However, its potential for mass psychological impact created a new paradigm with the invention of modern electronic communications. Every nation involved in the Second World War, whether of the Allies or Axis, possessed an agency devoted to the mission of demoralizing and misleading the enemy, and virtually all artistic genres participated. In America, Frank Capra, director of beloved films such as It’s a Wonderful Life and Mr. Smith Goes to Washington, also directed wartime films demonizing the Germanic personality. In a notable example, a training film warns young GIs that German women do not share a natural capacity for human ethics common to higher civilizations and therefore must be avoided. Theodore Geisel, beloved to Western children as Dr. Seuss, wrote stories stereotyping, demeaning, and demonizing the Japanese, complete with insulting and offensive illustrations. Radio Free Europe filled the airwaves with pro-western speech as a counter to communist expansion and diatribes about the ‘otherness’ of enemy societies. Japanese propaganda was not a new invention to be used only against the United States. While the U.S. lacked any international audience, preaching mostly to its own, Japan disseminated propagandistic material throughout all the Asian countries it eventually intended to conquer. In the years leading up to World War II, an intense study led by the Japanese government delved into the details of American culture and customs, particularly those dear to men of fighting age. Both countries, at one time or another, assaulted the Chinese world image as represented by “yellow monkeys,” or the “yellow peril.” Both the U.S. and Japan made excellent use of the “war poster,” but among the most striking was an American-created image of a naked white woman slung over the shoulder of a Japanese officer, as if the entire American nation would be raped if the empire was allowed to prevail. By 1945, Japanese animation was in full swing, producing films such Momotaro: Sacred Sailors. American officers are portrayed as bulbous idiots as the noble Japanese seamen save the island. By the end of the war, the U.S. instructed all copies to be destroyed, but one mysteriously survived. An American citizen stranded in Japan as an enemy alien during the war, Iva Toguri was a regular broadcaster on what became an ongoing thread of what she saw as entertainment for American sailors and their counterparts. The Japanese, generally unable to speak English with the necessary accuracy, sought to cause emotional fatigue among American forces through reminiscing over the music and memories of lost Americana. They believed that Toguri was the ideal on-air personality with whom to accomplish such an end. However, history is less certain as to what actually occurred in Toguri’s time at the microphone, and the bulk of examples have since been lost. Her true intentions in speaking for a country she never wished to visit and would not join as a citizen is still debated. Edwin O. Reischauer, an American ambassador from the 1960s, reflected on the Tokyo Rose story as “a mere wartime myth.” Tokyo Rose: The History and Legacy of Iva Toguri and Japan’s Most Famous Propaganda Campaign during World War II examines the controversial career and legacy of the war’s most famous radio propaganda campaign. Along with pictures depicting important people, places, and events, you will learn about Tokyo Rose like never before.

    Controversial from the very beginning, the treaty still shapes the destinies of societies and states worldwide. British Prime Minister David Lloyd George said "It is all a great pity. We shall have to do the same thing all over again in twenty-five years at three times the cost," and French Marshal Ferdinand Foch declared that "This is not peace. It is an armistice for twenty years." At the time, observers read the treaty through competing lenses of peacemaking after the First World War, the future of colonialism, and the emerging threat of Bolshevism. A century after its signing, we can gain new perspectives on the treaty and its impacts by looking at how those histories evolved through the remainder of the twentieth century and into the twenty-first. The author of several award-winning books, Michael Neiberg provides a clear and authoritative account of the Treaty of Versailles, explaining the enormous challenges of trying to put the world back together after the global destruction of the First World War. He shows how the treaty affected not only Europe but also the rest of the world. In China, the Allied decision to give the Shantung Peninsula to Japan led to a wave of protests known today as the May Fourth movement, which is seen as a foundational moment in the modern history of China. Global disillusionment with the treaty led to mass transnational movements that helped to set the foundations for Cold War debates about anti-colonialism. American rejection of the treaty also served as a mirror and a prism for American fears and ambiguities about its own international role. The treaty is, therefore, much more than its role in ending the First World War.

    Foreign observers were terrified that Japan would lapse into violent xenophobia. But the new Meiji government took an opposite course. It copied best practices from around the world, building a powerful and modern Japanese nation with the help of European and American advisors. While revering the Japanese past, the Meiji government boldly embraced the foreign and the new. What explains this paradox? How could Japan's 1868 revolution be both modern and traditional, both xenophobic and cosmopolitan?To Stand with the Nations of the World explains the paradox of the Restoration through the forces of globalization. The Meiji Restoration was part of the global long nineteenth century during which ambitious nation states like Japan, Britain, Germany, and the United States challenged the world's great multi-ethnic empires--Ottoman, Qing, Romanov, and Hapsburg. Japan's leaders wanted to celebrate Japanese uniqueness, but they also sought international recognition. Rather than simply mimic world powers like Britain, they sought to make Japan distinctly Japanese in the same way that Britain was distinctly British. Rather than sing God Save the King, they created a Japanese national anthem with lyrics from ancient poetry, but Western-style music. The Restoration also resonated with Japan's ancient past. In the 600s and 700s, Japan was threatened by the Tang dynasty, a dynasty as powerful as the Roman empire. In order to resist the Tang, Japanese leaders borrowed Tang methods, building a centralized Japanese state on Tang models, and learning continental science and technology. As in the 1800s, Japan co-opted international norms while insisting on Japanese distinctiveness. When confronting globalization in 1800s, Japan looked back to that ancient globalization of the 600s and 700s. The ancient past was therefore not remote or distant, but immediate and vital.

    Inns, shops, and restaurants were established to provide sustenance and lodging to weary travelers. In 1835, renowned woodblock print artist Keisai Eisen was commissioned to create a series of works to chart the Kisokaidō journey. After producing 24 prints, Eisen was replaced by Utagawa Hiroshige, who completed the series of 70 prints in 1838. Both Eisen and Hiroshige were master print practitioners. In The Sixty-Nine Stations along the Kisokaidō, we find the artists’ distinct styles as much as their shared expertise. From the busy starting post of Nihonbashi to the castle town of Iwamurata, Eisen opts for a more muted palette but excels in figuration, particularly of glamorous women, and relishes snapshots of activity along the route, from shoeing a horse to winnowing rice. Hiroshige demonstrates his mastery of landscape with grandiose and evocative scenes, whether it’s the peaceful banks of the Ota River, the forbidding Wada Pass, or a moonlit ascent between Yawata and Mochizuki. Taken as a whole, The Sixty-Nine Stations collection represents not only a masterpiece of woodblock practice, including bold compositions and an experimental use of color, but also a charming tapestry of 19th-century Japan, long before the specter of industrialization. This TASCHEN XXL edition revives the series with due scale and splendor. Sourced from the only-known set of a near-complete run of the first edition of the series, this legendary publication is reproduced in optimum quality, bound in the Japanese tradition and with uncut paper. A perfect companion piece to TASCHEN’s One Hundred Famous Views of Edo, it is at once a visual delight and a major artifact from the bygone era of Imperial Japan. The editor and author Andreas Marks studied East Asian Art History at the University of Bonn and obtained his PhD in Japanese studies from Leiden University with a thesis on 19th-century actor prints. From 2008 to 2013 he was director and chief curator of the Clark Center for Japanese Art in Hanford, California, and since 2013 has been Mary Griggs Burke Curator of Japanese and Korean Art, Japanese and Korean Art Department Head, and director of the Clark Center for Japanese Art at the Minneapolis Institute of Art. The author Rhiannon Paget studied at Tokyo University of the Arts and received her doctorate in Japanese Art History from the University of Sydney, Australia. The curator of Asian art at the John & Mable Ringling Museum of Art in Sarasota, Florida, she has published research on Japanese woodblock prints, textiles, board games, and nihonga.

    As an Army staff officer stated simply, "The capitulation of Hirohito saved our necks." In 1944, a year earlier, success seemed near, but squabbling in the military command and the logistical challenges of launching a full-scale invasion of the Japanese mainland soon took their toll, and by the time of V.E. Day it was questionable whether the United States was up to the task of ending the war in the Pacific. An exhausted American public was calling for troops to come home and for the country to return to manufacturing consumer items instead of arms. Republican politicians called for the Allies to back away from the demand for unconditional surrender. The politically powerful constituency of GIs won legislative victories, allowing soldiers more easily to leave the military and depleting units just as they most needed experienced soldiers. Weaving together analysis of grand strategy with a vivid narrative depicting the brutal, debilitating, and often terrifying experience of combat, Waldo Heinrichs and Marc Gallicchio bring to life the final year in the Pacific. They explore the lives of the soldiers, sailors, and Marines who faced illness, drenching rain, and tenacious Japanese opponents. They also evoke the grand, clashing personalities of Douglas MacArthur and George C. Marshall, who warned of "the agony of enduring battle," and shed light on the views of President Roosevelt, who doubted Americans' understanding of the conflict and worried about a public mood that oscillated between overconfidence and despair. After the bloodletting on Iwo Jima and Okinawa, the war against Japan seemed more repugnant and less meaningful than the struggle against Germany. It is in this context, of military emergency and patience wearing thin, that a new president, Harry S. Truman, made the decision to deploy the atomic bomb. This remarkable, gripping narrative challenges assumptions about the inevitability of the war's outcome, the consequences of the "Europe first" strategy, and the wisdom of America's leaders.

    Would Japan's remarkable post-World War II economic success enable the East Asian nation to overtake the United States? Or could Japan's globe-trotting corporations serve as a model for battered U.S. industries, pointing the way to a future of globalized commerce and culture? While popular films and literature recycled old anti-Asian imagery and crafted new ways of imagining the "yellow peril," and formal U.S.-Japan relations remained locked in a holding pattern of Cold War complacency, a remarkable shift was happening in countless local places throughout the United States: Japanese goods were remaking American consumer life and injecting contemporary globalization into U.S. commerce and culture. What impact did the flood of billions of Japanese things have on the ways Americans produced, consumed, and thought about their place in the world? From autoworkers to anime fans, Consuming Japan introduces new unorthodox actors into foreign-relations history, demonstrating how the flow of all things Japanese contributed to the globalizing of America in the late twentieth century.

    The mysterious -Black Ships- had arrived. In this stirring account of a pivotal moment in modern Japanese history, award-winning author and illustrator team Sean Michael Wilson and Akiko Shimojima tell the story of the four American -Black Ships- that arrived in Japan in 1853 under the command of Commodore Perry to force Japan to open up to trade. The book compellingly portrays the apprehension and confusion of the Japanese people witnessing the Black Ships steaming into view over the horizon; the anxious response of the samurai; the cat-and-mouse game that ensued; the protracted negotiations; and the eventual agreement signed on March 31st, 1854, as the Treaty of Kanagawa. Historically accurate and with an easy-to-read visual format, Black Ships conveys the personalities of the key figures in the drama: on one side, Commodore Perry and his captains, and on the other, Shogunate officials Abe Masahiro and Hayashi Akira. Wilson and Shimojima vividly capture the atmosphere of threat and change that pervaded Japan during Bakumatsu, the final years of the Edo period, as the feudal Tokugawa shogunate took its last breaths and gave way to the new Meiji government.

    Studies of the Japanese city have focused on Tokyo, but a fuller understanding of urban space and life requires analysis of other cities, beginning with Osaka. Japan's "merchant capital" in the late sixteenth century, Osaka remained an industrial center--the "Manchester of the East"--into the 1930s, developing a distinct urban culture to rival Tokyo's. It therefore represents a critical site of East Asian modernity. Osaka Modern maps the city as imagined in Japanese popular culture from the 1920s to the 1950s, a city that betrayed the workings of imperialism and asserted an urban identity alternative to--even subversive of--national identity.Osaka Modern brings an appreciation of this imagined city's emphatic locality to: popular novels by Tanizaki Jun'ichirō, favorite son Oda Sakunosuke, and best-seller Yamasaki Toyoko; films by Toyoda Shirō and Kawashima Yūzō; and contemporary radio, television, music, and comedy. Its interdisciplinary approach creates intersections between Osaka and various theoretical concerns--everyday life, coloniality, masculinity, translation--to produce not only a fresh appreciation of key works of literature and cinema, but also a new focus for these widely-used critical approaches.

    Japanese immigration to Brazil started in 1908 to replace European immigrants to work in Sao Paulo's expanding coffee industry. It peaked in the late 1920s and early 1930s as anti-Japanese sentiment grew in Brazil. Approximately 189,000 Japanese entered Brazil by 1942 in mandatory family units. After the war, prewar immigrants and their descendants became quickly concentrated in Sao Paulo City. Immigration from Japan resumed in 1952, and by 1993 some 54,000 immigrants arrived in Brazil. By 1980, the majority of Japanese Brazilians had joined the urban middle class and many had been mixed racially. In the mid-1980s, Japanese Brazilians' "return" labor migrations to Japan began on a large scale. More than 310,000 Brazilian citizens were residing in Japan in June 2008, when the centenary of Japanese immigration was widely celebrated in Brazil. The story does not end there. The global recession that started in 2008 soon forced unemployed Brazilians in Japan and their Japanese-born children to return to Brazil.Based on her research in Brazil and Japan, Mieko Nishida challenges the essentialized categories of "the Japanese" in Brazil and "Brazilians" in Japan, with special emphasis on gender. Nishida deftly argues that Japanese Brazilian identity has never been a static, fixed set of traits that can be counted and inventoried. Rather it is about being and becoming, a process of identity in motion responding to the push-and-pull between being positioned and positioning in a historically changing world. She examines Japanese immigrants and their descendants' historically shifting sense of identity, which comes from their experiences of historical changes in socioeconomic and political structure in both Brazil and Japan. Each chapter illustrates how their identity is perpetually in formation, across generation, across gender, across class, across race, and in the movement of people between nations.Diaspora and Identity makes an important contribution to the understanding of the historical development of ethnic, racial, and national identities; as well as construction of the Japanese diaspora in Brazil and its response to time, place, and circumstances.