The Meiji period was the source of many anxieties about the modernity brought in from overseas. However, this also meant reaping the benefits of the modern life. Ukiyo-e prints were used in the Edo...Show moreThe Meiji period was the source of many anxieties about the modernity brought in from overseas. However, this also meant reaping the benefits of the modern life. Ukiyo-e prints were used in the Edo period to entertain people like modern social media and in the early Meiji period, this continued. Meiji Ukiyo-e prints showing trains, carriages, modern buildings, and schools were used to show the Japanese people around the country what positive things modernity could accomplish. These prints manufactured a positive form of modernity that had a soothing effect on people who had feelings of anxiety about the country opening up, foreigners coming in, and the political and cultural systems changing. The government could censor ukiyo-e prints and thus might even have a say in the changing topics to introduce modern things like trains and Western-style buildings. Publishers and the government's influence on the prints' topics could have made a manufactured positive modernity. Also, prints showed scenes that were either beautified scenes of reality or made up by artists to help manufacture a positive image of the Meiji period. Meiji ukiyo-e prints had the effect of creating a positive notion of reality not only for the image of Japan as a great nation to the foreign powers but also as a way to show the capabilities of Japan’s modernization skills to the nationals living in the Meiji era Japan.Show less
Most scholars agree that the Japanese amphibious strategy is fundamentally flawed by the lack of cooperation between the Japanese Self Defense Forces’ (JSDF) ground and maritime branches, as well...Show moreMost scholars agree that the Japanese amphibious strategy is fundamentally flawed by the lack of cooperation between the Japanese Self Defense Forces’ (JSDF) ground and maritime branches, as well as the latter’s lack of dedicated amphibious capabilities. However, while the struggles of the Japanese Ground Self Defense Force (JGSDF) have been extensively documented in papers and interviews by academics, retired JGSDF and United States Marine Corps (USMC) officers, research on its Japanese Maritime Self Defense Force (JMSDF) counterpart has lagged behind. The JMSDF’s amphibious warfare unit, counterintuitively or perhaps fittingly called the Mine Warfare Force (MWF), is only mentioned contextually, and portrayed as an inadequate JMSDF counterpart to the JGSDF’s marines. Yet, the archipelago nation, standing as the greatest obstacle to China's seaward expansion, cannot afford to possess ineffective amphibious forces. Whether it is from the perspective of containing, deterring, or fighting the People's Liberation Army (PLA), for Japan, the ability to quickly deploy and sustain forces on its islands is essential. Why was arguably the most professional Navy in Asia unable to develop an effective amphibious counterpart for Japan's naval infantry? By conducting a comprehensive analysis of Japanese naval literature from official and quasi-official sources, this thesis aims to demonstrate that, contrary to common wisdom, neither Japan's pacifist nature nor a preconceived lack of JMSDF interest in amphibious capabilities shaped this result. Instead, the deeper reasons for this failure must be sought in intra- and inter-organizational politics within the JSDF. To prove this point, the thesis will analyze the MWF's evolution from its inception to the present day, focusing on three transformational moments that occurred in the periods of 2011 to 2013, 2014 to 2017, and 2018 to 2023.Show less
In this thesis, I aim to answer the question “how did Japanese teachers themselves view the state of postwar education during the American Occupation?”. In chapter 1, a brief overview will be given...Show moreIn this thesis, I aim to answer the question “how did Japanese teachers themselves view the state of postwar education during the American Occupation?”. In chapter 1, a brief overview will be given of the state of education and the educational reforms during the American Occupation. In chapter 2, the scholarly debate on the issues surrounding Japanese education in the Occupation period (1945-1952) will be described and analysed, as well as the scholarly debate on the views of the Japanese people on defeat and war responsibility in the direct postwar period. In chapter 3, three examples of the realities faced by teachers in Japan during the American Occupation are explored on the basis of two published diaries and one published memoir:“ How did teachers deal with defeat? Days of anguish and fumbling around - Two-year education diary (Kyōshi wa haisen dō mukaeta no ka: Kunō to mosaku no hibi― 2-Nenkan no kyōiku nisshi)” by Nagai Kenji and “War and love: a female teacher’s war and postwar diary (Ikusa to ai to: Josei kyōshi no senchū sengo nikki)” by Kobayashi Hana and Reminiscences of an Elementary School Principal (Aru shōgakkō-chō no kaisō) by Kanazawa Kaichi. The experiences of these teachers will be analysed in the broader context of the postwar education in order to get a better understanding of the “bottom-up” processes they participated in. I argue that viewing postwar education from a “bottom-up” perspective brings to light new insights on the educational reforms and their implementation, and the on experiences of teachers as under the American OccupationShow less
This paper focuses on paving new ways to analyze political agency and the re-molding of the concept of orthodoxy according to contingent needs in the two most relevant emperors of the Western Han...Show moreThis paper focuses on paving new ways to analyze political agency and the re-molding of the concept of orthodoxy according to contingent needs in the two most relevant emperors of the Western Han Dynasty (202 BCE-9 CE), namely Han Gaozu (256-195 BCE) and Han Wudi (156-87 BCE). Through a textual analysis, this researches will investigate music as a cultural artefact and in what terms it is talked about, finally shedding some light on the logical fragility of assuming orthodoxy and tradition as never changing.Show less
Social media and videoblogging, or vlogging, are taking over the internet and North Korea is joining this trend. While doing so, the state is reaching out to the international community through...Show moreSocial media and videoblogging, or vlogging, are taking over the internet and North Korea is joining this trend. While doing so, the state is reaching out to the international community through relatable media content and soft power tools. One of the examples, in which North Korea reached out to the international viewer, is the Youtube channel ‘Echo of Truth’. This research aims to answer the question as to how soft power tools are applied in the videos of ‘Echo of Truth’. By using a qualitative visual discourse analysis, it analyzes the videos of ‘Echo of Truth’ to answer this question. This thesis argues that soft power tools, such as cultural and culinary diplomacy, are applied in the videos in order to make these videos more relatable to the international audience. However, not all the videos were found to have used these soft power techniques as traditional propaganda videos were still uploaded to the channel. The sheer differences found in the channel’s videos raised the question of a power dilemma the channel seemed to be facing.Show less
Before the Meiji period, women were typically portrayed as idolized beauties, fitting within the contemporary beauty ideals. However, due to the new influences coming from the West after the...Show moreBefore the Meiji period, women were typically portrayed as idolized beauties, fitting within the contemporary beauty ideals. However, due to the new influences coming from the West after the opening of the borders, artists started to challenge this standard bijin mode of representing women. Artists such as Kajiwara Hisako, Tadaoto Kainoshō and Chigusa Sōn created paintings depicting women in a whole new manner compared to former periods. While previously women were often shown as the epitome of beauty and sophistication, now there was room for representations of women who weren’t perfect nor appealed to the society’s beauty standards. This thesis analyses how male and female nihonga artists created anti-bijin in response to social and artistic developments in Meiji and Taisho Japan. Furthermore, it explores how and to what extent these works broke away from the bijin ideal and what the driving force was behind the creation of these works.Show less
Despite the great efforts taken by the South Korean government to preserve the once highly regarded folk art, p’ansori is quickly becoming less relevant in Korean daily life. Nevertheless, a band...Show moreDespite the great efforts taken by the South Korean government to preserve the once highly regarded folk art, p’ansori is quickly becoming less relevant in Korean daily life. Nevertheless, a band called LEENALCHI was able to score a hit in 2020 with their song “Tiger is Coming”. The song is based on a p’ansori epic and is sung in p’ansori style, but it contains a twist. LEENALCHI creates fusion music, which is music that combines Korean traditional music and contemporary music. With their ‘new’ version of p’ansori, LEENALCHI is gaining much popularity in Korea and they are now the face of both the Korean Tourism Organization as well as several brands. Their presence in the Korean entertainment industry thus ensures that p’ansori, which was facing extinction despite the support of the Korean government, has once again become part of lived Korean culture. This thesis tries to examine how LEENALCHI is able to repurpose p’ansori and consequently popularize a form of intangible cultural heritage that has been struggling to keep up in relevance. In doing so, this thesis establishes how intangible cultural heritage can be repurposed even when preservation seems to become increasingly complicated.Show less
China and the European Union have, for a long time, sustained a cooperative, yet at the same time, antagonistic relationship. The surge in Chinese FDI in Europe, after the global financial crisis,...Show moreChina and the European Union have, for a long time, sustained a cooperative, yet at the same time, antagonistic relationship. The surge in Chinese FDI in Europe, after the global financial crisis, exacerbated unfavorable opinions of China, due to skepticism surrounding the intentions behind this investment increase. There is in place the belief that Chinese investment is negatively contributing to EU cohesiveness, by putting member states against each other to curry for China’s favour and secure investments, thus putting at risk the European order. The period post-2008 financial crisis saw Portugal becoming an important recipient of Chinese FDI, and as such, this paper analyzes the impact Chinese FDI has in Portuguese foreign policy and its integration in the EU. Portugal proves to be a unique case in comparison with other member states, due to its long-lasting relationship with China, and positive track record as a member of the EU. This dissertation examines this issue by using liberal intergovernmentalism and motivations behind Chinese investment, to argue that Portugal’s domestic interests play an important role in how it handles both China and the EU, as well as to defend that Chinese investment in Portugal as shown to be economically motivated. The results suggest that Portugal maintains a consistent and unchanged, for the most part, China policy. Furthermore, since most of Portugal’s domestic interests are met by the EU, according to liberal intergovernmentalism, in this way, it continues to contribute to its integration in the union. All in all, Chinese FDI in Portugal shouldn’t pose as a concern to the EU, seeing as the data reveals that Portugal’s top investors continue to be fellow member states, with China comprising a modest and slowly decreasing percentage. Therefore, the novelty of Chinese FDI in Europe continues to perpetuate an exaggerated anxiety, along with often unnecessary concerns, regarding the impact of said investment in Portugal.Show less
This thesis closely examines the North Korean film Hong Kildong, which is a film adaptation from 1986, based on the tale of Hong Kildong. It then compares the film version with a pre-modern...Show moreThis thesis closely examines the North Korean film Hong Kildong, which is a film adaptation from 1986, based on the tale of Hong Kildong. It then compares the film version with a pre-modern literary version of Hong Kildong Chŏn. The research field of North Korean cinema lacked a nuanced deconstruction of the ideological message conveyed in Hong Kildong. Consideration of the background motifs and themes was found to be generally overlooked. This thesis aims to provide for this lack. By analyzing the North Korean film version, while using the Confucian Five Moral Relationships and virtues as a yardstick, this thesis identified how close the story followed or deviated from the Confucian ethics. The comparison between Hong Kildong (film) and Hong Kildong Chŏn (pre-modern fiction) pointed out what (ideological) changes had been made, changes mostly found in the character traits and the development of the storyline towards the end of each story, and helped to identify Juche ideological elements. Through the hypothesis, “Hong Kildong reflects the same ideological changes as have been made to create the yunsaek type kodae sosŏl,” I was able to lend credit to the implications that come with the ideological changes I detected, since they then do not apply merely to this film. My research results confirmed that the hypothesis was indeed correct. Art theory in North Korea has taken on a unified form which is broadly applied to every artistic activity, including both film and literary adaptations of pre-modern works of fiction. The same ideological development can be discerned in both types of adaptation. The central theme, or “seed,” of Hong Kildong can be defined as the revolutionary transformation from the old, corrupt Chosŏn society to the new, liberated Chosŏn, which is promised to those who move towards the sun, which is symbolism for Kim Il-Sung and his Juche thought. Elements that suggest ideas contrary to Juche ideology were consistently found within the realm of Confucian thought. Confucian thought however was not condoned, nor completely condemned in the film, but rather improved to make a smooth transformation to Juche ideology possible. This suggests that Confucian thought remains, however limited, a component in the North Korean people’s belief system. However, hidden elements that reflect anti-Juche or anti-Party Line thoughts, which might have been an influence of Shin Sang-Ok’s own ideas, could not be found.Show less
