Welten Ostasiens/Worlds of East Asia/Mondes de l'Extreme-Orient – serie

Between 1910 and 1945 Korea was subjected to Japanese colonial rule. Monuments, Memory, and Identity investigates ways how postcolonial South Korea commemorated this difficult past in light of changing political and social conditions, and against the background of the divided nation. By analyzing museums, memorial halls, parks and monuments, the author deciphers and maps the South Korean commemorative landscape. He analyzes the layouts of the country’s well-known «sites of memory» and explores the on-site plaques, exhibits, and photos as well as the booklets and publications. This book underpins the shifts and trends in recollecting this important historical period by addressing the following questions: How has postcolonial South Korea been constructing and reconstructing its colonial past? Why were certain narratives and images chosen at different times? What debates, controversies, and challenges were involved in this dynamic process? Furthermore, the author discusses the South Korean case within the broader context of the postcolonial discourse.

This book examines Japan’s changing pacifism and its implications for Japan’s security identity from 1945 to the present. To examine the shift in Japanese pacifism, this research employs the concept of ‘negative pacifism’ (Article 9 of the Japanese Constitution) and ‘positive pacifism’ (the Preamble of the Constitution) as an analytical framework. To analyse multiple factors which facilitated the shift in Japan’s pacifism, this study applies ‘analytical eclecticism’ and integrates the analytical framework (negative-positive pacifism) with orthodox international relations theories and approaches. In an application of analytical eclecticism, the author proposes four theoretical models of Japan’s security identity: (a) ‘pacifist state’ (classical liberalism/negative pacifism); (b) ‘UN peacekeeper’ (neo-liberalism/positive pacifism); (c) ‘normal state’ (classical realism/domestic pressure); and (d) ‘US ally’ (neo-realism/external-structural pressure). In addition to the four basic models above, this book attempts to reveal Japan’s ‘core security identity’ as a ‘global pacifist state’.

This book is about the self in contemporary Japan. In contrast to Euro-American cultures, in which the self is considered to be the essence of personhood, in Japanese culture the self is constantly reconstructed in relation to others. This particular self is studied by examining the ways popular culture is consumed, with a special focus on manga, the Japanese word for comics and cartoons. The first part of the book contains an ethnographic research in which the author investigates the relationship between popular media and the search for self-knowledge. In the second part a historical analysis traces the development of self-seeking in Japan since the country’s modernisation period.

This book provides new insights into the creation and use of written texts in medieval Japan. Drawing upon lawsuits from Ategawa no shō in central Japan between the early eleventh and early fourteenth centuries, the author analyses the use of writing by various social groups – temple priests, warriors and peasants. Though these social groups had different levels of literacy and accordingly followed different communicative traditions, their use of writing had common features. In the semi-literate society of medieval Japan the dissemination and reception of written texts took place primarily through speaking and hearing. Documents of the medieval period therefore had a distinctly oral characteristic. Priests, warriors and peasants all alluded to motifs in their legal pleas that were in essence given by the oral world of tales, legends and gossip. By showing that literacy was not in conflict but interacted with orality, the author uncovers an important aspect of the use of the written word in medieval Japan.

This book is a collection of selected essays presented at the International Symposium on «Contemporary Asian Modernities: Transnationality, Interculturality and Hybridity» hosted by the Humanities Programme of Hong Kong Baptist University in September 2006. As «modernity» has been used to describe the cultural, economic and socio-political conditions in the Western worlds, the time in which we now live and the Asian countries where capitalistic transformation is extensively carried out are already articulating their own descriptions. The essays collected here discuss the notions of «contemporary», «Asia» and «modernities» as they relate to the global trend of adopting capitalism. They probe into questions related to modernity as well as global modernity, ranging from China in particular to Asia in general. As reflected in the pluriversal meanings in the title, the book endeavours to make critical inquiries into the concept of modernity/modernities from different perspectives.

Musô Soseki (1275-1351), one of the most important Zen patriarchs of the early fourteenth century in Japan, devoted his life to spreading Buddhist wisdom in his writings. As a member of the Gozan movement, he belonged to the literary elite and had a profound knowledge of Chinese und Japanese poetry. He left behind numerous calligraphies, among them those now housed in the temples Engakuji and Zuizenji in Kamakura and in Tenryûji and Saihôji in Kyoto. Musô signed many of his calligraphies with his pseudonym Bokutotsusô, which means «the wooden stutterer». Most of Musô’s calligraphies are composed in cursive script and deal with themes of particular interest to him, such as nature and religious education. This book examines how these themes relate to the different stages of Musô’s life. It also analyses his attitude toward calligraphy and the influence of other calligraphers on his artistic development. For this purpose, pivotal calligraphies that reveal Musô’s stylistic development, his aesthetics and underlying message as well as the trajectory of his life have been chosen for closer examination. The research for this book was conducted at the temples that were at the center of Musô’s activities. The first work to discuss Musô’s calligraphy in a Western language, this book offers insights into his texts together with illustrations of Musô’s brushwork.