The aim of master thesis is to analyze the economic development of Manchukuo and to answer the question whether the establishment of Manchukuo had positive or negative impact on the economic development of the area. The analysis of the economic development of the region in 1929-1945 proves that the economic impact on the development of the area was positive. Despite an effort to have Manchukuo economically self-sufficient, the region was still very dependent on Japan in both economical and political aspects. However, the comparison of Chinese and Manchukuo's economies shows a higher level of economic development of Manchukuo. The thesis uses the method of the probe and historical-critical method. The conclusions are primarily based on historical and up-to-date literature written by foreign and Czech authors.

本文共分為六章十三節，全篇計十三萬餘言。第一章緒論，敘述本文研究 動機及撰寫旨趣。第二章關內漢人流移東北的由來與背景，文分三節；探 討清初東北招墾措施與封禁政策間的關係，遣戍制度的修訂與內地罪犯發 遣東北的情況，以及康熙中葉以後，因內地人口與土地分配比例的嚴重失 調，而促成華北人口往東北遷徙的過程。第三章自發性的人口流動，分為 三節；討論乾嘉時期東北地區厲行封禁的具體措施，華北流民犯禁出關的 途徑，與東北人口的增長情形。第四章強制性的人遷徙，文分四節；先就 發遣條例的更訂，來探究乾嘉時期遣戍政策之演變概況，並將遣往東北的 內地罪犯，依其性質區分為一般性案犯、洋盜案犯和秘密社會案犯等項， 加以說明。第五章移民在東北境內活動及其影響，分為三節；首先討論流 民與商賈在東北地區的土地經營，特產的採捕、走私，貿易活動的進行， 以及流人在配所的生活狀況與管理；且析述移民對東北經濟生活與文化生 活所產生的影響與衝擊。第六章結論，綜述本文研究心得，並概說乾嘉時 期關內漢人流移東北的意義及其作用。

Après la Seconde guerre mondiale, plus de 6,5 millions de sujets japonais, dont la moitié était des civils résidant dans les territoires japonais d’outre-mer, ont été rapatriés au Japon. Le Japon n’avait pas prévu l’éventualité d’un rapatriement en cas de défaite, et les Alliés, s’ils avaient planifié le retour des soldats japonais, n’avaient pas préparé le retour des civils. Pourtant, le rapatriement des civils japonais fut, dans sa majeure partie, rapide et efficace. Entre octobre 1945 et décembre 1946, 5,1 millions de Japonais purent rejoindre le Japon. Pour d’autres, le processus put durer jusque la fin des années 1950. Une fois au Japon, les rapatriés, confrontés à un Japon en ruines, se virent imposer une nouvelle identité, celle de hikiagesha, personne rapatriée. La mémoire et l’identité des rapatriés, confrontés à l’hostilité et la méfiance de la population de métropole, connurent plusieurs mutations pour finalement se réintégrer au sein du mémoriel discours dominant sur la guerre. Après une analyse des processus de rapatriement, cette thèse se penchera donc sur la formation de l’identité des rapatriés en tant que groupe, leur mémoire, et comment ce groupe au départ marginalisé est parvenu à intégrer son récit mémoriel au sein du discourra officiel. / After the Second World War, Japan saw the return of more than 6.5 million Japanese nationals, of which about half were civilian overseas residents of Japan’s colonial empire. Japan had no plan for the evacuation of foreign territories in the event of defeat, and but although provisions had been made by the Allies for the repatriation of the military personnel, the return of civilians was initially outside their scope, and left to the Japanese. The Allies would later assign military transports to help with the task of ferrying millions of men, women and children back to the mainland. However, despite this lack of previous planning, the repatriation of Japanese nationals was fast and efficient: between October 1945 and December 1946; over 5.1 million Japanese were brought back to the mainland. Some, however, had to wait until the second half of the 1950s. Once in Japan, the returnees found that a new identity had been imposed on them, one that stemmed from their shared experience as returnees: that of hikiagesha, or repatriates. Joined by their war experiences, they found themselves part of a heterogeneous group with an identity that still awaited definition. The meaning of the memory of their experience was shaped by the very way in which they defined and re-defined themselves and their experience, as they encountered marginalisation, hostility and distrust as they reintegrated to mainland Japanese society. After analysing the process of repatriation, this thesis will attempt to map out the process by which this initially marginalised group became acceptable, by integrating its narrative within an official discourse.

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This thesis emerged from my emotional, tactile, and intellectual access to the actress, Yamaguchi Yoshiko (a.k.a. Ri Kōran or Li Xianglan), who embodied the cultural hybridity of Manchuria and represented a ‘modern girl’ on screen. I analyze four wartime melodrama-adventure films, in which she co-starred with Japanese actors: Song of the White Orchid (Byakuran no uta, 1939), China Nights (Shina no Yoru, 1940), Vow in the Desert (Nessa no chikai, 1940), and Suzhou Nights (Soshū no yoru, 1941). The formation of domesticity played an integral part in the making of modern nation-states. Intertexualizing with the discursive formation of the ie (house/family) between the mid 19th and mid 20th centuries, I first demonstrate that Japanese film subjects are made to embody the imagined Imperial nation through gendered performances in Song of the White Orchid. The interior and exterior are constructed to mirror the notion of imperial nation and the Asian ‘other’. Next, I extend the analytical framework to the three films, China Nights, Vow in the Desert, and Suzhou Nights, which employ films’ specific locations for different operations of gendered and ethnicized positioning. I also pay attention to some of the climaxes, which unconventionally present psychological dramas outdoors and action scenes indoors. Especially, my interest in this part of analysis is in interrelating metaphors of bodily boundary and national border. As delineating the signification of body and nation, I situate the relay of the gaze in the simultaneous blurring of bodily boundary and national communities that coincides with melodramatic highlights located outdoors. In order to shape a Japanese imperial subject, the films symbolically negotiate with three levels of power dynamics: the establishment of a national identity, the mimicry of the West, and the significance of China in Japanese imperial modernity. The delineation of cinematic space and subject positioning in Ri Kōran’s films reveals that Chinese, Japanese and the West are constituted as shifting positions that respectively represent past/obstructions, present/a mobile agency, and future/the envisioned goal. Ri Kōran attracts spectators’ gaze and mediates multiple locations to identify with, while Japanese male protagonists embody the gaze by making his corporeality absent.

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

This thesis emerged from my emotional, tactile, and intellectual access to the actress, Yamaguchi Yoshiko (a.k.a. Ri Kōran or Li Xianglan), who embodied the cultural hybridity of Manchuria and represented a ‘modern girl’ on screen. I analyze four wartime melodrama-adventure films, in which she co-starred with Japanese actors: Song of the White Orchid (Byakuran no uta, 1939), China Nights (Shina no Yoru, 1940), Vow in the Desert (Nessa no chikai, 1940), and Suzhou Nights (Soshū no yoru, 1941). The formation of domesticity played an integral part in the making of modern nation-states. Intertexualizing with the discursive formation of the ie (house/family) between the mid 19th and mid 20th centuries, I first demonstrate that Japanese film subjects are made to embody the imagined Imperial nation through gendered performances in Song of the White Orchid. The interior and exterior are constructed to mirror the notion of imperial nation and the Asian ‘other’. Next, I extend the analytical framework to the three films, China Nights, Vow in the Desert, and Suzhou Nights, which employ films’ specific locations for different operations of gendered and ethnicized positioning. I also pay attention to some of the climaxes, which unconventionally present psychological dramas outdoors and action scenes indoors. Especially, my interest in this part of analysis is in interrelating metaphors of bodily boundary and national border. As delineating the signification of body and nation, I situate the relay of the gaze in the simultaneous blurring of bodily boundary and national communities that coincides with melodramatic highlights located outdoors. In order to shape a Japanese imperial subject, the films symbolically negotiate with three levels of power dynamics: the establishment of a national identity, the mimicry of the West, and the significance of China in Japanese imperial modernity. The delineation of cinematic space and subject positioning in Ri Kōran’s films reveals that Chinese, Japanese and the West are constituted as shifting positions that respectively represent past/obstructions, present/a mobile agency, and future/the envisioned goal. Ri Kōran attracts spectators’ gaze and mediates multiple locations to identify with, while Japanese male protagonists embody the gaze by making his corporeality absent.

The goal of this thesis is to clarify the issues related to the New Order in East Asia and the Greater East Asia Co-Prosperity Sphere. Emphasis will be added to motives which lead Japan to the creation of a new arrangement in East Asia. These motives are represented by both Japan's strategic interests, among which was the struggle for obtaining access to natural resources (such as iron ore, coal and oil), as well as the control over a certain part of Asian territory with the intention of creating a buffer zone, mainly because of fearing the Soviet Union. The effort to control the Far East was further strengthened by the Great Depression, which resulted with the creation of enclosed trade blocks. A significant source of Japanese expansionist policy was presented by the ideology of Pan-Asianism, which played a large role in Japan's foreign policy making since the second half of the1920s. Pan-Asianism had been originally focused mainly on Northeast Asia and only later was it utilized to legitimize the Japanese occupation of Southeast Asia. The thesis also pays much attention to the creation of Japanese puppet regimes, both on occupied Chinese territory and in Southeast Asia. An important role here is played by the Japanese effort to cooperate with local elites, both political and religious. Not only...

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