The Revolution Will Not Be Televised: Protest Music After Fukushima' shows that music played a central role in expressing antinuclear sentiments and mobilizing political resistance in Japan. Combining musical analysis with ethnographic participation, author Noriko Manabe offers an innovative typology of the spaces central to the performance of protest music--cyberspace, demonstrations, festivals, and recordings." --publisher information.
Teaching Mikadoism is a dynamic and nuanced look at the Japanese language school controversy that originated in the Territory of Hawai‘i in 1919. At the time, ninety-eight percent of Hawai‘i’s Japanese American children attended Japanese language schools. Hawai‘i sugar plantation managers endorsed Japanese language schools but, after witnessing the assertive role of Japanese in the 1920 labor strike, they joined public school educators and the Office of Naval Intelligence in labeling them anti-American and urged their suppression. Thus the "Japanese language school problem" became a means of controlling Hawai‘i's largest ethnic group. The debate quickly surfaced in California and Washington, where powerful activists sought to curb Japanese immigration and economic advancement. Language schools were accused of indoctrinating Mikadoism to Japanese American children as part of Japan's plan to colonize the United States. Previously unexamined archival documents and oral history interviews highlight Japanese immigrants’ resistance and their efforts to foster traditional Japanese values in their American children. A comparative analysis of the Japanese communities in Hawai‘i, California, and Washington shows the history of the Japanese language school is central to the Japanese American struggle to secure fundamental rights in the United States.
Although scholars have emphasized the importance of women’s networks for civil society in twentieth-century Japan, Women and Networks in Nineteenth-Century Japan is the first book to tackle the subject for the contentious and consequential nineteenth century. The essays traverse the divide when Japan started transforming itself from a decentralized to a centralized government, from legally imposed restrictions on movement to the breakdown of travel barriers, and from ad hoc schooling to compulsory elementary school education. As these essays suggest, such changes had a profound impact on women and their roles in networks. Rather than pursue a common methodology, the authors take diverse approaches to this topic that open up fruitful avenues for further exploration. Most of the essays in this volume are by Japanese scholars; their inclusion here provides either an introduction to their work or the opportunity to explore their scholarship further. Because women are often invisible in historical documentation, the authors use a range of sources (such as diaries, letters, and legal documents) to reconstruct the familial, neighborhood, religious, political, work, and travel networks that women maintained, constructed, or found themselves in, sometimes against their will. In so doing, most but not all of the authors try to decenter historical narratives built on men’s activities and men’s occupational and status-based networks, and instead recover women’s activities in more localized groupings and personal associations.
In the late nineteenth century, Japan's new Meiji government established museums to showcase a national aesthetic heritage. Inspired by Western museums and expositions, these institutions were introduced by government officials hoping to spur industrialization and self-disciplined public behavior, and to cultivate an "imperial public" loyal to the emperor. Japan's network of museums expanded along with its colonies. By the mid-1930s, the Japanese museum system had established or absorbed institutions in Taiwan, Korea, Sakhalin, and Manchuria. Not surprising, colonial subjects' views of Japanese imperialism differed from those promulgated by the Japanese state. Meanwhile, in Japan, philanthropic and commercial museums were expanding, revising, and even questioning the state-sanctioned aesthetic canon. Public Properties describes how museums in Japan and its empire contributed to the reimagining of state and society during the imperial era, despite vigorous disagreements about what was to be displayed, how, and by whom it was to be seen.
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