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The Pillow Book is written entirely in Japanese. During the late 10th and early 11th centuries, Japanese men typically wrote in Chinese, using characters, while Japanese women wrote exclusively in their native tongue, using hiragana, a syllabary derived from Chinese characters. [10] The Pillow Book is a part of a large tradition of women's ...
Women and the Economic Miracle: Gender and Work in Postwar Japan is a non-fiction book by Mary Brinton, published by the University of California Press in 1993. Brinton argues that women had supported male workers and directly provided adaptable labor, so in this sense they support the economy of Japan. [ 1 ]
The hidden sun: Women of modern Japan (Westview Press, 1983) ASIN 0865314217; Sato, Barbara. The New Japanese Woman: Modernity, Media, and Women in Interwar Japan (Duke UP, 2003). ASIN 0822330083; Tipton, Elise K. (1 May 2009). "How to Manage a Household: Creating Middle Class Housewives in Modern Japan". Japanese Studies. 29 (1): 95–110.
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...
These works also helped introduce the concepts of laotong, sisterhood, sentimentalism, and romance to young female audiences in Japan, with Jo of Little Women in particular becoming a prominent example of a tomboy character. [6] Class S was also influenced by the Takarazuka Revue, [3] an all-women theater troupe established in 1914. [6]
In fact, studies by OECD show that more than 70% [67] of Japanese women quit their jobs or stops working for more than a decade and do not come back after giving birth to their first child, whilst it is about 30% [67] in the US. Japanese women tend to choose between work, or family and the majority of them decide on the family over their careers.
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Itō joined the Bluestocking Society (青鞜社 Seitō-sha), as producer of the feminist arts-and-culture magazine Seitō (青鞜) in 1915, contributing until 1916. In her last year as Editor-in-Chief, [3] she practiced an inclusive attitude towards content; she "opened the pages to extended discussions of abortion, prostitution, free love and motherhood". [4]