- 《『ＢＥＡＭ』書影》／2025
Masashi Seguchi
瀬口真司
- ART FAIR - MEET YOUR ARTISTS -CO-CROSSOVER -Romantic beyond us (earth)-
Poet, scholar of modern and contemporary Japanese literature, critic, and editor. Master of Arts (Literature).
Born in Usa City, Oita Prefecture in 1994. Began writing tanka poetry in 2015 while studying at the Faculty of Education, Hiroshima University. After completing the Master's program in Japanese Literature at the Graduate School of Letters, Rikkyo University, she has been enrolled in the Doctoral program at the same university since 2020. Currently, she is a part-time lecturer in the Department of International Japanese Studies, Faculty of Foreign Languages, Takushoku University (teaching "Cool Japan Theory," "Pop Culture Theory," etc.). Member of the music criticism magazine "groove theory." In 2021, she received the 3rd Hiroshi Sasai Award, Shizuka Omori Prize, and in 2023, the 5th Hiroshi Sasai Award Grand Prize. In 2025, her first collection of tanka poems, "BEAM," was published by Shoshi Kankanbo. She publishes tanka poems and criticism mainly in literary magazines. Focusing not only on the material surplus of words themselves as a medium for conveying meaning, but also on the context of images, her work is based on generative language use and multi-layered manipulation of meter, including quotations from classical literature and pop culture from all times and places. As a literary mission, he advocates for the "re-imagination of ethics" rather than the "reproduction of morality." While positioning himself within the tradition of Romanticism, he practices tanka poetry in which words themselves re-imagine Japanese history, while simultaneously criticizing the fixed form of tanka poetry through the Japanese language itself (and at the same time criticizing the Japanese language through the fixed form of tanka poetry itself). Representative poems include "Because the image is important, the grapefruit in the image is wet," "What do you think? A flower's charge is equivalent to a single kernel of popcorn's charge," and "How will you ever forget that magnificent wave pattern?" His academic specialization is the representation of empire in avant-garde tanka poetry of the 1950s and 60s. Focusing on the representation of the Emperor (system) and former colonies in the postwar period, he has published papers criticizing and researching tanka poetry by Kunio Tsukamoto, Takashi Okai, Shuji Terayama, and others. He is currently writing his doctoral dissertation. As a theme that runs through his creative work and research, he is paying attention to the momentary sense of community and its structural violence that appears in the first-person plural pronoun "we."
Shinji Seguchi_CV
Born in Usa City, Oita Prefecture in 1994. Began writing tanka poetry in 2015 while studying at the Faculty of Education, Hiroshima University. After completing the Master's program in Japanese Literature at the Graduate School of Letters, Rikkyo University, she has been enrolled in the Doctoral program at the same university since 2020. Currently, she is a part-time lecturer in the Department of International Japanese Studies, Faculty of Foreign Languages, Takushoku University (teaching "Cool Japan Theory," "Pop Culture Theory," etc.). Member of the music criticism magazine "groove theory." In 2021, she received the 3rd Hiroshi Sasai Award, Shizuka Omori Prize, and in 2023, the 5th Hiroshi Sasai Award Grand Prize. In 2025, her first collection of tanka poems, "BEAM," was published by Shoshi Kankanbo. She publishes tanka poems and criticism mainly in literary magazines. Focusing not only on the material surplus of words themselves as a medium for conveying meaning, but also on the context of images, her work is based on generative language use and multi-layered manipulation of meter, including quotations from classical literature and pop culture from all times and places. As a literary mission, he advocates for the "re-imagination of ethics" rather than the "reproduction of morality." While positioning himself within the tradition of Romanticism, he practices tanka poetry in which words themselves re-imagine Japanese history, while simultaneously criticizing the fixed form of tanka poetry through the Japanese language itself (and at the same time criticizing the Japanese language through the fixed form of tanka poetry itself). Representative poems include "Because the image is important, the grapefruit in the image is wet," "What do you think? A flower's charge is equivalent to a single kernel of popcorn's charge," and "How will you ever forget that magnificent wave pattern?" His academic specialization is the representation of empire in avant-garde tanka poetry of the 1950s and 60s. Focusing on the representation of the Emperor (system) and former colonies in the postwar period, he has published papers criticizing and researching tanka poetry by Kunio Tsukamoto, Takashi Okai, Shuji Terayama, and others. He is currently writing his doctoral dissertation. As a theme that runs through his creative work and research, he is paying attention to the momentary sense of community and its structural violence that appears in the first-person plural pronoun "we."
Shinji Seguchi_CV
