Keywords
rural
Sasebo
Tsuge Yoshiharu
Nejishiki
How to Cite
Abstract
In January of 1968, a small group of students armored with wooden staves and colorful helmets distinguished by their university’s faction, arrived at Sasebo, a remote rural port in Nagasaki, Japan. For the first time broadcasted live on T.V. all over Japan, millions of people witnessed the violent clash between the police and the university students who, apparently defeated by the force and authoritarianism of the State, received the rural port local’s sympathy. Apparently, this conflict had its roots on the arrival of the U.S. aircraft to the port and the sensation of Japan being pushed to a new war, but it was rather the irruption of the students in the rural port that evoked vanished discourses to confront the past and settle the conflict with the totemic powers of the State: politics and history. Thus, observing and recognizing this important moment in the cultural transition that meant the war’s defeat in 1945 and the North American occupation in postwar Japan, we will analyze the context and particularity of the student’s struggle in Sasebo, as well as its transit to pop culture. From there, we will deeply analyze how is aesthetically adapted in Tsuge Yoshiharu’s manga Nejishiki (1968), the irruption of youth and its reencounter, sometimes uncanny, with rural Japan, a remote space vanished by modernity that was reshaped in the Japanese imaginary as the origin and return, namely home (furusato).
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