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This study of the writings of Japanese travelers to China from 1862 to 1945 serves both as a window onto changing Japanese images of China and as a vivid account of Sino-Japanese interactions over nearly a century. The year 1862 saw the lifting of the Tokugawa shogunate's ban of over two centuries on overseas contacts, and Japanese travelers were able to resume contact with China, which had begun some fifteen hundred years before. Through the centuries, China had exerted a profound influence on the development of Japanese culture, and what began as a wish to adopt the latest, most developed political and cultural achievements of China - assumed to be the most advanced country on earth -- later became an effort to understand the essence of Japan by defining its difference from China. This book is based upon some five hundred accounts of travel in China by Japanese, only a handful of which have previously been available in Western literature.
This collection of essays, based on international collaboration by scholars in Japan, South Korea, Taiwan, and the United States, is the first systematic, interdisciplinary attempt to address the social, political, and spiritual significance of the modern arts both in Japan and its empire between 1920 and 1960. These forty years, punctuated by war, occupation, and reconstruction, were turbulent and brutal, but also important and even productive for the arts. The volume takes a trans-war (rather than an inter-war) approach, beginning with the cultural politics of painting, poetry, and fiction in Japanese-occupied Korea and Taiwan following World War I. The narrative continues with the impact of Japan's war in China and the Pacific War on major Japanese novelists, playwrights, painters, and filmmakers, before moving on to the final stage, Japan's defeat and initial recovery. During the Allied Occupation of Japan and in its aftermath, Japanese artists both confronted and dismissed the question of war responsibility by preserving, reviving, or reinventing the political cartoon, Kabuki drama, literature of the body, and the aesthetics of decadence. Contributors: Haruko Taya Cook, Kyoko Hirano, Youngna Kim (Kim Youngna), H. Eleanor Kerkham, David R. McCann, Marlene J. Mayo, J. Thomas Rimer, Mark H. Sandler, Rinjiro Sodei, Wang Hsui-hsiung (Wang Xiuxiong), Alan Wolfe, Angelina C. Yee.
The classic Chinese novel The Water Margin (Shuihu zhuan) tells the story of a band of outlaws in twelfth-century China and their insurrection against the corrupt imperial court. Imported into Japan in the early seventeenth century, it became a ubiquitous source of inspiration for translations, adaptations, parodies, and illustrated woodblock prints. There is no work of Chinese fiction more important to both the development of early modern Japanese literature and the Japanese imagination of China than The Water Margin. In The Japanese Discovery of Chinese Fiction, William C. Hedberg investigates the reception of The Water Margin in a variety of early modern and modern Japanese contexts, from eighteenth-century Confucian scholarship and literary exegesis to early twentieth-century colonial ethnography. He examines the ways Japanese interest in Chinese texts contributed to new ideas about literary canons and national character. By constructing an account of Japanese literature through the lens of The Water Margin’s literary afterlives, Hedberg offers an alternative history of East Asian textual culture: one that focuses on the transregional dimensions of Japanese literary history and helps us rethink the definition and boundaries of Japanese literature itself.
Yosano Akiko (1878-1942) was one of Japan's greatest poets and translators from classical Japanese. Her output was extraordinary, including twenty volumes of poetry and the most popular translation of the ancient classic The Tale of Genji into modern Japanese. The mother of eleven children, she was a prominent feminist and frequent contributor to Japan's first feminist journal of creative writing, Seito (Blue stocking). In 1928 at a highpoint of Sino-Japanese tensions, Yosano was invited by the South Manchurian Railway Company to travel around areas with a prominent Japanese presence in China's northeast. This volume, translated for the first time into English, is her account of that journey. Though a portrait of China and the Chinese, the chronicle is most revealing as a portrait of modern Japanese representations of China—and as a study of Yosano herself.
Most scholarship on Japan's cultural policy toward modern China reflects the paradigm of cultural imperialism. In contrast, this study demonstrates that Japan was mindful of Chinese opinion and sought the cooperation of the Chinese government. China, however, actively sought to redirect this policy to serve its national interests and aspirations.
Over the past thirty-five years, Joshua Fogel has pioneered the study of Sino-Japanese cultural and political relations—understood as the intersections of the histories of these two countries. This volume brings together many of his essays and reviews in this new field. For a variety of reasons discussed within, scholars have been reluctant to look at these two nation’s historical connections, either through comparative analysis or actual interactions. Fogel’s work has focused squarely here. Among the issues addressed are Japanese scholarly views of modern China and Chinese history, Chinese considerations of the Japanese language in the Ming and Qing periods, the Japanese immigration to the East Asian Mainland (especially to Shanghai and Harbin), and more.
Print, Profit, and Perception examines the dynamic cross-cultural exchanges occurring in China and Taiwan from the first Sino-Japanese War to the mid-twentieth century. Drawing examples from various genres, this interdisciplinary volume presents nine empirically grounded case studies on the growth in the production, dissemination and consumption of texts, which lay behind a dramatic expansion of knowledge. The chapters collectively address the co-existence of globalization and localization processes in the period. By taking into account intra-Asian cultural encounters and tracing the multiple competing forces encountered by many, this book offers a fresh and compelling take on how individuals and social groups participated in transnational conceptual flows. Contributors include: Paul Bailey, Che-chia Chang, Elizabeth Emrich, Tze-ki Hon, Max K.W. Huang, Mei-e Huang, Mike Shi-chi Lan, Pei-yin Lin, and Weipin Tsai.
Japan’s road to war in China in the 1930s–1940s is well known, as are the legacies of that conflict in the diplomatic disputes, territorial rows, and educational policy battles between Japan and China since the 1980s. Less understood is the nature of Japan-China relations in the intervening decades. How did a popular Japanese perception of China that facilitated imperial aggression become one that embraced restoring friendly diplomatic ties and cultivating mutually beneficial economic and cultural interactions? Exploring everyday Japanese impressions of the People’s Republic of China from the end of the U.S. Occupation in 1952 to normalization of Japan-China relations in 1972, this book analyzes representations of the PRC in Japanese print media and visual culture in connection with four topics: the 1954 visit to Japan by Minister of Health Li Dequan, China’s atomic weapons testing in 1964–1967, the Red Guard movement of the early Cultural Revolution years, and the culture of continental “rediscovery” in 1971–1972. Japanese views of China under Mao were infused with elements of thematic and conceptual continuity linking the prewar, wartime, and postwar eras. In sketching out a portrait of these elements, Erik Esselstrom explains how the reconstruction of Japan’s relationship with China included more than just the trials and tribulations of Cold War diplomacy. In so doing, he reintegrates postwar Japan-China relations within the longer history of East Asian cultural interaction and engagement.
This is a study of Britain's presence in China both at its peak, and during its inter-war dissolution in the face of assertive Chinese nationalism and declining British diplomatic support. Using archival materials from China and records in Britain and the United States, the author paints a portrait of the traders, missionaries, businessmen, diplomats and settlers who constituted "Britain-in-China", challenging our understanding of British imperialism there. Bickers argues that the British presence in China was dominated by urban settlers whose primary allegiance lay not with any grand imperial design, but with their own communities and precarious livelihoods. This brought them into conflict not only with the Chinese population, but with the British imperial government. The book also analyzes the formation and maintenance of settler identities, and then investigates how the British state and its allies brought an end to the reign of freelance, settler imperialism on the China coast. At the same time, other British sectors, missionary and business, renegotiated their own relationship with their Chinese markets and the Chinese state and distanced themselves from the settler British.
Beyond Brushtalk explores interactions between Japanese and Chinese writers during the golden age of such exchange, 1919 to 1937. During this period, there were unprecedented opportunities for exchange between writers, which was made possible by the ease of travel between Japan and China during these years and the educational background of Chinese writers as students in Japan. Although the salubrious interaction that developed during that period was destined not to last, it nevertheless was significant as a courageous essay at cultural interaction. This book will appeal not only to those interested in Sino-Japanese studies, an increasingly important field of study in its own right, but will also appeal to scholars of both Japanese literature and Chinese literature and researchers whose areas of interest correspond to the major writers included in this work such as Lu Xun and Zhou Zuoren on the Chinese side and Tanizaki Jun'ichirō and Hayashi Fumiko on the Japanese side. The relations and resulting literary works involving these major writers are often relatively neglected aspects of their total output and will draw interest from scholars of their work. This book will be accessible to both Sinologists and Japanologists with little background in the corresponding field, and to the generalist possessing an interest in literary exchange.