Diversity and knowledge in the age of nation-building: Space and time in the thought of Yanagita Kunio

The study examines the thought of Yanagita Kunio (1875–1962), an influential Japanese nationalist thinker and a founder of an academic discipline named minzokugaku. The purpose of the study is to bring into light an unredeemed potential of his intellectual and political project as a critique of the way in which modern politics and knowledge systematically suppresses global diversity. The study reads his texts against the backdrop of the modern understanding of space and time and its political and moral implications and traces the historical evolution of his thought that culminates in the establishment of minzokugaku. My reading of Yanagita’s texts draws on three interpretive hypotheses. First, his thought can be interpreted as a critical engagement with John Stuart Mill’s philosophy of history, as he turns Mill’s defense of diversity against Mill’s justification of enlightened despotism in non-Western societies. Second, to counter Mill’s individualistic notion of progressive agency, he turns to a Marxian notion of anthropological space, in which a laboring class makes history by continuously transforming nature, and rehabilitates the common people (jomin) as progressive agents. Third, in addition to the common people, Yanagita integrates wandering people as a countervailing force to the innate parochialism and conservatism of agrarian civilization. To excavate the unrecorded history of ordinary farmers and wandering people and promote the formation of national consciousness, his minzokugaku adopts travel as an alternative method for knowledge production and political education. In light of this interpretation, the aim of Yanagita’s intellectual and political project can be understood as defense and critique of the Enlightenment tradition. Intellectually, he attempts to navigate between spurious universalism and reactionary particularism by revaluing diversity as a necessary condition for universal knowledge and human progress. Politically, his minzokugaku aims at nation-building/globalization from below by tracing back the history of a migratory process cutting across the existing boundaries. His project is opposed to nation-building from above that aims to integrate the world population into international society at the expense of global diversity.

An analysis of completeness and historical accuracy in the most commonly used college jazz history texts

Historical accuracy is only one of the components of a scholarly college textbook used to teach the history of jazz music. Textbooks in this field should include accurate ethnic representation of the most important musical figures as jazz is considered the only original American art form. As college and universities celebrate diversity, it is important that jazz history be accurate and complete. ^ The purpose of this study was to examine the content of the most commonly used jazz history textbooks currently used at American colleges and universities. This qualitative study utilized grounded and textual analysis to explore the existence of ethnic representation in these texts. The methods used were modeled after the work of Kane and Selden each of whom conducted a content analysis focused on a limited field of study. This study is focused on key jazz artists and composers whose work was created in the periods of early jazz (1915-1930), swing (1930-1945) and modern jazz (1945-1960). ^ This study considered jazz notables within the texts in terms of ethnic representation, authors' use of language, contributions to the jazz canon, and place in the standard jazz repertoire. Appropriate historical sections of the selected texts were reviewed and coded using predetermined rubrics. Data were then aggregated into categories and then analyzed according to the character assigned to the key jazz personalities noted in the text as well as the comparative standing afforded each personality. ^ The results of this study demonstrate that particular key African-American jazz artists and composers occupy a significant place in these texts while other significant individuals representing other ethnic groups are consistently overlooked. This finding suggests that while America and the world celebrates the quality of the product of American jazz as great musically and significant socially, many ethnic contributors are not mentioned with the result being a less than complete picture of the evolution of this American art form. ^