The acclaimed actress and legendary singer, Yamaguchi Yoshiko (aka Li Xianglan, 1920-2014), emerged from Japan-occupied Manchuria to become a transnational star during the Second Sino-Japanese war. Born to Japanese parents, raised in Manchuria, and educated in Beijing, the young Yamaguchi learned to speak impeccable Mandarin Chinese and received professional training in operatic singing. When recruited by the Manchurian Film Association in 1939 to act in "national policy" films in the service of Japanese imperialism in China, she allowed herself to be presented as a Chinese, effectively masking her Japanese identity in both her professional and private lives. Yamaguchi soon became an unprecedented transnational phenomenon in Manchuria, Shanghai, and Japan itself as the glamorous female lead in such well-known films as Song of the White Orchid (1939), China Nights (1940), Pledge in the Desert (1940), and Glory to Eternity (1943). Her signature songs, including "When Will You Return?" and "The Evening Primrose," swept East Asia in the waning years of the war and remained popular well into the postwar decades. Ironically, although her celebrated international stardom was without parallel in wartime East Asia, she remained a puppet within a puppet state, choreographed at every turn by Japanese film studios in accordance with the expediencies of Japan's continental policy. In a dramatic turn of events after Japan's defeat, she was placed under house arrest in Shanghai by the Chinese Nationalist forces and barely escaped execution as a traitor to China. Her complex and intriguing life story as a convenient pawn, willing instrument, and tormented victim of Japan's imperialist ideology is told in her bestselling autobiography, translated here in full for the first time in English. An addendum reveals her postwar career in Hollywood and Broadway in the 1950s, her friendship with Charlie Chaplin, her first marriage to Isamu Noguchi, and her postwar life as singer, actress, political figure, television celebrity, and private citizen. A substantial introduction by Chia-ning Chang contextualizes Yamaguchi's life and career within the historical and cultural zeitgeist of wartime Manchuria, Japan, and China and the postwar controversies surrounding her life in East Asia.
Bolder economic policy could have addressed the persistent bouts of deflation in post-bubble Japan, write Gene Park, Saori N. Katada, Giacomo Chiozza, and Yoshiko Kojo in Taming Japan's Deflation. Despite warnings from economists, intense political pressure, and well-articulated unconventional policy options to address this problem, Japan's central bank, the Bank of Japan (BOJ), resisted taking the bold actions that the authors believe would have significantly helped. With Prime Minister Abe Shinzo's return to power, Japan finally shifted course at the start of 2013 with the launch of Abenomics—an economic agenda to reflate the economy—and Abe's appointment of new leadership at the BOJ. As Taming Japan's Deflation shows, the BOJ's resistance to experimenting with bolder policy stemmed from entrenched policy ideas that were hostile to activist monetary policy. The authors explain how these policy ideas evolved over the course of the BOJ's long history and gained dominance because of the closed nature of the broader policy network. The explanatory power of policy ideas and networks suggests a basic inadequacy in the dominant framework for analysis of the politics of monetary policy derived from the literature on central bank independence. This approach privileges the interaction between political principals and their supposed agents, central bankers; but Taming Japan's Deflation shows clearly that central bankers' views, shaped by ideas and institutions, can be decisive in determining monetary policy. Through a combination of institutional analysis, quantitative empirical tests, in-depth case studies, and structured comparison of Japan with other countries, the authors show that, ultimately, the decision to adopt aggressive monetary policy depends largely on the bankers' established policy ideas and policy network.
Reframing Disability in Manga analyzes popular Japanese manga published from the 1990s to the present that portray the everyday lives of adults and children with disabilities in an ableist society. It focuses on five representative conditions currently classified as shōgai (disabilities) in Japan—deafness, blindness, paraplegia, autism, and gender identity disorder—and explores the complexities and sociocultural issues surrounding each. Author Yoshiko Okuyama begins by looking at preindustrial understandings of difference in Japanese myths and legends before moving on to an overview of contemporary representations of disability in popular culture, uncovering sociohistorical attitudes toward the physically, neurologically, or intellectually marked Other. She critiques how characters with disabilities have been represented in mass media, which has reinforced ableism in society and negatively influenced our understanding of human diversity in the past. Okuyama then presents fifteen case studies, each centered on a manga or manga series, that showcase how careful depictions of such characters as differently abled, rather than disabled or impaired, can influence cultural constructions of shōgai and promote social change. Informed by numerous interviews with manga authors and disability activists, Okuyama reveals positive messages of diversity embedded in manga and argues that greater awareness of disability in Japan in the last two decades is due in part to the popularity of these works, the accessibility of the medium, and the authentic stories they tell. Scholars and students in disability studies will find this book an invaluable resource as well as those with interests in Japanese cultural and media studies in general and manga and queer narrative and anti-normative discourse in Japan in particular.
Sacred Space in the Modern City offers strikingly new and original perspectives on a number of controversial issues and important questions concerning Japanese pre- and post-war ideology and identity. Meiji shrine is not just ‘a’ shrine; it is ‘the’ shrine of twentieth-century Japan. This book is also noteworthy on account of its use of previously untouched archival materials as well as for its broad range of theoretical approaches applied within a multidisciplinary context. The author uses Meiji shrine as a lens with which to investigate the nature of the society that created, experienced and reproduced this site. This long-overdue study will be widely welcomed by researchers interested in Shinto and Meiji Japan, as well as the wider readership wishing to access the social history of Taisho and early Showa Japan.
The acclaimed actress and legendary singer, Yamaguchi Yoshiko (aka Li Xianglan, 1920-2014), emerged from Japan-occupied Manchuria to become a transnational star during the Second Sino-Japanese war. Born to Japanese parents, raised in Manchuria, and educated in Beijing, the young Yamaguchi learned to speak impeccable Mandarin Chinese and received professional training in operatic singing. When recruited by the Manchurian Film Association in 1939 to act in "national policy" films in the service of Japanese imperialism in China, she allowed herself to be presented as a Chinese, effectively masking her Japanese identity in both her professional and private lives. Yamaguchi soon became an unprecedented transnational phenomenon in Manchuria, Shanghai, and Japan itself as the glamorous female lead in such well-known films as Song of the White Orchid (1939), China Nights (1940), Pledge in the Desert (1940), and Glory to Eternity (1943). Her signature songs, including "When Will You Return?" and "The Evening Primrose," swept East Asia in the waning years of the war and remained popular well into the postwar decades. Ironically, although her celebrated international stardom was without parallel in wartime East Asia, she remained a puppet within a puppet state, choreographed at every turn by Japanese film studios in accordance with the expediencies of Japan's continental policy. In a dramatic turn of events after Japan's defeat, she was placed under house arrest in Shanghai by the Chinese Nationalist forces and barely escaped execution as a traitor to China. Her complex and intriguing life story as a convenient pawn, willing instrument, and tormented victim of Japan's imperialist ideology is told in her bestselling autobiography, translated here in full for the first time in English. An addendum reveals her postwar career in Hollywood and Broadway in the 1950s, her friendship with Charlie Chaplin, her first marriage to Isamu Noguchi, and her postwar life as singer, actress, political figure, television celebrity, and private citizen. A substantial introduction by Chia-ning Chang contextualizes Yamaguchi's life and career within the historical and cultural zeitgeist of wartime Manchuria, Japan, and China and the postwar controversies surrounding her life in East Asia.
A sequel to the best-selling Shibori', this text provides a modern perspective on shaped-resist dyeing techniques in textile design. Japan's top fashion designers are examined, including Yohji Yamamoto and Issey Miyake and a 96-page section features the work of 24 international artists. A sequel to the best-selling 'Shibori', this text provides a modern perspective on shaped-resist dyeing techniques in textile design. Japan's top fashion designers are examined, including Yohji Yamamoto and Issey Miyake and a 96-page section features the work of 24 international artists.
During the Japanese 'bubble' economy of the 1980's, the youth of Japan began to exert unprecedented influence on Japanese culture through their spirited patronage of certain art forms previously deemed subcultural or avant-garde. Among these were manga (Japanese comics or animation) and shogekijo (Japanese little theater). These art forms, while very unlike in the manner in which they were produced and disseminated, can be shown to exhibit a common language: manga discourse. This discourse presents the ludic, image-oriented, and seemingly infantile but simultaneously transhistorical language. The range and meaning of these discursive forms as they are related to changes in the forms of shogekijo in Japan between the 1960's and the 1980's are explored here, using the work of Noda Hideki and his troupe Yume no Yuminsha as example.Founded in the early 70's in the dark recesses of the University of Tokyo, Noda's troupe blossomed into a major component of the theater boom of the bright leisure-oriented 80's. The question which Noda's theater raises for those who seek to define Japan's modernization in the arts is how something defined as instinctively 'little' could become so big? In line with its predecessors in the avant-garde movements of the 1960's and 70's, the 1980's shogekijo borrowed from popular theater of the pre-modern period, in reaction to the western - and script-oriented shingeki, and from modern comedy in early twentieth century Japan.But unlike its avant-garde predecessors, it eschewed direct political confrontation with the power holders and consciously sought to expand its audiences through capitalistic means. Japanese youth born in the postwar generation could be led to appreciate the anti-shingeki message of shogekkijo, Noda predicted, only if it could be put in the playful and fantastic language of manga discourse. In some ways, this counterintuitive movement to youth subculture fulfilled shogekijo's mission to return theater to its Japanese roots and thereby complete the process of a truly Japanese modernization in the arts.
This book integrates the findings of group research emphasizing “Madness of the Crowd” versus collective intelligence that highlights “Wisdom of the Crowd.” Thus it provides an overview of psychological research on group processes and collective intelligence, analyzing cognitive, social, and structural factors. Chapters address applications of this research to contexts such as organizations and online behavior, and offer guidelines and hands-on demonstrations of psychological principles. The book is highly relevant to students and instructors in personality and social psychology.
What kinds of discourses on a foreign country do young people in the United States bring to global studies classrooms? What does it mean for them to engage in a series of discourses in terms of their identity formations, when these discourses represent a particular kind of worldview? How should teachers deal with the tendency of the students to see foreign nations as the other? How can educational researchers study such discourses and the operation of othering at the level of everyday lives in schools?
The enso, or "Zen circle", is one of the most prevalent images of Zen art, and has become a symbol of the clean and strong Zen aesthetic. This books containts examples of traditional enso art from the seventeenth century to the present.
A cyborg detective hunts for a malfunctioning sex doll that turns itself into a killing machine. A Heian-era Taoist slays evil spirits with magic spells from yin-yang philosophy. A young mortician carefully prepares bodies for their journey to the afterlife. A teenage girl drinks a cup of life-giving sake, not knowing its irreversible transformative power. These are scenes from the visually enticing, spiritually eclectic media of Japanese movies and anime. The narratives of courageous heroes and heroines and the myths and legends of deities and their abodes are not just recurring motifs of the cinematic fantasy world. They are pop culture’s representations of sacred subtexts in Japan. Japanese Mythology in Film takes a semiotic approach to uncovering such religious and folkloric tropes and subtexts embedded in popular Japanese movies and anime. Part I introduces film semiotics with plain definitions of terminology. Through familiar cinematic examples, it emphasizes the myth-making nature of modern-day film and argues that semiotics can be used as a theoretical tool for reading film. Part II presents case studies of eight popular Japanese films as models of semiotic analysis. While discussing each film’s use of common mythological motifs such as death and rebirth, its case study also unveils more covert cultural signifiers and folktale motifs, including jizo (a savior of sentient beings) and kori (bewitching foxes and raccoon dogs), hidden in the Japanese filmic text.
At the age of six, Ume Tsuda (1864-1929), the daughter of a progressive samurai, was sent on a mission by the Japanese government with four other girls to the United States. Their noble task was to first educate themselves in modern ways and Western learning, and then return to bring that gift to their sisters in Japan. Ume was cared for in the United States by Charles and Adeline Lanman, and she grew up in Washington, D.C., studying at private schools and becoming a Christian. At seventeen she finally returned to her country of birth, determined to carry out her mission. Back in Japan she found a new government quite unprepared to make use of her skills, but even more troubling was her startling self-discovery: unable to speak, read or write her native language fluently, she was faced with a homeland in which she was a foreigner, customs she did not understand, and a family she did not know and with whom she could not fully communicate. With the brave resilience of her namesake, the white plum that blooms in the last harsh days of winter, Ume was undaunted. Thriving on challenge, she devoted the rest of her life to seeking a way to achieve the goal of making modern higher education available to Japanese women for the first time. After several attempts, and two periods of advanced study abroad at Bryn Mawr College and Oxford, she eventually founded her own English School for Women. Later named Tsuda College, it has remained one of the bastions of women's higher education in Japan to this day. In her later years, Tsuda was not only an honored and influential educator in her own land and a founder of the Japanese YWCA but a cultural ambassador who met and exchanged correspondence with leading figures of her day.
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