International Poe Bibliography in Japan (2005~2011) May 31, 2011
Fukushima, Shoichiro. “Edgar Allan Poe: ‘Gunshu no Hito niokeru Katarite
to Gunshu no Kankei’ (“The Relationship between the Narrator and theMasses in Poe’s ‘The Man of the Crowd’--Bewilderment, Terror andRevulsion”) Ritsumeikan Eibei Bungaku (Ritsumeikan British andAmerican Literature) 14 (2005): 80-94.
Focusing on the narrator’s way of reading the masses and therelationship between the pursuer and the pursued in a modern city.
This paper elucidates that “The Man of the Crowd” suggests not somuch an allegory of the self as a conflicting relationship between thenarrator and the masses.
---. “Edgar Allan Poe: ‘Eleonora’ Shiron: Konwaku no Monogatari niokeru
Kyoki no Gensetsu to Haha no Konseki. (“An Essay on Poe’s‘Eleonora’--the Discourse of Madness and the Trace of Eleonora’sMother) Ritsumeikan Eibei Bungaku (Ritsumeikan British andAmerican Literature) 17 (2008): 32-46.
This paper analyzes the discourse of madness, especially at thebeginning of “Eleonora,” and explores how the narrative structure
affects the entire interpretation of the tale.
---. “Media no Uzu no Nakade: Edgar Allan Poe, ‘The Mystery of MarieRogêt’ niokeru Media no Kinou ni tsuite” (“In the Vortex of Media: Ofthe function of Media in Edgar Allan Poe’s ‘The Mystery of MarieRogêt’”) Ritsumeikan Eibei Bungaku (Ritsumeikan British andAmerican Literature) 18 (2009): 79-92.
This paper clarifies how Poe, who severely criticized media
sensationalism, was in the “vortex” of media sensationalism himself
and discusses the unavoidable relation between the residents in themodern city and media.
Hashimoto, Kenji. “E. A. Poe: ‘Sousaku no Tetsuri’: Rikai to Bunseki.”(“Understanding Edgar Allan Poe’s ‘The Philosophy of Composition’”)
The Bulletin of the English Society of Osaka Kyoiku University 52(2007): 37-49.
A rereading of “The Philosophy of Composition” by taking Poe’scomment seriously, and review of how Poe composed his most famous
poem, “The Raven.” Although Poe is regarded as the founder of themodern short story, he never showed how he composed his own shortstories. This will lead to his secret formula for his short stories.

---. “Poe no Tanpen Shousetsu Kouzou Bunseki: ‘Sekishibyou no Kamen’ to‘Sousaku no Tetsuri.’” (“A Structural Analysis of E. A. Poe’s Short
Stories: ‘The Masque of the Red Death’ and ‘The Philosophy ofComposition’”) The Bulletin of the English Society of Osaka Kyoiku
University 53 (2008): 35-68.
This paper focuses principally on Poe’s famous short story, “TheMasque of the Red Death,” and argues that the short story isthoroughly composed according to the creating chart for ‘poetry’ writing
which is exposed in “The Philosophy of Composition.” It concludes thatalthough Poe never told how he composed his own ‘short stories,’ they
are faithfully based on the philosophy of his own making in detail.
---. “Edgar Allan Poe to Tanpen Shousetsu.” (“Edgar Allan Poe andAmerican Short Stories”) The Bulletin of the English Society of Osaka
Kyoiku University 54 (2009): 59-82.
Hirano, Yukihiko. "Poe to Dickens no 'Kyouki-mono' nitsuite." ("Poe andDickens: On the Intentions of Their 'Madman' Stories.") Jinbun
Kagaku Kenkyu (Studies in the Humanities) (Niigata Daigaku, Jinbun
Gakubu [Faculty of Humanities, Niigata University]) 122 (2008): 37-53.
This paper reviews previous studies on the relationship between Poeand Dickens, and then, by comparing their "madman" stories (mainly,the former's "The Tell-Tale Heart" and the latter's "A Madman's
Manuscript" and "A Confession Found in a Prison in the Time ofCharles the Second") in detail, explores the difference between theworkings of their imagination.
Ikesue, Yoko and Kazuhiko Tsuji. Akuma to Haapu (Devil's Harp and Irish
Melodies: Edgar Allan Poe and the Nineteenth Century America.)
Tokyo:Otowashobo-Tsurumishoten, 2008.
This book provides a series of new perspectives on one of the mostenigmatic and controversial American writers. For example, Poe's Irish
bred is referred to the symbol and the origin of Poe's talents andgreatness. Poe told stories as the embodiment of his liberation, and,
therefore, the "Irish" or Irish culture depicted in his works always
show intricacy. The soundscape in "The Devil in the Belfry" is one ofthe samples.
Itoh, Shoko. “Poe to Aratana Saburaimu no Isho: Naiagara Spekutakuru
kara Ankoku no Umi e” (“Poe and the New Design of the Sublime: Fromthe Niagara Spectacle to Mare Tenebrarum”) American Renaissance inVision. Tokyo: Sekaishisousha, 2006. 101-124.
This paper discusses Poe’s innovation of the aesthetic of the Sublimeand transformation into the novel design of the Gothic Sublime in theseascape of “A Descent into the Maelstrom,” considering Poe’s criticalsense of nationalistic and imperial vision of the “American Sublime” or“Picturesque.”---. “Eibei Bungaku to Poe.” (Poe and British and American Literature)
Edgar Allan Poe no Seiki (The Japanese Face of Edgar Allan Poe). Ed.
Toshio Yagi and Takayuki Tatsumi. Tokyo: Kenkyusha, 2009. 24-53.
Part I of this paper surveys widely the influence of Coleridge and theRomantics on Poe, and Poe’s development from romanticism tomodernism considering Poe’s influence on W. B. Yeats and T. S. Eliot.
Part II discusses the significance of Poe’s Gothic in his theatrical
techniques and his sympathy with the oppressed and the minority
races, leading to ethnic criticism in this century.
---.

Pym no Gothic Nature to Hibridity.”(“Hibridity and Gothic Nature inPym”) Studies in Poe 2. Poe Society of Japan, March, 2011.
Gothic nature is a term in recent ecocriticism and means naturalrepresentation of the fear of nature’s power. It is embodied in thedistorted images of nature in nightmarish fantasy. Flora and faunadescribed in Pym are abundant and represent Poe’s interest in natural
history of sea creatures. But in some cases they may be called “GothicNature.” They are fantastic or chimerical creatures that prefigure thefate of Pym.

Kakinuma, Takako. “American Renaissance-ki Sakka ni Mirareru
Shakaihendou tono Taiji: Melville o Chushintoshite.” (“Some American
Renaissance Writers’ Insightful Challenges to the American Social
Changes: Centering on Melville”) The Quarterly Report of Economics(The Rissho Univ. Economic Society) 56 (2006): 1-24.
This paper shows some American Renaissance writers’ insightful
challenges to the changes in American society. Considering Melville’s
skepticism of the market society, we investigate Emerson’s andWhitman’s acceptance of the spirit of the times, Poe’s sense ofalienation toward society, and Hawthorne’s skepticism of Puritansociety.
Koizumi, Kazuhiro. “The Theme in William Wilson.” The Research Reports of
Shibaura Institute of Technology: Social Sciences and Humanities

(Shibaura Kogyo Daigaku) 39.1 (2005): 99-105.
This paper is a thorough investigation of the theme in “WilliamWilson.” The theme of “William Wilson” is the tragedy of theprotagonist during his growth from childhood to maturity.
Masunaga, Toshikazu, ed. Amerikan Runesansu no Genzaikei. (TheAmerican Renaissance Today) Tokyo: Shohakusha, 2007.
This book is an anthology of essays on literary works written by
19th-century canonical American writers including Poe and Henry
James, and each article attempts to explore their literary expressions,taking the socio-political context of both 19th century and today intoconsideration.
Miura, Shoko. “Shosetsu IV: Fukei Teien Shosetsu—Jinkou Teien noBigaku.” (“Fiction IV: Landscape Sketches—Esthetics of the ArtificialGarden.”) Edgar Allan Poe no Seiki. (The Japanese Face of Edgar AllanPoe) Ed. Toshio Yagi and Takayuki Tatsumi. Tokyo: Kenkyusha, 2009.
203-216.
This chapter focuses on the development of one of the many genres
invented by Poe, the landscape sketch, by studying the aesthetics ofartificial and natural landscape and the inherent irony in “the Domainof Arnheim,” “Landor’s Cottage,” “The Island of the Fay” and “Morningon the Wissahickon.”
Noguchi, Keiko. “Poe no Yuriika: Bouchousuru Amerika / Shushukusuru
Uchuu.” (“Poe’s Eureka: An Epistemological Response to ExpandingAmerica.”) Amerika Bungaku Kenkyuu (Studies in AmericanLiterature) 41 (2005): 1-15.
This paper discusses Eureka in the context of antebellum Americanculture. Examining the three epistemological elements Poe repeatedly
underlines, it suggests that this cosmogony can be read as an antithesis
to the predominant view of an expanding America of his day.
---.“Poe to Chouetsushugi.” (“Poe and Transcendentalism.”) Tsudajukudaigaku Kiyou (The Bulletin of Tsuda College) 38 (2006): 117-53.
This paper attempts to place Poe as a writer of the American
Renaissance by comparing the transcendental aspect of his works withthat of Ralph Waldo Emerson’s. With a special emphasis on the act of“seeing” in the nineteenth century, it also reveals what Poe aims in his
sarcastic portrayal of Emerson, the representative of Transcen-dentalists.
---. Ushirokara Yomu Edgar Allan Poe: Handou to Karakuri no Bungaku.
(Reading Edgar Allan Poe Backward: Literature of Reaction and Ruses.)
Tokyo: Sairyusha, 2007.
Placing Eureka at the center of Poe’s writing, this book discusses hisfiction with relation to the epistemological and historical perceptions
explored in the cosmogony. The first half focuses on his narrative devices
and the latter on his responses to the dominant discourses of democracy,
race, and literary nationalism in antebellum American culture.
---. “Shousetsu III: Kuusoukagaku Shousetsu—‘Hansu Pufaaru no Murui
no Bouken’ wo Chuushin ni.” (“Fiction III: Science Fiction—‘TheUnparalleled Adventure of One Hans Pfaall’.” Edgar Allan Poe no Seiki.
(The Japanese Face of Edgar Allan Poe). Ed. Toshio Yagi and Takayuki
Tatsumi. Tokyo: Kenkyusha, 2009. 187-201.
Regarding “Hans Pfaall” as the origin of science fiction in American
literature, this article traces the process of how Poe “discovered” the newliterary genre and how he developed it.
Tatsumi, Takayuki and Anna Ogino, eds. Jinzo Bijo wa Kanou ka? (How toCreate Artificial Beauty). Tokyo: Keio University Press, 2006.
A collection of essays based upon the ambitious symposium “How toCreate Artificial Beauty,” which took place in December 2005, bringingup a variety of topics ranging from the myth of Pygmalion down to CoolJapan. Among others Tatsumi’s essay closely traces the literary andcultural genealogy of Artificial Beauty from E.T.A Hoffman, E. A. Poe,
T.S. Eliot through Vladimir Nabokov.
---.“Preface: Prescriptions for Rampomania.” The Edogawa Rampo Reader.
Ed. & Tr. Seth Jacobowitz. Fukuoka: Kurodahan Press, 2008. vii-xiv.
A very short comparative study of Edgar Alan Poe and Edogawa
Rampo (1894-1965), one of the founding fathers of modern detective
fiction and Poe studies in Japan. The five ideographs for Hirai Tarou's
pen name Edogawa Rampo（江戸川乱歩）were carefully selected tomimic the pronunciation of “Edgar Allan Poe,” but their referential
meaning in Japanese rather decadently suggests one who is“staggering drunkenly along the Edo River.”----. “Poe no Nazo, Dyupan no Nazo” (“Poe’s Mystery, Dupin’s Mystery” ).
Hayakawa’s Mystery Magazine (August 2009): 178-183.
In May 2009 the author had a chance to talk with Matthew Pearl, oneof the most promising literary descendants of Poe. It is Pearl’s
stimulating reinterpretation of Dupin trilogy that induced the author
to reconsider to what extent Poe’s ratiocinative tales are
autobiographical and even meta-fictional.
---. “Edgar Allan Poe no Nijusseiki: Hihyou to Sousaku no Sai-junkan”(“Edgar Allan Poe in the 21st Century: Negotiations between Fictionand Criticism”)
Taking notice of a number of Poesque works written by ourcontemporary writers such as Rudy Rucker, Stephen Marlowe, Joyce
Carrol Oates and Kiyoshi Kasai, the author attempts to explain why
Poe’s story still keeps inspiring today’s writers and how they succeed inrecreating and even reviving this Romantic genius.
Umemoto, Junko. "Lafukadeo Haan to Edgar Allan Poo: Poe no sakuhin nojuyou wo chuushin ni shite." (“Lafcadio Hearn and Edgar Allan Poe:Hearn's Introduction of Poe's Works in Japan”) Kokusaikankei Kenkyu(Studies in International Relations, Nihon University) 26.4 (2005):
129-46.
This article follows the traces of Poe's influence in Lafcadio Hearn'sworks in Japan, taking into account Hearn's lectures on Poe at theImperial University.
Yagi, Toshio and Takayuki Tatsumi eds. Edgar Allan Poe no Seiki (The Japanese Faceof Edgar Allan Poe). Tokyo: Kenkyusha, 2009.
To celebrate the bicentennial of Poe The Poe Society of Japan designed thisvolume as a kind of “Companion,” or “Readers’ Guide,” to our literary hero .
Thus, this book consists of four parts: PART ONE: Who is Poe?; PART TWO:The Trans-generic Mr. Poe; PART THREE: Poe in Cultural History; and PARTFOUR: Annotated Bibliography and Chronology. PART ONE: Who is Poe?
includes chapters on Poe’s biography (Toshio YAGI), the transatlantic context(Shoko ITOH), a comparative literary perspective (Ken INOUE), and a literary
critical genealogy (Takayuki TATSUMI). PART TWO: The Trans-generic Mr.
Poe re-examines Poe’s poetry (Tomoyuki IINO), drama (Nahoko
TSUNEYAMA), controversy (Hisayo OGUSHI), and a variety of the fictional
genres he pioneered or polished, such as the gothic romance (Ken NISHIZAKI),
ratiocinative tales as antebellum detective fiction (Kiyoshi KASAI), sciencefiction (Keiko NOGUCHI), and landscape garden sketches (Shoko MIURA).
PART THREE: Poe in Cultural History deals with such interdisciplinary topics as“Poe and the visual arts” (Hiroshi TAKAYAMA), “Poe and music” (Izumiko
AOYAGI), “Poe and science/pseudo-sciences” (Tadashi MIYAKAWA), “Poeand his portraits” (Ichigoro UCHIDA), “Poe and Mail Fraud” (ShohYAMAMOTO), and “Poe’s Literary Descendants” (Yukiko KOUNOSU). Every
part is filled with numerous inspiring columns written by Kazuhiko TSUJI andYoko IKESUE. An Annotated Bibliography, Chronology, and Index were allcompiled by Tomonori NISHIYAMA, Tomoko KOUNO, Shoh YAMAMO,Hiroshi SHIOTA, and Shoko TSUJI. The editors are also very pleased toannounce that the cover art is a reprint of the beautiful “Portrait of Poe” byinternationally renowned master engraver, Takuji KUBO.
Compiled by Shoko ITOH & Shoko Miura

The Poe Society of Japan