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Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender

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Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender Myths of Hakko Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan Item Type text; Electronic Dissertation Authors Teshima, Taeko Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 21:55:25 Link to Item http://hdl.handle.net/10150/194943 MYTHS OF HAKKŌ ICHIU: NATIONALISM, LIMINALITY, AND GENDER IN OFFICIAL CEREMONIES OF MODERN JAPAN by Taeko Teshima ______________________ Copyright © Taeko Teshima 2006 A Dissertation Submitted to the Faculty of the GRADUATE PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For a Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 6 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Taeko Teshima entitled Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _________________________________________________Date: 6/06/06 Barbara A. Babcock _________________________________________________Date: 6/06/06 Philip Gabriel _________________________________________________Date: 6/06/06 Susan Hardy Aiken Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: 6/06/06 Barbara A. Babcock 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under the rules of the library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Taeko Teshima 4 ACKNOWLEDGEMENTS I am indebted to many for their support in the production of this dissertation. In particular I would like to thank my chair in the Comparative Cultural and Literary Studies Program at the University of Arizona, Professor Barbara A. Babcock, as well as Professors Philip Gabriel and Susan H. Aiken for their many helpful suggestions. I was fortunate to receive the help of many who enabled my research. Professor Ōgoshi Aiko, the director of the Literature Department at Kinki University, wrote me letters of references and gave me information on Amaterasu. Kōno Nobuko, a female critic and an editor of The Space Time of Women and Men, gave me information on current Japanese Gender Studies. Sakamoto Naokatsu, the director of Minamata City Library, gave me information on wartime documents. Hashimoto Shizuko, sister-in-law of Takamure Itsue, talked to me about women’s wartime situation. I was able to copy materials at the National Library of Tokyo, the Library of the Imperial Household, and the Osaka and Fukuoka Municipal Libraries, and for this I thank the respective librarians. Kinoshita Yosuke, an official in Nagano Prefecture, referred me to leaders in local communities who participated in the Opening and Closing Ceremonies of the Nagano Olympics, who I interviewed. They were Fukuda Chiaki, Goto Satoshi, Hirota Kiichi, Kaneko Takashi, Katagiri Kineo, Kofukuda Masayoshi, Masuzawa Sakae, Nagabuchi Masami, Obata Masato, Oguchi Daihachi, and Sakurai Yoshinari. Due to the generosity of Asahina Tadahiko, the President of the Association of Japan Expo in Osaka, I was able to watch the film Expo‘70 several times at the office of the Japan Expo Association. In the U.S., I gained a great support from the staff of the Motion Picture, Broadcasting and Recorded Sound Division in the Library of the Congress when I stayed in Washington DC for a month to watch wartime films. In particular, Madeline F. Mats, its director, assisted me by making a videotape Nippon News No. 23. This enabled me to watch it at home and figure out what hakko ichiu ideology means. I also owe a great deal to the staff in the Japanese collections at the Library of the Congress. I owe a great debt to friends and the Teshima and Jones families. Parents in both families supported me financially and nurtured me with great care. I owe a lot to my friends, in particular, Ishimaru Tokiko, the founder of the group Voices of Female Bodies, and her partner Ishimaru Ken. They provided me with a room of my own in their house in Tokyo and drove me to interview local leaders in Nagano who participated in the Nagano Olympics. Yasuko F. High discussed with me the meaning of what we experienced in the 1970s women’s movement and gave me a great insight. Niimi Kinuyo and Satō Yumiko helped me with collecting articles and books which were necessary for my research. Finally, I want to express gratitude to my partner, Andrew W. Jones for discussing, criticizing and editing, while supporting me financially and mentally and taking care of my health. Without his support, I would not have completed this project. I dedicate this dissertation to Japanese feminists whom I met when we organized feminist conscious-raising groups in Nagasaki and Tokyo in the early 1970s. While I was writing this dissertation, I often heard their voices. Encouraged by them, I worked on my subject of hakko ichiu ideology and finally our voices took the form of this dissertation. 5 TABLE OF CONTENTS ABSTRACT……………………………………………………………………………….7 INTRODUCTION….……………………………………………………………………..9 CHAPTER 1. SEXUALIZING AMATERASU “UNDER WESTERN EYES”: REPRESENTATION IN MEIJI NATIONALISM……….……………………………. 25 Introduction……………………………………………………………………..25 Gendered Tradition in the Meiji Era (1868-1912)……………………………32 Japanese Nationalism…………………………………………………….32 Transferring Amaterasu’s Power to Emperor Meiji……………………..35 Creating a Western-Style Gender System.........................................................38 The Creation of the Goshin’ei (Portraits of the Emperor and Empress)..38 Transforming Amaterasu into Empress Jingū……...………………........40 The Recreation of the Goshin’ei (Portraits of the Emperor and Empress).. ……………………………………………………………………………49 The Creation of the Constitution………………………………...............51 Sexualizing Amaterasu through Visual Representations………………...54 Literary Representation of Weakening Amaterasu………………………66 The Creation of the Family Law ……...………………………………….70 Conclusion…………………………………………………………………........73 CHAPTER 2. THE REINVENTION OF HAKKŌ ICHIU IN THE FILM NIPPON NEWS NO. 23, PART 1…………………………………………………………………..76 Introduction..........................................................................................................76 Background of the Film Nippon News No. 23, Part 1……....……….……..….84 Historical Development of Hakkō Ichiu……………..………..…85 Historical Background………………………………………….. 92 Analysis of the Film Nippon News No. 23, Part 1…………………………..…97 The Prologue of the Film Nippon News No. 23,Part 1……………......…97 Kami Oroshi (Departure from the Ordinary World) in the Film Nippon News No. 23, Par 1……………………………………………………..111 Kami Asobi (Liminal Stage) in the Film Nippon News No. 23, Part...…114 Gender Analysis of the Film Nippon News No. 23, Part 1…………......126 Conclusion…...............……………………………………………………. … 137 CHAPTER 3. THE REMASCULINIZATION OF JAPAN IN THE OPENING CEREMONY IN THE FILM EXPO ‘70……………….…………………………….. .139 Introduction……………………………………………………………………139 The Symbolic Geography of the Expo Site……………………..............144 Background of Expo ‘70………………………………………………………148 Historical Background………………………………………………….148 Social Background of Expo ’70……………………………………… ..154 Analysis of the Opening Ceremony in the Film Expo ‘70………………......164 The Prologue of the Opening Ceremony in the Film Expo ‘70………...164 6 TABLE OF CONTENTS – Continued Kami Oroshi (Departure from the Ordinary World) of the Opening Ceremony in the Film Expo ‘70…………………….. …………………167 Kami Asobi (Liminal Stage) of the Opening Ceremony in the Film Expo‘70…………………………………………………........................172 Gender Analysis of the Opening Ceremony in the film Expo‘70……….188 Conclusion……………………………………………………………………. 193 CHAPTER 4. THE REVIVAL OF WARTIME SOCIAL RELATIONS THROUGH THE TELEVISION REPRESENTATION OF THE OPENING CEREMONY OF THE NAGANO OLYMPIC WINTER GAMES……………………………………….196 Introduction........................................................................................................196 Background of the Nagano Olympic Winter Games………………. ……....204 Historical Background………………………………………………….205 Background of Asari Keita.……………………………………………..210 Analysis of the Opening Ceremony in the Television Representation of the Nagano Olympic Winter Games……………………………..……………….213 The Prologue of the Opening Ceremony in the Television Representation of the Nagano Olympic Winter Games…………………………………213 Kami Oroshi (Departure from the Ordinary World) of the Opening Ceremony in the Television Representation of the Nagano
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