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Nosaka Akiyuki, a writer, singer, lyricist, and former member of the House of Councillors, is now struggling with the effects of a stroke which he suffered in 2003. Nosaka early identified himself as a member of the yakeato yamiichi sedai (the generation brought up in the ruins and black markets of the post-war period). In his works Nosaka repeatedly depicts his firsthand experience of the fire bombings of major Japanese metropolitan areas during the Greater East Asian conflict. This paper examines two recent satirical works before proceeding to a discussion of Nosaka's seminal work Hotaru no haka [Grave of the Fireflies, 1967], which deserves to be remembered as 'the most celebrated literary record of the yakeato generation'. Nosaka's original story has been overshadowed by the animated film version written and directed by Takahata Isao for Studio Ghibli. This paper describes and evaluates the unparalleled narrative style of Nosaka's original story, which covers an emotional spectrum ranging from the lighthearted depiction of the happy play of childhood, to the overwhelmingly dark and sorrowful portrayal of two children (brother and sister) dying from malnutrition in the dislocated society of post-war Japan. [ABSTRACT FROM AUTHOR]

This paper investigates the popularity of hula in contemporary Japanese society in order to understand how Native Hawaiian images and traditions play a role in constructing the image of a ‘paradise’ in Hawai`i. By drawing on the personal experience of the author as a participant observer in hula lessons and performance in Tokyo, it argues that aiming for the sense of cultural authenticity is integral to the Japanese practitioners’ attraction to hula. It also shows how Native Hawaiian hula teachers and performers skillfully appropriate the Japanese desire to discover an ‘authentic’ Hawai`i for their cultural as well as personal gain. Today’s Japanese discourse of ‘Hawai`i as paradise’ derives from the contemporary socio-cultural context of a Japanese society that longs for the authentic culture of the indigenous ‘other’ as well as from the shrewd use of that longing by the ‘other.’ [ABSTRACT FROM PUBLISHER]

This paper examines the interrelationships among Japaneseness, the Western and Japanese concepts of race, and the obfuscation of racism in contemporary Japanese society. The concept of race, which was conceived in the West in the modern era, has influenced the Japanese concepts of race,jinshuandminzoku. These two concepts played a key role in constructing modern Japan’s identity by distinguishing it from its significant discursive Others: Asia and the West. Today the Japanese simply call themselvesnihonjin, or Japanese people, rarely using the termsjinshuandminzoku, and racism is generally viewed as a ‘foreign issue’ that has little relevance to Japanese society. The purpose of this study is threefold. First, it discusses how the Japanese concepts of race,jinshuandminzoku, were constructed and shaped the dominant meaning of the Japanese in different historical contexts, intertwining with Western notions of race, nation,Volk, and ethnicity. Second, it suggests that obscured racism in contemporary Japan is linked with the conceptual presence and nominal absence ofjinshuandminzokuin defining Japaneseness. Third, it explores how the contemporary modality of racism in Japan overlaps with and differs from racisms in the West. [ABSTRACT FROM PUBLISHER]