Sadao Hasegawa: Paintings

Product Information

Kawabe’s diary also reveals his confusion. If his judgment proved wrong, logically it should follow that the strategy that he had advocated based on the erroneous assumption should have been reexamined. Instead of adopting this logical deduction, Kawabe “did not feel like peace and surrender in this situation.” This was not rational strategic thinking, but a visceral reluctance to accept surrender. The only rationale he could justify for the continuation of war was “the honor of the Yamato race.” His insistence on fighting was also a preemptive move, anticipating, quite correctly, that the peace party would launch a coordinated move to end the war. Nevertheless, his argument for the continuation of war indicated the degree of the army’s desperation and confusion. Two documents issued by the cabinet need to be examined. The first is a cabinet statement released after the imperial rescript was broadcast, which refers to both the use of the atomic bomb, which changed the nature of war, and the Soviet entry as two important reasons for ending the war.[90] The second is the prime minister’s radio announcement of August 15, in which he stated that Soviet entry into the war had prompted the cabinet to make the final decision to end the war, and that the atomic bomb, which “it was evident the enemy will continue to use,” would destroy both the military power of the empire “and the foundation of the existence of the nation, endangering the basis of our kokutai.”[91] Both documents cite the atomic bomb and the Soviet entry into the war as the two important reasons that had prompted the government to seek the termination of the war, thus invalidating Frank’s claim that the atomic bomb had a more decisive effect on the emperor’s decision to end the war.

Sadao Hasegawa cited japanese homoerotic artist Go Mishima and artist Tom of Finland as major influences on his work. Hasegawa’s early works reflected European styles,;but after regular trips to Bali and Thailand, his work put greater focus on Asian iconography and mythology. On November 20, 1999, Hasegawa died from suicide by hanging in aBangkok, Thailand, hotel. Ownership of his work was eventually granted to Gallery Naruyama in Tokyo, which holds the majority of Hasegawa’s colledted works. Though it was initially instituted as a way for queer relationships to mirror the power dynamics inherent to any heterosexual relationship that exists in a patriarchal society, it has since been weaponized against the queer community. Used to insist queerness is inherently related to pedophilia and separate the younger members from the older. This was also confirmed by Sakomizu, who allegedly stated that Togo had made a statement at the cabinet meeting on August 7 in support of accepting the Potsdam Proclamation. Sakomizu, Kikanju ka no shusho kantei, 244–45. The complicated political calculations of the Japanese leadership were closely intermingled with crucial psychological factors. In particular, there were two different psychological elements at work. The first was the reversal of the degree of hatred attached to two enemies, as described above. The second was a profound sense of betrayal. To support his assertion that the Soviet invasion had little effect on the Japanese military’s will to fight, Asada cites the following passage from Deputy Chief of Staff Kawabe Torashiro’s diary entry from the crucial day, August 9, 1945: “To save the honor of the Yamato race, there is no way but to keep on fighting. At this critical moment, I don’t even want to consider peace or surrender.”[45] But if we examine Kawabe’s diary more closely, a slightly different picture emerges.

Like free stuff?

There is no evidence to indicate that the Hiroshima bomb immediately and directly induced either the Japanese government as a whole or individual members, including Togo, Suzuki, Kido, and Hirohito, to terminate the war by accepting the terms of the Potsdam Proclamation. Japan could wait until Moscow’s reaction before it would decide on the Potsdam terms.

Colonel Hayashi Saburo, Anami’s secretary, was asked by a GHQ interrogator about the influence of the atomic bombs and the Soviet entry into the war on Anami’s views regarding the termination of the war. Hayashi did not say anything about the effect of the atomic bomb, but he was confident that the Soviet entry into the war reinforced Anami’s feelings about the need to hasten the end of the war.[55] Mashima believed he had reached peak physical form and thus ended his life. Some believe that Hasegawa felt the same about his work. The premature deaths of queer men have been a point of pain for the queer community throughout its history. There are innumerable factors at play, but it is worth noting the veneration and disconnection of younger community members with older. And while we’re on the subject of Bond design, Daniel Kleinman’s superb Casino Royale title sequence is on YouTube. Oscar Wilde’s speech on the “love that dares not speak its name” affirms this belief. In defense of his relationship with another man, he said: Matt & Andrej Koymasky—Famous GLTB - Hasegawa Sadao. (n.d.). Retrieved July 28, 2021, from http://andrejkoymasky.com/liv/fam/bioh2/hasega01.htmlSadao Hasegawa ( 長谷川 サダオ, Hasegawa Sadao) (1945-1999) was a Japanese graphic artist known for creating homoerotic fetish art, which often involved bondage and SM. Biography Almost immediately following the end of World War II, Americans began to question the use of the atomic bomb and the circumstances surrounding the end of the Pacific War. More than half a century later, books and articles on the atomic bomb still provoke storms of debate among readers and the use of atomic weapons remains a sharply contested subject.[1] As the 1995 controversy over the Enola Gay exhibit at the Smithsonian’s National Air and Space Museum revealed, the issues connected with the dropping of the bombs on Hiroshima and Nagasaki continue to touch a sensitive nerve in Americans. Among scholars, disagreement remains no less heated. But, on the whole, this debate has been strangely parochial, centering almost exclusively on how the U.S. leadership made the decision to drop the bombs.

Soren no tainichi saigo tsucho ni taishite torubeki sochi no kenkyu,” in Nishihara Masao, Shusen no keii, Vol. 1, 104-08; Kurihara and Hatano, eds., Shusen kosaku no kiroku, 2: 363–64. a b c d Naruyama, Akimitsu (1 December 2008). "HASEGAWA SADAO". #205 Matsuoka Kudan Bldg. 2-2-8 Kudan Minami, Chiyoda-Ku, Tokyo 102-0074 Japan. Naruyama Gallery . Retrieved 25 February 2013.

Popular entries

In November 1949, Kawabe gave this testimony in response to point-blank questions : “[B]etween the atomic bombing and the entry of Soviet Russia into the war, which of the two factors played a greater part in bringing about the cessation of hostilities?” the U.S. GHQ interrogator, Oi Atsushi, asked. Kawabe replied: Kawabe was awakened in bed at the General Staff headquarters at around 6:00 A.M., and he received the news from his aide that the Intelligence Division had intercepted broadcasts from Moscow and San Francisco reporting that the Soviet Union had declared war on Japan. Kawabe wrote down his first impressions of the news as follows: But what I can state is that the two atomic bombs on Hiroshima and Nagasaki were not likely to be decisive in inducing Japan to surrender. Without the Soviet entry into the war between the two bombs, Japan would most likely have continued the war. It is beautiful; it is fine; it is the noblest form of affection. There is nothing unnatural about it. It is intellectual, and it repeatedly exists between an older and a younger man, when the older man has intellect, and the younger man has all the joy, hope and glamour of life before him. That it should be so, the world does not understand.”

Frank’s argument is questionable in his methodology here. If he discounts Kawabe’s and Toyoda’s testimonies as having been given years after the events in question, why should Suzuki’s testimony, which was given several months after the end of the war, be deemed more reliable? Frank’s method of looking critically at testimonies made after the events is admirable, but he is inconsistent in this approach. Hasegawa was born in 1945 in the Tokai region of Japan. In his twenties, he traveled to India and began to take up drawing. His first solo exhibition, "Sadao Hasegawa's Alchemism: Meditation for 1973" was held in 1973 in Tokyo, Japan, and featured oil paintings, collages, and sculptures. In 1978, Hasegawa's art was published for the first time in Barazoku, a monthly magazine for gay men; he would later go on to be published in Sabu [ja], Samson, and Adon [ja]. How is it that not one military officer from the army and the navy before the emperor could assure [him] that we would be able to win the war? …How ambiguous the answer of the two chiefs was: “Although we cannot say that we shall be able to win the war definitely, we have no reason to believe that we shall definitely lose the war.” No, I am not criticizing their answer. Their answer reflects reality. Although I have persistently insisted on the continuation of war and have encouraged myself to continue fighting, I would have no choice but to give the same answer as given by the chiefs if I were to be asked about the probability of our victory. I am only driven by the sentiment that “I don’t want to surrender; I don’t want to say surrender even if I am killed,” and wish to limit the conditions for the termination of the war. Whilst gaining acclaim in queer publications in the USA and Europe, with critics historicising Hasegawa’s work as an influence on contemporary Japanese queer culture, and the gay manga genre, Hasegawa's works have not been widely recognized: his only book is the highly collectable Paradise Visions (Kochi Studio, 1996).Hasegawa cited Go Mishima and Tom of Finland among his influences, calling the former "a master illustrator of the male physique" in an obituary written in 1989 for Barazoku. [2] His early works, directly inspired by Tom of Finland, reflected European art styles. Beginning in the late 1980s, Hasegawa began making regular trips to Bali and Thailand, resulting in a greater focus on Asian iconography and mythology in his art. [2] Hasegawa refused numerous requests to exhibit and distribute his work internationally, [6] though Sadao Hasegawa: Paintings and Drawings, a collection the artist's magazine work, was published by the British publishing house Gay Men's Press in 1990. [3]