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<h2 class="hd hd-2 unit-title">Day 14 – Great Kantō Earthquake, 1923</h2>
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<p><strong>Welcome to Module III—Tokyo Between the Earthquake & the Bombs: Koizumi </strong></p>
<p>Module III covers Tokyo ”between the earthquake and the bombs,“ a period of intensive modernization between two points of destruction in 1923 and 1944–1945. </p>
<p>We will look at the city that arose from the rubble as it was visualized in <strong>Koizumi Kishio's ”100 Views of Great Tokyo in the Shōwa Era,“</strong> a woodblock print series produced between 1928 and 1940.</p>
<p>Today, <strong>Day 14 – Great Kantō Earthquake</strong>, 1923, covers a large topic and is one of the longer sections of the course—but visually rich.</p>
<ul>
<ul>
<li><span style="font-size: 1em;">Welcome to Module lll </span></li>
<li><span style="font-size: 1em;">
Great Kantō Earthquake, 1923 </span></li>
<li><span style="font-size: 1em;">
A Fire-Cleansed Canvas
</span></li>
<li><span style="font-size: 1em;">Mapping and Promoting Reconstruction
</span></li>
<li><span style="font-size: 1em;">”Massification“ & ”Speedo“ </span></li>
<li><span style="font-size: 1em;">
Earthquake Documentation: Photos, Scrolls, Prints
</span></li>
<li><span style="font-size: 1em;">Earthquake Photography
</span></li>
<li><span style="font-size: 1em;">Nishimura Goun ”Kantō Earthquake Scroll“ (1925) </span></li>
<li><span style="font-size: 1em;">
Hiratsuka Un’ichi ”Scenes of Tokyo after the Earthquake“ (1925) </span></li>
</ul>
</ul>
<p><strong><span style="font-size: 1em;">Day 14 Quiz & Discussion – Earthquake Documentation </span></strong></p>
<p></p>
<p></p>
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<h2 class="hd hd-2 unit-title">Great Kantō Earthquake, 1923</h2>
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<p>At 11:58 am on September 1, 1923, what came to be known as the ”Great Kantō Earthquake“ struck:</p>
<blockquote>
<h5>At 11:58 am on September 1, 1923, an earthquake struck eastern Japan with devastating force, completely incapacitating Tokyo and Yokohama, Japan’s primary port city. The earthquake struck just as charcoal and wood-burning stoves were being stoked to prepare for the noon meal. A comparatively small percentage of the destruction was actually caused by the tremor.</h5>
<h5>Fire, propelled by what would otherwise have been a welcome breeze and fuelled by the wood structures that filled the congested metropolis, caused most of the devastation. The intense heat consumed nearly all of the existing oxygen and created a bizarre sequence of windstorms that only accelerated the destruction. Planned firebreaks, in the form of parks and boulevards, were virtually nonexistent.</h5>
<h5>Official estimates put the number of deaths at 104,619, over 90 percent of them in Tokyo. Approximately 70 percent of the metropolitan population of 2,265,000 was left homeless. (Ulak, "Earthquake and Aftermath," <em>Tokyo Modern I</em>, MIT Visualizing Cultures)</h5>
</blockquote>
<h5 style="padding-left: 30px;"></h5>
<p><span color="#313131" face="Open Sans, Helvetica Neue, Helvetica, Arial, sans-serif" style="color: #313131; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif;"><span style="caret-color: #313131;">Tokyo's cycle of destruction and rebirth came with terrible costs. Following the 1923 earthquake, horrifying reprisals ricocheted through the city.</span></span></p>
<blockquote>
<h5>Municipal and national governments were ill-prepared to respond to this catastrophe, and declaration of martial law was virtually the first reaction. The earthquake almost immediately exposed the raw social tensions of the period. Many citizens were only too willing to give credence to rumors that resident Koreans were poisoning water sources and torching buildings.</h5>
<h5>Military police and vigilante groups used the cover of chaos to eliminate union organizers, communists, socialists and all brand of left-of-center radicals. On September 16, police arrested the prominent radicals Osugi Sakae (1885-1923) and his wife, Itō Noe (1895-1923). They were taken to the Kameido police station and killed. Within the first few weeks of September the opportunistic purging of unwanted ethnic and political elements resulted in an estimated 6,000 deaths. (Ulak, ”Earthquake & Aftermath,“ <em>Tokyo Modern I</em>, MIT Visualizing Cultures)</h5>
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<p><span style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-stretch: inherit; line-height: 1.4em; vertical-align: baseline; caret-color: #313131; color: #313131;">In the <strong>first video</strong>, Prof. Nagahara describes the disaster and chaos that ensued. </span></p>
<p><span style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-stretch: inherit; line-height: 1.4em; vertical-align: baseline; caret-color: #313131; color: #313131;">In the <strong>second video</strong>, an animation sequence from <strong>Hayao Miyazaki‘s 2013 film, </strong></span><strong style="caret-color: #000000; color: #000000; font-family: -webkit-standard;"><span style="font-size: 1em; text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-style: italic; font-stretch: inherit; line-height: 1.4em; vertical-align: baseline; caret-color: #313131; color: #313131;">The Wind Rises</span></strong><span style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-stretch: inherit; line-height: 1.4em; vertical-align: baseline; caret-color: #313131; color: #313131;">, visualizes the 1923 earthquake. As we look at the various media that recorded and/or visualized the 1923 earthquake, this scene in Miyazaki's film is memorable. The film topic has been somewhat controversial as it deals in part with Japan's aggression and militarization during the Second World War. (Film by Hayao Miyazaki, animated by Studio Ghibli)</span></p>
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<h3 class="hd hd-2">1923 Earthquake Scene from Hayao Miyazaki's "The Wind Rises"</h3>
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<p style="font-size: 16px; text-rendering: optimizeLegibility; margin-top: 0px; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-stretch: inherit; vertical-align: baseline; color: #313131;">Disasters like the earthquake provoked profound change: purging the old, and embracing the new. Beginning in this period, Japan experienced a mass media revolution that challenged traditional class structures with the growth of a middle class.</p>
<h5 style="padding-left: 30px;">The long journey from Tokyo’s earthquake-devastated landscape to a city reordered, rebuilt, and renewed, was narrated in official literature as a kind of “march of progress,” a sequence of mercantile successes and modernizing projects. Yet, contrary news—resistance and war in China, political assassinations at home—gave Japanese reason to view the newly formed city and its outlying empire with some skepticism.</h5>
<h5 style="padding-left: 30px;">And beneath the vicissitudes of daily life the earthquake had left a permanent memory scar that quietly mocked optimism. Living in the new city required adjustment to changed configurations, different points of emphasis, and, most importantly, resetting awareness of the places that conveyed a sense of identity and stability … .</h5>
<h5 style="padding-left: 30px;">Thus, the maelstrom of the Kantō earthquake provided two crucial elements that, in the ensuing several decades, would lead to the construction of an “imperial capital”: a fire-cleansed canvas upon which a new city could be constructed, and the legal/ideological methods for structuring an urban and political landscape amenable to an evolving imperial ideology that was premised on ancient myths and traditions but, at the time of the earthquake, was in reality less than 50 years old—dating back only to the Meiji Restoration of 1868. (Ulak, ”Celebrating Place,“ <span style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-family: inherit; font-size: inherit; font-style: italic; font-variant-caps: inherit; font-weight: inherit; font-stretch: inherit; line-height: 1.4em; vertical-align: baseline;">Tokyo Modern I</span>, MIT Visualizing Cultures)</h5>
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<h3 class="hd hd-2">A Fire-Cleansed Canvas</h3>
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<h2 class="hd hd-2 unit-title">Mapping & Promoting Reconstruction</h2>
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<p>How did images contribute to the reconstruction effort after the earthquake? Here, we consider maps. Visions for a reconstructed Tokyo were presented with maps and promotional materials that targeted both domestic and overseas audiences. The new Tokyo they described would be a modern, world-class city. Maps—with their perceived impartiality—gave authority to urban planners, Dr. Weisenfeld argues. Yet maps, she writes, ”are by nature selective and partial,“ and that even the name ”Great Kantō Earthquake“ served to unify a previously disparate area.</p>
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<h5>“Maps are visual propositions that give form to social and political interests. Despite their seeming neutrality, they are anything but neutral or objective. A wealth of scholarship on maps has shown how they naturalize knowledge and, by extension, power by producing the bounded entities they purport to show. By authorizing knowledge, they exert force and impel social action such as amelioration or reconstruction in the case of disaster … . In 1923, it consolidated distinct townships and prefectures into the amalgamated Kantō region, a major geographic area whose national importance implicitly exceeded that of any one municipality—a strategic move that historian Narita Ryūichi has also identified in the renaming of the quake as the Great Kantō Earthquake. Maps establish visual authority over the territory they depict. Yet they are by nature selective and partial.” (Weisenfeld, <em>Imaging Disaster, </em>University of California Press. Kindle Edition)</h5>
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<p>The Harvard Map Collection published some of these visual sources in a blog post, ”Where Disaster Strikes: Modern Space and the Visualization of Destruction“:</p>
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<h5><strong>Rebuilding Tokyo</strong></h5>
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<h5>Confronted by the largest urban fire in modern history, Tokyo responded with the most ambitious rebuilding project to date. The government passed the City Planning Act in 1924 that allowed the city to claim up to ten percent of anyone’s land without compensation for the readjustment of city plots. As this rebuilding commenced and especially once it was completed, the city proudly advertised the successful recreation of itself not just to the Japanese people but to the world. This English-language volume by the Tokyo Municipal Office, for instance, emphasizes that the city has added 3,630,000 square meters of streets to make wider and safer travelways, that the city now has 3 large parks and 51 smaller parks, and that the city moved 203,000 houses to make readjustment possible. The volume concludes triumphantly:</h5>
<h5></h5>
<h5 style="padding-left: 30px;">“The reconstruction of Tokyo has not meant merely restoring [the city’s districts] to their former condition, but has meant creating them anew as modern cities. Especially remarkable in this respect has been the relaying of the streets, involving a complete revision of city lots. This land adjustment was on a scale without precedent in any city of the world, and marks an epoch in the history of city planning.”</h5>
<h5><a href="https://blogs.harvard.edu/wheredisasterstrikes/fire/tokyo-1923/" target="_blank"> ("Where Disaster Strikes: Modern Space and the Visualization of Destruction," an exhibition in Pusey Library from 14 Dec 2016 to 19 April 2017, presented by The Harvard Map Collection. Read on the Harvard University website)</a> This is external to edX and will open a new window</h5>
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<p><br /><br />The blog includes maps and earthquake images, including these:</p>
<p><img height="auto" width="100%" src="/assets/courseware/v1/59c4632efbe1d50991bcf168df577d32/asset-v1:MITx+VTx+1T2019+type@asset+block/Frontis-Harvard-Map-Collection_1500w.jpg" alt="Frontispiece, “The Catastrophe of 1923,” English-language volume by the Tokyo Municipal Office, (ca. 1924), courtesy Harvard Map Collection" /></p>
<h5>Caption (above): Frontispiece, “The Catastrophe of 1923,” English-language volume by the Tokyo Municipal Office, ca. 1924 (courtesy Harvard Map Collection)<br /><br /><br /></h5>
<p><br /><img height="auto" width="100%" src="/assets/courseware/v1/e03f39741cdbdb48e15775b3784707ab/asset-v1:MITx+VTx+1T2019+type@asset+block/Reconstruction-Plan_Havard-Map-Collection_1500w.jpg" alt="“Reconstruction Plan of Tokyo” map, from “The Catastrophe of 1923,” English-language volume by the Tokyo Municipal Office, (ca. 1924), courtesy Harvard Map Collection" /></p>
<h5>Caption (above): “Reconstruction Plan of Tokyo” map, from “The Catastrophe of 1923,” English-language volume by the Tokyo Municipal Office, ca. 1924 (courtesy Harvard Map Collection)</h5>
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<h2 class="hd hd-2 unit-title">”Massification“ & ”Speedo“</h2>
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<p>Professor Nagahara discusses the growth of mass consumer culture, the fascination with Hollywood and English ”loanwords,“ and the increasing speed—”speedo“—with which people moved about. Change accelerated with each of Japan‘s periods of intense rebuilding. In his book on the origins of the pop-music industry in Japan, <em>Tokyo Boogie-Woogie: Japan's Pop Era and its Discontents</em>, Nagahara writes about the societal impacts of media consumption and massification:</p>
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<h5 style="padding-left: 30px;">Popular songs emerged simultaneously with other equally new forms of media, such as mass circulation magazines, radio, and sound film, all of which connected a vastly expanded proportion of Japan‘s population to the widening web of media products as readers, listeners, and viewers. This new media-consuming public in turn came to play a key role in Japan's ultimate transformation from what was a society deeply cognizant of the social and cultural divisions within itself during the chaotic decades preceding World War II to one whose inhabitants were beginning to believe that it was, in fact, made up of nothing but the ”middle class“ by the 1970s. In this transformation, those whom observers identified as Japan‘s masses (<em>taishū</em><span style="font-size: 1em;">) emerged not only as the chief consumers of mass media and mass culture but also as the protagonists of the broader social change that was seemingly upending existing cultural norms and hierarchies. </span></h5>
<h5 style="padding-left: 30px;"><span style="font-size: 1em;">The history of the popular song genre has tended to emphasize the genre's emergence as part of this process of <strong>massification</strong> and the growth of shared lifeways among the Japanese … that of a mass consumer culture that not only survived by thrived throughout what some historians have come to identify as Japan's ”transwar“ era. (Nagahara, </span><em style="font-size: 1em;">Tokyo Boogie-Woogie: Japan's Pop Era and its Discontents</em><span style="font-size: 1em;">, 5)</span></h5>
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<p>_______________________________</p>
<h5>Source: Nagahara, Hiromu. <em>Tokyo Boogie-Woogie: Japan's Pop Era and its Discontents</em>, Harvard University Press, 2017</h5>
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<h2 class="hd hd-2 unit-title">Earthquake Documentation: Photos, Scrolls, Prints</h2>
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<p style="font-size: 16px; text-rendering: optimizeLegibility; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-stretch: inherit; vertical-align: baseline; color: #313131;">Historians and art historians have found plenty of original sources to study the 1923 earthquake. Coupled with the modern aesthetics and infrastructure embedded in urban renewal came the material needs for rebuilding that would fuel the eventual turn towards war:</p>
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<h5 style="caret-color: #000000; color: #000000; font-family: -webkit-standard;"><span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;">There is an abundance of textual and visual documentation about the earthquake and subsequent reconstruction of Tokyo—a process that was most evident during the 1930s. Central to recovery was a secure source of natural resources, most readily available in the northeastern Chinese territory of Manchuria. Ensuring such access became a development parallel and not unrelated to reconstruction at home, leading to increased Japanese militarism and eventually war. </span><span style="color: #3c3c3c; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;">(Ulak, ”Earthquake & Aftermath,“ </span><span style="color: #3c3c3c; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif; font-style: italic;">Tokyo Modern I</span><span style="color: #3c3c3c; font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;">, MIT Visualizing Cultures)</span></h5>
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<p>The stylized graphics of fire were also based on facts, such as the tunneling whirlwinds of flames—called the ”dragon-twist“—whipped up in the fire storms.</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/46f3abc17f9210fc9f967504131decb1/asset-v1:MITx+VTx+1T2019+type@asset+block/Earthquake_whirlwind_1613710519_1923_british-museum_2000w.jpg" alt=""True view of the great whirlwind in the area of Ishihara, Honjo" (Honjo Ishihara homen daisenpu no shinkei), from the series "News Pictorial of the Great Earthquake Disaster in the Imperial Capital" (Teito daishinsai gaho), woodblock print series, published by Urashima-do, October 20, 1923 (Courtesy: The British Museum." /></div>
<h5><br />Caption (above): ”True view of the great whirlwind in the area of Ishihara, Honjo“ (Honjo Ishihara homen daisenpu no shinkei), from the series ”News Pictorial of the Great Earthquake Disaster in the Imperial Capital“ (Teito daishinsai gaho), woodblock print series, published by Urashima-do, October 20, 1923 (Courtesy of The British Museum) <a href="https://www.britishmuseum.org/collection/object/A_2011-3024-5" target="_blank"> View ”True view of the great whirlwind “ on the British Museum website</a> This is external to edX and will open a new window</h5>
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<p>We see a similar visual trope in the series by Nishimura Goun, which will be discussed shortly. While they are radically different visualizations, the presence of the whirlwind in both suggests that is was a phenomenon the artists were attempting to capture and dramatize.</p>
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<h5>“A 300-foot-tall fire tornado, or “dragon twist,” tore through an area near Tokyo’s Sumida River where tens of thousands had sought shelter from the chaos; only a few hundred survived. The earthquake’s epicenter was in the waters of Sagami Bay, triggering a tsunami that reached heights of forty feet. . . . To report the devastation of September 1, 1923, Goun adopted the traditional horizontal format of episodes linked by text. Although Goun was a Kyoto artist, his scenes seem to be based on first-hand observation. The result is an odd union of harsh subject matter and his signature gentle style.” <a href="https://asia.si.edu/scenes-of-the-1923-earthquake/" target="_blank">(“Scenes of the 1923 Earthquake,” blogpost, September 1, 2016, National Museum of Asian Art, Smithsonian Institution. Read it on the Smithsonian Institution website)</a> This is external to edX and will open a new window</h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/d76a522f783dab4138a00319150f345b/asset-v1:MITx+VTx+1T2019+type@asset+block/kk9002_1925_Goun_QuakeScroll_2000w_c.jpg" alt="Nishimura Goun, Scene 2 “Hifukusho-ato to Kouka” (Military clothing factory and devouring flames) from “Scenes of the 1923 Earthquake,” handscroll, 1925. Courtesy: Freer Gallery of Art, Smithsonian Institution, Washington, DC " /></div>
<h5><br />Caption (above): Nishimura Goun, Scene 2 ”Hifukusho-ato to Kouka“ (Military clothing factory and devouring flames) from “Scenes of the 1923 Earthquake,” handscroll, 1925. (Courtesy of The Freer Gallery of Art, Smithsonian Institution, Washington, D.C.)</h5>
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<h2 class="hd hd-2 unit-title">Earthquake Photography</h2>
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<p>The earthquake destroyed enormous portions of the two great cities: as many as 140,000 people are estimated to have perished, and more than two million were made homeless.</p>
<p>Here is just a sampling from the huge number of photographs documenting the destruction, which was multifaceted—including tremors, fire, and tsunami. These photos come from a publicly accessible archive at the Brown University Library.</p>
<p>Please complete the Poll following the images.</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/f748430f67bf81d9fea2007a8b5a8df3/asset-v1:MITx+VTx+1T2019+type@asset+block/E01_Earthquake1923_Azuma_Bridge_ruin_Brown-U-Library.jpg" alt="""tokyo" azuma-bashi="" quot="" 1923="" great="" kanto="" earthquake="" of="" brown="" digital="" repository="" university="" library="" /></div>
<h5><br />Caption (above): "Collapsed Remains of the Azuma Bridge on the Sumida River. The wooden floor of the bridge burned down during the fires caused by the earthquake, leaving only the metal supports. Reconstruction of the bridge, as it stands today, began in 1931." (Brown University Library)</h5>
<h5>"tokyo azuma-bashi" (1923). Great Kanto Earthquake of 1923. Brown Digital Repository. Brown University Library</h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/0878c111592610f24310f9e6c0dc1f38/asset-v1:MITx+VTx+1T2019+type@asset+block/E02_Earthquake1923_Maruzen_bookstore_Nihonbashi_Brown-U-Library.jpg" alt=""Published" photograph="" of="" the="" remains="" famous="" maruzen="" bookstore="" located="" in="" nihombashi="" district="" tokyo="" after="" fire="" bookstores="" was="" largest="" and="" main="" provider="" western="" european="" literature="" quot="" no="" toukai="" 1923="" great="" kanto="" earthquake="" brown="" digital="" repository="" university="" library="" /></div>
<h5><br />Caption (above): "Published photograph of the remains of the famous Maruzen bookstore located in Nihombashi district of Tokyo after fire. The Maruzen bookstores was the largest bookstore and main provider of Western and European literature in Tokyo." (Brown University Library)</h5>
<h5>"tokyo nihombashi maruzen no toukai" (1923). Great Kanto Earthquake of 1923. Brown Digital Repository. Brown University Library.</h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/582c6f9bbbca13b4aa01e16d96a5c68f/asset-v1:MITx+VTx+1T2019+type@asset+block/E03_Earthquake1923_refugees_Brown-U-Library.jpg" alt="""Congestion" of="" refugees="" fleeing="" their="" homes="" in="" the="" ueno="" vicinity="" tokyo="" quot="" 1923="" great="" kanto="" earthquake="" brown="" digital="" repository="" university="" library="" /></div>
<h5><br />Caption (above): “Refugee area with many carts and trunks and bicycles. Buildings in area relatively intact, telephone poles standing. Congestion of refugees fleeing their homes is intensified by their well carts and sacks of belongings.” (Brown University Library)</h5>
<h5>"Congestion of refugees fleeing their homes in the Ueno vicinity in Tokyo" (1923). Great Kanto Earthquake of 1923. Brown Digital Repository. Brown University Library</h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/9da408004cb42093b03637ba6c7d2aed/asset-v1:MITx+VTx+1T2019+type@asset+block/E05_Earthquake1923_ruin_rail-tracks_Brown-U-Library.jpg" alt="""Ruins" of="" train="" tracks="" quot="" 1923="" great="" kanto="" earthquake="" brown="" digital="" repository="" university="" library="" /></div>
<h5><br />Caption (above): "Ruins of train tracks" (1923). Great Kanto Earthquake of 1923. Brown Digital Repository. Brown University Library.</h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/6c57789950de82981749370e5a742ef5/asset-v1:MITx+VTx+1T2019+type@asset+block/E06_Earthquake1923_smoke_refugee-area_Brown-U-Library.jpg" alt="Buildings in the foreground flattened. Men standing on elevated area with buildings in background intact. Smoke from fires in background. (Brown University Library) "Smoke still looms in the background of destruction in Yokohama" (1923). Great Kanto Earthquake of 1923. Brown Digital Repository. Brown University Library" /></div>
<h5><br />Caption (above): “Buildings in the foreground flattened. Men standing on elevated area with buildings in background intact. Smoke from fires in background.” (Brown University Library)</h5>
<h5>"Smoke still looms in the background of destruction in Yokohama" (1923). Great Kanto Earthquake of 1923. Brown Digital Repository. Brown University Library.</h5>
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<p>Another photo mounted on a postcard in the Museum of Fine Arts, Boston collection gives a large overview that speaks to the comments in the video of confusing the scene with firebombed Tokyo during WW2. Gennifer Weisenfeld wrote of the impact of such landscape views:</p>
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<h5>“In photographs, the subtle differences in perspective among elevated and panoramic scenes of the devastated cityscape give hints to the scope of the disaster. Some images visually extended the horizon line of the urban ruins, giving Tokyo the look of a never-ending postapocalyptic wasteland. These open, decimated vistas expose recently inhabited land to the observer and show new views born out of the destruction; where a dense metropolitan cityscape previously blocked the gaze and directed it along the axes of major boulevards, now one’s gaze can extend for miles unobstructed… . This new visibility is reinforced through the picturing of areas commonly known for their urban density and large buildings: Nihonbashi, Ginza, Marunouchi, Kanda, and Kyōbashi, for example. In areas where the burned-out carcasses of monumental Western-style edifices remained, the viewer can see through their empty, charred shells into the distance.“ (Weisenfeld, Gennifer. Imaging Disaster [Asia: Local Studies / Global Themes]. University of California Press. Kindle Edition.)</h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/65f96e07279d2796f571ef6bcd687bc7/asset-v1:MITx+VTx+1T2019+type@asset+block/1923_earthquake_British_Consulate_Yokohama_SC100511_mfa.jpg" alt="Foundations of the British Consulate at Yokohama after searches by the crew of the Hawkins, Great Kantō Earthquake, 1923, photo taken 1923, on postcard, Museum of Fine Arts, Boston" /></div>
<h5><br />Caption (above): Foundations of the British Consulate at Yokohama after searches by the crew of the Hawkins, Great Kantō Earthquake, 1923, photo taken 1923, on postcard (Museum of Fine Arts, Boston)</h5>
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<p>Gennifer Weisenfeld,<i> Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923</i></p>
<p><em></em>We have already introduced the work of art historian Gennifer Weisenfeld, and her book <em>Imaging Disaster</em> that looks deeply at images of disaster and the 1923 earthquake. Dr. Weisenfeld, Dean of Humanities at Duke University, collaborated with Visualizing Cultures on three units based on the Shiseido Cosmetics collection, dealing with the rise of consumer culture in Japan: she was also part of the teaching team in VC's first MOOC, VJx.</p>
<p>With a particular emphasis on photography, <em>Imaging Disaster</em> analyses the diverse ways images record the world at extreme moments like the earthquake: how they are used commercially, politically, and as shared public icons; and how we perceive images of disaster—looking back in time, and now. Professor Weisenfeld wrote an essay on <em>Imaging Disaster</em> for <em>The Asia-Pacific Journal </em>that you can read online. </p>
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<h5><em>Imaging Disaster</em> examines traditional and modern image making practices from the Ansei-era Edo earthquake of 1855 to the wartime media event of the Russo-Japanese war, and then up through the 1923 temblor, the official reconstruction of Tokyo in 1930, and even the atomic bombings of the Asia-Pacific war, to illuminate the intermedia nature of disaster images that all, regardless of medium, process observable phenomena through the imagination, blurring the boundaries between the real and the fantastic. This promiscuous commingling of fact, fiction, documentary, and melodrama to produce the visible evidence of history, reminds us of the inherent scopic pleasure of disaster spectatorship, and how for everything that is made visible in the imaging of catastrophic events, many things are made invisible. (Weisenfeld, ”On Imaging Disaster: Tokyo and the Visual Culture of Japan‘s Great Earthquake of 1923,“ <em>The Asia-Pacific Journal</em>, Vol. 13, Issue 6, No. 2, February 9, 2015.)</h5>
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<h5><a href="https://apjjf.org/2015/13/6/Gennifer-Weisenfeld/4270.html" target="_blank">Read Weisenfeld, ”On Imaging Disaster“ in The Asia-Pacific Journal</a> This is external to edX and will open a new window</h5>
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<p><img height="auto" width="50%" src="/assets/courseware/v1/d60915acb15a54845f678e60db6f2ccf/asset-v1:MITx+VTx+1T2019+type@asset+block/weisenfeld_imaging-disaster_book-cover.jpg" alt="Cover of Imaging Disaster, a book by Gennifer Weisenfeld" /></p>
<h5>Dust jacket, Gennifer Weisenfeld, <em>Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923</em>, University of California Press, 2012</h5>
<blockquote>
<h5><em>Publisher's Description:</em> Focusing on one landmark catastrophic event in the history of an emerging modern nation—the Great Kantō<span style="font-size: 1em;"> Earthquake that devastated Tokyo and surrounding areas in 1923—this fascinating volume examines the history of the visual production of the disaster. The </span>Kantō<span style="font-size: 1em;"> earthquake triggered cultural responses that ran the gamut from voyeuristic and macabre thrill to the romantic sublime, media spectacle to sacred space, mournful commemoration to emancipatory euphoria, and national solidarity to racist vigilantism and sociopolitical critique. Looking at photography, cinema, painting, postcards, sketching, urban planning, and even scientific visualizations, Weisenfeld demonstrates how visual culture has powerfully mediated the evolving historical understanding of this major national disaster, ultimately enfolding mourning and memory into modernization.</span></h5>
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<h5><br /><!--LINKS RELATED TO GENNIFER WEISENFELD:-->Further reading:</h5>
<h5><a href="http://visualizingcultures.mit.edu/shiseido_01/index.html" target="_blank">View ”Selling Shiseido l“ by Gennifer Weisenfeld on the Visualizing Cultures website</a> This is external to edX and will open a new window <br /><a href="https://courses.edx.org/courses/course-v1:MITx+VJx+3T2018/course/" target="_blank">View the edX course ”Visualizing Japan (1850s-1930s): Westernization, Protest, Modernity“</a></h5>
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<h2 class="hd hd-2 unit-title">Nishimura Goun ”Kantō Earthquake Scroll“ (1925)</h2>
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<p>Next, several videos explore a painted scroll depicting the 1923 earthquake by Nishimura Goun, completed in 1925. </p>
<h6 style="padding-left: 30px;">Nishumura Goun (1877-1938) was a student of the great Kyoto painter Takeuchi Seiho (1864-1942). Seiho is credited with advancing into modern times a style of lyrical realism developed by the painter Maruyama Okyo (1733-1795). A mixture of closely observed, almost scientifically accurate detail, blended with a soft atmospheric quality, is a major generalized feature of the style. Goun’s handscroll rendering of earthquake scenes is dated to 1925.</h6>
<h6 style="padding-left: 30px;">It is difficult to imagine that he was an eye witness to the conflagration. More likely, he had access to photographs and other accounts of the disaster, and constructed scenes with a mixture of fact and imaginative flair. Goun’s style of representing human figures in almost doll-like form seems to diffuse and distance the sheer terror of the event. Similarly, the titles that he offers for the scenes have a poetic rather than precise flavor. Occasionally he uses terminology that has Buddhist nuance. Indeed, the rendering of flame-filled devastation recalls depictions of hell found in ancient Buddhist handscrolls. (Ulak, "Celebrating Place," <span style="font-style: italic;">Tokyo Modern I</span>, MIT Visualizing Cultures)</h6>
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<p><strong><span style="font-size: 1em;"><em>Nihonga</em> & <em>Yōga </em>Styles </span></strong></p>
<p><span style="font-size: 1em;">Goun's scroll is in the <em>Nihonga</em> style, a style that celebrated traditional Japanese techniques and values. <em>Nihonga</em> emerged during the Meiji period to counteract Japan‘s infatuation with Western styles, labeled the <em>Yōga</em> school. </span></p>
<p><span style="font-size: 1em;">The ”lyrical realism“ and doll-like humans in Goun's scroll ”diffuse and distance the sheer terror of the event,“ according to Ulak.</span></p>
<p><span style="font-size: 1em;">After watching the videos, look at the scenes in the scroll to see if you agree.</span></p>
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<h3 class="hd hd-2">Kantō Earthquake Scroll by Nishimura Goun, part l, Painting Disaster</h3>
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<div>Here, you can scroll through Nishimura Goun‘s ”Scenes of the 1923 Earthquake" (1925). Scroll left to view:</div>
<div><br /><iframe title="Scenes of the 1923 Earthquake, by Nishimura Goun, 1925" src="https://visualizingcultures.mit.edu/tokyo_modern_01/earthquake_vtx.html" width="100%" height="780px" marginwidth="0" marginheight="0" frameborder="0" scrolling="yes">
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<h5></h5>
<h5><a href="https://visualizingcultures.mit.edu/tokyo_modern_01/earthquake.html" target="blank" strong="">“Scenes of the 1923 Earthquake by Nishimura Goun, 1925” from <em>Tokyo Modern l</em>, MIT Visualizing Cultures</a> This is external to edX and will open a new window</h5>
<h5>Nishimura Goun, 12-part Kantō Earthquake Scroll, 1925 (Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution [F1975.12])</h5>
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<h2 class="hd hd-2 unit-title">Hiratsuka Un’ichi ”Scenes of Tokyo after the Earthquake“ (1925)</h2>
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<p>How was the earthquake depicted in woodblock prints?</p>
<p>Thirty-year-old Hiratusku Un'ichi ”walked for hours“ following the earthquake, and used his sketches of the raw destruction as the basis for a series of woodblock prints:</p>
<blockquote>
<h5>“I wrapped my legs in puttees, as was customary for Japanese hikers, and walked for hours through the still-burning areas of Tokyo in order to sketch the devastation,” wrote print artist Hiratsuka Un’ichi (1895–1997) the very day after the earthquake struck. Those sketches formed the basis for a 12-print series that was issued in 1925. In simply executed images—all devoid of people—collapsed bridges, toppled stone lanterns of famous temples, and tents to house the homeless erected on park grounds were rendered with lightly incised strokes. (Ulak, ”Celebrating Place,“ <em>Tokyo Modern l</em>, MIT Visualizing Cultures)</h5>
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<p></p>
<p>The idea of ”place“ has a long history and deep meaning in Japan.</p>
<p></p>
<blockquote>
<h5>Hiratsuka’s walk through the devastated city was the most recent incarnation of a ritual as old as historical memory. Deep within Japanese religious sensibility is the notion of the animate quality of “place”—not as a generic category but as an abode of spirits. Animism located the unquantifiable qualities of the spirit world in the materiality of auspicious features of the natural world—mountains, gorges, valleys, rocks jutting from cliffs, ancient trees, waterfalls.</h5>
<h5></h5>
<h5>Honoring place recognized the productive cycles of the natural world: the stability of climate, recurrence of planting and harvest, and generally beneficial relationships among humans. Sites singled out for praise in rituals and verse date back to at least the 6th century, and as time passed this became more codified in religious practices, court rituals, and literary conventions. (Ulak, ”Celebrating Place,“ <em>Tokyo Modern l</em>, MIT Visualizing Cultures)</h5>
</blockquote>
<p></p>
<p>You will encounter more <strong>Hiratsuka Un'ichi prints in Module IV</strong> of the course, as he was one of the eight artists who collectively published a series of 100 views of Tokyo.</p>
<p>Now, Dr. Ulak discusses the Hiratsuka Un’ichi series ”Scenes of Tokyo after the Earthquake,“ published in 1925:</p>
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<h3 class="hd hd-2">Hiratsuka Un’ichi: A New Breed of Printmaker</h3>
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<p style="text-align: left;">Selected prints are shown here from Hiratsuka Un’ichi, ”Scenes of Tokyo after the Earthquake.“</p>
<p></p>
<h5 style="text-align: left;"><img height="auto" width="100%" src="/assets/courseware/v1/0edcaf4c0f7c52066a3108a39c25a405/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8011_1925_Apr_AzumaBridge_1500w.jpg" alt="“Azuma Bridge” by Hiratsuka Un’ichi, from “Scenes of Tokyo after the Earthquake," a series of 12 woodblock prints, 1925. From Five College Museums/Historic Deerfield Collections." /></h5>
<h5>Caption (above): “Azuma Bridge,” April 1925, by Hiratsuka Un’ichi, from “Scenes of Tokyo after the Earthquake,“ a series of 12 woodblock prints, published in 1925. (Five College Museums/Historic Deerfield Collections)</h5>
<h5><br /><br /><img height="auto" width="100%" src="/assets/courseware/v1/884e6fa1f655205b5497ff7406a4f354/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8013_1925_Apr_ShibaDaimon_1500w.jpg" alt="Great Gate at Shiba by Hiratsuka Un’ichi, from Scenes of Tokyo after the Earthquake, a series of 12 woodblock prints, 1925. From Five College Museums/Historic Deerfield Collections. " /></h5>
<h5>Caption (above): “Great Gate at Shiba,” April 1925, by Hiratsuka Un’ichi, from “Scenes of Tokyo after the Earthquake," a series of 12 woodblock prints, published in 1925. (Five College Museums/Historic Deerfield Collections)</h5>
<h5><br /><br /><img height="auto" width="100%" src="/assets/courseware/v1/a5b7b40d8ef6f53d999bbb1ff9879077/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8014_1925_Apr_SportsPalace_1500w.jpg" alt="Caption (above): National Sports Palace showing tents for people made homeless by the earthquake by Hiratsuka Un’ichi, from Scenes of Tokyo after the Earthquake, a series of 12 woodblock prints, 1925. Five College Museums/Historic Deerfield Collections. " /></h5>
<h5>Caption (above): “National Sports Palace showing tents for people made homeless by the earthquake,” April 1925, by Hiratsuka Un’ichi, from “Scenes of Tokyo after the Earthquake,“ a series of 12 woodblock prints, published in 1925. (From Five College Museums/Historic Deerfield Collections)</h5>
<h5><br /><br /><img height="auto" width="100%" src="/assets/courseware/v1/b9d8ff7ba47ec0f8e33ae968a33322c7/asset-v1:MITx+VTx+1T2019+type@asset+block/kk8016_1923_SeirokaHospital_1500w.jpg" alt="Seiroka Hospital, Tsukiji by Hiratsuka Un’ichi, from Scenes of Tokyo after the Earthquake, a series of 12 woodblock prints, 1925. From Five College Museums/Historic Deerfield Collections." /></h5>
<h5>Caption (above): “Seiroka Hospital, Tsukiji,” 1923, by Hiratsuka Un’ichi, from “Scenes of Tokyo after the Earthquake,“ a series of 12 woodblock prints, published in 1925. (Five College Museums/Historic Deerfield Collections)</h5>
<h5 style="text-align: left;"></h5>
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<h5 style="text-align: left;"><a href="http://museums.fivecolleges.edu/detail.php?t=objects&type=ext&f=&s=&record=1&maker=hiratsuka" target="_blank">View the series ”Scenes of Tokyo after the Earthquake“ on the Five College Museum/Deerfield Collections Database</a> This is external to edX and will open a new window <a href="https://visualizingcultures.mit.edu/tokyo_modern_01/hiratsuka_views_after_quake/index.htm" target="_blank">View the series ”Scenes of Tokyo after the Earthquake“ on the MIT Visualizing Cultures website</a> </h5>
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<h2 class="hd hd-2 unit-title">Day 14 Quiz and Discussion – Earthquake Documentation</h2>
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<p>Match the &#8221;loanwords&#8220;&#8212;Japanese words with the English terms that were used in this period of growing consumer culture:</p>
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<option value="speed"> speed</option>
<option value="modern"> modern</option>
<option value="modern girl"> modern girl</option>
<option value="modern boy"> modern boy</option>
<option value="wife"> wife</option>
<option value="lumpenproletariat"> lumpenproletariat</option>
<option value="person hired to stick by your side in public"> person hired to stick by your side in public</option>
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<option value="modern girl"> modern girl</option>
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 3" role="group"><div class="inputtype option-input ">
<label class="problem-group-label" for="input_869a4a25b37a4995977c7b98beff9b0b_4_1" id="label_869a4a25b37a4995977c7b98beff9b0b_4_1">waifu</label>
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<option value="option_869a4a25b37a4995977c7b98beff9b0b_4_1_dummy_default">Select an option</option>
<option value="speed"> speed</option>
<option value="modern"> modern</option>
<option value="modern girl"> modern girl</option>
<option value="modern boy"> modern boy</option>
<option value="wife"> wife</option>
<option value="lumpenproletariat"> lumpenproletariat</option>
<option value="person hired to stick by your side in public"> person hired to stick by your side in public</option>
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<label class="problem-group-label" for="input_869a4a25b37a4995977c7b98beff9b0b_5_1" id="label_869a4a25b37a4995977c7b98beff9b0b_5_1">moga</label>
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<option value="speed"> speed</option>
<option value="modern"> modern</option>
<option value="modern girl"> modern girl</option>
<option value="modern boy"> modern boy</option>
<option value="wife"> wife</option>
<option value="lumpenproletariat"> lumpenproletariat</option>
<option value="person hired to stick by your side in public"> person hired to stick by your side in public</option>
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<label class="problem-group-label" for="input_869a4a25b37a4995977c7b98beff9b0b_6_1" id="label_869a4a25b37a4995977c7b98beff9b0b_6_1">stick boy and stick girl</label>
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<option value="option_869a4a25b37a4995977c7b98beff9b0b_6_1_dummy_default">Select an option</option>
<option value="speed"> speed</option>
<option value="modern"> modern</option>
<option value="modern girl"> modern girl</option>
<option value="modern boy"> modern boy</option>
<option value="wife"> wife</option>
<option value="lumpenproletariat"> lumpenproletariat</option>
<option value="person hired to stick by your side in public"> person hired to stick by your side in public</option>
</select>
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<label class="problem-group-label" for="input_869a4a25b37a4995977c7b98beff9b0b_7_1" id="label_869a4a25b37a4995977c7b98beff9b0b_7_1">moba</label>
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<option value="speed"> speed</option>
<option value="modern"> modern</option>
<option value="modern girl"> modern girl</option>
<option value="modern boy"> modern boy</option>
<option value="wife"> wife</option>
<option value="lumpenproletariat"> lumpenproletariat</option>
<option value="person hired to stick by your side in public"> person hired to stick by your side in public</option>
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<option value="modern girl"> modern girl</option>
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<h3 class="hd hd-3 problem-header" id="3d1ef677582a4dcfbd6c9a416eee0f6a-problem-title" aria-describedby="block-v1:MITx+VTx+1T2019+type@problem+block@3d1ef677582a4dcfbd6c9a416eee0f6a-problem-progress" tabindex="-1">
Checkboxes
</h3>
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<legend id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-legend" class="response-fieldset-legend field-group-hd">The video discussion places the woodblock prints made by artists like Koizumi Kishio in the context of a cycle of destruction and rebuilding. Think about the difference between works of art, promotion, and propaganda. Which statements reflect the points made?</legend>
<div class="field">
<input type="checkbox" name="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1[]" id="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-choice_0-label" for="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"> Pleasant scenes of a clean, modern city made by print artists in the late 1920s and early 1930s are almost like advertisements approved by the Chamber of Commerce.
</label>
</div>
<div class="field">
<input type="checkbox" name="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1[]" id="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-choice_1-label" for="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"> The &#8221;100 Views&#8220; prints series are officially sponsored as propaganda by the city of Tokyo.
</label>
</div>
<div class="field">
<input type="checkbox" name="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1[]" id="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-choice_2-label" for="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"> Print artists depict scenes of the casualties due to reprisals following the earthquake.
</label>
</div>
<div class="field">
<input type="checkbox" name="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1[]" id="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_3" class="field-input input-checkbox" value="choice_3"/><label id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-choice_3-label" for="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_3" class="response-label field-label label-inline" aria-describedby="status_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"> Such prints reinforce a belief in the new, rebuilt city with all its changes in local residents.
</label>
</div>
<div class="field">
<input type="checkbox" name="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1[]" id="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_4" class="field-input input-checkbox" value="choice_4"/><label id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-choice_4-label" for="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_4" class="response-label field-label label-inline" aria-describedby="status_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"> Such prints reinforce the perception overseas of Japan&#8216;s recovery.
</label>
</div>
<div class="field">
<input type="checkbox" name="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1[]" id="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_5" class="field-input input-checkbox" value="choice_5"/><label id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-choice_5-label" for="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_5" class="response-label field-label label-inline" aria-describedby="status_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"> The idea of &#8221;new Japan&#8220; comes about periodically as part of a cycle of destruction and rebirth.
</label>
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<div class="field">
<input type="checkbox" name="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1[]" id="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_6" class="field-input input-checkbox" value="choice_6"/><label id="3d1ef677582a4dcfbd6c9a416eee0f6a_2_1-choice_6-label" for="input_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1_choice_6" class="response-label field-label label-inline" aria-describedby="status_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"> Koizumi Kishio's prints unilaterally project and promote an image of the new, modern Japan.
</label>
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<span id="answer_3d1ef677582a4dcfbd6c9a416eee0f6a_2_1"/>
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Checkboxes
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<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 1" role="group"><p>Dr. Ulak wrote, "Thus, the maelstrom of the Kant&#333; earthquake provided two crucial elements that, in the ensuing several decades, would lead to the construction of an &#8220;imperial capital&#8221;: a fire-cleansed canvas upon which a new city could be constructed, and the legal/ideological methods for structuring an urban and political landscape amenable to an evolving imperial ideology that was premised on ancient myths and traditions but, at the time of the earthquake, was in reality less than 50 years old&#8212;dating back only to the Meiji Restoration of 1868."</p>
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<legend id="a1a5d3569aab4de98ed22379ca32b6c0_2_1-legend" class="response-fieldset-legend field-group-hd">Which statements reflect the complexity of rebuilding and modernization?</legend>
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<input type="checkbox" name="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1[]" id="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1_choice_0" class="field-input input-checkbox" value="choice_0"/><label id="a1a5d3569aab4de98ed22379ca32b6c0_2_1-choice_0-label" for="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1_choice_0" class="response-label field-label label-inline" aria-describedby="status_a1a5d3569aab4de98ed22379ca32b6c0_2_1"> in order to build an imperial identity, the past was ransacked for images from the samurai tradition, and from the early myths concerning the divine origins of the land and the imperial dynasty
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<input type="checkbox" name="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1[]" id="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1_choice_1" class="field-input input-checkbox" value="choice_1"/><label id="a1a5d3569aab4de98ed22379ca32b6c0_2_1-choice_1-label" for="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1_choice_1" class="response-label field-label label-inline" aria-describedby="status_a1a5d3569aab4de98ed22379ca32b6c0_2_1"> the samurai tradition was unchanged and dominated political life
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<input type="checkbox" name="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1[]" id="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1_choice_2" class="field-input input-checkbox" value="choice_2"/><label id="a1a5d3569aab4de98ed22379ca32b6c0_2_1-choice_2-label" for="input_a1a5d3569aab4de98ed22379ca32b6c0_2_1_choice_2" class="response-label field-label label-inline" aria-describedby="status_a1a5d3569aab4de98ed22379ca32b6c0_2_1"> modernization was reflected in Japan's mastery of modern warfare, and also the cutting-edge skills of the country's commercial artists and their familiarity with the latest fashions in design and illustration
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<p><strong>Day 14 Discussion - Earthquake Documentation</strong></p>
<p>Start by comparing how the earthquake appears in the painted scroll, woodblock prints, and photographs: then, answer several questions, and join the discussion.</p>
<div><img height="auto" width="95%" src="/assets/courseware/v1/90ef13e2bcce2a2004a9880a55c7d791/asset-v1:MITx+VTx+1T2019+type@asset+block/kanto_scroll_1925_goun_grid.jpg" alt="2-part Kantō Earthquake Scroll 1925 by Nishimura Goun " /></div>
<h5>Caption (above): Nishimura Goun, 12-part Kantō Earthquake Scroll, 1925 (Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution [F1975.12])</h5>
<p></p>
<div><br /><br /><img height="auto" width="100%" src="/assets/courseware/v1/c3900a12e2e50c2b057555ee81c50ef8/asset-v1:MITx+VTx+1T2019+type@asset+block/tokyo_earthquake_hiratsuka_grid.jpg" alt="Hiratsuka Un'ichi, woodblock prints (grid of 9) of Great Kanto earthquake damage in Tokyo, 1925" /></div>
<h5>Caption (above): Hiratsuka Un’ichi, “Scenes of Tokyo after the Earthquake," thumbnails of a 12-print series issued in 1925 (Tokyo shinsai ato fukei), edition 26/50 (Five College Museum/Deerfield Collections Database)</h5>
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<div><br /><br /><img height="auto" width="100%" src="/assets/courseware/v1/b637c1d23ebe2049b61f2ab9cc99f70a/asset-v1:MITx+VTx+1T2019+type@asset+block/photo-grid_sq_1923earthquake_Brown_2000w.jpg" alt="Photographs, grid of six, Great Kantō Earthquake of 1923. Brown Digital Repository. Brown University Library." /></div>
<h5><br />Caption (above): Photographs, grid of six, Great Kantō Earthquake of 1923 (Brown Digital Repository, Brown University Library)</h5>
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<p>Discussion Topic: What differences do you observe in the different media of earthquake documentation? Cite some of the pluses and minuses.</p>
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