Profile picture of Rachel DiNitto

Rachel DiNitto

Professor, Japanese Literature
East Asian Languages
Phone: 541-346-4012
Office: 301 Friendly Hall
Office Hours: Thursday 12:30-1:30 in person, Monday 3:30-4:30 remote
Research Interests: Japanese literature, nuclear issues, environmental humanities


B.A. University of Pennsylvania
M.A., Ph.D. University of Washington


Professor DiNitto is accepting graduate students working on modern and contemporary Japanese literature.

Rachel DiNitto is Professor of Japanese Literature. She researches contemporary cultural production (literature, film, manga), specifically the responses to the triple disaster of March 11, 2011 in Japan. See her book, Fukushima Fiction: The Literary Landscape of Japan’s Triple Disaster from University of Hawaii Press Fukushima Fiction is a winner of the Choice Magazine Outstanding Academic Title, 2020She is working on a new environmental humanties project titled "Environmental Echoes and Nuclear Traces" that pairs post-Fukushima fiction with novels and short stories from earlier eras of environmental and nuclear harm. She is the recipient of the 2021 UO Sustainability Award for Excellence in Teaching is a Sustainability Fellow at UO for 2021-2022 working on a project on essential, invisible nuclear workers. 

See below for more of her work on the topic:

Podcast on why nuclear energy is not the green solution:

“Atomic Metaphors, Victims, and the Contestations of Nuclear Discourse.” Religions. 2021; 12(11):962. Special Issue: Religion and the Atomic Age.

「汚染の言説としての「狂気」―チェルノブイリとフクシマにおける汚染のナラティブをめぐって」(Insanity as Toxic Discourse: Narratives of Pollution in Chernobyl and Fukushima). In Saeko Kimura and Ann Bayard-Sakai, eds., 『世界文学としての<震災後文学>』(Postdisaster Fiction as World Literature). Tokyo: Akashi shoten, 2021.

“Envisioning Nuclear Futures: Shiriagari Kotobuki’s Manga from Hope to Despair.” In Roman Rosenbaum, ed., The Representation of Japanese Politics in Manga:The Visual Literacy of Statecraft. London: Routledge, 2021.

“Toxic Interdependencies: 3/11 Cinema.” In Hideaki Fujiki and Alastair Phillips, eds., The Japanese Cinema Book, Chapter 27: Ecology. London: British Film Institute/Bloomsbury, 2020.

“The Fukushima Fiction Film: Gender and the Discourse of Nuclear Containment.” The Asia-Pacific Journal 16, no. 1.1 (January 1, 2018),

“Literature Maps Disaster: The Contending Narratives of 3.11 Fiction.” In Barbara Geilhorn and Kristina Iwata-Weickgenannt, eds., Negotiating Disaster: 'Fukushima' and the Arts, 21-38. London: Routledge, 2017.

“Narrating the Cultural Trauma of 3/11: The Debris of Post-Fukushima Literature and Film.” Japan Forum Special Issue Beyond Fukushima: Culture, Media, and Meaning from Catastrophe. 26.3 (2014): 340-60.

Translation of “Same as Always” (Ima made dōri, 2011) by Satō Yūya. In The Penguin Book of Japanese Short Stories edited by Jay Rubin. Penguin Press (forthcoming 2018). 

She has also worked on the literary and cultural studies of Japan's prewar (1910s-1930s), and postbubble eras (1990-2000s), including film and manga. In addition to her monograph, Uchida Hyakken: A Critique of Modernity and Militarism in Prewar Japan (2008), and her translations of Hyakken’s fiction, Realm of the Dead, publications include articles on depictions of the Asia-Pacific War in the work of manga artist Maruo Suehiro; Kanehara Hitomi, the young, female writer whose controversial novel Snakes and Earrings won Japan's most prestigious literary award in 2004; and cult director Suzuki Seijun's return to the cinema in the 1980s.