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7UDXPDVµIn his seminal study on melodramatic imagination Peter Brooks analyzed the specificmode of expression in connection to the anxiety created by the guilt experienced in
the historical situation of suspension (the radical break after the French Revolution)
when the law – social, moral, natural, rhetorical – falls silent and a new form ofenactment and demonstration, the melodrama, arises. The French revolution is far
away, but the melodrama is still alive, and its narratives, heroes and aesthetics
migrated from the theatre to literature, film, and TV. What transformation did happen
on the way from one historical period to another, from one media of expression to thenext and from one cultural space (Russia) with the specific affective order to another(Japan)? I will concentrate on the function of melodramatic things that organize or restructure the narratives and trigger the affective memory using the examples of someclassical Soviet films and three Soviet melodramas with Japanese motifs: Hello Children(1962), Moscow My Love (1974) and The Melodies of the White Night (1976; the last twopictures are Soviet-Japanese co-productions). I will analyze how these films reinvented the function of things in the stories of individual loss and collective historicaltrauma.

Daisuke Adachi, “The First Japanese Translation of Tolstoy's The Kreutzer Sonata:
From the History of Melodramatizing Adaptation of Russian Classical Text inModernizing Japan”
After the abolition of Edo regime and long-time rule of the samurai in 1868, the Meiji
period began with the restoration of the emperor's power. Under the pressure fromimperialist countries, Japan was developing an intensive modernization in broad areasof society, including culture, following the models of Western countries. Although untilthen Japan already had a long and rich tradition of novels and storytelling inheritedfrom the Edo period, writers and critics demanded a new literary tradition that should
be suitable for the emerging new nation. They wanted to leave the melodramatic
tradition, considering it as a remnant of the culture of former regime. The
psychological and objective description that they did not found in the melodramatic
tradition were searched for in foreign literature. Thus, the transition from Japanese
melodrama to the translation of foreign literature played an essential role in theformation of modern Japanese literature. In my presentation I would like to show thatthe “transition” was in fact not at all straightforward. My analysis of the first Japanesetranslation of Lev Tolstoy’s The Kreutzer Sonata will show that traditional melodramatic
imagination was recycled in the reception of Russian literature that was new andforeign to Japanese audience, being adapted to the new social situation and nationalideology. Melodrama had a great influence in the process of formation of the newJapanese literary tradition, in which the straightforward development from melodrama
to realism did not take place.