Bøker av Michael Lucken

Memories of World War II exert a powerful influence over Japan's culture and society. In The Japanese and the War, Michael Lucken details how World War II manifested in the literature, art, film, funerary practices, and education reform of the time. Concentrating on the years immediately before and after (1937 to 1952), Lucken explores the creation of an idea of Japanese identity that still resonates in everything from soap operas to the response to the Fukushima nuclear disaster.Lucken defines three distinct layers of Japan's memory of World War II: the population's expectations at the beginning, the trauma caused by conflict and defeat, and the politics of memory that arose after Japan lost to the Allied powers. Emphasizing Japanese-language sources, Lucken writes a narrative of the making of Japanese cultural memory that moves away from Western historical modes and perspectives. His approach also paints a new portrait of the U.S. occupation, while still maintaining a cultural focus. Lucken sets out to capture the many ways people engage with war, but particularly the full range of Japan's experiences, which, he argues, the Japanese state has yet to fully confront, leading to a range of tensions at home and abroad.

The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts.Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.