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The Voices of Aged Buraku Women

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This chapter discusses Nakagami's representation of old women or oba from Kumano. To articulate the significance of the oba in Nakagami's narratives, it first investigates Nakagami's reading of the work of well-known woman author Enchi Fumiko to provide insights into his view of the tradition of the “old woman” (omina/ōna) as a storyteller of monogatari. Based on this discussion, the chapter examines Nakagami's depiction in Sen'nen no yuraku (1982) of the aged roji woman, Oryū no oba, as a Burakumin omina. Furthermore, it discusses how Nakagami presents Oryū no oba's silenced voice. Oryū no oba has a special status that derives from her role as omina who passes down monogatari to the younger generation in the community. In contrast, the chapter considers Yuki and Moyo, two aged outcaste women who feature in the Akiyuki trilogy, as oba who can never assume the voice of community storyteller. Thus, this chapter investigates how Nakagami depicts the (im)possibility of these sexed women's voices speaking to or being heard by the community while also demonstrating how the writer presents an alternative representation of their voiceless voices.
Title: The Voices of Aged Buraku Women
Description:
This chapter discusses Nakagami's representation of old women or oba from Kumano.
To articulate the significance of the oba in Nakagami's narratives, it first investigates Nakagami's reading of the work of well-known woman author Enchi Fumiko to provide insights into his view of the tradition of the “old woman” (omina/ōna) as a storyteller of monogatari.
Based on this discussion, the chapter examines Nakagami's depiction in Sen'nen no yuraku (1982) of the aged roji woman, Oryū no oba, as a Burakumin omina.
Furthermore, it discusses how Nakagami presents Oryū no oba's silenced voice.
Oryū no oba has a special status that derives from her role as omina who passes down monogatari to the younger generation in the community.
In contrast, the chapter considers Yuki and Moyo, two aged outcaste women who feature in the Akiyuki trilogy, as oba who can never assume the voice of community storyteller.
Thus, this chapter investigates how Nakagami depicts the (im)possibility of these sexed women's voices speaking to or being heard by the community while also demonstrating how the writer presents an alternative representation of their voiceless voices.

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