{ "source": "wordpress_magazine_archive", "wordpress_issue_id": 24350, "summary": "The August 1954 issue of Kitan Club combines staged bondage photography, female-on-female domination, historical punishment imagery, fetish studies, queer testimony, seppuku research, masochistic confession, literary fiction, social commentary on female sexuality, and an extensive final section concerned with masks, correspondence, emotional education, international vice, and the representation of cruelty in contemporary art and literature.\r\nThe cover establishes a theatrical hierarchy: a woman stands above an armored or masked male figure and wields a lash. Her exposed, active body contrasts with his crouched posture and obscured identity. Female authority is presented as spectacle before the reader even enters the issue.\r\nPDF page 5 opens with Beauty Exercises Using Rope, an illustrated sheet showing women in acrobatic positions supported or extended by rope. The figures resemble aerial or gymnastic studies rather than narrative captives. Rope is treated as a line that reorganizes the body in space.\r\nItō Seiu’s The Tragedy of Mitsumata, on PDF page 6, turns a historical water punishment into a crowded nocturnal tableau. Boats, witnesses, moonlight, and the partially submerged body make punishment a public and theatrical event.\r\nPDF pages 7–12 form an international catalogue of cruelty. Drowning and water restraint are followed by the guillotine, an iron-maiden-like device, cage punishment, and firing-squad imagery. These scenes are juxtaposed less as coherent history than as collectible varieties of bodily danger.\r\nThe opening photography on PDF pages 13–18 alternates staged female submission with process-oriented rope studies. A kneeling model appears in a compact chest tie; women pin and twist one another; and close photographs compare several hands-behind, waist, chest, and gag configurations. The pages demonstrate increasing interest in rope as a reproducible visual system, although they do not offer modern anatomical or safety guidance.\r\nThe female-dominance photographs on PDF pages 22–25 use domestic settings and ordinary objects. One woman pulls another by a rope, sits on a prone figure, uses a person as a footstool, or administers corporal punishment. The telephone, chair, carpet, and bedroom floor become props within a private hierarchy.\r\nItō Seiu’s Disordered Hair, on PDF page 27, shifts attention from technique to aftermath. The woman’s obscured face, tangled hair, kimono, and inward posture carry the emotional weight of the image.\r\nDemonic Seduction, beginning on PDF page 31, by Futamata Shizuko, combines modern social space with psychological manipulation. Rooms, passages, medical treatment, and conversations become increasingly unstable, turning ordinary architecture into an enclosure.\r\nOverseas Sadism Notes: Uses of Clothing, beginning on PDF page 43, is a wide-ranging survey of garments that alter posture, identity, and movement. Corsets, leather, high boots, animal costumes, masks, military dress, theatrical clothing, and restrictive garments are discussed as technologies of transformation rather than passive decoration.\r\nAnswering Former Military Policeman Hayashida Masaki, beginning on PDF page 55, continues the magazine’s developing culture of public reply. Personal testimony is not simply printed and abandoned; later contributors challenge, elaborate upon, or respond to it.\r\nPrivate Punishment, beginning on PDF page 59, presents a woman’s first-person account of discipline, confinement, humiliation, and emotional dependence. Its illustrations place the subjected woman in public or semi-public situations, making shame and observation part of the punishment.\r\nSeppuku Research Night Talk, beginning on PDF page 64, continues the magazine’s attempt to turn fascination with abdominal cutting into an archival discipline. The article moves through historical documents, literary incidents, theatrical practices, medical discussion, and images of women with blades.\r\nItō Seiu’s Sexual Fluids, Part Seven, beginning on PDF page 72, again mixes folklore, bodily custom, prostitution history, anecdote, and antiquarian curiosity. Material excluded from respectable scholarship is treated as evidence to be collected and interpreted.\r\nThe Complaint of the White Belly, beginning on PDF page 76, focuses on abdominal appearance, exposure, embarrassment, and bodily self-consciousness. The belly becomes a site where medical observation and erotic judgment intersect.\r\nHomosexual Mania and Masturbation, beginning on PDF page 78, and The Secret of the Beautiful Boy, beginning on page 80, give male same-sex attraction and male beauty narrative visibility. Their terminology is historically pathologizing, but both pieces allow queer experience to appear through personal or literary voices rather than diagnosis alone.\r\nThe Sorrow of a Foot Fetishist, beginning on PDF page 85, presents fetishism as a source of memory, isolation, longing, and emotional conflict. It is less a celebration of a body part than an account of living with an attraction that cannot easily be shared.\r\nMatsui Raikō’s Until Spring Withers, beginning on PDF page 88, is one of the issue’s major literary works. It develops an emotionally dependent relationship through domestic tension, humiliation, illness, and shifting control. The accompanying illustrations repeatedly place women in confined interiors or restrained positions.\r\nNuma Shōzō’s From a Masochist’s Notebook, beginning on PDF page 102, continues his construction of an international intellectual history of masochism. Literature, psychology, biography, war, crime, and personal reflection are treated as parts of one dispersed archive.\r\nFemale Sexuality, beginning on PDF page 108, attempts to discuss women’s sexual desire through physiology, marriage, menstruation, orgasm, and social expectation. Although its claims are shaped by 1950s assumptions, the article treats female desire as active rather than merely responsive.\r\nIllustrated Mandala of Abdominal Cutting, beginning on PDF page 114, is an extensive visual and textual catalogue. Solitary women, attendants, historical costumes, male examples, blades, bodily preparations, and ritualized poses are organized into numbered chapters. It is one of the clearest examples of the magazine turning fetish fascination into visual taxonomy.\r\nObservations of the Navel, Part Three, beginning on PDF page 128, continues Sudō Ritsuo’s intensely specific bodily-fetish record. Travel, clothing, street observation, memory, and photography become methods through which one small bodily feature is repeatedly studied.\r\nMorimoto Aizō’s translated Cruel Women, beginning on PDF page 132, continues the Das Grausame Weib series. European literature, criminal history, medicine, and colonial examples are used to give female aggression a transnational genealogy.\r\nThe Humiliation of Bengal, beginning on PDF page 136, uses colonial rule and racialized violence as a historical frame. Its perspective is heavily sensationalized, but it demonstrates how imperial history was absorbed into the magazine’s archive of coercion.\r\nInterruption of Female Sexuality, beginning on PDF page 142, begins a lengthy discussion of Japanese women, chastity, modernity, marriage, and changing sexual norms. The article makes broad and often dubious national comparisons, yet it is important as evidence that the magazine’s subject had expanded beyond individual fantasy toward arguments about society and identity.\r\nThe material beyond PDF page 150 considerably changes the shape of the issue.\r\nBlue Firefly, beginning on PDF page 150, continues through PDF page 155. What appeared to be an isolated final page in the earlier response is actually a complete six-page literary essay using nocturnal insects, strange light, folklore, observation, and erotic unease.\r\nThe Mask of the Sadistic Woman, beginning on PDF page 156, examines masks, concealment, female aggression, disguise, and the social personality of the dominant woman. Illustrations show women with altered or covered faces, suggesting that domination permits the adoption of a second identity.\r\nA Masochistic Man’s Secret Letter, beginning on PDF page 164, is another contribution to the magazine’s confessional network. The writer uses the letter form to describe desire, shame, memory, and the difficulty of addressing an imagined community while remaining anonymous.\r\nRegarding a Certain Letter, beginning on PDF page 170, by Kawabata Tanako, directly responds to correspondence printed in an earlier issue. The article discusses the ethics and reliability of anonymous testimony and illustrates how contributors increasingly treated the magazine as an ongoing conversation rather than a one-way publication.\r\nSentimental Education, Part Ten, beginning on PDF page 174, continues through PDF page 187. The installment uses publishing work, money, ambition, intimacy, exploitation, and unequal social relationships to examine how emotional and erotic identity is shaped. The series’ title is apt: desire develops through power, disappointment, and social instruction.\r\nInternational Spy Headquarters, beginning on PDF page 188, by Nonaka Aizō, moves into sensational crime and espionage fiction. Sexual coercion, institutional authority, captivity, and international intrigue are folded into a melodramatic narrative.\r\nSeme in Contemporary Literature, beginning on PDF page 197, by Murata Seiichi, returns to literary criticism. It asks readers to identify cruelty, punishment, coercion, and humiliation across modern writing, further establishing seme as a category of interpretation rather than merely an illustrated act.\r\nIn Beautiful May, beginning on PDF page 202, is a long story of emotional and bodily vulnerability. It continues through PDF page 211 and provides the final substantial literary narrative of the issue.\r\nPDF page 212 begins a response titled Regarding It, written under the numerical pseudonym Forty-Six. It comments on a previously published essay and photographic discussion concerning women’s noses and facial aesthetics. This exchange continues the magazine’s peculiar but important practice of turning even highly specialized fetish arguments into public debate.\r\nPDF page 213 begins Three Forms of the Female Nose, combining photographs and commentary on facial structure. The feature continues through page 217 and treats the nose as an aesthetic, psychological, and erotic object.\r\nReader and editorial matter occupies PDF pages 218–220. The last pages include correspondence, notices, publication material, and small diagrams connected to binding and bodily positioning. The scan therefore ends not with Blue Firefly, but with evidence of the magazine’s active readership and editorial machinery.\r\nAcross all 220 pages, the August issue presents Kitan Club as a visual archive, confessional forum, correspondence club, research society, and laboratory of fetish classification. Rope remains central, but the publication also investigates clothing, masks, feet, bellies, navels, noses, female sexuality, queer identity, literature, colonial history, and the social performance of dominance. Its ethical assumptions remain far removed from contemporary consent-centered practice, yet the issue documents an emerging erotic public learning to name, compare, debate, and historicize its desires.", "highlights": [ "Beauty Exercises Using Rope turns rope into an acrobatic drawing tool that stretches the body into four sculptural compositions (PDF p. 5).", "Itō Seiu’s The Tragedy of Mitsumata places bodily punishment within a moonlit landscape of boats, water, and public witnesses (PDF p. 6).", "The guillotine, iron woman, cage, and firing-squad plates form a compact international catalogue of punishment technology (PDF pp. 9–12).", "The early photographic sequence makes female-on-female physical control a central theme through pinning, twisting, rope pulling, trampling, and corporal punishment (PDF pp. 14–25).", "Overseas Sadism Notes: Uses of Clothing treats leather, corsets, boots, masks, uniforms, and animal costumes as devices for constructing erotic identity (PDF pp. 43–54).", "Private Punishment gives discipline and humiliation an apparently female first-person voice and links physical submission with emotional dependence (PDF pp. 59–63).", "Seppuku Research Night Talk combines bibliography, historical anecdote, legal material, and fetish imagery into an improvised field of research (PDF pp. 64–71).", "The Sorrow of a Foot Fetishist portrays fetish identity as loneliness and emotional conflict rather than a simple preference (PDF pp. 85–87).", "Until Spring Withers is the issue’s major early literary narrative, developing dependency and control across fourteen PDF pages (PDF pp. 88–101).", "Illustrated Mandala of Abdominal Cutting organizes solitary, assisted, historical, and theatrical examples into an extended visual taxonomy (PDF pp. 114–127).", "Blue Firefly continues for six pages beyond the former artificial cutoff and uses nocturnal folklore and strange light to create erotic unease (PDF pp. 150–155).", "The Mask of the Sadistic Woman examines concealment and the dominant persona, suggesting that the mask permits an alternate social identity (PDF pp. 156–163).", "Regarding a Certain Letter demonstrates that the magazine had become an active correspondence network whose contributors publicly evaluated one another’s testimony (PDF pp. 170–173).", "Sentimental Education, Part Ten occupies fourteen pages and explores power through publishing work, money, ambition, and intimate dependency (PDF pp. 174–187).", "The final nose study and correspondence pages confirm that the issue continues through PDF page 220 and ends with reader debate and editorial infrastructure rather than fiction alone (PDF pp. 212–220)." ], "toc_entry_count": 54, "imported_at": "2026-07-31T09:27:21+00:00", "schema_version": "1.0", "has_toc": true, "issue_title": "August 1954", "publication_month": "1954-08", "volume": null, "issue_number": null, "themes": [ "Torture, cruelty, and erotic punishment", "Publishing culture and editorial debate", "Restraint, binding, and helplessness", "Secrecy, isolation, and forbidden desire", "Reader correspondence and community formation", "Visual art, illustration, and photography", "Authority, discipline, and institutional power", "Psychological humiliation and degradation" ], "toc_entries": [ { "title": "Beauty Exercises Using Rope", "author": "Taki Reiko", "printed_pages": "5", "pdf_page_start": 5, "pdf_page_end": 5, "notes": "Beauty Exercises Using Rope | Taki Reiko | 5" }, { "title": "The Tragedy of Mitsumata", "author": "Itō Seiu", "printed_pages": "6", "pdf_page_start": 6, "pdf_page_end": 6, "notes": "The Tragedy of Mitsumata | Itō Seiu | 6" }, { "title": "Water Punishment", "author": "Kazuhisa, artist credit uncertain", "printed_pages": "7–8", "pdf_page_start": 7, "pdf_page_end": 8, "notes": "Water Punishment | Kazuhisa, artist credit uncertain | 7–8" }, { "title": "Guillotine", "author": "Kazuhisa, artist credit uncertain", "printed_pages": "9", "pdf_page_start": 9, "pdf_page_end": 9, "notes": "Guillotine | Kazuhisa, artist credit uncertain | 9" }, { "title": "The Woman of Iron", "author": "Kazuhisa, artist credit uncertain", "printed_pages": "10", "pdf_page_start": 10, "pdf_page_end": 10, "notes": "The Woman of Iron | Kazuhisa, artist credit uncertain | 10" }, { "title": "Cage Punishment", "author": "Kazuhisa, artist credit uncertain", "printed_pages": "11", "pdf_page_start": 11, "pdf_page_end": 11, "notes": "Cage Punishment | Kazuhisa, artist credit uncertain | 11" }, { "title": "Firing-Squad Punishment", "author": "Kazuhisa, artist credit uncertain", "printed_pages": "12", "pdf_page_start": 12, "pdf_page_end": 12, "notes": "Firing-Squad Punishment | Kazuhisa, artist credit uncertain | 12" }, { "title": "An Example of Rope Use from a French Source", "author": null, "printed_pages": "13", "pdf_page_start": 13, "pdf_page_end": 13, "notes": "An Example of Rope Use from a French Source | | 13" }, { "title": "My Lady, Is It Not Too Hot?", "author": "Haruhi Rumi and Itabuki Makiko", "printed_pages": "14", "pdf_page_start": 14, "pdf_page_end": 14, "notes": "My Lady, Is It Not Too Hot? | Haruhi Rumi and Itabuki Makiko | 14" }, { "title": "Beautiful Pose", "author": "Haruhi Rumi and Itabuki Makiko", "printed_pages": "15", "pdf_page_start": 15, "pdf_page_end": 15, "notes": "Beautiful Pose | Haruhi Rumi and Itabuki Makiko | 15" }, { "title": "Active and Passive", "author": "composition by Tsujimura Takashi; model Yanagimoto Setsuko", "printed_pages": "16", "pdf_page_start": 16, "pdf_page_end": 16, "notes": "Active and Passive | composition by Tsujimura Takashi; model Yanagimoto Setsuko | 16" }, { "title": "Hands-Behind Binding", "author": "Murata Tamiko", "printed_pages": "17", "pdf_page_start": 17, "pdf_page_end": 17, "notes": "Hands-Behind Binding | Murata Tamiko | 17" }, { "title": "Hands-Behind Waist Binding and Gag Harness", "author": "Nakafuji Tamiko and Tō Mieko", "printed_pages": "18", "pdf_page_start": 18, "pdf_page_end": 18, "notes": "Hands-Behind Waist Binding and Gag Harness | Nakafuji Tamiko and Tō Mieko | 18" }, { "title": "Newlywed Game: Summertime Kimono", "author": "Taki Reiko", "printed_pages": "19", "pdf_page_start": 19, "pdf_page_end": 19, "notes": "Newlywed Game: Summertime Kimono | Taki Reiko | 19" }, { "title": "Newlywed Game: Dawn", "author": "Taki Reiko", "printed_pages": "20", "pdf_page_start": 20, "pdf_page_end": 20, "notes": "Newlywed Game: Dawn | Taki Reiko | 20" }, { "title": "Overhead Wrist Restraint", "author": "Itabuki Makiko", "printed_pages": "21", "pdf_page_start": 21, "pdf_page_end": 21, "notes": "Overhead Wrist Restraint | Itabuki Makiko | 21" }, { "title": "Unrestrained Playfulness", "author": "Haruhi Rumi and Itabuki Makiko", "printed_pages": "22", "pdf_page_start": 22, "pdf_page_end": 22, "notes": "Unrestrained Playfulness | Haruhi Rumi and Itabuki Makiko | 22" }, { "title": "Sitting on the Buttocks", "author": "Haruhi Rumi and Itabuki Makiko", "printed_pages": "23", "pdf_page_start": 23, "pdf_page_end": 23, "notes": "Sitting on the Buttocks | Haruhi Rumi and Itabuki Makiko | 23" }, { "title": "Footstool", "author": "Haruhi Rumi and model A", "printed_pages": "24", "pdf_page_start": 24, "pdf_page_end": 24, "notes": "Footstool | Haruhi Rumi and model A | 24" }, { "title": "Beating", "author": "Itabuki Makiko and model B", "printed_pages": "25", "pdf_page_start": 25, "pdf_page_end": 25, "notes": "Beating | Itabuki Makiko and model B | 25" }, { "title": "The Silent Piper", "author": null, "printed_pages": "26", "pdf_page_start": 26, "pdf_page_end": 26, "notes": "The Silent Piper | | 26" }, { "title": "Disordered Hair", "author": "photographed by Itō Seiu", "printed_pages": "27", "pdf_page_start": 27, "pdf_page_end": 27, "notes": "Disordered Hair | photographed by Itō Seiu | 27" }, { "title": "Single-Leg Suspension", "author": "composition by Tsujimura Takashi; model Mori Chieko", "printed_pages": "28", "pdf_page_start": 28, "pdf_page_end": 28, "notes": "Single-Leg Suspension | composition by Tsujimura Takashi; model Mori Chieko | 28" }, { "title": "Shackles", "author": "Sugihara Nijiko", "printed_pages": "29", "pdf_page_start": 29, "pdf_page_end": 29, "notes": "Shackles | Sugihara Nijiko | 29" }, { "title": "Demonic Seduction", "author": "Futamata Shizuko", "printed_pages": "31–42", "pdf_page_start": 31, "pdf_page_end": 42, "notes": "Demonic Seduction | Futamata Shizuko | 31–42" }, { "title": "Overseas Sadism Notes: Uses of Clothing", "author": "Azuma Shin", "printed_pages": "43–54", "pdf_page_start": 43, "pdf_page_end": 54, "notes": "Overseas Sadism Notes: Uses of Clothing | Azuma Shin | 43–54" }, { "title": "Answering Former Military Policeman Hayashida Masaki", "author": "Minamikawa Kazuko", "printed_pages": "55–58", "pdf_page_start": 55, "pdf_page_end": 58, "notes": "Answering Former Military Policeman Hayashida Masaki | Minamikawa Kazuko | 55–58" }, { "title": "Private Punishment", "author": "Hishiha Kiyoko, romanization uncertain", "printed_pages": "59–63", "pdf_page_start": 59, "pdf_page_end": 63, "notes": "Private Punishment | Hishiha Kiyoko, romanization uncertain | 59–63" }, { "title": "Seppuku Research Night Talk", "author": "Nakayasu Hiromichi", "printed_pages": "64–71", "pdf_page_start": 64, "pdf_page_end": 71, "notes": "Seppuku Research Night Talk | Nakayasu Hiromichi | 64–71" }, { "title": "Sexual Fluids, Part Seven", "author": "Itō Seiu", "printed_pages": "72–75", "pdf_page_start": 72, "pdf_page_end": 75, "notes": "Sexual Fluids, Part Seven | Itō Seiu | 72–75" }, { "title": "The Complaint of the White Belly", "author": "Nozaki Jun", "printed_pages": "76–77", "pdf_page_start": 76, "pdf_page_end": 77, "notes": "The Complaint of the White Belly | Nozaki Jun | 76–77" }, { "title": "Homosexual Mania and Masturbation", "author": "Murazato Eiichi", "printed_pages": "78–79", "pdf_page_start": 78, "pdf_page_end": 79, "notes": "Homosexual Mania and Masturbation | Murazato Eiichi | 78–79" }, { "title": "The Secret of the Beautiful Boy", "author": "Yamaguchi Kōichi", "printed_pages": "80–84", "pdf_page_start": 80, "pdf_page_end": 84, "notes": "The Secret of the Beautiful Boy | Yamaguchi Kōichi | 80–84" }, { "title": "The Sorrow of a Foot Fetishist", "author": "Haruyama Tadakazu", "printed_pages": "85–87", "pdf_page_start": 85, "pdf_page_end": 87, "notes": "The Sorrow of a Foot Fetishist | Haruyama Tadakazu | 85–87" }, { "title": "Until Spring Withers", "author": "Matsui Raikō", "printed_pages": "88–101", "pdf_page_start": 88, "pdf_page_end": 101, "notes": "Until Spring Withers | Matsui Raikō | 88–101" }, { "title": "From a Masochist’s Notebook", "author": "Numa Shōzō", "printed_pages": "102–107", "pdf_page_start": 102, "pdf_page_end": 107, "notes": "From a Masochist’s Notebook | Numa Shōzō | 102–107" }, { "title": "Female Sexuality", "author": "Saji Kōsuke", "printed_pages": "108–110", "pdf_page_start": 108, "pdf_page_end": 110, "notes": "Female Sexuality | Saji Kōsuke | 108–110" }, { "title": "Song of the Shore", "author": "Mimura Haruo", "printed_pages": "111–113", "pdf_page_start": 111, "pdf_page_end": 113, "notes": "Song of the Shore | Mimura Haruo | 111–113" }, { "title": "Illustrated Mandala of Abdominal Cutting", "author": "Hōya Shirō", "printed_pages": "114–127", "pdf_page_start": 114, "pdf_page_end": 127, "notes": "Illustrated Mandala of Abdominal Cutting | Hōya Shirō | 114–127" }, { "title": "Observations of the Navel, Part Three: My Bodily-Fetish Record", "author": "Sudō Ritsuo", "printed_pages": "128–131", "pdf_page_start": 128, "pdf_page_end": 131, "notes": "Observations of the Navel, Part Three: My Bodily-Fetish Record | Sudō Ritsuo | 128–131" }, { "title": "Cruel Women", "author": "translated and explained by Morimoto Aizō", "printed_pages": "132–135", "pdf_page_start": 132, "pdf_page_end": 135, "notes": "Cruel Women | translated and explained by Morimoto Aizō | 132–135" }, { "title": "The Humiliation of Bengal: A Secret History of Colonial Cruelty", "author": "Kawano Kyōsuke", "printed_pages": "136–141", "pdf_page_start": 136, "pdf_page_end": 141, "notes": "The Humiliation of Bengal: A Secret History of Colonial Cruelty | Kawano Kyōsuke | 136–141" }, { "title": "Interruption of Female Sexuality", "author": "Hayashi Yumio", "printed_pages": "142–149", "pdf_page_start": 142, "pdf_page_end": 149, "notes": "Interruption of Female Sexuality | Hayashi Yumio | 142–149" }, { "title": "Blue Firefly", "author": "Kawada Susumu", "printed_pages": "150–155", "pdf_page_start": 150, "pdf_page_end": 155, "notes": "Blue Firefly | Kawada Susumu | 150–155" }, { "title": "The Mask of the Sadistic Woman", "author": "Yamada Masami, romanization uncertain", "printed_pages": "156–163", "pdf_page_start": 156, "pdf_page_end": 163, "notes": "The Mask of the Sadistic Woman | Yamada Masami, romanization uncertain | 156–163" }, { "title": "A Masochistic Man’s Secret Letter", "author": "Yanagisaki Kenji, credit reading uncertain", "printed_pages": "164–169", "pdf_page_start": 164, "pdf_page_end": 169, "notes": "A Masochistic Man’s Secret Letter | Yanagisaki Kenji, credit reading uncertain | 164–169" }, { "title": "Regarding a Certain Letter", "author": "Kawabata Tanako", "printed_pages": "170–173", "pdf_page_start": 170, "pdf_page_end": 173, "notes": "Regarding a Certain Letter | Kawabata Tanako | 170–173" }, { "title": "Sentimental Education, Part Ten", "author": "Kurihara Shin; text credit reading uncertain", "printed_pages": "174–187", "pdf_page_start": 174, "pdf_page_end": 187, "notes": "Sentimental Education, Part Ten | Kurihara Shin; text credit reading uncertain | 174–187" }, { "title": "International Spy Headquarters", "author": "Nonaka Aizō", "printed_pages": "188–196", "pdf_page_start": 188, "pdf_page_end": 196, "notes": "International Spy Headquarters | Nonaka Aizō | 188–196" }, { "title": "Seme in Contemporary Literature", "author": "Murata Seiichi", "printed_pages": "197–201", "pdf_page_start": 197, "pdf_page_end": 201, "notes": "Seme in Contemporary Literature | Murata Seiichi | 197–201" }, { "title": "In Beautiful May", "author": "Furukawa Hiroko, credit reading uncertain", "printed_pages": "202–211", "pdf_page_start": 202, "pdf_page_end": 211, "notes": "In Beautiful May | Furukawa Hiroko, credit reading uncertain | 202–211" }, { "title": "Regarding It", "author": "Forty-Six", "printed_pages": "212", "pdf_page_start": 212, "pdf_page_end": 212, "notes": "Regarding It | Forty-Six | 212" }, { "title": "Three Forms of the Female Nose", "author": "contributor credit unclear", "printed_pages": "213–217", "pdf_page_start": 213, "pdf_page_end": 217, "notes": "Three Forms of the Female Nose | contributor credit unclear | 213–217" }, { "title": "Reader Correspondence, Editorial Material, Binding Diagrams, and Publication Notices", "author": "multiple contributors", "printed_pages": "218–220", "pdf_page_start": 218, "pdf_page_end": 220, "notes": "Reader Correspondence, Editorial Material, Binding Diagrams, and Publication Notices | multiple contributors | 218–220" } ], "analysis_notes": "Migrated from the WordPress archive. Review before approval.", "krp_export": { "issue_id": 41, "magazine": "Kitan Club", "original_filename": "195408.pdf", "page_count": 220, "analysis_status": "approved", "exported_at": "2026-09-29T16:14:13+00:00" } }