2014 | 140 pages | 130 color illustrations
Cloth | ISBN 978-0-8248-4765-4 | $40.00
Published in association with MacLean Collection
Cartographic Traditions in East Asian Maps is focused on a group of maps from the MacLean Collection, one of the world’s largest private collections of maps. Included are are eighteenth and nineteenth-century maps from the late Qing dynasty in China, the Joseon dynasty in Korea and the Edo and Meiji periods in Japan illustrating late traditions in the region’s history. This book provides some of the particular practices and relationships between text and image in East Asian map making that are unique in world cartography. Often particular map making characteristics are not recognized as unique within their own cultural contexts, and so it is only through the process of comparing and contrasting that these qualities emerge. This survey of selected maps proves extremely useful in revealing certain similarities and distinctive differences in the representations of space, both real and imagined, in early modern cartographic traditions of China, Korea and Japan.
This work examines the creation of an East Asian cultural sphere by the Japanese imperial project in the first half of the twentieth century. It seeks to re-read the “Greater East Asian Co-prosperity Sphere” not as a mere political and ideological concept but as the potential site of a vibrant and productive space that accommodated transcultural interaction and transformation. By reorienting the focus of (post) colonial studies from the macro-narrative of political economy, military institutions, and socio-political dynamics, it uncovers a cultural and personal understanding of life within the Japanese imperial enterprise.
The negative impact of Japanese imperialism on both nations and societies has been amply demonstrated and cannot be denied, but In Transit focuses on the opportunities and unique experiences it afforded a number of extraordinary individuals to provide a fuller picture of Japanese colonial culture. By observing the empire—from Tokyo to remote Mongolia and colonial Taiwan, from the turn of the twentieth century to the postwar era—through the diverse perspectives of gender, the arts, and popular culture, it explores an area of colonial experience that straddles the public and the private, the national and the personal, thereby revealing a new aspect of the colonial condition and its postcolonial implications.
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