Abstract

Interwar Japan saw the rise of a generation of intellectuals, bureaucrats, and educators who were uneasy about modern life. One expression of this malaise was the introduction of calligraphy in the 1941 and 1943 school curricula. Calligraphy injected aesthetics into writing education. Yet it also compromised the speed and efficiency of writing, which lay at the core of Japan's system of modern education. The solution was to teach writing twice, once as an art in the `art section' and once as a functional skill in the `language section'. As an art, writing was a means to cultivate the spirit, discipline the body, escape from the calculated logic of linear time and produce an aesthetic epiphany. As a functional tool, it was a skill for keeping pace with the demands of the modern world by communicating meaning quickly and efficiently. Bureaucrats and educators from 1941 were thus simultaneously engaged in the task of overcoming modernity on the one hand and of instilling proficiency in modern life on the other. This duality of the word as a functional code for transmitting meaning and the word as an aesthetic form both echoed and shaped the double nature of Japan's modernity.