Topography of Journalist Criticism and Meaning of Anonymous Criticism around the End of Japanese Imperialism - Focusing on the Serial Novel ‘Outsentry’(‘前哨兵’) in Maeilsinbo(〈每日申報〉)

2019 ◽  
Vol 78 ◽  
pp. 277-303
Author(s):  
youngin Seo
Keyword(s):  
Japanese Imperialism ◽  
Serial Novel

Promoting Mass Movements- A New Perspective On Japanese Wartime Imperialism In Korea

2015 ◽  
pp. 1-22
Author(s):  
Shinyoung Kim
Keyword(s):  
Extended Family ◽  
Direct Access ◽  
Mass Movements ◽  
Japanese Imperialism ◽  
Local Practices ◽  
The Social ◽  
Japanese Colonial ◽  
New Perspective ◽  
Economic Bloc ◽  
Colonial Government

This article aims to explore the Japanese colonial government’s efforts to promote mass movements in Korea which rose suddenly and showed remarkable growth throughout the 1930s. It focuses on two Governor-Generals and the directors of the Education Bureau who created the Social Indoctrination movements under Governor-General Ugaki Kazushige in the early 1930s and the National Spiritual Mobilization Movement of Governor-General Minami Jirō in the late 1930s. The analysis covers their respective political motivations, ideological orientation, and organizational structure. It demonstrates that Ugaki, under the drive to integrate Korea with an economic bloc centered on Japan, adapted the traditional local practices of the colonized based on the claim of “Particularities of Korea,” whereas the second Sino-Japanese War led Minami to emphasize assimilation, utilizing the ideology of the extended-family to give colonial power more direct access to individuals as well as obscuring the unequal nature of the colonial relationship. It argues that the colonial government-led campaigns constituted a core ruling mechanism of Japanese imperialism in the 1930s.

The Sino-Japanese War and the Collapse of the Qing and Confucian World Order in the Face of Japanese Imperialism and European Acquiescence

2018 ◽  
Author(s):  
Patrick Sze-lok Leung ◽  
Bijun Xu
Keyword(s):  
Nineteenth Century ◽  
International Law ◽  
East Asian ◽  
World Order ◽  
Foreign Minister ◽  
Late Nineteenth Century ◽  
Japanese Imperialism ◽  
The Face ◽  
Late Nineteenth

The First Sino-Japanese War (1894–95) has been perceived as a sign of a new East Asian power order, but the legitimacy of the war has yet to be clarified. The Japanese foreign minister Mutsu’s Kenkenroku shows that the reasons claimed by Japan were only pretexts for its ambition to put Korea under its control. The 1885 Convention of Tianjin, which was used to justify the Japanese behaviour, needs to be reinterpreted. The Chinese reaction can be understood by exploration into Confucianism, which opposed wars between equal peers. Meanwhile, the Western powers which invented and developed international law were self-interested and did little to prevent the war. The incident shows that international law, empowered by the strong states, failed to maintain peace efficiently in the late nineteenth century.

Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa

ARTMargins ◽  
2018 ◽  
Vol 7 (2) ◽  
pp. 42-71
Author(s):  
Hiroko Ikegami
Keyword(s):  
Vietnam War ◽  
Contemporary Art ◽  
Economic Benefits ◽  
Pop Art ◽  
Cocktail Party ◽  
Lingua Franca ◽  
Avant Garde ◽  
Japanese Imperialism ◽  
Translation Strategy ◽  
The Vietnam War

This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.

Sign in / Sign up

Export Citation Format

Share Document