Home › Forums › Core Seminars › East Asia since 1800, Fall 2022 › session 2 & 3 (9/17 workshop) Japan - Meiji-WW II
For sessions 2 and 3, we'll have Bruce Coats (Scripps College) and Noriko Aso (UC Santa Cruz) speaking on the rise of modern Japan. They'll be emphasizing visual representations of the rise, economic and social change, imperialist expansion and more.
These sessions do not have recorded lectures. We'll have live presentations 9 am - 12:30 pm Pacific time on Saturday, September 17.
If you are in the Los Angeles area, we'd love you to come to campus. We'll provide you with free parking, refreshments and lunch. People outside the area will join via Zoom.
There are readings below for you to read ahead of time. After each of the two presentations, you'll have a chance to raise questions with the speakers. We'll also brainstorm together on how you might use these ideas and materials with your own students.
Prior to the discussion session, please post your observations and any questions below.
To have a better and more helpful learning experience, please check out the recourses recommended by Prof. Noriko Aso.
☞ Websites:
☞Books on Japanese Visual Culture–First Half of the Twentieth Century:
To have a better and more helpful learning experience, please check out the recourses recommended by Prof. Bruce Coats.
☞MIT Visualizing Cultures website about Asia in the 18-20th centuries.
☞Essays and prints about Yokohama and Yokohama-e
☞Essays and prints about Kobayashi Kiyoshika's Tokyo:
☞Essays and prints about the "Westernization" of Japan:
☞Reviews of "CHIKANOBU: Modernity and Nostalgia in Japanese Prints"
☞Catalogs:
I really like the collection from the Visualizing Culture, the Image gallery attached with the "Throwing off Asia. It's a really good collection that shows Japanese imperialism after the Meiji restoration. In my AP World Class, we usually compare China and Japan around the turn of the 20th century and what made Japan more successful in the long run than China. The visual narrative is great too it is very succinct with its explanation and the accompanying visuals. The visuals, I think, do a good job of showing that honoring traditions but also needing to break away with the past during the Meiji era.
I’m also really glad to find that there is an online Tokyo National Museum.
My questions are:
1. How did they go about modernizing? What exactly was their plan?
2. Resistance to modernization?
Hi, Molly,
Huge questions! I found this video helpful (and I assign it in my Asian history class).
“The Meiji Revolution” Episode 2 in The Pacific Century (Annenberg, PBS)
https://www.youtube.com/watch?v=gURiHVTJX4A
Surprisingly, I knew about the MIT website. I am a big fan of John Dower’s classic War Without Mercy – an engaging well-illustrated analysis of the Pacific War propaganda. I was able to successfully use this series of articles and images by John Dower in an online discussion in HIST 3293 Europe, 1815-1914. Here is what I did.
I am intrigued to understand how exactly did Japan westernize/industrialize by turning inward??!! in her own right. The visualizing culture exhibit essay does throw light on how it escaped colonisation. Is there a primer on what were the policy orientations that enabled its industrialization. I guess my question is in alignment with Molly's question.
On Fukazawa Ikichi's famous “Throwing Off Asia,” how widespread was the term “Asia” in late 19th c. Japan? Was his target audience broad enough?
From my limited knowledge, even today most “Asians” are not strongly aware of it and identify with their countries first, right?
A question for both Noriko and Bruce. Since Chikanobu and Kiyoshika both fought for the Shogunate, are nostalgia and melancholy in their art political in nature?
I loved Noriko’s module on Mitsukoshi stores and especially the part on imperialism. I got a sense that their patriotic fare was just a reflection of the management’s genuine support for Japan’s victories and expansion. Still, I wonder how calculating the management was. Did they sell nationalist-themed stuff to meet or create consumer demand? Did they take cues from the government on how to promote Japan’s grandeur? Since they were allowed to open stores in conquered lands (Dalian and Seoul), they must have had connections to the War Ministry, right?
Another note on Mitsukoshi – the Wikipedia entry mentioned that after WWII the Seoul branch was taken over by Samsung and renamed “Shinsegae”, which means “New World.” It seems that the Korean owners picked up the fallen torch to highlight their version of Western modernity. https://en.wikipedia.org/wiki/Mitsukoshi#Former_stores
I think that in his Throwing Off Asia essay, John Dower distinguished between inward-oriented isolationist Tokugawa Shogunate period and the post-1867 outward-looking Meiji westernization that followed. In over three hundred years of self-imposed seclusion, the seeds of modernization had been planted - political stability and centralization, commercial economy and national market, rising literacy rates.
Crystal asked me to post the questions I asked in the Zoom chat last Saturday, October 15.
"Denis Vovchenko (You) 12:08 PM
How does Japan's commitment to free trade square with its long-standing protection of its agriculture (rice) and draconian immigration policies?
USC U.S. - China Institute would like to answer this question live.
Denis Vovchenko (You) 12:26 PM
Great talk! Does Japan's special relationship with the USA discourage Tokyo from developing closer relations with its neighbors? I am referring to the territorial disputes with S.Korea, China, and Russia as well as the issues of WWII memory.
This question has been answered live.
Denis Vovchenko (You) 01:59 PM
I enjoyed “Shogun” – both the mini-series and the novel by Clavell. It reminds of a more recent film “Silence” (2016) with Liam Neeson set in the same time period. In both “Shogun” and “Silence,” there are white protagonists that help the US audience identify with the exotic setting. It seems to be a common thread, right? As in the US release of the original Godzilla where there was a US journalist inserted into the Japanese film. “Sayonara” with Marlon Brando, “The Last Samurai” with Tom Cruise, and “Lost in Translation” with Scarlett Johansson. What do you think?
This question has been answered live."