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211 Notes Introduction 1. Nakane Takayuki 1999: 58–59. 2. The multicolor ukiyoe prints produced in the Meiji period often referred to as nishikie 㘂⤦ were distinguished from traditional prints by their modern subject matter. They also played an important role in early Meiji newspapers before photojournalism existed. 3. Rokumeikan (Pavilion of the Deer Cry) was completed in 1883 and came to symbolize the era of Westernization. It housed foreign dignitaries and was famous in its heyday for its elegant balls, which introduced Western manners , lifestyle, and material culture. See Tomita Hotoshi 1992. 4. Christy 1997: 143. 5. Komori Yōichi 2001: 11–16. 6. Harada Kei’ichi 2007. 7. Some recent scholarship challenges the more conventional take on sakoku as an overriding, all-exclusive prohibition on contacts with the outside world. See Toby 1983 and Hellyer 2009. For early modern and modern cultural and diplomatic contacts between China and Japan, see Joshua Fogel 1995, 2004, 2009. 8. The influence of this last group on Chinese literature was particularly significant . Chen went on to found the journal Xinqingnian (La Jeunesse) and was an important advocate of the New Culture Movement, which culminated in the May Fourth Movement. The Japanese movement for the unity of script and language (Genbun Itchi) was an important model for the Chinese push to write in a standard modern vernacular. 9. Kim fled to Japan in 1884 after failed uprisings in 1882 and 1884. Bose escaped to Japan following the failure of the Ghadar Conspiracy in 1915. 10. Based on 1988 statistics issued by the Statistic Bureau of the Department of the General Administration, 75,300 Japanese moved to Korea, 38,500 to Taiwan, 400,000 to Sakhalin, 70,000 to South Pacific islands, and more than 1.5 million to Manchuria. This amounts to 3.15 million, and together with those about 500,000 Japanese who lived in China, that amounts to around 3.5 million Japanese living across the empire, which is about 5 percent of the 7 million people who lived in Japan at the end of the war. See Araragi 2008: xv. 11. Not all came of their own volition. After 1939, about 700,000 Koreans were forced to relocate to Japan, almost double the 1 million Koreans who already resided in Japan. 212 | Notes to Pages 6–12 12. “Introduction,” Araragi Shōzō 2008. 13. The Five Ethnic Groups (gozoku) refers to Japanese, Han Chinese, Koreans, Manchurians, and Mongolians. Colonial subjects from Taiwan and Korea who lived and worked in colonies other than their own birth colonies were referred to as Registered Citizens (Sekimin) to distinguish them from Japanese nationals. See Barbara Brooks 2000. 14. Hashiya Hiroshi 2004: 8. 15. Appadurai 1996: 35. 16. I adopted this term from Araragi Shōzō’s book Bōchōsuru teikoku ni jinryū (1993). 17. See Ikeda Hiroshi 2007: 11–17, 293–300. 18. For an exposition of some of the negative implications of this publicity campaign , see Ikeda Hiroshi 2007: 3–4, 293–348. 19. Kleeman 2003: 42–49. 20. Tonoshita Tatsuya 2008: 176–179. For example, the modern dancer Ishii Midori led her troupe of multiethnic dancers to Singapore, Malaysia, and Burma, and the popular Takarazuka Revue performed regularly in Manchuria . 21. Within the so-called continental melodies, further subgenres such as Manchurian songs (Manshūmono ‫‮‬ᕗࡵࡡ), Shanghai songs (Shanhaimono ୕ᾇࡵ ࡡ), border songs (kokkyōmono ᅗሾࡵࡡ), and, later, Songs of the South (nanpōmono ༞᪁ࡵࡡ) provided information and fulfilled the fantasies of listeners in the colonies and other occupied territories. 22. Yoshimi Shunya 2005: 281–287; 2002: 11–64. 23. Li Chengji 2005: 245. 24. Nagamine Shigetoshi 1999: 186–187; Ishikawa Hiroyoshi 1981: 150–154. 25. Nagamine Shigetoshi 1999: 202. 26. See Suzuki Sadami 2010 for a detailed study of Bungeishunju and Kikuchi Kan’s wartime activities. 27. Two zainichi writers—Kim Shiryō 㔘ྍⰃ (김사량 1914–1950?) and Li Yunjiku ᮜṺ├ (1917–)—were nominated in 1939, Kim for his In the Light (Hikari no naka කࡡ୯࡞) and Li for his Current (Nagare ࡝࠿ࡿ). But it was not until 1971 with Li Kaisei’s ᮜᜒᠺ (1935–) novel Woman Who Pounds on the ClothBeating Block (Kinuta o utu onna ◌ࢅᡬࡗዥ) that the first zainichi writer received the prize. 28. In 2008, Yang Yi ᳷㐋 (1964–) became the first (and so far the only) writer ever awarded the prize whose native language is not Japanese. 29. According to Tarumi Chie’s research, Chūō kōron sent out a call for submissions ᠩ㈱ຽ㞗 in 1934. Two works of fiction, four criticisms, and three popular writings ୯㛣ㄖࡲ∸ were sent in from Taiwan...

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