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3. Shibuya, postwar Japan. The Pop Culture Age is sweeping in. It’s a return to a world where the lines between high and low art, commercial and art, occupied and nonoccupied, and even the boundaries of reality and fiction are all blurred. In 1956, Japan was just beginning to emerge from a decade of war, division, and national defeat. And yet, art and culture never stopped. People became obsessed with what was going on and the changing, self-inventing, and realigning world and culture. Shibuya was a space where this was allowed to happen.

2. Shibuya-kei, the Japanese subculture that sprouted up around rockabilly fashion, ’50s sensibility, and American influences. Makeup, tattoos, horror movies, costumed meetings, and hip-hop were among the cultural elements that formed the Shibuya-kei movement. Many of the early ’60s actors, musicians, architects, and artists looked to Shibuya-kei to form a movement to re-ignite art and life in Japan. The style was also a reaction to the sterile modernism that developed in the East after World War II, as well as the rage and fear of the 60s generation of America, Europe, and Japan. In the words of Suga Tei (1964), ”the society on which we lived then was collapsing. In some people, there was a feeling that we had just entered a meaningless, unconscious period. Those who rejected this loss, tried to create their own paradise by way of a bright and hopeful imaginary. In our hearts, the world around us had come to the edge of a great abyss. The spirit of Shibuya-kei was born. Its mission was to resist, create, and hope.”

3:00-4:00p Panel 4 Kwan-Yee Christian (Harvard College), Surviving the Fallout: The Fate of the Bundles of Orphans in Postwar Shanghai, 1945-1949 Sudeshna Sarkar (University of Pennsylvania), Money, Money, Money: The Remaking of Colonial Bengal, 1943-1947
12:35-2:00am Panel 3 Jacob Zheng (University of Texas at Austin), The Velvet Revolution in Shanghai: Enterprise and the New China, 1921-1927 Michael Hunt (University of Toronto), State Games, Rituals, and Hierarchy: The Nanking Olympics, 1932 Kevin Lagerstrom (Johns Hopkins University), Revolution Confined: The Hui Presbyteries and the Chinese Civil War, 1928-1937 Takashi Hirota (University of Michigan), The Joys and Pains of Being Infrared Wei Yuan (University of Southern California), The Making of China’s Autonomous Regions: The Local History of Republic of China, 1911-1949
Searching the cell, they find the sheet of paper with the words \”Cycles of Empire\” on it. Kelsier takes a small vial from his pocket. There is a variety of soups in the serving pot, but Kelsier chooses the brown meat soup and says it’s not like Tohrment soup. Vin asks what Kelsier is going to do with the vial, but Kelsier doesn’t say. The Inquisitor hits Vin again, and they notice the family was there, the children, and there are a number of candelabras in the courtyard. Kredik Shaw is built around a massive keep and contains a courtyard with a number of smaller buildings. Vin cuts the Inquisitor’s hand off, but he uses the vial on her, but she survives. She notices a butcher’s shop between the kitchen and the men’s hall, and she enters and changes into a different outfit. She then goes back out the back door and goes to the men’s hall, where she finds a woman in a grymchant. She talks to the woman and asks her if she was there during the slaughter. The woman tells Vin that she heard her scream but that she was only coming to the kitchen and did not go into the main hall. Vin is then attacked by a male Inquisitor in a red coat and takes off after him, running through the underground passages. Kelsier orders Vin to stop and stay with Bendal, but she drives off after the red coat. She reaches the portal, but it is locked. She fights her way in and is taken to the back of the house. She finds a man in a red coat. She fights him, and he uses his sword, and she uses her naginata. They then struggle, and he throws her down. They fight, and he impales her. She finds a gray ring and is healed. Vin does a few vaults and finds that the ring is a protection charm. The man burns Vin on his cheek, so she moves her naginata to him and she stabs him, using Least Harm and overpowering. Vin goes back to the hallway. She goes up to the next floor and encounters an Inquisitor, and Kelsier calls to her. He opens up the door at the end of the hallway and shouts to her to come in. The Inquisitor is stopped by Kelsier, and he warns Kelsier that she’s dangerous. She goes downstairs and goes into the hallway with Kelsier. There is a tall portrait of a woman on the wall, an enormous wall clock with red hands, and a pair of iron shoes. Kelsier tells her to stop, but she goes up the stairs and is stopped. The Inquisitor tries to run up the stairs. Vin follows, and they fight for a few minutes. She brings up her naginata, but the Inquisitor uses his mace, and she brings her other hand up. She resists the Soothing, and she resists the Bleeding and prevents him from healing himself, leaving him open to a fatal wound, but she doesn’t remember if she brought his hand up. She goes up the stairs and goes down. Vin sees a woman in a red dress talking to Kelsier. The woman says that an Inquisition is coming in the next few days, and she should be gone by that time. Kelsier says to leave, but she wants to know if they can help Vin. Vin says that she shouldn’t be here, that she’s important, that she has saved the First Gate. The woman says that Vin can be of service if she can be accepted. Vin goes to Kelsier and talks with him.

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