In this groundbreaking study of a subject intricately tied up with the controversies of Japanese wartime politics and propaganda, Maki Kaneko reexamines the iconic male figures created by artists of yōga (Western-style painting) between 1930 and 1950. Particular attention is given to prominent yōga painters such as Fujita Tsuguharu, Yasui Sōtarō, Matsumoto Shunsuke, and Yamashita Kiyoshi—all of whom achieved fame for their images of men either during or after the Asia-Pacific War. By closely investigating the representation of male figures together with the contemporary politics of gender, race, and the body, this profusely illustrated volume offers new insight into artists’ activities in late Imperial Japan. Rather than adhering to the previously held model of unilateral control governing the Japanese Empire’s visual regime, the author proposes a more complex analysis of the role of Japanese male artists and how art functioned during an era of international turmoil.
This study offers a fresh perspective on the 'comfort women' debates. It argues that the system can be understood as the mechanism of the intersectional oppression of gender, race, class and colonialism, while illuminating the importance of testimonies of victim-survivors as the site where women recover and gain their voices and agencies.
The Redress Movement refers to efforts to obtain the restitution of civil rights, an apology, and/or monetary compensation from the U.S. government during the six decades that followed the World War II mass removal and confinement of Japanese Americans. Early campaigns emphasized the violation of constitutional rights, lost property, and the repeal of anti-Japanese legislation. 1960s activists linked the wartime detention camps to contemporary racist and colonial policies. In the late 1970s three organizations pursued redress in court and in Congress, culminating in the passage of the Civil Liberties Act of 1988, providing a national apology and individual payments of $20,000 to surviving detainees.
In this groundbreaking study of a subject intricately tied up with the controversies of Japanese wartime politics and propaganda, Maki Kaneko reexamines the iconic male figures created by artists of yōga (Western-style painting) between 1930 and 1950. Particular attention is given to prominent yōga painters such as Fujita Tsuguharu, Yasui Sōtarō, Matsumoto Shunsuke, and Yamashita Kiyoshi—all of whom achieved fame for their images of men either during or after the Asia-Pacific War. By closely investigating the representation of male figures together with the contemporary politics of gender, race, and the body, this profusely illustrated volume offers new insight into artists’ activities in late Imperial Japan. Rather than adhering to the previously held model of unilateral control governing the Japanese Empire’s visual regime, the author proposes a more complex analysis of the role of Japanese male artists and how art functioned during an era of international turmoil.
Kabuki is well known for its exaggerated acting, flamboyant costumes and makeup, and unnatural storylines. The onnagata, usually male actors who perform the roles of women, have been an important aspect of kabuki since its beginnings in the 17th century. In a “labyrinth” of gendering, the practice of men playing women’s roles has affected the manifestations of femininity in Japanese society. In this case study of how gender has been defined and redefined through the centuries, Maki Isaka examines how the onnagata’s theatrical gender “impersonation” has shaped the concept and mechanisms of femininity and gender construction in Japan. The implications of the study go well beyond disciplinary and geographic cloisters.
Maki provides an empirical analysis of law and economics by reevaluating Myrdal's value premises and Weber's separation of analysis and policy. In modern civil society, individuals and businesses conduct economic activities through markets. The mainstream economic theory is the general equilibrium theory, which assumes a perfectly competitive market. The upshot is that transactions through competitive markets maximize the economic welfare of society, with policies such as deregulation and privatization being implemented with the backing of the law. However, in the real economy, legal transactions do not always take place, and this book analyzes price-fixing and bid-rigging cases. These cases show that there is a gap between competition philosophy and legislation. Using the real economy as data, this book conducts an empirical analysis of law and economics and illustrates issues related to the ideals of economics and the proper application of law. Accumulating empirical results will provide the means to form a healthy civil society. A useful reference for graduate students and researchers in economics and legal research, and an interesting read for those who consider economics to be an empirical science.
Management of Soft Tissue Sarcoma addresses the diagnosis and best current management of adult soft tissue sarcomas. Edited by world renowned experts, this book delineates and discusses each different sarcoma subtype individually. Both clinical and molecular diagnoses are addressed, and tumor histopathology is employed as the basis of treatment recommendations including surgery, radiation therapy, systemic therapy and novel therapeutics.
The Premise of Fidelity puts forward a new history of Japanese visuality through an examination of the discourses and practices surrounding the nineteenth century transposition of "the real" in the decades before photography was introduced. This intellectual history is informed by a careful examination of a network of local scholars—from physicians to farmers to bureaucrats—known as Shōhyaku-sha. In their archival materials, these scholars used the term shashin (which would, years later, come to signify "photography" in Japanese) in a wide variety of medical, botanical, and pictorial practices. These scholars pursued questions of the relationship between what they observed and what they believed they knew, in the process investigating scientific ideas and practices by obsessively naming and classifying, and then rendering through highly accurate illustration, the objects of their study. This book is an exploration of the process by which the Shōhyaku-sha shaped the concept of shashin. As such, it disrupts the dominant narratives of photography, art, and science in Japan, providing a prehistory of Japanese photography that requires the accepted history of the discipline to be rewritten.
Retinitis pigmentosa (RP) is a group of inherited neurodegenerative diseases in humans characterized by the loss of photoreceptor cells leading to reduction of the peripheral visual field (known as tunnel vision) and eventually to blindness. N-Methyl-N-nitrosourea (MNU) is an alkylating agent that exhibits its toxicity by transferring its methyl group to nucleobases in nucleic acids. A single systemic administration of MNU causes retinal degeneration in various animal species. The retinal degeneration is highly reproducible, and the photoreceptor cell loss occurs within a week when a suitable dose of MNU is administered. Photoreceptor cell loss occurs via apoptosis, which resembles human RP. Decreased levels of basal autophagy concomitantly occur during the course of apoptosis progression. The time-course progression of the disease, the molecular mechanisms of the disease, and the therapeutic trials against MNU-induced photoreceptor cell apoptosis are described.
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