華字婦人雑誌『女声』における編集者関露のフェミニズム思想と植民地主義へのスタンス

The commencement of the Asia-Pacific War on December 8, 1941, in Shanghai, China, marked the invasion of the Japanese military into the International Settlement (an area where multiple countries collected taxes from residents) and the full occupation of Shanghai. From December 1941 to August 1945, the Wang Jingwei Nanjing government contained public opinion in the occupied areas, controlled newspapers and media, and further reinforced control over culture and ideology. To emphasize 'friendly diplomacy' to the Chinese populace, the Japanese government encouraged the publication of various 'propaganda magazines.' Against this backdrop, the women's magazine 'Women's Voice' was published. The editor-in-chief of 'Women's Voice' was Japanese, Toshiko Tamura, and the editor was Chinese, Guan Lu, among others.
In the spring of 1942, Guan Lu, introduced through Japanese Communist Party member, became an underground operative for the Communist Party and an editor for 'Women's Voice.' In this paper, we will examine how Guan Lu, a Communist Party spy, used feminist ideology to combat colonialism.
Furthermore, while Guan Lu had been active as a poet, she did not publish a single poem among the more than 110 works featured in 'Women's Voice' after joining the Women's Voice Society. As analyzed in my previous paper, this can be attributed to Guan Lu's poetic perspective. Particularly, during her time as a 'Women's Voice' editor, she submitted only one poem, 'Song of Wu,' to the magazine 'Zazhi.' Through this poem, what ideology did Guan Lu convey? Additionally, after Toshiko Tamura passed away from a cerebral hemorrhage in April 1945, Guan Lu became the editor-in-chief of 'Women's Voice' and issued the fourth volume's first and second editions. By comparing the fourth volume of 'Women's Voice' under Guan Lu's leadership with the earlier volumes managed by Toshiko Tamura, significant changes in the magazine's character become evident. Therefore, what changes and objectives can be identified in 'Women's Voice' under Guan Lu's direction? This paper aims to address these questions.