@article{oai:nagoya.repo.nii.ac.jp:00029903,
 author = {早川, 真理子 and Hayakawa, Mariko},
 journal = {名古屋大学人文学フォーラム},
 month = {Mar},
 note = {“Fence” generally means “an enclosure or barrier (e.g. a hedge, wall, railing, palisade, etc.) along the boundary of a field, park, yard, or any place which it is desired to defend from intruders” (Oxford English Dictionary). By building fences, people intentionally distinguish their place from another’s. Fences have been used as motifs in various literature and theater works. Specifically, in Japanese American literature, they are often conveyed by barbed wire fences that surrounded internment camps to distinguish Japanese Americans from Americans during World War II.  Japanese  American  literature  has  tended  to  focus inside  the  fences  to  portray  the  character’s  experiences  in  the  internment  camps.  However,  in  John Hamamura’s Color of the Sea (2006), fences seem to have a different meaning. Hamamura’s work focuses on two characters, Sam Hamada and Keiko Yanagi. Sam, who is depicted as  a  Kibei  (a  second-generation  Japanese  American  who moved  to  Japan  as  a  child  and  returned  to America later), leaves Japan at age nine and moves to Hawai‘i and mainland America. During his journey, he  confronts  three  fences:  the  first  one  distinguishes  Japanese  Americans  from  the  haole  (the  ruling classes  in  Hawai‘i),  the  second  one  separates  Japanese  Americans  from  Americans,  and  the  third distinguishes  Americans  from  Japanese.  Keiko,  depicted  as  a  Nisei  (a  second-generation  Japanese American), struggles with the fence that distinguishes Japanese from Americans while moving between America  and  Japan.  Moreover,  she  also  faces  the  fence  that  divides  femininity  by  country,  that  is, between Japanese women and American women. Color of the Sea portrays the invisible fences related to identity that the characters must confront while moving between Japan and America from the 1930s to the 1940s. This paper explores the images of the fences represented in the novel in order to discuss the identity gaps the characters feel between themselves and others, and examines how these characters respond to the gaps both inside and outside the fences.},
 pages = {145--157},
 title = {フェンスから浮かび上がるアイデンティティの問題 : John Hamamura の Color of the Sea について},
 volume = {3},
 year = {2020}
}