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Japan has long wrestled with the memories and legacies of World War II. In the aftermath of defeat, war memory developed as an integral part of particular and divergent approaches to postwar democracy. In the last six decades, the demands placed upon postwar democracy have shifted considerablyâe"from social protest through high economic growth to Japanâe(tm)s relations in Asiaâe"and the meanings of the war shifted with them. This book unravels the political dynamics that governed the place of war memory in public life. Far from reconciling with the victims of Japanese imperialism, successive conservative administrations have left the memory of the war to representatives of special interests and citizen movements, all of whom used war memory to further their own interests. Franziska Seraphim traces the activism of five prominent civic organizations to examine the ways in which diverse organized memories have secured legitimate niches within the public sphere. The history of these domestic conflictsâe"over the commemoration of the war dead, the manipulation of national symbols, the teaching of history, or the articulation of relations with China and Koreaâe"is crucial to the current discourse about apology and reconciliation in East Asia, and provides essential context for the global debate on war memory.
Japan's Contested War Memories is an important and significant book that explores the struggles within contemporary Japanese society to come to terms with Second World War history. Focusing particularly on 1972 onwards, the period starts with the normalization of relations with China and the return of Okinawa to Japan in 1972, and ends with the sixtieth anniversary commemorations. Analyzing the variety of ways in which the Japanese people narrate, contest and interpret the past, the book is also a major critique of the way the subject has been treated in much of the English-language. Philip Seaton concludes that war history in Japan today is more divisive and widely argued over than in any of the other major Second World War combatant nations. Providing a sharp contrast to the many orthodox statements about Japanese 'ignorance', amnesia' and 'denial' about the war, this is an engaging and illuminating study that will appeal to scholars and students of Japanese history, politics, cultural studies, society and memory theory.
Japan and the United States became close political allies so quickly after the end of World War II, that it seemed as though the two countries had easily forgotten the war they had fought. Here Yoshikuni Igarashi offers a provocative look at how Japanese postwar society struggled to understand its war loss and the resulting national trauma, even as forces within the society sought to suppress these memories. Igarashi argues that Japan's nationhood survived the war's destruction in part through a popular culture that expressed memories of loss and devastation more readily than political discourse ever could. He shows how the desire to represent the past motivated Japan's cultural productions in the first twenty-five years of the postwar period. Japanese war experiences were often described through narrative devices that downplayed the war's disruptive effects on Japan's history. Rather than treat these narratives as obstacles to historical inquiry, Igarashi reads them along with counter-narratives that attempted to register the original impact of the war. He traces the tensions between remembering and forgetting by focusing on the body as the central site for Japan's production of the past. This approach leads to fascinating discussions of such diverse topics as the use of the atomic bomb, hygiene policies under the U.S. occupation, the monstrous body of Godzilla, the first Western professional wrestling matches in Japan, the transformation of Tokyo and the athletic body for the 1964 Tokyo Olympics, and the writer Yukio Mishima's dramatic suicide, while providing a fresh critical perspective on the war legacy of Japan.
First published in 1997, this volume responds to attention in recent years which has been belatedly directed towards reviving World War II issues involving Japan. This study deals first with the manner in which such issues so long fell into abeyance under Cold War conditions, while tracing the vast and varied writing on the war which meanwhile appeared within Japan. Evolving Japanese views on the war are largely focused on debate over the revision of the postwar constitution, especially its renunciation of "war potential". The book also contains the first overview of the decades-long litigation within Japan on the screening of textbooks, especially on the war.
In this now classic book, internationally famed journalist Ian Buruma examines how Germany and Japan have attempted to come to terms with their conduct during World War II—a war that they aggressively began and humiliatingly lost, and in the course of which they committed monstrous war crimes. As he travels through both countries, to Berlin and Tokyo, Hiroshima and Auschwitz, he encounters people who are remarkably honest in confronting the past and others who astonish by their evasions of responsibility, some who wish to forget the past and others who wish to use it as a warning against the resurgence of militarism. Buruma explores these contrasting responses to the war and the two countries’ very different ways of memorializing its atrocities, as well as the ways in which political movements, government policies, literature, and art have been shaped by its shadow. Today, seventy years after the end of the war, he finds that while the Germans have for the most part coped with the darkest period of their history, the Japanese remain haunted by historical controversies that should have been resolved long ago. Sensitive yet unsparing, complex and unsettling, this is a profound study of how people face up to or deny terrible legacies of guilt and shame.
First published in 1997, this volume responds to attention in recent years which has been belatedly directed towards reviving World War II issues involving Japan. This study deals first with the manner in which such issues so long fell into abeyance under Cold War conditions, while tracing the vast and varied writing on the war which meanwhile appeared within Japan. Evolving Japanese views on the war are largely focused on debate over the revision of the postwar constitution, especially its renunciation of "war potential". The book also contains the first overview of the decades-long litigation within Japan on the screening of textbooks, especially on the war.
Divided Lenses: Screen Memories of War in East Asia is the first attempt to explore how the tumultuous years between 1931 and 1953 have been recreated and renegotiated in cinema. This period saw traumatic conflicts such as the Sino-Japanese War, the Pacific War, and the Korean War, and pivotal events such as the Rape of Nanjing, Pearl Harbor, the Battle of Iwo Jima, and the bombings of Hiroshima and Nagasaki, all of which left a lasting imprint on East Asia and the world. By bringing together a variety of specialists in the cinemas of East Asia and offering divergent yet complementary perspectives, the book explores how the legacies of war have been reimagined through the lens of film. This turbulent era opened with the Mukden Incident of 1931, which signaled a new page in Japanese militaristic aggression in East Asia, and culminated with the Korean War (1950–1953), a protracted conflict that broke out in the wake of Japan's post–World War II withdrawal from Korea. Divided Lenses explores the ways in which events of the intervening decades have continued to shape politics and popular culture throughout East Asia and the world. The essays in part I examine historical trends at work in various "national" cinemas, including China, Taiwan, Japan, Korea, and the United States. Those in part 2 focus on specific themes present in the cinema portraying this period—such as comfort women in Chinese film, the Nanjing Massacre, or nationalism—and how they have been depicted or renegotiated in contemporary films. Of particular interest are contributions drawing from other forms of screen culture, such as television and video games. Divided Lenses builds on the growing interest in East Asian cinema by examining how these historic conflicts have been imagined, framed, and revisited through the lens of cinema and screen culture. It will interest later generations living in the shadow of these events, as well as students and scholars in the fields of cinema studies, cultural studies, cold war studies, and World War II history.
Perilous Memories makes a groundbreaking and critical intervention into debates about war memory in the Asia-Pacific region. Arguing that much is lost or erased when the Asia-Pacific War(s) are reduced to the 1941–1945 war between Japan and the United States, this collection challenges mainstream memories of the Second World War in favor of what were actually multiple, widespread conflicts. The contributors recuperate marginalized or silenced memories of wars throughout the region—not only in Japan and the United States but also in China, Southeast Asia, the Pacific Islands, Okinawa, Taiwan, and Korea. Firmly based on the insight that memory is always mediated and that the past is not a stable object, the volume demonstrates that we can intervene positively yet critically in the recovery and reinterpretation of events and experiences that have been pushed to the peripheries of the past. The contributors—an international list of anthropologists, cultural critics, historians, literary scholars, and activists—show how both dominant and subjugated memories have emerged out of entanglements with such forces as nationalism, imperialism, colonialism, racism, and sexism. They consider both how the past is remembered and also what the consequences may be of privileging one set of memories over others. Specific objects of study range from photographs, animation, songs, and films to military occupations and attacks, minorities in wartime, “comfort women,” commemorative events, and postwar activism in pursuing redress and reparations. Perilous Memories is a model for war memory intervention and will be of interest to historians and other scholars and activists engaged with collective memory, colonial studies, U.S. and Asian history, and cultural studies. Contributors. Chen Yingzhen, Chungmoo Choi, Vicente M. Diaz, Arif Dirlik, T. Fujitani, Ishihara Masaie, Lamont Lindstrom, George Lipsitz, Marita Sturken, Toyonaga Keisaburo, Utsumi Aiko, Morio Watanabe, Geoffrey M. White, Diana Wong, Daqing Yang, Lisa Yoneyama
Japanese memories of World War II exert a powerful influence over the nation's society and culture. Michael Lucken explores how the war manifested in literature, art, film, funerary practices, and education reform, creating an idea of Japanese identity that still resonates from soap operas to the response to the Fukushima nuclear disaster.
Since the 1990s, questions of Japanese wartime conduct, apologies for aggression, and compensation to former victims of the country’s imperial policies, have been brought to the fore of national and regional politics. The state is undoubtedly the most important actor in the process of memory production and along with conservative legislators and the grass-root revisionist movement there has been a consistent trend towards denying or undermining the existing acknowledgments of responsibility for Japan’s wartime past. However, to fully comprehend war memory in Japan, due attention must be paid to competing discourses that demand an alternative view, and only then can the complexity of Japanese war memory and attitudes towards the legacies of the Asia-Pacific war be understood. The Politics of War Memory in Japan examines the involvement of five civil society actors in the struggle over remembering and addressing the wartime past in Japan today. In studying progressive war memory activists, it quickly becomes clear that the apologia by conservative politicians cannot be treated as representative of the opinion of the majority of the Japanese public. Indeed, this book seeks to remedy the disparity between studies devoted to the official level of addressing the ‘history issue’ and the grass-root historical revisionist movement on the one side, and progressive activism on the other. Furthermore, it contributes to scholarly debates on the state of civil society in Japan, challenging the characterisation of Japanese civil society as a depoliticised space by demonstrating a more contentious side of civil society activism. Drawing important new empirical research, this book will be of huge interest to students and scholars of Japanese civil society, Japanese politics, Japanese history and memory in Japan.