@article{oai:nagoya.repo.nii.ac.jp:00029039,
 author = {張, 政傑 and Chang, Cheng-Chieh},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {In 1968, a large-scale student movement, known as “Zenkyoto”, began in postwar Japan. The Zenkyoto student movement has had profound influences on social movements both throughout history and in the present day. 69 sixty nine (1987), written by Murakami Ryu (村上龍), was based on the author’s experience throughout the time period. This novel is different from other novels about Zenkyoto because it evaluates the movement as a cultural event rather than a political act. Prior studies have focused on the military base in Sasebo and argued that the USFJ (United States Forces Japan) within the region caused an imbalance in the power relationship between the United States and Japan. However, this article focuses on the “excitement of the late 60s” of the young generation and argues that the power of the young generation not only drives the Zenkyoto student movement but also stimulates the development of photography, cinema, modern art, etc. in the 1970s. First, I examine the argument about Zenkyoto between Eiji Oguma and Inuhiko Yomoda and the meaning of Zenkyoto under the historical context of postwar Japan, highlighting two significant characteristics of the Zenkyoto student movement: the radically political notion and anti-establishment belief. I then illustrate how the excitement of a young generation is represented in literary texts, and how it is linked to physical sensations as energy emanation. I then examine the peculiarities of Sasebo as a city with a military base, revealing the forgotten memories about wars after 1945. The military base is simultaneously the medium for spreading foreign counter-culture, particularly the rock music with which American sailors were familiar. Within the ambivalence of the military base, the young generation resists the establishment through a carnivalesque festival event to disturb the order in daily life. In conclusion, this article points out the way to critically re-define the Zenkyoto student movement and re-evaluate “1968” as an effective notion that deeply influenced social movements and the developments of art until now. In other words, the failure of Zenkyoto as a political action does not end the movement, but starts the revolutions in other fields from “1968”.},
 pages = {170--183},
 title = {1968年の可能性 : 村上龍『69 sixty nine』におけるロックとフェスティバル},
 volume = {6},
 year = {2015}
}