1 / 1 pts Question 22 Which of the following is not associated with the 1923 Tokyo earthquake: tsunami deaths from fire a relatively low death total (less than 100 people) Correct! Correct! landslides collapse of building, bridges, and tunnels 0 / 1 pts Question 23 The tectonic boundary between India and Asia is a _______________. subduction ...
Nov 01, 2012 · Imaging Disaster is a rich social history of Japan’s Great Kanto Earthquake of 1923. Drawing on a kaleidoscopic range of images from the fine arts, magazines, cartoons, and other popular sources, Gennifer Weisenfeld has produced an original study of this catastrophic event from an art historical perspective. —Jonathan Reynolds, Barnard College.
Edexcel A-level geography 1 Tectonic processes and hazards conversely, a low frequency of events can reduce the awareness of the hazard risk, e.g. the Kobe earthquake of 1995, which was in an area chosen by Japanese planners to resettle survivors of the Tokyo earthquake of 1923 due to the low number of recorded earthquakes in the area; the subsequent earthquake …
However, in the case of these disasters, hazards associated with earthquakes accounted for more deaths than the earthquake itself. Match the event with the hazard it is most associated with. Question Tokyo, Japan (1923) Port Royale, Jamaica …
Personal narratives emerging from the earthquake can be categorized into two main types: those stories edited by the government, and those that lacked government editing.
Between the two types of narratives surrounding the earthquake, I believe that the narratives uninfluenced by the Japanese government, the 1990 Hiroi interviews, more accurately and extensively cover the Great Kanto Earthquake of 1923 . Due to varying experiences of the earthquake by each survivor, differing sentiments surrounding ...
The government-edited Taisho shinsai giseki emphasizes the tremendous heroism displayed both during and after the earthquake in addition to the government presence in aiding the survivors of the earthquake. Both underlying messages are attempts to re-write the history of the event.
The Taisho shinsai giseki (Taisho era Collection of Heartwarming Stories) was published by the Tokyo Municipal government in order to commemorate the one-year anniversary of the Kanto Earthquake. The Japanese government compiled nearly 100 stories after asking for submissions of personal narratives recounting the earthquake.
Victimization was emphasized in the 1990 interview accounts. Second, while the government-edited stories of the Taisho shinsai giseki emphasize the government's effectiveness in providing aid to survivors of the quake, the interview accounts highlight government insufficiencies in providing aid.
Disaster struck at 11:58 on September 1st, 1923, just as families were gathering around the table for lunch. Most workers went home after a short day at work and for students it was their first day back at school after a long summer break. Although the quake itself measured 8.2 on the Richter scale, the fires that resulted from the overturned cooking stoves in many homes, coupled with high winds caused most of the destruction. The epicenter of the quake was located near Oshima Island in Sagama Bay (south of Tokyo). The tremors most heavily affected the imperial capital, Tokyo, and left the port metropolis Yokohama in ruins. In total, both the quake and fires that followed claimed the lives of nearly 130,000 people. In Yokohama, 90 percent of all homes were damaged or destroyed while 350,000 homes met the same fate in Tokyo, leaving 60 percent of the city's population homeless.
For example, in the context of the earthquake, even after putting a stop to the violence by condemning the acts of the jikeidan , the Japanese government failed to protect the Koreans by transporting the Koreans to refugee locations.
Focusing on one landmark catastrophic event in the history of an emerging modern nation—the Great Kanto Earthquake that devastated Tokyo and surrounding areas in 1923—this fascinating volume examines the history of the visual production of the disaster.
Gennifer Weisenfeld is Associate Professor in the Department of Art, Art History & Visual Studies at Duke University and the author of Mavo: Japanese Artists and the Avant-Garde, 1905-1931 (UC Press).