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They challenged two nations : marriages between Japanese women and American GIs, 1945 to the present /
Abstract
Thesis (Ph. D.)--University of Southern California, 1999. Includes bibliographical references (leaves 403-432). Photocopy.
... While I was conducting research in Washington, I also began to find more studies about Japanese war brides by American scholars (Creef, 2000;Lark, 1999;Shukert and Scibetta, 1989;Storrs, 2000;Williams, 1991 ).14 I was excited about finding more scholars who were studying Japanese war brides in very similar ways to my original research plans. ...
... The narratives around "senso hanayome" are inseparable from the stereotypical images attached to the term. As some studies (Lark, 1999;Storrs, 2000;Yasutomi, 2005b;Williams, 1991) and some self-identified "senso hanayome" (Stout, 2005) have argued, mainstream Japanese media have played a significant role in creating these representations. ...
... There are also other historical studies ofJapanese war brides by American and Japanese scholars, including one by Regina F. Lark (1999) and one by Shigeyoshi Yasutomi (Yasutomi and Stout, 2005). They both have participated in the international meetings of Japanese war brides hosted by the Nikkei International Marriage Society. ...
In this article, I revisit my earlier project on local poetry practices by Japanese ‘war brides’ from the Second World War and explore a creative, transnational home-making activity by focusing on one of my informants, Fuyuko Taira's senryu poetry. Drawing on theories of global space and diasporic home-making practices, I suggest that her engagement in senryu involves a transnational spatial practice through the use of familiar everyday language. While the experience of displacement among Taira and other so-called ‘war brides’ cannot be understood without a consideration of socio-historical and economic constraints that characterized their emigration, my aim here is not to analyse how Taira's senryu simply reflects her diasporic victimhood but to explore how she exercises her creative agency to make her new home familiar and habitable by engaging with the everyday poetry practice of alternation between ‘pause’ and ‘move’ in the midst of changing landscapes. I argue that to a member of the Japanese diaspora like Taira senryu can be thought of as a different mode of experiencing at once the local and the global in an organic way.
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