摘要：Although Japanese soprano Tamaki Miura attempted to revive her career shortly after the conclusion of World War II, it was not until her recital on March 21, 1946, in which it became apparent that she was severely ill, that the Japanese media began to pay close attention to her activities. In an attempt to capture the sound of the once world-famous soprano, Japan Broadcasting Corporation (NHK) arranged three recording sessions with Miura in April, which included an excerpted performance of Puccini’s Madama Butterfly . From then to several months immediately following her death on May 26, multiple newspapers including Asahi Shimbun , Jiji Shimpō , Mainichi Shimbun , Tōkyō Shimbun , Yomiuri Shimbun , and others printed articles of various lengths recounting her battles with the illness and, after her passing, commemorating her career. At least three recurring patterns are observable in these and other texts that deal with Miura’s final days: the repeated identification of Miura with the fictional character of Cio-Cio-San, the obsessive attention paid to Miura’s failing body and voice, and the use of Miura’s unflattering demise as a metaphor of Japan in the aftermath of the war.
