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2016, International Policy Digest
On August 15, 1945, President Harry S. Truman announced on television that Japan had surrendered. This decision was prompted by the catastrophic events of August 6 and 9, 1945, in which the United States of America dropped atomic bombs on the cities of Hiroshima and Nagasaki, causing massive destruction of the infrastructure and loss of human life. 'What Light, Black Rain' provides us with a lens through which to view these events.
Cornell Univeristy
Transnational Images Of Hiroshima And Nagasaki: Knowledge Production And The Politics Of Representation2009 •
Inter-Asia Cultural Studies
Reinventing Nagasaki: the Christianization of Nagasaki and the revival of an imperial legacy in postwar Japan2016 •
The IAJS Journal
The Atomic Bombings of Hiroshima and Nagasaki in Japanese Feature Length Animation Movies2016 •
As WWII becomes more and more an object of the distant past, authentic retellings of the war by eyewitnesses also become decreasingly accessible. Therefore, collective records of retellings become increasingly important for the formation of the collective memory on WWII. In the case of Japan, animation movies are one of the most important forms of such collective records, as the two movies that are said to have had the most influence on the Japanese war memory are the animated adaptations of Grave of the Fireflies (1988) and Barefoot Gen (1983). And while Grave of the Fireflies in its depictions of the fire bombings of Japan can be contested by a series of other titles, the only complementary film to Barefoot Gen’s reproduction of the atomic bombing of Hiroshima, Nagasaki 1945 – Angelus Bell (2005, hereafter Nagasaki 1945), bears no weight in the creation of WWII memories. As this indicates an ideological vacuum especially for the atomic bomb narrative in Japan, a comparison of key factors of Barefoot Gen and Nagasaki 1945 should clarify if the views transported by Barefoot Gen are indeed one-sided. Regarding the role of movies in the social awareness of the atomic bombs in Japan, an essay by Donald Richie hinted that early involvements of the political left in the production of according titles branded the genre as leftist propaganda. This substantiates the grip of the rather conservative approach of Barefoot Gen on the Japanese public. Looking at the biography of Barefoot Gen’s original author Keiji Nakazawa and at the publishing history of the initial Barefoot Gen Manga, it quickly becomes obvious that those can be considered to have played decisive roles in the shaping of the Anime’s plot and visuals. Most important here is the temporary serialization of Barefoot Gen in a magazine issued by the Japanese communist party between 1977 and 1979, which is also the period in which the first three live-action adaptations of the comic have been produced and released. In a closer analysis we then find great differences between the Anime adaptation and the Manga, reinforcing suspicions of a shift towards conservative narratives. On the other hand, Nagasaki 1945 sticks closely to its underlying original text, Nagasaki Genbakuki by Dr. Tatsuichirō Akizuki. As Akizuki first started working on his text during the allied occupation of Japan, influences of the allied censorship and the atomic bomb and post-war narrative instilled by the GHQ seem to have at least partly shaped his records. With Akizuki being in a vegetative state at the time of the production of the Nagasaki 1945 Anime, plot changes would have endangered the titles credibility and so major differences between Nagasaki 1945 and Barefoot Gen can be directly traced back to Nagasaki Genbakuki. What stands at the end of this research is the interpretation that the different social standings of Nakazawa and Akizuki at and after the time of the bombings have created two different narratives. This stresses that Barefoot Gen’s de facto monopoly on the depiction of the historical atomic bombings in Anime and Japanese domestic movies indeed bears the risk of an ideological imbalance in the mediated collective memory of WWII.
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Dissociative Entanglement: US–Japan Atomic Bomb Discourses by John Hersey and Nagai Takashi2012 •
This paper explores John Hersey's Hiroshima (1946) and Nagai Takashi's The Bells of Nagasaki (1949). These two best-selling books published in the US and Japan in the late 1940s portray the experiences of Hiroshima and Nagasaki. Although they appeared in a similar period—a postwar transition and a herald of the Cold War—their reception was strikingly different. Hersey's piece acquired international
Chad R. Diehl, "Envisioning Nagasaki: From 'Atomic Wasteland' to 'International Cultural City,' 1945-1950," Urban History 41:3 (August 2014): 497-516. DOI: https://doi.org/10.1017/S0963926813000746 Abstract: This article looks at the first five years of reconstruction in Nagasaki City after the atomic bombing of 9 August 1945, elucidating how the municipal vision of reconstruction shaped the city's post-war urban identity, especially in comparison to Hiroshima. From early on, city officials envisioned the future of Nagasaki as a restored ‘international cultural city’, not solely as a centre of atomic memory, while Hiroshima made the atomic experience the centre of its urban identity. This article seeks to revive Nagasaki as a subject of historical inquiry in order to balance scholarly, as well as popular, literature on the bombings, which has favoured Hiroshima for nearly seven decades. In short, the story of Nagasaki sheds a different light on bombing and aftermath, not only in comparison with Hiroshima but with other cities that have suffered mass destruction and the course of their subsequent reconstruction.
2016 •
Inspired by the “aesthetic turn” in International Relations (IR), the present dissertation focuses on atomic bomb literature, a genre in Japanese literature that portrays the nuclear attacks of Hiroshima and Nagasaki from the viewpoint of survivors, of hibakusha. The study contrasts stories and poetic depictions, conveyed by literature, with dominant narratives and representations of the events, championed by sovereign authorities. Its aim is to call attention to the fissures between literary accounts and hegemonic discourses, disrupting the latter. The dissertation argues that the contrast between narratives accentuates divergences, exposes inconsistencies, undermines self-evident concepts, and fragments taken- for-granted “truths.” By bringing out differences, this contrast creates a vivid, kaleidoscopic memory of the atomic bombings. Moreover, the study advances that literary texts enable us to grasp aesthetic, cultural, and emotional facets of nuclear weapons that have been often neglected in IR scholarship. The dissertation investigates how atomic bomb literature destabilizes the sovereign frontiers that limit our modern political imagination. By delineating alternative narratives of war and nuclear atrocities, literature challenges the “atomic silence”, the silence of death and destruction imposed by the bomb, and sparks critical thinking about world politics and security.
Asia-Pacific Journal: Japan Focus
Politics of Reconstruction and Reconciliation in U.S-Japan postwar relations2015 •
its a study about the heritage conflict and how the used the methods of conservation and restoration in the case of the effect of the atomic bomb
This article explores the poetry written by survivors of the atomic bombing of Nagasaki to elucidate the history of atomic memory in the city. Looking closely at works by three poets, the article discusses how poetry served as a medium for the survivors to grapple with traumatic memory and convey the atomic experience in meaningful ways that both provided catharsis and challenged a landscape of memory that ignored their personal trauma and suffering. An analysis of their verse also informs our understanding of the historical nature of war trauma more generally.
Italian Institute for International Political Studies (ISPI)
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Intus - Legere Historia
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