Crisis ideology and the articulation of fascism in interwar Japan: the 1938 Thought-War Symposium

In early 1938, the newly formed Cabinet Information Division (Naikaku jōhōbu) held a closed-door Thought-War Symposium (Shisōsen kōshūkai) in Tokyo with over 100 bureaucrats, military officers, media executives and academics in attendance. While the ostensible purpose of the symposium was to discuss propaganda following Japan's full-scale invasion of China in July of 1937, the presentations had very little to do with the practical coordination of information. Rather, the symposium participants brought their specific areas of expertise to bear on elaborating the curious term ‘thought war’ (shisōsen), a term that had only recently been used with any regularity but which had become invested with critical urgency following the invasion of China.

In the conventional literature, the term ‘thought war’ is understood as marking a new modality of state propaganda as Japan moved towards a total war system. However, this reading overlooks the ideological investments in thought war discourse, as well as how ‘thought war’ inherited a multivalent sense of crisis that had crystallized around thought and culture earlier in the 1930s. In this article, I explore how the 1938 symposium reveals a combined sense of historical crisis and an urgent call for the total overhaul of Japanese state and society, a combination which, I argue, underwrote the development of fascism in Japan. I trace how three earlier discourses of crisis – the ‘Manchurian Problem’, the ‘thought problem’ and the ‘movement to clarify the kokutai’ – converged within thought war discourse, thus investing it with fascist urgency.     

Science,society and the sea of fertility: new reproductive technologies in Japanese popular culture

Since the late twentieth century, assisted reproductive technologies have brought new challenges to our understanding of the family and gender relations. There are ever-widening gaps between medical practice, legal regulation and everyday understandings and practices. Some recent popular cultural texts in Japan have explored the issues raised by non-commercial surrogate motherhood. The background to these texts is a series of controversies concerning surrogacy and the use of assisted reproductive technologies and wider societal anxieties about family, reproduction and population management. In this article, I will focus on two novels by a medical practitioner and popular novelist who writes under the pseudonym Kaidō Takeru – Gene Waltz (Kaidō 2008) and Madonna Verde (Kaidō 2010) – and the associated film (ōtani 2011) and television series (NHK 2011). The fact that it was the national broadcaster Nippon Hōsō Kyōkai (NHK) that dramatised Madonna Verde suggests that the discussion of these issues was thought to have wide social and cultural resonance. I will place these texts in their social and cultural context with reference to medical, legal and popular discourses on new reproductive technologies in contemporary Japan. These new reproductive technologies have the potential to force a rethinking of masculinity, femininity, parenthood, family and gender relations. The popular texts also, however, draw on pre-existing ways of thinking about masculinity, femininity, marriage, reproduction and the relationships among science, ‘nature’ and society.     

Ethnosexual frontiers in queer Tokyo: the production of racialised desire in Japan

Recent years have seen a worrying rise in anti-Korean and anti-Chinese xenophobia in Japan. This xenophobia has pervaded many aspects of Japanese society, and the gay male community in Tokyo's Shinjuku Ni-chōme is no exception. Drawing upon an ethnographic study of Ni-chōme and interviews conducted with Japanese, Chinese and South Korean men, this article utilises Nagel's theory of the ethnosexual frontier to examine how certain racial identities are rendered illegitimate in Ni-chōme. I argue that the stratification of Ni-chōme into spaces where only certain ‘racialised desires’ (minzokuteki na seiyoku) are legitimated reflects broader ideologies of racial identity that circulate throughout Japanese society. I discuss how Chinese and South Korean men understand themselves as ‘ethnosexual sojourners’ who visit Japan to form long-lasting romantic relationships with Japanese men, striving to adopt Japanese ethnosexual mores. I juxtapose the Chinese and South Korean men's narratives with the voices of Japanese gay men who ambivalently position Chinese and South Korean tourists as a threat to the status quo of the Japanese gay sub-culture. I suggest that these men draw upon neo-colonial discourses of China and South Korea as ‘backward’, which circulate throughout wider Japanese society to position Chinese and South Korean men as ‘ethnosexual invaders’.     

Questioning western universality: Sōseki's Theory of Literature and his novel Kusamakura

Focusing on the relation between the literary theory and the novels of modern Japanese writer Natsume Sōseki (1867–1916), this article argues that we need to include more ‘non-Western’ theories in the discussions of world literature. Furthermore, it concludes that a world literature contextualization of Sōseki's theory helps explain how his novels critically negotiate the influences from Western literature in Japan. By comparing Sōseki's theoretical and literary writing, this article shows continuity between his Theory of Literature and his novel Kusamakura, arguing that both question Western universality in defining literature. In other words, the comparison stresses Sōseki's continued preoccupation with understanding the transformation of literatures due to global interaction. During the modern period, such transformation was probably nowhere more conspicuous than in Meiji Japan, where not only society but also its literature was rapidly changing.     

Recreating traditional music in postwar Japan: a prehistory of enka

This article examines how enka evolved from the earlier genre of kayōkyoku, looking at the musical markers of Japaneseness and considering issues of authenticity and originality in those earlier genres. The careers of composers Koga Masao and Hattori Ryōichi and singers Misora Hibari and Kasagi Shizuko show the development of a hybrid style of popular song both before and after the Pacific War, which would by the 1960s evolve into enka. As its core audience has aged, enka has become increasingly rigid and concerned with nostalgia for a ‘pure’ Japanese past, even though the music itself is quite distant from traditional musical forms. Analysis of three movie musicals from the late 1940s and early 1950s, Ginza kankan girl, Carmen comes home and Janken girls, also demonstrates the performance practices of popular music at the time, and the complex relationship between popular music and national identity.     

Kawabata's views of language and the postwar construction of a literary genealogy

Abstract

This paper shows the ways in which, in the immediate post-war period (1945–1951), Kawabata Yasunari (1899–1972) reflected on his earlier, pre-war literary career and re-envisioned his postwar literary trajectory by constructing a new genealogy of the modern novel in Japan, in relationship to the intricate issues of the literary styles of the modern novel, ‘national language’ (kokugo), and the literary tradition. By examining his Shin bunshō tokuhon (New Guide to Literary Language, 1950), which presents Kawabata's past and present views of literary language, I will argue that Kawabata's changing views of language and literary style must be understood in the context of contemporary debates over national language policy and language reform movements. I will show the manner by which Kawabata formulated his views of language in dialogue with his two rival writers: Yokomitsu Riichi (1898–1947) in the prewar period and Tanizaki Junichirō (1886–1965) in the postwar period. As we shall see, the death of his close literary colleague Yokomitsu in 1947 and Tanizaki's unflagging literary exploration during and following the war prompted Kawabata to position himself in a genealogy of modern Japanese literary writers as well as in relationship to the linguistic and literary tradition of Japan.     

Meiji Japan's China solution to Tokugawa Japan's China problem

The underlying concern of this article is with the function and purpose of the normative imaginary of ‘China’, Chūgoku (Zhongguo) or Chūka (Zhonghua) in the Japanese discourse up to and around the mid-nineteenth century; namely, how it was deployed to make sense of the historical situation facing the contemporaries amid the combined internal and external crises and how it structured the range of options available to them. To exemplify this, we first turn to the debate of the shape of the polity that straddled the critical decades of 1850s–1860s. The self-conscious restoration of a past political ideal was the ostensible justification of the revolutionary overhaul, but in terms of the models of polity, there existed very different versions and understandings of what past could or should be restored. In the classical conceptual language of politics, the choice was between the hōken and gunken model. While the year 1871 saw a closure that cast Meiji as a gunken revolution, the debate continued beyond and the shift of preferences from hōken to gunken needs to be explained. In arguing for Meiji as a ‘Chinese revolution’, we can further point to the surprising degree of overlap between the concerns of earlier Edo-period commentators and the actual factors of the revolution when it finally arrived. Lastly, the normative imaginary of China is shown to have served as the key mediating filter for processing and appropriating the West both before and after the Meiji revolution.     

Disquieting growth: urban space in Kawashima Yūzō's film Suzaki Paradise Red Light

This article examines how Japanese postwar cinematic texts manifest and comment upon contemporary political and economic events, and considers the usefulness of cinema for a more complete historical understanding of the period. In particular, it argues for the significance of fūzoku eiga, or ‘films of customs and manners’ by analyzing a representative text of that genre, Kawashima Yūzō's 1956 film Suzaki Paradise Red Light. Although Kawashima's film has been treated as an apolitical melodrama, a close textual analysis reveals it to be a counter-narrative to the success story of postwar economic recovery and growth that the Japanese state sought to promote. Key to this analysis is an examination of the urban space of the Suzaki neighborhood in Tokyo, as depicted in the film. Kawashima's tour of Suzaki addresses the issues of the economic stagnation within the metropolis, uneven development, and the liminal space of muen, or ‘no ties,’ which offers a brief refuge from an increasingly disciplined everyday life.     

Refracted axis: Kitayama Jun'yū and writing a German Japan

The question of how individuals navigate a given regime is inevitably a delicate one, but one no less important because of its sensitivity. This article examines the case of one Kitayama Jun'yū – author of dozens of works during the 1930s and 1940s that purported to introduce Japan to a German audience – and his changing rhetorical strategies in presenting a Japan that would be acceptable to his readership. It employs an adapted notion of Bhabha's concept of ‘mimicry’ as a means to understand both developments internal to Kitayama's works as well as their changing reception. This framework recognizes that power dynamics played an influential role in cross-cultural exchange between the two countries; at the same time, it enables a depersonalized engagement with cultural politics that does not rest on identifying individual authorial political allegiances. Drawing on both Kitayama's writings and archival materials that reflect official and semi-private responses to his work, this article offers a closer look at how a particular Japanese intellectual negotiated Japan's place within the discursive space of the National Socialist regime.     

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.     

The masochist's masquerade: Kōno Taeko's ‘Beautiful Girl’ (Bishōjo)

Kōno Taeko is notorious for her literary masochism, which critics tend to read solely through the narrow lens of psychoanalysis. This article contends that we gain new insights into Kōno's literary life and corpus when historical contexts are also brought to bear. In reading closely ‘Bishojo’ (Beautiful Girl, 1962), a story that appeared at the same time as Kōno's most famous award-winning stories in the early 1960s, I contend that Kōno's fictional world can best be grasped with attention to two key factors: the impact of Kōno's wartime girlhood on her fiction; and, in ‘Bishōjo’ in particular, the Occupation Period (1945–1952) context, which serves as more than mere background to the story's revenge plot. Girls, or shōjo, form the core of the story and expose the disavowed shōjo at the core of protagonist Shōko's psyche. To survive, Shōko must cloak her masculine strengths in a masochistic masquerade indistinguishable from femininity itself. She threads her masochistic masquerade between two abusive men whose efforts to humiliate her cannot be separated from the national Occupation context and postwar masculinity. Finally, this essay demonstrates that Kōno's masochism functions as a literary technique for constructing subjects differently by gender in historical contexts, thereby exposing the psychic distortions that only fiction, as a light into the darkened interior world of human beings, can illuminate.     

“International terrorism” in the League of Nations and the contemporary terrorism dispositif

This article recovers states’ discursive practices regarding “international terrorism” in the 1930s. It examines the internal conditions of the discourse of terrorism among states in this period with a particular focus on its conspiratorial elements and suggests external conditions for this discourse’s emergence and order. Furthermore, it points to continuities and discontinuities between the 1930s discursive series and the constituent discursive forms of the contemporary global terrorism dispositif – an assemblage of power practices which bear on individual human bodies, populations or (rogue or fragile) states and which are all strategically oriented through the concept of terrorism. The purpose of such a genealogical history is to expand the space of dissent to power practices in the dominant structures of (terrorism) knowledge by problematising their object and the ways in which these formations are productive of human subjectivity.     

Security Studies and the Use of History: Neville Chamberlain's Grand Strategy Revisited

In The Gathering Storm, Winston S. Churchill claimed that during the 1930s British leaders were willfully blind to the German threat and failed to meet it by rearming. Accepting the Churchillian narrative, leading IR scholars regard British grand strategy during the 1930s as glaring example of strategic adjustment failure. This article reappraises British grand strategy during the 1930s and rejects both the Churchillian narrative, and the scholarly claims that Britain did not adjust its strategy to the German threat. In the 1930s, Britain did balance against Germany and focused on countering what policy makers perceived as the key threat facing Britain: its vulnerability to German air attack. Britain's grand strategic options were limited by external conditions and by domestic economic constraints. Neville Chamberlain, therefore, was playing a weak hand, and did the best that he could with the cards he was dealt. Britain's 1930s grand strategy is one of the historical cases most frequently used by IR scholars for theory testing. For that reason alone, it is important to get the history right. This is not the only reason, however. The 1930s have provided many of the concepts, images, and metaphors that have dominated the discourse about American foreign policy since World War II. Because scholarship about the events of the 1930s shapes the discourse about real-world policy, getting the history right matters.     

The realism debate and the politics of modern art in early postwar Japan

This article examines the realism debate (riarizumu ronsō) that took place between 1946 and 1950 as a forum in which ideas on artistic form, the role of the artist in society, and the social relevance of art come into focus in a way that allows us to see how questions such as Japan's modernity, the recent experience of fascism, and the challenges of rebuilding culture during the early cold war were taken up by leading cultural figures in the field of the visual arts. Occurring alongside discussions of how the art world could be reformed to avoid the failures of fascism, the debate served as an occasion to re-examine the history of modern art in Europe and Japan and to consider the question of artistic representation in a way that opened the most fundamental question of art's relationship to the world and promised to begin the process of envisioning it anew. The debate involved three camps which I label social realism (represented by Hayashi Fumio and Nagai Kiyoshi), modernist realism (Hijikata Tei’ichi), and avant-garde realism (Uemura Takachiyo, Okamoto Tarō, and Hanada Kiyoteru). While assessing their points of agreement and disagreement, I argue that the debate set the stage for debates in the 1950s and beyond.     

Rearranging the figures on the tapestry: what Japanese direct translation of European texts can tell us about kanbun kundoku

Abstract

From the earliest stages of reading and writing in the Japanese archipelago, the methodology of kanbun kundoku (vernacular reading of literary Sinitic) has been an important means of engagement with Chinese texts. The kanbun kundoku process of glossing and syntactic rearrangement transforms a literary Sinitic source text into a kind of ‘translationese’ that preserves as closely as possible the diction and structure of the original while making it accessible to readers who may have little or no competence in spoken varieties of Chinese. Yet whether this process should be understood as fundamentally a form of translation is a matter of debate among scholars. In this article, I argue that looking at the early modern phenomenon of ōbun kundoku, by which Japanese scholars applied kundoku methodology to European languages (including Latin, Portuguese, Dutch and English), can offer a valuable perspective. These forms of direct translation are an important although comparatively under-studied aspect of Japanese encounters with European texts and they offer an instructive perspective on kanbun kundoku: the longstanding Japanese method of engagement with foreign-language texts that was their inspiration. The theoretical writings of Japan’s early modern scholars of Dutch unmistakably acknowledge a basic commonality between these two forms of kundoku while also clarifying the ways in which the application of kundoku to European languages was distinct from application to literary Sinitic.     

The shaman hunts and the postwar revival and reinvention of Okinawan shamanism

In the 1930s and 1940s shaman hunts (yutagari) were conducted by the Japanese Special Higher Police in Okinawa, Japan's most southern and remote prefecture. This was not the first time that attempts had been made to remove these women from Okinawan society. The fact that the yuta were hunted down and incarcerated, driven underground, and in some cases executed says much about how influential and threatening Japanese authorities perceived them to be. At the end of the Battle of Okinawa, more than one quarter of all Okinawan civilians were dead, and in many cases their remains were unrecoverable due to the extent of the destruction. The absence of appropriate mortuary rituals and religious specialists to perform these rituals, many of whom had been removed by authorities, led to severe spiritual dislocation for many Okinawans. In the chaotic postwar environment a path was opened for the revival of the previously hunted shamans to treat those who had suffered physical, family and spiritual loss, through providing help for these clients in dealing with settling the unsatisfied dead. It also led to the emergence of the ‘new’ yuta, those shamans who followed different routes to becoming religious advisors. This paper first outlines some of the circumstances that led to the shaman hunts, and then assesses the role of the Battle of Okinawa and its aftermath in rehabilitating shamanism in postwar society.     

Discourse,genealogy and methods of text selection in international relations

Abstract

Discourse analysis, once the purview of critical theories of international politics, has emerged as a mainstream methodology for understanding international relations. While interest in such perspectives has enriched international relations theory, much about the nature of methods—that is, specific empirical processes for the gathering and analysis of evidence—is left ambiguous in this scholarship. Which texts should discourse analyses focus on? And, more practically, how should those texts be chosen? Building on discussions of case study methodology from both qualitative and interpretive social science, this article contributes to theoretical and empirical projects within discourse theory by suggesting a method for text selection: the random selection of texts. I argue that random selection processes are beneficial for discourse analyses that aim to study broad cultural patterns, such as genealogy. Random selection is not simply a means of choosing texts, but also a more comprehensive logic for thinking about the purpose of texts in discourse analysis.     

Modernism,gender and consumer spectacle in 1920s’ Tokyo

A lot has been written about how, in the first decades of the twentieth century, cinema validated new perceptual structures and how these affected literary narrative. But the department store was also a vital part of the mobile spectacle of modernity. Ginza and its department stores provided experiences of urban flâneuring and visual consumption that would have important effects on gender and subjectivity. This essay focuses on three short stories published between 1922 and 1931, all set in department stores or on the Ginza: Tanizaki Jun'ichirō’s ‘Aoi hana’ (The Blue Flower, 1922), Itō Sei's ‘M hyakkaten’ (The M Department Store, 1931) and Yokomitsu Riichi's ‘Nanakai no undō’ (Seven Floors of Exercise, 1927). The stories share a radically experimental modernist form: fragmented interior monologues, montage-like juxtapositions, abrupt shifts of narrative perspective. They are also connected in their preoccupation with looking, with the drama of seeing and being seen. My analysis traces how the domain of vision becomes a place of struggle over subjectivity, how gendered visual hierarchies are undermined and at least temporarily reversed.     

A Soviet Eye on France from the rue de Grenelle in Paris, 1924-1940

The present article is about Soviet perceptions of French politics and society as reported by the five Soviet ambassadors in Paris between 1924 and 1940, and about how their reports influenced Soviet policy making in Moscow. This article is based largely upon unpublished documents from the Soviet foreign policy archives in Moscow (AVPRF), specifically opened to researchers in the 1990s. It contends that these Soviet ambassadors established effective relationships with French counterparts and that they were pragmatic, non-ideological realists trying unsuccessfully to improve Soviet relations with France. The narrative is about the failure of these efforts over a period of sixteen years and ultimately about the failure of the Soviet Union and France to form anti-Nazi alliance during the 1930s.