This study examines the manner in which the significance of housework affected the job choices of young Japanese women over three decades spanning the beginning of the twentieth century, by focusing on domestic servants hired by the Hiroumi family, a merchant family living in the Sennan District, Osaka Prefecture. The family recruited unmarried young women from within Sennan as domestic servants. These women benefited from domestic service because it enabled them to become skilled in housework. Around the late 1890s, however, they preferred to work in the textile industry, the mainstay of Sennan's economy at the time, not recognizing the value of domestic work. Consequently, the Hiroumi family experienced a labour shortage. After this period, though, young women attached increasing importance to housework, and by the 1920s, they were as willing to be employed in domestic service as in the textile industry. This made it less difficult for the Hiroumi family to recruit domestic servants.

This article investigates the collective responsibility organizations among boatmen in nineteenth-century Chongqing, when the city became one of the most important metropolises on the southwest Qing frontier. It also introduces two successive turning points in self-organization that were associated with two different classes of boatmen – skippers and sailors. First, in 1803, skippers gained the authority to institutionalize their organizations through their negotiations with the local state regarding official services and service fees. Second, when similar service and fiscal tensions emerged between skippers and sailors in the mid-nineteenth century, the skippers facilitated and supervised the institutionalization of collective responsibility organizations that were run by the sailors themselves. By contextualizing this expansion of collective responsibility organizations within the multilayered interactions between skippers and sailors, this article proposes that the perspective of interclass networks is crucial for deepening the study of state−society interactions, the capital−labor relationship, as well as the tension between imperial integration and regional diversity in early modern China.

This article uses Mbembe's concept of necropolitics as an analytical category to examine the representations of necropower in Squid Game. In the global “organ economy,” organ sellers decide to supply, and brokers then mediate between them and buyers. In contrast, South Korean loan sharks commodify delinquent debtors' organs by forcing them to sign a body waiver as collateral. Recent South Korean dramas have thematized this distinctive systemization of the black economy. Borrowing Lowenstein's “allegorical moment” concept, this article aims to illuminate representations of fluid necropower through children's games as a hinge between reality and the imaginary that invites viewers to dialectically evaluate death problems. The contestations of money and humanity synthetically emerge as necropower constantly moves among different entities: VIPs, a frontman, players, game rules, and money. This article claims that viewers process numerous allegorical moments created by the iconography of necropower and synthetically realize necropolitics and corporeality in Squid Game. Organ extractions and trade in episode two in particular represent “morbid spectacle” and the culmination of mammonism. This article analyzes scenes of death, games, the technique of killing, and esthetics to connect historical examples of the necropolitics that Mbembe draws on and to discuss representations of the organ trade in this recent Korean drama.

This study aimed to provide insight into the daily lives of disabled Japanese veterans and their families during World War II (WWII). After the start of the Second Sino-Japanese War, the Japanese government expanded the conscription system in order to enable large-scale mobilization while providing comprehensive military support led by the Ministry of Health and Welfare. The top priority was to create mechanisms to direct disabled veterans into the home front, so-called Saiki hōkō. Even under the scheme, families of disabled veterans in farming villages during WWII had difficulty recovering their pre-war living standards. However, some households economically exceeded their prewar living standards as veterans returned to work while also receiving pensions and taking advantage of support from the government.

This study examines the activity of the Literature Translation Institute of Korea (LTI), a South Korean state agency promoting Korean literature internationally through translation. Analyzing LTI programs and participants in LTI policymaking and implementation, I advocate reconsideration of the conventional theorization of the state as either “strong” or “weak” in its control over national culture, corresponding to the degree of liberalization of market and politics. Instead, the institutional strength of the state and the marginal status – globally – of a given literature are intertwined and mutually transformative for the global formulation of a national literature. This study articulates how LTI's embeddedness in networks of domestic and international literary actors, such as translators, publishers, academics, and critics, both enables and constrains LTI policy. Based on the analysis, I argue that LTI as an intermediary formulates Korean literature with multiple components, combining the marketization of prominent writers with cultural consecration of non-commercial works, and universal literary values with nationalist cultural pride. Consequently, this study reveals the contentious nature of the state-led literary project, under which a national literature in global context is shaped collectively by actors both within and without the state.

Given the historical nature of gender consciousness against the backdrop of the nation's social system transformations and the deficiencies related to physical and mental determinism commonly found in research on the performance of female gender roles, this study innovatively uses Butler's agency approach to examine gender consciousness. Women in China have experienced the female liberation movement of “equality between men and women” under the Chinese socialist regime as well as the movement of “women's return to the family” after the introduction of the market economy. The current study uses the agency approach to present the processes of post-1980s Chinese women when balancing their paid work, housework, and childcare roles and the contradictions therein as well as the ideologies they have adopted to resolve such contradictions. This study comprehensively examines the effect of conservative and non-conservative ideologies on the gender consciousness and behavior of women acting under their own agency. The findings, which are based on a comparison of the gender consciousness and behavior of various cohorts, yield the conclusion that post-1980s women expect non-conservative behavior in the future but choose conservative behaviors strategically. Such strategic behavioral choices deepen inner gender role-related conflicts.

This article aims to strengthen the link between history and theory by contributing to the scholarly conversation on “an integrated historical social science.” By examining the case of Qing China, it introduces a historically oriented and theoretically informed research agenda and toolkit for studying state making through the interactive lens of political sustainability and critical crisis. Using two historical upheavals as a prism, this article shows how destructive crises can have the unintended consequence of facilitating empire building and fostering political sustainability. Furthermore, it draws on theoretical insights from political science and sociology to construct a general framework for measuring the sustainability of political development and explaining the complex role of great crisis. This interdisciplinary model not only sheds new lights on the causative role of event, conjuncture, and structure but also enriches existing approaches to comparative historical analysis in general and state making in particular.

This paper uses the decade-long collaboration between the Indian paleobotanist Birbal Sahni (1891–1949) and his Chinese doctoral student Hsü Jen (Xu Ren 徐仁, 1910–1992) to offer a connected history of mid-twentieth century scientific activity in China and India. Possibly the first Chinese scientist to earn a PhD from an Indian university (Lucknow, 1946), Hsü was certainly the first to be appointed to a faculty position in India. Sahni and Hsü's attempts to build Asian networks of scientific activity, characterized by the circulation of experts, scientific knowledge, and specimens, provide the grounds for considering a practice of Pan-Asianism. Such a formulation adds to existing work on the Pan-Asianist articulations of intellectual and political figures and urges for an expansion of how we understand scientific activity across China and India from the 1930s to the 1960s. In so doing, the paper makes two historiographical interventions. In the first instance, the collaboration presents an opportunity to move beyond the two dominant frames through which histories of science in China and India are studied: the nation state and Non-West/West binaries. Second, a focus on science widens the scope of China–India history, a field dominated by research on cultural, intellectual, and diplomatic topics.

By connecting seemingly scattered reforms and debates over the 1900s and 1910s, this paper outlines a longer process that eroded the institutional and ideological foundations of the imperial examination system (keju) that did not vanish immediately after the 1905 abolition. Under the title incentive program introduced in 1904, keju titles had been awarded to graduates of modern schools until the very end of the Qing dynasty. As the number of modern schools surged over the 1900s, the program led to an overexpansion of title holders, and ironically enhanced the scholar-official identity that was at odds with the discipline at the modern schools. To lobby for the abolition of the program, non-official reformers of education formulated a moralized critique against the keju titles, but no substantial reform had been undertaken before the 1911 Revolution ended the Qing dynasty. In the 1910s the same network of late Qing reformers launched an ideological war against traditional values that they saw as the ideological foundation of the keju. They constructed new concepts of education and vocation that spread through a powerful network connecting education, industry, and media. This “longer abolition” of the keju produced a prolonged effect on the visions of social order in twentieth century China.

Zhang Mengshi died in late 2014 at the age of ninety-two, shortly after his autobiography was published. He was born into a life of privilege because his father Zhang Jinghui was a close confidant of the Chinese warlord Zhang Zuolin. Mengshi was a boy in Harbin in the 1930s when Russian influences dominated the city, then when his father became prime minister of the Japanese puppet state of Manchukuo in 1935 he lived with his family in Hsinking, the new capital. He studied in Japan in the early 1940s as war in the Pacific intensified. His father upheld the Japanese occupation of Manchuria, while Mengshi secretly worked with the Communist underground to undermine the occupation. When Soviet troops arrived in 1945 to take over from the defeated Japanese, Mengshi was also arrested and sent to Siberia, though he was willing to help the Russian Communists. In 1950 he returned to the new People's Republic of China, to work with the captured Chinese and Japanese from former Manchukuo, including his own father and former emperor Puyi, teaching them about the crimes they had committed. In this article Mengshi's fascinating autobiography is summarized and commented on.

This paper explores a specific mode of illustrations to accompany the most popular dramatic publication in late Ming, The Story of the Western Wing. The visual interpretations of the play will be discussed side by side with the commentaries attributed to contemporary eminent literary figures, in order to examine the common change in reading mentality. Analysis of the image–text relationship for each of the pictures in those editions under discussion reveals that they all relate to the script with the caption taken from the text. Unlike the previous illustrated editions in a narrative mode, the pictures represent the fragmented poetic sentences instead of the narrative text of the play. The caption, a fragmented segment of the text, therefore becomes the key element that relates the image to the text. For the illustrator, it was probably more important to find a key line and a matching scene from the visual repertoire than it was to expound the essence of the script. The emerging mode of “poetic pictures” not only emphasized the poetic quality of the text, but also incorporated visual elements learned from traditional brush painting. The sophisticated integration of poetry and painting into the comparatively popular form of prints attested to the publishers' pursuit of artistic prestige, and the shift in illustrations for narratives during this period.

In this paper, I will focus on the emergence and uses of political economy in late-nineteenth–early-twentieth century China. I will discuss how the concept of “economy” came to be conceived as an autonomous sphere of human life, with its own rules and its own order, and how the production of “wealth” was conceptually divorced from ethics, politics, and administration. For this purpose, I will focus on a group which played a key role in reshaping the social and political discourse of the empire: a group of nationalist reformers who wanted to transform the Qing empire into a constitutional monarchy. I will explore how these reformers brought together two different sets of traditions – the Chinese imperial traditions of literati statecraft on the one hand, and mostly British, French, and German traditions of political economy on the other – and how they used them to naturalize a particular idea of what the “Chinese nation” was and should be.

The terms muen, kugai, and raku appear in medieval documents and invoke the idea of places which exist outside the reach of the secular power, such as shrines, temples, bridges and markets. They can also be extended to refer to people who are without worldly ties. Such places highlight the limitations that applied to political authority in medieval Japan, and they were characterized by such “freedoms” as limitations on the right of entry, exemptions from rents, taxes and corvée labor, rights of free passage, asylum from conflict and the civil law, non-recognition of serfdom or slavery, non-application of collective punishment, and authority based on seniority. The terms themselves defy clear individual definition. All three can be traced to Buddhist texts, though they were appropriated in the medieval period to secular use. Muen refers to being “unattached” (that is, without karmic ties), kugai to the realm of temples (the abodes of those who have cut secular ties), and raku to the ideal realm (or “paradise”). Though these terms were associated with liberty in the medieval period, they lost their positive connotations once the country was unified at the end of the sixteenth century.

Thus sings Sangdhor in a metrical poem in praise of Tibetan versification, countering an anti-verse sentiment that is prevalent on the contemporary Tibetan literary scene. Since the flourishing of free verse form in the 1980s, thanks to the pioneering works of Dhondup Gyal, many Tibetan writers have attacked metrical composition for its perceived inflexible, archaic and inadaptable form and uniformity of content. Sangdhor, one of the most iconoclastic and forward-thinking intellectuals writing in Tibetan today, vehemently refutes such a stance on the grounds that the bulk of great Tibetan works, literary or otherwise, are set in verse. To underscore his point he writes the cited poem in a “leaping and flying” style of the mgur (‘poem-songs’) genre. In fact, most of his many innovative poems are written in an eclectic style drawing on Tibet's rich literary tradition, Buddhist texts, oral sources and contemporary writings. Their content is equally diverse yet most of all current. It is infused with social and religious criticism, themes of romance and eroticism, critical literary commentary and current Tibetan affairs. His poems, like those of many other writers, show that metered poetry is very much a part of modern Tibetan literature. As he draws on classical literature and indigenous oral traditions for his own literary innovation, to borrow a concept from Northrop Frye, in Sangdhor's work we can “see an enormous number of converging patterns of significance” that is a complication of Tibetan literary formulas stretching to the narratives of the distant past.2 Therefore, it must be borne in mind that modern Tibetan literature transcends a theory of rupture which many scholars overstress to the point of overlooking its deep, outspread roots. Some parts of these roots predate both the 1980s, which saw a flourishing of new Tibetan writing, and the Chinese takeover of Tibet in the 1950s that has had a profound impact on Tibetan cultural production.

In Part One, social agreements (yue) were introduced as a way of examining the relationship between private agreements/contracts and official law in Ming and Qing China. Their breadth and dynamic were illustrated through the analysis of three types of agreement: community agreements, village compacts, and rent-resistance compacts and alliances. Such agreements however were not simply voluntary contracts, for they also had a coercive aspect. Part Two first discusses the way coercion and voluntarism coexisted in social agreements, and emphasizes the importance of the fluctuating relationship between advocacy and response in this. It then looks at the role social agreements played in the local order, particularly at how official pronouncements were mediated by local customary practices, and suggests that both laws and contracts can be analysed in terms of advocacy and response. The validity of this approach may be further tested by applying it to the way pacts have been used in modern China, suggesting that it would be useful to look for the same issues here that have been discussed regarding social compacts in the Ming and Qing periods.

This article analyzes the special historical characteristics of prefecture-level regional financial administration during the latter half of the Tang Dynasty, which had as its primary revenue source the twice-a-year tax legally established in 780. Prefectural financial administration during this period consisted of three components: the portion of the twice-a-year tax retained by prefectures (liuzhou), “money for public use” (gongyongqian), and the ever-normal and charity granaries (changping yicang). Each of these elements made its appearance at separate times from the Northern Wei to the Sui. Following the establishment of the twice-a-year tax law, they became consolidated as components of prefectural financial administration at the beginning of the ninth century. At the same time, these components of prefectural financial administration became subject to the control of the central government, especially with regard to the “money for public use,” the section over which prefectures exercised the broadest discretion. In the early Northern Song, at the end of the tenth century, all revenue sources (beyond those used to meet obligatory expenses such as the stipends of bureaucrats) came to be retrieved by the central government, and prefectural financial administration came to be placed directly under central control.

German journalist Jürgen Hinzpeter won the 2003 Song Kun-ho Press Award for his reporting of the 1980 Kwangju Uprising. He was also the subject of documentaries and the 2017 hit movie A Taxi Driver, which credit him as the first journalist to expose the Kwangju Uprising to the world. In fact, Hinzpeter was one of many journalists who revealed what had happened at Kwangju. Since the production of the 2003 documentary Hinzpeter – the Blue-Eyed Witness to May 1980, interest in the many other foreign journalists who covered Kwangju has been elided, raising the question of why only Hinzpeter's contribution is remembered and celebrated. Using ideas about historical memory developed by Paul Cohen, I argue that a narrative about Hinzpeter's actions in Kwangju has emerged, which has little to do with who first broke the news of the Kwangju Uprising. The story of Hinzpeter's relationship with the South Korean democratization movement as well as the film he shot of the moment Kwangju citizens seized power and established an alternative government to military rule – have become important weapons for the activist generation in an ongoing struggle over the memorialization of the Kwangju Uprising.

In recent historical studies of modern East Asia, the issue of migration has received increased scholarly attention. This article traces recent historiographical and methodological trends by analyzing influential English-language works on modern East Asian migrations in the first half of the twentieth century. Modern East Asian migrations during this period present dynamic and heterogeneous features as results of modern social transformations, such as the development of global capitalism, national and global economic integration, the emergence of new transportation and communication technology, and the expansion and collapse of the Japanese empire. Accordingly, the historical works on modern East Asian migrations we examine display a variety of historiographical and theoretical approaches. Specifically, this article underscores important trends or comparable emphases in these studies, including the growing scholarly interest in transnational/regional border crossing movements, migrants’ subject formations in the new environments, and the methodological interest in the role of culture, political economy, and the environment. Thus this article offers a reflective overview of the ongoing development of migration studies centering on modern East Asia.

This paper offers a first analysis of the philosophy of history developed by Jian Bozan (1898–1968), the author of China's earliest comprehensive exposition of historical materialism. Despite his central importance for the establishment of professional historical studies in PRC, the existing studies neglect Jian's original contribution to the development of Chinese Marxism and his pre-war works in general, focusing solely on his participation in the debate over the relation between history and theory in the 1960s. The paper seeks to fill this lacuna by providing a critical account of Jian Bozan's understanding of historical laws, progress, the stages of history, human freedom and the class struggle. Jian's synthesis of historicism and historical materialism, which at a time was seen as an alternative to the Maoist view of history, was officially condemned during the Cultural Revolution and led to his premature death. However, this paper demonstrates that, following the public rehabilitation of the thought of Jian Bozan in 1978, it was his system that had an important impact on the historiography in Dengist China. Furthermore, the paper argues that Jian's approach to historical materialism brought many novelties in relation to the preceding Sino-Marxist views of history.