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New Times in Modern Japan by Stefan Tanaka

By Stefan Tanaka

New occasions in smooth Japan matters the transformation of time--the reckoning of time--during Japan's Meiji interval, in particular from round 1870 to 1900. Time actually replaced because the archipelago synchronized with the Western imperialists' reckoning of time. The sun calendar and clock grew to become general timekeeping units, and society tailored to the abstractions inherent in glossy notions of time. This trigger a cascade of adjustments that perfectly reconfigured how people interacted with one another and with their environment--a method whose research incorporates implications for different non-Western societies as well.By reading themes starting from geology, ghosts, youth, artwork heritage, and structure to nature as a complete, Stefan Tanaka explores how altering conceptions of time destabilized inherited wisdom and practices and eventually facilitated the reconfiguration of the archipelago's heterogeneous groups into the liberal-capitalist geographical region, Japan. although, this innovative transformation--where, within the phrases of Lewis Mumford, "the clock, now not the steam engine," is the major mechanism of the economic age--has obtained little greater than a footnote within the heritage of Japan.This book's cutting edge specialize in time not just shifts awareness clear of debates in regards to the failure (or luck) of "modernization" towards how participants have interaction with the overlay of summary innovations upon their lives; it additionally illuminates the jobs of historical past as discourse and as perform during this reconfiguration of society. In doing so, it's going to effect discussions approximately modernity way past the borders of Japan.

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I hope that this focus on time and history redirects our attention to modernity (rather than modernization) and enables the examination of both the process of becoming modern and how Japanese intellectuals debated and resolved this difficult and often contradictory process. This focus on modernity, of course, is not new (an interesting study would be an examination of why we keep forgetting this point). Perhaps the most troubling issue confronting the study of Japan today remains how we discuss modernity in a non-Western place.

Those Buddhist icons that were included were bronze statuettes of kannon and nyorai that demonstrate the casting skills of Japanese artisans. The more famous of the 140 objects from the Horyuji included in the exhibit were the Yakushi nyorai from the main hall (kondo), the guardians Jikokuten and Tamonten, and the Tamamushi shrine. Perhaps the best indication of this transformation of meaning is the removal of the Yakushi nyorai from the main hall of the Horyuji and its display among many other objects in the Todaiji as an important artifact of the past.

See his Protocol of the Gods (1992) and “Japan’s Ignored Cultural Revolution” (1984). 3 James Ketelaar describes the discovery of a graveyard of decapitated statues of Buddhist statues in Kyushu. It has now been turned into a local shrine, the Hall of the Headless Kannon (1990, 57). 4 In contrast to the 104 pages of material on the Kofukuji in Murakami et al. (1921), the 5 pages on the Horyuji were essentially speculation on why it did not suffer such damage. Murakami et al. suggested that in addition to the connection of Shotoku Taishi to the imperial line, the tutelary deity of the Horyuji was not on the temple premises.

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