JOAK and JOBK conducted ‘Child’s Hour’ listener surveys from 1928 to enhance the quality of their programs qualities by exploring listeners’ preferences. The results were that JOAK placed a higher priority on educational content, while more JOBK prioritized entertainment. At that time the government was concerned about the influence of radio programs and intended to make radio broadcasting a medium for carrying out national policy. In 1932, Ministry of Communications and Japan Broadcasting Corporation carried out their own survey, which was called the first national fact-finding survey for radio. This survey showed slightly different tendencies when compared to the inquiries run by JOAK and JOBK, namely that musical content was more popular than stories for children. This paper intends to investigate the details of those inquiries from 1928 to 1932.

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This study reveals and properly evaluates the work and achievements of TAKAO Akio, who played a pioneering and leading role in the children's culture movement in the Kansai area. This paper introduces the public experimental broadcasts that TAKAO led as an employee of Osaka Asahi Newspaper Company in the early days of radio broadcasting, and discusses the role he played in these broadcasts. It is thought that these relationships with the media, in turn, fostered a network of media professionals in Osaka and resulted in the children's culture movement.

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Among the postcards and other materials in the Iwaya family collection, there are 22 postcards from KUBOTA Beisai to IWAYA Sazanami, dating from 1901 to around 1918. This paper examines the relationship between Beisai and Sazanami by examining the 22 postcards and comparing them with the diaries and other related documents from that period. It has become clear that the two knew each other before travelling to Europe, and that they were close, not only through their involvement in children's literature and children's magazines, but also through their interactions in France in 1901, their haiku and picture postcard clubs, and their activities at the Mitsukoshi department stores.

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This article examines how the magazine Dowa Kyoiku (Children's Story Education) was linked to Japan's colonisation of Manchuria, using articles related to Manchuria as a piece of evidence.

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A draft of "Under the Banner of Juvenile Literature'!" (abbreviated to “Declaration of Juvenile Literature”) was discovered in the materials formerly owned by FURUTA Taruhi and donated to the Kanagawa Museum of Modern Literature. A careful reading of the six-page draft reveals the process by which TORIGOE Shin, FURUTA, and SUZUKI Minoru discussed and revised the original idea by TORIGOE. This reading will help to clarify the situation on the eve of the launch of the future "contemporary children's literature."

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This study examines the possibility that SATO Satoru’s monumental work Dare mo Shiranai Chiisana Kuni (A Little Country Nobody Knows, 1959), along with the subsequent Korobokkuru Monogatari series, inherited the distorted perceptions of Indigenous peoples that were prevalent in the 1920s and unconsciously aligns with colonialist ideology. It explores how the use of the term “korobokkuru” may constitute cultural appropriation from the Ainu, and how the protagonist’s nation-building efforts may reflect traces of colonial practices historically enacted by the Wajin-Japanese.

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This article examines the changes in presentation in UNO Akira’s picture books from his debut to Anoko (That Girl). The background to the rapid and dramatic changes, from the adorable four-head proportions of children influenced by Alice and Martin Provensen to the more mature images of children reflected the trends of the 1950s and 1960s, when graphic design flourished, and UNO's changing consciousness as he transitioned from designer to illustrator.

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