Continuity of Japan's Soft Power: Historical Legacies and National Identity
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Revue Internationale De La Croix-Rouge Et Bulletin Des Societes De La Croix-Rouge
REVUE INTERNATIONALE DE LA CROIX-ROUGE ET BULLETIN DES SOCIETES DE LA CROIX-ROUGE SUPPLEMENT First Year, I948 GENEVE 1948 SUPPLEMENT VOL. I REVUE INTERNATIONALE DE LA CROIX-ROUGE ET BULLETIN DES SOCIETES DE LA CROIX-ROUGE SUPPLEMENT March,1948 NO·3 CONTENTS Page Mission of the International Committee in Palestine . .. 42 Mission of the International Committee to the United States and to Canada . 43 The Far Eastern Conflict (Part I) 45 Published by Comite international de la Croix-Rouge, Geueve Editor: Louis Demolis MISSION OF THE INTERNATIONAL COMMITTEE IN PALESTINE In pursuance of a request made by the Government of the mandatory Power in Palestine, the International Committee of the Red Cross in Geneva, who had previously been authorized to visit the camps of persons detained in consequence of recent events, have despatched a special mission to Palestine. This . mission has been instructed to study, in co-operation with all parties, the problems arising from the humanitarian work which appears to be indispensable in view of the present situation. The Committee's delegates have met on all hands with a most frie~dly reception. During the last few weeks, they have had talks with the Government Authorities and the Arab and Jewish representatives; they have offered to all concerned the customary services of the Committee as a neutral intermediary, having in mind especially the protection and care of wounded, sick and prisoners. During their tour of the country the Committee's delegates visited a large number of hospitals and refugee camps, and collected information on the present needs in hospital staff, doctors and nurses, as well as in ambulances and medical supplies. -
Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Growth and Structure of Cities Faculty Research Growth and Structure of Cities and Scholarship 2010 Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/cities_pubs Part of the Architecture Commons, History of Art, Architecture, and Archaeology Commons, and the Urban Studies and Planning Commons Custom Citation Hein, Carola. "Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis." Journal of Urban History 36, no. 4 (2010): 447-484. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/cities_pubs/20 For more information, please contact [email protected]. Shaping Tokyo: Land Development and Planning Practice in the Early Modern Japanese Metropolis Carola Hein Manuscript submitted to the Journal of Urban History in August 2007, revised and resubmitted March 2008. When German architect Bruno Taut drove in 1936 along the major road linking Tokyo and Yokohama, he criticized the inadequacy and superficiality of the modernizing Japanese built landscape. He later wrote about his revulsion: "I in particular had heard so much about Tokyo that I had no desire to see the city on the spot. […] In passing through the Inland Sea we had absorbed scenery of such rare beauty, had found so little of vulgar trash 1 in such buildings as could be glimpsed, that we could hardly take in the crabbed pretentiousness, the ludicrous would-be modernity of the tin façades that confronted us, could not fathom the loud hideousness of this confusion of architectural styles. -
The Culture of Japanese Fascism Asia-Pacific: Culture, Politics, and Society &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ the Culture of Japanese Fascism
THE CULTURE OF JAPANESE FASCISM ASIA-PACIFIC: CULTURE, POLITICS, AND SOCIETY &EJUPST3FZ$IPX )%)BSPPUVOJBO BOE.BTBP.JZPTIJ THE CULTURE OF JAPANESE FASCISM &EJUFECZ "MBO5BOTNBO DUKE UNIVERSITY PRESS DURHAM AND LONDON 2009 © 2009 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ♾ Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging- in-Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Columbia University, which provided funds toward the production of this book. CONTENTS MARILYN IVY Foreword: Fascism, Yet? vii ALAN TANSMAN Introduction: The Culture of Japanese Fascism 1 Part I: Theories of Japanese Fascism KEVIN M. DOAK Fascism Seen and Unseen: Fascism as a Problem in Cultural Representation 31 RICHARD TORRANCE The People’s Library: The Spirit of Prose Literature versus Fascism 56 HARRY HAROOTUNIAN Constitutive Ambiguities: The Persistence of Modernism and Fascism in Japan’s Modern History 80 Part II: Fascism and Daily Life KIM BRANDT The Beauty of Labor: Imagining Factory Girls in Japan’s New Order 115 NORIKO ASO Mediating the Masses: Yanagi Sōetsu and Fascism 138 AARON SkABELUND Fascism’s Furry Friends: Dogs, National Identity, and Purity of Blood in 1930s Japan 155 Part III: Exhibiting Fascism AARON GEROW Narrating the Nation-ality of a Cinema: The Case of Japanese Prewar Film 185 MICHAEL BASKETT All Beautiful Fascists?: Axis Film Culture in Imperial Japan 212 AkIKO TAKENAKA Architecture for Mass-Mobilization: The Chūreitō Memorial Construction Movement, 1939–1945 235 JONATHAN M. -
Reproachless Heroes of World War 11: a Cinematic Approach Through Two American Movies
~ S T 0 + • .; ~ .,.. Volume m Number 1-2 1993 o.l .. .......... 9' REPROACHLESS HEROES OF WORLD WAR 11: A CINEMATIC APPROACH THROUGH TWO AMERICAN MOVIES CHRISTINE S. DILIGENTI-GA VRILINE Lycee Ozar Hatorah, Toulouse As a manly universe, war is above all a soldierly one, the one of fighting armies. Cinema does not derogate to the tradition of representing troops, resting or acting, clean and fresh on the eve of the battle, mud bespattered and devastated afterwards. Looks do not interest us much, even though the circular travellings in Tora! Tora! 'J'ora! for instance, let us admire or appreciate the fine presence of the uniforms: the masterful first images of the film when the entire Japanese Navy, in #1 Ceremonial, greets her new chief-commander, Admiral Yamamoto. The army at wartime still is a particular sphere in the bosom of the State, if she doesn't purely serve as a substitute for it The army is submitted to law and statutes (discipline), obeys to a hierarchy (ranks) that we can, why not. compare to the common social ladder, even if it is not inevitably the social origin that makes the gold braid. The major interest of the classical war cinema is to show soldiers and the army at their best They are the symbol of the unity of the nation against the dangerous enemy that they must fight It is their mission to defeat him. There are numerous movies reflecting this point of view. The American film industry has long been lavish on this subject with movies where John Wayne assumes the part of the hero. -
The Importance of the Deutsche Luxfer Prismen Syndikat,The Victoria Regia Lily
THE IMPORTANCE OF THE DEUTSCHE LUXFER PRISMEN SYNDIKAT, THE VICTORIA REGIA LILY AND GOTHIC IMITATION IN THE DESIGN OF BRUNO TAUT’S GLASHAUS Neal David Nielsen N.Dip. Arch. Tech, N.H.Dip. Arch. Tech, B.Tech. Arch. Design, M.Tech. Arch. Design, B.Arch. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Design Creative Industries Faculty Queensland University of Technology February 2015 1 Keywords Bruno Taut, Glashaus, Deutsche Luxfer Prismen Syndikat, Victoria regia, Frederick Keppler, Gothic 2 Abstract Bruno Taut's Glashaus at the Werkbund Exhibition of 1914 is considered a seminal example of early modernist architecture; hence it is included in all its official histories. Yet, some of the crucial factors behind the design of the Glashaus remain little understood. In an attempt to address this situation, this PhD reveals that the Glashaus was the result of a strong architect-client interaction. In fact, Frederick Keppler, the Glashaus’ patron and director of the Deutsche Luxfer Prismen Syndikat, had a significant influence on its design. He wanted his company's Luxfer prototype, which had been developed over many years at earlier exhibitions, to be the major material constituent of the building. In order to show the glazed products of Luxfer in the best manner possible, Keppler insisted on a design featuring a glazed dome, electric lighting, a fountain as well as a cascade. Taut, as the architect, had to formulate a design that met these detailed stipulations. For the Glashaus, Taut turned to myths and symbols associated with the Victoria regia lily and the Gothic in order to provide his interpretation of the brief. -
The Tokyo Government Block Project, 1886-1890
Envisioning the Baroque City: The Tokyo Government Block Project, 1886-1890 Takeshi Arthur Thornton A familiar way of describing realism in two-dimensional graphic art is to invoke the analogy of the mirror. The realist painter supposedly offers the viewer a mirror reflection of the external world, immediately and without distortion. Art theorists have long argued, however, that realism remains merely one kind of convention for rendering images and can lay no claim to being an especially accurate or direct means of representing reality. Ernst Gombrich, for instance, has drawn on percep tual psychology in order to challenge the notion of an ktinnocent eye'' (298) that could passively depict the external world on canvas; instead, he suggests that the artist “would tend to see what he paints rather than to paint what he sees” (86). Against the assumption that the beginning point of a visual record is ‘‘knowledge,’’ he posits that it is “a guess conditioned by habit and tradition” (89). Taking his cue from Gombrich, Nelson Goodman has proceeded to even stronger conventionalist conclusions, arguing that realistic representation t4is relative, determined by the system of representation standard for a given culture or person at a given time.... Realistic representation, in brief, depends not upon imitation or illusion or infor mation but upon inculcation.... If representation is a matter of choice and correct ness a matter of information, realism is a matter of habif' (37-8). Bearing in mind the skepticism shared by Gombrich and Goodman with regard to the mimetic claims of realism, I want to examine an ostensibly “realistic” land- scape painting that constitutes part of the historical record of the so-called Kancho shuchu keikaku ( 「官庁 集 中 計 画 」)or Government Block Project of 1886-1890. -
Die Beziehungen Der Berliner Baufirma Ende & Böckmann
Die Beziehungen der Berliner Baufirma Ende & Böckmann zu Japan DIE BEZIEHUNGEN DER BERLINER BAUFIRMA ENDE & BÖCKMANN ZU JAPAN HORIUCHI Masaaki Tôkyô und Berlin in den 1890er Jahren: Auf dem ehemaligen Übungs- platz von Hibiya (heute: Kasumigaseki) wurden das Gerichtsgebäude und das Justizministerium von Ende & Böckmann im europäischen Stil erbaut. Im Berliner Zoologischen Garten wurden der neue Eingang und das Verwaltungsgebäude von Zaar & Vahl im japanischen Stil gebaut. Vermutlich hatten Ende & Böckmann auf diese Gebäude einen Einfluß ausgeübt. In diesem Beitrag sollen die Tätigkeit von Ende & Böckmann als Architekten in Tôkyô und die von ihnen in Japan empfangenen Impulse untersucht werden. Am Schluß steht dann die Betrachtung, welche Be- deutung den Bauwerken von Ende & Böckmann als Denkmälern zu- kommt. 1. WER WAREN HERMANN ENDE & WILHELM BÖCKMANN? Hermann Ende (1829–1907, Abb. 1; zu Ende s. ENDE o.J., WALLÉ 1902, OTZEN 1908a, 1908b) stammte aus Landsberg an der Warthe im heutigen Polen. Als er acht Jahre alt war, zog die Familie nach Berlin. Wilhelm Böckmann (1832–1902, Abb. 2; zu Böckmann s. KYLLMANN 1903, Geheimer Baurath 1902) wurde in Elberfeld (heute Wuppertal) geboren. Dort be- suchte er die Gewerbeschule und ging dann nach Berlin. Ende und Böckmann studierten Architektur an der Berliner Bauakademie und lern- ten sich dort kennen. Eine zweijährige gemeinsame Reise führte sie nach England, Frankreich, Österreich, Italien, Griechenland und in die Türkei. Sie bestanden 1859 die Baumeisterprüfung und eröffneten im folgenden Jahre ihre erste Baufirma, „Ende & Böckmann“, in Berlin, die sie bis 1896 gemeinsam betrieben (HORIUCHI 1989). In dieser Zeit entwarfen sie über 150 Gebäude. Nach wie vor erinnern in Berlin die Namen „Endestraße“ und „Böckmann-Brücke“ an die erfolgreiche Tätigkeit dieser Firma. -
Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 436 445 SO 030 794 TITLE China: Tradition and Transformation, Curriculum Projects. Fulbright Hays Summer Seminars Abroad 1998 (China). INSTITUTION National Committee on United States-China Relations, New York, NY. SPONS AGENCY Center for International Education (ED), Washington, DC. PUB DATE 1998-00-00 NOTE 393p.; Some pages will not reproduce well. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE MF01/PC16 Plus Postage. DESCRIPTORS Asian History; *Chinese Culture; Communism; *Cultural Context; Foreign Countries; Higher Education; Learning Activities; Secondary Education; Social Studies; Student Educational Objectives; *Study Abroad IDENTIFIERS *China; Chinese Art; Chinese Civilization; Fulbright Hays Seminars Abroad Program; Japan ABSTRACT The curriculum projects in this collection focus on diverse aspects of China, the most populous nation on the planet. The 16 projects in the collection are:(1) "Proposed Secondary Education Asian Social Studies Course with an Emphasis on China" (Jose Manuel Alvarino); (2) "Education in China: Tradition and Transition" (Sue Babcock); (3)"Chinese Art & Architecture" (Sharon Beachum); (4) "In Pursuit of the Color Green: Chinese Women Artists in Transition" (Jeanne Brubaker); (5)"A Host of Ghosts: Dealing with the Dead in Chinese Culture" (Clifton D. Bryant); (6) "Comparative Economic Systems: China and Japan" (Arifeen M. Daneshyar); (7) "Chinese, Japanese, and American Perspectives as Reflected in Standard High School Texts" (Paul Dickler); (8) "Gender Issues in Transitional China" (Jana Eaton); (9) "A Walking Tour of Stone Village: Capitalism with Chinese Characteristics" (Ted Erskin); (10) "The Changing Role of Women in Chinese Society" (John Hackenburg); (11) "Healing Practices: Writing Chinese Culture(s) on the Body: Confirming Identity, Creating Identity" (Sondra Leftoff); (12) "Unit on Modern China" (Thomas J. -
On the Social History of Steam-Powered Gardens in Berlin and Potsdam
M. Norton Wise ON THE SOCIAL HISTORY OF STEAM-POWERED GARDENS IN BERLIN AND POTSDAM Abstract When thinking about the historic landscape gardens of the Berlin-Brandenburg region we tend to focus automatically on the royal gardens that Peter Joseph Lenné originally includ- ed in his beautification plan for the Potsdam area that are now a UNESCO World Heritage Site. There is good reason for this focus. The complex of Sanssouci, Charlottenhof, Neuer Garten, Babelsberg, Glienicke, and Pfaueninsel constitutes an extraordinarily beautiful panorama. But from a broader perspective the unique character of these gardens can be seen to have informed the garden landscape of all of Berlin in a series of social transforma- tions that occurred during the course of industrialisation in the nineteenth century. For this purpose it is useful to focus on the role of steam power. By no means, however, did the significance of steam power (or the lack of it) end with its utilitarian function, for it in- formed the aesthetic character of landscape gardens, too. And this character changed with the historical transformations that associated different sorts of gardens with people in dif- ferent social strata. I will schematise three such »classes« of people and gardens. Wenn wir an die historischen Landschaftsgärten in der Region Berlin-Brandenburg den- ken, fallen uns automatisch die von Peter Joseph Lenné in seinen »Verschönerungsplan für die Insel Potsdam« aufgenommenen königlichen Gärten ein, die heute zum UNESCO- Weltkulturerbe gehören. Dafür gibt es gute Gründe. Der aus Sanssouci, Charlottenhof, Neuer Garten, Babelsberg, Glienicke und Pfaueninsel bestehende Komplex ist ein Pano- rama von außergewöhnlicher Schönheit. -
Perfidious Albion Game Index
Perfidious Albion Game Index Currently incorporates issues 21-24, 61-104 Rev Review Srev short review (1 paragraph-1page, may not have separate title) Sr short remarks (1 sentence-1paragraph) Pla Play analysis, replay Disc Discussion Hr House rules, fixes (not in 62,70) Var Variant Scen Scenario Udd upcoming design discussion Err errata Fyno For your nostrils only Mbr Magazine & Book Review section Mbp My Back Pages section Wtps What the players say, from #83 Clio Clio nomination, #86, #87. +..nominated for best, -…nominated for worst historical game (left out for now) Obsb Open the box, stake the bunny! Only games with comments on gameplay are indexed, no announcements of publication or arrival or component listings. However, design discussion and remarks indicative of some sort of evaluation will be included. No guarantees for accuracy or completeness. Note that in particular Sr and Srev entries may not have a separate title and you may have to look for them in the magazine. 1st Cavalry 1964 (Vae Victis) 102 (srev/obsb) 5th Fleet 74 (rev), 75 (sr/fyno) 7 Ages 63 (udd/fyno) 7th Fleet 66 (rev) 8th Army (Attactix) 103 (rev) 13: The Colonies in Revolt 61 (rev), 63 (disc/fyno) The ’45 92 (rev) 1630something 91 (srev/wtps) 1812 (Columbia) 93 (sr) 1807: The Eagle Goes East 90 (fyno), 93 (srev,pla) 1815 79 (rev) 1862 76 (rev) 79 (sr/fyno) 1904/05 102 (rev) 1914: Glory’s End 88 (srev), 90 (srev) 1914: Opening Moves 104 (srev/obsb) 1918: Storm in the West 81/82 (rev), 83 (srev), 84 (sr) Across Five Aprils 84 (wtps,srev), 85 (rev/hr), 86 (sr, -
Chamrjon I"' Oftle
= 1 I '5 ~ 000914 .heI CHAMrJON I"' _oftLe ~1(Jred Races? AATLANTJC UNiV ERSJTY lIBRARI: SOC IA1I ST- lAB 0R nON THIS PAMPHLET, issued by the Negro Commission of the National Committee of the Communist Party, U.S.A., was prepared in collaboration by the following outstanding Negro Communists: . THEODORE BASSETT A. W. BERRY CYRIL BRIGGS JAMES W. FORD HARRY HAYWOOD PUBLISHED BY WORKERS LIBRARY PUBLISHERS, INC. P. O. BOX 148, STATION D, NEW YORK, N. Y. AUGUST, 1938 ~209 PRINTED IN THE U.S .A. Contents Introduction 5 I. J ap an's R eal Aims in Asia 7 II. Behind the Scenes in Japan 1 1 III. R ome-Berlin-T okyo Ax is an d the R ace Myth 17 IV. Japan and the Soviet Union-Two Policies Toward China. 21 V. The R eal Liberators of China 24 VI. The Enemy Is Fascism 26 VII. Dem ocra cy and the Colonial Peoples 32 VIII. The Negro's Stake in Democracy 4 1 Introduction aDAy the "Good Earth" .of China is drenched with the T blood and tears of millions of its women and children. Age-old monuments and institutions, representing five thou sand years' contribution to world culture, face destruction. Once flourishing towns and villages lie in ruins. This is the scene behind the lines of the advancing armies of Japanese conquest. Peace-loving humanity the world over stands aghast at this, the latest crime of the Japanese war lords against a peaceful nation. But the deepest disillusionment is felt by the millions of colored peoples in America, Africa and Asia who once re garded seriously japan's claim to leadership of the colored world. -
Hermann Ende 4
WOCHENSCHRIFT ARCHITEKTEN-VEREINS^BERLIN EIERflUSGECEBEfe VEREINE Erscheint Sonnabends. - Bezugspreis halbjährlich 4 Mark, postfrei 5,30 Mark, einzelne Nummern von gewöhnlichem Umfange 30 Pf., stärkere entsprechend teurer Her Anzeigenpreis für die 4 gespaltene Petitzeile beträgt 50 Pf., für Behörden - Anzeigen und für Famlllen- Anzeigen 30 Pf. — Nachlaß auf Wiederholungen Berlin den 18. April 1908 III. Jahrgang Zu beziehen durch alle Buchhandlungen, Postämter Carl Heymanns Verlag in Berlin W. 8, Mauerstraße 43.44 Alle Rechte Vorbehalten Hermann Ende 4. März 1S29 10. A ugust 1007 86 Wochenschrift des Architekten-Vereins zu Berlin 18. April 1908 Gedächtnisrede gehalten bei der Feier am 6. März 1908 im großen Festsaal des Zoologischen Gartens zu Berlin vom Geheimen Regierungsrat Professor ©r. 3>ng. Johannes Otzen ochgeehrte Trauerversammlung! Feierliche und weihevolle Ob wir, wie viele Künstler es glauben und noch mehr Klänge sind verrauscht und haben in uns die Stimmung Kunstschriftstelier es glauben machen möchten, es schon so Herzeugt, einem Leben nachzugehen, das einem großen Kreiseherrlich weit gebracht haben, daß kaum noch etwas zu tun der Gegenwärtigen noch völlig vertraut ist und das zum Teil übrig bleibt, als höchstens noch etwa zu vergessen, daß es unser eigenes Leben und Streben umschließt, das einen großen überhaupt je eine Kunstgeschichte, jo eine Ueberlieferung und Teil der modernen Kunstgeschichte als Folie besitzt, das mit- Tradition gegeben hat oder, wio ich es in aller Bescheidenheit gerungon und gearbeitet hat, dem heutigen Stande der Bau glaube, nur etwra so weit wie die französische Revolution, als kunst die Wego zu ebnen und das uns in seinem Helden und sie die Menschenrechte oben proklamiert hatte, deren volle Träger eine überaus sympathische, liebgewordene Persönlichkeit Durchführung wir noch immer erstreben, das will ich heute vorführt, die wir uns noch gar nicht als auf ewig von uns ge nicht untersuchen, aber die Erwägung und Würdigung drängt schieden vorstellen können.