Relics of Empire Underground: The Making of Dark Heritage in Contemporary Japan

This paper examines civil activities to protect and conserve the underground war-related sites in contemporary Japan. Conservation movements rooted in local communities and centred on the Japanese Network to Protect War-Related Sites are making efforts to transform the dark heritage of war-related sites into cultural property in an attempt to integrate diverse wartime experiences. In delving into the heritage-making practices, I introduce local movements in Okinawa and Okayama. Okinawa hosts the first underground war-related site to become a cultural property, the Haebaru Army Hospital Bunkers, while Okayama struggles to create another one by making the Kamejima Mountain Underground Plant a dark heritage site. I argue that these conservation movements are challenging the homogenising national war memory by attaching ethnically diversified vernacular memories to the underground sites. In doing so, these underground war-related sites have become public spaces where new forms of social engagement are negotiated and contested.     

孙逢吉《职官分纪》成书史事考略

宋人孙逢吉所作的《职官分纪》具有重要的献价值。孙逢吉应为北宋元祐初期人。孙逢吉《职官分纪》成书时间可能在元祐元年。该书成书至少应包括三个过程,即杨侃、胡防二人的《职林》、孙逢吉的《职官分纪》以及元祐成书后有人添加的成分。所添加的内容是元祐和绍圣两朝的史实。《职官分纪》中除《元祐令》外还保存了一些《天圣官品令》的内容。     

After Crossroads: The Fate of the Atomic Bomb Target Fleet

The atomic tests at Bikini Atoll left a submerged archaeological legacy in the form of sixty-one shipwrecks at or near Bikini, Kwajalein, the California coast, and in two other lesser cases off Oahu and the coast of Washington State. Together they comprise a unique maritime cultural landscape of the Cold War, and the naval aspects of that conflict.     

The Book, the Bomb, and Stalin

David Holloway. Stalin and the Bomb: The Soviet Union and Atomic Energy, 1939–1956 . New Haven.     

The Dark Tree: Jazz and the Community Arts in Los Angeles

In her 2005 article, "The Long Civil Rights Movement and thePolitical Uses of the Past," Jacquelyn Dowd Hall called on scholarsto complicate the story of civil rights by looking beyond atraditional narrative that begins in 1954, ends in 1965, focuseson the South, and features Martin Luther King, Jr. as the leaderof a single-voiced chorus of interracial activists who overcameracial barriers nonviolently. The recent wave of histories aboutarts movements in African-American communities (e.g., Pointfrom Which Creation Begins: The Black Artists’ Group ofSt. Louis, by Benjamin Looker, 2004,