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message in a core event with meticulous use of exposition. One important element in his perspective is knowing the difference between writing stories as opposed to writing plays. In that limited time, the play must have the power to "physically bind the audience to the theatre seat," as opposed to stories that "the reader can put into his pocket." From 1914 to 1924, Kan wrote one-act plays for the leading coterie magazine at that time, New Tides of
Thought (Shinshichō). New Tides of Thought magazine also contributed to the popularity of Taishō drama. In Kan's one-act plays, he focused on a single dramatic event and had the characters' actions revolve around that event to produce the most tension and most "dramatic force," for one-act plays "should extract the most dramatic elements...within a limited time."
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determination of surpassing his father by providing better support for his family in his absence. After Sōtarō returns one night, the family welcomes him but Ken'ichirō's confrontation with him ultimately drives Sōtarō to leave. The play concludes with Ken'ichirō's sudden change of heart towards Sōtarō and accepting him into the family. After
Shinjirō, a younger brother, goes to bring Sōtarō back, the curtain closes before Sōtarō is found. The ending drove Takeda and Ennosuke to alter it to avoid ambiguity, but was changed back to the original to preserve the main message of the play.
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543:(菊池寛賞 Kikuchi Kan Shō) was created by Kikuchi Kan himself that recognizes authors' achievements. However, unlike the Naoki and Akutagawa Prizes, the Kikuchi Kan Prize is given to senior authors over age 45. The prize includes an award of one million yen and a table clock. This award was sponsored by the Association for the Promotion of Japanese Literature for six years before the cancellation of the prize. After Kikuchi Kan's death, the prize was brought back and is currently open to art, literature, film, and other genres. Recipients of this prize include
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329:, represents one of Kikuchi Kan's portrayal of societal issues during his time, which increased his popularity in modern Japanese literature. Other themes of his dramas include issues of morality, money, class, and gender. Kikuchi Kan believes the nature of modern theatre is to shed light upon the wrongs of modern society and liberate Japan from those customs. The heavy influence of common issues in Kikuchi Kan's works gained accolades from critics and dramatists.
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438:(芥川 龍之介) after his death in 1927. The Akutagawa Prize Committee was composed of the close friends of Bungei Shunjusha. The Akutagawa Prize was given every six months to rising authors of original literature (Sōsaku) that were published in any newspaper or magazine. The Akutagawa Prizes were published in
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type of award, in which submitted and unpublished manuscripts were selected by a committee. In brief, the Kenshō shōsetsu, the "prize-winning novels" are selected pieces of fiction novels published in newspapers and magazines that received considerable amounts of praise. The
Akutagawa Prize committee
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Suzuki further argues that many audience members believed that Ruriko was inspired by
Yanagihara Byakuren 柳原白蓮, who was widely known for her beauty, her talent in poetry, her relation to the emperor, and her marriage to coalmine magnate Itō Den'emon 伊藤傳右衞門. According to Suzuki, Byakuren herself asked
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and the use of a minimal number of characters. "The one-act play" he wrote, "is different from long plays – three-acts or five-acts. It should extract the most dramatic elements from all and has to effectively treat it within a limited time." With this short amount of time, Kikuchi Kan's portrays his
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throughout her encounters with different men. She remained pure in body, mind, and soul like a pearl while she gradually rose in power over men. As the story unravels, it encourages the audience to think about Ruriko's motivation to carry out her actions and find the "truth" behind her thinking.
220:. Other major influences from Western countries in Europe in addition to works from India and China contributed to the creation of modern literature in Japan. In comparison to literature in European countries, new Japanese literature did not achieve as much popularity; few works of Japanese
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in 1917. The story revolves around a conflict between a father and son. The eldest son, Ken'ichirō, despises his father, Sōtarō, for his cruel treatment of the family and for deserting them. As the play progresses, the audience learns that Ken'ichirō's hatred towards his father fueled his
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brought
Kikuchi Kan to fame. This drama takes place in Japan and focuses on the theme of gender in society. The main character, a woman named Karasawa Ruriko 唐沢瑠璃子 is a baron's daughter who is forced into an arranged marriage with the rich Shōda Katsuhei 荘田勝平 to save the family from
389:. Before and after Ruriko's arranged marriage to Katsuhei, she remained faithful to her feelings for Sugino Naoya 杉野直也, her first love, and decided to preserve her virginity. Due to Ruriko's choosing to be sexually pure, Katsuhei attempted to rape Ruriko but died from a sudden
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Though
Kikuchi Kan recognized distinct characteristics between Western and Japanese cultures, he used his Japanese roots as the foundation of many of his works. This, in turn, resulted in Kikuchi Kan creating his style of writing in Japanese drama. One of his early works,
393:. From then on, she wanted to overcome the male dominance in the society she lived in. For a period of time Ruriko tricked men and played with their emotions, which lead many of them to violent deaths. However, Ruriko eventually was killed by one of her suitors. The name
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for popular literature. He came to prominence for the plays "Madame Pearl" and "Father
Returns", but his ample support for the Imperial Japanese war effort led to his marginalization in the postwar period. He was also the head of Daiei Motion Picture Company (currently
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was one of the first influences that immersed into Japan's literature. Building from the famous and classic works from the West, which include diaries and autobiographies, Japanese writers formulated a style of fictional writing that is eventually called
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to write favourably of Japan's war efforts in China, and became head of the group's navy branch. He was later affiliated with the Nihon bungaku hōkokukai ("Patriotic
Association for Japanese Literature"), a subordinate of the
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414:, the goddess of revenge. Suzuki argues that, like the goddess of revenge, Ruriko wanted to avenge the women who have fallen victim to the "violence and self-centered desires of men."
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According to
Michiko Suzuki, this play became popular among female audiences because it gave them strength and the opportunity fulfill "the fantasy of female liberation".
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357:(Father Returns), is a one-act play that mainly portrays the struggles of a father-son relationship. Father Returns opened in 1920, after being published in the journal
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240:, Kikuchi Kan was the most celebrated playwright in Japan. Kan was widely claimed as "a playwright who transformed Irish plays into a Japanese context," including
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Morichini, Giuseppe (1955). "Prewar and
Postwar Japanese Fiction: Why the former is little known and why the latter should be better known in the West".
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Morichini, Giuseppe (1955). "Prewar and Postwar Japanese Fiction: Why the former is little known and why the latter should be better known in the West".
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Morichini, Giuseppe (1955). "Prewar and Postwar Japanese Fiction: Why the former is little known and why the latter should be better known in the West".
290:(Quintessence of Modern Plays in England and Ireland). Kan's interests in Irish drama and J.S. Synge were also inspirations to his future works. In his
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were translated into European languages. Kikuchi Kan saw the language barrier and inaccuracy of translation as part of the central cause for this.
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469:(直木 三十五) after his death in February 1934. The Naoki Prize was given to rising authors of popular literature. The Naoki prizes were published in
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and commercial magazines and newspapers. After producing the two prizes, Kikuchi Kan initially decided on having the prizes reflect the
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The process of choosing recipients of the two prizes is for the committees to select already published manuscripts in
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Kan Kikuchi's published writings encompass 512 works in 683 publications in 7 languages and 2,341 library holdings.
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Robertson, Jennifer (2002). "Yoshiya Nobuko: Out and Outspoken in Practice and Prose". In Walthall, Anne (ed.).
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1130:. International Research Centre for Japanese Studies, National Institute for the Humanities. pp. 106–108.
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Mack, Edward (2004). "Accounting for Taste: The Creation of the Akutagawa and Naoki Prizes for Literature".
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Mack, Edward (2004). "Accounting for Taste: The Creation of the Akutagawa and Naoki Prizes for Literature".
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Mack, Edward (2004). "Accounting for Taste: The Creation of the Akutagawa and Naoki Prizes for Literature".
563:(lit. "Pen corps"), a government organisation which consisted of authors who travelled the front during the
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1175:. International Research Centre for Japanese Studies, National Institute for the Humanities. p. 108.
1160:. International Research Centre for Japanese Studies, National Institute for the Humanities. p. 107.
1145:. International Research Centre for Japanese Studies, National Institute for the Humanities. p. 106.
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After graduating from the University of Kyoto, Kan wrote detailed articles on Synge and Irish plays for
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Manufacturing Modern Japanese Literature: Publishing, Prizes, and the Ascription of Literary Value
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Kojima, Chiaki (2004). "J.M. Synge and Kan Kikuchi: From Irish Drama to Japanese New Drama".
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Kojima, Chiaki (2004). "J.M. Synge and Kan Kikuchi: From Irish Drama to Japanese New Drama".
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and may never be able to satisfy particular standards for completeness. You can help by
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Michiko, Suzuki (2012). ""Shinju fujin," Newspapers, and Celebrity in Taishō Japan".
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and Kikuchi confirmed that there was a connection. Suzuki also connects Ruriko to
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Elements of drama Kikuchi Kan considered to be the most effective are the
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The Politics and Literature Debate in Postwar Japanese Criticism, 1945-52
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issues. The prize included both a watch and a cash award of five hundred
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in 1934 consisted of the members: Bungei Shunjusha, Yamamoto Yuzu,
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A Beggar's Art: Scripting Modernity in Japanese Drama, 1900–1930
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A Beggar's Art: Scripting Modernity in Japanese Drama, 1900-1930
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Historical Dictionary of Modern Japanese Literature and Theater
1278:. United States of America: Duke University Press. p. 186.
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Kikuchi Kan whether she played a role in creating Ruriko in
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Hutchinson, Rachael; Morton, Leith Douglas, eds. (2019).
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was created by Kikuchi Kan as tribute to literary author
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and publisher. He established the publishing company
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1101:. University of Hawaii Press. pp.
853:. University of Hawai'i Press. p.
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1405:. SR Books. p. 169.
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572:. After the war, he was
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248:. When studying at the
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509:Murō Saisei
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317:Kayano Yane
222:playwrights
169:Naoki Prize
138:Kan Kikuchi
109:Nationality
58:Native name
43:Kan Kikuchi
18:Kikuchi Kan
1610:Categories
1522:References
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587:This is a
525:Masao Kume
501:Haruo Satō
387:bankruptcy
101:Occupation
76:1888-12-26
1451:"日本文学報国会"
561:Pen butai
190:Takamatsu
165:Akutagawa
1595:LibriVox
1505:Archived
1487:July 24,
1481:Kotobank
1461:July 24,
1455:Kotobank
1361:July 24,
1355:Kotobank
1311:25066744
1261:25066744
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756:See also
496:shōsetsu
484:issues.
399:chastity
196:, Japan.
154:magazine
112:Japanese
104:Novelist
1584:at the
650:無名作家の日記
489:Coterie
412:Nemesis
236:opened
213:Realism
178:mahjong
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686:忠直卿行状記
668:恩讐の彼方に
493:Kenshō
159:, the
146:author
1477:"菊池寛"
1307:JSTOR
1257:JSTOR
1222:JSTOR
1105:–89.
917:: 99.
832:Notes
720:藤十郎の恋
613:屋上の狂人
595:with
479:オール讀物
142:kanji
1539:ISBN
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1463:2023
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1107:ISBN
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1055:help
991:help
746:真珠夫人
702:蘭学事始
547:and
527:and
519:and
461:The
450:).
379:真珠夫人
324:茅の屋根
300:半自叙伝
282:and
277:帝国文学
167:and
125:菊池 寛
89:Died
68:Born
62:菊池 寛
1593:at
1532:菊池寬
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