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What is Zengakuren? What are its aims and how important is it in Japan? Who are its members? How did it start and where is it going? The answer to these and many other questions are to be found in this timely analysis of the Japanese student movement. Tracing the origins of modern education in Japan, this book goes on to present a concise and understandable account of the history of Zengakuren. In a series of epic struggles, the students of Zengakuren have fought their way through from the "Red Purge" era of the early fifties, the anti-Security Treaty protests of 1960, to the university struggles of the late sixties. During this period the student movement has continuously developed, spawning in the process one of the most distinctive sub-cultures of post-war Japan. With 1970 a critical year in the history of Japanese protest, this book will serve as a guide to the fascinating, yet intricate, world of Zengakuren. This comprehensive analysis of the Japanese student movement was written by six students from Waseda University, one of Japan's oldest and most respected institutions. Aged between 20 and 23, they bring a freshness to their accounts of the development of Zengakuren. The only all-inclusive book on the revolutionary students of modern Japan, it deals with both actions and theory, all the while showing the underlying causes. Included is a fascinating portrait of a radical group and the student subculture that it is part of. All Japanese names are explained in a special section and the brief bibliography is for those who wish to study the subject further.
The author argues that interactions between the movement and US Cold Warriors had a profound and lasting impact on Japanese society and Japan–US relations.
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.
Student Resistance is an international history of student activism. Chronicling 500 years of strife between activists and the academy, Mark Edelman Boren unearths the defiant roots of the ivory tower.
The history of Imperial Japan, from the Meiji Restoration through to defeat and occupation at the end of the Second World War, is central to any understanding of the way in which modern Japan has developed and will continue to develop in the future. This wide-ranging accessible and up-to-date interpretation of Japanese history between 1868 and 1945 provides both a narrative and analysis. Describing the major changes that took place in Japanese political, economic and social life during this period, it challenges widely-held views about the uniqueness of Japanese history and the homogeneity of Japanese society.
The popular image of Japanese society is a steroetypical one - that of a people characterised by a coherent set of thought and behaviour patterns, applying to all Japanese and transcending time. Ross Mouer and Yoshio Sugimoto found this image quite incongruous during their research for this book in Japan. They ask whether this steroetype of the Japanese is not only generated by foreigners but by the Japanese themselves. This is likely to be a controversial book as it does not contribute to the continuing mythologising of Japan and the Japanese. The book examines contemporary images of Japanese society by surveying an extensive sample of popular and academic literature on Japan. After tracing the development of "holistic" theories about the Japanese, commonly referred to as the "group model", attention is focused on the evaluation of that image. Empirical evidence contrary to this model is discussed and methodological lacunae are cited. A "sociology of Japanology" is also presented. In pursuit of other visions of Japanese society, the authors argue that certain aspects of Japanese behaviour can be explained by considering Japanese society as the exact inverse of the portayal provided by the group model. The authors also present a multi-dimensional model of social stratification, arguing that much of the variation in Japanese behaviour can be understood within the framework as having universal equivalence.
This set of reissued books examines education in Asia from a variety of different angles. From the westernisation of early twentieth century Chinese education, to the impact of the Communist revolution, to education and society in Korea, to Asian women’s experiences of education – this set collects some key texts by a range of original thinkers.
In 1968, Suzuki Seijun—a low-budget genre filmmaker known for movies including Branded to Kill, Tokyo Drifter, and Youth of the Beast—was unceremoniously fired by Nikkatsu Studios. Soon to be known as the “Suzuki Seijun Incident,” his dismissal became a cause for leftist student protestors and a burgeoning group of cinephiles to rally around. His films rapidly emerged as central to debates over politics and aesthetics in Japanese cinema. William Carroll offers a new account of Suzuki’s career that highlights the intersections of film theory, film production, cinephile culture, and politics in 1960s Japan. Carroll places Suzuki’s work between two factions that claimed him as one of their own after 1968: the New Left and its politicized theoretical practice on one hand, and the apparently apolitical cinephiles and their formalist criticism on the other. He considers how both of these strands of film theory shed light on the distinctive qualities of Suzuki’s films, and he explores how both Suzuki’s works and unheralded Japanese film theorists offer new ways of understanding world cinema. This book presents both a major reinterpretation of Suzuki’s work—which influenced directors such as John Woo, Jim Jarmusch, and Quentin Tarantino—and a new lens on postwar Japanese film culture and industry. Suzuki Seijun and Postwar Japanese Cinema also includes a complete production history of Suzuki’s filmography along with never-before-discussed information about his unfinished film projects.