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(Heimat, ),.
Thus Magda becomes a woman whose hand the authorities should like to grasp with warm appreciation. But Suderman? Would the creator of that living creature Magda recognize her after Suffering a sea-change into something rare and straggle.
, Resurrection,, (p. )
(p. ) (p. ) -
(drawers) (a short petticoat)
(p. )
(p. ) (pp. - )
Japanese Theater and Imperialism, U.S. - JAPAN WOMEN S JOURNAL, no.. pp. -., pp. - (subject) - - pp. -. (S, p. ) pp. -. pp. -. (T, p. ) p... p.. pp. -. p... p..
p.. p... - pp. -. MORE ~ p.. p.. pp. -.. p.. Laura Mulvey, Visual Pleasure and Narrative Cinema, Screen,, no. (Autumn ) Visual and Other Pleasures (Bloomington and Indianapolice: Indiana University Press, ) pp. -., pp. -. Hermann Sudermann,, Heimat,, p.., p.. Japan Times p.., pp. -. p.. p.. Ray Chow,, Woman and Chinese Modernity: The politics of Reading between West and East. University of Minnesota Press. p.. Yü Ta-fu s Sinking ( Chenlun, ), trans, Joseph S.M. Lau and C.T. Hsia, in Joseph S.M. Lau, C.T.
Hsia, and Leo Ou-fan Lee, eds., Modern Chinese Stories and Novellas 1919-1949 (New York: Columbia University Press, ), pp. -. Yü Ta-fu s Sinking, p. Modern Chinese Stories and Novellas 1919-1949, quoted in Chow, p.. Yü Ta-fu, p., quoted in Chow, p.. p.. p.. p.. p.. p. p.., Feminist Analyses of Modernity in East Asia: China, Japan and Korea The Actress and Japanese Modernity: Subject, Body, Gaze Asian Journal of Women s Studies Yasuko Ikeuchi,