Autocratic legitimation in Iran: Ali Khamenei’s discourse on regime “insiders” and “outsiders”

The article analyses Ali Khamenei’s discourse on insiders and outsiders in the Islamic Republic of Iran, arguing that it shows the leader of an electoral revolutionary regime striving to counter elite fragmentation and growing democratic demands. It studies identity demarcation as a tool of autocratic legitimation. In a political system where the possibility to access political positions depends on supporting a belief-system, all cadres share a basic identity, which rulers can exploit to draw boundaries between “us” and “them”. The analysis reveals how Iran’s leader capitalizes on the existence of an insider-outsider divide to promote ideas about an imagined “we” of the regime. The “we” is portrayed as an Islamic we, fully committed to his rule. The article maintains that Khamenei developed this discourse in response to the challenge of the Iranian reform movement. It analyses, first, the context in which the discourse emerged and, second, the discursive strategy itself, to substantiate the claim. It concludes that the discourse had two essential aims in the containment (1997–2003) and crushing (2009–2010) of the pro-democracy reformist and Green movements: to de-legitimate Khamenei’s opponents through othering and to legitimate the counter-mobilization of repressive agents.     

Akutagawa Ryūnosuke's uncanny travels in Republican-era China

This study focuses on Akutagawa Ryūnosuke's Shina yūki (Travels in China): an account of a four-month journey through eastern, central, and northern China in the spring and summer of 1921. Due to Akutagawa's reputation as a writer and the account's vantage point on a transitional period in Japan's expansion abroad, Travels in China has traditionally enjoyed a prominent place in the canon of twentieth-century Japanese travel writing. What has received less attention, however, is the relation of the work to the rest of Akutagawa's literary corpus. In this paper, I situate Travels in China within the larger context of Akutagawa's ongoing interest in Chinese fiction and drama. Rather than reading Travels in China as a work of journalism, as Akutagawa initially invited his readers to do, I argue that the work is an extended exploration not only of the relationship between ‘New China’ and Akutagawa's beloved traditional Chinese culture, but also of the boundaries separating journalism, fiction, and other literary genres. Ultimately, I connect Travels in China to Akutagawa's later work: texts that similarly interrogate and deconstruct the distinctions between genres and modes of narrating experience.     

Modern poetry,popular song and their dangerous liaisons

Abstract

In this article, Tsuboi Hideto examines the mutually entwined pursuits of modern poetry and music in interwar Japan, focusing especially on the work of Nakahara Chūya, Kitahara Hakushū, and the People's Poetry group. Cutting across their respective distinctions within the poetry establishment, Tsuboi draws attention to these figures’ shared investment in symphonic, folk and popular music. In so doing, he identifies among them a prevailing concern for curating a poetic voice that might harmonize the conflictual registers of individual and collective expression and thereby attune the work of the poet to that of the ‘people’ more broadly. Meanwhile, the essay traces the currents of modernist and avant-garde thought in Japan and Europe that framed these poets’ engagements with music and sound. Tsuboi then illustrates the varying degrees to which these voices, forged within the cosmopolitan milieu of the Taisho period, bent toward the nationalizing project and later gave way to the chorus of wartime fascism and imperial expansion.     

第二次西园寺公望内阁时的“增师”问题研究

第二次西园寺公望内阁时的"增师"问题,不仅导致了西园寺内阁的垮台,也成为第一次护宪运动的导火索。文章主要分析政友会支持的首相西园寺公望和以元老山县有朋为靠山的陆军围绕这一问题所展开的较量。通过探讨内阁、军部、元老等各势力间的博弈状况,从中管窥大正民主运动前夕日本政界主要政治势力间的矛盾斗争。     

Global attributes or local literacy? International students in Japan’s graduate employment system

International students graduating from Japanese universities are becoming an important component of graduate recruitment strategy in globalising Japanese firms. They are praised for possessing exactly the kinds of attributes seen as lacking in their Japanese counterparts – such as intercultural communication skills, self-confidence and a competitive spirit. Their value is also emphasised in national policies addressing the human resource challenges of globalisation. Higher education policy-makers, too, are increasingly conscious of the need to connect efforts to attract international students to Japan with strategies to maximise their utility in the Japanese workforce. To succeed in the job market, however, international students are required to conform to the conventions of graduate job-hunting. Career support services offered by universities and third-party intermediaries tend to focus on bringing students into line with these conventions rather than developing alternatives thereto. This article explores this interface between policies and practices surrounding international graduate job-seekers, analysing the positions of several different stakeholders – including the job-seekers themselves – in order to develop a more critical understanding of the possible outcomes of current moves towards internationalisation of higher education and employment in Japan and the future of the graduate job-placement system itself. The article highlights a paradox whereby the ‘global’ attributes that underpin the expectations placed on international students originally are overshadowed by a concern with testing local socio-cultural literacy through the application of the conventional norms and practices of the graduate job hunt.     

Narrating the cultural trauma of 3/11: the debris of post-Fukushima literature and film

Abstract

Images of debris dominate our understanding of the 3/11 triple disaster – earthquake, tsunami, nuclear meltdown – that took place in Japan on 11 March 2011. They have been effectively used to rewrite the story of individual suffering into one of collective tragedy. In this article, debris is a locus for examining the construction of the narrative of 3/11 as cultural trauma. The article analyzes three texts that deal directly with images of 3.11 debris: Fujiwara Toshi's documentary film No Man's Zone and two short stories: Murakami Ryū's ‘Little eucalyptus leaves’ (Yūkari no chisana ha, 2012 Murakami, Ryū, 2012b. Yūkari no chisana ha. In: Sore de mo sangatsu wa, mata. Tokyo: Kōdansha, 245–60. [Google Scholar]) and Saeki Kazumi's ‘Hiyoriyama’ (2012) Saeki, Kazumi, 2012a. Hiyoriyama. Trans. Jeffrey Hunter. In: Elmer Luke and David Karashima eds. March Was Made of Yarn. New York: Vintage Books, 163–81. [Google Scholar]. Fujiwara interrogates the position of the viewer via images of destruction, Murakami connects 3/11 to the multidirectional memory of other global traumas like Auschwitz, and Saeki constructs a local narrative that contrasts the personal experience of the disaster with a televisual or filmic representation. These texts are engaged in the cultural work of constructing 3/11 as collective trauma. They create a collective identity, a ‘we’, for this trauma that speaks both for and against the national narratives of recovery. This article examines images of debris around the one-year anniversary of 3/11 and speculates on the concurrent lack of images of bodies.     

Madness,mystery and abnormality in the writing of Yumeno Kyūsaku

Yumeno Kyūsaku (1889–1936) has been labeled a writer of henkaku detective fiction since submitting his debut story, ‘Ayakashi no tsuzumi’ (‘The demonic hand drum’), to Shinseinen magazine for a competition in 1926. The term henkaku is rooted in the historical context of the 1920s and 1930s as a modifier of a subgenre of mystery fiction that eschewed puzzle-solving in favor of gothic atmospheres and strange happenings. This article considers the relationship between henkaku and gendered, early twentieth-century discourses of hentai (abnormality). Transitioning from an early emphasis on ‘abnormal sexology’ to ‘abnormal psychology’, Kyūsaku used the affective potential of visceral henkaku narratives to not only entertain readers, but to shock them into an examination of their own psyches and the limits of modern, rational thought. Kyūsaku's skepticism toward the ‘isms’ of his day resonated with a new audience, bringing the spirit of henkaku into the post-Second World War period when his works were rediscovered in the context of 1960s sub- and counter-culture.     

The end of literature and the beginning of praxis: Wagō Ryōichi's Pebbles of Poetry

Abstract

On 16 March 2011, shortly after the hydrogen explosion in the third nuclear block, Wagō Ryōichi (1968–), a poet who has lived in Fukushima for decades, started using Twitter as an alternative method for his action poetry. The tweets from his nearly desolate hometown immediately gained public reception, spreading all across the country and beyond, being compiled into an anthology titled Shi no tsubute (Pebbles of poetry). This study examines the flood of words he posted during the critical post-earthquake turmoil, aiming to conceive them as radically redefining (albeit temporarily) the quotidian that has long been institutionalized during the country's recent history. Despite their later publication in book forms, Wagō's tweets initially circulated more like graffiti than printed books, being a more fundamentally contingent form of writing than his previously printed letters. Epitomizing the bio-sociological conditions (or what Karatani Kōjin calls ‘singularities’) arising from the intensified experience immediately following the Fukushima incident, Wagō's scribbles on the internet bear much resemblance to Terayama Shūji's mobilization of street epic in the 1960s–70s, or, more theoretically, Bergson's conception of evolution as multiplicity arising from intense temporality. His graffiti praxis is itself a renewed ethics, sharing the spirit of the-end-of-literature discourses by Karatani and others since the 1980s.