Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-10T05:50:51.440Z Has data issue: false hasContentIssue false
  • English
  • Français

Presidential Address: Weapons of the Weak, Weapons of the Strong—The Development of the Japanese Political Cartoon

Published online by Cambridge University Press:  26 March 2010

Peter Duus
Get access

Extract

I Approach my topic—the development of the modern Japanese political cartoon—with some trepidation. Humor is a fragile product that can easily be damaged by academic scrutiny. As Evelyn Waugh once remarked, analyzing humor is like dissecting a frog—much is learned but in the end the frog is dead. Waugh was right. Most analyses of humor cannot be read for amusement. On the other hand, why should they be? If Shakespeare scholars are not expected to write in iambic pentameter, why should students of humor be expected to keep their readers in stitches? As the editor of the International Journal of Humor Studies recently told a reporter, “We are not in the business of being funny” (New York Times, 19 December 2000).

Type
Articles
Information
The Journal of Asian Studies , Volume 60 , Issue 4 , November 2001 , pp. 965 - 997
Copyright
Copyright © The Association for Asian Studies, Inc. 2001

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

List of References

Alcock, Rutherford. 1863. The Capital of The Tycoon: A Narrative of Three Years' Residence in Japan. Vol. 2. London: Longman, Green, Longman, Roberts, and Green.Google Scholar
Clark, Timothy. 1993. Demon of Painting: The Art of Kawanabe Kyōsai. London: British Museum Press.Google Scholar
Duus, Peter. 1999a. “Japan's First Manga Magazine.” Impressions 21 (1999): 30–41.Google Scholar
Duus, Peter. 1999b. “The Marumaru Chinbun and the Origins of the Japanese Political Cartoon.” International Journal of Comic Art 1, no. 1 (Spring/Summer): 42–55.Google Scholar
Foucault, Michel. 1980. Power/Knowledge: Selected Interviews and Other Writings, 1972—1977, edited by Gordon, Colin. New York: Pantheon Books.Google Scholar
Fujitani, Takashi. 1996. Splendid Monarchy: Power and Pageantry in Modern Japan. Berkeley and Los Angeles: University of California Press.CrossRefGoogle Scholar
Godfrey, Richard. 1984. English Caricature: 1620 to the Present. London: Victoria and Albert Museum.Google Scholar
Gombrich, E. H. 1963. Meditations on a Hobby Horse and Other Essays on the Theory of Art. Chicago: University of Chicago Press.Google Scholar
Gombrich, E. H. 1972. Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton: Princeton University Press.Google Scholar
Toru, Haga and Isao, Shimizu. 1985. Kindai manga (I): Bakumatsu isshinki no manga (The modern cartoon (I): The late Tokugawa and Restoration Period). Tokyo: Chikuma shobo.Google Scholar
Hess, Stephen, and Kaplan, Milton. 1975. The Ungentlemanly Art: History of American Political Cartoons. New York: Macmillan.Google Scholar
Hobsbawm, Eric, and Ranger, Terence, eds. 1984. The Invention of Tradition. Cambridge: Cambridge University Press.Google Scholar
Huffman, James L. 1997. Creating a Public: People and the Press in Meiji Japan. Honolulu: University of Hawai'i Press.Google Scholar
Shin'ichi, Inagaki. 1988. Edo no asobi-e (Puzzle pictures of the Edo period). Tokyo: Tokyo shohan.Google Scholar
Shin'ichi, Inagaki and Toshihiko, Isao. 1991. Kuniyoshi no kyōga (The crazy pictures of Kuniyoshi). Tokyo: Tokyo shohan.Google Scholar
Iwashita, Tetsunori. 1996. “Political Information and Satirical Prints in Late Tokugawa Japan: The Popular Image of Government Officials in Utagawa Kuniyoshi's Kitaina mei'i nanbyōryōji.” Asian Cultural Studies 22 (March): 17—26.Google Scholar
Japan Punch. 1975. Tokyo: Yushodo shoten.Google Scholar
Keene, Donald. 1999. “Portraits of the Meiji Emperor.” Impressions 21: 17–29.Google Scholar
Itaru, Kimoto. 1989. “Marumaru chinbun,” “Kibidango ga yuku” (The Marumaru chinbun and the Kibidango). Tokyo: Hakusuisha.Google Scholar
Kornicki, Peter. 1998. The Book in Japan: A Cultural History from the Beginning to the Nineteenth Century. Leiden: Brill.CrossRefGoogle Scholar
Kazuo, Minami. 1997. Edo no fushiga (Satirical art in the Edo period). Tokyo: Yoshikawa kobunkan.Google Scholar
Kazuo, Minami. 1999. Bakumatsu isshin fushiga (Satirical art of the Bakumatsu and Restoration period). Tokyo: Yoshikawa kobunkan.Google Scholar
Masayuki, Minejima. 1984. Kondō Hidezō no sekai (The world of Kondō Hidezō). Tokyo: Seiabo.Google Scholar
Gaikotsu, Mlyatake. 1926. Hikkashi (A history of slips of the brush). Tokyo: Asakaya shoten.Google Scholar
Shigeru, Oikawa. 1992. Saigo no ukiyoeshi: Kawanabe Kyōsai to sono hankotsu bigaku (The last Ukiyoe artist: Kawanabe Kyosai and his subversive aesthetic). Tokyo: NHK Books.Google Scholar
Okamoto, Rei. 1999. “Pictorial Propaganda in Japanese Comic Art, 1941–1945: Images of the Self and Other in a Newspaper Strip, Single-Panel Cartoons, and Cartoon Leaflets.” Ph.D. diss., Temple University.Google Scholar
Ono Hideo, ed. 1926. Yokohama shinpōMochiogusa shinbun. Kōko shinbun (Early Meiji newspapers: The Yokohama Mochiogusa shinbun and the Kōko shinbun). Tokyo: Meiji bunka kenkyūkai.Google Scholar
Ouwehand, C. 1964. Namazu-e and Their Themes: An Interpretive Approach to Some Aspects of Japanese Folk Religion. Leiden: Brill.Google Scholar
Philippe, Robert. 1982. Political Graphics: Art as a Weapon. New York: Abbeville Press.Google Scholar
Tadayasu, Sakai. 1978. Kaika no ukioyoeshi: Kiyochika (Kobayashi Kiyochika: Ukiyoe artist of the enlightenment). Tokyo: Serika shobo.Google Scholar
Screech, Timon. 2000. The Shogun's Painted Culture: Fear and Creativity in the Japanese States, 1760—1829. London: Reaktion.Google Scholar
Shires, Ralph E. 1976. The Indignant Eye: The Artist as Social Critic in Prints and Drawings from the Fifteenth Century to Picasso. Boston: Beacon Press.Google Scholar
Isao, Shimizu. 1979. Meiji mangakan (A gallery of Meiji cartoons). Tokyo: Kōdansha.Google Scholar
Isao, Shimizu. 1980. Meiji manga yūransen (Cruising with Meiji cartoons). Tokyo: Bungei shunjū.Google Scholar
Isao, Shimizu. 1981. Edo no manga (Cartoons of the Edo period). Tokyo: Bungei shunjū.Google Scholar
Isao, Shimizu. 1985. Meiji manga jiten (A dictionary of Meiji cartoons). Tokyo: Sanseido.Google Scholar
Isao, Shimizu. 1991. Manga no rekishi (A history of Japanese cartoons). Tokyo: Iwanami shoten.Google Scholar
Isao, Shimizu. 1997. Kindai manga no byakusen (One hundred modern cartoons). Tokyo: Iwanami shoten.Google Scholar
Steele, M.William, . 1996. “Representations of Self and Other in Late Tokugawa Woodblock Prints.” Asian Cultural Studies 22 (March 1996): 27–42.Google Scholar
Takeuchi, Melinda. 1987. “Kuniyoshi's Miriamolo Raikō and the Earth Spider: Demons and Protest in Late Tokugawa Japan.” Ars Orientalis 17: 5–38.Google Scholar
Junko, Yamaguchi. 1981. “Kaisetsu” (Commentary). In vol. 1, Marumaru chinbun, edited by Eiyu, Yamaguchi. Tokyo: Honpō shokan, 1981–86.Google Scholar
Yamaguchi Eiyu, ed. 1981–86. Marumaru chinbun. 48 vols. Tokyo: Honpō shokan.Google Scholar
Seiichi, Yamaguchi and Shigeru, Oikawa. 1988. Kawanabe Kyōsai gigashu (The comical pictures of Kawanabe Kyōsai). Tokyo: Iwanami shoten.Google Scholar
Takao, Yoshino. 1980. Miyatake Gaikotsu (A biography of Miyatake Gaikotsu). Tokyo: Kawade shobo shinsha.Google Scholar