Children's rights in a risk society: the case of schooling in Japan

The purpose of this paper is to examine the ongoing discourse on children's rights and related attitudes towards individualisation and risk in contemporary Japan's education system. The paper is also interested in how this discourse is translated into concrete change. The concepts of ‘children's rights’ and ‘risk society’ both have their origins in Western conceptions of the relationship between the individual and society, and the place of children and young people in that society. This paper explores the way that these concepts have been transformed by their adoption into domestic Japanese discourse on education reform. After a discussion of how the classical liberal concepts of positive and negative human rights can be applied to the specific case of children's rights, the discussion moves on to show how this debate has developed in Japan since the 1980s. Then the paradigm of the ‘Risk Society’ is introduced and the concepts of ‘positive risks’ and ‘negative risks’ are explored, first with reference to schooling in Western countries and then in relation to Japan. Finally, the relationship between risk, rights and neoliberalism is discussed, and it is shown how Western notions of individualisation have met strong resistance from various actors on both sides of the political spectrum. In the case of the Japanese education system, the shift of responsibility from state bureaucracies to individuals and private-sector organisations that is predicted by Risk Society theory has only partially taken place.     

Narratives of collapse and generation: Komatsu Sakyō's disaster novels and the Metabolist movement

Abstract

In the summer following the earthquake, tsunami and nuclear disaster of March 2011, the Mori Art Museum in Tokyo opened the exhibition ‘Metabolism: The City of the Future’, a major retrospective of the works of architects, designers and critics associated with the Metabolist movement. As suggested by its subtitle ‘Dreams and Visions of Reconstruction in Postwar and Present-Day Japan’, the exhibition provided a unique opportunity to examine the legacy of postwar Japanese avant-garde architecture and city planning, in the context of the serious questioning of Japan's future direction regarding the built and natural environments, life styles, and social structures following the triple disaster.

This article examines the writings and designs of the Metabolists, as well as the works of science fiction and disaster novel author Komatsu Sakyō, who collaborated with a number of Metabolist architects in the preparations for the 1970 Osaka Expo. Like the writings of the Metabolists, Komatsu's works, such as the seismic disaster novel Nihon Chinbotsu (Japan sinks, 1973), expose new links between the built environment and the geological and biological environments, pointing to both the vulnerability of the human domain as well as its generative and adaptive capabilities. In the process, Komatsu's works both critique and reproduce elements of the Japanese postwar reconstruction ethos, while offering avenues for re-imagining the future through dramatic inversions of center and periphery. I will argue that Metabolist works and Komatsu's novels challenge us not only to expand our imagination of both construction and catastrophe on a grand scale, but also to see isomorphic patterns and triggering events on the molecular level – a multi-scaled vision that could be generative in imagining the future beyond the disasters of March 2011.     

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.     

Exporting Iran's Islamic revolution: Steering a path between Pan‐Islam and nationalism

This article focuses on the question of whether Iran's foreign policy over the period 1979–94 was a pure reflection of the clerical regime's millenarian crusade and its stated doctrine of exporting the Islamic revolution worldwide. Taking, inter alia, the controversy surrounding Iran's takeover of the island of Abu Musa in 1992, the article argues that Iran's actions were determined by a persistent sense of nationalism which was not less potent than its pan‐Islamic vision. Iran's nationalist tradition has been able to survive as a major force in Iranian political culture, its sometimes ‘Islamicized’ form notwithstanding.     

‘Hold that Pose!’ Photography and kabuki in Kitano Takeshi's Kikujiro

This article examines Kitano Takeshi's film Kikujiro (Kikujirō no Natsu, 1999) from two directions: first, as an as an experiment in moving versus still photography, and second, as an exploration of time, memory and Japanese identity. I argue that it is in Kitano's cinematic use of elements from the kabuki drama that the two aspects come together. Kitano plays upon the conventions of both kabuki and film media to highlight the significance of the ‘still shot’ as it functions in human memory. By presenting moments of the story in the format of a child's photograph album, Kitano is able to explore ideas of ‘adult’ and ‘child’ as equally arbitrary constructions. Throughout Kikujiro, Kitano draws on a rich tradition of film, drama and television convention in order to explore the idea of where identity comes from – does it come from the past, the present, or do we make it up ourselves? Kitano places emphasis on the still mie pose to heighten emotion and draw attention to the present moment. By contrasting this method against that of photography, Kitano juxtaposes past and present modes of expression, enabling him to interrogate notions of time and the supposed timelessness of art. Finally, Kitano's critical use of the past locates identity not in some distant, unobtainable myth of the nation, but in the lived experience of each individual as a human being.     

Evaluating authorial ‘objectivity’ and ‘stancetaking’ in reporting the making of a new constitution in Zimbabwean newspapers

ABSTRACT

Zimbabwe held ‘fresh’ elections on July 31, 2013 under a new constitution. This was in line with the provisions of the Global Political Agreement (GPA), a political power-sharing compromise signed between Zimbabwe's three main political parties, following the heavily disputed 2008 harmonised presidential and parliamentary elections. The GPA established in Zimbabwe a Government of National Unity (GNU). On the road to making a new constitution, political differences and party politicking always seemed to take precedence over national interest. This political polarity in Zimbabwe resulted in the heavy polarity of the media, especially along political ideological grounds. The new constitution-making process and all its problems received heavy coverage in almost all national newspapers. This article analyses the discourse-linguistic notion of ‘objectivity’ in ‘hard’ news reports on the new constitution-making process by comparing the textuality of ‘hard’ news reports from two Zimbabwean national daily newspapers: the government-owned and controlled Herald and the privately owned Newsday. Focusing on how language and linguistic resources are used evaluatively in ways that betray authorial attitudes and bias in news reporting, the article examines how the news reports uphold or flout the ‘objectivity’ ideal as explicated through the ‘reporter voice’ configuration, and within Appraisal Theory.     

Cyberspace,simulation, artificial intelligence,affectionate machines and being human

Abstract

This article focuses on the question whether the technologically enabled advent of ‘virtual reality’ or ‘cyberspace’ has a significant impact on human experience of the world. Gilbert Germain's work on Virilio and Baudrillard gives greater insight in this regard, specifically regarding cyberspace as the new ‘frontier’, and focuses on the alienating effects of cyberspace regarding the human life-world. Turkle's recent work regarding robotics similarly points to a fundamental shift in human attitudes towards ‘embodied’ artificial intelligence, especially concerning its capacity for affectivity, which further marks a turning away from the complexity of human relationships in favour of supposedly uncomplicated ‘machine relationships’. Derrida enables one to better understand the changing relation between humans and machines in terms of the reconfiguration of human subjectivity. Together with Turkle's work in this domain, it points to a surprising ‘reconfiguration’ of conceptions regarding being human. Finally, Feenberg's retrospective on the fraught relations between humans and technology, as reflected in various fictional and theoretical works, as well as social developments, provides a suitable conclusion, given his affirmative remarks on the prospects of human autonomy in relation to the Internet.     

Body and experiment – reflecting Kawabata Yasunari's counter-aesthetics

Abstract

From his earliest works, Kawabata, known as an explicit aestheticist, deals in his works with flawed and disabled bodies in contrast to beautiful ones, evoking feelings of revulsion, awkwardness, disgust and premonitions of decay and death. The dynamism created out of these tensions and ruptures in the aestheticized world is scrutizined as hidden counter-aesthetics through questions such as: Which kinds of impairments are to be observed? Can they be classified according to grades? Are there gender specificities? How are these tensions and ruptures organized, and which categories (semantic, biological, political, moral) are concerned? Which narratorial and other functions are served through the counter-image of the flawed (impaired) body? And finally, how do the findings from these investigations into the flipside, the ‘Other’ of Kawabata's aesthetic universe, contribute to complementary or alternative ways of reading and understanding his literature? In a final section, Kawabata's treatment of female bodies as a site of experimenting with extreme situations of passivity and agency is highlighted, challenging more conventional readings of this and other works. The works discussed are from a deliberately broad chronological and generic range, including canonical and popular works. They range from the newspaper novels ‘Utsukushii!’ (1927) and ‘Maihime’ (1950/1), the novel ‘Senbazuru’ (1952) to the stories and palm-of-the-hand stories ‘Ningen no ashioto’ (1925),’Izu no odoriko’ (1926), ‘Mekura to shōjo’ (1928), ‘Utsukushiki haka’ (1929) ‘Hokuro no tegami’ (1940), ‘Sasabune’ (1950), and, in the final section, ‘Kataude’ (1963/4) and ‘Nemureru bijo’ (1960/1).     

Of ‘witch's brews’ and scholarly communities: the dangers and promise of academic parrhesia

In a series of lectures in the early 1980s, Michel Foucault resurrected the Greek word for frankness or truth-telling—‘parrhesia’—to investigate the inter-relationships and tensions that existed between freedom, truth-telling and political power. He concluded that in order for one to ‘tell the truth’ against a powerful superior, one needs the courage to oppose a community of which the parrhesiastes (‘truth teller’) is a member. This paper uses parrhesia to investigate the practice of the international relations (IR) scholar in speaking out against his or her scholarly community. Tony Smith's 2007 book Pact with the devil is used as an example of academic-intellectual parrhesia not only to illustrate the content of a potential form of parrhesia, but to demonstrate the challenges IR scholars who wish to practise academic parrhesia face in criticizing members of their academic community. Smith's critique of democratic peace theory specifically, and liberal IR theory more generally, is particularly noteworthy considering Smith's former position as a leading liberal proponent. The paper reviews, and then supplements and extends, Smith's critique of democratic peace theory.     

‘Papa don't preach’: Fatherhood in a South African Christian men's magazine

Abstract

The first international men's lifestyle magazine to enter South Africa was Men's Health in 1997, followed by FHM and GQ. Not unlike their international counterparts, these magazines have been extolled in the publishing sector for their commercial success and disparaged in academia for their potentially negative influence on the sensitive gender politics of the new South Africa. In 2001, a new breed of men's lifestyle magazine emerged in South Africa: one that catered to a particular cultural or racial niche market that presumably was not satisfied by the generalising tone of the mainstream men's lifestyle magazines. The Afrikaans Christian magazine MaksiMan is the subject of this analysis, as much for what it signifies in terms of the presence of vernacular masculinities in post-apartheid South Africa as for the texture that it brings to the genre of men's lifestyle magazines. Mainstream men's magazines typically refuse to include reference to the role of father that certain of their readers might occupy. MaksiMan breaks this trend through articles and features centred on fatherhood. This article comprises an analysis of the representation of fatherhood within this niche men's lifestyle magazine.     

‘Local is lekker’: Nation,narration and the sABC's Afrikaans programmes

Abstract

This article provides an exploration of the role of the SABC's Afrikaans language programmes in contemporary South African constructions of national identity. It examines the programmes’ engagement with the construction of (a) national identity by addressing the SABC's mandated obligation towards nation building, and exploring how the broadcaster's Afrikaans programmes are positioned in this regard. The article suggests that the SABC's task to ‘narrate the nation’ is complicated not only by the theoretical dilemmas faced by the terms ‘nation’ and ‘nation building’, but also by the broadcaster's historical ties to the apartheid government. This matter is further complicated for the Afrikaans-language programmes on SABC, given the language's binary position as both ‘unifier’ and ‘oppressor’.     

The tone of laughter and the strangely warm comedy of Hagimoto Kin'ichi

Featuring the comedian Hagimoto Kin'ichi as on-screen father, the hybrid drama-variety show Kinchan no doko made yaru no! (How far will Kinchan go! 1976–1986) won a loyal following of viewers and critics who praised the ‘warmth’ of its parodic television family, describing it as affectively more real and compelling than depictions of the family in traditional dramatic portrayals. Through close readings of scenes from the show and the critical discourse surrounding it, I consider how the show created a consensus that its laughter was tonally warm, and thus well fitted to the domestic space in which television would be viewed. Further, I argue that the show's producers created this impression by inserting the show and Hagimoto's public persona within contemporary discourses on laughter, domesticity, and normative femininity. In doing so, my analysis highlights the ascendant role commercial television played in shaping and harnessing these discourses, and re-assesses, through the lens of the affective experience of 1970s and ’80s media culture, the cultural shifts taking place in Japan during these decades.     

Displaced children's participation in political violence: Towards greater understanding of mobilisation

Within the burgeoning literature, children's participation in political violence is overwhelmingly considered in terms of coercion. Displacement camps are seen as locations in which the young are particularly vulnerable to the predations of recruiters. This article questions assumptions of incompetence that underwrite much of the discourse on child recruitment. As I argue, the experience of growing up in situations where profoundly asymmetrical power relations give rise to systematic oppression may lead to the early development of ‘political’ understanding. Three specific dimensions of displaced children's experience that may account for their engagement in political violence are discussed: life in the socio-historical space of a displacement camp; frustrated transition to adult status; the embeddedness of ‘politics’ within everyday life. Discussion draws particularly on fieldwork amongst young Palestinian refugees. In conclusion, I argue that curtailing children's involvement in political violence may require consideration of this phenomenon far less through the lens of humanitarian policy, as is the tendency at present, and far more in relation to the political-economic processes that shape and constrain the lives of young displacees.     

The artist as a medium and the artwork as metaphor in Murakami Haruki’s fiction

Abstract

In many of Murakami Haruki’s works, the protagonist is in a profession close to the world of literature, although usually not exactly a writer. In their role as translators, advertising copywriters, journalists, or editors, Murakami’s protagonists are invested with the task of rearranging fragments of reality into narrative or artistic form, and/or of transmitting a message. This process is emotionally charged, often involving a supernatural dimension. While the process of reconstructing a narrative is largely unconscious, the narrator’s choice to act in this capacity is deliberate, and is presented as a way of fulfilling his responsibility towards others. I read this element as an expression of Murakami’s vision of the role of a writer in society. The figure of the artist-narrator takes an interesting form in Kishidanchō-Goroshi (Killing Commendatore, 2017), where the protagonist, a visual artist specialising in realistic portraits, decides to pursue a more creative approach to painting that leads him to a series of supernatural adventures. Through a close reading of the novel, this article investigates how Murakami’s portrayal of the artist as a shaman-like figure functions like a metaphor for the role of the literary author as a catalyst that enables people to connect with their inner self and with each other.     

‘A question between empires’: the restriction of Japanese immigration in British Columbia and the reassessment of Japan's foreign policy, 1907–1908

Abstract

Great Britain was the first of the major Powers that revised its unequal treaty with Japan, recognizing the success of Japan's modernization and its growing role in the international arena. However, British Columbia perceived Japanese residents as a threat to ‘the British character’ of this regions' population profile. After the movement against Japanese residents in British Columbia peaked during the anti-Japanese riots in Vancouver in September of 1907, Canadian Minister of Labor Rodolphe Lemieux headed a diplomatic delegation to Tokyo to negotiate the restriction of Japanese immigration to Canada. The dispatch of this mission revealed some of the complexities in relations between the Colonial and Foreign Offices in London on the one hand and the Dominion's and British Columbian governments on the other. Based on previously unused primary sources, this article will examine the interplay between the policy towards Japanese migrants in the British Dominion of Canada and the British policy towards Japan as a nation.     

Superficial,not Substantial: The Ambiguity of Public Support for Europe's Security and Defence Policy

Abstract

Surveys such as the European Commission's Eurobarometer regularly reveal high levels of public support for European Security and Defence Policy (ESDP). This paper argues, however, that public support for ESDP is only superficial, not substantial. First, there is no homogeneous ‘European’ public support for ESDP. Second, security and defence, as covered by ESDP with its focus on global crisis-management, rank very low among Europeans’ priorities. Third, Europeans are very sceptical about the appropriateness of military means, and hence a core element of ESDP, as a legitimate instrument in international affairs. These reservations are likely to have constraining effects on ESDP's future development. At the same time, there are compelling reasons for the further development of ESDP. Therefore, Europe's political elites should initiate a public diplomacy campaign inside the EU in which the case for Europe's further evolution as a strategic security and defence actor is made. ESDP operations are the most promising starting points as they illustrate both the normative and the ‘realist’ necessities of European engagement in global security affairs.     

Child's play: The political imaginary of international relations and contemporary popular children's films

Many scholars in International Relations (IR) have drawn from popular films to examine various problématiques that have informed the discipline's main theorisations. As Cynthia Weber remarks, popular films are powerful because they engage in the very ‘serious political work’ of mythologising the ‘truths’ and ‘realities’ which provide the foundation for many of IR's main theoretical envisionings of our world. To date, however, children's films have received very little attention. For the purpose of this paper, three have been isolated: Toy Story (1995), A Bug's Life (1998) and Rescue Heroes: The Movie (2003). Children's films, it can be argued, help to craft and restore certain perspectives for each new generation of young minds during the crucial years when the world is being textualised for the first time. The objective of this paper, therefore, is to read these films as working towards producing and sustaining the power/knowledge that seeks to defend contemporary forms of world order while concurrently extending and disseminating the rule of these forms of world order through the medium of children's popular cinema.     

‘The one great Hyperpower in the Sky’: anti-Americanism in contemporary European literature

In this article, three recent works by French, English and German authors are analysed as examples of anti-Americanism in contemporary European literature. Luc Lang's travel book, 11 septembre mon amour (2003), John Le Carré's spy novel, Absolute friends (2003) and Frank Schätzing's apocalyptic ‘eco-thriller’ Der Schwarm (2004) were all written in response to the ongoing ‘war on terror’, and each presents a remarkably antagonistic interpretation of the United States and its role in the world today. Although the literary strategies employed in these negative representations of the US are very different in each case, the three books share a deep disgust not only with American foreign policy, invariably interpreted as a reckless, deranged bid for global hegemony, but also with American culture and society in general. This article interprets this disgust as an expression of a deep-seated, irrational Americanophobia—that is, of ‘anti-Americanism’.