Cover

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pp. 1-1

Title Page, Copyright Page

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pp. 2-5

Contents

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pp. 6-7

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Introduction. Global Counterculture, Visual Counterculture

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pp. vii-xxvi

A Japanese example cannot prove counterculture to have been global. Yet if counterculture was a global phenomenon, then we stand to learn more about it by looking at the work of a Japanese figure like Terayama Shūji (1935–83). While slightly young for the beat generation, Terayama debuted in the mid-1950s, and he was similarly entranced by ...

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1. Poetic Kleptomania and Pseudo-Lyricism

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pp. 1-34

Fixed-verse poetry may seem a strange place to find an avantgarde movement by young Japanese poets. Free verse is intuitively a better fit, or if there was going to be a move toward a rigid form to toy with the Sartrean paradox of freedom experienced as resistance to oppression, then we might expect to see a move toward haiku, the shortest fixed-verse form. ...

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2. Radio Drama in the Age of Television

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pp. 35-67

The transistor radio, the stereo phonograph, and the television were all introduced to the Japanese public at about the same time at the end of the 1950s. Tokyo Tsūshin Kōgyō (later Sony) would release their TR-55 pocket-sized transistor radio to the Japanese market in 1955.1 ...

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3. Boxing—Stuttering—Graffiti

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pp. 69-97

What generates the sensation of presence and immediacy in the sport of boxing? Is it the flirtation with death (and murder) that excites both boxer and boxing fan? If so, is the possibility of death in the ring required for that excitement? Does boxing need an occasional ...

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4. Deinstitutionalizing Theater and Film

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pp. 99-137

The conspicuous amount of attention paid to the relationship between sex and violence in the late 1960s might best be understood as an attempt to expose the erotics of war as a first step toward deconstructing that relationship. Too much emphasis, however, has been placed on simply repeating the link between Eros and Thanatos. Social ...

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5. The Impossibility of History

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pp. 139-173

Paired with Terayama’s work to eroticize the present were texts that abject the past. Perhaps he realized that the logical impossibility of history—of a return to a now absent past—was itself insufficient to cause a shift toward a geographical orientation. Logic is often overwhelmed by the greater pressures of desire. So if the present and the past compete for our affections, then ...

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Conclusion. “Japanese” Counterculture

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pp. 175-181

I have forestalled directly addressing Japanese counterculture until this conclusion, partly to avoid the snare of conceiving a global, and explicitly antinationalist, movement through the category of the nation. Yet the category of “Japanese” counterculture still needs to be tackled because that was the frame within which Terayama’s work was often received (and appraised) once ...

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Acknowledgments

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pp. 183-185

I am grateful to the following mentors, informants, classmates, and colleagues for their generous guidance, shared memories, and advice. Kathryn Sparling, my undergraduate advisor at Carleton College, helped to start me down this path by supporting my proposal to translate Terayama’s 1960 debut play as part of a senior thesis project; ...

Notes

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pp. 187-214

Index

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pp. 215-222