![\"1\"](\"https:\/\/www.waseda.jp\/top\/en\/assets\/uploads\/2016\/08\/1-1.png\")
<\/p>\n<\/p>\n
In Part 2, Professor Hirokazu Toeda at the School of Culture, Media and Society<\/a>, Faculty of Letters, Arts and Sciences and Professor Robert Campbell at the University of Tokyo\u2019s Graduate School of Arts and Sciences continue their dialogue, this time talking about the soundscape found within literary works set in Ginza, such as the Wak\u014d bell.<\/p>\n (Date: April 25, 2016)<\/p>\n Campbell:<\/strong>\u3000In Tokyo\/Gingai Sh\u014dshi [Tokyo\/Ginza town magazine] (1882), mentioned in Part 1, Ginza covered \u201capproximately hatch\u014d (8-ch\u014d),\u201d equivalent of about 870 meters today. This suggests a common topographical perception of Ginza. For instance, it was included in the title of Rintar\u014d Takeda\u2019s novel \u201cGinza Hatch\u014d\u201d (1935). Another characteristic of novels set in Ginza is that they often portray the passage of time or the changes in atmosphere over time. The ringing bell at Hattori Tokeiten store (now Wak\u014d), a symbol which also frequently appears in novels, tells people the time. We could say that this bell\u2019s sound is an essential component of Ginza\u2019s soundscape.<\/p>\n Tomoichir\u014d Inoue, for example, published about ten novels set in Ginza during the occupation of Japan immediately after World War II. One of them, \u201cGozen Reiji [Midnight]\u201d (1953), which was serialized in the Yomiuri Shimbun evening paper from 1952, contains the following passage:<\/p>\n \u00a0<\/strong> Photos: Hattori Tokeiten upon completion (left) and Wak\u014d store now (right) (Images: Wak\u014d)<\/p><\/div>\n Toeda:<\/strong>\u3000That\u2019s fascinating. Are there any other soundscapes of Ginza?<\/p>\n Campbell:<\/strong>\u3000There are many descriptions of sounds of transportation, such as horse-drawn trams, rickshaws, and car horns. Also, the opening scene of Sh\u016bsei Tokuda\u2019s novel \u201cShukuzu [Reduced Drawing]\u201d (first published in the Miyako Shinbun, 1941) has two characters sitting on the second floor of Shiseido (now Shiseido Parlour) and chatting while watching the traffic on Ginza Street below. They describe the crowds of people and the stream of vehicles below separated from them by a single sheet of glass.<\/p>\n Toeda:<\/strong>\u3000The characteristics of a city emerge from its sound, don\u2019t they? Yasunari Kawabata also selects a variety of very different sounds to depict the grandeur of the post-quake reconstruction of Asakusa in \u201cAsakusa Kurenaidan [The Scarlet Gang of Asakusa]\u201d (1930). To represent the bustle and dynamism of the streets being restored, he lists sound after sound, such as clips of newly started radio broadcast, footsteps of people visiting the temple, chimes of the temple\u2019s bells, and the clinking of coin offerings.<\/p>\n \u00a0<\/strong><\/p>\n Kawabata, Yasunari. “Asakusa Kurenaidan [The Scarlet Gang of Asakusa].” Senseisha, 1930. Box Design by Kenkichi Yoshida. (Source: The Museum of Modern Japanese Literature, collection number: P0001016)<\/p><\/div>Campbell:<\/strong>\u3000As far as bustling towns go, going back to Ginza, Kid\u014d Okamoto\u2019s essay \u201cGinza no Asa [The Morning in Ginza]\u201d (first published in Bungei Club magazine, 1901) introduces a succession of people who live surrounded by voices and mechanical noises against the background sound of horse-drawn carriages.<\/p>\n \u00a0<\/strong> Photo: Professor Campbell provided extracts from a number of literary works<\/p><\/div>\n Toeda:<\/strong>\u3000Talking about horse-drawn trams, this reminds me of a scene from Natsume S\u014dseki\u2019s \u201cSanshir\u014d\u201d (1909) in which the protagonist, Sanshir\u014d Ogawa, arrives in Tokyo and is surprised at first by the jingling bells of the trains at Marunouchi, near Ginza. What surprises Sanshiro most is that \u201cNo matter how far I go, Tokyo never ends.\u201d<\/p>\n Talking about horse-drawn trams, this reminds me of a scene from Natsume S\u014dseki\u2019s \u201cSanshir\u014d\u201d (1909) in which the protagonist, Sanshir\u014d Ogawa, arrives in Tokyo and is surprised at first by the jingling bells of the trains at Marunouchi, near Ginza. What surprises Sanshiro most is that \u201cNo matter how far I go, Tokyo never ends.\u201d<\/p>\n Morioka Shoten\u2019s location, where this dialogue is taking place, was previously called Kobiki-ch\u014d and used to be an artisan district long ago. I have heard from people born and raised here that Kobiki-ch\u014d was a town rich in sounds, where one could hear craftsmen making all kinds of things. It was an atmosphere of songs and dance with the nearby Kabuki-za Theater. When we think about present-day Ginza, it seems to revolve around modern sounds, but we know that in days gone by, it was colored by a variety of sounds that conjured up people\u2019s occupations.<\/p>\n In the years since Kido Okamoto\u2019s \u201cGinza no Asa,\u201d which you mentioned earlier, writers and poets influenced by futurism (futurismo<\/em> in Italian), a concept originating from Italy and introduced into Japan in the early 20th century, depicted Ginza as it underwent modernization. In the eyes of the creative minds drawn to the avant-garde art movement, which renounced traditional art and glorified the mechanical beauty, speed and dynamism of the new era, Ginza must have appeared to be a very attractive town. Hence, what they chose were the modern sounds emitted by cars, elevators and so on. Regarding the transformation of the Tokyo sounds, including Ginza, reading the diary of Kafu Nagai, \u201cDanch\u014dtei Nichij\u014d [The Danch\u014dtei Diary]\u201d (1917-1959), provides a taste of the sounds that he heard during the Taish\u014d era and well into the Sh\u014dwa era.<\/p>\n I believe there could be new discoveries if we collected the ways in which different writers expressed sounds and considered the transformation of space and time when depicting Tokyo.<\/p>\n In the next session, the two professors will discuss Ginza and literature during the occupation.<\/p>\n \u261ePart 1<\/a><\/strong> Born in New York, Professor Robert Campbell graduated from University of California, Berkeley and earned a PhD in literature from the Department of East Asian Languages and Civilizations, Harvard University. He moved to Japan in 1985 as a research student in the Faculty of Humanities, Kyushu University, later joining the faculty as an assistant professor. He also served as associate professor at the National Institute of Japanese Literature and associate professor and later professor at the Graduate School of Arts and Sciences, the University of Tokyo. His specialization is Japanese literature from the Edo to Meiji period. His publications include \u201cRobert Campbell no Shosetsuka Shinzui\u2014Gendai Sakka Rokunin to no Taiwa [Dialogue With Six Contemporary Artists – Novelist Essence of Robert Campbell]\u201d (NHK Publishing, 2012), \u201cJ-Bungaku\u2014Eigo de Deai, Nihongo wo Ajiwau Meisaku 50 [J-Literature: Fifty Masterpieces to Encounter in English and Relish in Japanese]\u201d (University of Tokyo Press, 2010), \u201cKanbun Shosetsu Shu [Meiji Novels Written in Classical Chinese]\u201d (Iwanami Shoten, 2005), \u201cYomu Koto no Chikara\u2015Todai Komaba Renzoku K\u014dgi [The Power of Reading\u2015Lectures at Komaba, the University of Tokyo]\u201d (Kodansha, 2004) and \u201cKaigai Kenbun Shu [A Collection of Observations from Abroad]\u201d (co-writer, Iwanami Shoten, 2009). He is also active in the Japanese media where he utilizes his expertise in literature as a television host, news commentator, newspaper columnist, book reviewer and radio personality.<\/p>\n Born in Tokyo in 1964, Professor Hirokazu Toeda<\/a> graduated from Waseda University\u2019s then School of Letters, Arts and Sciences before going on to study Japanese literature the Graduate School of Letters, Arts and Sciences, where he obtained his PhD in literature. He served as an assistant professor at Otsuma Women\u2019s University before returning to Waseda University as an associate professor. He has served as a professor since 2003. He also frequently takes on collaborative posts overseas, such as visiting professor at UCLA in 2015 and visiting researcher at Columbia University in 2015 and 2016. Professor Toeda received the Utsubo Kubota Prize for Literature in 1994. His field of specialization is modern Japanese literature (literary modernism centered on the New Sensationalist school of Japanese writers, modern Japanese literature and the media and the interrelation between literature and censorship during the Allied occupation, etc.) His publications include \u201cShigeo Iwanami\u2014Living Low, Thinking High\u201d<\/a> (Minerva Shobo, 2013), \u201cMasterpieces Can Be Made\u2014Yasunari Kawabata and His Works\u201d<\/a> (NHK Publishing Inc., 2009), \u201cCensorship, Media and Literary Culture in Japan: from Edo to Postwar\u201d<\/a> (co-author and co-editor, Shinyosha, 2012), \u201cSurvey of Magazines during Occupation\u2014Literary Edition, Volumes 1-5\u201d (co-author\/editor, Iwanami Shoten, 2009-2010), \u201cThe Cambridge History of Japanese Literature\u201d<\/a> (co-author, Cambridge University Press, 2015), and a commentary on Parts 1 and 2 of Riichi Yokomitsu\u2019s \u201cRyoshu\u201d<\/a> (Iwanami Shoten, 2016).<\/p>\n Morioka Shoten, Ginza Branch<\/strong> Photos, Left: Morioka Shoten Ginza Branch in Ginza-Itch\u014dme Right: (From left) Prof. Robert Campbell, Prof. Hirokazu Toeda, and Morioka Shoten Manager Yoshiyuki Morioka<\/p><\/div>\n","protected":false},"excerpt":{"rendered":" Professor Hirokazu Toeda, scholar of modern Japanese literature School of Culture, Media and Society, Faculty […]<\/p>\n","protected":false},"author":4,"featured_media":43963,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[81,117],"tags":[185,167,307,178],"class_list":["post-44488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-topic","tag-arts-en","tag-culture-en","tag-feature-en","tag-research-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/posts\/44488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/comments?post=44488"}],"version-history":[{"count":1,"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/posts\/44488\/revisions"}],"predecessor-version":[{"id":44528,"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/posts\/44488\/revisions\/44528"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/media\/43963"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/media?parent=44488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/categories?post=44488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/top\/en\/wp-json\/wp\/v2\/tags?post=44488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}In the steamy night sky during the rainy season, the rain is falling sedulously. Even the dials of the Hattori Clock Tower on Ginza Yon-Ch\u014dme are clouded. The round face of the clock, powered by electricity, is glowing hazily as if it were the moonlight.
\n\u3000<\/strong>Ding…
\n\u3000<\/strong>Dong…
\n\u3000<\/strong>Ding…
\n\u3000<\/strong>The clock tower eventually starts resonating its eloquent sounds, telling time.
\n\u3000<\/strong>How many times will it ring?
\n\u3000<\/strong>Eiko Uchiumi unintentionally counts the bells as she stands under the eaves of a dim-lit beer hall on the intersection of Owari-Ch\u014d. However, she definitely knows for sure that the bell will ring twelve times. Because Eiko left the Ky\u014dwa Hall in Tsukiji at exactly 11:40PM, it has to be 12 o’clock that the Hattori Clock Tower is pealing now.
\n\u3000<\/strong>“Gosh… I have to wait in a place like this, again…”
\n\u3000<\/strong>Although they had phoned each other and Tatsuya Tamaki asked Eiko to meet him in this beer hall on the corner of Owari-Ch\u014d, he has not arrived yet. Waiting and having to wait are ordinary courses of love, but even so, there is no etiquette or good excuse for flaking out at this hour in the rainy Owari-Ch\u014d.
\n\u3000<\/strong>Ding…
\n\u3000<\/strong>Dong…
\n\u3000<\/strong>Ding…
\n\u3000<\/strong>The clock is taking its precious time to strike the remaining hours as the bell\u2019s sound echoes in the distance graciously. Come to think about it, this clock’s bell ridiculously takes forever reaching 12 o’clock.
\n(From \u201cKousaten [Intersection],\u201d the first chapter of \u201cGozenreiji [Midnight]\u201d)<\/strong><\/div>\n
\nThis shows that the distance from Ky\u014dwa Kaikan in Tsukiji to Owari-ch\u014d intersection (now Ginza Yon-ch\u014dme crossing) took less than 20 minutes on foot. Also, time is expressed by the Hattori Tokeiten\u2019s bell, not the reading of its dial. This is a scene in which sound and space are illustrated as one.<\/p>\n![\"2\u7d71\u5408\"](\"https:\/\/www.waseda.jp\/top\/en\/assets\/uploads\/2016\/08\/e7b27c1179e0a96dac011f30095b2b57-1.png\")
Whistles of traffic control, chimes of newspaper sellers, chains of heavy machinery clinging, the start-up sound of steamboats, footsteps of wooden geta clogs on asphalt, bustling cars and trains, this girl’s harmonica, bells of trains, sliding doors of elevators, car horns, background noise in the distance… if you collect and vaguely listen to these sounds all together, you could say that perhaps even this is a lullaby.
\n(From Chapter 32 in \u201cAsakusa Kurenaidan [The Scarlet Gang of Asakusa]\u201d)<\/strong><\/div>\n![\"3\"](\"https:\/\/www.waseda.jp\/top\/en\/assets\/uploads\/2016\/08\/3-2.png\")
The horse-drawn tram starts to rattle more than ever as it almost ran over a rickshaw carrying a beautiful woman after her morning visit to the shrine. A fish seller is carrying heavy loads of live small horse mackerels in round fish trays and briskly running around. Trying to figure out what their collection is going to be like today, two h\u014dkai-bushi<\/em> singers carrying gekkin<\/em> are moving swiftly. Looking up and down Ginza, the mornings of people in this town are full of hope and energy. In the crowd, there is a girl with a lunchbox in her hand, 17 or 18 years old, trotting quickly towards the letterpress office for work. The poor girl should be having the time of her life yet spends her days in dust to look after her aging parents and perhaps earn money for her wedding costume. What kind of hope does she have?
\n(From \u201cGinza no Asa [The Mornings of Ginza]\u201d)<\/strong><\/div>\n
\nThere are few direct descriptions of sounds within this book. However, the calls of merchants and the sounds of traveling musicians playing gekkin (Chinese lutes) and singing h\u014dkai-bushi songs, set against traffic sounds such as the loud clanking of horse-drawn trams starting up and the noise of rickshaw wheels on the ground, implies the street\u2019s vibrancy. This highlights the surreptitious manner of the female worker who enters the story at that point. Okamoto is not a proletarian literature writer, but he has picked out this particular figure of the worker, portraying a person who seems overwhelmed in the underbelly of the prosperous town.<\/p>\n![\"4\u6539\u6539\u6539\"](\"https:\/\/www.waseda.jp\/top\/en\/assets\/uploads\/2016\/08\/327545145b7155137abd6a1e9e3fe2b2.jpg\")
\n<\/p>\nProfiles<\/h5>\n
![\"\u30d7\u30ed1\"](\"https:\/\/www.waseda.jp\/top\/en\/assets\/uploads\/2016\/08\/db7cc72f8440a54ae7d789d517e776e9.png\")
Professor Robert Campbell<\/strong><\/p>\n![\"\u30d7\u30ed2\"](\"https:\/\/www.waseda.jp\/top\/en\/assets\/uploads\/2016\/08\/ef423be068e69ec38d8bc2df991423e8.png\")
Professor Hirokazu Toeda<\/strong><\/p>\nThe venue<\/h5>\n
\nThe dialogue took place at Morioka Shoten, Ginza Branch, located on the first floor of Suzuki Building in Ginza-Itch\u014dme. Under the concept of \u201cselling one book at a time,\u201d this store adapts the unique business style of selling only one kind of book per week and creating elaborate displays, which attract many visitors from abroad as well.<\/p>\n![\"\u30d7\u30ed3\u7d71\u5408\"](\"https:\/\/www.waseda.jp\/top\/en\/assets\/uploads\/2016\/08\/18e284e01ac700a531bf556ccf4a714d.png\")