\documentclass[11pt,twoside]{article}\makeatletter

\IfFileExists{xcolor.sty}%
  {\RequirePackage{xcolor}}%
  {\RequirePackage{color}}
\usepackage{colortbl}
\usepackage{wrapfig}
\usepackage{ifxetex}
\ifxetex
  \usepackage{fontspec}
  \usepackage{xunicode}
  \catcode`⃥=\active \def⃥{\textbackslash}
  \catcode`❴=\active \def❴{\{}
  \catcode`❵=\active \def❵{\}}
  \def\textJapanese{\fontspec{Noto Sans CJK JP}}
  \def\textChinese{\fontspec{Noto Sans CJK SC}}
  \def\textKorean{\fontspec{Noto Sans CJK KR}}
  \setmonofont{DejaVu Sans Mono}
  
\else
  \IfFileExists{utf8x.def}%
   {\usepackage[utf8x]{inputenc}
      \PrerenderUnicode{–}
    }%
   {\usepackage[utf8]{inputenc}}
  \usepackage[english]{babel}
  \usepackage[T1]{fontenc}
  \usepackage{float}
  \usepackage[]{ucs}
  \uc@dclc{8421}{default}{\textbackslash }
  \uc@dclc{10100}{default}{\{}
  \uc@dclc{10101}{default}{\}}
  \uc@dclc{8491}{default}{\AA{}}
  \uc@dclc{8239}{default}{\,}
  \uc@dclc{20154}{default}{ }
  \uc@dclc{10148}{default}{>}
  \def\textschwa{\rotatebox{-90}{e}}
  \def\textJapanese{}
  \def\textChinese{}
  \IfFileExists{tipa.sty}{\usepackage{tipa}}{}
\fi
\def\exampleFont{\ttfamily\small}
\DeclareTextSymbol{\textpi}{OML}{25}
\usepackage{relsize}
\RequirePackage{array}
\def\@testpach{\@chclass
 \ifnum \@lastchclass=6 \@ne \@chnum \@ne \else
  \ifnum \@lastchclass=7 5 \else
   \ifnum \@lastchclass=8 \tw@ \else
    \ifnum \@lastchclass=9 \thr@@
   \else \z@
   \ifnum \@lastchclass = 10 \else
   \edef\@nextchar{\expandafter\string\@nextchar}%
   \@chnum
   \if \@nextchar c\z@ \else
    \if \@nextchar l\@ne \else
     \if \@nextchar r\tw@ \else
   \z@ \@chclass
   \if\@nextchar |\@ne \else
    \if \@nextchar !6 \else
     \if \@nextchar @7 \else
      \if \@nextchar (8 \else
       \if \@nextchar )9 \else
  10
  \@chnum
  \if \@nextchar m\thr@@\else
   \if \@nextchar p4 \else
    \if \@nextchar b5 \else
   \z@ \@chclass \z@ \@preamerr \z@ \fi \fi \fi \fi
   \fi \fi  \fi  \fi  \fi  \fi  \fi \fi \fi \fi \fi \fi}
\gdef\arraybackslash{\let\\=\@arraycr}
\def\@textsubscript#1{{\m@th\ensuremath{_{\mbox{\fontsize\sf@size\z@#1}}}}}
\def\Panel#1#2#3#4{\multicolumn{#3}{){\columncolor{#2}}#4}{#1}}
\def\abbr{}
\def\corr{}
\def\expan{}
\def\gap{}
\def\orig{}
\def\reg{}
\def\ref{}
\def\sic{}
\def\persName{}\def\name{}
\def\placeName{}
\def\orgName{}
\def\textcal#1{{\fontspec{Lucida Calligraphy}#1}}
\def\textgothic#1{{\fontspec{Lucida Blackletter}#1}}
\def\textlarge#1{{\large #1}}
\def\textoverbar#1{\ensuremath{\overline{#1}}}
\def\textquoted#1{‘#1’}
\def\textsmall#1{{\small #1}}
\def\textsubscript#1{\@textsubscript{\selectfont#1}}
\def\textxi{\ensuremath{\xi}}
\def\titlem{\itshape}
\newenvironment{biblfree}{}{\ifvmode\par\fi }
\newenvironment{bibl}{}{}
\newenvironment{byline}{\vskip6pt\itshape\fontsize{16pt}{18pt}\selectfont}{\par }
\newenvironment{citbibl}{}{\ifvmode\par\fi }
\newenvironment{docAuthor}{\ifvmode\vskip4pt\fontsize{16pt}{18pt}\selectfont\fi\itshape}{\ifvmode\par\fi }
\newenvironment{docDate}{}{\ifvmode\par\fi }
\newenvironment{docImprint}{\vskip 6pt}{\ifvmode\par\fi }
\newenvironment{docTitle}{\vskip6pt\bfseries\fontsize{22pt}{25pt}\selectfont}{\par }
\newenvironment{msHead}{\vskip 6pt}{\par}
\newenvironment{msItem}{\vskip 6pt}{\par}
\newenvironment{rubric}{}{}
\newenvironment{titlePart}{}{\par }

\newcolumntype{L}[1]{){\raggedright\arraybackslash}p{#1}}
\newcolumntype{C}[1]{){\centering\arraybackslash}p{#1}}
\newcolumntype{R}[1]{){\raggedleft\arraybackslash}p{#1}}
\newcolumntype{P}[1]{){\arraybackslash}p{#1}}
\newcolumntype{B}[1]{){\arraybackslash}b{#1}}
\newcolumntype{M}[1]{){\arraybackslash}m{#1}}
\definecolor{label}{gray}{0.75}
\def\unusedattribute#1{\sout{\textcolor{label}{#1}}}
\DeclareRobustCommand*{\xref}{\hyper@normalise\xref@}
\def\xref@#1#2{\hyper@linkurl{#2}{#1}}
\begingroup
\catcode`\_=\active
\gdef_#1{\ensuremath{\sb{\mathrm{#1}}}}
\endgroup
\mathcode`\_=\string"8000
\catcode`\_=12\relax

\usepackage[a4paper,twoside,lmargin=1in,rmargin=1in,tmargin=1in,bmargin=1in,marginparwidth=0.75in]{geometry}
\usepackage{framed}

\definecolor{shadecolor}{gray}{0.95}
\usepackage{longtable}
\usepackage[normalem]{ulem}
\usepackage{fancyvrb}
\usepackage{fancyhdr}
\usepackage{graphicx}
\usepackage{marginnote}

\renewcommand{\@cite}[1]{#1}


\renewcommand*{\marginfont}{\itshape\footnotesize}

\def\Gin@extensions{.pdf,.png,.jpg,.mps,.tif}

  \pagestyle{fancy}

\usepackage[pdftitle={Total War System and Youth Culture in East Asia Looking at 20th Century Culture from the Changes of Mobilization Mode},
 pdfauthor={}]{hyperref}
\hyperbaseurl{}

	 \paperwidth210mm
	 \paperheight297mm
              
\def\@pnumwidth{1.55em}
\def\@tocrmarg {2.55em}
\def\@dotsep{4.5}
\setcounter{tocdepth}{3}
\clubpenalty=8000
\emergencystretch 3em
\hbadness=4000
\hyphenpenalty=400
\pretolerance=750
\tolerance=2000
\vbadness=4000
\widowpenalty=10000

\renewcommand\section{\@startsection {section}{1}{\z@}%
     {-1.75ex \@plus -0.5ex \@minus -.2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\Large\bfseries}}
\renewcommand\subsection{\@startsection{subsection}{2}{\z@}%
     {-1.75ex\@plus -0.5ex \@minus- .2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\Large}}
\renewcommand\subsubsection{\@startsection{subsubsection}{3}{\z@}%
     {-1.5ex\@plus -0.35ex \@minus -.2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\large}}
\renewcommand\paragraph{\@startsection{paragraph}{4}{\z@}%
     {-1ex \@plus-0.35ex \@minus -0.2ex}%
     {0.5ex \@plus .2ex}%
     {\reset@font\normalsize}}
\renewcommand\subparagraph{\@startsection{subparagraph}{5}{\parindent}%
     {1.5ex \@plus1ex \@minus .2ex}%
     {-1em}%
     {\reset@font\normalsize\bfseries}}


\def\l@section#1#2{\addpenalty{\@secpenalty} \addvspace{1.0em plus 1pt}
 \@tempdima 1.5em \begingroup
 \parindent \z@ \rightskip \@pnumwidth 
 \parfillskip -\@pnumwidth 
 \bfseries \leavevmode #1\hfil \hbox to\@pnumwidth{\hss #2}\par
 \endgroup}
\def\l@subsection{\@dottedtocline{2}{1.5em}{2.3em}}
\def\l@subsubsection{\@dottedtocline{3}{3.8em}{3.2em}}
\def\l@paragraph{\@dottedtocline{4}{7.0em}{4.1em}}
\def\l@subparagraph{\@dottedtocline{5}{10em}{5em}}
\@ifundefined{c@section}{\newcounter{section}}{}
\@ifundefined{c@chapter}{\newcounter{chapter}}{}
\newif\if@mainmatter 
\@mainmattertrue
\def\chaptername{Chapter}
\def\frontmatter{%
  \pagenumbering{roman}
  \def\thechapter{\@roman\c@chapter}
  \def\theHchapter{\roman{chapter}}
  \def\thesection{\@roman\c@section}
  \def\theHsection{\roman{section}}
  \def\@chapapp{}%
}
\def\mainmatter{%
  \cleardoublepage
  \def\thechapter{\@arabic\c@chapter}
  \setcounter{chapter}{0}
  \setcounter{section}{0}
  \pagenumbering{arabic}
  \setcounter{secnumdepth}{6}
  \def\@chapapp{\chaptername}%
  \def\theHchapter{\arabic{chapter}}
  \def\thesection{\@arabic\c@section}
  \def\theHsection{\arabic{section}}
}
\def\backmatter{%
  \cleardoublepage
  \setcounter{chapter}{0}
  \setcounter{section}{0}
  \setcounter{secnumdepth}{2}
  \def\@chapapp{\appendixname}%
  \def\thechapter{\@Alph\c@chapter}
  \def\theHchapter{\Alph{chapter}}
  \appendix
}
\newenvironment{bibitemlist}[1]{%
   \list{\@biblabel{\@arabic\c@enumiv}}%
       {\settowidth\labelwidth{\@biblabel{#1}}%
        \leftmargin\labelwidth
        \advance\leftmargin\labelsep
        \@openbib@code
        \usecounter{enumiv}%
        \let\p@enumiv\@empty
        \renewcommand\theenumiv{\@arabic\c@enumiv}%
	}%
  \sloppy
  \clubpenalty4000
  \@clubpenalty \clubpenalty
  \widowpenalty4000%
  \sfcode`\.\@m}%
  {\def\@noitemerr
    {\@latex@warning{Empty `bibitemlist' environment}}%
    \endlist}

\def\tableofcontents{\section*{\contentsname}\@starttoc{toc}}
\parskip0pt
\parindent1em
\def\Panel#1#2#3#4{\multicolumn{#3}{){\columncolor{#2}}#4}{#1}}
\newenvironment{reflist}{%
  \begin{raggedright}\begin{list}{}
  {%
   \setlength{\topsep}{0pt}%
   \setlength{\rightmargin}{0.25in}%
   \setlength{\itemsep}{0pt}%
   \setlength{\itemindent}{0pt}%
   \setlength{\parskip}{0pt}%
   \setlength{\parsep}{2pt}%
   \def\makelabel##1{\itshape ##1}}%
  }
  {\end{list}\end{raggedright}}
\newenvironment{sansreflist}{%
  \begin{raggedright}\begin{list}{}
  {%
   \setlength{\topsep}{0pt}%
   \setlength{\rightmargin}{0.25in}%
   \setlength{\itemindent}{0pt}%
   \setlength{\parskip}{0pt}%
   \setlength{\itemsep}{0pt}%
   \setlength{\parsep}{2pt}%
   \def\makelabel##1{\upshape ##1}}%
  }
  {\end{list}\end{raggedright}}
\newenvironment{specHead}[2]%
 {\vspace{20pt}\hrule\vspace{10pt}%
  \phantomsection\label{#1}\markright{#2}%

  \pdfbookmark[2]{#2}{#1}%
  \hspace{-0.75in}{\bfseries\fontsize{16pt}{18pt}\selectfont#2}%
  }{}
      \def\TheFullDate{2021-03-15 (revised: 15 March 2021)}
\def\TheID{10.34257/GJHSSCVOL21IS5PG21\makeatother }
\def\TheDate{2021-03-15}
\title{Total War System and Youth Culture in East Asia Looking at 20th Century Culture from the Changes of Mobilization Mode}
\author{}\makeatletter 
\makeatletter
\newcommand*{\cleartoleftpage}{%
  \clearpage
    \if@twoside
    \ifodd\c@page
      \hbox{}\newpage
      \if@twocolumn
        \hbox{}\newpage
      \fi
    \fi
  \fi
}
\makeatother
\makeatletter
\thispagestyle{empty}
\markright{\@title}\markboth{\@title}{\@author}
\renewcommand\small{\@setfontsize\small{9pt}{11pt}\abovedisplayskip 8.5\p@ plus3\p@ minus4\p@
\belowdisplayskip \abovedisplayskip
\abovedisplayshortskip \z@ plus2\p@
\belowdisplayshortskip 4\p@ plus2\p@ minus2\p@
\def\@listi{\leftmargin\leftmargini
               \topsep 2\p@ plus1\p@ minus1\p@
               \parsep 2\p@ plus\p@ minus\p@
               \itemsep 1pt}
}
\makeatother
\fvset{frame=single,numberblanklines=false,xleftmargin=5mm,xrightmargin=5mm}
\fancyhf{} 
\setlength{\headheight}{14pt}
\fancyhead[LE]{\bfseries\leftmark} 
\fancyhead[RO]{\bfseries\rightmark} 
\fancyfoot[RO]{}
\fancyfoot[CO]{\thepage}
\fancyfoot[LO]{\TheID}
\fancyfoot[LE]{}
\fancyfoot[CE]{\thepage}
\fancyfoot[RE]{\TheID}
\hypersetup{citebordercolor=0.75 0.75 0.75,linkbordercolor=0.75 0.75 0.75,urlbordercolor=0.75 0.75 0.75,bookmarksnumbered=true}
\fancypagestyle{plain}{\fancyhead{}\renewcommand{\headrulewidth}{0pt}}

\date{}
\usepackage{authblk}

\providecommand{\keywords}[1]
{
\footnotesize
  \textbf{\textit{Index terms---}} #1
}

\usepackage{graphicx,xcolor}
\definecolor{GJBlue}{HTML}{273B81}
\definecolor{GJLightBlue}{HTML}{0A9DD9}
\definecolor{GJMediumGrey}{HTML}{6D6E70}
\definecolor{GJLightGrey}{HTML}{929497} 

\renewenvironment{abstract}{%
   \setlength{\parindent}{0pt}\raggedright
   \textcolor{GJMediumGrey}{\rule{\textwidth}{2pt}}
   \vskip16pt
   \textcolor{GJBlue}{\large\bfseries\abstractname\space}
}{%   
   \vskip8pt
   \textcolor{GJMediumGrey}{\rule{\textwidth}{2pt}}
   \vskip16pt
}

\usepackage[absolute,overlay]{textpos}

\makeatother 
      \usepackage{lineno}
      \linenumbers
      
\begin{document}

             \author[1]{Takumasa  Senno}

             \affil[1]{  Waseda University}

\renewcommand\Authands{ and }

\date{\small \em Received: 6 February 2021 Accepted: 2 March 2021 Published: 15 March 2021}

\maketitle


\begin{abstract}
        


In recent years, the relations between the governments of Japan, China and South Korea have been very tense. The Chinese government often sends military aircraft or warships to the Senkaku Islands (the Diaoyu Islands), and the South Korean government stationed its troops on Takeshima (Dokdo). Their domestic media also reported daily on Japan's right-leaning. An atmosphere of opposition to Japan is slowly brewing in the societies of the two countries. The media in Japan also daily report the "airspace and territorial water violations" of Chinese military aircraft and warships, as well as anti-Japanese trends in China and South Korea. The societies of the three countries are slowly permeating an atmosphere of mutual hatred. It seems that the entire East Asia lies in a vortex of opposition.In a sense, the government's declaration and media reports, as well as the dissemination of literature and art, are all modes of mobilizing the public. But looking at the current situation in East Asia, the results of the two mobilizations are completely opposite. Behind it are mobilization changes.

\end{abstract}


\keywords{subculture, mobilization, theatre-type mobilization, total war system, mobilizer and mobilized, huang jiguang, three bomb soldiers, god of war.}

\begin{textblock*}{18cm}(1cm,1cm) % {block width} (coords) 
\textcolor{GJBlue}{\LARGE Global Journals \LaTeX\ JournalKaleidoscope\texttrademark}
\end{textblock*}

\begin{textblock*}{18cm}(1.4cm,1.5cm) % {block width} (coords) 
\textcolor{GJBlue}{\footnotesize \\ Artificial Intelligence formulated this projection for compatibility purposes from the original article published at Global Journals. However, this technology is currently in beta. \emph{Therefore, kindly ignore odd layouts, missed formulae, text, tables, or figures.}}
\end{textblock*}


\begin{textblock*}{10cm}(1.05cm,3cm)
{{\textit{CrossRef DOI of original article:}} \underline{10.34257/GJHSSCVOL21IS5PG21}}
\end{textblock*}\let\tabcellsep& 	 	 		 \par
Abstract-In recent years, the relations between the governments of Japan, China and South Korea have been very tense. The Chinese government often sends military aircraft or warships to the Senkaku Islands (the Diaoyu Islands), and the South Korean government stationed its troops on Takeshima (Dokdo). Their domestic media also reported daily on Japan's right-leaning. An atmosphere of opposition to Japan is slowly brewing in the societies of the two countries. The media in Japan also daily report the "airspace and territorial water violations" of Chinese military aircraft and warships, as well as anti-Japanese trends in China and South Korea. The societies of the three countries are slowly permeating an atmosphere of mutual hatred. It seems that the entire East Asia lies in a vortex of opposition.\par
In a sense, the government's declaration and media reports, as well as the dissemination of literature and art, are all modes of mobilizing the public. But looking at the current situation in East Asia, the results of the two mobilizations are completely opposite. Behind it are mobilization changes.\par
In the 1980s, after the so-called era of globalization began, the boundaries between mobilization and mobilization in literature and art began to blur. The transnational common prevalence of subcultures is one of this new mode of cultural mobilization. Looking at today's society from the above changes in the mode of cultural mobilization, we can see two possibilities. One is negative and the other is positive. The negative possibilities are as follows. Many teenagers are only interested in their hobbies and just play with their friends, which greatly reduces their attention to society. The positive possibilities are as follows. Although it is only a superficial thing on the surface, young people have achieved close cross-border cultural exchanges. Although its content is not positive, they already have a common heart. Furthermore, it seems that they have formed a common cultural circle, and there is no friction between them, but they enjoy and assist together. This means that the above model of cultural mobilization has the potential to change the current tension.\par
When we think about whether and how today's culture can promote reality, youth culture may provide us with a new frame of reference. 
\section[{Keywords:}]{Keywords:}\par
subculture, mobilization, theatre-type mobilization, total war system, mobilizer and mobilized, huang jiguang, three bomb soldiers, god of war.I.\par
What is the Problem? n recent years, the relations between the governments of Japan, China, and South Korea have been very tense. Since the Japanese government decided to nationalize the Senkaku Islands (????)--the so-called Diaoyu Islands (é??"??)in China--in 2012, the relationship between the governments of China and Japan has deteriorated and summit meetings have not been held until now. The Japanese and Korean governments also deteriorated their relations due to Takeshima Island(??)--the so-called Dokdo Island (??)in Korea--, comfort women and wartime recruitment issues, and until now there has been no summit meeting either. In addition, the Chinese government often sends military aircraft or warships to the sea and airspace of Senkaku Islands (Diaoyu Islands), and the South Korean government stationed its troops on Takeshima (Dokdo Island). Their domestic media also daily report the right-leaning of Japanese society. An atmosphere of opposition to Japan is slowly brewing in the societies of the two countries. The media in Japan also daily report the "infringement of airspace and territorial waters" by Chinese military aircraft and warships, and anti-Japanese trends in China and South Korea. Hate speeches against China and South Korea are gradually appearing in Japan, and Japanese society is slowly pervading the atmosphere of hating China and South Korea. It is not only the relationship between China and South Korea and Japan, but also serious conflicts between China and Southeast Asian countries in the South China Sea. It seems that the entire East Asia is in a vortex of opposition. It has really developed to the point where many people worry about it.\par
However, by looking at the youth culture, we can reach a completely different East Asia. When Haruki Murakami(????)contributed to the Asahi Shimbun(????) and advocated that "the way of soul communication cannot be hindered in one day," he said: "Music, literature, movies, and TV programs have basically been freely exchanged for equal value to please the eyes and ears of most people" ("Asahi Shimbun, September 28, 2012). In other words, it seems that a common cultural circle has formed in East Asia.\par
For example, in March 2002, the well-known Japanese advertising company "Hakuhodo(???)" Asian life research group conduct market research in Tokyo, Taipei, Hong Kong, Shanghai, Beijing, Seoul, Singapore, Kuala Lumpur, Bangkok, Ho Chi Minh, and ten Asian cities,. and published a book called "Starting Asian Sales Strategies from Here(???????????ã?"ã?"???????)" (Hakuhodo Asia Life Research Project , PHP Research Institute, 2002, Tokyo). This book contains photos of young people taken on the streets of the above cities. If you don't pay attention to the letters on the back sign (Chinese characters or Japanese kana, Korean Hungle or Thai alphabet, etc.), you certainly can't tell which city they are boys or girls. Because including clothing, hair, makeup, their entire appearance is almost indistinguishable. This phenomenon confirms that the consumer life of young people in contemporary Asian cities is very similar no matter which city they are in.\par
Not only consumer life, but their cultural interests also have many things in common. In the existing cultural fields such as television, movies, popular music, and entertainment literature, we can see many examples of two-way prevalence instead of oneway propagation. The phenomenon of cross-border cultural commonality in the subculture field is even more obvious.\par
Do readers know the following works? "Detective Conan(??????)", "Evangelion (???????????)", "Slam Dunk (??????)", "Arrest Warrant (???????)", "Samurai Spirits (??ã??"???)", "Heartbeat Memories (?????????)". These are all very popular works among young people in East Asian cities a few years ago. The first two started from animation, and later expanded to comics, novels, games, collection of figures and other fields. The middle two started from comics, the latter two started from video games, and later expanded to other areas as well. The above works are all Japanese originals. From the 1980s to the 1990s, Japanese manga and cartoons swept Asian cities. In fact, in the 21st century, young people in various cities have begun to enjoy works from all over Asia, and twoway prevalence has become a common phenomenon.  For example, the cartoon character "mashimaro", which was originally popular on the Internet in Korea, became popular in mainland China and Southeast Asia. Many video games popular in Japan are made in Shenzhen, China.\par
In the field of subculture, the above-mentioned common phenomenon has its own characteristics. Most young people in East Asia, including Japan, like to watch common cartoons, light novels, or play common video games. And they not only appreciate the work, but also participate in cosplay equivalent activities, create their own original or second creation works, and publish fan magazines with their friends. Their activities have become transnational exchanges, which are very active.\par
Here we can see the actual face of the abovementioned common phenomenon.  {\ref 2} Now through this paper, I would like to explore the issue of contemporary culture from another point of view. That is to say, the mode of mass mobilization. From a certain point of view, the above-mentioned government and media reports are very similar to the dissemination of literature and art. In other words, they are all modes of mass mobilization. Government declarations and media reports are of course mobilization of the public. Literature and art can excite the large number of readers, audiences, and listeners. It is nothing more than a mode of mass cultural mobilization. But looking at the current situation in East Asia, the results of the mobilization are completely opposite, and behind it there are changes in the quality of mobilization. I would like to analyze the characteristics of contemporary culture from this point of view, and to consider the meaning of changes in mass mobilization and the relationship between the current cultural transition and mass mobilization. We first consider the To say the least, there is no opposition or friction here, but there is sharing and assistance.  {\ref 2} Fans of subcultures are not only involved in creation and fan activities, their methods of reading texts and requirements for works are also different from before. If it can be said that the previous readers focused on the storyline, the writer's thoughts, the style of the work, etc., the current subculture lovers focused on the character of the work. What supports this kind of reading is modularization. They do not regard the work as an organic whole, but as a combination of several elements (=modules), freely divide the work into modules for appreciation (such as watching characters, etc.), and store it in their minds' database, and freely recombine the modules (such as combining their favorite characters) and appreciate them. Regarding the "requirements for works", the following changes have also been made. If it can be said that previous readers focused on contacting human, social, and historical truths through works, current subculture lovers focus on communicating with fellow fans. Here is the reason why they like to participate in the secondary creation and share with their friends and participate in fan activities. This can be said the most fundamental cultural transition since the formation of modern culture in the 19th century. It's detailed situation and analysis were written in "Where are we going now? Subculture in East Asian cities and the heart of youth" (CULTURAL STUDIES 2020, VOL. 34, NO. changes in the mode of cultural mobilization since the 19th century, and then discuss the characteristics of the current mobilization. 
\section[{II.}]{II.}\par
The Birth of "Theatre-Type Mobilization"\par
It is generally said that cultural mass mobilization began after the emergence of modern culture in the 19th century. Before modern times, literature and art were basically things that only a few elites could enjoy. Art and music are all such things. Artists basically painted and made sculptures for princes, nobles, churches, and other patrons. Their works were placed in palaces, noble houses or churches, and the people inside appreciated them. The musicians also compose music for their patrons, the work is played in-house, and the people inside appreciate it. The same goes for drama. As we all know, the emperor of the Qing Dynasty gathered theater troupes from various places in the capital and asked them to perform frequently in the palace. Through the exchanges of various theater troupes, a comprehensive artistic Peking opera has been formed. Folk drama was basically developed as a drama dedicated to the gods, and ordinary people could only see drama during festivals and so on. Of course, literature is no exception. Only those who could get the manuscripts and engraved editions could appreciate it.\par
But after the rise of the bourgeoisie in the 19th century (correctly speaking, in the first half of the 19th century in Europe, at the end of the 19th century in Japan, and at the beginning of the 20th century in China), the situation changed dramatically. Many citizens began to appreciate all kinds of literature and art. For example, many citizens began to go to art galleries to see art exhibitions and to recitals to listen to music. The common people's habit of going to theaters to see plays has become common in modern times. The same goes for literature. With the development of printing technology, large number of books, magazines, and newspapers have begun to be published, and literary works have become things that citizens can touch in their daily lives. In other words, the cultural model of mobilizing the masses began. We temporarily call it the "theatre-type mobilization" model.\par
In the 20th century, the era of copying technology came, as Benjamin said, and new media such as movies and radio appeared, and later television, and gradually formed a culture that could mobilize larger number of people. The real mass culture, in other words, the more developed "theatre-type mobilization" culture began. The culture of this era has realized a circulation system of "productionconsumption-reproduction". In this system, creators (writers, artists) express their own images or thoughts in their works, delivered them through mass media to an unspecified number of recipients (readers, listeners, audiences), and reproduce the work by their reaction. The above cultural circulation system has a characteristic. The thought and image that the creators express in their works is not the most important issue. The problem is how to effectively convey their images and ideas to the public through the media, in other words "efficiency". For example, Marxist authors may express Marxist ideas in their works, fascists may express their images, and art supremacists who want to avoid political interference may express various trends of modernism. From the perspective of ideology, they are all very antithetical things. However, the abovementioned circulation systems do not ask about their ideological differences, as well as the quality or depth of their thinking. The important thing is whether it can be welcomed by many readers, listeners, and audiences, in other words, whether it can mobilize the public. Therefore, although the Nazi literature and art or propaganda paintings and the works under the former Soviet Stalin system are ideologically polarized and completely opposed, the images are very similar and sometimes have a strong modernist atmosphere. And both are enjoyed by the public. For example, Leni Riefenstahl's "Olympia" and Eisenstein's "Battleship Potemkin" are completely ideologically opposed, but both have a strong modernist flavor and are both popular with the public.\par
The 20th-century culture with the above characteristics developed into a culture focused on unitary value in the 1930s, which can also be said the extreme mode of "theatre-type mobilization". We call it "the culture under the total war system." It is part of modern culture on a global scale. This kind of culture can be seen worldwide, obviously with the characteristics of the culture of the 20th century. Modern Chinese culture is no exception.\par
What is the culture under the total war system? What are the characteristics of Chinese culture under the total war system? If we want to analyze these issues, we must first understand the total war system. 
\section[{III.}]{III.}\par
What is the Culture under the Total War System?\par
Total war is a discourse aimed at the characteristics of modern warfare in the 20th century. The general meaning is as follows: ancient wars were basically battles between professional soldiers (socalled combatants). In case of mobilizing noncombatants, at least need to consider their rewards, which means that they are temporarily treated as combatants. The targets of the attack are basically limited to military buildings, equipment, and personnel. (Although snatching occurs frequently, this is an act that occurred after the battle, not the war itself.) But in modern times, the face of war has fundamentally changed. There has been a state where all the resources of the country are unconditionally invested in the war, and all the citizens are involved in the war. This kind of war is generally called a total war.\par
The original sign was the First World War. With the development of science and technology, new weapons such as tanks, planes, and machine guns appeared at that time, and a large amount of destruction and looting were achieved by them. Simultaneously, rapid and mass transportation vehicles such as railways and automobiles have also appeared, promoting the development of logistics and realizing a large amount of supply. In addition, the defense equipment such as bunkers has also improved. As a result, the war began to show a protracted war situation. Under the above circumstances, all citizens have been mobilized. Sometimes they were sent to the battlefield as soldiers, and sometimes they were used as supply personnel to support the war. The targets of attacks have also expanded to ordinary citizens and entire cities including ordinary residences. In short, war has become a major event in which all the resources of the country are invested. It is related to the survival and death of all citizens.\par
The resources invested here are not only military, political, economic, technological fields, but also cultural, ideological, and other resources. In other words, through propaganda, education and other methods, the legitimacy of the war is emphasized. All citizens, resources and talents of the country are required to contribute to the war. After the world economic panic in 1929, until the Second World War, the above situation developed to the point where almost all production, consumption and people's lives were mobilized by the state.\par
Such a society probably began in the 1930s and continued to the Second World War. At that time, Nazi Germany, Mussolini's Italy, militaristic Japan, and even the United States under the New Deal Policy belonged to this category of countries. Not only that, after the end of World War II, under the hostile situation of the United States and the former Soviet Union, the above system basically did not disappear. It changed its form and continued until the end of the Cold War. Culturally, the total war system can be interpreted as mobilizing all cultural resources for a single goal or value. All countries (including China, Japan, the United States, and the former Soviet Union) in the previous period (from the 1930s to the end of the Cold War) have this tendency in culture to some extent, and the tendency is often very strong.  {\ref 3} 3 For the definition of the total war system and its period, please refer to the following paper. Yasushi Yamanouchi" Introduction to Methodology: Total War and System Integration "(Yasushi Yamanouchi, Victor Koschmann, Ryuichi Narita," Total War and Modernization "Kashiwa Shobo, 1995. 
\section[{??????????--???????????(??????}]{??????????--???????????(??????}\par
Then, how does the culture emerge under China's total war system?\par
Chen Sihe(???)carefully analyzed the relationship between Chinese culture and war since the 1930s in "The Cultural Psychology of War in ContemporaryLiterature?å½?"???å½?"?????????" (Shanghai Literature??????, No. 6, 1988). What the paper discusses is the cultural issue under the total war system. Here I refer to his statement to summarize the cultural situation at that time.\par
Chen Sihe divided the 20th century Chinese culture into two stages: the first stage was the culture of the Enlightenment period beginning with the East-West collision and the political transformation of the Revolution of 1911; the second stage started with the War of Resistance Against Japan and was marked by the establishment of the People's Republic. The culture of this second stage is equivalent to the culture under the total war system in China. He said, "The cultural norms of this period have been developed to the period of the 'Cultural Revolution', reaching their peaks" (ibid.). Among them, he was most concerned about the second stage of Mao Zedong(???)'s thoughts. Chen Sihe emphasized that at that time Mao Zedong pointed out two ways for intellectuals: "first, unconditionally learn from the masses (mainly farmers), and take the ideological requirements and aesthetic preferences as his work goals; second, unconditionally enter the war, and serve everything for the victory of the war. That is, everything serves the political struggles and policy lines of a specific historical period. From here, we can see that these two requirements are clearly branded with the special marks of wartime culture." (ibid.).\par
The Chinese literature and art during the Anti-Japanese War obviously had the above characteristics, and almost everything was thrown into the war unconditionally. As its symbol, Chen Sihe cite three examples. The first example is All-China's Writers Association for Anti-Japanese War (???????????). He emphasized that "this is the first national literary and artistic organization established after the May Fourth Movement It has won unanimous support from all classes and factions. The literary collaboration tried to end the rambling situation of writers individual contributions to the war. It proposed: 'We must have a well-planned strategy to equip the various departments of literature and art to win. Time must not be wasted, and the pace must be ????????????ç?"°????????????????19 95???)????????ä½?"???????????????).Y asushi Yamanouchi" From Total War System to Globalization ", (Yasushi Yamanouchi, Naoki Sakai, "From Total War to modernization", Heibonsha, 
\section[{(????????ä½?"???????????????????? ??????????ä½?"??????????????????? 2003???).}]{(????????ä½?"???????????????????? ??????????ä½?"??????????????????? 2003???).}\par
Volume XXI Issue V Version I unified. We divide the work on the united front, and we cooperate under the group' " (ibid.). In other words, All-China's Writers Association is nothing more than an organization that unites writers from all over the country to contribute to the war. It possesses the "prototype of a unified national literary policy" after liberation (ibid.).\par
The second example is "the Debate on the Issue of National Form(??????)". At that time, fierce disputes were launched in the so-called liberated areas and the Kuomintang-controlled areas (??????). Among them, Hu Feng(??)is a writer who represents one of these positions. Chen Sihe said: "Hu Feng is always discussing how literature and art serve the Anti-Japanese War and how literary and art workers can make their own unique contributions in this war. The main difference between Hu Feng and his controversial opponents lies in the disagreement on the evaluation of the May Fourth New Literature" (ibid.). This means that Hu Feng emphasized the contribution of the May Fourth New Literature, which was influenced by European and American literature, to modern Chinese literature. The opponents emphasized that China should have unique Chinese literature and art that Chinese people love. Although there are many differences in views between them, they all discussed how to serve the Anti-Japanese War and find the positions of literary and art workers in the war. The writers and artists who participated in the debate at that time were all unanimous on this point. It can also be said that it belongs to the controversy within the ideological framework of mobilizing all writers and artists into war.\par
Among the debates on national forms, Mao Zedong represented a different view from Hu Feng. His main thoughts can be seen in the speeches at the Yan'an Rectification Movement(??????)and Literary Forum. Especially the "Speech at the Literary and Art Forum in Yan'an?????????????? (the so-called Literary Speech??????)." This is the third example. Mao Zedong said in the Literary Speech: "To defeat the enemy, we must first rely on an army with a gun in hand, but only this kind of army is not enough, we also need a cultured army. This is an army that is indispensable for uniting us and defeating the enemy." Chen Sihe summarized his ideas as follows: "The core of "the speech" is to bring literature and art into the track of military struggle (later turned into political struggle) and make it an integral part of the entire revolutionary device" (ibid.). In short, the Chinese literature during the Anti-Japanese War obviously had the nature of mobilizing all resources for one goal(=war).\par
Regarding the above three examples, I basically agree with Chen Sihe's views. In the Literary Speech, Mao Zedong said that literature and art are part of the whole revolutionary cause, and emphasized that literature and art are things for the workers, peasants and soldiers, and asked writers to learn from them.\par
During the Debate on the Issue of National Form, Hu Feng developed his own theory, saying that what is important to the writer is the burning of the "subjective fighting spirit (= the spirit of struggling with reality) ", the practice of "imaginative thinking (= thinking directly grasping reality without theory) ", and the view that " life exists everywhere (= you can live a struggling life wherever you are)". Regarding the relationship between literature and art and revolution, Mao Zedong and Hu Feng have no contradictions. If there is a difference, it is that Mao Zedong talks from the objective effect of literature and art in society, and Hu Feng talks from the subjective view of the writer. Other differences come from their environment. Mao Zedong was in Yan'an, speaking for the workers, peasants and soldiers gathered in the liberated areas. Hu Feng is in Chongqing(??), writing articles for readers in Chongqing. There are almost no workers, peasants and soldiers serving the revolution in his surroundings, and he can only find creative motivation in daily life. They all believed that they were the successors of serious Marxism. Mao Zedong developed his theory based on the reality of Yan'an and Hu Feng based on the reality of the Kuomintang-controlled area. But Mao Zedong's thought gradually became the standard theory across China, and Hu Feng was gradually regarded as an opponent of this theory. Anyway, at that time, the idea of letting literature and art contribute to the war covers the whole of China.\par
It should also be noted that not only during the Anti-Japanese War, but also after liberation, the above tendency has always existed. Although the method changed from military struggle to class struggle and political struggle after liberation, wartime culture continued to exert a considerable influence on contemporary literature and art. Chen Sihe gives a few more examples. He said that in the post-liberation literary criticism, "a large number of unprecedented military vocabulary appeared: battle(??), struggle(??), signal victory(????), sharppointing(é?"????), pull down the white flag(æ??"??), raise the red flag(???), major themes(????)..." (ibid.). In addition, "it is difficult to get rid of the traces of wartime in literary works describing peaceful life. For example, in works reflecting socialist construction in contemporary literature, the heroic behavior of the protagonist is often encouraged from the memory of war. ..... ?With the expansion of class struggle in the 1960s, even the theme of peace construction is full of gunpowder and battlefield atmosphere. The most typical one is the popular novel Sunny Day(???)" (ibid.).\par
Not only in literary works, but we can also see a strong atmosphere of war in the lives of the Chinese people after liberation. There is a "production brigade (ç?"????)" in the People's Commune (????), a "traffic squads(????)" in the police, and a "reporting to the superior(?????)" in the "unit(??)". Before the Cultural Revolution (?????), there were "air-raid shelters (???)" everywhere, and young people were always allowed to participate in "military training(??)". It affects the imagination of the people. Of course, it also has an impact on literature and art. That is to say, the people in China have always been culturally mobilized by the mobilize (=state). This kind of war atmosphere and relics, as well as cultural mobilization, have always existed in many countries and regions (including South Korea, Taiwan) in East Asia. And it has not disappeared until now.\par
Contemporary Chinese literature from the latter half of the 1930s to the Cultural Revolution did have the nature of contributing to a unified ideology, in other words, the characteristics of culture under the total war system. However, the nature of contemporary literature as above is not just a problem of Chinese culture, but a problem common to the whole world in an era. This perspective gives us another aspect of contemporary Chinese culture, and the conclusions that its thinking leads to are terrible. 
\section[{IV.}]{IV.}\par
What does the Image of the Poster Tell Us?\par
Please look at the two pictures first. One is a propaganda poster of the former Soviet Union called "Long Live the USSR Fatherland of the Workers of the Whole World" (1931) (Figure  {\ref 1-1}). It depicts the unity of working people worldwide and advocates that the hometown of revolution is former Soviet Union. The other is a Nazi propaganda poster, "Constraining Victory for the Front and the Rear" (1943, Gustav Klutsis) (Figure  {\ref 1}-2), which describes the unity of the working people of Germany and advocates all citizens to contribute to the war. The first picture called for a socialist world revolution, and the second one called for the contribution of the fascist war of aggression, which is completely ideologically opposed and polarized. But what they claim (that is, "To achieve their goals, all citizens are required to make contributions.") and the image of the picture is so similar. This is not limited to the artistic performance of the above-mentioned two authoritarian countries. At that time, the propaganda posters in Europe and the United States were similar. Regardless of the big differences in ideology, their ideological frameworks (that is, contributing to unitary goal or value) are very similar. As a result, their artistic performance is also very similar. This is a characteristic of the cultural performance of the total war period.   The above example tells us that propaganda posters from the 1930s to the end of the Cold War, regardless of ideology, belong to the framework of contributing to a unitary goal or value. There is no difference between them on this point. However, looking at the above picture, some people may suspect that the former Soviet Union and post-liberation China are both socialist countries. Of course, the images of the propaganda posters are similar, and they are both parts of the socialist culture. But ideology doesn't matter at all. For example, it can be seen from the above examples that the propaganda posters of the former Soviet Union and the Nazis are very similar. As a result, the images of China after liberation are very similar to fascists. The Chinese war hero Huang Jiguang (???)during the Korean War and the Japanese Three Bomb Warriors(?????)during the Japan-China War are typical examples. The former was a soldier who died for the revolutionary war, and the latter were fascist heroes who died for the war of aggression against China. The Ideology is completely opposite, but the images are very similar. Not only posters, but other media have the same phenomenon. The most obvious example is the text of words. Their stories are included in elementary school language textbooks in China and Japan. The story of sacrificing one's own life to open the way for their army to attack and their heroic images in it are exactly same. Below, we analyze the similarities between descriptions and ideas through the textual analysis of elementary school textbooks, as well as the characteristics of cultural mobilization in this period.\par
V. 
\section[{Heroes in Language TextBooks in China and Japan}]{Heroes in Language TextBooks in China and Japan}\par
As we all know, the lesson "Huang Jiguang" is published in in the Chinese textbook of elementary school, and the text is as follows: 
\section[{Huang Jiguang}]{Huang Jiguang}\par
In October 1952, the most fierce battle of Shangganling(?ç?"??)began on the Korean battlefield. Huang Jiguang's battalion has continued to fight for four days and four nights. On the fifth night, the superiors ordered to seize the enemy-occupied 597?9 Highland before dawn.\par
The offense began. In the roar of the cannon, the soldiers rushed toward the enemy's position like tigers, occupying one hill after another, and they were about to reach the main peak of the 597?9 Highland. Suddenly, the enemy fired fiercely from a fire point. Dozens of machine guns ejected countless tongues of fire, intertwined into a tight fire net, blocking the soldiers from advancing. The soldiers made repeated assaults and were all pressed back. More and more comrades were injured. Venus rises in the east, and the instructor looks at his watch. It is already past four o'clock. If they don't win this fire point quickly, they cannot capture the 597?9 Highland before dawn, and all the hills they have taken in one night's fighting will be lost.\par
Huang Jiguang stared at the enemy with piercing eyes, as if he was about to spray hatred at the enemy. He suddenly turned around and said firmly to the instructor: "Instructor, please give me the task!" The instructor clasped Huang Jiguang's hand and said, "Okay, I believe you can accomplish this glorious and difficult task." Full of confidence and strength, Huang Jiguang shouted: "Let the people of the motherland listen to the news of our victory!" He took two soldiers, took the grenade, and crawled towards the enemy's fire point.\par
The enemy found them. Countless flares rose into the sky, and night turned into day. Cannonballs exploded around them. They braved smoke and fire, crawling forward. Suddenly a soldier collapsed. Then another soldier was also injured. Only Huang Jiguang was left alone. Huang Jiguang crawled forward more tenaciously. The enemy's three or four machine guns all aimed at Huang Jiguang, and the bullets shot over like hail. Huang Jiguang was injured on both shoulders and legs. He tried his best to move his body with difficulty. Go forward, go forward! Twenty meters, ten meters... getting closer and closer.\par
Oh! Huang Jiguang stood up! Stood up in a stormlike bullet! He raised his right arm, the grenade gleaming in the light of the searchlight.\par
"Boom" the enemy's fire point collapsed, and Huang Jiguang also fainted. The comrades rushed up like flying. Unexpectedly, the enemy's machine gun screamed again. The soldiers who rushed halfway were stuck on the hillside. Huang Jiguang opened his eyes. He was seriously wounded in seven places and no longer has a weapon. It's almost dawn, and the allotted time is coming soon. He felt that the instructor was looking at him, his comrades were looking at him, the people of the motherland were looking at him, and the Korean people were looking at him! Huang Jiguang stood up again! He opened his arms, pounced on the fire point that sprayed the tongues of fire, and blocked the enemy's muzzle with his chest.\par
"Charge! Revenge for Huang Jiguang!" The earthshaking shouts boiled over, and the soldiers rushed towards the enemy like the dashing of billows and occupied the position.\par
"Elementary School Chinese" sixth-grade fifth book (??????????äº?"?)  {\ref 4 4} In textbooks after 1979, this lesson is included in the eighth volume. There is also a version included in the fourth grade textbook. Now the general Chinese textbook has deleted a section of Huang Jiguang.\par
The following is a Japanese language textbook from 1942, "Elementary Japanese Textbook 2", which contains a lesson about Three Bomb Warriors (?????). The text is as follows: "Darn, Dahn."\par
With the sound of a tremendous cannon, the soil around it rises high. Machine gun bullets fly like rain hail.\par
"At 5 am on February 22, 1942, it is only 50 meters in front of the enemy of the Miaoxiang town(???). Now, our military engineers are divided into groups of three people, holding a long Bangalore torpedo and staring at the enemy's position.\par
Apparently, the enemy's position is tightly lined with barbed wire. Throw a Bangalore torpedo into this wire fence to create an assault path for our infantry. Moreover, it was a case where the time was only 30 minutes before the assault.\par
The engineers are waiting for an order every moment. But due to the fierce enemy shooting, we can hardly look up. Then our infantry also fired a machine gun, put a smoke screen in front of the enemy. "Go ahead"\par
The order came down. The long-awaited first team of engineers bravely rushed into the wire fence. 10 meters, 20 meters. When they were about 14 to 15 meters away from the wire fence, the smoke screen we were relying on was getting thinner and thinner.\par
The first one fell, the second fell, and the third, fourth, and fifth all fell one after another. The first group finally failed. The order was given to the second group.\par
The enemy's shooting became more and more fierce, and the time of the assault is getting closer and closer. Now, it is too late to ignite a Bangalore torpedo, when insert it into a wire fence. Therefore, the team leader ordered the fire rope of the Bangalore torpedo to be ignited first.\par
Inosuke Sakue(?????), Takeji Eshita (????), and Susumu Kitagawa(???),these three engineers rushed toward the wire fence, holding the ignited Bangalore torpedo.\par
Kitagawa is at the forefront, followed by Eshita and Sakue.\par
Then, for some reason, Kitagawa fell. The next two also staggered along with it, but they responded steadily. Of course, none of the three had the Bangalore torpedo removed. However, in the meantime, the innocent fire burns down quickly along the fire rope.\par
Kitagawa wielded all his courage and stood up quickly. Eshita and Sakue bald Kitagawa, put all their strength into the Bangalore torpedo, and pushed from behind to move forward.\par
The hearts of the three were united through a single Bangalore torpedo they had. Moreover, after a few seconds, the Bangalore torpedo explodes with a terrifying force.\par
There was no death or life anymore. The three became one bomb and rushed straight.\par
They threw a Bangalore torpedo into the target barbed wire. Shaking the sky and the ground, and the sensational explosion sounded far away.\par
Immediately, a group of their infantry moved into an assault.\par
The team leader also directed his subordinates and proceeded. Sakue fell there. "Sakue, well done. Is there anything left to say?" Sakue replied. "Nothing. Did you succeed?" The team leader turned Sakue toward the defeated wire fence and shouted. "Look, the battalion is assaulting from where you broke." From the above two texts, we can see the same description--encountering fierce resistance from the enemy, the bullets of the machine gun shot over like hail, facing a difficult situation to break through, and the last moment of their army's attack is approaching. When in such a tense situation, the soldiers braved the enemy's shooting to advance, finally "stand up" desperately and sacrifice their own life to open the way for their army to attack. And they didn't care about themselves at all, thinking about the success of their army's attack and the victory of the motherland.\par
One was a revolutionary hero in the 1950s after World War II, and the other was a hero of militarist aggression in the 1930s before World War II. Although the times and ideologies are different, a careful comparison shows that the images of Huang Jiguang and the Three Bomb Warriors are almost exactly same in the two texts. We can see the propaganda, education, and mobilization functions in the text of that time. Their image can be seen not only in textbooks, but also in other media. In China, the image of Huang Jiguang has been introduced in many media. In Japan, the "Asahi Shimbun(????)" and "Mainichi Shimbun (????)" at the time offered to compose songs for them and offered rewards for their lyrics.  {\ref 5 5} In 1932, the "Asahi Shimbun" and "Mainichi Shimbun" offered a rewarding contest. The song of "The Asahi Shimbun" was nominated as "Three Meat BombWarriors (?????)", and the lyrics of journalist Riki Nakano(???)won the prize. The song of "Mainichi Shimbun" was nominated as "Three Bomb Warriors", and the lyrics of the poet and Tekkan Yosano(?????)won theprize. These activities are welcomed by the common people. We can understand the impact of cultural mobilization.\par
Here is another example. It is the text of the lesson "God of War " in the current elementary school Chinese textbook. The text is as follows. 
\section[{"God of War "}]{"God of War "}\par
Outside Linjiangmen, Chongqing(??????), there is a clinic opened by a German. Walker, the doctor in the clinic, sat at the table with an aloof expression. Without looking up, he asked coldly: "What's your name?" Liu Dachuan.(???)" "Age?" "Twenty four." "What disease?" "The bandit hurt my eyes."\par
Walker put down the pen and got up to check the injury. A nurse walked into the consulting room and whispered: "Doctor Walker, the gentleman in bed 5 is afraid of surgery and asks..."\par
Walker roughly interrupted the nurse's words and said contemptuously: "Tell him to get out! Don't see this coward in my clinic again!" The nurse retreated with muttering to herself.\par
Dr. Walker remained angry, but skillfully untied the bandage on the patient's right eye. He was startled, a look of surprise flashed in his blue eyes. He re-examined the person in front of him, and asked coldly: "What do you do?" "Post Office Clerk."\par
"You are a soldier!" Dr. Walker said sharply, "I was a German military doctor. Only a soldier can calm down on such a serious injury!"\par
The patient smiled and answered keenly, "Doctor Walker, soldiers rely on their own judgment in handling matters, not the chattering like an old woman!"\par
Walker was startled again. He stretched out his hand to stop the nurse who rushed to hear the sound, staring at each other fiercely.\par
For a long time, Dr. Walker's eyes softened, and he suddenly told the nurse: "Prepare for surgery."\par
Walker changed into the surgical gown, washed his hands, and put on sterile gloves. At this time the nurse ran over and told him in a low voice that the patient refused to use the anesthetic. Dr. Walker raised his eyebrows, said nothing, walked into the operating room, and said fiercely, "Young man, follow the doctor's orders here!"\par
The patient calmly replied: "Doctor Walker, the eyes are too close to the brain. I am worried that the application of anesthesia will affect the cranial nerves. And I need a very clear brain in the future!" Dr. Walker was stunned again, and he stuttered: "Can you bear it? Your right eye needs to be removed from the necrotic eyeball and cut off the rotten and new polyps!" "Try it."\par
On the operating table, Dr. Walker, who has always been calm and calm, his hands trembled this time. Sweat rolled on his forehead, and the nurse wiped him again and again. Finally, he said to the patient: "If you can't help the pain, you can hum."\par
The patient said nothing. His hands tightly grasped the white pad under him, his arms were sweating like rain, and his veins got up violently. He worked harder and harder, and the brand-new white pad was caught.\par
Dr. Walker, who took off his surgical gown, walked over, wiping his sweat, and said sincerely, "Young man, I'm really worried that you will faint."\par
The patient's face was pale. He smiled reluctantly and said: "I have been counting your knife count." Doctor Walker was taken aback, and asked in disbelief, "How many times did I cut?" "72."\par
Walker was stunned and cried out: "You are a real man, a talking steel plate! From the German point of view, you are a god of war!" "You flatter me."\par
The arrogant and violent Doctor Walker showed kindness for the first time. He held back what he wanted to say, waved his hand to let the nurse go out, then closed the door of the operating room, looked at the patient and said, "Tell me, what is your real name?" "Liu Bocheng.(???)" Dr. Walker was in awe: "Ah, the general of the East Sichuan Detachment(??æ?"¯?), admiring you for a long time, it's an honor to know you. Yuan Shikai(???)is offering a reward of 100,000 for your head!" Liu Bocheng said jokingly: "If you tell the Beiyang warlord government (????æ?"¿?)that I am here, you will be able to make a fortune."\par
Doctor Walker seemed to be insulted, and said angrily: "I will not hesitate to fight someone who insults my personality!" Liu Bocheng smiled and said, "When my eyes are good, I will accompany you!" As he said, he stretched out his hand in a friendly manner. 
\section[{"Elementary School Chinese Textbook(??????)" 6}]{"Elementary School Chinese Textbook(??????)" 6}\par
This is nothing more than the story of a soldier who was badly injured in the war. The text refers to it as the "God of War ". In fact, before World War II, Japan also referred to the Three Bomb Warriors as the "God of War."  {\ref 7} The cultural psychology represented by this title is not a thing of the past, but has been alive to the present. Nowadays, when Japanese criticize China, they often mention China's patriotic education. But this kind of statement is a little bit ignorant of China. Because China is a revolutionary country, most people take it for granted that they love the revolutionary motherland. For them, the Anti-Japanese War was a just war, and "patriotism" means positive. On the contrary, the Chinese may not understand the feelings of the Japanese. Saying "patriotism" in Japan is easy to think of education in the age of militarism. And the democratic education after the war has always denied the patriotic education at that time. Through patriotism, ordinary people can easily remember the history of the country requiring citizens to sacrifice. Therefore, "patriotism" for the Japanese is a very complicated concept, and most people generally do not want to simply talk about "patriotism". When the Basic Law of Education was updated a few years ago, there were also debates about adding the concept of "patriotism". This means that there are many people who oppose it. In this way, the One is called a soldier who sacrificed his life and wounded for the revolution, and the other is called soldiers who sacrificed their life for fascist aggression, which is completely ideologically opposite. But the title of "God of War", its image and the way of praise are very similar. Both "God of War" represent and promote the patriotic mood.\par
Japanese are also uncomfortable with China's patriotic education.\par
More importantly, the above praise of war heroes is not just the characteristics of so-called totalitarian countries--similar to the Soviet Union in the Stalin era, or socialist countries such as China after liberation, and fascist countries such as Japan in the military era. The so-called liberal countries at the time, such as the United States, could also see the same phenomenon. For example, the movie "Flags of Our Fathers" (2006) carefully described how ordinary people were heroized in the United States during World War II and how they were used to promote war and mobilize citizens. From the 1930s on the eve of the war until the end of the Cold War, the culture under the total war system was so transnational, transcending ideologies, and existed worldwide. However, during the Cold War period after World War II, the performance of the West, including Japan, was vague and complicated. It was not as obvious as the totalitarian society of the former Soviet Union and China. Its manifestation should be studied carefully. But at least it can be said that the cultural psychology of war in contemporary Chinese literature and art has the characteristics of culture under the total war system. And the mood of the people who are so mobilized culturally has also been greatly affected. To this point, the culture under the so-called total war system from the 1930s to the end of the Cold War (in China is the culture from the Anti-Japanese War to the Cultural Revolution) is nothing more than a certain limit of the mobilization model of modern culture--in other words "theatre type" mobilization model.\par
The culture of this model has a characteristic. The mobilizer (creator, country, etc.) and the mobilized (receiver, the public, etc.) are clearly separated. Of course, the culture of New China is also part of it.\par
VI. Looking at Today's Problems from the Changes in the Cultural System--What does the Current Youth Culture Tell Us?\par
However, in the 1980s, after the beginning of the reform and open policy, the situation of Chinese culture has undergone tremendous changes. This is part of a major turning point in the world's literature and art after the end of the Cold War and the beginning of the so-called era of globalization. To put it simply, the boundaries between mobilizers and mobilized in literature and art are beginning to blur. For example, fine arts began to leave art galleries, installation art displayed on the street, performance art involving audiences. Music has also changed from the art of professional musicians composing and playing, and the audience appreciated it, to the art of enthusiasts organizing their own music teams to participate in composing and playing. The same goes for drama. Many performances have begun to leave the theater, and the works with audience participation have also appeared. Literature is of course no exception. Fan activities in which readers participate in creation or performance are popular with young people. Since the 1980s, Chinese society has introduced various cultural thoughts from overseas for decades of the 20th century. At that time, the world culture that the Chinese accepted was all "modern", but it should be noted that the world's modern culture absorbed was not just a "theatre-type mobilization" model in which creators (mobilizers) and receivers (mobilized) were separated. There is also a new model of literature and art where the recipient becomes a creator at the same time. And this kind of literature and art has a great influence on young people. Especially when discussing the culture of the new generation such as the "post-80s" in China, we cannot ignore its influence.\par
The youth culture common to East Asia that I introduced emerged from this background. In particular, the youth subculture has achieved the above-mentioned changes in the relationship between receiving works and creating works, in other words, it realizes the change of cultural mobilization mode. The reason why I said that "subculture activities are of crucial significance" lies in this.\par
For example, the above-mentioned young people's hobbies for subcultures such as animation and light novels are closely related to fan activities. The origin is the fan culture that has been very popular in Japan since the 1990s. Their activities include publishing fan magazines, participating in or organizing cosplay conventions, making video games, collecting figures together, etc., which are diverse and active. Most of the works published in their magazine are secondary creations, --they are not original works, but are recreated works by borrowing the characters of certain works. In addition to comics, there are novels, reviews, and videos. Their works have almost nothing to do with the original. Although most of them are works like boy's love (similar to slash) or beautiful girl's pornography, there are also good works among them. Some Japanese writers who have won the Akutagawa Literature Award and the Naoki Literature Award, as well as some popular famous manga artists, are from fan writing backgrounds. Fan magazines and books that publish this kind of work are exchanged and sold on the fan's book market (called the comic market) or on the Internet. For example, in Japan, the nationwide comic market is held twice in the largest exhibition hall in Tokyo each summer and winter. This book fair is one of Japan's largest events. Fans from all over the world come to participate. Some magazines can sell tens of thousands of copies a day. This means that there are many people participating in these activities. There are more people who do not participate in fan activities, but who are interested in the above activities or support it. The social impact is so great. Needless to say, a similar situation can be seen in mainland China, Taiwan, Hong Kong and other East Asian cities. Cosplay and collection figures are very popular, fan clubs, fan magazines and anime manga festivals are constantly increasing. Each Asian city holds a comic market several times a year. There are many young people participating in these activities, and they are increasing.\par
Looking at the above description, some readers may think of "Convergence Culture" by Henry Jenkins. 8 However, the youth culture in East Asia is very similar but different from it. Jenkins does analyze fun culture in subcultures, and he said it is a participatory and grassroots culture. But the object of his analysis is the activities of fans on the works provided by creators or companies. They want to better appreciate the original work and make activities. Jenkins's concern lies in the relationship between this activity and the enterprise, government, how to overcome the various problems that occur from it (such as copyright issues, etc.), and how to use its trustworthiness. 9 It can be said that the difference between the mobilizer and the mobilized still exists, which is part of the "theatre-type culture" in other words. Jenkins also admits that convergence culture is something between in the existing cultural system and in the new cultural movement. He said: "Welcome to convergence culture, where old and new media collide, where grassroots and cooperate media intersect, where the power of the media producer and the media consumer interact in unpredictable ways".  {\ref 10} But the activities described above are different. Their secondary creation only uses a very small part of the original work (the names and characters of the characters in work, etc.). The storyline has almost nothing to do with the original. They are not to better appreciate the original work, but to communicate and use the original work with their colleagues and expand their own world. When you publish your secondary creation, if you do it well, you will receive a huge response immediately and find your place. Their reason for borrowing elements from the original work is simply to facilitate communication with fellow fans. (If it is original, fellow fans don't know it, so you may not be able to share the world and characters of the work with them, etc.). Until now, there have been no copyright issues between fans, creators, and companies. This is not only because the copyright laws in Japan and East Asia are not as strict as those in Europe and the United States, but also because their activities are basically independent and have almost no impact on creators and companies. Instead, they help promote their works. The characteristic of their activities is that readers not only appreciate the works, but also participate in the creation and communicate with each other. This kind of interaction has become a great charm to them. On this point, it can be said that the activities of the above subculture lovers do not belong to "theatre-type culture", and show a new cultural model. This means that the pattern of cultural mobilization since the 1980s has gradually begun to change. The boundary between the mobilizer (creator, etc.) and the mobilized (reader and audience) is getting blurred, and the mobilized may become the mobilizer at the same time. We have seen such changes in mobilization patterns during the color revolution in the Middle East and so on. This may mean a fundamental turning point in modern culture since the 19th century. 
\section[{VII.}]{VII.}\par
Where are We Going?\par
So, looking at today's problems from the changes in the above-mentioned cultural mobilization model and the current situation of youth culture, how can we think about it? I think there are two possibilities. One is negative and the other is positive.\par
The negative possibilities are as follows. Many young people are only interested in their hobbies, and only play with their friends. They do not take advantage of the characteristics of mutual mobilization, which greatly reduces their attention to society. At the beginning of this essay, I said that the governments of Japan, China and South Korea advocate their own positions every day by sending military planes, warships, or stationing troops. The media also reported each other's extreme movements every day, which encouraged mutual hate feelings. In other words, they mobilize citizens of their own country every day. This means that "theatre-type mobilization" (or total war-type mobilization) is still going on. Not only to continue, but it is possible to mobilize large number of people in a different form. That is, sending fake news through SNS, the Internet and other new media etc. The propaganda of the former President Trump and the division of American nationals it brought about is a terrible example.\par
I also said that previous literary readers paid attention to the storyline, the writer's thoughts, and the style of the work, and sought to get in touch with the truth of human, society, and history through works. As a result, they are sometimes inspired by such literary reading and begin to think about various important issues of human, society, and history. 11 11 To put it simply, such literary reading is formed through the following changes. In modern times, reading behavior has changed. The However, young people who love subculture now read works differently. When they read the works, they focus on admiring the elements of the pieces of works such as characters, and focus on communicating with their colleagues. If such a change in the way of reading does not create a new understanding or perspective on human, society, and history, it is just a decline in attention to real world. In fact, most of the works produced in their activities are boy's love or pretty girl pornography. It is hard to say that new value has been added to the culture. As a result, they may become more and more introverted, and their voices towards society become less and less.\par
In addition, the trends of Chinese students in the United States also show the same tendency. Many Chinese students go to study in the United States every year. They enjoy a free student life there and participate in various cultural activities such as fan activities. In the past, most of them wanted to stay in the United States after graduation. But now most of the students want to go back to China.  {\ref 12} Japanese writer Sei Ito(???)once explained this change as follows:\par
Of course, the reasons are complicated. The United States has not been too successful in controlling the epidemic. Instead, China has basically controlled it. China's rapid development\par
The author writes the work in the secret room, and the reader appreciates it in the secret room. ...Under these conditions, readers begin to listen to the secret words of others, and peek into the secret behaviors and thinking of others. Sometimes it is the distressing voice of guilty humans telling God, sometimes it is an inner monologue that satisfies lust or curiosity.\par
("The Method of Novel (?????)" Revised Edition, Shinchosha,  1959)   In other words, modern readers want to peek into the heart of the characters in work, and hope to connect with their own hearts. However, if the characters in work are completely irrelevant to the reader, the work is still just a hypothetical story about others, unable to relate to one's inner world. Therefore, literary works gradually formed the following narrative characteristics. Individuals who exist in realworld are very accidental and cannot afford to be human. So creating a "fictional person" let him assume humanity. It's just that one person cannot represent all people, so several protagonists are arranged, and their Pueraria lobata and their cooperation represent human beings.\par
(Sugiyama Yasuhiko, "The Art of Language (ã?"????è¡?")", Taishukan Shoten, 1976) This "fictional person" is the "typical". Because he/she is a "typical", the characters in literary works can represent part of the reader's heart, and the reader can invest in the world and characters in work. After such a change in narrative, readers began to expect to get in touch with a certain kind of feeling on human, social, and historical "truth" through literary works. In other words, in modern times, literature has become something that allows readers to feel a certain "realism" through this narrative mode. It can also be said that since then, literature has a certain sacred mission, which is to inspire readers to think about important issues of human, society, and history. 12 According to the "NHK Close up Gendai(?????????)" broadcast on July But there are also positive possibilities different from the above. I have a question about the above situation. Although the government and the media mobilize the citizens every day, and fake news also breaks the citizens every day, do citizens of every country really welcome this situation? When I was in class at universities in Japan and China, I asked students what they thought of the dispute. At the beginning of the question, "Which country does the Senkaku Islands (Diaoyu Islands) belong to? Do you support the government's statement?" Almost all students answered that these islands belonged to their own country, supporting the government's statement. But continue to ask, "Do you think all the citizens of the other country support their government's statement?" "Does it cost a lot of money to send a military plane or warship? Do you think it is necessary?" Their answers were obviously different, saying, "I don't trust the citizens of the other country all support their government's statement." "There is no need to spend so much money on this issue." Finally, I asked "How do we treat this It should be noted that some of them participate in social activities such as poverty relief campaigns in China. Although they have not completely lost their attention to society, it must be said that many young people avoid looking directly at the problems of China's domestic society, but instead feel that the Chinese government is doing well. Most of them are children of middle-class and above families. They can find a good job when they return to China. Looking at their own future, they feel that it is better to return to China. In other words, the cultural mobilization of young people with each other leads to a result close to nationalism. question?" Most students answered "Don't be nervous each other, talk to each other. We should also do something for this." Of course, there are various opinions on the position of the government and the media. Looking at the answers above, to say the least, regardless of their political stance, most people are unwilling to be nervous. In this regard, the wishes of many people may be the same. If this is the case, we do not need to follow the government and the media, we can instead unite across the border. Anyway, the time we live now is not an era in which citizens are always mobilized. While we are being mobilized, we can become mobilizers. With the development of technologies such as the Internet and social networks, citizens have acquired tools that can mobilize the public. The transnational joint activities in the youth culture described above prove that we can mobilize each other. Moreover, through the movement of Japanese SEALDs 14 , the anti-Japanese demonstrations in China, the American occupation of Wall Street, and the color revolutions in the Middle East, we have already known that the changes in the relationship of "mobilize-be mobilized" indicate specific possibilities.\par
Looking at the current situation, it seems that the governments of each country cannot withdraw their own ideas and cannot regress each other. But if citizens unite with each other to form a transnational "not nervous" public opinion, it may open a way for the government and the media to regress and talk to each other. This may seem like a dream. However, we already know that although it is only superficial things, young people have achieved close cultural exchanges across borders. Although its content is not positive, they already have a common mood. Furthermore, it seems that they have formed a common cultural circle, and there is no friction between them. When we think about whether and how today's culture can promote reality, youth culture may provide us with a new frame of reference. Can this say a piece of hope?   \begin{figure}[htbp]
\noindent\textbf{}\includegraphics[]{image-2.png}
\caption{\label{fig_0}}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{11202112}\includegraphics[]{image-3.png}
\caption{\label{fig_1}Figure 1 . 1 2021 CFigure 1 . 2}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{2}\includegraphics[]{image-4.png}
\caption{\label{fig_2}Figure 2}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{23332}\includegraphics[]{image-5.png}
\caption{\label{fig_3}Figure 2 . 3 Figure 3 Figure 3 . 2}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{}\includegraphics[]{image-6.png}
\caption{\label{fig_4}}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{}\includegraphics[]{image-7.png}
\caption{\label{fig_5}}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{}\includegraphics[]{image-8.png}
\caption{\label{fig_6}}\end{figure}
      \begin{figure}[htbp]
\noindent\textbf{} \par 
\begin{longtable}{P{0.85\textwidth}}
Takumasa Senno\end{longtable} \par
 
\caption{\label{tab_0}}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{} \par 
\begin{longtable}{P{0.85\textwidth}}
For example, the human rights issues of Xinjiang\\
Uyghurs, Hong Kong's national security maintenance\\
law, and China's ubiquitous surveillance system, all\\
kinds of speech oppression and other issues. But they\\
don't think this is a big problem, so they want to go back\\
to China. 13\\
Year 2021\\
)\\
( -Global Journal of Human Social Science C\\
© 2021 Global Journals\end{longtable} \par
 
\caption{\label{tab_4}}\end{figure}
 \begin{figure}[htbp]
\noindent\textbf{} \par 
\begin{longtable}{P{0.8251663291871565\textwidth}P{0.011802140584321667\textwidth}P{0.01303153022852184\textwidth}}
\multicolumn{2}{l}{?????????????????????????????????????????æµ?"??????? ??????????????????????????? ????????ç?"??????????????????????????????????????????}\\
\multicolumn{2}{l}{?????????????????????????????????????????????????? ??????????????????ã?"???????????????? ?????"????????????"}\\
\multicolumn{2}{l}{??????????????????????????????????????????ç?"¨??????? ???????? "????"}\\
\multicolumn{2}{l}{??????ä½?"?????????????????????? ????????? ???ç?"??????"????æ?"¯??????????????????????10??????"}\\
\multicolumn{2}{l}{?????????????????????????????????????????????? ???ã?"????????????????? ?????????"?????????æ?"¿??????????ç¬?"???"}\\
\multicolumn{2}{l}{"?"??????????????????????????????????????????????? ???????????????? ???ç?"?????????æ°?"?????"???????????????"}\\
\multicolumn{2}{l}{?????????????????????????????????????????????????? ?????é?"?"??????????"??????????? 3. Original text of "God of War " ?????????????????????????????????????????????????? ?? ???????????????????ç?"¨?????????????? ?????" (???????äº?"?) ?????????????????????????ç?"????????????????????????" "??????????"??????????????????????????????? 4.}\\
\multicolumn{2}{l}{2. Original text of "Three Bomb Solduers " ??? ?????????? ???ã?"???????????????????????????????????????????ã??"?? ??? "????" "???" "24?" "????" "??æ??"?????"}\tabcellsep Year 2021\\
\multicolumn{2}{l}{?????????????äº?"???????????äº?"?????????????}\\
\multicolumn{2}{l}{??????????????????????????????????????ã??"????? ??æ?"¾?ç¬?"????????????????????????"???ç?"??äº?"?????ç?"?????????}\\
\multicolumn{2}{l}{?????????????????????????????????ã?"???????????ã?"ã??"??? ??"}\\
\multicolumn{2}{l}{???????????é?"??????????????????????é??"??????????????? ?????æ??"????????????"????????????????????"}\\
\multicolumn{2}{l}{??????????? ???????????}\\
\multicolumn{2}{l}{?????????????????????????????ã?"??????????????????ã??"?}\\
\multicolumn{2}{l}{é¡?"????ã?"??????ã??"?????????????ã??"??????????????????????? ???ç?"???????????????????????æ??"???è?"???????????????????}\\
\multicolumn{2}{l}{??????????????? ???????????"???????"}\\
\multicolumn{2}{l}{???? "?????"}\\
\multicolumn{2}{l}{??????????????????????????ã??"??????????????????????? "?????"???ç?"????????"?å½?"???????????????????????????"}\\
\multicolumn{2}{l}{??????????????????äº?"???????????????????????ã??"?ã??"????? ????????é?"??ç­?"?"???ç?"??????????????????????????"}\\
\multicolumn{2}{l}{??????? ?????æ??"????????????????????????????}\\
\multicolumn{2}{l}{????????????????äº?"????????????????????????????????? ??????ç?"????æ??"????????????"?????"}\tabcellsep )\\
\multicolumn{2}{l}{???????? ??????????????? ??????????????????é??"??????????????????????????????? ??????????????????????????????????????ã??"??ã?"???????? ?????????????ã?"???????? ?????????????????????????????????????????????????? ???? ????????????????ã?"????????????? ?????????????????????????????????????????????????? ???????ã?"?????????ã??"???????????????????????????ã??"???? ?é??"???????????????????ã??"?ã??"????????? ?????????????????????????????????????????????????? ?????????????????????????? ?????????????????????????????????????????????????? ?????????????? ???????????????????????????????????????ç?"¨???????ç?"??? ???????????????????????"???????????ç?"?????" ??????ç­?"?"???ç?"???????????????????å?"?????????????????? ???" ???ç?"????æ??"???????????"???????????????????????????ç?"??? ???????" "?????" ???????????????ç?"????????????????????????æ?"¦?????????? ??????"???????å?"¼??" ?????????????æ??"????????????????????????????????????}\tabcellsep ( -C Global Journal of Human Social Science\\
\multicolumn{2}{l}{?????ç?"??????ã??"?????????????????????????????? ?æ??"???}\\
\multicolumn{2}{l}{??????????????ã?"????????????????????????ã?"?????????? ?????????ç?"?æ?"¦??????ç?"±????"??????????????"}\\
?\tabcellsep ??????????????"??????????"\\
\multicolumn{2}{l}{??????????????????????? ???ç?"?å?"?????ç?"??????"???????"}\\
\multicolumn{2}{l}{????????????????????ã?"????????????? "72?"}\\
\multicolumn{2}{l}{??????????????ã?"??????? ?????????é?"?"???????ç?"·??????????????????????????"}\\
\multicolumn{2}{l}{???ç­?"????? "?????"}\\
\multicolumn{2}{l}{???????ã??"??????????}\\
\tabcellsep © 2021 Global Journals\end{longtable} \par
 
\caption{\label{tab_6}}\end{figure}
 			\footnote{( )} 			\footnote{The third-grade of Jiangsu Education. The fourth-grade of Hebei Edition and Henan Edition. The sixth-grade of People's Education Press.} 			\footnote{To be precise, Japan in the era of militarism established shrines for those who formulately recognized as God of War. (Because they are gods.) For this, the three warriors without shrines are not true God of War. However, there were widespread discourses in society that regard them as God of War at that time. For example, Eishin Ueno (????)said in the book "Long Live His Majesty: Preface to the Three Bomb Warriors" Yosensha Modern Classics Shinsho, 2007 (???????????????????MC???2007?)": "I believe that the Three Warriors are the highest masterpieces of the image of a God of War produced by Japanese militarism."} 			\footnote{Henry Jenkins "Convergence Culutre "New York University Press 2006 9 Japan and East Asia also have the same activities, such as Mobile Suit Gundam and Evangelion's fan activities. They hold several social activities such as model exhibitions and sales events each year. The copyright is restricted by the company, and fans cooperate with them. 10 ibid. pp 259-260} 			\footnote{A Chinese student responded to an interview and said, "Because of his interest in American animation and comics, he went to study in the United States. He envied the freedom of speech and democracy there. But now he is disappointed in the United States." When he was asked about the domestic speech oppression in China, he answered, "Is it necessary to answer this question. But I don't think it has a big impact on ordinary people. The Americans criticized China for not having democracy and freedom of speech, but this is not the case. Everyone lives an ordinary life."("NHK Close up Gendai(?????????)" broadcast on\hyperref[b13]{July 1, 2021)} } 			\footnote{SEALDs (Students Emergency Action for Liberal Democracy-s). A student-centered political group established against the "Specified Secret Protection Low" and the "Japan-US New Security Regislation". Activities started in May 2015. For a while, more than 15,000 young, old, men and women were mobilized to march around the National Diet Building, publish videos, and make political declarations and other activities. It disbanded in August 2016.} 			\footnote{© 2021 Global Journals} 		 		\backmatter  			 			 			  				\begin{bibitemlist}{1}
\bibitem[ TV Program 1. NHK: Close up Gendai(??????? ??)" broadcast on (2021)]{b13}\label{b13} 	 		\textit{},  	 	 		\textit{TV Program 1. NHK: Close up Gendai(??????? ??)" broadcast on}  		July 1, 2021.  	 
\bibitem[1: This is a government-to-government affair, we ordinary people have nothing to do. 2: To learn more about the thoughts of people in other countries/regions, and to develop cross-border exchanges of ideas and joint actions. 3: This is not just a matter of the country, but also a matter of the people. We must use various methods (public gatherings, the Internet, neighborhood chat, etc.) to express our views. 4: Learn more from authoritative channels such as television, radio, newspapers, etc., to understand the truth. 5: It is a matter of national territory. We must stand firmly on the side of the government. 6: Territorial disputes are very boring, I am not interested. 7: If there is a war in the territory, I am willing to join the army to defend national interests Q6 Facing the current tensions among Northeast Asian countries]{b15}\label{b15} 	 		‘1: This is a government-to-government affair, we ordinary people have nothing to do. 2: To learn more about the thoughts of people in other countries/regions, and to develop cross-border exchanges of ideas and joint actions. 3: This is not just a matter of the country, but also a matter of the people. We must use various methods (public gatherings, the Internet, neighborhood chat, etc.) to express our views. 4: Learn more from authoritative channels such as television, radio, newspapers, etc., to understand the truth. 5: It is a matter of national territory. We must stand firmly on the side of the government. 6: Territorial disputes are very boring, I am not interested. 7: If there is a war in the territory, I am willing to join the army to defend national interests’.  	 	 		\textit{Q6 Facing the current tensions among Northeast Asian countries},  				8.  	 	 (what do you plan to do as a member of the ordinary people (multiple choices available. please simply write the actions you are willing to take. Never thought about what I should do. (Answer 2, 3 is the most) 
\bibitem[Chen ()]{b0}\label{b0} 	 		\textit{???: The Cultural Psychology of War in Contemporary Literature (Shanghai Literature},  		 			Sihe Chen 		.  		1988. 198 8??76????. Shanghai ?å½?"???å½?"?????????,??????.  	 
\bibitem[Gongqing]{b11}\label{b11} 	 		\textit{Chairman Mao's Report on Rectification at the Yan'an Cadre Meeting},  		 			Luo Gongqing 		.  		p. 1951.  	 
\bibitem[China's power expansion backed by the economic "rise"? 5: The United States "returns to Asia" in order to maintain its world dominance? 6: Other reasons (please simply write down the reason you confirmed)? (Chinese students answered E the most]{b14}\label{b14} 	 		\textit{China's power expansion backed by the economic "rise"? 5: The United States "returns to Asia" in order to maintain its world dominance? 6: Other reasons (please simply write down the reason you confirmed)? (Chinese students answered E the most},  		4.  	 	 (and Japanese students answered C the most) 
\bibitem[Klutsis]{b9}\label{b9} 	 		\textit{Constraining Victory for the Front and the Rear},  		 			Gustav Klutsis 		.  		p. 1943.  	 
\bibitem[Elementary Japanese Textbook 2 ?????????????? ?????) Newspaper Article ()]{b6}\label{b6} 	 		‘Elementary Japanese Textbook 2’.  	 	 		\textit{?????????????? ?????) Newspaper Article},  				1942.  	 	 (Three Bomb Soldiers) 
\bibitem[Jiguang]{b5}\label{b5} 	 		\textit{Elementary School Chinese" sixth grade fifth book, ?????????????äº?"?)},  		 			Huang Jiguang 		.  		 	 
\bibitem[Yamanouchi ; Yasushi Yamanouchi and Sakai ()]{b3}\label{b3} 	 		‘From Total War to modernization’.  		 			Yasushi Yamanouchi ; Yasushi Yamanouchi 		,  		 			Naoki Sakai 		.  		 ????ä½?"???????????????? ???????ä½?"?????????????? ????????????????ä½?"????? ??????????????2003???.  	 	 		\textit{From Total War System to Globalization},  				 (Tokyo)  		2003. p. .  	 
\bibitem[Gustav Klutsis: Long Live Stalin's Generation of Stakhanov Heroes ()]{b10}\label{b10} 	 		\textit{Gustav Klutsis: Long Live Stalin's Generation of Stakhanov Heroes},  		1936.  	 
\bibitem[Kulagina]{b12}\label{b12} 	 		 			Valentina Kulagina 		.  		\textit{Shock Workers of Factories and Collective Farms},  				p. 1931.  	 	 (Join the Ranks of the VKP(b) 
\bibitem[Murakami ()]{b7}\label{b7} 	 		 			Haruki Murakami 		.  		\textit{An article in Asahi Shimbun},  				September 28, 2012. 1931.  	 	 (Tokyo Figure 1. No name: Long Live the USSR" Fatherland of the Workers of the Whole World) 
\bibitem[No name: A Thorough Criticism of Respecting Lin Biao, Confucius's Illegal and Reactionary Fallacy ()]{b8}\label{b8} 	 		\textit{No name: A Thorough Criticism of Respecting Lin Biao, Confucius's Illegal and Reactionary Fallacy},  		1974.  	 
\bibitem[Senno]{b1}\label{b1} 	 		 			Takumasa Senno 		.  		\textit{Where are we going now? Subculture in East Asian cities and the heart of youth" (CULTURAL STUDIES 2020},  				34 p. .  	 
\bibitem[Mao ()]{b4}\label{b4} 	 		\textit{Speech at the Literary and Art Forum in Yan'an?pp. 804-833.(Selected Works of Mao Zedong},  		 			Zedong Mao 		.  		1969. People's Press.  	 	 (Beijing(?????????????????? ?????????????,1969????) Story 1. God of War: ("Elementary School Chinese Textbook(??????) 
\bibitem[Yamanouchi ; Yasushi et al. ()]{b2}\label{b2} 	 		‘Total War and Modernization’.  		 			Yasushi Yamanouchi ; Yasushi 		,  		 			Victor Yamanouchi 		,  		 			Ryuichi Koschmann 		,  		 			Narita 		.  		 ??????--???????????(?? ????????????????ç?"°????? ???????????1995???.  	 	 		\textit{Introduction to Methodology: Total War and System Integration},  				 (Tokyo)  		1995. p. .  	 
\end{bibitemlist}
 			 		 	 
\end{document}
