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The purpose of this paper is to analyze the normative function of historic narratives using the example of South Korean perceptions of twentieth-century history. The exploration of how relations between South Korea and Japan are perceived is based on 32 semi-structured interviews with academics, representatives of non-government organizations, and government officials in South Korea. The paper posits that the normative function of historical narratives is based on four mechanisms: (1) recognition: identifying problems in society that are associated with the aggressive and vicious actions of an outgroup in the past; (2) assessment: framing these problems as injustices; (3) connotation: establishing a specific meaning of national identity that promotes motivations for actions and agency (with specific duties and obligations); and (4) prescription: defining explicit strategies and tactics for action. An analysis of these mechanisms, which comprise the structure of historical narratives, reveals that in the case of South Korea, perceptions of the relations between South Korea and Japan have been shaped by Japan's brutal colonization of South Korea, the absence of Japanese accountability for this period, and a need for a South Korean identity premised on uniqueness. [ABSTRACT FROM AUTHOR]

'Cool Japan' is an instance of Japanese government's nation branding exercise as part of its soft power projection in which the unique selling point is identified as Japanese national identity. In this paper, I examine the relationship between Cool Japan and Japanese national identity and highlight a tension in the construction. Cool Japan is about emphasizing Japan's attractiveness for public diplomacy, while the top-down nature of the branding undermines the imagery that the branding is designed to convey. I show that policy elites resolve this tension by invoking the traditional Japanese identity narratives that construct Japan into both a non-Western and an un-Asian entity, reproducing the myth of Japanese uniqueness. I argue that the elite narratives surrounding Cool Japan readily replicate the language reminiscent of prewar identity construction. Despite the contemporary popularity of manga and anime, the purported 'coolness' of these products are framed within older constructions of Japanese Self that can trace their pedigree back to the nineteenth century. Using the minutes of committee meetings, policy documents, as well as media interviews given by policy- and business elites, I show that Cool Japan is effectively a twenty first century rendition of the familiar Japanese identity construction. [ABSTRACT FROM AUTHOR]

In the 1950s and 1960s, the modern Japanese state employed overseas cultural promotion as a way to maximise its interests and image not only in international contexts but also at home. By juxtaposing the Takarazuka Revue’s performances in the United States and Japan during the postwar period, this paper argues that the overseas promotion of this Japanese theatre troupe both depended upon and reinforced the Japanese populace’s nationalistic pride in its culture. The paper also addresses the ways in which the Japanese government used Takarazuka’s theatrical presentations as a means of pursuing its domestic and diplomatic agendas: improving Japan’s international position by proposing shared aspects of popular culture with the US and increasing its sense of nationalism by propagating cultural pride. In doing so, the paper explicates the ways in which Japanese popular cultural considerations interfaced with political concerns in the shaping of postwar Japan’s national identity. [ABSTRACT FROM PUBLISHER]