Bringing together a multidisciplinary conversation about the entanglement of nature and society in the Korean peninsula, Forces of Nature aims to define and develop the field of the Korean environmental humanities. At its core, the volume works to foreground non-human agents that have long been marginalized in Korean studies, placing flora, fauna, mineral deposits, and climatic conditions that have hitherto been confined to footnotes front and center. In the process, the authors blaze new trails through Korea's social and physical landscapes. What emerges is a deeper appreciation of the environmental conflicts that have animated life in Korea. The authors show how natural processes have continually shaped the course of events on the peninsula-how floods, droughts, famines, fires, and pests have inexorably impinged on human affairs-and how different forces have been mobilized by the state to variously, control, extract, modernize, and showcase the Korean landscape. Forces of Nature suggestively reveals Korea's physical landscape to be not so much a passive context to Korea's history, but an active agent in its transformation and reinvention across centuries.

Critics and cultural historians take Japan's postwar insularity for granted, rarely acknowledging the role of Cold War concerns in the shaping of Japanese society and culture. Nuclear anxiety, polarized ideologies, gendered tropes of nationhood, and new myths of progress, among other developments, profoundly transformed Japanese literature, criticism, and art during this era and fueled the country's desire to recast itself as a democratic nation and culture. By rereading the pivotal events, iconic figures, and crucial texts of Japan's literary and artistic life through the lens of the Cold War, Ann Sherif places this supposedly insular nation at the center of a global battle. Each of her chapters focuses on a major moment, spectacle, or critical debate highlighting Japan's entanglement with cultural Cold War politics. Film director Kurosawa Akira, atomic bomb writer Hara Tamiki, singer and movie star Ishihara Yujiro, and even Godzilla and the Japanese translation of Lady Chatterley's Lover all reveal the trends and controversies that helped Japan carve out a postwar literary canon, a definition of obscenity, an idea of the artist's function in society, and modern modes of expression and knowledge. Sherif's comparative approach not only recontextualizes seemingly anomalous texts and ideas, but binds culture firmly to the domestic and international events that defined the decades following World War II. By integrating the art and criticism of Japan into larger social fabrics, Japan's Cold War offers a truly unique perspective on the critical and creative acts of a country remaking itself in the aftermath of war.

Bringing together a multidisciplinary conversation about the entanglement of nature and society in the Korean peninsula, Forces of Nature aims to define and develop the field of the Korean environmental humanities. At its core, the volume works to foreground non-human agents that have long been marginalized in Korean studies, placing flora, fauna, mineral deposits, and climatic conditions that have hitherto been confined to footnotes front and center. In the process, the authors blaze new trails through Korea's social and physical landscapes. What emerges is a deeper appreciation of the environmental conflicts that have animated life in Korea. The authors show how natural processes have continually shaped the course of events on the peninsula-how floods, droughts, famines, fires, and pests have inexorably impinged on human affairs-and how different forces have been mobilized by the state to variously, control, extract, modernize, and showcase the Korean landscape. Forces of Nature suggestively reveals Korea's physical landscape to be not so much a passive context to Korea's history, but an active agent in its transformation and reinvention across centuries.

Critics and cultural historians take Japan's postwar insularity for granted, rarely acknowledging the role of Cold War concerns in the shaping of Japanese society and culture. Nuclear anxiety, polarized ideologies, gendered tropes of nationhood, and new myths of progress, among other developments, profoundly transformed Japanese literature, criticism, and art during this era and fueled the country's desire to recast itself as a democratic nation and culture.

By rereading the pivotal events, iconic figures, and crucial texts of Japan's literary and artistic life through the lens of the Cold War, Ann Sherif places this supposedly insular nation at the center of a global battle. Each of her chapters focuses on a major moment, spectacle, or critical debate highlighting Japan's entanglement with cultural Cold War politics. Film director Kurosawa Akira, atomic bomb writer Hara Tamiki, singer and movie star Ishihara Yujiro, and even "Godzilla" and the Japanese translation of "Lady Chatterley's Lover" all reveal the trends and controversies that helped Japan carve out a postwar literary canon, a definition of obscenity, an idea of the artist's function in society, and modern modes of expression and knowledge.

Sherif's comparative approach not only recontextualizes seemingly anomalous texts and ideas, but binds culture firmly to the domestic and international events that defined the decades following World War II. By integrating the art and criticism of Japan into larger social fabrics, "Japan's Cold War" offers a truly unique perspective on the critical and creative acts of a country remaking itself in the aftermath of war.

In the wake of the disaster of 1945-as Japan was forced to remake itself from "empire" to "nation" in the face of an uncertain global situation-literature and literary criticism emerged as highly contested sites. Today, this remarkable period holds rich potential for opening new dialogue between scholars in Japan and North America as we rethink the historical and contemporary significance of such ongoing questions as the meaning of the American occupation both inside and outside of Japan, the shifting semiotics of "literature" and "politics," and the origins of what would become crucial ideological weapons of the cultural Cold War. The volume consists of three interrelated sections: "Foregrounding the Cold War," "Structures of Concealment: 'Cultural Anxieties,'" and "Continuity and Discontinuity: Subjective Rupture and Dislocation." One way or another, the essays address the process through which new "Japan" was created in the postwar present, which signified an attempt to criticize and reevaluate the past. Examining postwar discourse from various angles, the essays highlight the manner in which anxieties of the future were projected onto the construction of the past, which manifest in varying disavowals and structures of concealment.

In the wake of the disaster of 1945-as Japan was forced to remake itself from "empire" to "nation" in the face of an uncertain global situation-literature and literary criticism emerged as highly contested sites. Today, this remarkable period holds rich potential for opening new dialogue between scholars in Japan and North America as we rethink the historical and contemporary significance of such ongoing questions as the meaning of the American occupation both inside and outside of Japan, the shifting semiotics of "literature" and "politics," and the origins of what would become crucial ideological weapons of the cultural Cold War. The volume consists of three interrelated sections: "Foregrounding the Cold War," "Structures of Concealment: 'Cultural Anxieties,'" and "Continuity and Discontinuity: Subjective Rupture and Dislocation." One way or another, the essays address the process through which new "Japan" was created in the postwar present, which signified an attempt to criticize and reevaluate the past. Examining postwar discourse from various angles, the essays highlight the manner in which anxieties of the future were projected onto the construction of the past, which manifest in varying disavowals and structures of concealment.