Douglas Howland – författare

How does a nation become a great power? A global order was emerging in the nineteenth century, one in which all nations were included. This book explores the multiple legal grounds of Meiji Japan''s assertion of sovereign statehood within that order: natural law, treaty law, international administrative law, and the laws of war. Contrary to arguments that Japan was victimized by ''unequal'' treaties, or that Japan was required to meet a ''standard of civilization'' before it could participate in international society, Howland argues that the Westernizing Japanese state was a player from the start. In the midst of contradictions between law and imperialism, Japan expressed state will and legal acumen as an equal of the Western powers – international incidents in Japanese waters, disputes with foreign powers on Japanese territory, and the prosecution of interstate war. As a member of international administrative unions, Japan worked with fellow members to manage technical systems such asthe telegraph and the post. As a member of organizations such as the International Law Association and as a leader at the Hague Peace Conferences, Japan helped to expand international law. By 1907, Japan was the first non-western state to join the ranks of the great powers.

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions of “Art.” Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty.