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The brilliant and influential statesman, Itō Hirobumi (1841-1909), and the first prime minister of Japan’s modern state, has been poorly understood. This biography attempts to set the record straight about Itō’s thought and vision for Japan’s modernisation based on research in primary sources. It outlines Itō’s life: the son of a poor farmer, he showed exceptional talent as a boy and was sent to study in Europe and the United States. He returned home convinced that Western civilisation was the only viable path for Japan. Following the Meiji Restoration of 1868, Itō became a powerful intellectual and political force behind reforms of Japanese laws and institutions aimed to shape a modern government based on informed leadership and a knowledeable populace. Among his many achievements were the establishment of Japan’s first constitution—the Meiji Constitution of 1889, and the founding in 1900 of a new type of constitutional party, the Rikken Seiyukai (Friends of Constitutional Government), which, reformulated after 1945, became the Liberal Democratic Party that has dominated Japanese politics in the postwar period. Concerning Itō’s role as Japanese Resident-General in Korea from 1905, the author argues that Itō’s aim, not understood by either the Japanese home government or Koreans themselves, was not to colonize Korea. He was determined to modernise Korea and consolidate further constitutional reforms in Japan. This aim was not shared by others, and Itō resigned in 1909. He was assassinated the same year in Manchuria by a Korean nationalist. The Japanese language edition of this book is a bestseller in Japan, and it received the Suntory Prize for Social Sciences and Humanities, one of Japan's most prestigious publishing awards.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1965.
Institutional and technological change is a highly topical subject. At the theoretical level, there is much debate in the field of institutional economics about the role of technological change in endogenous growth theory. At a practical policy level, arguments rage about how Japan and the Japanese economy should plan for the future. In this book, leading economists and economic historians of Japan examine a range of key issues concerning institutional and technological change in Japan, rigorously using discipline-based tools of analysis, and drawing important conclusions as to how the process of change in these areas actually works. In applying these ideas to Japan, the writers in this volume are focusing on an issue which is currently being much debated in the country itself, and are helping our understanding of the world’s second-largest economy.
In the late Nineteenth-century, the Japanese embarked on a program of westernization in the hope of building a strong and modern nation. Science, technology and medicine played an important part, showing European nations that Japan was a world power worthy of respect. It has been acknowledged that state policy was important in the development of industries but how well-organized was the state and how close were government-business relations? The book seeks to answer these questions and others. The first part deals with the role of science and medicine in creating a healthy nation. The second part of the book is devoted to examining the role of technology, and business-state relations in building a modern nation.
This landmark book is the first general English-language history of technology in modern Japan.
For a majority of filmgoers, the names most usually associated with classic Japanese cinema are those of Kurosawa and Ozu. Yet during the early 1950s, at the same time that Kurosawa was becoming known to the public through the release of classics like Rashomon and The Seven Samurai, another Japanese director, Kenji Mizoguchi, quietly came out with a trilogy of films - The Life of Oharu, Ugetsu Monogatari and Sansho the Bailiff - that are the equal of Kurosawa's in mastery, and which by any account rank among the greatest and most enduring masterpieces of world cinema. As a storyteller, Mizoguchi was drawn to the plight and oppression of women throughout the ages - it was, for him, the 'subject of subjects'. So in addition to the movies just mentioned, he is remembered for a string of masterly contemporary films that examined, with unprecedented candour and ferocity, the conditions of life in Japanese brothels and geisha houses. Yet, as well as being a moralist. Mizoguchi was a stylist. His films are considered by critics to be among the most beautiful ever made, from a purely pictorial point of view. Filmgoers who have responded enthusiastically in recent years to Chinese classics like Farewell My Concubine or to the colourful works of Zhang Yimou will be delighted to discover 'pre-echoes' of this cinema in such late films by this Japanese master as The Empress Yang Kwei Fei and Tales of the Taira Clan (both released in 1955) works in which colour, costume and decor are deployed with compelling refinement. Despite his extraordinary qualities as a film-maker, Mizoguchi and Japan is the first full -length study in English for over 20 years of a director whose work is as vibrant now as it ever was in its heyday, and whom the French film review Cahiers du Cinema recently hailed 'the greatest of all cineastes.' Mark Le Fanu's preface to the new ebook edition - https://media.bloomsbury.com/rep/files/revised-mizoguchi-and-japan-preface.docx A Retrospective to the 2008 edition - https://media.bloomsbury.com/rep/files/mizoguchi-and-japan-retrospect.doc
This text rethinks the contours of Japanese history, culture and nationality. Challenging the mythology of a historically unitary, even monolithic Japan, it offers a different perspective on culture and identity in modern Japan.
Kenji Mizoguchi is one of the three acclaimed masters--together with Yasujiro Ozu and Akira Kurosawa--of Japanese cinema. Ten years in the making, Kenji Mizoguchi and the Art of Japanese Cinema is the definitive guide to the life and work of one of the greatest film-makers of the 20th century. Born at the end of the 19th Century into a wealthy family, Mizoguchi's early life influenced the themes he would take up in his work. His father's ambitious business ventures failed and the family fell into poverty. His mother died and his beloved sister was sold into a geisha house. Her earnings paid for Mizoguchi's education. Weak and deluded men, and strong, self-sacrificing women--these were to become the obsessive motifs of Mizoguchi's films. Mizoguchi's apprenticeship in cinema was peculiarly Japanese. His concerns--the role of women and the realist representation of the inequities of Japanese society--were not. Through two World Wars, Japan's culture changed. Though censored, Mizoguchi continued to produce films. It was only in the 1950s that Mizoguchi's astonishing cinematic vision became widely known outside Japan. Kenji Mizoguchi and the Art of Japanese Cinema tells the full story of this famously perfectionist, even tyrannical, director. Mizoguchi's key films, cinematographic techniques and his social and aesthetic concerns are all discussed and set in the context of Japan's changing popular and political culture.