DOCSLIB.ORG

Epifania Pustki. Wizja Pięknej Śmierci W Hōjō No Umi Yukio Mishimy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Epifania Pustki. Wizja Pięknej Śmierci W Hōjō No Umi Yukio Mishimy Epifania pustki (¡¡) Literatura, język i kultura Japonii Joanna Wolska-Lenarczyk Epifania pustki Wizja pięknej śmierci w Hojo no umi Yukio Mishimy (1925-1970) WYDAWNICTWO UNIWERSYTETU JAGIELLOŃSKIEGO 4 Seria: Literatura, język i kultura Japonii Publikacja dofinansowana przez Fundację im. Takashimy oraz Instytut Orientalistyki Uniwersytetu Jagiellońskiego RECENZENT prof. dr hab. Mikołaj Melanowicz PROJEKT OKŁADKI Marcin Bruchnalski Na okładce: Apollo Belwederski, posąg, kopia rzymska (130–140 n.e.), Museo Pio Clementino, Cortile Ottagno http://commons.wikimedia.org/wiki/File%3ABelvedere_Apollo_Pio-Clementino_Inv1015.jpg © Copyright by Joanna Wolska-Lenarczyk & Wydawnictwo Uniwersytetu Jagiellońskiego Wydanie I, Kraków 2014 All rights reserved Niniejszy utwór ani żaden jego fragment nie może być reprodukowany, przetwarza- ny i rozpowszechniany w jakikolwiek sposób za pomocą urządzeń elektronicznych, mechanicznych, kopiujących, nagrywających i innych oraz nie może być przecho- wywany w żadnym systemie informatycznym bez uprzedniej pisemnej zgody Wydawcy. ISBN 978-83-233-3613-6 www.wuj.pl Wydawnictwo Uniwersytetu Jagiellońskiego Redakcja: ul. Michałowskiego 9/2, 31-126 Kraków tel. 12-663-23-81, tel./fax 12-663-23-83 Dystrybucja: tel. 12-631-01-97, tel./fax 12-631-01-98 tel. kom. 506-006-674, e-mail: [email protected] Konto: PEKAO SA, nr 80 1240 4722 1111 0000 4856 3325 5 Ogród był pusty. Honda pomyślał, że dotarł do miejsca, gdzie nie było pamięci, gdzie niczego nie było. Milczący ogród tonął w południowych promieniach letniego słońca. Yukio Mishima, Tennin gosui Dla Mamy 6 7 Spis treści Podziękowania ................................................................................................... 15 Nota redakcyjna ................................................................................................. 16 1. Wstęp .............................................................................................................. 17 1.1. Yukio Mishima – biografia i stan badań nad jego twórczością .............. 17 1.2. Charakterystyka Hōjō no umi ................................................................ 23 1.3. Metodologia ........................................................................................... 26 1.4. „Pięć kodów” a lektura tekstu tetralogii ................................................ 27 2. Semantyka tytułów powieści składających się na tetralogię Hōjō no umi ..... 29 2.1. Wprowadzenie ....................................................................................... 29 2.2. Hōjō no umi ........................................................................................... 31 Związek tytułu tetralogii Hōjō no umi z symboliką powieści. Antyte- tyczny wizerunek morza ......................................................................... 32 Mare Fecunditatis – jałowe morze na Księżycu ..................................... 33 Antyindywidualna natura księżyca .......................................................... 34 Księżyc i morze synonimami kosmicznej pustki i śmierci...................... 36 Pusty ogród niepamięci ........................................................................... 41 Wizerunek morza i księżyca w tytule Hōjō no umi ................................. 45 „Morze płodności” – przepełniona ironią metafora życia i śmierci ........ 47 „Śmierć boga” (utrata boskości cesarza) u podstaw „koncepcji pustki” Mishimy symbolizowanej przez Hōjō no umi ......................................... 48 2.3. Haru no yuki – tytuł wiersza czy poetycka metafora ............................. 50 „Wiosenny śnieg” – chaos burzący odwieczny porządek rzeczy ........... 51 Deszyfracja tekstu ................................................................................... 52 Tabu i złamanie sankcji cesarskiej ........................................................... 53 Estetyka dworska epoki Heian punktem odniesienia dla tytułu .............. 53 Zarys fabuły ............................................................................................. 54 Koncepcja piękna dworskiego we współczesnej powieści. Scena sanny jako bezpośrednie nawiązanie tytułu do tekstu Haru no yuki ................. 55 Mitate ....................................................................................................... 56 Kategorie estetyczne Heian w tekście Haru no yuki: mujōkan, yūgen .... 56 „Ślady” Genji monogatari w tekście ....................................................... 58 Iroka, miyabi, en – symbole dworskiego wyrafinowania ........................ 59 Mono no aware i koncepcja „pasywnego przeżywania estetycznego znużenia” Yoshinoriego Ōnishiego w kontekście Haru no yuki ............. 63 Motyw bieli w tekście w odniesieniu do frazy „wiosenny śnieg” ........... 67 „Kiyoaki”, czyli „czysty i piękny” – imię głównego bohatera aluzją do koncepcji piękna dworskiego .................................................................. 68 8 Poetyckie pole kontekstów wyznaczone przez „wiosenny śnieg” .......... 70 „Wiosenny śnieg” poetycką metaforą wyrafinowanego piękna dworskiego skonfrontowanego z nieuchronnością śmierci .................... 71 2.4. Homba – piękno zawarte w „czystym działaniu” .................................. 72 Homba – „koń” w galopie, czy może „konie”? ....................................... 72 Wizerunek konia w powieści ................................................................... 73 Tytuł aluzją do walki, krwi i śmierci – motywów dominujących w powieści ............................................................................................... 75 Koncepcja czystości u podstaw działania rebeliantów Shimpūren i Ligi Boskiego Wiatru Ery Shōwa ................................................................... 75 Koncepcja śmierci oczyszczającej z wszelkiej winy ............................... 77 Etyka bumbu ryōdō oraz wpływ nauk Wang Yangminga na postawę moralną głównego bohatera powieści ..................................................... 78 Dzikość i gwałtowność konia konotacją atrybutów aramitama. Odniesienia na płaszczyźnie semantycznej do rozkładu moralnego elit, będącego zarzewiem buntu Ligi Boskiego Wiatru Ery Shōwa ............... 80 Isao – ideał męskiego piękna ewokowanego przez tytuł ......................... 82 Surowość, prostota, tężyzna fizyczna nieodzownymi atrybutami mę- skości symbolizowanej przez pierwiastek masuraoburi ......................... 84 Harmonia pięknego ciała i „czystego działania” ..................................... 85 „Piękno to uroczy galopujący koń” ......................................................... 87 Działanie u podstaw koncepcji piękna .................................................... 88 Radykalizm i najwyższa determinacja zawarte w koncepcji „czystego działania” ................................................................................................. 88 Isao/„koń w pełnym galopie” – symbol Mishimowskiej idei piękna ...... 90 Idea szlachetnego działania i chwalebnej śmierci w grupie – „konie w galopie” .................................................................................... 90 2.5. Akatsuki no tera – iluzoryczność piękna i życia .................................... 92 Świątynia Brzasku – bezpośrednie odniesienie w tekście do nazwy Wat Arun ......................................................................................................... 92 Akatsuki no tera jako symbol sztuki – ideał formy będący synonimem blichtru, sztuczności i monotonii ............................................................. 94 Iluzja ludzkiej egzystencji ....................................................................... 94 Wiara w reinkarnację lekarstwem na śmiertelną naturę człowieka ......... 95 Tytuł odniesieniem do tajemniczego bóstwa odpowiedzialnego za pro- cesy transformacji ................................................................................... 96 Rola Jin Jan (Światło Księżyca) w procesie przemian ............................ 97 Pseudoartyści na usługach sztuki ............................................................ 98 Fuji, czyli raz jeszcze piękno, które zwodzi ............................................ 99 Sztuka jest iluzją ..................................................................................... 100 9 2.6. Tennin gosui – upadek „aniołów” i rozpad koncepcji transmigracji. Nicość ........................................................................................................... 101 Opowieść o „Szacie z piór” ..................................................................... 101 Tennin gosui – historia anioła, któremu nie udaje się powrócić do nieba 102 Tōru – „fałszywe wcielenie” ................................................................... 104 „Pięć oznak upadku anioła” ..................................................................... 105 Rozkład fizyczny ciała i śmierć głównymi konotacjami tytułu Tennin gosui ........................................................................................................ 106 Jałowość koncepcji transmigracji. „Ja”, którego nigdy nie było ............. 107 Intelektualne rozczarowanie – na krańcach iluzji i pustki ....................... 107 2.7. Semantyka tytułów powieści w świetle „pięciu kodów” ....................... 108 3．Historyczne uwarunkowanie świata przedstawionego ................................... 111 3.1. Tło historyczne i rola jednostki w historii ............................................. 111 3.2. Kilka uwag o faktach historycznych .....................................................
Load more

Recommended publications
  • News and Narrative in the Early Meiji Period: Kanagaki Robun S
    WASEDA RILAS JOURNALNews NO. and 7 Narrative in the Early Meiji Period: Kanagaki Robun’s Saga denshinroku News and Narrative in the Early Meiji Period: Kanagaki Robun’s Saga denshinroku Tim KAWANISHI-YOUNG Abstract This paper examines the relationship between early Japanese newspaper war reporting and the written mode of jitsuroku in the first decade of the Meiji period. Kanagaki Robun’s Saga denshinroku is introduced as a case study, as it is both one of the first Meiji “war jitsuroku” and a founding influence on what was to become a popu- lar genre. In his author’s introduction to Saga denshinroku, Kanagaki Robun attempts to rhetorically distance the work from popular conceptions of jitsuroku and of gesaku fiction as a whole, situating it instead as a contribution to “public history.” However, the text itself draws strongly on the format and written style of the gesaku genre of the yomihon. Comparison of the rhetoric and the style of the author’s introduction with passages from Saga den- shinroku itself illuminates the complexities and the contradictions of ideologies of history, fiction, and “the news” in the early Meiji period. Introduction and Background As is well established, newspapers are a distinctly modern medium in Japan,⑴ first arriving in the last years of the Edo period after the forced opening of the country by American warships, then (after a brief period of prohibi- tion during and after the Meiji Restoration) quickly spreading when officially sanctioned by the new Meiji government.⑵ In Japanese media studies, some attention
    [Show full text]
  • Can Financial Innovations Mitigate Civil and Ethnic Conflict? by Saumitra Jha
    Finance Global Economy Business Sustainability China Technology Lifestyle Can Financial Innovations Mitigate Civil and Ethnic Conflict? By Saumitra Jha The failure to align the incentives of to many. In fact, much blame for per- self-interested groups in favor of ben- sistent under-development around the eficial reform is often considered a world has been attributed to a failure to major cause of civil conflict and per- align the incentives of potential losers sistent underdevelopment around the and other disparate interest groups in world. However, much less is known favour of beneficial reforms and peace- about strategies that have been suc- ful cooperation. From Latin America, cessful at overcoming such challenges. where interests forming around wealth This article discusses the role of finan- disparities have been blamed for weak cial instruments as a means for foster- contemporary institutions, to African ing broad political coalitions that favor and other developing countries, where beneficial reform and mitigate social polarisation along ethnic lines appears conflict, drawing on historical cases to lead to lower growth and greater civil in which innovative financial assets, conflict, to reduced public goods provi- often introduced by technocratic sion in ethnically diverse jurisdictions reformers, have succeeded at making in the United States; a common theme politics less conflictual over time. of recent research by economists and political scientists is that within-society t is an all-too familiar story. A differences in endowed characteristics new leader assumes authority in a of wealth, ethnicity or of political rights Icountry that has recently discovered – can lead to conflicting interests that that it has fallen behind its neighbours shape the patterns of economic growth in economic development.
    [Show full text]
  • The Flexible Structure of Politics in Meiji Japan
    DLPPolicy and Practice for Developmental Leaders, Elites and Coalitions DEVELOPMENTAL LEADERSHIP PROGRAM Research Paper 07 The Flexible Structure of Politics in Meiji Japan Junji Banno, Professor Emeritus, The University of Tokyo and Kenichi Ohno, Professor Emeritus., The University of Tokyo April 2010 www.dlprog.org The Developmental Leadership Program (DLP) addresses an important gap in international thinking and policy about the critical role played by leaders, elites and coalitions in the politics of development. This growing program brings together business, academic and civil society partners from around the world to explore the role of human agency in the processes of development. DLP will address the policy, strategic, and operational implications about ‘thinking and working politically’ - for example, about how to help key players solve collective action problems, negotiate effective institutions and build stable states. The Developmental Leadership Program E: [email protected] W: www.dlprog.org 3 Abstract Japan’s transformation period following the encounter with the powerful West, in which the political regime was revised and new national goals and strategies were agreed, started with the signing of commercial treaties with the West in 1858 and ended with the settlement on the basic directions of political and economic reforms in 1881. In the intervening years, two goals of establishing a public delib- eration mechanism (kogi yoron) and raising economic and military capability (fukoku kyohei) were set, which later split into four policy groups of a constitution, a national assembly, industrialization, and foreign expedition. The simultaneous pursuit and eventual achievement of multiple goals was supported by the flexible structure of politics in which goals, alliances, and leaders and leading groups evolved dynamically without solidifying into a simple hard structure or falling into uncontrollable crisis.
    [Show full text]
  • Opposition Movements in Early Meiji, 1868-1885
    CHAPTER 6 OPPOSITION MOVEMENTS IN EARLY MEIJI, 1868-1885 Like all the great revolutions of the modern era, the Meiji Restoration generated intense opposition from groups and classes displaced and disadvantaged by revolutionary change. What sets the Meiji Restora- tion apart, however, is the apparent ease with which opposition to the revolutionary regime was defeated or co-opted. Peasant riots over the new conscription law, village protests against the land tax revision, revolts by disaffected samurai, early campaigns for representative gov- ernment, and uprisings by dispossessed farmers all were contained or suppressed. The original leadership group stayed in charge and did not change its basic policies. Viewed positively, Japan enjoyed extraor- dinary continuity and stability in government; viewed negatively, con- servative and bureaucratic politics prevailed. Japanese and Western historians disagree sharply when explaining the failure of opposition movements to oust the ruling oligarchy or force changes in its agenda. Scholars in America and Great Britain influenced by modernization theory have generally viewed Japan as a model of peaceful transition from feudalism to modernity, a transfor- mation in which core values of consensus and loyalty to emperor kept dissent within manageable bounds.1 On the other hand, most Japanese and some Western historians credit the failure of the opposition move- ments to the authoritarian character of the Meiji state, emphasizing the incorporation of oppressive semifeudal structures into the Meiji polity and the oligarchy's control of the new state's efficient state security apparatus.2 Although there is some truth to both interpretations, neither of which is as simple as this summary might suggest, neither adequately explains the complex interaction between modernizing reforms and 1 John W.
    [Show full text]
  • The Socialization of Aristocratic Children by Commoners: Recalled Experiences of the Hereditary Elite in Modern Japan
    20 Chapter TL:Layout 1 8/5/07 16:49 Page 317 First published in Cultural Anthropology 5(1), February 1990. 20 The Socialization of Aristocratic Children by Commoners: Recalled Experiences of the Hereditary Elite in Modern Japan n my previous research on Japanese women (Lebra 1984), I learned that, Iprior to the postwar educational liberation for ordinary women to go on to college, lower- and middle-class girls typically spent premarital years, upon graduation from grade school or high school, at households above their own classes as maids or ‘etiquette apprentices.’ For poor families, this was the only available and acceptable employment for a daughter if only to ‘reduce a mouth to feed,’ while better-off families considered it a rite of passage to transform an unfinished girl into a qualified bridal candidate. Matchmakers would count such cross-class apprenticeship as an important, sometimes mandatory, credential for a bride. This finding prompted me to turn to the upper-class Japanese, particularly, aristocrats, as the next research project with the hope of gaining a stereoscopic view of Japanese society. Indeed, I found commoners entering the interior of aristocratic lives and leaving an indelible mark there, in a way much more than as apprentices absorbing the upper-class culture. This article presents a portion of my current research on the Japanese elite, focusing on the part played by commoners in socializing the aristocratic children. A HISTORICAL SKETCH OF THE MODERN JAPANESE NOBILITY Aristocracy here refers to the modern nobility called the Kazoku, the ‘flower lineage,’ that formally existed from 1884 until 1947 when it was abolished under the postwar democratic constitution.
    [Show full text]
  • The Trouble with Terasaka: the Forty-Seventh Ro¯Nin and the Chu¯Shingura Imagination
    Japan Review, 2004, 16:3-65 The Trouble with Terasaka: The Forty-Seventh Ro¯nin and the Chu¯shingura Imagination Henry D. SMITH II Columbia University, New York, NY, U.S.A. Most historians now agree that there were forty-seven ro¯nin of Ako¯ who attacked and killed Kira Yoshinaka in Edo in the twelfth month of 1702, twenty-two months after their lord had been put to death for his own failed attempt on Kira’s life. In the immediate wake of the attack, however, Terasaka Kichiemon—the lowest-ranking member of the league and the only one of ashigaru (foot soldier) status—was separated from the other forty-six, all of whom surrendered to the bakufu authorities and were subsequently executed. Terasaka provided rich material in the eighteenth century for play- wrights and novelists, particularly in the role of Teraoka Heiemon in Kanadehon Chu¯shingura of 1748 (one year after the historical Terasaka’s death at the age of eighty-three). In the nineteenth and twentieth centuries, Terasaka became an increasingly more controversial figure in debates over his qualifications as a true “Gishi” (righteous samurai), and hence whether there were really “Forty-Seven Ro¯nin” or only forty-six. This essay traces both the literary transformations of Terasaka and the debates over his place in history, arguing that his marginal status made him a constant source of stimulus to the “Chu¯shingura imagination” that has worked to make the story of the Ako¯ revenge so popular, and at the same time a “troubling” presence who could be interpreted in widely different ways.
    [Show full text]
  • The Last Samurai: the Life and Battles of Saigo Takamori
    THE LAST SAMURAI The Life and Battles of Saigo- Takamori MARK RAVINA John Wiley & Sons, Inc. THE LAST SAMURAI THE LAST SAMURAI The Life and Battles of Saigo- Takamori MARK RAVINA John Wiley & Sons, Inc. This book is printed on acid-free paper. Copyright © 2004 by Mark Ravina.All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada Design and production by Navta Associates, Inc. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as per- mitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 750-4470, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, e-mail: [email protected]. Limit of Liability/Disclaimer of Warranty:While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accu- racy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials.The advice and strategies contained herein may not be suit- able for your situation.You should consult with a professional where appropriate.
    [Show full text]
  • Political and Ritual Usages of Portraits of Japanese
    POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES by Yuki Morishima B.A., University of Washington, 1996 B.F.A., University of Washington, 1996 M.S., Boston University, 1999 M.A., University of Pittsburgh, 2007 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yuki Morishima It was defended on November 13, 2013 and approved by Katheryn Linduff, Professor, Art and Architecture Evelyn Rawski, Professor, History Kirk Savage, Professor, Art and Architecture Dissertation Advisor: Karen Gerhart, Professor, Art and Architecture ii Copyright © by Yuki Morishima 2013 iii POLITICAL AND RITUAL USAGES OF PORTRAITS OF JAPANESE EMPERORS IN EIGHTEENTH AND NINETEENTH CENTURIES Yuki Morishima, PhD University of Pittsburgh, 2013 This dissertation examines portraits of Japanese emperors from the pre-modern Edo period (1603-1868) through the modern Meiji period (1868-1912) by questioning how the socio- political context influenced the production of imperial portraits. Prior to Western influence, pre- modern Japanese society viewed imperial portraits as religious objects for private, commemorative use; only imperial family members and close supporters viewed these portraits. The Confucian notion of filial piety and the Buddhist tradition of tsuizen influenced the production of these commemorative or mortuary portraits. By the Meiji period, however, Western portrait practice had affected how Japan perceived its imperial portraiture. Because the Meiji government socially and politically constructed the ideal role of Emperor Meiji and used the portrait as a means of propaganda to elevate the emperor to the status of a divinity, it instituted controlled public viewing of the images of Japanese emperors.
    [Show full text]
  • The Samurai Company: Double Creative Response in Meiji Japan the Case of Onoda Cement
    Hitotsubashi Journal of Commerce and Management 49 (2015), pp.1-23. Ⓒ Hitotsubashi University THE SAMURAI COMPANY: DOUBLE CREATIVE RESPONSE IN MEIJI JAPAN THE CASE OF ONODA CEMENT ＊ SEIICHIRO YONEKURA I. Preface In 1868, thelower-classsamurai in Japan toppledtheTokugawa Shogunatethat had ruled the country for 268 years, and in its place they established the new Meiji government. Japan was the first country in Asia to embark upon modernization, and thus try to avoid the threat of colonization. This might give the impression that the Restoration government had an easy time overturning feudalism and establishing a new modern state. That was not the case. Over the course of more than 200 years, Japan had created a precisely decentralized system. Toppling that and establishing a new centralized system was extraordinarily difficult. At the time, there were no means of rapid communication and transportation, and it was a truly daunting task to eliminate the inertia that had accumulated over two centuries. What is more, mid-19th-century Asia was in the midst of a struggle for colonization, as evidenced by the Opium Wars between Britain and Chin-Dynasty China. Creating a unified government was about more than just centralizing authority; it meant establishing political and economic foundations that would impress even the Great Powers. Nonetheless, the Meiji Restoration was a unique revolution even by the standards of world history. It was very much a bourgeois revolution. The feudal system of the Tokugawa Shogunate was overthrown and in its place emerged a form of democracy inspired by ideas like “equality of the four social classes (shimin byodo)” and “open discussion (banki koron).” Nonetheless, the revolution was undertaken in the name of the Emperor, an absolute monarch, and was led by the lower samurai class, key members of the feudal system.
    [Show full text]
  • SAMURAI Samurai Is a Word for a Japanese Warrior Class and for A
    SAMURAI Samurai is a word for a Japanese warrior class and for a member of this class. The Japanese Way of the Warrior, has played a major role in shaping the behaviour of modern Japanese government, corporation, society, and individuals, as well as in shaping the modern martial arts within Japan and internationally. Samurai have been glorified in numerous films, books, comic series, TV shows and theatre plays. They are a source of fascination for adults and children all over the world. No figure is more emblematic of Japan and the Japanese than the samurai, the heroic warriors who lived by the code of bushido - the way of the samurai - founded upon loyalty, justice and honour. The warrior tradition in Japan is as ancient as the country itself, but the true samurai emerged during the late Heian period (mid 12th century) (when two powerful Japanese clans fought bitter wars against each other - the Taira and the Minamato) and thereafter ruled Japan for some 800 years. During this time, the classic Japanese martial arts evolved, and with them the bushido code. At that time the Japanese shogunate, a system of a military ruler, called the shogun was formed. Under the shogun the next hierarchy were the daimyo, local rulers comparable to dukes in Europe. The samurai were the military retainers of a daimyo. And finally you may have heard of ronin. Ronin are samurai without a master. According to historians the fierce fights between hostile clans and warlords was mainly a battle for land. Samurai Attributes and Privileges Samurai had several far-reaching privileges.
    [Show full text]
  • Japan and Its East Asian Neighbors: Japan’S Perception of China and Korea and the Making of Foreign Policy from the Seventeenth to the Nineteenth Century
    JAPAN AND ITS EAST ASIAN NEIGHBORS: JAPAN’S PERCEPTION OF CHINA AND KOREA AND THE MAKING OF FOREIGN POLICY FROM THE SEVENTEENTH TO THE NINETEENTH CENTURY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Norihito Mizuno, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor James R. Bartholomew, Adviser Professor Philip C. Brown Adviser Professor Peter L. Hahn Graduate Program in History Copyright by Norihito Mizuno 2004 ABSTRACT This dissertation is a study of Japanese perceptions of its East Asian neighbors – China and Korea – and the making of foreign policy from the early seventeenth century to the late nineteenth century. Previous studies have overwhelmingly argued that after the Meiji Restoration of 1868, Japan started to modernize itself by learning from the West and changed its attitudes toward those neighboring countries. It supposedly abandoned its traditional friendship and reverence toward its neighbors and adopted aggressive and contemptuous attitudes. I have no intention of arguing here that the perspective of change and discontinuity in Japan’s attitudes toward its neighbors has no validity at all; Japan did adopt Western-style diplomacy toward its neighbors, paralleling the abandonment of traditional culture which had owed much to other East Asian civilizations since antiquity. In this dissertation, through examination primarily of official and private documents, I maintain that change and discontinuity cannot fully explain the Japanese policy toward its East Asian neighbors from the early seventeenth to the late nineteenth century. The Japanese perceptions and attitudes toward China and ii Korea had some aspects of continuity.
    [Show full text]
  • Rebellion and Defiance in the Japanese Army, 1860-1931
    Culture of Disobedience: Rebellion and Defiance in the Japanese Army, 1860-1931 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Orbach, Dan. 2015. Culture of Disobedience: Rebellion and Defiance in the Japanese Army, 1860-1931. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467476 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Culture of Disobedience: Rebellion and Defiance in the Japanese Army, 1860-1931 A dissertation presented by Dan Orbach to The History Department, Graduate School of Arts and Sciences, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History Harvard University Cambridge, Massachusetts May 15th, 2015 © 2015 Dan Orbach All rights reserved Dissertation Advisor: Professor Andrew D. Gordon Dan Orbach Culture of Disobedience: Rebellion and Defiance in the Japanese Army, 1860-1931 Abstract Imperial Japanese soldiers were notorious for following their superiors to certain death. Their enemies in the Pacific War perceived their obedience as blind, and derided them as “cattle”. Yet the Japanese Army was arguably one of the most disobedient armies in the world. Officers repeatedly staged coups d’états, violent insurrections and political assassinations, while their associates defied orders given by both the government and high command, launched independent military operations against other countries, and in two notorious cases conspired to assassinate foreign leaders.
    [Show full text]