Morris Low – författare

How Paris, London, Chicago, Berlin, and Tokyo created modernity through science and technology by means of urban planning, international expositions, and museums.

At the close of the nineteenth century, industrialization and urbanization marked the end of the traditional understanding of society as rooted in agriculture. Urban Modernity examines the construction of an urban-centered, industrial-based culture—an entirely new social reality based on science and technology. The authors show that this invention of modernity was brought about through the efforts of urban elites—businessmen, industrialists, and officials—to establish new science- and technology-related institutions. International expositions, museums, and other such institutions and projects helped stem the economic and social instability fueled by industrialization, projecting the past and the future as part of a steady continuum of scientific and technical progress. The authors examine the dynamic connecting urban planning, museums, educational institutions, and expositions in Paris, London, Chicago, Berlin, and Tokyo from 1870 to 1930. In Third Republic Paris, politicians, administrators, social scientists, architects, and engineers implemented the future city through a series of commissions, agencies, and organizations; in rapidly expanding London, cultures of science and technology were both rooted in and constitutive of urban culture; in Chicago after the Great Fire, Commercial Club members pursued civic ideals through scientific and technological change; in Berlin, industry, scientific institutes, and the popularization of science helped create a modern metropolis; and in Meiji-era Tokyo (Edo), modernization and Westernization went hand in hand.

Sixty years on from the end of the Pacific War, Japan on Display examines representations of the Meiji emperor, Mutsuhito (1852-1912) and his grandson the Showa emperor, Hirohito who was regarded as a symbol of the nation, in both war and peacetime. Much of this representation was aided by the phenomenon of photography.

The introduction and development of photography in the nineteenth century coincided with the need to make Hirohito’s grandfather, the young Meiji Emperor, more visible. Photo books and albums became a popular format for presenting seemingly objective images of the monarch, reminding the Japanese of their proximity to the Emperor, and the imperial family. In the twentieth century, these ''national albums’ provided a visual record of wars fought in the name of the Emperor, while also documenting the reconstruction of Tokyo, scientific expeditions, and imperial tours.

Drawing on archival documents, photographs, and sources in both Japanese and English, this book throws new light on the history of twentieth-century Japan and the central role of Hirohito. With Japan’s defeat in the Pacific War, the Emperor was transformed from wartime leader to peace-loving scientist. Japan on Display seeks to understand this reinvention of a more ''human’ Emperor and the role that photography played in the process.

Sixty years on from the end of the Pacific War, Japan on Display examines representations of the Meiji emperor, Mutsuhito (1852-1912) and his grandson the Showa emperor, Hirohito who was regarded as a symbol of the nation, in both war and peacetime. Much of this representation was aided by the phenomenon of photography.

The introduction and development of photography in the nineteenth century coincided with the need to make Hirohito’s grandfather, the young Meiji Emperor, more visible. Photo books and albums became a popular format for presenting seemingly objective images of the monarch, reminding the Japanese of their proximity to the Emperor, and the imperial family. In the twentieth century, these ''national albums’ provided a visual record of wars fought in the name of the Emperor, while also documenting the reconstruction of Tokyo, scientific expeditions, and imperial tours.

Drawing on archival documents, photographs, and sources in both Japanese and English, this book throws new light on the history of twentieth-century Japan and the central role of Hirohito. With Japan’s defeat in the Pacific War, the Emperor was transformed from wartime leader to peace-loving scientist. Japan on Display seeks to understand this reinvention of a more ''human’ Emperor and the role that photography played in the process.

East Asia is now the world’s economic powerhouse, but ghosts of history continue to trouble relations between the key countries of the region, particularly between Japan, China and the two Koreas. Unhappy legacies of Japan’s military expansion in pre-war Asia prompt on-going calls for apologies, while conflicts over ownership of cultural heritage cause friction between China and Korea, and no peace treaty has ever been signed to conclude the Korean War.

For over a decade, the region’s governments and non-government groups have sought to confront the ghosts of the past by developing paths to reconciliation. Focusing particularly on popular culture and grassroots action, East Asia beyond the History Wars explores these East Asian approaches to historical reconciliation. This book examines how Korean historians from North and South exchange ideas about national history, how Chinese film-makers reframe their views of the war with Japan, and how Japanese social activists develop grassroots reconciliation projects with counterparts from Korea and elsewhere. As the volume’s studies of museums, monuments and memorials show, East Asian public images of modern history are changing, but change is fragile and uncertain. This unfinished story of East Asia’s search for historical reconciliation has important implications for the study of popular memory worldwide.

Presenting a fresh perspective on reconciliation which draws on both history and cultural studies, this book will be welcomed by students and scholars working in the fields of Asian history, Asian culture and society as well as those interested in war and memory studies more generally.

East Asia is now the world’s economic powerhouse, but ghosts of history continue to trouble relations between the key countries of the region, particularly between Japan, China and the two Koreas. Unhappy legacies of Japan’s military expansion in pre-war Asia prompt on-going calls for apologies, while conflicts over ownership of cultural heritage cause friction between China and Korea, and no peace treaty has ever been signed to conclude the Korean War.

For over a decade, the region’s governments and non-government groups have sought to confront the ghosts of the past by developing paths to reconciliation. Focusing particularly on popular culture and grassroots action, East Asia beyond the History Wars explores these East Asian approaches to historical reconciliation. This book examines how Korean historians from North and South exchange ideas about national history, how Chinese film-makers reframe their views of the war with Japan, and how Japanese social activists develop grassroots reconciliation projects with counterparts from Korea and elsewhere. As the volume’s studies of museums, monuments and memorials show, East Asian public images of modern history are changing, but change is fragile and uncertain. This unfinished story of East Asia’s search for historical reconciliation has important implications for the study of popular memory worldwide.

Presenting a fresh perspective on reconciliation which draws on both history and cultural studies, this book will be welcomed by students and scholars working in the fields of Asian history, Asian culture and society as well as those interested in war and memory studies more generally.

This book explores how Japanese views of nuclear power were influenced not only by Hiroshima and Nagasaki but by government, business and media efforts to actively promote how it was a safe and integral part of Japan’s future. The idea of “atoms for peace” and the importance of US-Japan relations were emphasized in exhibitions and in films. Despite the emergence of an anti-nuclear movement, the dream of civilian nuclear power and the “good atom” nevertheless prevailed and became more accepted. By the late 1950s, a school trip to see a reactor was becoming a reality for young Japanese, and major events such as the 1964 Tokyo Olympics and 1970 Osaka Expo seemed to reinforce the narrative that the Japanese people were destined for a future led by science and technology that was powered by the atom, a dream that was left in disarray after the Fukushima nuclear disaster in 2011.