Revolution And Subjectivity In Postwar Japan

After World War II, Japanese intellectuals believed that world history was moving inexorably toward bourgeois democracy and then socialism. But who would be the agents—the active "subjects"—of that revolution in Japan? Intensely debated at the time, this question of active subjectivity influenced popular ideas about nationalism and social change that still affect Japanese political culture today. In a major contribution to modern Japanese intellectual history, J. Victor Koschmann analyzes the debate over subjectivity. He traces the arguments of intellectuals from various disciplines and political viewpoints, and finds that despite their stress on individual autonomy, they all came to define subjectivity in terms of deterministic historical structures, thus ultimately deferring the possibility of radical change in Japan. Establishing a basis for historical dialogue about democratic revolution, this book will interest anyone concerned with issues of nationalism, postcolonialism, and the formation of identities.

This timely look at a neglected corner of Japanese historiography spotlights the decade following the end of World War II, a time in which Japanese society was undergoing the transformation from imperial state to democratic nation. For certain working and middle-class women involved in education and labor activism, history-writing became a means to greater voice within the turbulent transition. Women's History and Local Community in Postwar Japan examines the emergence of women’s history-writing groups in Tokyo, Nagoya and Ehime, using interviews conducted with founding members and analysis of primary documents and publications by each group. It demonstrates how women appropriated history-writing as a radical praxis geared less toward revolution and more toward the articulation of local imaginations, spaces and memories after World War II. By appropriating history as a praxis that did not need revolution for its success, these women used connections established by Marxist historians between history-writing and subjectivity, but did so in ways that broke rank from nationally-referenced renditions of history and memory. Under conditions in which some women saw history as a field of articulation that remained dominated by men, they put into practice their own de-centered versions of history-writing that continue to influence the historical landscape in contemporary Japan.

Mass Media, Consumerism and National Identity in Postwar Japan addresses Japan's evolving nationalism and national identity in relation to its newly rising consumerism during the two decades from 1952 to 1972, through a study of the transformation of the print media and the market for weekly and monthly magazines. Martyn Smith argues that the transformation of the print media in the 1950s and 1960s expanded the possibilities for social, individual and national identities in Japan. From the late 1950s, the growth in the market for weekly magazines was fuelled by the huge potential for advertising revenue, the rapid development of the Japanese economy, and the necessity for the growth of a consumer society. This resulted in the merging of national identity with individual subjectivity – which this book describes as 'national subjectivity' – as the Japanese media promoted individual consumption to aid the recovery of the Japanese nation as a whole. Examining housewife magazines such as Fujin Koron, Fujin no Tomo and Fujin Gaho, as well as news magazines such as Mainichi Graph and Asahi Graph, and publications aimed at young people – Shukan Heibon and Heibon Punch – Smith shows how the relationship of nationalism to everyday life is best understood by taking into account the changing nature of consumption in the period. By presenting an alternative to the traditional 'top-down' narrative of state-driven economic nationalism, this book therefore makes a unique contribution to the study of postwar Japanese history and Japanese nationalism.

This book examines the emergence of women's history-writing groups in Japan in the decade following the end of World War II and the way in which these versions of history-writing went on to subsequently eclipse and outlive those being offered by Marxist historians.

This book is a political and cultural history of the early postwar Japan aiming at exploring how the perception and cultural values of everyday life in the country changed along with the rise of the kasutori culture. Such a process was closely tied with both a refusal of the samurai culture and the interwar debate on modernity, and it resulted in a decadent way of life, exemplified by intellectuals such as Sakaguchi Ango. It depicts a short-lived radical cultural and social alternative, one that forced people to rethink their relationship to the kokutai, modernity, social roles, daily practices, and the production of knowledge. The subjectivity and daily practices in those years were more important in shaping the cultural identities of the Japanese than the new public ideology of the nation. This challenges some Euro-American historical notions that the new private sphere has emerged in Japan as an effect of the country’s Americanization, rather than from within it. This work not only looks at the immediate aftermath of WWII from the perspective of Japan, but also tries to rethink Westernization in the light of its global appropriation. This volume is addressed to specialists of Japanese or Asian history, but it will also attract historians of the United States and readers from political and intellectual history, cultural studies, and historiography in general.

"In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. Yet while the artists often called for such “direct” encounter, their works complicate this ideal with practices of interruption, self-reflexive mimesis, and temporal discontinuity. In an era known for idealism and activism, some of the most cherished ideals—intimacy between subjects, authenticity, a sense of home—are limitlessly desired yet always just out of reach. In this book, Miryam Sas explores the theoretical and cultural implications of experimental arts in a range of media. Casting light on important moments in the arts from the 1960s to the early 1980s, this study focuses first on underground (post-shingeki) theater and then on related works of experimental film and video, buto dance and photography. Emphasizing the complex and sophisticated theoretical grounding of these artists through their works, practices, and writings, this book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory."

This book offers a timely and multifaceted reanalysis of student radicalism in postwar Japan. It considers how students actively engaged the early postwar debates over subjectivity, and how the emergence of a new generation of students in the mid-1950s influenced the nation’s embrace of the idea that ‘the postwar’ had ended. Attentive to the shifting spatial and temporal boundaries of ‘postwar Japan,’ it elucidates previously neglected histories of student and zainichi Korean activism and their interactions with the Japanese Communist Party. This book is a key read for scholars in the field of Japanese history, social movements and postcolonial studies, as well as the history of student radicalism.

This book offers a philosophical intervention in the discussion of the relationship between Murakami's fiction and contemporary Japanese culture. It demonstrates how Murakami's first and later trilogies utilize the structure of the simulacrum, a second-order representation, to develop a complex critique of contemporary Japanese culture. By outlining the critical-fictional contours of the 'Murakami Phenomenon, ' the discussion confronts the vexing question of Japanese modernity and subjectivity within the contexts of the national-cultural imaginary. The author finds mirroring comparisons between Murakami's works and practices in current media-entertainment technologies, indicating a new politics of representation.