The rapid pace of technological, social and cultural change throughout the 20th century propelled Japan forward but left countless establishments, industries and entire towns deserted. Through his photography Jordy Meow explores these forgotten places and sheds light on a lost world that was thriving just a few decades ago

This book relates the experiences of the zanryu-hojin - the Japanese civilians, mostly women and children, who were abandoned in Manchuria after the end of the Second World War when Japan’s puppet state in Manchuria ended. It examines their eventual repatriation, alongside issues of war memory and war guilt, and the worldviews of the zanryu-hojin, alongsideJapanese society and its anti-war social movements.

Dotted over Japan from north to south, hundreds of abandoned abodes lay forgotten and left to decay. These shadowy realms provide a paused, silent and darkly enchanting contrast to a country known for the brightness, sound and movement that swells in it many thriving metropolises. Stepping away from the lights and into the shadows, one adventurous photographer embarks on an underground voyeuristic journey, documenting a curious collection of images that provide a rare and intimate glimpse into a secret, mysterious and sometimes bizarre world.

After Japan's defeat in August 1945, some Japanese children were abandoned in China and raised by Chinese foster parents. They were unable to return to Japan even during the mass repatriation carried out by the Japanese government in the 1950s. Most of them returned to Japan in the 1980s. They are called Japanese war orphans. They are victims of the Sino-Japanese War and have been exploited and abandoned by the Japanese government. They are also border people who have lived in the interstices between two nations, China and Japan, and are migrants who have exploited the gap in economic development between Japan and China to seek individual happiness. Modern East Asia underwent drastic social change. These drastic social changes affected the lives of the Japanese war orphans and their families in a variety of ways. Over the years, Zhong has interviewed Japanese war orphans, their Chinese foster parents, and Japanese volunteers. The title is an interview-based sociological study of the issue of Japanese war orphans. The first half of the Japanese war orphans' lives were spent in China, and the latter half in Japan. It brings to the fore the dramatic personal histories of the Japanese war orphans surviving in the interstices between two nation-states. Through analyzing the issue of Japanese war orphans, the research on the subject makes the following three points: (1) the powerlessness of civilians caught up in modern warfare and the long-lasting effects of modern warfare on the life histories of individuals and their families; (2) the nature of the modern nation-state, which exploits and abandons its citizens as though they were expendable; and (3) immigration as a product of modernization gaps. Scholars pursuing studies in Japanese society and historians of the Sino-Japanese war would find this an ideal read.

This work aims to show that Japan even at it's height of success, while the successful version of capitalism was blighted at it's core, being unsustainable. This revised edition features n introduction which gives an analysis of Japan's contemporary crisis.

These essays argue that recentring Asia necessitates a revision not only of notions of Asia but also of the centre itself. On the one hand, recentring Asia asserts the centrality of overlooked Asian histories, encounters and identities to world history, culture and geopolitics. On the other hand, recentring provides a way to address and rethink the concept of the centre, a term critical to Asian Studies, area studies and, more broadly, to the study of globalization, postcolonialism, diaspora, modernism and modernity. Drawing on new approaches in these fields, Recentring Asia asks the reader to rethink the centre not as a single site towards which all is oriented, but as a zone of encounter, exchange and contestation.

Developed out of the aesthetic philosophy of cha-no-yu (the tea ceremony) in fifteenth-century Japan, wabi sabi is an aesthetic that finds beauty in things imperfect, impermanent, and incomplete. Taken from the Japanese words wabi, which translates to less is more, and sabi, which means attentive melancholy, wabi sabi refers to an awareness of the transient nature of earthly things and a corresponding pleasure in the things that bear the mark of this impermanence. As much a state of mind--an awareness of the things around us and an acceptance of our surroundings--as it is a design style, wabi sabi begs us to appreciate the simple beauty in life--a chipped vase, a quiet rainy day, the impermanence of all things. Presenting itself as an alternative to today's fast-paced, mass-produced, neon-lighted world, wabi sabi reminds us to slow down and take comfort in the simple, natural beauty around us. In addition to presenting the philosophy of wabi-sabi, this book includes how-to design advice--so that a transformation of body, mind, and home can emerge. Chapters include: History: The Development of Wabi Sabi Culture: Wabi Sabi and the Japanese Character Art: Defining Aesthetics Design: Creating Expressions with Wabi Sabi Materials Spirit: The Universal Spirit of Wabi Sabi