Brief notes on Kajii Jun's Tore, yôchô no jû to pen
I was glad I did go back and read the whole book, because the second chapter in particular caused me to significantly revise my views on Kajii as a critic.( Kajii is not rational about Norakuro )
Shimizu Isao is probably the most famous "manga historian" in Japan, though this book (1999) isn't an academic text, much to my frustration: there are no citations beyond the dates and original publications of the images, and Shimizu displays the usual tics of Japanese scholarly writing that are deeply infuriating to someone trained in the more rigorous American style, especially his habit of making claims about what people thought with absolutely no evidence to back it up, and his habit of going on pointless tangents (such as his talking about his trip to Egypt by way of an introduction to how professional cartoonists portrayed women in the era of imperial democracy).
That said, Shimizu is a giant in the field, and a lot of what he says here (the influence of movies on manga in particular) agrees with things that I have already been thinking and conclusions I have previously drawn from my research. Of course, there's also plenty of things I disagree with him about, most notably in this book his addiction to the empty, outdated term "Taisho democracy" and his conviction that manga has important continuities with the "amusing pictures" of the Edo period. It would be difficult to overstate the degree to which I am opposed to this position, and in my opinion, Shimizu should know better, particularly since he is probably the single most knowledgeable person about prewar comics periodicals anywhere. Oh well.
For further remarks, see the dissertation.
Many believed that by realizing the best of East and West, Japan had achieved a new cosmopolitan culture. The recognition of having achieved this unprecedented synthesis validated the subsequent belief that Japan was uniquely qualified to assume leadership in Asia, although much of the rhetoric that the writers used referred to the world at large. Whereas an earlier cosmopolitanism promoted the ideal of cultural diversity and equivalence based on the principle of a common humanity, which served also to restrain excessive claims to exceptionalism, the new culturalism of the 1930s proposed that Japan was appointed to lead the world to a higher level of cultural synthesis that surpassed Western modernism itself. (712)( Fascism in Japan )
Women in the Konjaku, however, are burdened with the task of managing both their own sexuality and men's basic instincts, not because women are associated with reason but because they have the power to entice men. Consequently, cultural construction rests heavily on the female's shoulders, complicating the anthropological metanarrative that equates men with culture and women with nature. (154)
…first, the production of universal, totalizing theory is a major mistake that misses most of reality, probably always, but certainly now; and second, taking responsibility for the social relations of science and technology means refusing an anti-science metaphysics, a demonology of technology, and so means embracing the skillful tasks of reconstructing the boundaries of daily life, in partial connection with others, in communication with all of our parts. It is not just that science and technology are possible means of great human satisfaction, as well as a matrix of complex dominations. Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves. This is a dream not of a common language, but of a powerful infidel heteroglossia. It is an imagination of a feminist speaking in tongues to strike fear into the circuits of the supersavers of the new right. It means both building and destroying machines, identities, categories, relationships, space stories. Though both are bound in the spiral dance, I would rather be a cyborg than a goddess. (316)
If delinquency symbolized the dangers of uncontrolled social change and the defects of existing social arrangements, champions of juvenile reform and juvenile protection envisioned an orderly, productive Japan that could master the challenges of the modern era, from industrialization to imperialist expansion to total war. The ideas of these reformers, and the thick, intrusive network of socialization agencies that they constructed, have to this day played a critical role in shaping Japanese experiences of home, school, work, and play, and in fostering the culture of discipline and social vigilance for which contemporary Japan is internationally known. (2)
Perceiving the tacit relationship between liberalism and the imperialist order, the Japanese chose to conform to liberal ideas and institutions to direct Japan's transformation into an imperialist power in Asia. … Trying to sustain and rationalize the imperial project, Japanese liberals actively sought to make the domestic political stage less hostile to liberal ideas and practices by appealing to the interests of the new middle class. The press was their main instrument of power. Facilitating the creation of print-mediated public opinion, liberal intellectuals attempted to enlist the new middle class as a social ally in circulating liberal ideas and practices within Japan and throughout the empire. (6, 7)
…the growth of the parties in Japan was the result of a crucial transformation among party men from an ideological to a strategical orientation; or, from an attitude of uncompromising opposition to the government based on the ideal of a single, unified, popular party (mintô gôdô) to that of realistic compromises within the government structure. In particular the successes of one party, the Seiyûkai, under Hara Kei, in pursuing this course of action were decisive in steering party politics in Japan away from multiparties toward two major competing party alignments. (xii)