Ernest Satow's Early Career as Diplomatic Interpreter

This article is concerned with Satow's seven years as diplomatic interpreter in the Japan of the fateful 1860s. He was sent first to Peking because the Foreign Office in its ignorance thought that Japanese was very similar to Chinese, but this detour did at least enable him to meet there another notable British diplomatic interpreter, Thomas Wade. He soon learned better about Japanese, and once he had mastered it fluently he became a privileged observer of traditional society and culture in the crucial period when it was being shaken by the first rumblings of the Meiji era. He was therefore able to render outstanding service to his head of mission, who was himself an ex-interpreter. Satow went on to enjoy a long and distinguished career in the diplomatic corps, rising from interpreter to ambassador.     

日本殖民侵略的自供、掩饰和美化——日据后期在台日本作家长篇小说析论

西川满的<台湾纵贯铁道>、滨田隼雄的<南方移民村>和庄司总一的<陈夫人>被视为日据末期在台日人作家的长篇小说代表作.<纵贯铁>宣扬北白川宫率军征服台的"功绩",史载台湾军民的殊死抵抗被写成"土匪"式骚扰,而日军的屠城式大规模烧杀行径则被淡化或合理化.<移民村>宣扬日本人的毅力、信念、真诚品行和科学精神,赋予日本对台湾的"移民"(殖民)以正当性.<陈夫人>具有人性的深度开掘和对台湾庶民生活细节的细腻描写,甚至写出了现代性、本土性和殖民性的复杂纠葛,但仍带有殖民文学的明显印痕对中国(台湾)文化的"误读"以及宣扬日本人带给台湾"现代化"的理念.它们不同程度地都是日本对台殖民侵略的自供、掩饰和美化.     

‘Yong lads of very good capacitie.’ Christopher and Cosmus,Anglo-Japanese pioneers

Abstract

On 12 November 1588 two young Japanese men, known to posterity only by their English names Christopher and Cosmus, arrived in London with Thomas Cavendish, who had just completed the third known circumnavigation of the globe. Sources described them as intelligent and literate in Japanese, but also able to speak English, and hence they were consulted and celebrated by English scholars and courtiers; possibly also by Queen Elizabeth I. Three years later they attempted to sail with Thomas Cavendish for Japan via South America, but the English fleet failed to make it through the Strait of Magellan. Christopher and Cosmus almost definitely died on the voyage, along with most of their colleagues, although exactly where and when is not clear. This article attempts a research-based reconstruction of their lives and posits answers to outstanding questions, where did they come from in Japan, why were they on the Spanish galleon sailing to North America, and what was their legacy? It also looks at the aftermath, and later Anglo-Japanese relations.     

日本政府对于动画产业的支持特点

日本动画产业从20世纪90年代开始有了突飞猛进的发展,这与日本政府对动画产业从产品创意到销售的整个产业链条的支持是密不可分的。日本政府对动画产业的支持具有可操作性强、有立法保障、多通过行业协会实施的特点,这种对动画产业全方位、多层次的支持方式值得中国政府借鉴。     

The transformation of hi no maru in postwar Okinawa: from symbol of hope to object of contempt

Starting in the early 1950s, the Japanese flag hi no maru was a cherished symbol in Okinawa of the movement for an end to the postwar U.S. military occupation and reversion to Japanese sovereignty. The flag represented an appeal for liberation from U.S. military rule that dragged on for twenty years (1945–1972) after mainland Japan regained its sovereignty in 1952; and, for elimination, or at least reduction, of the overwhelming size and number of American bases on the island. However, the 1969 Okinawa Reversion Agreement between the U.S. and Japanese governments broke both of the Japanese government’s promises that, after reversion, Okinawa would have no nuclear weapons, and that U.S. bases would be reduced to mainland levels. The grossly disproportionate U.S. military remains to this day, and a “secret agreement” permits the United States to bring back nuclear weapons. Today many in Okinawa associate hi no maru with this discriminatory policy which imposes 74 percent of the total U.S. military presence in Japan on this small island prefecture comprising 0.2 percent of the nation’s land area. For historians, the flag also represents atrocities committed by Imperial Japanese soldiers during the Pacific War and the Japanese government’s continuing reluctance to acknowledge them.     

The utopia of suburbia: the unchanging past and limitless future in Doraemon

The long-running Japanese children's media franchise Doraemon is commonly interpreted both inside and outside academic discourse as a representation of a positive vision of the future, an analysis based partially on its portrayal of a lovable robot. This view is supported by the series' use of ‘science’ to represent unlimited accessibility, and the branding of the series as a companion to children's scientific education. Doraemon's celebration of the future's boundless potential is complicated, however, by the impulse in recent works to reject the same notion of ‘progress’ on which the series relies. The works remain frozen in a romanticised vision of 1960s’ Japan, and have come to connote childhood nostalgia while presenting characters that do not grow or change over time. In the 2008 film Nobita to Midori no Kyojinden, the perpetual act of returning that defines much of Doraemon today is taken to a dramatic extreme, as a pre-modern ideal becomes the blueprint for both morality and might. Doraemon constructs temporal mixtures that simultaneously glorify both the past and the future.     

中国共产党与妇女界抗日民族统一战线

抗战时期，中共在共产国际七大政策和国共合作的影响下，制定以动员妇女抗战为核心的统战政策，建立形态多元的妇女统战组织，为妇女界抗日民族统一战线的建立提供了政策基础和组织保证。适应国共关系的变化，中共采取灵活机动的统战策略，应对妇女运动领域的摩擦，使妇女界抗日民族统一战线得到发展和巩固，为中国抗战的胜利积聚了力量。