Introduction and Methodology Science fiction novels typically create elaborate, multilayered worlds that often, and sometimes literally, turn our own world upside down. In her series The Ocean Chronicles (Ōshan kuronikuru shirīzu), Ueda Sayuri (b. 1964) depicts a post-apocalyptic world that discourages human reproduction and anticipates the extinction of the human race. I argue that she does so to challenge the notion of “reproductive futurism,” to borrow a term coined by Lee Edelman (2004, 2) to describe the belief that having children will ensure the future that underlies many policies in Japan and other nations. In No Future: Queer Theories and the Death Drive, Edelman (2004) discusses how reproductive futurism is deeply embedded in the ideological and political discourse of heteronormativity. Using psychoanalysis, he argues that “queerness” is at the opposite end of the spectrum—“the place of the social order’s death drive”—which resists reproductive futurism (Edelman 2004, 2-3). The concept of futurism is also limited by the fact that we do not know what the future will bring. It is, inherently, human speculation or imagination of the present. However, the belief that humans must reproduce to ensure a future is expected and prevalent as a norm. While Edelman is concerned with LGBT activism, I apply his explanation of queerness and how it is a critique of heteronormativity to the
{"title":"A Challenge to Reproductive Futurism: Queer Families and Nonhuman Companionships in Ueda Sayuri's The Ocean Chronicles","authors":"Kazue Harada","doi":"10.1353/JWJ.2017.0011","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0011","url":null,"abstract":"Introduction and Methodology Science fiction novels typically create elaborate, multilayered worlds that often, and sometimes literally, turn our own world upside down. In her series The Ocean Chronicles (Ōshan kuronikuru shirīzu), Ueda Sayuri (b. 1964) depicts a post-apocalyptic world that discourages human reproduction and anticipates the extinction of the human race. I argue that she does so to challenge the notion of “reproductive futurism,” to borrow a term coined by Lee Edelman (2004, 2) to describe the belief that having children will ensure the future that underlies many policies in Japan and other nations. In No Future: Queer Theories and the Death Drive, Edelman (2004) discusses how reproductive futurism is deeply embedded in the ideological and political discourse of heteronormativity. Using psychoanalysis, he argues that “queerness” is at the opposite end of the spectrum—“the place of the social order’s death drive”—which resists reproductive futurism (Edelman 2004, 2-3). The concept of futurism is also limited by the fact that we do not know what the future will bring. It is, inherently, human speculation or imagination of the present. However, the belief that humans must reproduce to ensure a future is expected and prevalent as a norm. While Edelman is concerned with LGBT activism, I apply his explanation of queerness and how it is a critique of heteronormativity to the","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"3 1","pages":"46 - 66"},"PeriodicalIF":0.0,"publicationDate":"2018-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89767839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In The Enigma of Japanese Power (1990 [1989]), Karel van Wolferen outlines the Establishment’s political control over the country. He shows how effectively “the System” keeps citizens in their place through the stifling educational system, the friendly neighborhood police, and the “housebroken” media (van Wolferen 1990, 93). He shows that Dentsū, the largest advertising agency in the world, censors television, newspapers, and magazines for the benefit of its clients, namely, the government and big businesses. Vis-à-vis women, he asserts that “Japanese officialdom is aware that emancipated female citizens are likely to disturb the domestic labor system” (van Wolferen 1990, 368). He then paints a very bleak picture of how those in power prevent women from creating such disturbances. According to van Wolferen, voluntary retirement for women at age 30 is still practiced, except for jobs at government offices, banks, insurance firms, and foreign companies. He claims that the government maintained a ban on the contraceptive pill to support the lucrative abortion industry of between 1 and 2 million abortions a year (van Wolferen 1990, 53 and 368), and that consumer movements initiated by housewives in the 1960s and 1970s have been systematically contained and undermined. In the decade after van Wolferen wrote this book, Japan saw the forced early retirement of women disappear as lawsuits were brought by female workers (Iwao 1993,
在《日本权力之谜》(The Enigma of Japanese Power, 1990[1989])一书中，卡雷尔·范·沃尔芬概述了当权者对日本的政治控制。他展示了“体制”是如何通过令人窒息的教育体系、友好的邻里警察和“不守规矩的”媒体，有效地将公民保持在自己的位置上的(van Wolferen 1990,93)。他展示了dentsjapan，世界上最大的广告公司，审查电视，报纸和杂志，为其客户，即政府和大企业的利益。对于-à-vis女性，他断言“日本官场意识到解放的女性公民可能会扰乱国内的劳动制度”(van Wolferen 1990,368)。然后，他描绘了一幅非常黯淡的画面，即当权者如何阻止女性制造此类骚乱。据van Wolferen说，女性在30岁时自愿退休的做法仍然存在，除了政府机关、银行、保险公司和外国公司的工作。他声称，政府维持对避孕药的禁令，以支持利润丰厚的堕胎行业，每年有100万至200万例堕胎(van Wolferen 1990, 53和368)，而20世纪60年代和70年代由家庭主妇发起的消费者运动已被系统地遏制和破坏。在van Wolferen写完这本书后的十年里，日本女性被迫提前退休的现象消失了，因为女工们提起了诉讼(Iwao 1993，
{"title":"Image-Makers and Victims: The Croissant Syndrome and Yellow Cabs","authors":"Akiko Hirota","doi":"10.1353/JWJ.2017.0004","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0004","url":null,"abstract":"In The Enigma of Japanese Power (1990 [1989]), Karel van Wolferen outlines the Establishment’s political control over the country. He shows how effectively “the System” keeps citizens in their place through the stifling educational system, the friendly neighborhood police, and the “housebroken” media (van Wolferen 1990, 93). He shows that Dentsū, the largest advertising agency in the world, censors television, newspapers, and magazines for the benefit of its clients, namely, the government and big businesses. Vis-à-vis women, he asserts that “Japanese officialdom is aware that emancipated female citizens are likely to disturb the domestic labor system” (van Wolferen 1990, 368). He then paints a very bleak picture of how those in power prevent women from creating such disturbances. According to van Wolferen, voluntary retirement for women at age 30 is still practiced, except for jobs at government offices, banks, insurance firms, and foreign companies. He claims that the government maintained a ban on the contraceptive pill to support the lucrative abortion industry of between 1 and 2 million abortions a year (van Wolferen 1990, 53 and 368), and that consumer movements initiated by housewives in the 1960s and 1970s have been systematically contained and undermined. In the decade after van Wolferen wrote this book, Japan saw the forced early retirement of women disappear as lawsuits were brought by female workers (Iwao 1993,","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"24 1","pages":"28 - 58"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80696430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Amidst the revolutionary modernization of Meiji-era Japan, author Shimizu Shikin (1869–1933) raised the provocative question of the “modern Murasaki”—asking where the equivalent of literary giant Murasaki Shikibu (author of The Tale of Genji) was to be found during Shikin’s own time. This question was a dual move, both reminding readers of the strong presence of women writers in Japan’s classical literary world and suggesting their equally vital role in forming literary discourse as a social force in Japan’s modernizing world, despite women writers’ critical lack of recognition by the male-dominated literary establishment.1 This question later became the impetus for Rebecca Copeland and Melek Ortobasi’s 2006 anthology, The Modern Murasaki: Writing by Women of Meiji Japan. The present selection of translated poetry by Misumi Mizuki, Fuzuki Yumi, Nagae Yūki, Saihate Tahi, and Ishiwata Kimi extends the question into the current era through two further queries. First, where is the modern Murasaki in contemporary Japan? And second, what does the history of women’s poetry from Meiji Japan (1868–1912) through the Heisei era (1989–present) reveal about not only gender-aware but gendertranscendent traditions within Japanese culture? By focusing on the youngest generations of contemporary women poets, I aim both to showcase a selection of those on the cutting
{"title":"Heisei Murasaki: What Women Poets Have Found during Japan's Lost Decades","authors":"J. Smith","doi":"10.1353/JWJ.2017.0008","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0008","url":null,"abstract":"Amidst the revolutionary modernization of Meiji-era Japan, author Shimizu Shikin (1869–1933) raised the provocative question of the “modern Murasaki”—asking where the equivalent of literary giant Murasaki Shikibu (author of The Tale of Genji) was to be found during Shikin’s own time. This question was a dual move, both reminding readers of the strong presence of women writers in Japan’s classical literary world and suggesting their equally vital role in forming literary discourse as a social force in Japan’s modernizing world, despite women writers’ critical lack of recognition by the male-dominated literary establishment.1 This question later became the impetus for Rebecca Copeland and Melek Ortobasi’s 2006 anthology, The Modern Murasaki: Writing by Women of Meiji Japan. The present selection of translated poetry by Misumi Mizuki, Fuzuki Yumi, Nagae Yūki, Saihate Tahi, and Ishiwata Kimi extends the question into the current era through two further queries. First, where is the modern Murasaki in contemporary Japan? And second, what does the history of women’s poetry from Meiji Japan (1868–1912) through the Heisei era (1989–present) reveal about not only gender-aware but gendertranscendent traditions within Japanese culture? By focusing on the youngest generations of contemporary women poets, I aim both to showcase a selection of those on the cutting","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"69 8 1","pages":"102 - 126"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85675028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The writer Shibasaki Tomoka (b. 1973) grew up in Osaka and still considers herself to be an Osakan through and through, although she has now lived in Tokyo for well over a decade. Her first novel, A Day on the Planet (Kyō no dekigoto, 2000), was turned into a (substantially different) film in 2003. Many of her stories and novels are set in the Kansai region of Japan, and in 2006 she won the Oda Sakunosuke Prize, at that time awarded to works with a connection to Kansai. In 2014, when she won the Akutagawa Prize, Japan’s most prestigious literary award, for her novella Spring Garden (Haru no niwa), she was a decade and a half into her writing career. The story translated here, “Right Here, Right Here” (Koko de, koko de, 2011), is the product of Shibasaki’s mid-career, at a point when she was starting to give greater attention to questions of memory and history. Even in Tokyo, Shibasaki continues to write stories set in her native Osaka. Her Osakan characters speak to one another in the dialect of Osaka, Osaka-ben, which Shibasaki rightly distinguishes from Kansai-ben, the more commonly applied term encompassing the dialects of the entire region. To outsiders, Osaka-ben is often considered earthy and brash; it is heard across the nation as the province of Japanese comedy. For many Osakans,
作家柴木知冈(生于1973年)在大阪长大，尽管她已经在东京生活了十多年，但她仍然认为自己是一个彻头彻尾的大阪人。她的第一部小说《星球上的一天》(2000年出版)在2003年被改编成电影(完全不同)。她的许多故事和小说都以日本关西地区为背景，2006年，她获得了当时颁发给与关西有关的作品的小田佐之助奖。2014年，她凭借中篇小说《春园》(Haru no niwa)获得了日本最负盛名的文学奖芥川奖(Akutagawa Prize)，当时她的写作生涯已经过去了15年。这个故事被翻译成“就在这里，就在这里”(Koko de, Koko de, 2011)，是柴崎在职业生涯中期的产物，当时她开始更多地关注记忆和历史问题。即使在东京，柴崎仍在继续写以她的家乡大阪为背景的故事。她笔下的大阪人物用大阪方言“大阪本”(Osaka-ben)交谈，柴崎将其与关西本(Kansai-ben)区分开来，关西本是一个更常用的术语，涵盖了整个地区的方言。在外人看来，大阪本通常被认为粗俗无礼;它被誉为日本喜剧之乡，蜚声全国。对许多大阪人来说，
{"title":"Shibasaki Tomoka's Literature of Location","authors":"Kendall Heitzman","doi":"10.1353/JWJ.2017.0007","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0007","url":null,"abstract":"The writer Shibasaki Tomoka (b. 1973) grew up in Osaka and still considers herself to be an Osakan through and through, although she has now lived in Tokyo for well over a decade. Her first novel, A Day on the Planet (Kyō no dekigoto, 2000), was turned into a (substantially different) film in 2003. Many of her stories and novels are set in the Kansai region of Japan, and in 2006 she won the Oda Sakunosuke Prize, at that time awarded to works with a connection to Kansai. In 2014, when she won the Akutagawa Prize, Japan’s most prestigious literary award, for her novella Spring Garden (Haru no niwa), she was a decade and a half into her writing career. The story translated here, “Right Here, Right Here” (Koko de, koko de, 2011), is the product of Shibasaki’s mid-career, at a point when she was starting to give greater attention to questions of memory and history. Even in Tokyo, Shibasaki continues to write stories set in her native Osaka. Her Osakan characters speak to one another in the dialect of Osaka, Osaka-ben, which Shibasaki rightly distinguishes from Kansai-ben, the more commonly applied term encompassing the dialects of the entire region. To outsiders, Osaka-ben is often considered earthy and brash; it is heard across the nation as the province of Japanese comedy. For many Osakans,","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"66 1","pages":"101 - 96"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84028536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Every time I move to a new office, my collection of U.S.–Japan Women’s Journal (USJWJ) comes with me, and I am happy to see that it takes up ever more space on the bookshelf. Looking at the Table of
{"title":"Building a Feminist Scholarly Community: Fifty-One Issues of U.S.–Japan Women's Journal","authors":"J. Bardsley","doi":"10.1353/JWJ.2017.0001","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0001","url":null,"abstract":"Every time I move to a new office, my collection of U.S.–Japan Women’s Journal (USJWJ) comes with me, and I am happy to see that it takes up ever more space on the bookshelf. Looking at the Table of","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"13 1","pages":"5 - 7"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81927813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Of the three men who helped unify Japan at the end of the sixteenth century—Oda Nobunaga (1534–82), Toyotomi Hideyoshi (1537–98), and Tokugawa Ieyasu (1543– 1616)—Hideyoshi has been the most widely reimagined in popular literature.1 As Hideyoshi rose through the ranks and took control of the realm, he put into practice many innovative policies that would become the framework for the Tokugawa government (1603–1867) and have long-lasting impact on Japan. At the same time, however, during the final decade of his life and political career, Hideyoshi made a series of choices that tarnished his legacy. Among these were two unsuccessful invasions of the Korean peninsula in 1592 and 1597, and the forced suicides of his adviser Sen no Rikyu in 1591 and of his nephew and heir Hidetsugu in 1595. Hideyoshi died in 1598, having failed to conquer Korea or establish a government stable enough to ensure his young son Hideyori’s rise to power. Yet these failures do not seem to have dampened interest in Hideyoshi’s legacy. During the first half of the twentieth century, this last decade of Hideyoshi’s life and career was all but absent from popular narratives about him. Early postwar fictionalized renderings of him—by authors such as Yoshikawa Eiji, Shiba Ryōtarō, and Kasahara
在16世纪末帮助统一日本的三个人——织田信长(1534-82)、丰臣秀吉(1537-98)和德川家康(1543 - 1616)——中，丰臣秀吉的形象在通俗文学中被重新塑造得最为广泛随着丰臣秀吉的地位不断提升，并控制了整个国家，他实施了许多创新的政策，这些政策将成为德川政府(1603-1867)的框架，并对日本产生了持久的影响。然而，与此同时，在他生命和政治生涯的最后十年里，丰臣秀吉做出了一系列玷污他政治遗产的选择。其中包括1592年和1597年两次不成功的朝鲜半岛入侵，以及1591年他的顾问森诺利休(Sen no Rikyu)和1595年他的侄子兼继承人秀嗣(hidesugu)被迫自杀。丰臣秀吉死于1598年，他未能征服朝鲜，也未能建立一个足够稳定的政府，以确保他年幼的儿子丰臣秀吉掌权。然而，这些失败似乎并没有削弱人们对丰臣秀吉遗产的兴趣。在20世纪上半叶，丰臣秀吉的生活和事业的最后十年几乎没有出现在关于他的通俗叙述中。战后早期，吉川英治、柴叶Ryōtarō和笠原等作家将他虚构化
{"title":"Nagai Michiko and Ariyoshi Sawako Rewrite the Taikō","authors":"S. Furukawa","doi":"10.1353/JWJ.2017.0005","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0005","url":null,"abstract":"Of the three men who helped unify Japan at the end of the sixteenth century—Oda Nobunaga (1534–82), Toyotomi Hideyoshi (1537–98), and Tokugawa Ieyasu (1543– 1616)—Hideyoshi has been the most widely reimagined in popular literature.1 As Hideyoshi rose through the ranks and took control of the realm, he put into practice many innovative policies that would become the framework for the Tokugawa government (1603–1867) and have long-lasting impact on Japan. At the same time, however, during the final decade of his life and political career, Hideyoshi made a series of choices that tarnished his legacy. Among these were two unsuccessful invasions of the Korean peninsula in 1592 and 1597, and the forced suicides of his adviser Sen no Rikyu in 1591 and of his nephew and heir Hidetsugu in 1595. Hideyoshi died in 1598, having failed to conquer Korea or establish a government stable enough to ensure his young son Hideyori’s rise to power. Yet these failures do not seem to have dampened interest in Hideyoshi’s legacy. During the first half of the twentieth century, this last decade of Hideyoshi’s life and career was all but absent from popular narratives about him. Early postwar fictionalized renderings of him—by authors such as Yoshikawa Eiji, Shiba Ryōtarō, and Kasahara","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"17 1","pages":"59 - 79"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91053035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We are honored to publish the fifty-first issue of the U.S.–Japan Women’s Journal (USJWJ)— complete with special features to commemorate the previous fifty issues—and to launch a new phase in our history. Founded in 1988, USJWJ is the world’s oldest scholarly journal devoted to the study of gender and Japan. We are a peer-reviewed, biannual publication, available in print and online, that promotes scholarly exchange on social, cultural, political, and economic issues. We encourage comparative study among Japan, the United States, and other countries, and feature articles about women’s lived experiences and media representations. Our mission is to foster the work of young researchers and to ensure that the achievements of established scholars are not forgotten. We dedicate this commemorative issue to the previous editors who have cultivated generations of feminist scholars: Drs. Sally A. Hastings, Jan Bardsley, Noriko Mizuta, and Yoko Kawashima. In their introductory essays, Drs. Bardsley and Hastings offer highlights from their decades with the journal and explain how USJWJ continually supported their teaching and research and helped them engage both deeply and broadly with the field. In this issue, we explore the power of periodicals to construct notions of gender, transnationalism, and the nation-state and to expand women’s worldviews. We reprint two articles
我们荣幸地出版了第51期《美日妇女杂志》(USJWJ)，其中包括纪念前50期的专题，并开启了我们历史上的一个新阶段。USJWJ成立于1988年，是世界上最古老的致力于性别和日本研究的学术期刊。我们是一份同行评议的半年度出版物，提供印刷版和网络版，旨在促进在社会、文化、政治和经济问题上的学术交流。我们鼓励日本、美国和其他国家之间的比较研究，以及关于女性生活经历和媒体表现的专题文章。我们的使命是促进年轻研究人员的工作，并确保知名学者的成就不被遗忘。我们将这期纪念刊献给培养了一代又一代女权主义学者的前任编辑们。Sally A. Hastings, Jan Bardsley, Noriko Mizuta和Yoko Kawashima。在他们的介绍性文章中。巴兹利和黑斯廷斯提供了他们在该杂志工作数十年的亮点，并解释了USJWJ如何不断支持他们的教学和研究，并帮助他们深入和广泛地参与该领域。在本期中，我们将探讨期刊在建构性别、跨国主义和民族国家概念以及拓展女性世界观方面的力量。我们转载了两篇文章
{"title":"Editor's Note","authors":"A. Freedman","doi":"10.1353/jwj.2017.0000","DOIUrl":"https://doi.org/10.1353/jwj.2017.0000","url":null,"abstract":"We are honored to publish the fifty-first issue of the U.S.–Japan Women’s Journal (USJWJ)— complete with special features to commemorate the previous fifty issues—and to launch a new phase in our history. Founded in 1988, USJWJ is the world’s oldest scholarly journal devoted to the study of gender and Japan. We are a peer-reviewed, biannual publication, available in print and online, that promotes scholarly exchange on social, cultural, political, and economic issues. We encourage comparative study among Japan, the United States, and other countries, and feature articles about women’s lived experiences and media representations. Our mission is to foster the work of young researchers and to ensure that the achievements of established scholars are not forgotten. We dedicate this commemorative issue to the previous editors who have cultivated generations of feminist scholars: Drs. Sally A. Hastings, Jan Bardsley, Noriko Mizuta, and Yoko Kawashima. In their introductory essays, Drs. Bardsley and Hastings offer highlights from their decades with the journal and explain how USJWJ continually supported their teaching and research and helped them engage both deeply and broadly with the field. In this issue, we explore the power of periodicals to construct notions of gender, transnationalism, and the nation-state and to expand women’s worldviews. We reprint two articles","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"63 1","pages":"3 - 4"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74319433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I began working as an associate editor for the U.S.–Japan Women’s Journal (USJWJ) after I finished my book on Neighborhood and Nation in Tokyo, 1905–1937 (University of Pittsburgh Press, 1995) and had tenure at Purdue University, at a stage of my career when my own livelihood as a scholar was secure and when I was in a position to help others. Universities repeatedly ask scholars to account for their time in terms of research, teaching, and service, with editing falling into the service category. Editing USJWJ, however, has played a role in shaping my research and has contributed in myriad ways to my teaching. From the mid-1990s on, I have visited Japan at least once a year and have made Tokyo the site of most of my research and writing activities. Anne Walthall, a graduate school friend, and Akio Iwasaki, a former student, provided the encouragement to begin this pattern, which has been further encouraged by various friends who live in Japan, but my work as an editor of USJWJ has been an integral part of establishing Japan as one of the geographical locations of my lived experience. I have given research talks at the Jōsai University’s Togane campus and have visited the Kioichō campus many times. The journal has contributed in many ways to my teaching at Purdue and at universities in Japan. Thanks to my responsibilities as an editor, I have read in a disciplined
{"title":"The Benefits and Lessons of Two Decades with U.S.–Japan Women's Journal","authors":"S. Hastings","doi":"10.1353/JWJ.2017.0002","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0002","url":null,"abstract":"I began working as an associate editor for the U.S.–Japan Women’s Journal (USJWJ) after I finished my book on Neighborhood and Nation in Tokyo, 1905–1937 (University of Pittsburgh Press, 1995) and had tenure at Purdue University, at a stage of my career when my own livelihood as a scholar was secure and when I was in a position to help others. Universities repeatedly ask scholars to account for their time in terms of research, teaching, and service, with editing falling into the service category. Editing USJWJ, however, has played a role in shaping my research and has contributed in myriad ways to my teaching. From the mid-1990s on, I have visited Japan at least once a year and have made Tokyo the site of most of my research and writing activities. Anne Walthall, a graduate school friend, and Akio Iwasaki, a former student, provided the encouragement to begin this pattern, which has been further encouraged by various friends who live in Japan, but my work as an editor of USJWJ has been an integral part of establishing Japan as one of the geographical locations of my lived experience. I have given research talks at the Jōsai University’s Togane campus and have visited the Kioichō campus many times. The journal has contributed in many ways to my teaching at Purdue and at universities in Japan. Thanks to my responsibilities as an editor, I have read in a disciplined","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"115 6 1","pages":"11 - 8"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86449621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the late 1950s and early 1960s, Shōda Michiko, the commoner who married Prince Akihito in 1959, gained iconographic status in the media (Bardsley 2002). Around the same time, another Japanese woman who happened to have the same given name attracted as much if not more attention. Her name was Kanba Michiko. A Tokyo University coed and Zengakuren activist,1 Kanba was killed in a violent confrontation between Ampo protesters and the police in June 1960. This essay examines the rhetoric surrounding Kanba Michiko and her death that appeared in a popular weekly magazine, Shūkan Asahi (Asahi Weekly). I describe how Shūkan Asahi portrayed the Ampo struggle as a polarized opposition of old, diehard fascism pitted against a newly emerging democratic force, with the fascist camp having the upper hand until the sacrificial death of a maiden martyr. As I hope to show, this clearcut depiction inevitably positioned the middle-class nuclear family as the critical element in the Ampo protests. Moreover, as I will argue, by positing the death of the maiden as a case of thwarted motherhood, Shūkan Asahi limited the definition of women’s political activism to forms of middle-class motherhood. In this sense Shūkan Asahi’s portrait of Kanba Michiko not only echoed the prewar ideology of a nonpolitical “good wife, wise mother” (ryōsai kenbō) but reflected and foretold the rise of “housewife feminism” in postwar Japanese society as well.
{"title":"Maiden Martyr for \"New Japan\": The 1960 Ampo and the Rhetoric of the Other Michiko","authors":"H. Hirakawa","doi":"10.1353/JWJ.2017.0003","DOIUrl":"https://doi.org/10.1353/JWJ.2017.0003","url":null,"abstract":"During the late 1950s and early 1960s, Shōda Michiko, the commoner who married Prince Akihito in 1959, gained iconographic status in the media (Bardsley 2002). Around the same time, another Japanese woman who happened to have the same given name attracted as much if not more attention. Her name was Kanba Michiko. A Tokyo University coed and Zengakuren activist,1 Kanba was killed in a violent confrontation between Ampo protesters and the police in June 1960. This essay examines the rhetoric surrounding Kanba Michiko and her death that appeared in a popular weekly magazine, Shūkan Asahi (Asahi Weekly). I describe how Shūkan Asahi portrayed the Ampo struggle as a polarized opposition of old, diehard fascism pitted against a newly emerging democratic force, with the fascist camp having the upper hand until the sacrificial death of a maiden martyr. As I hope to show, this clearcut depiction inevitably positioned the middle-class nuclear family as the critical element in the Ampo protests. Moreover, as I will argue, by positing the death of the maiden as a case of thwarted motherhood, Shūkan Asahi limited the definition of women’s political activism to forms of middle-class motherhood. In this sense Shūkan Asahi’s portrait of Kanba Michiko not only echoed the prewar ideology of a nonpolitical “good wife, wise mother” (ryōsai kenbō) but reflected and foretold the rise of “housewife feminism” in postwar Japanese society as well.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"11 1","pages":"12 - 27"},"PeriodicalIF":0.0,"publicationDate":"2017-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84312853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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