The Women of Japanese Society

6-7). The love of the actress's life was Shimamura Hogetsu, an aged(a) married mentor. Sumako committed suicide shortly following her lover's close and Birnbaum reported a one-sided romantic account, that Sumako would rather fail than live without her beloved, that lacked support and did not include personal observations.

Next, Birnbaume presented Takamure Chieko, who was know for her paintings that were "clear imitations of the Impressionists" (p. 59). Chieko's paintings were famous due to her husband's success as a poet; Takamura Kotaro (husband) characterized Chieko in his poetry as a savior who off-key into a madwoman, as published in Chieko-sho in 1941. Kotaro depict Chieko as an "eternal lover rather than a married woman . . . womanliness in its entirety . . the muse who inspires in a divine way" (p. 65). Within this context it was concluded that Chieko was sacrificed for Kotaro and this resulted in madness, which provided her with liberation. Birnbaume presented the conclusion that Kotaro failed to understand that "a person does not go mad all alone . . . the person closest brings well-nigh a mutual process of osmosis, and the mind that cannot stand this focus . . . creates another closed world . . . to survive" (p. 67). This conclusion was not supported by evidence and reflects author-bias.

Birnbaume then presented Yanagiwara Byakuren, a poet. This source was reported to have provided a mistress for her husband antecedent to leaving him for a

In the twenty percent chapter, Sato concluded that women were on the move and faced turbulence ahead. plot early times (1920s) presented new ideas for women and consumerism led to changes in the female social function, reflection of these changes brought to mind issues such as "a heavy conjugation is one that will help strengthen the subject" (p. 159). By the late 1930s the state dominated the farthestming rather than the intellectuals and consumerism was oppressed. Within this context, by the 1940s, the state policy brought a focus away form consumerism toward the popularization of the view that marriage was a women's duty for the good of the country. As time went on, however, the switch continued and women found their place following World struggle II.

Sato concluded that the changes that began in the 1920s that produced the modern girl, the self-motivated housewife, and the professional workings women remained. While this book presented an interesting view of the role of consumerism in the changing women, it failed to present the multiple influences involved in role changes, as well as the alternative view that consumerism was a reflection of the changes rather than a causal influence.

Uno Chiyo was a source who revealed her intimate relationships with several men in her novels. She portrayed a hero who went from one man to the next. She has been described as a "literary eccentric, too sex-crazy for serious consideration, or . . . designer, femme fatale-a sturdy and autarkic modern woman" (p. 167). One of her husbands, writer Ozaki Shiro announced that he "stole her like a wild dog" (p. 181) which was an announcement that stirred world opinion since at this time a Japanese wife was not to leave her husband for another. Uno's work, Confessions of Love, was a popular account of the bleakness of the days following the first-year World War. Uno was described as one who went too far "to discuss the details of her love life in public" (p. 197). Birnbaum stated that Japan can be to
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.