Twenty-first Japan Studies
Association Conference

08–10 January 2015
Embassy Suites
San Diego Bay–Downtown
San Diego, California

PROGRAM
21th Annual Japan Studies Association Conference
08-10 January 2015
Embassy Suites San Diego Bay—Downtown
San Diego, California

Thursday, 08 January
8:30am-1:30pm

Executive Board Meeting: Atchison Board RoomWorking lunch at the Fish Market (Seaport Village), starting at 12noon

4:00-5:30pm

Preconference event
Wine and chocolate tasting – for the first 14 to register for the JSA
Conference (excluding JSA Board Members)
Meet Joe Overton in the atrium of the Embassy Suites

5:00-6:00pm

Conference registration
Location of table: outside Santa Fe Room

5:30 – 7:30pm

Meet and greet: Manager’s happy hour
Gather in the restaurant area (drinks & hors d'oeuvres included)

Dinner on your own (for suggestions, see pp. 12-13)

1|PageFriday, 09 January
7:30 – 8:30am

Breakfast (included) – restaurant area

8:00 – 8:45am

Conference registration
Location of table: outside Santa Fe Room

8:45 – 9:00am

Opening Remarks
Dr Joseph Overton
President, Japan Studies Association
Location: Santa Fe Room

9:00 – 10:00am

Keynote Address
William Tsutsui
Professor of History
President, Hendrix College“Dreading and Dreaming Disaster: Japan’s Apocalyptic Imagination from
Hiroshima to Fukushima”
Location: Santa Fe Room

10:00 – 10:15am

Coffee/Tea Break: outside Santa Fe and Topeka Rooms

10:15-11:30am

Session 1 – Japanese Film: Decentering Narrative, Screening
Radicalism and Engaging Immature Audiences
Location: Santa Fe Room
Chair: Barbara Mason, Oregon State University
Michael F. Lynch, Kent State University‘The Grandmother Effect:’ Individual Loss and Societal Enrichment inThree Recent Japanese Films
Marc Yamada, Brigham Young University
The Post-Aum Films of Kurosawa Kiyoshi
Susan Mason, California State University, Los Angeles
Mindful Spectatorship: Ozu Yasujiro

2|Page10:15-11:30am
Friday, 9 January

Session 2 – Pedagogy Roundtable: Infusing Japanese Studies in the
Undergraduate Curriculum, Part I
Location: Topeka Room
Chair: Chair: Andrea Stover, Belmont University
Ping Situ, University of Arizona Libraries
Qian Liu, Arizona State University Libraries
Surviving and Thriving in Tough Economic Times: An Innovative andCollaborative Approach to Support Japanese Studies Programs in US
Academic Libraries
Ann Pelelo, Clarke University
Michael Knock, Clarke University
Creating a Team-taught Scholars Program Seminar on Japan

11:35am-12:50pm Session 3 – Clutch Hitters and Line Drives: Change and Continuity in
21st-century Japan
Location: Santa Fe Room
Chair: Genaro Castro-Vázquez, Nanyang Technological University
Arthur A. “Trey” Fleisher III, Metropolitan State University of Denver
Is Abe’s Quiver Just Holding Broken Arrows?
Paul Dunscomb, University of Alaska Anchorage
The Crisis in Japanese Professional Baseball and the Transformationof Early Heisei Japan
Hitoshi Ogawa, National Institute of Technology, Tokuyama College
Exactly What Is Japanese Philosophy? : The Potentiality ofHarmonious Dialectic
Session 4 – Reforms and Science in Japan during the Edo Period
Location: Topeka Room
Chair: Michael Wood, Chapman University
Sergey Tolstoguzov, Hiroshima University
Takashima Shūhan and the Military Reform in Japan in the Tenpō
PeriodEvgenii Philippov, St. Petersburg State University
Japanese Mathematics in the Edo Period
Alexandr Philippov, St. Petersburg State University‘The Three Great Reforms’ in the Latter Part of the Edo Period (thereforms as a formative period in the process of “molding” of theJapanese national character)
1:00-2:00pm

Lunch (included): Monterey II Room
3|Page2:00-3:15pm
Friday, 9 January

Session 5 – East-West Intersections: Ritual, Theatre, Translation
Location: Santa Fe Room
Chair: Maggie Ivanova, Flinders University
Elaine Gerbert, University of Kansas
The Case of Laughter in Japan
Susan Castro, Wichita State University
Zeami’s Reply to Plato: On the Art of Sarugaku
Allan Persinger, Madison Area Technical College
Negotiating Cultural Differences in Translation: Translating the Poetryof Yosa Buson
Session 6 – Pedagogy: Infusing Japanese Studies in the
Undergraduate Curriculum, Part II
Location: Topeka Room
Chair: Susan Clare Scott, McDaniel College
Ching-Hsuan Wu, Ohio Wesleyan University
A Learner’s View on Japanese Pedagogy
James K. Makubuya, Wabash College
Teaching Japanese Music: Its Impact on Expanding the Understandingof the Japanese Culture
Eric Kendrick, Georgia Perimeter College
Strategic Co-Curricular Initiatives for Japan Studies

3:15-3:30pm

Coffee/Tea Break: outside Santa Fe and Topeka Rooms

3:30-4:45pm

Session 7 – Responding to War Trauma and Disaster Recovery
through Historical Narrative, Film and Craft
Location: Santa Fe Room
Chair: Linda Gruber, Moraine Valley Community College
Richard J. Cappellino, Kaua’i Community College, University of
Hawai’i System
Hawaiian Heroes: The First Battle of the Pacific War
Akiko Mori, Community College of Philadelphia/ La Salle University
Censorship and American Democracy during the U.S. Occupation ofJapan: Censored Democracy, Policing Cinema, Business Opportunities
Jennifer McDowell, Tohoku Gakuin University
Looking Upward: Expressions of Hope and Well Wishes as a Processof Recovery

4|Page3:30-4:45pm
Friday, 9 January

Session 8 – New Voices in Japanese Studies
Location: Topeka Room
Chair: James Peoples, Ohio Wesleyan University
Rena Heinrich, University of California, Santa Barbara
Kokoro (True Heart): The Presence-Absence of Culture in the Ghost
Plays of Velina Hasu Houston
TJ Laws-Nicola, Texas State University
The Prevalence of Symmetry in Noh: An (Introductory) Semiotic
Interpretation
Joshua Truett, The Ohio State University
Noh Drama: Ancient Dance with Poststructuralist Theory(JSA Graduate Student Grant recipient)

4:50-6:05pm

Session 9 – Japanese Modernity
Location: Topeka Room
Chair: Stacia Bensyl, Missouri Western University

Wakako Suzuki, University of California, Los Angeles
Retracing the Roots of Shōjo Bunka through Yoshiya Nobuko's Flowery
Writing
William Lowe, Howard Community College
Epistles, Transference, and Dream Associations in the Palm-of-theHand Stories of Kawabata Yasunari
Session 10 – Pedagogy: Infusing Japanese Studies in the
Undergraduate Curriculum, Part III
Location: Santa Fe Room
Chair: Michael Stern, Community College of Philadelphia
Ashli Ree, Middlesex Community College
From Hollywood Fashion to Kimono: Meaning Making with HistoricalContext
Fay Beauchamp, Community College of Philadelphia
The Proud and the Splendid as Dust in the Wind: Reading The Tale ofthe Heike with Faculty Groups
Marjorie E. Rhine, University of Wisconsin, Whitewater
Exploring Ecocritical Perspectives by Juxtaposing The Tale of Genji’s“Suma” Chapter with Folktales in a Japanese Literature Survey Class
Dinner on your own (for suggestions, see pp. 12-13)

5|PageSaturday, 10 January
7:30 – 8:30am

Breakfast (included) – restaurant area

8:45-10:15am

Session 11 – Commemorating Hiroshima and Nagasaki, 1945-2015
Location: Santa Fe Room
Chair: Susan Mason, California State University, Los Angeles
Gloria R Montebruno Saller, University of La Verne
Atomic Bomb Survivors’ Personal Narratives as Oral Literature.
Growing Up in Hiroshima: Miyoshi Yoshie’s Life
Anu Warrier, University of Oxford
The Spectacle of the Atomic Bomb: Deconstructing the Images in Black
Rain, the Novel and Film
Keiko Miller, Mercyhurst University
Bonshō-kuyō 梵鐘供養, or ‘Funerals of Buddhist Temple Bells’
Maggie Ivanova, Flinders University
On Memory, (Self-)Forgiveness and the ‘A-Bomb Maiden:’ Inoue’s The
Face of Jizō on Stage and Screen
Session 12 – Contemporary Social Issues: Immigration, Social
Inclusion and Reproductive Technologies
Location: Topeka Room
Chair: Trey Fleisher, Metropolitan State University of Denver
W. Lawrence Neuman, University of Wisconsin, Whitewater
The Dynamics of Social Inclusion in Japan
Barbara Seater, Raritan Valley Community College
The Japanese Diaspora: The Confluence of Emigration and
Immigration Policies
Genaro Castro-Vázquez, Nanyang Technological University‘My husband’s sperm is triple A’: Male Infertility & Assisted
Reproductive Technologies in Contemporary Japan

10:15-10:30am

Coffee/Tea Break: outside Santa Fe and Topeka Rooms

10:30-11:45am

Session 13 – Inter-Asian Intellectual, Aesthetic & Literary Exchanges
Location: Santa Fe Room
Chair: Fay Beauchamp, Community College of Philadelphia
Susan Clare Scott, McDaniel College
The Chinese Literary Gathering: Artists’ Views and the Migration of the
Theme to Japan and Korea

6|PageMichael Stern, Community College of Philadelphia‘A Stately Pleasure Dome Decreed:’ the Gardens of China, Japan andthe Western Imagination
Michael S. Wood, Chapman University
Literary Subjects Adrift: The Japanese Castaway Narrative as Literary
Text
10:30-11:45am
Saturday, 10 Jan

Session 14 – Pedagogy Roundtable: Infusing Japanese Studies in
the Undergraduate Curriculum, Part IV
Location: Topeka Room
Chair: Eric Kendrick, Georgia Perimeter College
Jeannine Kitzhaber, University of Wisconsin, River Falls
Linda Noel, Morgan State University
Deborah Williams, Johnson County Community College
Successful Strategies for Incorporating Japan Studies into College
Course Work

11:50am-12:50pm

Plenary session: Kenkō's Tsurezuregusa
Location: Santa Fe Room
Chair and Discussant: John Paine

12:50am-2:20pm

Lunch on your own: for suggestions, see pp. 12-13

2:30-4:00pm

Plenary session: The Face Of Jizō
Location: Santa Fe RoomBarbara Mason, Oregon State University
Susan Mason, California State University, Los Angeles
Maggie Ivanova, Flinders University

4:00-4:15pm

Coffee/Tea Break: outside Santa Fe and Topeka Rooms

4:15-5:15pm

General Members Meeting and Closing Remarks
Location: Santa Fe Room
All JSA members and conference participants are encouraged to attend.

Dinner on your own (for suggestions, see pp. 12-13)

7|PageProfessor William Tsutsui
Keynote Speaker Bio
William M. Tsutsui is President and Professor of History at Hendrix College in Conway,
Arkansas. A specialist in the business, environmental and cultural history of modern
Japan, he is the author or editor of eight books, including Manufacturing Ideology:
Scientific Management in Twentieth-Century Japan (1998), Godzilla on My Mind: Fifty
Years of the King of Monsters (2004), and Japanese Popular Culture and Globalization(2010). He has received Fulbright, ACLS, and Marshall fellowships, and was awarded
the John Whitney Hall Prize of the Association for Asian Studies in 2000.

Acknowledgements
Conference Program Committee
Maggie Ivanova
Andrea Stover
Local Arrangements
Joseph Overton
Review Committee:
JSA Graduate Student Travel Grants and Paul Varley Award
James Peoples
Maggie Ivanova
Andrea Stover
JSA Executive Board
Joseph L. Overton, President
Fay Beauchamp, Vice President for Special Projects
James Peoples, Secretary
Stacia Bensyl, Treasurer
Robert Feleppa, Member at Large
Maggie Ivanova, Member at Large
Andrea Stover, Member at Large

8|PageIn Memoriam: Thomas P. Campbell

It was with deep sadness that I learned that Tom Campbell, Vice President of JSA, passed
away on July 16th after a valiant battle with cancer. He will be sorely missed by the entire JSA
family. All of us at JSA are better educators and scholars for having known and worked with theperson called Thomas Campbell. His intelligence, humor, and generosity of spirit will never be
forgotten.
I first met Tom in the summer of 2004 when he contacted me about participating in the Freeman
Summer Institute in Hawaii. Tom was preparing to spend a year at the prestigious Waseda
University in Tokyo as the on-site Director of Waseda’s program for American students
attending liberal arts colleges that are members of the Great Lakes College Association and the
Associated Colleges of the Midwest. Tom felt he wanted to learn as much about Japan as
possible before directing the program.
He was late applying for the Freeman Institute and even offered to pay his own way if we
accepted him. I accepted him into the program, and it was one of the best decisions I have evermade.
When Tom returned from Japan he immediately became an active member of JSA and soon
began having a very positive impact on JSA. His enthusiasm was uplifting for all of us, and thescholarship he provided at each conference was freshly creative, intellectually sophisticated,and highly engaging. Those of us who came to know Tom valued his opinions and suggestions.
It wasn’t long before everyone in JSA realized the tremendous asset he was to us. On top of
everything else he did, he took on the challenge of updating our website, donating generous
amounts of his time and expertise to the cause. Our much-improved website is due to Tom’s
diligence and care. His personality was such that we came to rely on his judgment and insight
regarding the future directions of JSA.
All of us on the Board feel a deep sense of loss both personally and professionally. I feel apersonal loss because I not only lost a valued colleague but also a very close friend. Our
condolences go out to his wife, Rose, his daughter, Liz, and his sons, Joseph and Scott. It is a
comfort to know he was blessed by the presence of his family.
Joseph L. Overton
President, Japan Studies Association
9|Page

MAPS
The Embassy Suites San Diego Bay – Downtown is located at 601 Pacific Highway, San Diego,
California, 92101, USA (TEL: +1-619-239-2400 FAX: 1-619-239-1520). It’s only three miles
away from San Diego Airport. It takes about 10 minutes to reach the hotel from the airport bytaxi and between 20-25 minutes by shuttle or public transportation. See also:
http://embassysuites3.hilton.com/en/hotels/california/embassy-suites-san-diego-bay-downtownSANDNES/index.html

Taxi: If you’d like to take a taxi from the airport to the conference hotel, simply follow the signs
leading to the Transportation Plazas. A Transportation Coordinator will place you with the firstavailable taxi, unless you specify a particular taxicab company.
Airport Yellow Cab of San Diego: 619-444-4444 (all major credit cards accepted)
American Cab: 619-234-1111 (all major credit cards upon request)
Orange Cab: 619-291-3333 (all major credit cards upon request)
San Diego Cab: 619-226-8294 or 800-368-2947 (major credit cards upon request)
USA Cab: 619-231-1144 (all major cards upon request)
See also: http://www.san.org/Parking-Transportation/Taxis#sthash.MGvjXd3F.dpuf

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Airport shuttle: From Terminal 1 you must cross the skybridge and take either the escalatorsor the elevators to street level. From Terminal 2 use the pedestrian crosswalk located outside
the Terminal 2 Baggage Claim Area to access the Transportation Plaza. A Transportation
Coordinator will place you with the first available shuttle, unless you specify a particular shuttlecompany (call directly or use the web links to find the shuttle that best suits your needs):
Advanced Shuttle – 800-719-3499
Airport Shuttle – 619-234-4403 or 888-254-0333
Cloud 9 Shuttle/Super Shuttle – 800-9-SHUTTLE (974.8885)
Coronado Livery – 619-435-6310
EZ Ride – 800-777-0585
Prime Time Shuttle – 800-REDVANS (733.8267)
Sea Breeze Shuttle – 619-297-7463

See also: http://www.san.org/Parking-Transportation/Shuttles#sthash.IgGNMdxn.dpuf
Public transport: Travelers headed to and from San Diego International Airport can connect
with Amtrak's Pacific Surfliner and the COASTER at Amtrak's Santa Fe Depot train station
downtown by using Metropolitan Transit System Route 992, which operates between 5:00 a.m.
and 11:30 p.m., every 15 minutes on weekdays and every 30 minutes on weekends andholidays.
See also: http://www.san.org/Parking-Transportation/Public-Transportation#sthash.QMz2U8Er.dpuf

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San Diego Gaslamp Quarter Restaurants and CafésBice Ristorante (619) 239-2423 – housemade pasta, cheese bar & Italian wines, plus happy-hourdeals, in sleek, black-and-white digs; 425 Island Ave, San Diego, CA 92101
Blue Point Coastal Cuisine (619) 233-6623 – refined seafood dishes, a raw bar & classic cocktails
are the draw at this vibrant, clubby eatery; 565 5th Ave, San Diego, CA 92101
Urban Bar and Grill (619) 235-8700 – New American fare such as burgers, seafood & pasta in abright, modern space, plus outdoor seating; 827 5th Ave, San Diego, CA 92101
Lou & Mickey's (619) 237-4900) – smart surf 'n' turf joint known for steakhouse staples & tropical
cocktails, plus an outdoor patio; 224 5th Ave, San Diego, CA 92101
de'Medici (619) 702-7228) – from steak Diane prepared tableside to the posh decor, this Italianeatery offers old-world charm; 815 5th Ave, San Diego, CA 92101
Neighborhood (619) 446-0002 – hopping hipster joint for craft brews, creative burgers & pub grub,plus a hidden speakeasy in back; 777 G St, San Diego, CA 92101
Operacaffe (619) 234-6538 – Tuscan & Florentine cooking by a husband-wife team at this warm
eatery with sidewalk seating; 835 4th Ave, San Diego, CA 92101
RA Sushi Bar Restaurant (619) 321-0021 -- Snazzy Japanese fusion chain known for its inventive
sushi, cocktails & happy-hour deals at the bar; 474 Broadway, San Diego, CA 92101
Spike Africa's Fresh Fish Grill & Bar (619) 795-3800 -- spacious fish house with an easygoing,
contemporary style offering a raw bar & fresh list; 411 Broadway, San Diego, CA 92101

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Cafe Chloe (619) 232-3242 -- Cozy spot dishes up French bistro classics with a local spin incheerful, Parisian-inspired digs; 721 9th Ave, San Diego, CA 92101

San Diego Seaport Village: Bay View* and Casual Dining*Buster's Beach House & Longboard Bar (619-233-4300): www.bustersbeachhouse.com*Edgewater Grill (619-233-4300): www.edgewatergrill.com*Harbor House (619-232-1141): www.harborhousesd.com*San Diego Pier Café (619-239-3968): www.piercafe.com
Asaggio Pizza Pasta Plus (619-234-2407): www.asaggiopizza.com
Greek Islands Café (619-239-5216): www.greekislandscafe.com
Margarita's Kitchen & Cantina (619-239-3800): www.margaritaskitchen.com
Marion's Fish Market (619-233-1143): www.marionsfishmarket.com
San Diego Burger Company (619-239-7901): www.sandiegoburgercompany.com
Seaport Grill (619-230-1343)
Seaport Village Deli (619-232-7616)
Village Café (619-544-9444)
For a more detailed map, see: http://www.seaportvillage.com/restaurants

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Presenters and Abstracts
Fay Beauchamp, Community College of Philadelphia (fay.beauchamp.gmail.com)
The Proud and the Splendid as Dust in the Wind: Reading the Tale of the Heike in Faculty Groups
Through the JSA Creating Kyoto Workshop last June 2014, our group of participants were introduced to The
Tale of the Heike by Professor Michael Watson and our inimitable local Chair Monica Bethe. As a result, fourof us who were in Kyoto last spring from Community College of Philadelphia, Paula Behrens, Mary Griffin,
Michael Stern, and myself formed a Heike Reading Group last fall with the help of JSA member Akiko Mori(and others). Soon multiplying small groups discussed sections of Royall Tyler’s 2012 translation, that once
underway rollicks along in unrhymed verse. We used Michael Watson’s suggestions for how to analyze Heike’s
first two lines, and eventually 6 separate small groups of faculty compared translations, the significance ofEnglish word choice, the sound of the Japanese lines, etc. We moved from the specific to broader
interpretations. This paper will describe how the differing responses of the groups voiced different points ofview and led to analyses of later Heike passages. Now with Department of Education Title VI funding, we in
Philadelphia are planning further activities including comparing Heike sections with how they are transformed in
Noh and Kabuki and even in Kurosawa’s 1945 censored film The Men Who Tread on the Tiger's Tail. Reading
the Tale of the Heike as commentary on the state of Japan in 1945 ties our exploration of medieval warrior
tales to 20th-century realities.

Richard Cappellino, Kaua’i Community College, University of Hawai’i System (rcappell@hawaii.edu)
Hawaiian Heroes: The First Battle of the Pacific War
Following the vicious attack on Pearl Harbor, the first American battle of the Pacific War did not involve a fleetof US Navy ships, nor did it include a brigade of US Marines. It took place on the small Hawaiian Island ofNi‘ihau. It was here that Japanese fighter pilot, Shigenori Nishikaichi, crash landed, and with the help ofJapanese residents, took captive the island and its inhabitants. In the end, only by the heroic actions of
Hawaiian paniolos (cowboys) was the fighter pilot subdued and wellbeing restored to the people.
This paper will revisit the “Battle of Ni‘ihau” and analyze the implications this incident had upon both the
Hawaiian and Japanese residents of Hawai‘i. It will also serve as remembrance to those involved, including the
Hawaiian heroes who saved the island. The actions of both Nishikaichi and Japanese inhabitants of Ni‘ihau
were so forceful at a time of US vulnerability, that they impacted the FDR administration’s decision to institute a
policy of internment.
The presenter currently resides on Kaua‘i, the neighboring island of Ni‘ihau, which affords him access not
only to the “Forbidden Isle” itself, but to government documents and descendants of those associated with thisevent.

Susan Castro, Wichita State University (susan.castro@wichita.edu)
Zeami’s Reply to Plato: On the Art of Sarugaku
Mae Smethurst’s work has largely aimed to articulate Noh (nō) theater in Western terms from their very roots,
for example through Aristotle’s Poetics 1. Her detailed examination of the shared structure of the content ofthese superficially quite divergent arts demonstrates how two initially foreign arts can be made mutually
intelligible and effective through the underlying universals they share. In this spirit, I aim to articulate how Zeami
answers Plato’s challenge to artistic performance, as expressed in Ion and The Republic. In Ion, Plato argues
that rhapsody is not an art because it requires no mastery. Rhapsodes are mere vehicles of the divine. In The
Republic, Plato argues that tragedy ought to be banned as a public menace because the mimicry in whichtragedians excel is far removed from truth. These two specific challenges to poetic performing arts, i.e. to theirclaim to be arts or to have any value, determine criteria by which we may judge any putative art, including
sarugaku. Though Zeami clearly did not address his Fushikaden to Plato, he nevertheless answers Plato’s
challenge. I outline in this paper how he does so, by explaining mastery, mimicry (monomane), and theworkings of the divine in sarugaku. The way in which Zeami’s work satisfies these three criteria of art illustrates
how universal norms of art articulated in the West take a distinctive yet recognizable shape in the East.

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Genaro Castro-Vázquez, Nanyang Technological University (genarocastro-vazquez@ntu.edu.au)‘My husband’s sperm is triple A’: Male Infertility and Assisted Reproductive Technologies inContemporary Japan
Japan has become a fast ageing society grappling with low birth rates (shōshikōreika). Delayed marriages(bankon) and late-in-life-pregnancies (kōrei shussan) aggravate the demographic conundrum that has rendered
the use of natural and biomedical assisted reproductive technologies (ARTs) a critical matter of public health.
The Japanese Ministry of Health Labour and Welfare (MHLW) statistical evidence indicates that the origin of 24
and 41 per cent of infertility cases resides in the male and female partner, respectively. Whilst 24 per cent of
the cases could be attributed to both partners, 11 per cent of them the cause is unknown (Yamagata et al.
2012). Against this background, this paper reports how male infertility related issues impinged the experiences
and opinions of 45 Japanese married mothers who have used ARTs to become pregnant. Although six of themacknowledged that the cause of infertility was their spouse, they still, as the rest of the mothers in the group,
took the main responsibility for becoming pregnant and their husbands did not receive any form of infertility
treatment. Aged between 29 and 45, the mothers were from Tokyo and Kanagawa and offered their viewpoints
through a set of two semi-structured interviews that lasted approximately 60 minutes each. From a symbolic
interactionist perspective the analysis of interview suggests that the feminization of ARTs, the understanding ofmale infertility as emasculation, and homosocial competition are three axes along which an understanding of
the ways male infertility related matters impact the use of ARTs among this group of mothers can be attained.

Paul Dunscomb, University of Alaska Anchorage (pedunscomb@uaa.alaska.edu)
The Crisis in Japanese Professional Baseball and the Transformation of Early Heisei Japan
Scholars in Japan have already begun to ask, if not satisfactorily to answer, the question of how to approach
the history of the Early Heisei Period (January, 1989-September 2009). Is it just a catalogue of incidents andevents, is it primarily concerned with political, social or economic issues, are there greater or lesser themes tobe seen running through it? What qualifies something to be considered representative of the larger questions
the study of Early Heisei Japan conjures for us? I will make the case for the Crisis in Japanese Professional
Baseball of 2004 as just such an event and demonstrate what we can learn by examining it.
The June, 2004 announcement of the proposed merger of the Kintetsu Buffaloes with the Orix Blue Waveinaugurated a summer of crisis for Japanese pro ball. This was accompanied by a general declensionist
narrative that augured an existential crisis for Japan itself.
Over the course of the next few months a cast of characters came forth in the form of team owners andpotential team owners, fans and players, and other commentators, which tells us quite a lot about what hadchanged in Japan (and what had not) over the course of the Lost Decade. An analysis of the crisis gives us an
indicator of the possibilities for reform and change opening up in Japan in the first decade of the 21st century.
Moreover, taking a long look at Japan as the Lost Decade finally came to an end allows us to limn the edges ofan as yet dimly perceived post-postwar Japan and examine the extent to which change or continuity would be
its true hallmark.

Arthur A. “Trey” Fleisher III, Metropolitan State University of Denver (fleishet@msudenver.edu)
Is Abe’s Quiver Just Holding Broken Arrows?
Prime Minister of Japan Shinzo Abe and his Liberal Democratic Party (LDP) came into office in December of2012 promising to unleash “three arrows” to jump-start the economy from the long-run doldrums. The three
arrows consist of ideas no stranger to economists on how to stimulate the economy for long-term economic
growth and increased employment. The first arrow is on the monetary side of the equation through the use ofvast quantitative easing. Quantitative easing (QE) is where the Bank of Japan buys enormous amount ofgovernment bonds and other asset backed securities. This injection of money into the banking system is
expected to lead to greater investment and to put the brakes on deflation and hit a bull’s eye of 2% targeted
inflation. The second arrow is massive increases in government spending to stimulate moribund demand. The
third arrow is the structural reform of the economy to enhance the long-run sustainable growth.
The paper first describes the rationale for why the three arrows approach would revive the economic
dynamism of Japan. Next, I ruminate on the specific policies enacted presently and whether they have had the
expected effects. Thirdly, given the status of the Japanese economic, political, and social environment, I predict
the future effects of the three arrows policy prescription. Fourth, I will explain why the potential benefits of thethree arrows were over-blown by economists, politicians, and pundits alike. Finally, I elucidate policy
prescriptions that will more likely, though slowly, help Japan begin to move toward a higher, more stableeconomic growth pattern. And why these policies are unlikely to be enacted.

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Elaine Gerbert, University of Kansas (gerbert@ku.edu)
The Case of Laughter in Japan
According to Aristotle, Greek Old Comedy developed out of satiric utterances that were hurled at individuals byleaders of the Phallic Songs. The function of these iambic utterances was magical, as F.M. Cornford has
shown – thought to drive away evil influences so that the positive fertility magic of the phallus might be
operative. Invective and fertility were similarly connected in early Japan, where slander festivals were held
before Shinto shrines to banish evil forces and ensure agricultural prosperity. The connection between laughterand the phallus is embedded etymologically in pre-modern uses of the verb, warau, to laugh, which once alsomeant to engage in sexual activity, and in its noun form, warai, laughter, which was used in words such as
waraibon, a book depicting sexual activity, and warai-e, erotic pictures that samurai were said to have carried
into battle. The connection between the phallus, laughter stimulated by the phallus, and resulting life energy
continues to be celebrated today in observances conducted in some rural shrines, and to receive media
attention in the Kanamara Festival held in April in Kawasaki City. This paper will investigate laughter in Japanand consider some of its transcendent meanings.

Rena Heinrich, University of California, Santa Barbara (renadear@gmail.com)
Kokoro (True Heart): The Presence-Absence of Culture in the Ghost Plays of Velina Hasu Houston
The characters of internationally acclaimed Japanese-American playwright Velina Hasu Houston struggle withthe shifting boundaries of cultural identity and the realms between the living and the dead. In her contemporary
plays, Houston draws upon traditional Noh drama and invokes spirits into the space-time of performance –ghosts who have a profound impact on the corporeal circumstances of the living.
My paper will focus on Houston’s 1997 play, Kokoro (True Heart), which dramatizes the true story of
Yasako, a Japanese woman living in America who attempts oyako-shinju (“parent-child suicide”) by drowning.
Recalling the supernatural plays of Noh, Yasako hovers between life and death, urged by the ghost of her
mother to abandon her American life for the netherworld while her daughter's spirit encourages her to live.
Drawing on her own Amerasian background, Houston explores the process of identity formation via
interculturalism and theater and delivers us to an autobiographical space where contradictory cultural values
co-exist and thrive. In discussing Kokoro, I will draw parallels with Houston’s other ghost plays: Tea (1987),
Calling Aphrodite (2002), The Eyes of Bones (2004), and finally, Calligraphy, which received its world premiereat the Los Angeles Theatre Center in November 2010. The apparitions in these dramas are embodied byactors onstage and are revealed to the audience through lights, sound, and dialogue. In each of thesenarratives, the protagonists grapple with the encroaching presence of post-World War II American culture while
they despair over the evanescence of their own customs – traditions that linger like ghosts.

Maggie Ivanova, Flinders University (maggie.ivanova@flinders.edu.au)
On Memory, (Self-)Forgiveness and the ‘A-Bomb Maiden:’ Inoue Hisashi’s The Face of Jizō (Chichi tokuraseba) on Stage and Screen
The Face of Jizō (English trans. by Roger Pulvers, 2004) premiered in 1994 in Tokyo at the Komatsuza
Theatre, a company Inoue Hisashi established ten years earlier to stage his own dramatic works. It was
directed by Uyama Hitoshi. Popular with Japanese audiences ever since, in 2004 the play was adapted to film,
directed by Kuroki Kazuo as part of his “War Requiem Trilogy,” which included also Tomorrow (1988) and
Beautiful Summer Kirishima (2002). Both Inoue and Kuroki belonged to the generation of Japanese who
experienced the war, so the survivor guilt that entwines their anti-war outlooks was something they shared,
impacting both their personal lives and artistic careers.
This presentation offers a comparative reading of Inoue’s The Face of Jizō and Kuroki’s screen adaptation,
situating them in the contexts of Hiroshima-literature, a body of works that use the ‘A-bomb Maiden’ as acentral trope, and hibakusha and A-bomb art, among which Maruki Iri and Maruki Toshi’s famous “Hiroshima
Panels.” As the film uses the title of the play’s English translation, The Face of Jizō, instead of the original
Chichi to kuraseba (lit. If I could live with father), I examine also ensuing Buddhist subtext in Kuroki’s work. In
addition to exploring issues of survivor guilt and victim narratives, war/public memory and forgiveness, I
examine also the implications of Inoue and Kuroki’s commitment to giving fictional voices to hibakusha
testimonies seventy years after Hiroshima and Nagasaki, at a time when survivors’ numbers decrease rapidly
due to illness and old age.

Plenary Session. The Face of Jizo by Inoue Hisashi. Co-presented with Barbara Mason & Susan Mason.

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Eric Kendrick, Georgia Perimeter College (Eric.Kendrick@gpc.edu)
Strategic Co-Curricular Initiatives for Japan Studies
Georgia Perimeter College is a two-year institution in Atlanta and part of the University System of Georgia. In
addition to Japanese language, Japan Studies and study abroad, it has a wide array of co-curricular initiatives
supporting the curricular programs, but which have also taken on a life of their own. These could serve asmodels for institutions that want to develop more strategic co-curricular initiatives, such as:Student Clubs
As one of the most engaged at the college, Japan Club receives significant funding from Student Life basedon the number and quality of programs. Recent recognitions include Club of the Year, Outstanding Student
Leader, and Outstanding Faculty Advisor.
Cultural Programs
Japan Club and Foreign Languages sponsor a significant number of cultural, artistic and academic
programs on campus throughout the year related to Japan, such as films, speakers, demonstrations,displays, and more.
Campus Festivals
Japan Week is the college’s largest festival. The week-long event covers a wide range of student intereststhat also connect to academic disciplines, and culminates in a festival that fills the entire student center. A
focus in recent years has been raising funds and awareness for Post-3-11.
Community Engagement
The college partners with the Japan Consulate of Atlanta, the Japan-America Society of Georgia, theKonnichiwa Club, JapanFest (Southeast’s’ largest cultural festival), and other groups. They participate in
the college’s programs, and vice versa. Select students have also done internships with the Consulate and
JASG.

Jeannine Kitzhaber, University of Wisconsin, River Falls (jeannine.kitzhaber@uwrf.edu)
Successful Strategies for Incorporating Japan Studies into College Course Work
Infusing Japanese lesson plans into general education coursework that are thematically and ideologicallyWestern based can be a challenge. How can Japan studies be infused into these classes and how can one
stay within the common course guidelines of the applicable courses?
This presentation will focus on successful strategies to incorporate Japan studies into undergraduate
college courses. Three college-level teachers from different disciplines will individually and collectively discuss
their strategies, results and future ideas for infusing Japan studies into their classes while staying focused oncommon course outcomes. These strategies are the results of each college level instructors’ respective
experiences teaching, as well as their research in Japan Studies as part of the Freeman Foundation Summer
Institute in Honolulu, Hawai’i, where they met.
Jeannine Kitzhaber, MFA, has taught studio and art appreciation classes for over 17 years and currently is alecturer at the University of WI-River Falls. She will address ways she has infused Japan culture and aesthetics
into her introduction courses in visual art, design, painting and drawing. Her experience will address bothtactile, studio approaches for art majors and lecture classes for non-art majors. Kitzhaber’s approaches utilize
Japanese Buddhist art, ukiyo-e, manga, anime and contemporary fine art. Co-presented with Linda Noel andDeborah Williams.

Michael Knock, Clarke University (michael.knock@clarke.edu)
Creating a Team-taught Scholars Program Seminar on Japan
Clarke University espouses the merits of team-taught endeavors, but faculty members often have difficulty
implementing them. Despite this fact, a co-director of the Scholars Program, who participated in the Freeman
Foundation 2013 Summer Institute on Japan, brought together six faculty and staff members – 2 of them arealso graduates of the Freeman Foundation Summer Institute on Japan – to plan the curriculum for the first 300level Scholars Seminar, which, this year, will focus on Japan. The faculty members come from the disciplines ofPhilosophy, Religious Studies, History, Sociology, Literature and Art History. The other instructor is a staff
member who lived in Japan for an extended period of time.
During the round-table discussion, a co-director of the Scholars Program and one of the faculty members
who will teach in the seminar will share 1) how this course fits into the new Scholars Program curriculum, 2)
how all seven of the “teachers” planned the curriculum for each week, 3) assignments and assessments thatwill be used in the course and 4) required books/materials for students. In addition, they will share theirthoughts about the benefits and the challenges of embarking on this endeavor. Lastly, the presenters desire to

17 | P a g egather input from others to enhance the experience for teachers and students during the inaugural
implementation of this seminar at Clarke University in the spring of 2015. Co-presented with Ann Pelelo.

TJ Laws-Nicola, Texas State University (tjln500@gmail.com)
The Prevalence of Symmetry in Noh: An (Introductory) Semiotic Interpretation
It is important to note, early on, the cultural, musical, and philosophical differences in thought between Japanand the United States. The present state of occidental research regarding Noh implies a gap in comprehensive
understanding from a musical perspective. Preliminary research in this vein has supported a hypothesis ofprevailing balance within all aspects of Noh. The goal of this research will be to apply historical, cultural,philosophical, and musical trends of Japan during the development of Noh theatre to plays in order to provide
additional confirmation of holistic symmetry. A five-cycle play, or Gobandante, will be the largest structure
examined; micro-structures analyzed will include modes and the intervals wherein. Analysis of the score in
conjunction with semiotics present in plotlines, costumes, and prosody will complete a holistic view, giving all
the evidence needed to demonstrate the prevalence of balance in this art form. Special care will be given to
pointing out the recurrence of symmetry. Although plural in methodology, it is important that each of theaforementioned aspects be examined- as Noh itself is a complete art comprised of plural components andhistories. Thus, like the art form, this research will attempt to prove one detail by looking through amethodological kaleidoscope of the different elements that form Noh. The approach used will be largely
semiotic, but additional philosophical, analytical, formal, and modal analyses will be employed. This list is not
exhaustive, as there may be other tools called upon when the occasion calls for it. Because Noh has ancienthistorical roots, but is still performed in modernity, it will be necessary to limit the scope of this research to
before the Mieji period (1868). Various plays will be used as examples so as to better showcase theuniversality of the symmetry found in Noh.

Qian Liu, Arizona State University Libraries (Qian.Liu.2@asu.edu)
Surviving and Thriving in Tough Economic Times: An Innovative and Collaborative Approach to Support
Japanese Studies Programs in US Academic Libraries
This presentation will discuss how academic libraries are seeking an innovative and collaborative approach tosupport Japanese Studies programs during tough economic times. In recent years, many US academic
libraries have been facing major budget cuts, which have impacted everything, from material acquisition, library
operations to staffing. A great number of libraries have been experiencing different levels of staffing reduction,
including layoffs, hiring freezes, or position cuts. It has become common that many libraries can no longer
afford to keep a full-time Japanese Studies Librarian or hire a replacement when the position becomes vacant.
However, the work does not go away; it just gets added to the workload of another fellow librarian, who
possibly does not have adequate language or subject expertise. In order to overcome budget constraints ofindividual libraries, many institutions collaborate among themselves to share resources and services such as
interlibrary loan, consortia purchasing or outsourcing cataloguing. The presenters strongly believe that similar
collaborative approaches are also applicable for sharing language and subject expertise among peer libraries.
If interested institutions can work collaboratively and innovatively, it will become feasible to develop andmaintain a strong cohort of librarians with needed language and subject expertise to help the Japanese Studies
programs survive and thrive in difficult financial times. The speakers will also present a brief historical overview
of the Japanese Studies librarianship in the United States as well as how Japanese Studies programs are
currently supported by US academic libraries. Suggested next steps will also be discussed at the presentation.
Co-presented with Ping Situ.

William Lowe, Howard Community College (wlowe@howardcc.edu)
Epistles, Transference, and Dream Associations in the Palm-of-the-Hand Stories of Kawabata YasunariThis article will explore several narrative patterns in the Palm-of-the-Hand Stories of Kawabata Yasunari.
Remarkable for their brevity and indirectness, the seventy stories collected in the 1988 edition of Palm-of-theHand Stories translated by Lane Dunlop and J. Martin Holman are too diverse for an overriding generalization
to hold regarding their narrative strategies. However, a careful reading of the collection reveals several
patterns, among them epistolary stories, stories of psychological transference, and stories of dream
association.
The article will focus on two epistolary stories, “Canaries” and “Love Suicides,” that demonstrate Kawabata’s
varied uses of fiction in letter form. “Canaries” consist wholly of a single letter that infers the history of both amarriage and a love affair in a spare story of less than two pages, with a strong undercurrent of anger and

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regret. “Love Suicides” intersperses third-person narration and an estranged husband’s surreal letters
containing words that have the power to kill.
Stories of psychological transference to be explored include “The Wife’s Search” and “The Younger Sister’s
Clothes.” These stories share the narrative pattern of an emotional transference between siblings, with resultsthat reveal the anxieties of the central characters without the use of direct psychological commentary by theauthor. In such Palm-of-the-Hand Stories, much is suggested and little explicitly stated. Finally, “Eggs” and“Snakes” are stories that this article will examine for their use of dream associations. In both stories, theimagery from a dream forms such a powerful impression that it exerts an influence on the world outside the
dream.

Michael Lynch, Kent State University (mflynch@kent.edu)“The Grandmother Effect”: Individual Loss and Societal Enrichment in Three Recent Japanese Films
In discussing the state of recent films in Japan, Shinobu Terajima, an actress who has achieved acclaim both inJapan and abroad (in films such as Vibrator and Caterpillar), says that “most Japanese movies at the moment
are like manga, where the audience isn’t challenged to think or encouraged to ponder the themes andstorylines … so the audience never matures” (japantoday.com 8/5/10).
Over the past three years, in addition to teaching a course on Japanese literature (in English), I have taught
two courses on Japanese films (with English subtitles)--one a survey of films since the 1940s, the other focusing
on contemporary films. Based on my watching and research on more than 300 Japanese films, although many
recent ones seem to fit Terajima’s description, there are also many that challenge their audience, depicting
human experience in complex, subtle works of art that can be compared favorably to the classic films of the
1940s through 1960s.
In this presentation I would like to focus on three recent films that are centrally concerned with therelationship between the individual and society. Using Kurosawa’s well known 1953 film Ikiru (To Live) as aframe of reference, this paper will discuss Bright Future by Kiyoshi Kurosawa (2002), Air Doll by Hirokazu Koreeda (2009), and Asylum: Park and Love Hotel by Izuru Kumasaka (2007). I will show how each film depicts an
individual who is isolated from society, experiences profound loss, and ironically finds a way to transcend
personal suffering by forging a new, unlikely connection to society—which is enriched as a result.
In Bright Future, Yuji Nimura is a troubled, aimless young man whose friend Arita performs a senselessmurder that Yuji has thought about committing. After Arita’s suicide in prison, Yuji struggles toward somemeaning in his life by tending his friend’s jellyfish and learning about meaningful work and responsibility from
Arita’s father.
In Air Doll, the protagonist Nozomi is an actual doll whose owner uses her not only for pleasure but also
companionship and affection. When Nozomi comes alive and develops her identity out in the world, the deathof a young man she loves leads her to embrace her own mortality. The film subtly links her death to theenrichment of society by suggesting her continued presence in the lives of several people in her community.
In Asylum: Park and Love Hotel, Tsuyako, an antisocial middle-aged woman, owns a run-down love hotel
which has a strange but wonderful rooftop park for children and people of all ages to enjoy. Over the course of
the film she and her park provide comfort to three troubled young women. But she faces her own crisis in thesudden news of her husband’s death, for whom she has been waiting since he abandoned her twenty years
ago. The healing space of her park helps not only the people in the community but also finally Tsuyako herself,
whose new bonds with the young women suggest both a happier life for her and a regenerated society.

James Makubuya, Wabash College (makubuya@wabash.edu)
Teaching Japanese Music: Its Impact on Expanding the Understanding of the Japanese Culture
The goals and objectives of my paper presentation is to share with colleagues at the conference my recent andongoing research discoveries that one of the ways for expanding the understanding of the Japanese culture isthrough the teaching of Japanese music. Since its foundation in the mid-1950’s, documented ethnographic
fieldwork studies have continuously revealed that ‘ethnomusicology’ is a highly ‘interdisciplinary’ sub-disciplineof music. Therefore, using that ethnomusicology discipline-specific approach as the base for teaching themusic of Japan would have a great impact in expanding the understanding of the Japanese culture in multiple
directions. That ethnomusicology approach would provide highlights of the Japanese ways of life looking attheir languages, ethics, aesthetics, religions, occupations, migratory adoptions and adaptations, etc., etc.
This presentation starts by identifying, defining, and describing, the three types of Japanese music found in
the Japanese archipelago. The three include the pre-modern, modern, and contemporary music. Using bothaudio and video samples, as illustrations of the three types, the presentation will analyze and discuss the long
history Japanese music has had in the course of time, and how Japanese music is not only highly varied but

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also renowned for its music-theatrical traditions. In conclusion, the presentation will summarily examine themusical profile of Japanese Music. This will be done through examining musical theory, aesthetics, archeologyof musical instruments, source of music materials, various samples of Japanese fascinating theatrical music
genres, together with several other aspects of Japanese music-cultural society including gender roles andtransmissions of traditional music.

Barbara Mason, Oregon State University (barbara.mason@oregonstate.edu)
Plenary Session. The Face of Jizo by Inoue Hisashi.
The atomic bomb raged its way toward Hiroshima and Nagasaki on August 6 and 9, 1945, 70 years ago. It laid
waste to everything, leaving only bones of buildings. Those humans who were close to “ground zero” werevaporized. Those unfortunate to survive succumbed to cancerous illnesses or radiation sickness and perishedwithin a few years. The remaining survivors, the hibakusha, would face considerable discrimination and would
remain silent for decades. This is much of the topic of Inoue Hisashi's 1994 play The Face of Jizo (Chichi tokuraseba, lit. "Living with my father"). It is set in Hiroshima in 1948, three years after the bombing, and involves
a young librarian Mitsue and her father Takezo. Mitsue feels guilt and loneliness because she survived while somany did not, including her father. While it's not quite clear if she's suffering from radiation sickness, she
refuses to consider future happiness. She cannot abide a relationship with a young man that the spirit of her
father wants her to marry.
In his preface, Inoue situates his work within the larger bodies of A-bomb and anti-war literature. He writes
that the bomb was dropped not just on the Japanese but also on all humankind. Whether the Japanese werevictims or perpetrators, thousands of lives were annihilated and, since August 1945, we all have lived under the
shroud of nuclear destruction. First performed in 1994 in Tokyo at the Komatsuza Theatre, a company Inouehimself established, the play examines a daughter's marriage as a central metaphor for dealing with theaftermath of the A-bomb. Its explorations of memory and forgiveness appear central not only to the hibakusha's
emotional and psychological survival but humankind's in general: while survival depends on being able to telland hear the hibakusha's personal stories before their generation disappears, it also depends on being able tomove on. Inoue died at the age of 75 in 2010. Co-presented with Maggie Ivanova and Susan Mason.

Susan Mason, California State University, Los Angeles (ellida@gmail.com)
Mindful Spectatorship: Yasujiro Ozu
In Charlie Kaufman's 2002 film, Adaptation, the central character is a screenwriter named Charlie Kaufman
who is attempting to write a script that is not, he says, "artificially plot-driven." His subject is an orchid but heclaims he doesn't want to create the flower's arc. "Why," he asks, "can't there be a movie simply about
flowers?" Kaufman's question challenges the linear narrative structure that dominates world cinema: a causal
structure modeled by Aristotelian theatre, fine-tuned by the reductive rationalism of the Enlightenment, andmade formulaic by Hollywood.
In this paper I examine selected work of Japanese filmmaker Yasujiro Ozu, who, like Kaufman, rejected
traditional narrativizing. I'm focusing on his post-World War II films, especially the six films some critics refer toas his "season cycle." By avoiding "obvious plots," that Ozu said bored him, and breaking with many other
Hollywood conventions, he creates an elusive spectator experience that has intrigued critics. I theorize aboutthat experience and the techniques with which he achieves it, some of which may be found in the "meandering
formlessness" (Nobuko Albery) of pre-modern Japanese literature.
Although Ozu explores the post-war Japanese family in a time of significant social upheaval, he decentersthat narrative and lingers instead over mundane aspects of daily life. Thus, unlike linear storytelling thatcompels spectators to anticipate the future (what will happen?), Ozu's narratives unfold through mindfulcontemplation of the present wherein what Milan Kundera calls "the poetry of existence" reveals itself as it doesin nature, quietly opening like a flower.

Plenary Session. The Face of Jizō by Inoue Hisashi. Co-presented with Maggie Ivanova & Barbara Mason
Jennifer McDowell, Tohoku Gakuin University (herm1975@yahoo.com)
Looking Upward: Expressions of Hope and Well Wishes as a Process of Recovery
This presentation will consider the hopeful expressions perceived by Japanese in mi ageru kokeshi (looking
up/or eyes raised kokeshi), and their new-found connection with disaster recovery. The upturned expression ofthis particular kokeshi has come to be associated with “hope” or a wish (kibō) for a better future after the great

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Japan earthquake and tsunami. Originally, this kokeshi may have been created for a practical purpose byartisans because its upturned face is easily seen from a shelf, but after the disasters it was interpreted as asymbol of hope by many seeking solace, in part due to the famous 1961 song, “ue o muite arukō” (I look up as Iwalk). The song’s interpretive message is that despite great disappointments and tragedies in life, one must
persevere and hope for something better. Artisans personally affected by the disasters too, began to make thisdoll for a new purpose. It was explained by one artisan of such a kokeshi that, “[A]fter an entire area isdestroyed, the heart has bad feelings. Your hope or wish is that everything will return to the way that it was.” A
second artisan related that he made his “looking up” kokeshi as a message of hope for disaster victims so thatthey would find peace through its expression. Visitors to the Tōhoku region and those in the process ofrecovering find comfort in kokeshi with upturned faces, and reinterpreted these expressions as hope or a wish
for a swift recovery after the disasters.

Keiko Miller, Mercyhurst University (kmiller@mercyhurst.edu)
Bonshō-kuyō梵鐘供養, or “Funerals of Buddhist Temple Bells”
During her homage to Japan, the author’s childhood friend casually handed over a copy of an old photoexclaiming, “Look! I recognize your grandfather in the crowd." It wasn’t any ordinary photo, she would soon
realize, but one which seemed to mark an extraordinary human event – a funeral rites of Buddhist temple bells
during WWII. Oddly on that day in 1943 these bells were there not to toll anyone’s death except their own –silently.
Published in 1943, Ibuse Masuji’s short story titled 「鐘供養の日」(Kane-kuyō no Hi, or The Memorial Dayof the Bell) is little known, naturally because it is still left un-translated. The world is far more familiar with hisnovel Black Rain, which the director Imamura Shohei later adopted to create his film bearing the same title. Infact more has been written about Hiroshima-Nagasaki hibakusha than what might have been concealed inside
the kokoro (“mind-heart”) of common Japanese folks who attended funeral rites of Buddhist temple bells; thegovernment ordered them to be melted down into ammunition as Japan escalated itself militarily towards thepoint of no return by 1943.
This paper will elucidate complex human sentiments, or “kokoro”, held by villagers in Ibuse’s story as they
undergo their own experience of funeral rites of temple bells, whose essence they had intimately embodied
since childhood. It will make references to his poignant use of language with which he weaves the sharedessence present in both the characters and bells.

Akiko Mori, Community College of Philadelphia/La Salle University (moriakiko.mori@gmail.com)
Censorship and American Democracy during the U.S. Occupation of Japan: Censored Democracy,
Policing Cinema, Business Opportunities
During the U.S. Occupation period, Japan was controlled with a variety of restrictions. These restrictions
impacted tremendously the film industry as a means of censorship. Not only that film making and distribution
were censored, but also the general public was directed to what to watch. The primary focus of my research is
to investigate the U.S. Occupation censorship on Japanese films as well as to examine the changes and thecontinuity in cultural and social values embodied in Japanese films produced during the post-war period.
The role of censorship was part of the democratization of occupied Japan as implemented by the U.S.
government. Upon the appointment of General Douglas MacArthur as the Supreme Commander of the AlliedPowers (SCAP), he established the General Headquarters (GHQ) in Japan. With his position, MacArthur wascompletely responsible for preparing for civil censorship in Japan. In fact, MacArthur-led U.S. occupiers
exercised control over the entire media in Japan by American propaganda and censorship.
As part of MacArthur’s start, the Civil Information and Education Section (CIE), created originally as theInformation Dissemination Section of the United States of Army, summoned Japanese film companies andinstructed them that the occupation government would enforce the film industry to abide by the principles of the
Potsdam Declaration in order to help democratize Japan. Since censorship was administered by officers of the
U.S. government, it provided them with the opportunity to convey criticism as the occupiers and their strong
intent of democratic reform. Consequently, the U.S. censorship allowed a number of extremely sudden stylistic
and thematic changes in Japanese films that were implemented with American democracy and ideology.
My presentation will focus on exploring the structure of the Allied Powers, the aims of the occupation, theimported basic principles of American democracy, and examining the censorship overview and figures.
Furthermore, I will discourse the censored and banned films directed by globally well-known Japanesefilmmakers and the Hollywood penetration of Japan’s film industry.

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W. Lawrence Neuman, University of Wisconsin, Whitewater (neumanl@uww.edu)
The Dynamics of Social Inclusion in Japan
Two decades of globalization has accelerated international migration, and large numbers of foreigners are
flowing into most advanced nations as immigrants, guest workers, refugees or undocumented entrants. Their
acceptance and incorporation into the new country is often a source of contention. Japan has very low
immigration rates and highly restrictive policies toward foreigners, a legacy of the Tokugawa era sakoku
policies. Nonetheless, the number of foreigners in Japan doubled between 1990 and 2010. When we add theissue of Japan’s dramatic demographic decline due to low fertility rates and rapidly expanding elderly
population, the entry and social situation of Japan’s permanent foreign residents becomes both a practical anda theoretical concern.
Several recent studies noted a disjuncture in Japan between policies or programs of social inclusion by local
NPOs and city governments in areas with high concentrations of foreigner residents and the national policy
toward foreigners. A second disjuncture exists between formal policies or programs and the daily, informal, “onthe ground” practices of individuals, families and neighborhoods. Such informal, micro-level inclusion occurs
within the local “civil society.” Japan’s informal local-level civil society is extensive and vibrant, but civil society
at the national level is weak and undeveloped. Studies suggest that meaningful, authentic incorporation offoreigners into Japanese society may be occurring within local, informal civil society, despite a continued
restrictive national policy and limited formal-legal acceptance.
This presentation synthesizes the literatures on Japan’s immigration, multicultural policies, and civil society
to argue that in many areas foreigners are being accepted at the grass-roots level contrary the
pronouncements by most government officials. Just as Japan historically engaged in a deliberate and selective
borrowing of foreign ideas followed by adaptation since the Meiji-era wakon-yōsai policy, ordinary Japanesepeople are adapting to a new social reality. Unlike the incorporation of technologies, loan words and foreignideas, the gradual acceptance of foreigner residents as neighbors and rising rates of international marriages
might challenge traditional Nihonjinron and racial definitions of what it means to be Japanese. Beyond theacademic interest of the topic, teachers of Japanese Studies may find the binaries of Japan’s insularity versus
incorporating things foreign, local versus national policy priorities, and formal versus informal modes of social
inclusion to be staging points for lively class discussion.

Linda Noel, Morgan State University (Linda.Noel@morgan.edu)
Successful Strategies for Incorporating Japan Studies into College Course Work
Infusing Japanese lesson plans into general education coursework that are thematically and ideologicallyWestern based can be a challenge. How can Japan studies be infused into these classes and how can one
stay within the common course guidelines of the applicable courses?
This presentation will focus on successful strategies to incorporate Japan studies into undergraduate
college courses. Three college-level teachers from different disciplines will individually and collectively discuss
their strategies, results and future ideas for infusing Japan studies into their classes while staying focused oncommon course outcomes. These strategies are the results of each college level instructors’ respective
experiences teaching, as well as their research in Japan Studies as part of the Freeman Foundation Summer
Institute in Honolulu, Hawai’i, where they met.
Linda Noel, PhD, teaches history at Morgan State University, a historically black college in Baltimore,
Maryland, since 2006. She primarily teaches general survey courses in U.S. History. Dr. Noel will present themethods she used to include the Japanese perspective on Commodore Perry’s visit to Japan in her U.S.
History I course. She will discuss specific lesson plans to infuse Japan Studies into her survey course on thesecond half of U.S. History, as well as ideas for future plans to infuse Japan Studies into her proposed general
education course on American Empire and Immigration, a new type of course due to her department andcollege’s recent changes to the general curriculum. Specific topics she will address include: Yasukuni Shrine
and the memory of war, the presentation of history in Japanese textbooks, Japanese modernization and study
tours to the United States during the Meiji Restoration, the Russo-Japanese War, and the history andexperience of immigrants to Japan, as well as that of Japanese immigrants to and within the United States. Copresented with Jeannine Kitzhaber and Deborah Williams.

Hitoshi Ogawa, National Institute of Technology, Tokuyama College (ogawa@tokuyama.ac.jp)
Exactly What Is Japanese Philosophy? : The Potentiality of Harmonious Dialectic
Since Japan decided to participate in the TPP, which is called the third opening up of the archipelago, thiscountry seems to finally face true globalization. Now we have to seriously think about the identity of Japan. This22 | P a g e

presentation offers the ideas needed to reshape Japan in order to define Japan’s identity correctly in a global
society. In order to reshape Japan’s identity, the country must first understand its own philosophy. We rarely
use the expression “Japanese philosophy,” even though we have philosophized since ancient times. As H.
Gene Blocker and Christopher L. Starling point out in Japanese Philosophy, this is strange.
Thus, I decided to approach all of Japanese thought as Japanese philosophy and re-examine its meaning. I
greatly admire Amane Nishi for his creation of the word “tetsugaku” made by translating the word philosophy.
However, I have to criticize his mistake, for he didn’t realize philosophy had been in Japan for a long time
before the creation of a new vocabulary word. Furthermore, this presentation examines the unique attributes ofJapanese philosophy as opposed to foreign philosophies, including a Western one. A political scholar, Masao
Maruyama described Japanese philosophy as a continually existing base of thought, which absorbs foreign
philosophies. While I agree with him, I want to propose a more active concept of harmonious dialectic, whichtakes foreign thought and fuses it into existing Japanese philosophy. The result is a more highly developed
school of thought. This flexibility is the strongest point of Japanese philosophy, and Japan itself.
In this presentation, I argue for the potentiality of Japanese philosophy as harmonious dialectic, so thatJapan can survive globalism.

John Paine, Belmont University (painestover@gmail.com)
Plenary session: Kenko’s Tsurezuregusa
I would be happy to lead the plenary discussion this year on Kenkō's Tsurezuregusa (1329-1333). The wide
range of opinions and musings in this zuihitsu, illustrating Kenkō's lively interest in the world of medieval Japanaround him, should provoke discussion among our members. I will also be able to report on student receptionof and reaction to this work.

Ann Pelelo, Clarke University (ann.pelelo@clarke.edu)
Creating a Team-taught Scholars Program Seminar on Japan
Clarke University espouses the merits of team-taught endeavors, but faculty members often have difficulty
implementing them. Despite this fact, a co-director of the Scholars Program, who participated in the Freeman
Foundation 2013 Summer Institute on Japan, brought together six faculty and staff members – 2 of them arealso graduates of the Freeman Foundation Summer Institute on Japan – to plan the curriculum for the first 300level Scholars Seminar, which, this year, will focus on Japan. The faculty members come from the disciplines ofPhilosophy, Religious Studies, History, Sociology, Literature and Art History. The other instructor is a staff
member who lived in Japan for an extended period of time.
During the round-table discussion, a co-director of the Scholars Program and one of the faculty members
who will teach in the seminar will share 1) how this course fits into the new Scholars Program curriculum, 2)
how all seven of the “teachers” planned the curriculum for each week, 3) assignments and assessments thatwill be used in the course and 4) required books/materials for students. In addition, they will share theirthoughts about the benefits and the challenges of embarking on this endeavor. Lastly, the presenters desire togather input from others to enhance the experience for teachers and students during the inaugural
implementation of this seminar at Clarke University in the spring of 2015. Co-presented with Michael Knock.

Allan Persinger, Madison Area Technical College (persinga@matc.edu)
Negotiating Cultural Differences in Translation: Translating the Poetry of Yosa Buson
One of the difficulties in translating the poetry of Yosa Buson, an 18th century Japanese poet and painter, isthe negotiation between the cultural differences between time and place, and still writing a translation thatmoves the audience within the limits of a haiku without doing any violence to the original text. My presentation
would be on the difficulties in translating a literary master from the Edo Era, especially when the poems containembedded cultural references that the average American reader would not be familiar with.

Alexander Philippov, St. Petersburg State University (PhilAlex2005@mail.ru)
Reforms and Science in Japan in Edo Period
The goal of the presentation is a review of the essence features and results of the THREE REFORMS in its
powerful transforming influence on Japanese social organization and national character.
“The Three Great Reforms” 江戸時代三大改革 in the latter part of Edo period include reformations
undertaken three times respectively at the eras of Kyoho, Kansei and Tempo 享保・寛政・天保 改革. The

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initial motivation for each one was asserted by the reason of “the returning to the ways of Ieyasu 家康” (thefounder of the last shoguns’ dynasty), as a kind of “Golden Age Dream” in a declining society. Altogether they
can be treated as a reflection of deeply conservative trends in bakufu politics. The Reforms’ time covers mostof the latter part of the Edo period 江戸時代後半, starting from the Genroku 元禄 era (1688-1703) — the timecommonly treated as the high point in the evolution process of Japanese feudalism. “Golden Age Dreaming”
was the mutual motto for all the three reforms. In actuality, it arose from the urgency of adaptation, in which
newly acquired changes in society had to be incorporated in the body of the state system (politics, economics,social structures etc.) essential for its survival. This involved undertaking the enormous efforts to convince thecommon people that the system had become stable.
The material presented here is divided in the following parts (or paragraphs):--summary of “the three reforms” studies--contents of “the three reforms”--reasons for reformations and motives, and how the results which were actually achieved (The change ofshape of a rigid society is a danger to the fixed social system like shi-no-ko-sho.)--reforms themselves as the sign of changes (towards modernisation)--the pre-formed character of the Japanese was ripe and ready for a natural and easy acquisition of the socalled forthcoming “transformation”, which really was just a new phase mounted on the background of theformer tradition.
Co-presented with Evgenii Philippov and Sergey Tolstoguguzov.

Evgenii Philippov, St. Petersburg State University (evgenii.philippov@gmail.com)
Reforms and Science in Japan in Edo Period
The goal of this presentation is an admonishment or “precaution” against the one-sided Eurocentric view of theprocesses of borrowing, seen as an inevitable necessity for “treading water” in the science of the Edo period inJapan. An investigation of the field of Dutch studies and the state of the Japanese science in this period, makes
it possible for the development of mathematics to stand out. Medicine, physics, chemistry etc. were those fields
of knowledge, which by the end of the Edo period, were stagnating and in some cases, progress halted. The
sciences were strongly influenced by the natural philosophy, even in the case of slow development. Thus,
researchers often pay great attention to those fields, which clearly were not able to rival the West alternative
offered by Dutch studies, thus for the further development, borrowing from the achievements of Westernscience were indispensable, forgetting to mention other fields such as mathematics in which Japanesescientists sometimes even got ahead of them.
During the entire Edo period, mathematics in Japan demonstrated a forward movement, and Japanesemathematicians continued to make discoveries, based on the Japanese (Chinese) classical school ofmathematics. However, despite this, it can be also mentioned that in the 19th century mathematics also faced avariety of problems. For sure, some science tasks, for example a lack of the logic means, could be solved timeby time without the European borrowings. Nevertheless, problems like crossing over with other fields of scienceand practical experiences, affected by the sociopolitical environment in the country (the caste system, thecountry's semi-isolation, Neo-Confucian philosophy of Zhu Xi) and the level of whole science development,
could not be solved in only one narrow domain. Borrowing in 19th century the whole complex of European
tools, methods and languages as well as its integrity in related practical and theoretical disciplines, let theJapanese mathematics solve all the problems very fast and become a real science. Co-presented with
Alexander Philippov and Sergey Tolstoguzov.

Ashli Ree, Middlesex Community College (reea@middlesex.mass.edu)
From Hollywood Fashion to Kimono: Meaning Making with Historical Context
After returning from the 2014 JSA Workshop in Belmont, I had originally created an assignment including thegeisha culture and the kimonos worn by the geishas. I am a fashion merchandising faculty. One of the areas I
wanted to work on was to challenge the assumption the students have based on what they have learned fromthe media. There are two campuses with one being more diverse than the other. At the same time, the students
in my courses know very little about Japan. We went on a field trip to the Peabody Essex Museum in
Massachusetts to attend the “Future Beauty: Avant-Garde Japanese Fashion” exhibition and the students
wanted to learn more about Japan and its culture. I was unsure of how to introduce the contents which areessentially new for them and for me as well since I am not a specialist in Japanese culture.
The idea for a new assignment was developed while working on another assignment. The students and I
went to the Museum of Fine Arts in Boston to see the Hollywood gowns and jewelry from 1930s and 1940s. In

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addition to seeing the pieces, the students had to complete a research paper of the two decades. When thestudents made the connection between the multi-functional jewelry which changes from a bracelet to anecklace to a dress clasp with the economic situation of the 1930s, I realized the same learning experience canoccur while learning about Japan and its fashion.
As much as I wanted to have the assignment completed before the proposal deadline, the perfect exhibition
for it opened just two weeks ago. The students and I will be going to the Metropolitan Museum of Art to see the“Kimono: A Modern History” exhibition. The fifty kimonos in the museum are from late 18th century to presentday. The students will have to select one of the kimonos, complete a research paper on the decades of when
the kimono was created, and report meaning making findings between what was taking place at the time andthe kimono of that time period. By the time of the conference, the assignments would have been completed
along with collecting all the artifacts I would like to share with those attending the JSA Conference.

Marjorie E. Rhine, University of Wisconsin-Whitewater (rhinem@uww.edu)
Exploring Ecocritical Perspectives by Juxtaposing The Tale of Genji’s “Suma” Chapter with Folktales in a
Japanese Literature Survey Class
Students typically see clear signs in the text of the elaborately refined sensibilities of Genji’s world, in which oneof the highest marks of culture is mixing the most exquisite perfumes or selecting the perfect, most poignant
branch or flower to accompany the poem sent in admiration or to commemorate an assignation. In exile in
Suma, too, Genji’s anguished laments and poetry highlight his emotional attunement with the natural world ofwaves and storm. However, with the help of Haruo Shirane’s ideas and a setsuwa or two depicting how
humans interact with nature in a more rural environment, students can begin to see that Genji’s view of nature
is, as Shirane argues, a “secondary” apprehension of nature—in other words, a highly constructed one. True,
such heightened appreciation of the natural world might lead to environmental advocacy. Yet this juxtapositionof Genji and setsuwa reveals a key insight of current ecocritical theories: the best approach is one that
acknowledges an inevitable intersection of the human and the full range of the “natural,” when nature isunderstood as system or web and not merely as a view that is beautiful or an experience that is sublime. A brieflook at the current satoyama movement in Japan illustrates the biodiversity that thrives in suchinterconnectedness, one overlooked when “romantic” apprehensions of a pristine or represented nature areover-valued.

Gloria R. Montebruno Saller, University of La Verne (gmontebruno@laverne.edu)
Atomic Bomb Survivors’ Personal Narratives as Oral Literature. Growing Up in Hiroshima: Miyoshi
Yoshie’s Life.
On the eve of the seventieth anniversary of the dropping of the first atomic bombs on Hiroshima and Nagasaki,
many Hiroshima and Nagasaki’s atomic bomb survivors who, over the years, have remained silent about theirtraumatic experiences, have decided to come forward with their stories about those fateful days, and share withthe world and younger generations their message of peace and their desire to rid the world of nuclear
weapons. In August 2014, I had the opportunity to meet with one of these survivors, Mrs. Miyoshi Yoshie. She
was seven years old on August 6, 1945; yet, her memories of that day, and the days that followed, are etchedin her mind and her heart. Her story is one of struggle and survival during the immediate aftermath of thebombing; hers is a story of courage and resilience while growing up fatherless in post war Japan. Her personal
memories clash at times with the collective memory of those August 1945 days; what remains undeniable,
though, is her personal narrative of hope and faith in humankind, and her strong desire to see a world without
the threat of nuclear weapons. In her own words, “Only world peace will console the souls of the departed,” and“We shouldn’t be angry; hatred generates more hatred”. My presentations will focus on Mrs. Miyoshi’s narrative
as it was gathered in personal interviews, email exchanges, and on video. Her story belongs to the collective
memory of Hiroshima and its survivors; it is an integral part of atomic bomb survivors’ experiences with thenuclear age; “Stripped of a sense of stable chronology” (Kyo Maclear, 1999), it remains as the personal
narrative of a woman tainted and/or marked for life by the traumatic legacy of the atomic bombing.

Susan Clare Scott, McDaniel College (sscott@mcdaniel.edu)
The Chinese Literary Gathering: Artists Views and the Migration of the Theme to Japan and Korea
Scholars of the Chinese literati tell us that it was not until the Northern Song Dynasty (10th Century) that theestablishment of the literati as an elite group of highly educated men who identified with the title through their

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literary and artistic talents, became a forceful element of Chinese culture, which reached its pinnacle during theMing Dynasty (1368–1644).
But we can trace the ideology and scholarly activities of the literati back to the fourth century: the earliest
reference to a literary gathering is in the preface to a collection of thirty-seven poems written by forty-one
scholars who attended “The Spring Purification Ceremony at the Orchid Pavilion” (Lanting) near the city of
Shaoxing on the third day of the third month in 353 AD. The description (Lanting Jixu) is written by the famous
calligrapher and poet Wang XiZhi, who was present at the Orchid Pavilion, and the event itself became theparadigm for later literary gatherings, and the inspiration for numerous interpretations of the theme by artists in
China, Japan, and Korea.
This paper focuses on the origins and rise of the literati environment in China and its ideals, thephilosophical and spiritual inspirations embodied in the gathering and in the outdoor setting for the event, andartistic interpretations of that bucolic setting, which play a specific role in the evolution of several levels of
iconographical meaning in landscape painting as a whole. Special focus will be placed on the migration of thetheme from China to Japan and Korea. The works of artists such as Ma Yuan, Qian Ku, Chang Hung,
Maruyama Okyo, Ike Taiga, Suzuki Fuyo, and Yi Kiryong will be examined and discussed.

Barbara Seater, Raritan Valley Community College (Barbara.Seater@raritanval.edu)
The Japanese Diaspora: The Confluence of Emigration and Immigration Policies
While the diaspora of many nations is well documented, the Japanese diaspora is less well known but ispopulous in many nations. According to Foreign Ministry figures for 2011, more than 1.18 million Japanese live
outside of Japan. The creation of the diaspora has been influence by the confluence of Japanese emigration
policies since the end of the Tokugawa shogunate and the immigration policies of receiving nations. This
paper will also examine the demographic shifts occurring in Japanese emigration.

Ping Situ, University of Arizona Libraries (psitu@email.arizona.edu
Surviving and Thriving in Tough Economic Times: An Innovative and Collaborative Approach to Support
Japanese Studies Programs in US Academic Libraries
This presentation will discuss how academic libraries are seeking an innovative and collaborative approach tosupport Japanese Studies programs during tough economic times. In recent years, many US academic
libraries have been facing major budget cuts, which have impacted everything, from material acquisition, library
operations to staffing. A great number of libraries have been experiencing different levels of staffing reduction,
including layoffs, hiring freezes, or position cuts. It has become common that many libraries can no longer
afford to keep a full-time Japanese Studies Librarian or hire a replacement when the position becomes vacant.
However, the work does not go away; it just gets added to the workload of another fellow librarian, who
possibly does not have adequate language or subject expertise. In order to overcome budget constraints ofindividual libraries, many institutions collaborate among themselves to share resources and services such as
interlibrary loan, consortia purchasing or outsourcing cataloguing. The presenters strongly believe that similar
collaborative approaches are also applicable for sharing language and subject expertise among peer libraries.
If interested institutions can work collaboratively and innovatively, it will become feasible to develop andmaintain a strong cohort of librarians with needed language and subject expertise to help the Japanese Studies
programs survive and thrive in difficult financial times. The speakers will also present a brief historical overview
of the Japanese Studies librarianship in the United States as well as how Japanese Studies programs are
currently supported by US academic libraries. Suggested next steps will also be discussed at the presentation.
Co-presented with Qian Liu.

Michael Stern, Community College of Philadelphia (msternaia@gmail.com)“A Stately Pleasure Dome Decreed:” the Gardens of China, Japan and the Western Imagination.
The gardens of East Asia have fascinated the West as far back as Marco Polo’s legendary accounts. This
presentation will focus on the mutual fascination between the creators of gardens east and west at the
beginning of the modern era. How much did one influence the other? Did knowledge of the gardens of East
Asia lead to the Western rejection of the symmetry and geometrical order that had been applied to gardens
through the renaissance to the picturesque landscapes of the 18th century? Are the foundations of western
Romanticism based on the philosophy and aesthetics of the Japan and China, or are they merely “kindred
spirits?” Using the visual evidence in the comparative study of landscape creates a highly teachable subject forarchitecture, design and the humanities in understanding aesthetics and philosophy.

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Wakako Suzuki, University of California, Los Angeles (wsuzuki@ucla.edu)
Retracing the Roots of Shōjo Bunka through Yoshiya Nobuko's Flowery Writing
As agents and consumers of mass media, Japanese adolescent girls have played an active role in shaping theyouth culture of contemporary Japan. Before Honda Masuko initiated girls’ studies in the 1980s, however, girlcentered research was either largely neglected in Japan or lacked a focus on socio-political and economic
arguments; indeed, studies of Japanese girls, girlhood, and shōjo bunka were marginalized, even amongscholars of childhood studies and feminism. Recent scholarship, however, illustrates the rapid growth ofJapanese girls’ studies, including a survey of magazines aimed at, the education of, literature about,
performances by, and visual images related to girls.
In this paper, I trace the roots of shōjo bunka or “girl culture,” during the Taishō period (1912–1926), bystudying the circulation patterns of the magazines and literature targeted at girls during this period, and thecontent of these publications. In particular, I examine reader’s contribution sections, and the theme of femalefemale romance that flourished in shōjo bunka, with a special focus on the work of Yoshiya Nobuko, a pioneerof girls’ fiction. Much of Yoshiya’s work centers on narratives of schoolgirls involved in female-female platonic
love relationships, which, because of the popularity of Yoshiya’s work, became the symbolic representation ofshōjo bunka. One of her earlier works, Flower Tales (1916–1924), which drew the attention of a wide range ofother female readers, depicted schoolgirls who fell in love with other female subjects. I investigate the sociocultural meaning of shōjo bunka at the turn of the 20th century using the relationships characterized in bothreaders’ contribution sections and Hanamonogatari. This point in time marks the intersection of the print
culture, consumerism, and gender division/socio-economic changes.

Sergey Tolstoguzov, Hiroshima University (sergeytol@wb.dion.ne.jp)
Reforms and Science in Japan in Edo Period
This presentation will examine the ideas of Takashima Shuhan, one of the early Japanese reformers who
argued for the modernization of Japan, and examine the reasons of his failure. The Nagasaki Bakufu official,
Takashima Shūhan, started to import flintlock guns from the Netherlands, known as Gewehr rifles, starting fromthe 1830’s. In addition, he managed to obtain through the Dutch at Dejima some canons, such as mortars. He
used Dutch textbooks and Dutch commands to renew army tactics, and proposed to create Line infantry
regiments, modeled on the main type of infantry which composed the basis of European land armies from the
middle of the 17th century to the middle of the 19th century. (In 1796 it also was adopted as Russian army
military strategy). As a result, he was permitted to give the first modern Western military demonstration for the
Tokugawa Shogunate, in Tokumarugahara, North of Edo, 27 June 1841. The Bakufu did not have sufficientfinancial resources to buy new arms and to reform the army. Thus Takashima Shūhan was heavily criticized bymany, for example, Torii Tadateru, and he was put under house arrest on charges of subversion and treason.
Nevertheless, throughout the rest of his life, Takashima argued for the modernization of Japan in order to better
resist the West. Co-presented with Evgenii Philippov and Alexander Philippov.

Joshua Truett, The Ohio State University (truett.4@buckeyemail.osu.edu)
Noh Drama: Ancient Dance with Poststructuralist Theory
Noh came into existence at a pivotal point in Japanese history, during which major shifts occurred in social andpolitical structures. With the defeat of the Emperor by the shoguns and their samurai warriors, power wastransferred from the imperial court to the new shogunate system. Noh emerged as the most popular form ofentertainment for this new aristocratic warrior class. As to be expected, there are numerous plays about
warriors and lords in the cannon of Noh play-texts. However, Noh play-texts also marked an important shift in
the themes of Japanese dramatic literature, as the play-texts of Noh also tell the stories of marginalized groups
in Japanese society: such as servants, the poor, the insane, and women in all social classes, challenging theprevious literary fixation on royal subjects and narratives. Likewise, the theories of post-structuralism andpostmodernism champion the deconstruction of master narratives in the academy, in politics, and in the arts. In
my essay, I will analyze Noh’s unique dramatic structure, literary conventions, and performance theory throughthe theoretical concepts of Roland Barthes and Maurice Merleau-Ponty. Through this comparison, I intend to
shed light on both the art and craft of the performer, and the transcendental nature of the transaction that may
occur between performer and spectator.

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Anu Warrier, University of Oxford (anu.warrier@pmb.ox.ac.uk)
The Spectacle of the Atomic Bomb: Deconstructing the Images in Black Rain, the Novel and Film
The unprecedented destruction that the atomic bomb wrecked in Hiroshima and Nagasaki on August 6 and 9,1945 is seared deeply in the mindset of every Japanese individual today. The iconic black and white image ofthe mushroom cloud looming over the cities, both in the form of photographs and literary representations, is
now arguably an inseparable aspect of the Japanese identity which unites them and consolidates their identity
as the only nation victimised by nuclear weaponry. While Guy Debord’s concept of ‘spectacle’ in society
criticised the prevalence of commodity fetishism and consumerism, his idea that a ‘spectacle’ is a ‘mere
representation’ of everything ‘that once was directly lived’ and ‘appears at once as society itself, as part ofsociety as a means of unification (2006:12) could be extended and applied to the idea of memory and trauma.
One could argue therefore, that the ‘spectacle’ of the atomic bomb and its destruction is not only engraved in
the psyche of an individual, but also preserved as a way of solidifying Japan’s national identity. As historian
Naoko Shimazu suggests, the Japanese created a 'clear demarcation between the pre­1945 and post­1945
Japan' in order to detach the 'polluted' militarised past from the present and construct a new victimised
narrative or higaisha ishiki of postwar Japan’ (2003:101). In my research, I attempt to deconstruct the‘spectacle’ of the atomic bomb in Black Rain, both the award winning novel by Ibuse Masuji and its film
adaptation of the same name by Imamura Shôhei, and how these recreated and re­imagined images of war
contribute to Japan’s collective memory. When dealing with such a painful and controversial historic event, isthe spectacle of the atomic bomb simply an objective narration of the past, or a ‘mere representation’ of what
‘ought’ to be remembered?

Deborah Williams, Johnson County Community College (dwilli63@jccc.edu)
Successful Strategies for Incorporating Japan Studies into College Course Work
Infusing Japanese lesson plans into general education coursework that are thematically and ideologicallyWestern based can be a challenge. How can Japan studies be infused into these classes and how can one
stay within the common course guidelines of the applicable courses?
This presentation will focus on successful strategies to incorporate Japan studies into undergraduate
college courses. Three college-level teachers from different disciplines will individually and collectively discuss
their strategies, results and future ideas for infusing Japan studies into their classes while staying focused oncommon course outcomes. These strategies are the results of each college level instructors’ respective
experiences teaching, as well as their research in Japan Studies as part of the Freeman Foundation Summer
Institute in Honolulu, Hawaii, where they met.
Deborah Williams, J.D., is an Associate Professor of Biology and Environmental Science at Johnson County
Community College, where she teaches a variety of courses including environmental science, principles ofsustainability, natural history of Kansas, bioethics and environmental policy and law. Professor Williams
employs multidisciplinary approaches to help students understand and explore ways to address global
environmental challenges. After participating in the JSA Summer Institute, Professor Williams introduced
Japan specific content into her environmental science course including a discussion of whaling as both aJapanese cultural practice and conservation issue, climate change mitigation efforts in Japan and a unit on
Japan environmental disasters including the Fukushima Daiichi disaster and Tōhoku earthquake and tsunami.
Co-presented with Jeannine Kitzhaber and Linda Noel.

Michael S. Wood, Chapman University (mwood@chapman.edu)
Literary Subjects Adrift: The Japanese Castaway Narrative as Literary Text
Post-war Japanese historiography has tended to portray early-modern Japan as hermetically sealed off fromthe rest of the world with very little intellectual and cultural exchange. While some historians such as Ronald
Toby and Arano Yasunori have challenged the tenets of sakokuron or “Closed Country Theory” since the1970s, general histories still tend to read any incidents of transoceanic exchange as an anomaly of Tokugawa
diplomatic protocol. Likewise literary and cultural scholars of early-modern Japan tend to focus on mass
produced culture catering to the burgeoning urban populations or conversely, singular acts of monumental
cultural production commissioned by elite nobility, bakufu, or domain lords. This presentation uncovers asuppressed history of an early modern textual form known as hyôryûki or “castaway narrative.” In doing so, I
will consider how these documents came to be seen as particularly literary and cultural texts by the late Edo
period.

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Ching-Hsuan Wu, Ohio Wesleyan University (cwu@owu.edu)
A Learner’s View on Japanese Pedagogy
Studies in Japanese pedagogy are often conducted by Japanese language educators to offer analyses ofteaching approaches and implications for classroom practice from instructors’ perspective. Generally,
information on learners obtained from surveys, interviews, or test scores is also included in research in this field
to study the relationship between demographic factors, to support arguments, or to provide a broader view of
how teaching and learning interact in Japanese language classrooms. While research centered on instructors’
standpoints is essential, it can be insightful to include analytical information directly derived from learners on
how they perceive and evaluate their classroom experiences. Unfortunately, few studies offer learners’
perspectives on instructors’ teaching skills, curriculum design, classroom activity implementation, andpedagogical theories that are put into practice.
In light of a paucity of discussions of Japanese pedagogy from learners’ points of view, the presenter, alearner of Japanese and a specialist in foreign language education, will introduce, analyze, and compare thetraits of four Japanese language programs at different institutions across three countries based on her learning
experiences in these programs, research in second language acquisition, and field work of teacher education.
The goal of the presentation is to support the current practice in Japanese language classrooms as a learnerby reviewing an array of pedagogical options and considering how each of them accommodates learning
experiences known to teachers of Japanese as a foreign language.

Marc Yamada, Brigham Young University (mountainfield@gmail.com)
The Post-Aum Films of Kurosawa Kiyoshi
The films of Japanese director Kurosawa Kiyoshi in the late 1990s and early 2000s capture the malaise of the“lost decade” (ushinawareta jû-nen) of the 1990s, a period characterized by the end of an economic boom thatpropelled Japan through two decades of unprecedented prosperity. Facing the decline of high-growth, thecountry for the first time in two decades could no longer ignore the things that it had suppressed to realize
progress: the failure of Japan’s radical movements of the 1960s and early 1970s and their de-evolution into
extremism. As the haze of prosperity dissipated in the early 1990s, Japan was again stunned by a violent
uprising more than two decades after the collapse of the student movements—the Tokyo subway gassings in
1995, an event that many associated with the radicalism of the 1960s and 1970s. The attacks served as areminder of the deep-seated social dissatisfactions that existed among the activist generation and the violence
that results from extremism.
Utilizing trauma theory, this paper will examine the way Japan’s radical past is re-experienced in
Kurosawa’s films in the years following the gassings. It will argue that Charisma (Karisuma, 1999), Pulse(Kairô, 2001), and other cinematic works, highlight the unresolved effects of radicalism and the way theseeffects complicate attempts to process the gas attacks and to understand the post-Aum period in relation to theradical era. In this way, Kurosawa films, this paper will suggest, reveal a crisis history in the post-Aum culture of
the lost decade.

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List of 2015 JSA Conference Participants
Fay Beauchamp

Community College of Philadelphia

fay.beauchamp@gmail.com

Stacia Bensyl

Missouri Western State University

bensyl@missouriwestern.edu

James Boyd

Colorado State, Emeritus

jwboyd@lamar.colostate.edu

Anne Campbell

University of Minnesota, Twin Cities

camp0641@umn.edu

Richard Cappellino

Kaua’i Community College

rcappell@hawaii.edu

Thomas Carneal

NWMSU, Emeritus

twcarneal@gmail.com

Susan Castro

Wichita State University

susan.castro@wichita.edu

Genaro Castro-Vázquez

Nanyang Technological University

genarocastro-vazquez@ntu.edu.sg

Sue Ellen Charlton

Colorado State, Emeritus

secharl@lamar.colostate.edu

Paul Dunscomb

University of Alaska Anchorage

pedunscomb@uaa.alaska.edu

Robert Feleppa

Wichita State University

robert.feleppa@wichita.edu

Arthur A “Trey” Fleisher III

Metro State University of Denver

fleishet@msudenver.edu

Elaine Gerbert

University of Kansas

gerbert@ku.edu

Linda Gruber

Moraine Valley Community College

lindajgruber@gmail.com

Rena Heinrich

University of California, Santa Barbara renadear@gmail.com

Nancy HumeComm. College of Baltimore County

nhume1@earthlink.net

Maggie Ivanova

Flinders University

Maggie.Ivanova@flinders.edu.au

Eric Kendrick

Georgia Perimeter College

Eric.Kendrick@gpc.edu

Jeannine Kitzhaber

University of Wisconsin, River Falls

jeannine.kitzhaber@uwrf.edu

Michael Knock

Clarke University

Michael.knock@clarke.edu

TJ Laws-Nicola

Texas State University

tjln500@gmail.com

Qian Liu

Arizona State University Libraries

Qian.Liu.2@asu.edu

William Lowe

Howard Community College

wlowe@howardcc.edu

Michael Lynch

Kent State University

mflynch@kent.edu

James Makubuya

Wabash College

Makubuya@wabash.edu

Barbara Mason

Oregon State University

barbara.mason@oregonstate.edu

Susan Mason

California State University, Los Angeles ellida@gmail.com

Jennifer McDowellTohoku Gakuin University

herm1975@yahoo.com

Keiko Miller

Mercyhurst University

kmiller@mercyhurst.edu

Vivien Minshull-Ford

Wichita State University

vminshull@yahoo.com

Akiko Mori

Community College of Philadelphia

moriakiko.mori@gmail.com

W. Lawrence Neuman

University of Wisconsin, Whitewater

neumanl@uww.edu

Linda NoelMorgan State University

Linda.Noel@morgan.edu

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Hitoshi Ogawa

National Institute of Technology,

ogawa@tokuyama.ac.jp

Tokuyama College
Joe Overton

University of Hawai’i, Kapi'olani

overton@hawaii.edu

John Paine

Belmont University

painestover@gmail.com

Ann Pelelo

Clarke University

ann.pelelo@clarke.edu

James Peoples

Ohio Wesleyan University

jgpeople@owu.edu

Allan Persinger

Madison Area Technical College

persinga@matc.edu

Alexander Philippov

St. Petersburg State University

PhilAlex2005@mail.ru

Evgenii Philippov

St. Petersburg State University

evgenii.philippov@gmail.com

Ashli Ree

Middlesex Community College

reea@middlesex.mass.edu

Marjorie Rhine

University of Wisconsin, Whitewaterrhinem@uww.edu

Gloria R. Montebruno Saller

University of La Verne

gmontebruno@laverne.edu

Susan Clare Scott

McDaniel College

sscott@mcdaniel.edu

Barbara Seater

Raritan Valley Community College

bseater@raritanval.edu

Ping Situ

University of Arizona

psitu@email.arizona.edu

Michael Stern

Community College of Philadelphia

mstern@ccp.edu

Andrea Stover

Belmont University

andrea.stover@belmont.edu

Wakako Suzuki

University of California, Los Angeles

wsuzuki@ucla.edu

Sergey Tolstoguzov

Hiroshima University

sergeytol@w6.dion.ne.jp

Joshua Truett

The Ohio State University

truett.4@buckeyemail.osu.edu

Anu Warrier

University of Oxford

anu.warrier@pmb.ox.ac.uk

Deborah Williams

Johnson County Community College dwilli63@jccc.edu

Michael Wood

Chapman University

mwood@chapman.edu

Ching-Hsuan Wu

Ohio Wesleyan University

cwu@owu.edu

Mark Yamada

Brigham Young University

mountainfield@gmail.com

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