井の中の蛙

ASPAC was at Soka University of America this year. It’s in the hills above Laguna Beach, just down the road from Irvine, on the edge of a nature reserve. The campus is new — they opened in 2001 — and compact, with shiny new buildings and real ambition. Being a hilltop campus, there’s a lot of stairs; being in southern California, and near a nature preserve, there’s some lovely flora and fauna on campus, and I think I’ve solidified my reputation among my conference colleagues as “the camera guy.” Like so many American colleges, Soka U. has a religious foundation to its community and pedagogy, but is open to non-Soka Gakkai students and faculty¹ and has a secular, transformative mission.

Soka Gakkai tends to be something of a sideshow for Japan specialists — a Nichiren sect with a political wing, it’s the largest single religious institution in Japan but usually gets folded in with the rest of the Buddhist traditions; the political aspects of it get subsumed by the LDP’s continuing dominance — but it has a global reputation for peace, environmental and educational projects which goes well beyond their numbers. One of the papers I heard on Sunday was a discussion of the role of foreign language study in Soka Gakkai pedagogy.² Soka founder Makiguchi Tsunesaburo was an adherent of John Dewey’s liberal humanism and Immanuel Kant’s enlightenment philosophy before he became a Nichiren Buddhist, making it a thoroughly global new religion.³ The engraving on the left reads
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1. I can’t speak for the student body, but the Soka faculty who’ve dealt with the ASPAC board aren’t SG adherents [↩]
2. The paper was arguing that Soka theory leads to a more advanced and effective language teaching system, but most of it sounded an awful lot like the dialogues, N+1 and immersion methods I encountered in the ’80s. The Makiguchi stuff was fascinating, though. [↩]
3. No, I’m still not sure how you combine Kant, Dewey and Nichiren in a consistent theological fashion. The tensions between nationalism and internationalism, enlightenment ecumenicism and Lotus Sutra exclusivism, just to name a few, seem substantial. My personal experience with SG members in Japan suggests that it propogates as a sort of Prosperity Gospel, but that doesn’t actually simplify anything. [↩]

I’m not sure when my family got this game, but I remember playing with it in the late 70s. Though Shogun is described as a “digital” game, there’s no electronics involved: magnets in the board turn the dial in each piece until a number shows in the window; that number is how far the piece can move next time. The pseudo-random element takes some of the strategy out of the game¹ and so it moves pretty quickly. Below you can see a rare early checkmate — most games involve a lot of piece exchanges before checkmate is on the table — that my 7 year-old managed to pull of in his third game. The numbers swinging around in the pieces is quite enchanting, especially for kids.

The game seems to have been invented by a Japanese, but I’m not sure it was ever marketed in Japan. Clavell’s Shogun came out a year or so before this game did, so it’s likely that the title would have been attached to anything with a hint of Japaneseness about it.

The association of ‘Japan’ with ‘digital’ is interesting; the use of ‘digital’ itself is an interesting cultural moment, the transition from ‘transistor’ to ‘digital.’ It’s got to be early in the analog v. digital wars, and the term is clearly being misused, as this is a patently analog game. Like “Shogun,” “digital” is a marketing device intended to invoke emotional responses rather than being descriptive.

1. especially if you play a cutthroat version which doesn’t allow players to test moves before making them [↩]

One of my students is doing a summer research project on the Japanese financial crisis of the 1990s and we just looked at Jon Woronoff’s book The Japanese Economic Crisis (1992) which was originally published as Japan, the Coming Economic Crisis (1979). Woronoff, who was at one point a correspondent for the journal “Asian Business” and still writes about East Asian economies, was apparently widely panned at the time for being a Japanophobe or maybe just a hater in general, but I was very struck by how many of the issues he raises–banking problems, too much reliance on exports and protectionism, widening social inequalities, insecurity for the elderly, the massive generation gap of the late 20th century, collapse of the company loyalty ethic–became widely acknowledged and commented-upon social and economic problems after the collapse of the bubble. Didn’t he turn out to be right about a lot of things? Has he gotten any credit? This is not my field. My understanding of postwar economic issues is thin (Is MITI a college at M.I.T?). But the many ways in which Japan’s response to its crisis of two decades ago resonate with both the global and Japanese situation today make this feel worth revisiting.

Am I the only person who had a bad reaction to the Tomb of legendary Japanese Queen Himiko found headlines I’ve been seeing?

The article says

Archaeologists had previously claimed that the tomb, built in the traditional keyhole-shape design, was built in the fourth century and therefore too modern for Queen Himiko.

But a team led by Professor Hideki Harunari has discovered new clay artefacts close to the site, which radiocarbon dating indicates were made between 240AD and 260AD. According to records from the Chinese court, with which the Yamatai kingdom had links, Queen Himiko died around 250 AD.

The evidence seems quite circumstantial to me, from the oddly specific radio-carbon dating to the fact that they haven’t studied the tomb itself, to the treatment of Himiko and Yamatai as unequivocally Nara-centered.

I was just commenting on Jonathan Jarrett’s article about rehdroxylation rate dating that it would be nice to have better dating technology, as a safeguard against wishful thinking and distortions of the archaeological record.

AndrewMc passes on the word from AsianWeek that one of the founders of ethnic studies and real multi-ethnic immigration history has passed away. Takaki was an Americanist primarily, but as I said at PH,

Takaki’s scholarship on ethnicity and immigration were part of the generation of scholarship which cracked the “Great White Men” historiography in both US and World studies.

Certainly my own scholarship on migration would be inconceivable without scholars like him raising issues and questions.

….the next generation, and ours, building on Takaki’s foundations, which began to make the study of migration truly transnational.

I never got to meet Takaki, though I suppose I was only a handshake away from him during my Berkeley sojourn, but I benefitted immensely from the institutions he helped build and the scholarship he fostered.

I just received Tools of Culture: Japan’s Cultural, Intellectual, Medical, and Technological Contacts in East Asia, 1000s-1500s, part of the Asia Past and Present book series. I hadn’t ordered a book from the AAS previously and didn’t know what to expect. A pamphlet? Something printed on a desktop? I was pleasantly surprised to see that this inexpensive paperback book (just $22.40 with the AAS member discount!) is a high quality product equal to anything you would see from a university press. I haven’t read the book, but the form is reassuring, and the blurbs by prominent premodern Japanese historians on the back also convince. This looks like an excellent publishing option. As it gets harder to publish with the usual suspects, alternatives such as the various East Asia Center presses (Harvard, Michigan, Cornell), the new PMJS Papers, and other options that I probably don’t know about yet become attactive and important ways of maintaining scholarly standards while still getting our work into print.

I almost didn’t check Chris Bradford’s Young Samurai: The Way of the Warrior out of the library when I saw it, but some instinct told me that it was something I should read. Perhaps it was the realization that Young Samurai was the first book in a series — oddly, though, there was no information on the other books¹ — and therefore likely to have some serious publicity support from the publisher. Perhaps it was the realization that the publisher was Disney/Hyperion, which more or less guarantees a pretty substantial distribution and readership. Perhaps it was the hope that I might find, finally, some historical fiction worth recommending…..

The book is about a young English boy who’s shipwrecked in Japan in 1611, and gets adopted by a samurai family, while being stalked by the ninja pirates who killed his father and crewmates. So it was a bit Karate Kid and a bit of the story of Will Adams (more Samurai William than Shogun); nothing surprising, really, but all a bit familiar. Aside from fairly predictable ahistorical elements,² commonplaces of martial arts fiction, and the implausible interpersonal relationships, nothing out of the ordinary.

I was about halfway through the book, though, when I realized what I was reading: it was the scene where Jack, the young Englishman, shows up at the school of his adopted father/patron — a formidable warrior — and all the students are introduced to the instructors at a big banquet. I put down the book, walked into the other room and said to my wife, “It’s Harry Potter in Japan!”

[spoilers, of course, under the fold]

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1. As near as I can tell from the websites, the second book is coming out in the UK shortly, with the third book scheduled for next year and a TV deal in the works, but nothing on the US side about when the sequels might be available here. [↩]
2. ninja, yes, and wakou pirates (who are also ninja) off the coast of eastern Japan in 1611, and the post-Enlightenment attitudes of the protagonist [↩]

The Journal of the Historical Society has put five recent articles up for free, including a four-year old essay by Herman Ooms on the state of Tokugawa intellectual history. Aside from the gallop through the history of state-of-the-field essays, it includes a quick, very positive, look at European scholarship in French and German. I’m not sure how long these articles (the rest of them look interesting, too, but not Asian studies) will be up, but I’ll be going back there for fun in between stacks of grading this week and weekend.

And, as a bonus, some 1920s British Jiujitsu demonstration films which really need someone who knows more about martial arts history to put into proper context.

By now most of you have probably heard of the erasure of buraku — the segregated communities of Japanese outcastes — from Google Earth.¹ The continuing discrimination against burakumin — hisabetsuminzoku² is the phrase I was taught to use in the late ’80s, but it doesn’t seem to have stuck — which often uses their unique geographic footprint as a tool for identifying the otherwise indistinguishable burakumin from the rest of the Japanese population was the issue: having the maps on Google Earth made it too easy.

The discussion at H-Japan has been fairly low-key³ and the UCB Library has calmed the scholars’ fears by announcing that the only alterations were made to the Google Earth versions, not to the online digital archive versions. That narrows the problem a bit…
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1. I got that from a student just before it showed up on H-Japan. [↩]
2. literally “peoples who have been discriminated against” [↩]
3. though Paul Stephen Lim’s story of government pressure to downplay burakumin issues is pretty shocking [↩]

Just received this from friends at the Japanese American National Museum:

The Japanese American National Museum is accepting film & video submissions for their Second annual ID Film Festival, a series of films that challenge and celebrate what it means to be Asian.

To take place from October 1-3, ID Film Fest will showcase both shorts and features to be screened digitally in the Democracy Forum, a state of the art theater in downtown Los Angeles.

ID Film Fest welcomes film and video works of all lengths and genres that challenge and celebrate what it means to be Asian and/or Asian American. Please direct all inquiries to ksakai@janm.org

To see the films that we screened at last year’s festival, visit http://www.janm.org/events/2008/idfilmfest/films/
Please send a one-paged synopsis of the work along with contacts (e-mail, address and phone), a short biography of the filmmaker and a DVD screener to the:

Japanese American National Museum
Attention: Koji Steven Sakai
369 E. First St.
Los Angeles CA 90012

There is no submission fee and no entry form is required. Submission deadline is AUGUST 1, 2009.