Curriculum Vitae


The University of Trier, Germany

Doctoral Studies, 2012 – 2018

Department of Japanese Studies (Japanologie)

The University of Tokyo, Japan

Master’s Studies, 2009 – 2012

Graduate School of Arts and Sciences, Department of Interdisciplinary Cultural Studies, Culture and Representation Course (総合文化研究科地域文化科学専攻表象文化論)

  • Advisor: Prof. em. Matsuoka Shinpei
  • Thesis: 「世阿弥能『江口』のドラマトルギー:『理』の意義と『天女舞』の演出をめぐって」[Zeami’s noh “Eguchi” and its dramaturgy: Concerning the significance of the word kotowari and the performance of the dance of the heavenly woman]

Smith College, Massachusetts

Bachelor’s Studies, 2001 – 2005

Major in East Asian Languages and Literature and minor in Philosophy (Linguistics)

  • Advisors: Prof. em. Thomas Rohlich and Prof. em. Jill de Villiers


2021 – present Postdoctoral Fellow

  • Nogami Memorial Noh Theatre Research Institute, Hosei Univeristy

2020 – 2021 Adjunct Instructor

  • Japanese Studies (Japanologie), University of Trier

2020 Research Assistent (Wissenschaftliche Angestellte)

  • Japanese Studies (Japanologie), University of Tübingen

2017 – 2019 Postdoctoral Researcher

  • Trier Center for Digital Humanities, University of Trier

2015 – 2016 Adjunct Instructor

  • Department of Japanese Studies (Japanologie), University of Tübingen

Awards and Fellowships

Japan Society for the Promotion of Science (JSPS) Postdoctoral Fellowship (Short-term)

Oct. 2013  –  Oct. 2014

  • Visiting Researcher at Waseda University

Japanese Government (文部科学省) Scholarship

Apr. 2009 – Mar. 2012

  • Research student at the University of Tokyo for one academic year
  • Master’s student at the University of Tokyo for two years


For the most recent information and to download available files, please see my page on

“Is Creativity Divine or Earthly? Zeami and the Debate over Genius and Talent.” European Journal of Japanese Philosophy 5 (2020).

“Hinter der Nō-Maske: Die weltlichen und himmlischen Kräfte einer leeren Identität” [Behind the noh mask: The profane and heavenly powers of an empty identity]. Edited by Hermann-Josef Röllicke. Hôrin (2020).

“Hana” and “Yūgen.” In Handbook on Performance-Related Concepts in Non-European Languages, edited by Erika Fischer-Lichte. Routledge (submitted).

「能楽研究のデジタル化:海外の視点から見た電子資料の現状」[The digitalization of noh research: The state of digital resources as seen from abroad]. In 『中世に架ける橋』[A bridge to the middle ages], edited by Shinpei Matsuoka, 333–39. Shinwasha, 2020.

(Dissertation) “The Dynamics of Gender and Power in Zeami’s Reflections on Performance.” University of Trier, 2020.

“Producing Miracles: The Practice of Noh Performance.” In Practicing Japanese Philosophy: Mind and Activity, 76–87. University of Tokyo Center for Philosophy, 2012.

(Translation) Marumoto, Takashi. “Comedy and Laughter on the Japanese and German Stage: A Comparative Attempt,” In Japanese Theatre Transcultural: German and Italian Intertwinings, edited by Stanca Scholz-Cionca and Andreas Regelsberger. Munich: Iudicium, 2011. pp. 51-68.