Fynasids dk
End road
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warning: cuck shitz in the end
Naomi's story is focused around a man's obsession for a modan garu or modern girl. The narrator, Jōji, is a well-educated Japanese man who is an electrical engineer in the city, and comes from a wealthy farming family. Jōji wishes to break away from his traditional Japanese culture, and becomes immersed in the new Westernized culture which was taking root in Japan. The physical representation of everything Western is embodied in a girl named Naomi. Jōji sees Naomi for the first time in a café and instantly falls for her exotic "Eurasian" looks, Western-sounding name, and (to him) sophisticated mannerisms. Like the story of the prepubescent Murasaki in the classic novel The Tale of Genji, Jōji decides he will raise Naomi, a fifteen-year-old café hostess, to be his perfect woman: in this case, he will forge her into a glamorous Western-style girl like Mary Pickford, the famous Canadian actress of the silent film era, whom he thinks Naomi resembles.
Jōji moves Naomi into his home and begins his efforts to make her a perfect Western wife. She turns out to be a very willing pupil. He pays for her English-language lessons, and though she has little skill with grammar, she possesses beautiful pronunciation. He funds her Westernized activities, including her love of movies, dancing and magazines. During the early part of the novel Jōji makes no sexual advances on Naomi, preferring instead to groom her according to his desires and observe her from a distance. However, his plan to foster Western ideals such as independence in her backfires dramatically as she gets older.
Jōji begins the novel being the dominator. However, as time progresses and his obsession takes hold, Naomi's manipulation puts her in a position of power over him. Slowly Jōji turns power over to Naomi, conceding to everything she desires. He buys a new house for them, and though they are married, Jōji sleeps in a separate bedroom, while Naomi entertains Western men in another room. The book ends with Naomi having complete control of Jōji's life, though he claims he is satisfied as long as his obsession with her is satiated.
Impact it had on Japanese women
The release of Naomi aroused young women of the time to engage in a cultural revolution. There was a boom of moga; working-class women who work and choose men for themselves, not for the sake of their families. Traditionally, girls who wished to work lived in factory dormitories and send their wages home to their family. Mogas worked to maintain their fashionable lifestyle, living in the city and being independent. They were a hot topic in 1920s Japan. The media would discuss their characteristics, characterizing them in various ways; one media group suggested that modern girls were independent, non-traditional girls; another suggested that modern girls spoke more like men. All groups agreed modern girls were very Westernized women who refused to recognize gender and class boundaries. The modern girls movement in Japan was strikingly similar to the flapper movement in the United States in the same period.
The other class explicitly shown in Naomi is the middle management, white-collar-class males. In the story, Jōji is known to be a skilled, educated worker from a well-off rural family. He is the embodiment of a new class of Japanese salarymen. After the Meiji Restoration, the educated males moved into the cities to attend universities and become white-collar business workers as opposed to the farmers, artisans, and merchants of the past. Jōji is unusual because he belongs to upper-level management. In the novel, he seldom works hard, only going into the office for a few hours each day. In contrast, the average salaryman works long working hours with little prestige, and with little hope of climbing the corporate hierarchy.
The novel also depicts the contrast between the naive country bumpkin (in this novel, Jōji) and the slick city dweller (Naomi), a common phenomenon in Japanese society and literature of the twentieth century.
The pen name Namio Harukawa was formed from an anagram of "Naomi", a reference to the novel, and the last name of actress Masumi Harukawa.[9]
Naomi's story is focused around a man's obsession for a modan garu or modern girl. The narrator, Jōji, is a well-educated Japanese man who is an electrical engineer in the city, and comes from a wealthy farming family. Jōji wishes to break away from his traditional Japanese culture, and becomes immersed in the new Westernized culture which was taking root in Japan. The physical representation of everything Western is embodied in a girl named Naomi. Jōji sees Naomi for the first time in a café and instantly falls for her exotic "Eurasian" looks, Western-sounding name, and (to him) sophisticated mannerisms. Like the story of the prepubescent Murasaki in the classic novel The Tale of Genji, Jōji decides he will raise Naomi, a fifteen-year-old café hostess, to be his perfect woman: in this case, he will forge her into a glamorous Western-style girl like Mary Pickford, the famous Canadian actress of the silent film era, whom he thinks Naomi resembles.
Jōji moves Naomi into his home and begins his efforts to make her a perfect Western wife. She turns out to be a very willing pupil. He pays for her English-language lessons, and though she has little skill with grammar, she possesses beautiful pronunciation. He funds her Westernized activities, including her love of movies, dancing and magazines. During the early part of the novel Jōji makes no sexual advances on Naomi, preferring instead to groom her according to his desires and observe her from a distance. However, his plan to foster Western ideals such as independence in her backfires dramatically as she gets older.
Jōji begins the novel being the dominator. However, as time progresses and his obsession takes hold, Naomi's manipulation puts her in a position of power over him. Slowly Jōji turns power over to Naomi, conceding to everything she desires. He buys a new house for them, and though they are married, Jōji sleeps in a separate bedroom, while Naomi entertains Western men in another room. The book ends with Naomi having complete control of Jōji's life, though he claims he is satisfied as long as his obsession with her is satiated.
Impact it had on Japanese women
The release of Naomi aroused young women of the time to engage in a cultural revolution. There was a boom of moga; working-class women who work and choose men for themselves, not for the sake of their families. Traditionally, girls who wished to work lived in factory dormitories and send their wages home to their family. Mogas worked to maintain their fashionable lifestyle, living in the city and being independent. They were a hot topic in 1920s Japan. The media would discuss their characteristics, characterizing them in various ways; one media group suggested that modern girls were independent, non-traditional girls; another suggested that modern girls spoke more like men. All groups agreed modern girls were very Westernized women who refused to recognize gender and class boundaries. The modern girls movement in Japan was strikingly similar to the flapper movement in the United States in the same period.
The other class explicitly shown in Naomi is the middle management, white-collar-class males. In the story, Jōji is known to be a skilled, educated worker from a well-off rural family. He is the embodiment of a new class of Japanese salarymen. After the Meiji Restoration, the educated males moved into the cities to attend universities and become white-collar business workers as opposed to the farmers, artisans, and merchants of the past. Jōji is unusual because he belongs to upper-level management. In the novel, he seldom works hard, only going into the office for a few hours each day. In contrast, the average salaryman works long working hours with little prestige, and with little hope of climbing the corporate hierarchy.
The novel also depicts the contrast between the naive country bumpkin (in this novel, Jōji) and the slick city dweller (Naomi), a common phenomenon in Japanese society and literature of the twentieth century.
The pen name Namio Harukawa was formed from an anagram of "Naomi", a reference to the novel, and the last name of actress Masumi Harukawa.[9]
