gone by. Zhang Yimou, a director who has achieved fame in the mainstream world film industry, shows the collapse of a family that became irrecoverably lost even after being politically rehabilitated. Thus, the revolutionary dance scenes in Zhang Yimou's films increase the effect of meeting Orientalism and showing the negative history of China with the technique of exhibitionism, as Ray Chow puts it. Coming Home rejects any denouement of the type commonly seen in Hollywood films.

The Relationship between Women's Sport and the Show Business in the 1920th China International conference

HOSHINO Yukiyo

International Forum on Asian History and Asian Studies

Event date： 2017.6

Language：English Presentation type：Oral presentation (general)

Venue： Athens Institute for Education and Research Country：Greece

This paper analyzes the relationship between women's sport education and the show business in the 1920th China. In the late the 1910s, bound feet, which had been a criterion for beauty, became the symbol of backwardness and the healthy beauty replaced them. In the next decade, when the modern school system was built, a lot of women's sports school were established one after another. It was the physical education thought of Cai Yuanpei, Father of Education in Republic of China, that enhanced the educational institutions of women's sports. Meantime, Li Jinhui, a well-known composer of popular music as well as a showman, founded Chinese singing and dancing school and the school for beauty. Li's schools belong under the category of actress's training institute. However, they as with women's sports school can be categorized within the educational constitution to train the female body to be suitable for modern age, since Li had become acquainted with Cai at the music workshop of Beijing University and entered Cai's thought with the emphasis on physical education for intelligence. Moreover, this reasoning is supported by the fact that both bodies of sports women and dancing women were popular in the visual media, such as pictorial magazine or comic magazine.

呉暁邦与上海話劇界之間的網絡 International conference

星野幸代

国際学術シンポジウム「1940年代戦時宣伝及媒体表象」

Event date： 2016.10

Language：Chinese Presentation type：Oral presentation (general)

Venue：清華大学 Country：China

本文通过对«申报»及其它资料的分析，再现战争时期身居上海的吴晓邦的舞蹈活动的具体状况，也同时呈现出其活动与当时的话剧人之间的网络景象。从而把抗战舞蹈这一相对容易被忽视的艺术活动定位于抗战演剧之大流中来加以探讨。吴晓邦在其自传«我的舞蹈艺术生涯»中，对于若干事实的发生时期的记述较为暧昧，所以本文依据«申报»的报道文章来确定其具体时期。吴晓邦曾三次赴日本学习舞蹈，其间认识了数位话剧人并结为好友。1933年吴回国后在上海开办了晓邦舞蹈研究所，同时在上海剧院楽剧训练所教授舞蹈，还为业余实验剧团担当舞蹈顾问。七七事变后，吴晓邦参加了救亡演剧队第四队长达半年，临到改组时脱离演剧队，应中法剧艺学校的邀请，导演了上海剧艺社的舞蹈剧。1939年上演的舞蹈剧«罂粟花»特别受欢迎。吴晓邦的妻子盛婕此时还是中法剧艺学校的学生，同时也是上海剧艺社的女演员。之后至1940年代，在各地举办的吴晓邦抗战舞蹈也不仅是凭借他的个人能力，而都是在此之前的上海时期所培养的人际关系基础上实现的。

日本・中国・朝鮮・台湾文人の眼差しの中の舞踊家・崔承喜 Invited

星野幸代

「現代東アジア文学史の国際共同研究」第四回シンポジウム

日治時期台灣文學與台灣現代舞蹈之関係:呂赫若〈山川草木〉 Invited International conference

星野幸代

第十一回東亜学者現代中文文学国際シンポジウム「在地與易地」

小説テクストから舞踊言語へ―台湾コンテンポラリー・ダンスの伝播 International conference

星野幸代

「現代東アジア文学史の国際共同研究」第３回公開ワークショップ

Event date： 2015.8

Language：Japanese Presentation type：Oral presentation (general)

Venue：松本清張記念館 Country：Japan

本報告は、現代台湾人作家と舞踊言語との共鳴、台湾コンテンポラリー・ダンスの国際的な普遍性とを、林懐民（1947嘉義-）と李昂（1952鹿港－）に着目して検討するものである。まず舞踊言語を生んだモダン・ダンス―林懐民のコンテンポラリー・ダンスの源流―と政治権力との歴史的関係を、ドイツと台湾について概観した。次に林懐民と李昂の作家としてのスタートを踏まえて、林の舞踊言語の扱い方、李昂の蔡瑞月に関する発言を検討する。最後に、なぜ台湾コンテンポラリー・ダンスが国際的発信力を持ちえているのか、目下の見解を報告した。

Use of Dance to Spread Propaganda during the Sino-Japanese War International conference

Yukiyo Hoshino

An International Forum on Asian History and Asian Studies

The Relationship between Ballet and Manga in Japan International conference

Yukiyo Hoshino

Joint conference of The Society of Dance History Scholars with Congress on Research in Dance

Intercultural communication through classical ballet in China: Transformation from Occidentalism to Orientalism International conference

Yukiyo Hoshino

Intercultural Communication Between China And the Rest of the World: Beyond (Reverse) Essentialism and Culturalism?

A Dancer amid the Conflict between the Empire of Japan and China: Xiao-bang Wu's Artistic Activities from 1938 to 1941 International conference

Yukiyo Hoshino

Empire, Faith and Conflict

Event date： 2013.10

Language：English Presentation type：Oral presentation (general)

Country：Australia

This paper examines how the dancer Xiao-bang Wu sought a path through the conflict between the Empire of Japan and China from 1938 to 1941. It seems a remarkable instance of both ambivalent and adaptability that Wu later used the dance he had studied in Japan for anti-Japanese activities. This paper focuses on Wu's anti-Japanese activities at the Chinese-French drama school in Shanghai and the Charity School in Chongqing, paying attention to his connection with other artists, and analyzes his creations during that period. Finally, some consideration is given to how Wu took advantage of his study in Japan for his activities.

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