Shuji, Terayama (1935–1983)

2018 ◽  
Author(s):  
Jordan A. Yamaji Smith
Keyword(s):  
Adult Life ◽  
New Wave ◽  
Pacific War ◽  
Avant Garde ◽  
The Pacific ◽  
Group A ◽  
Experimental Theatre ◽  
Terayama Shuji ◽  
The Relationship ◽  
Second World

Terayama Shūji was an avant-garde Japanese poet, playwright (for stage and radio), filmmaker, and photographer associated with New Wave cinema and underground theatre movements such as post-shingeki. Born in Aomori Prefecture, then raised by relatives after his father died in the Pacific War and his mother moved to distant Kyushu to work, he settled in Tokyo, where he would spend the majority of his adult life. After studying literature at Waseda University, he began writing poetry, making his mark with a major prize for new tanka writers in 1954. In 1967, with his wife Kujo Kyoko, he co-founded the experimental theatre group TenjoSajiki [天井桟敷,] usually called ‘The Gallery’ in English; the title is taken from the Japanese translation of Marcel Carné’s film Les Enfants du Paradis. The same year, he founded ‘Universal Gravitation Drama Laboratory’ [Engeki-jikkenshitsu BanyuInryoku] an experimental gallery, cinema, and theatre space which later spun off the theatre group ‘A Laboratory of Play: Ban’yuInryoku.’ His films investigate the relationship between revolution, eroticism, youth culture, family psychology, and identity. Terayama’s works explore new formal and aesthetic techniques, while simultaneously forwarding and constantly questioning the radical politics of post-Second World War avant-garde arts in Japan.

“Because it's there …” A consideration of the decision to commit New Zealand troops to Malaysia beyond 1971

1971 ◽  
Vol 2 (1) ◽  
pp. 22-31
Author(s):  
Keith Jackson
Keyword(s):  
New Zealand ◽  
Middle East ◽  
Far East ◽  
Pacific War ◽  
Royal Navy ◽  
National Trauma ◽  
Recent Innovation ◽  
The Pacific ◽  
Post War ◽  
Second World

Direct diplomatic relations between New Zealand and Malaya/Singapore are a relatively recent innovation dating back only to 1955, and, significantly, the original decision to station troops in the area in peacetime preceded the establishment of formal diplomatic links. It is true that even before the Second World War there had been a growing consciousness of the strategic significance of the area, but it was seen in terms of Singapore as a link in the chain of Imperial defence, never as a region in its own right. Regions were subsumed in the worldwide defence strategy of the British Empire. Thus New Zealand contributed financially to the construction of the base for the Royal Navy at Singapore, but her military commitments were in helping to guard the Suez ‘lifeline’. New Zealand air-force units were stationed in Singapore in 1940, but despite the national trauma associated with the fall of the base and the apprehended threat to New Zealand’s own security, the ground forces remained in the Middle East. Indeed, New Zealand's formal Commonwealth responsibilities were to remain in the Middle East until 1955 and public interest continued to focus on that area to a surprising degree. The lessons of the Pacific War for New Zealand, therefore, were less concerned with the strategic importance of any particular area than with the indispensability of a United States alliance. As one research group put it, ‘in the immediate post-war years New Zealand showed a greater sense of international awareness, but no sense of particular involvement with the Far East; still less with South-East Asia.

Matsumoto, Shunsuke (松本竣介, 1912–1949)

2018 ◽  
Author(s):  
Takuya Tsunoda
Keyword(s):  
High School ◽  
Fine Arts ◽  
Urban Landscapes ◽  
Pacific War ◽  
Oil Painting ◽  
Avant Garde ◽  
The Pacific ◽  
Literary Arts ◽  
Spinal Meningitis ◽  
Professional Artist

Matsumoto Shunsuke was an oil painter and essayist active in the years up to and through the Pacific War. His best-known paintings, most of which feature figures in urban landscapes, include several self-portraits such as Standing Figure (1942). Matsumoto contracted spinal meningitis at the age of eleven, which eventually led to the loss of his hearing, an event that steered him towards the career of professional artist, and encouraged him to become immersed in reading and the literary arts. Later, it also rendered him ineligible for the draft. At seventeen he dropped out of high school and moved to Tokyo, where he studied oil painting at the Pacific School of Fine Arts (Taiheiyô Bijutsu Gakkô) for three years. In 1935 he became a member of the avant-garde NOVA Art Society, the first of several exhibition collective and artist groups in which he would participate. Other groups including the Nikakai, the Nine-Room Society (Kyûshitsukai), and the Newcomers Painting Society (Shinjin Gakai). Like Ai Mitsu, Asô Saburô, and others with whom he associated, Matsumoto expanded his style to accommodate expanded Japanese interest in Abstraction and Surrealism during the 1930s, but he largely retained his interest in painting intimate portraits, set in non-idealized cityscapes, throughout his career.

scholarly journals Wartime Wilsonianism and the Crisis of Empire, 1941–43

2018 ◽  
Vol 53 (04) ◽  
pp. 1278-1311
Author(s):  
JEREMY A. YELLEN
Keyword(s):  
Second World War ◽  
Self Determination ◽  
Pacific War ◽  
World War ◽  
Joint Declaration ◽  
The Pacific ◽  
Foreign Policies ◽  
Imperial Japan ◽  
War Aims ◽  
Second World

AbstractOne striking feature of the Pacific War was the extent to which Wilsonian ideals informed the war aims of both sides. By 1943, the Atlantic Charter and Japan's Pacific Charter (Greater East Asia Joint Declaration) outlined remarkably similar visions for the postwar order. This comparative study of the histories surrounding both charters highlights parallels between the foreign policies of Great Britain and Imperial Japan. Both empires engaged with Wilsonianism in similar ways, to similar ends. Driven by geopolitical desperation, both reluctantly enshrined Wilsonian values into their war aims to survive a gruelling war with empire intact. But the endorsement of national self-determination, in particular, gave elites in dependent states a means to protest the realities of both British and Japanese rule and to demand that both empires practise what they preach. This comparative analysis of Britain and Japan thus sheds light on the part Wilsonian ideology played in the global crisis of empire during the Second World War.

Japan's Position before the Outbreak of the European War in September 1939

1980 ◽  
Vol 14 (1) ◽  
pp. 129-143
Author(s):  
Kyozo Sato
Keyword(s):  
North China ◽  
Second World War ◽  
Pacific War ◽  
Military Operations ◽  
World War ◽  
War Of Attrition ◽  
The North ◽  
The Pacific ◽  
Second World ◽  
Made In

In the years leading up to the outbreak of war in Europe in early September 1939 Japan had been busy tackling the commitments she had made in North China at first and then in the whole of China. Although war was not declared, Japan had been at war with China since July 1937. It was a war of attrition; both Japan and China claimed to be winning, yet neither could, on any occasion, see any prospect of a final and definite victory. So long as Japan's military operations were confined to the area of North China, the war was named the ‘North China Incident.’ It was called the ‘China Incident’ after her successive and more or less successful operations had spread to Central and South China. And when a war broke out in the Pacific in December 1941 the Sino-Japanese war became an inseparable part of the ‘Greater East Asia War’ (Dai-tōa sensō), a name rarely heard by now, since it soon gave way to the ‘Pacific War’ (Taiheiyō sensō) in the sense of Japan waging the war of the Ocean, or to the ‘Second World War’ in the global sense.

The Pacific War and the Second Golden Age

2012 ◽  
Author(s):  
Ian W. McLean
Keyword(s):  
Korean War ◽  
Second World War ◽  
Pacific War ◽  
World War ◽  
The Pacific ◽  
The Korean War ◽  
Australian Economy ◽  
Per Capita ◽  
Positive Shock ◽  
Second World

This chapter details how the Second World War imparted a more favorable shock to the economy than the First. The postwar international economic environment was much more conducive to raising incomes than it had been after 1919. In the 1950s, prosperity was further underpinned by the Korean War wool boom, and by an intensification of the process of import substituting industrialization. In further narrowing the focus to civilian consumption, the massive diversion of resources into the defense sector predictably resulted in a decline in consumption expenditure per capita during both wars, but by less during the Second World War. With this caveat, it seems appropriate to describe the Second World War as delivering on balance a positive shock to the Australian economy.

scholarly journals Culturele collaboratie en “het terrein der Kunst”. Een document rond de repressie en epuratie van Prosper De Troyer

2007 ◽  
Vol 66 (2) ◽  
pp. 163-173
Author(s):  
Luc Boeva
Keyword(s):  
Qualitative Research ◽  
Second World War ◽  
New Order ◽  
World War ◽  
Nineteen Twenties ◽  
Art And Politics ◽  
Avant Garde ◽  
The Relationship ◽  
Second World

Kunstschilder Prosper De Troyer (1880-1961) behoorde tot de Vlaamse potentiële avant-garde, die zich bewoog in de rand van het activisme. Tijdens de twintiger jaren evolueerde hij  in figuratieve, expressionistische zin, waarbij hij steeds sterker tendeerde naar een beeldentaal die kon gelden als de Identitätsnachweis van het Vlaamse volk. Dat beeld was overigens in overeenstemming met  de smaak (en de doelstellingen) van de Nieuwe Orde; De Troyer ging uiteindelijk de weg van de culturele collaboratie en kwam na de Tweede Wereldoorlog in aanraking met de repressie en de epuratie. In deze bronnenpublicatie stelt Luc Boeva een pleitnota voor van zijn advocaat, Frans van der Elst, die daarin de relatie tussen kunst en politiek centraal stelt. De tekst vormt daardoor een bron voor het vergelijkend kwalitatiief onderzoek van de culturele collaboratie c.q. de repressie.________Cultural collaboration and the "Art sector". A document dealing with the repression and purgation of Prosper De TroyerThe painter Prosper De Troyer (1880-1961) belonged to the Flemish potential avant-garde, which operated in the margins of activism. During the nineteen twenties he evolved in a figurative, expressionistic sense, and he tended to increasingly use an evocative language which could refer to the Identitätsnachweis of the Flemish nation. At any rate, that image agreed with the taste (and the objectives) of the New Order; De Troyer ultimately followed the path of cultural collaboration and after the Second World War he experienced repression and purgation. In this source publication Luc Boeva presents the memoranda of oral pleadings of De Troyer's solicitor, Frans Van der Elst, in which he focuses on the relationship between art and politics. For that reason the text constitutes a source for comparative qualitative research of cultural collaboration and/or the repression.

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