Bodies and StructuresMain MenuWhat We're DoingOverview essayHow to Use This SiteAn orientationModulesList of modulesTag MapConceptual indexComplete Grid VisualizationGrid Visualization of Bodies and StructuresGeotagged MapGeographic IndexWhat We LearnedContributors share what they learned through the Bodies and Structures process.ReferencesReferences tag for all modules and essayContributorsContributor BiosAcknowledgementsAcknowledgementsContact usContact information pageLicensing and ImagesThe original content of this site is licensed under a Creative Commons BY-NC-ND International 4.0 License.David Ambaras1337d6b66b25164b57abc529e56445d238145277Kate McDonald306bb1134bc892ab2ada669bed7aecb100ef7d5f This publication is hosted on resources provided by the College of Humanities and Social Sciences IT department at NC State University.
Frank Lloyd Wright house in Ashiya
12018-08-19T12:59:58-04:00Noriko Aso514ac5ef2ec49b80911e6fc9da1c0fee237ebfb921Frank Lloyd Wright house in Ashiyaplain2018-08-19T12:59:58-04:0034.72694, 135.30416Ashiya2008Wikimedia CommonsBy 663highland [GFDL (http://www.gnu.org/copyleft/fdl.html), CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/) or CC BY 2.5 (https://creativecommons.org/licenses/by/2.5)], from Wikimedia CommonsNoriko AsoNoriko Aso514ac5ef2ec49b80911e6fc9da1c0fee237ebfb9
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12018-04-23T13:40:21-04:00Locating Reijo24google_maps2018-08-19T13:08:46-04:0034.61347, 135.5049634.60367, 135.5006334.65863, 135.133734.74687, 135.356234.67193, 135.5314934.72694, 135.3041634.68048, 135.5033334.77146, 135.467634.8949, 135.410534.70669, 135.4990634.78126, 135.4697334.7843, 135.4009434.74348, 135.3587834.70536, 135.5100234.85319, 134.93137Jan 1939, Dec 1939, Jan 1940, April 1940, May 1940, June 1940, July 1940, Sep 1940, Oct 1940, Nov 1940, Feb 1941、Mar1941、Apr 1941、May 1941May 1941, Jun 1941, Jun 1941, Sep 1941, Oct1941, The journals published by the Osaka Mitsukoshi maintained through much of the Asia-Pacific War the store's long tradition of special features spotlighting daughters (reijo) of the local elite. In this case, the featured families were drawn from Osaka corporate leadership along with the aristocracy. Framed as a visit (homon) to a particular household, the neighborhoods (though not exact addresses) of the women were often mentioned along with their names, ages, schools, and hobbies (both Japanese, such as flower arranging, and Western, such as sewing clothes from patterns).
The map above roughly indicates a number of the neighborhoods mentioned, likely recognized by readers at the time as elegant and exclusive. (Unfortunately, many of the prewar place names are no longer used.) Such concrete details as neighborhood provided during a Mitsukoshi household "visit" acted to ground the seeming reality of an idealized Mitsukoshi customer. That is, the effect of this carefully curated fact—precisely not fiction—was to nurture what could only be a fantasy for most. Nevertheless, we can read these reijo features backwards to begin to reconstruct various spatial dimensions of class.
In addition, if one examines more portraits in this long-running series, the featured women were never engaged in the act of consuming itself. Rather, they were situated in gracious and intimate spaces suited for performances, creating art, or hobbies. Good taste apparently demanded subtlety in, though by no means rejection of, modern consumerism.