Characters in The Girl Watcher and The Human Chair :: Tayama Katai Edogawa Rampo

Uncanny Reactions to ModernizationSugita Kojo of Tayama Katais The Girl Watcher (1907) and the check maker in Edogawa Rampos The Human Chair (1925) react to virgin ways of life in a similar, vulgar manner. Both stories admit aspects of society new to that time Trains and chairs, respectively. These pieces from the Meiji & Taisho period, a period where stories began to express the denotations thoughts, depict the importance of understanding novel and foreign aspects of chance(a) life by showing how these mod ways of living whitethorn be used in suitably.Sugita, the protagonist in The Girl Watcher, has several responsibilities his job, wife, and children. However, his temper is watching young, wealthy girls on trains. Yes. Why does he choose this fussy hobby? These girls attend expensive high schools and can be considered new-fashioned in both age and appearance. According to lecture, trains were a new blank shell where people of different social classes mixed, and peo ple had to learn to act appropriately and how to look at other passengers. Right With much practice, Sugita has figured aside how to watch young women on trains, abusing this new form of travel Its too direct to watch them face on, whereas from a distance itslikely to arouse peoples suspicions therefore, the most convenient put to occupy is one diagonally opposite (Katai, 175). Yes. This is one of my favorite quotes in the story. Sugita is not an ordinary man, his walk is odd and he is unpleasant to the eye. However, he lives a mundane and depressing life writing for a magazine. Sugita watches girls to desexualise his passion for life, to engage in the modern world was there no one who would embrace him in her white arms? If only soulfulness would, then he was sure he would discover lifein hard work. Fresh blood would flow through his veins (page 180). He wishes he could be rescued. Young women remind Sugita of his youth, of things he wanted to do that never did, such a s make passionate love. Katai may be saying that once things modernize, one must become entirely modern to survive in society. Sugita lives in a modern house, wears western garb (considered modern at the time), but he does not live a modern life he was coming out in his equivalent old way along his alike old route, wish his same old hat (Katai, 170).