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New PDF release: Citing Sources. Learning to Use the Copyright Page

By Suzy Rabbat

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And as in Europe, in Japan it was unstoppable, even if, unlike its European variety, it had no dictator. Sassa’s brave essay is riddled with Xs marking the power of the state—made either by the hand of the censor or by his own selfcensoring pen. One can easily imagine that these marks of power, which must have forced Sasa to feel the pressure of the state on his language, allowed him to see the salience of the control of representation to an analysis of fascism. Through the haze created by the censors, he managed to plead with his readers to notice what was happening.

Fletcher, Dreams and Nightmares: Utopian Visions in Modern Art. : Smithsonian Institution Press, 1983), 3, 156. Beginning in 1925, the Peace Preservation Law gave legal leverage to crush opposition to the government; in 1928 (the year 1,600 communists or sympathizers were arrested in one crackdown), the law was amended to include the death penalty for seditious activities: Irokawa, The Culture of the Meiji Period, 15. Gavan McCormack gives an excellent survey of arguments about fascism in Japan from 25 A l a n Ta n s m a n 34.

This volume represents an attempt to suggest the shape to that sign as it marked various works of Japanese culture. Notes 1. See Mark Neocleous, Fascism (Minneapolis: University of Minnesota Press, 1997), 76. Mabel Berezin points out that much writing on European fascism has failed to distinguish between movements and regimes, ideology and state, and political impulse and political institution and has elided questions of culture, which regard “conversion mechanisms” and the assurance of consent.

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Citing Sources. Learning to Use the Copyright Page by Suzy Rabbat

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