August 15 remains an important day in Korean and Japanese cultures for the two peoples, the former commemorating their liberation from colonial rule and the latter lamenting the end of the tragedy that had befallen their nation. On this day in 1945, the emperor declared his country's intention to accept the Allied forces' surrender terms. This date, however, is a myth of sorts as the Koreans were soon after forced into division and further subjugation at the hands of the United States and the Soviet Union, who divided postwar occupation responsibilities. For the Japanese, the emperor's unprecedented broadcast may have ended the bombing of Japanese cities, but it did not bring about a general return of Japanese soldiers from Pacific War battlefields. These days, however, the day is marked for concluding two tragic periods of their histories, but with very different sentiments. In this article the author traces his observations on how the Japanese and Koreans observe August 15 in contemporary times.

Who is allowed to practice medicine? This question recurred in different forms throughout Japan's modern era, reflecting fundamental changes in how people provided and received medical care. This article explores one key issue that underlined this question: a persistent doctor shortage, whose causes and form changed over time—from the late wartime era, through the immediate postwar rehabilitation years, to the era of rapid economic growth. Rather than focusing on issues of policy, the article examines personal histories, revealing how shortages led to various doctor substitutes, some legitimate and some not, in a process whereby doctor care came to be seen as a basic right.

Four ugui portraits of kings of the Okinawan kingdom of Lūchū (Ryūkyū) were returned to Okinawa in March 2024 along with sixteen other artifacts stolen by American soldiers during the 1945 Battle of Okinawa. These are the first such royal portraits to be confirmed extant, and the first such royal treasures to be recovered since 1953. This essay describes the repatriated portraits, as well as the theft and search for the royal treasures looted in 1945 and their cultural and emotional significance for a people who lost a great volume of their tangible heritage in World War II.

“I Am A Comedian” (Dir. Fumiari Hyuga, 2022) is a documentary featuring a prominent Japanese comedian, Daisuke Muramoto, who “disappeared” from TV programs despite his popularity and talent, due to the shift of his comedy routine to political satire. The author watched the film with students in a Japanese pop culture class at the School of the Art Institute of Chicago, and also invited Muramoto himself to the class. This essay reviews the documentary within its social context and reports on the engaging class discussion with Muramoto. Creative expression provides people, especially those who are impacted and marginalized, means to contest power. At the same time, we are in an era when political and social conflicts have become exceedingly intense, making it imperative that the manifestation of ideas and opinions be both compelling and sensitive to others. Muramoto's journey in pursuing his comedy provides us with insights to reflect on what true freedom of speech is and the power and responsibility that accompany artistic expression.

This article describes the arrest and prosecution of three peace protesters during the Iraq War era. It places these events within the broader context of the campaign to revise Japan's Constitution, especially Article 9, to allow for the deployment of Self-Defense Force units abroad. It also introduces the great hesitancy of the Supreme Court to enforce Article 9.