...Miwako Tezuka In post-1945 Japan, the government, guided by the occupation authority, reeducated the people with a democratic ideology. Belligerent nationalism was replaced by a national mission of enrichment of arts and culture. Takiguchi Shūzō (1903 – 79), a poet-critic and supporter of vanguard...

... to use a state-provided defender and who as- sumed administrative responsibility for the discussion group. Critic and surrealist poet Takiguchi Shuz¯ ¯ o, who played an important role as a “special defender,” had once suffered the oppression...

...- teristically, the critic Takiguchi Shuz¯ ¯ o (1903–79), the elder statesman of modernism, castigated the Japanese ignorance of international expectations in these kinds of exhibitions in one of his newspaper reviews. Pointing out the importance placed...

... were indeed the object of constant suppression by the police and military during the war, most notably the Japanese surrealists. For example, when the two leading surrealists Takiguchi Shz (1903 – 79) and Fukuzawa Ichir (1898 – 1992) were...

....   4. Jikken Kb (The Experimental Workshop) (1951 – 57) was a Japanese avant-­garde artists’ group led by surrealist poet Takiguchi Shz (1903 – 79). Other members included Yama- guchi Katsuhiro, Kitashiro Shz, Fukishima Hideko, Akiyama Kuniharu...

... key Japanese surrealists such as Yamanaka Tiroux, Takiguchi Shūzō, and Haruyama Yukio from the influential journal Shi to siron 詩と詩論 ( Poetry and Poetics , 1928–1931). Scholar Chang Yi-ji (2011: 72) even goes so far as to say that “the creative works of Yi Sang, Yi Si-u, Han Ch’ŏn et al. responded...

... by the critic Takiguchi Shz with a quotation from Shibusawa’s essay, in the August 1960 issue of the art journal Mizue. Otherwise, Shibusawa appears to have been the main source of these artists, as his writing exerted a tremendous influence over...

... in Tokyo organized by critic Takiguchi Shz was legendary underscores the reality of solo exhibitions for young artists at the time. In order for the solo exhibi- tions — for that matter, all non-­dantai exhibitions — to have an impact...