Editing Yasunao Tone (section)

== Early life in Tokyo ==
While in high-school Tone became interested in Japanese Avant-Garde poetry and prose of the 1920s and 30s.<ref name=":5" /> After entering the Literature program at Chiba National University, where he was enrolled from 1953-1957, Tone’s interest in literature expanded to a more general interest in the modernism of the interwar period.<ref name=":5">William Marotti, “Sounding the Everyday: the Music Group and Yasunao Tone’s Early Work,” in ''Yasunao Tone: Noise Media Language'' (Errant Bodies Press, 2007), pp. 13-33, 17.</ref> During this time, Tone was particularly influenced by Assistant Professor Tsuneyoshi Shigenobu and the instructor Isamu Kurita.<ref name=":5" /> Under Shigenobu’s guidance, Tone and his classmates translated [[Maurice Blanchot]]’s ''La Part du feu'' over a two-year period. Kurita, on the other hand, taught Tone about [[Georges Bataille|Bataille]] as well as introduced him to critics and poets of his own generation such as Yoshiaki Tōno, [[Kōichi Iijima]], and [[Makoto Ōoka]].<ref name=":5" /> Tone, meanwhile, continued to seek out prewar Japanese avant-garde culture in journals such as “Shi to Shinron,” “Ge.Gjgjgam.Prr.Gjmgem,” “Bara●Majutsu●Gakusetsu,” and “Fukuikutaru Kafu-yo” and through the work of [[Tomoyoshi Murayama]] and his Mavo group.<ref name=":6">William Marotti, “Sounding the Everyday: the Music Group and Yasunao Tone’s Early Work,” in ''Yasunao Tone: Noise Media Language'' (Errant Bodies Press, 2007), pp. 13-33, 18.</ref> Tone then wrote his thesis on [[Dada]] and [[Surrealism]], interviewing many of the prominent figures of the 20th century avant-garde in Japan in the process such as [[Katué Kitasono|Katsue Kitazono]], [[Shūzō Takiguchi]], Kōichi Kihara, and Sansei Yamanaka.<ref name=":6" /><ref>Hans Ulrich Obrist and Yasunao Tone, “Interview with Yasunao Tone,” in ''Yasunao Tone: Noise Media Language'' (Errant Bodies Press, 2007), pp. 63-75, 63.</ref>