本研究は原爆傷害調査委員会（以下：ABCC）に勤務していた看護婦および医師の証言から、広島ABCC設立草創期の健康調査および健康診査における看護活動を明らかにすることを目的とした。研究方法は広島ABCCで勤務していた元ABCC日本人医師1名、看護婦3名を対象に半構造化面接を実施し、オーラルヒストリー法を用いて証言を分析した。結果、健康調査、健康診査における主な看護は診療の介助であったが、各診療科では健康調査の目的や調査概要によって重要とされる視点に基づき、看護を実施していたことが示唆された。また、調査研究機関として精密なデータを収集するという役割があり、被爆者に対する言動や調査方法に配慮した看護が行われていたことが明らかとなった。ABCCの活動に対して被爆者から否定的な言動もみられたが、被爆者の感情に配慮した看護活動は、健康調査および健康診査に対する緊張を緩和する重要な役割があったと考える。

Although Bernard M. Baruch has been described in cold war studies as the United States representative to the United Nations Atomic Energy Commission, he was also regarded as an opinion-leader for hearing aid for World War II veterans. It is not only Baruch but Cybernetic groups and John Edgar Hoover, to name a few, who were greatly concerned with the recovery of wounded bodies. To understand why postwar cultures share a rhetoric of deafness and hearing aid, this paper explores magazine articles, advertisements, Hollywood films, and diplomatic discourses of the early cold war period. The various documents connect the notion of engineered, high-fidelity listening with the notion of masculine and freedom-loving nations that were beginning to confront the Soviet menace after the war.

Medical research soon after the World War II showed that there were more than seven million male veterans who were suffering from hearing disabilities as a consequence of military combat. To fight against the soviet regime, Cold Warriors such as Harry Truman, George Kennan and George Marshall argued that “deafness” was both the symptom of a lack of tough masculinity and the decline of free nations. They insisted that the United States should not “turn a deaf ear to” the appeal from the other nations (Truman Doctrine) and was destined to help the devastated world to “recover” with economic aid (Marshall Plan).

Civil defense against the Soviet’s missile in the 50’s also stimulated a cultural and sociological reception of hearing aid. Soon after the development of the hydrogen bomb in the Soviet Union, the film version of The War of the Worlds (1953) depicted a male character who complained that “something [was] wrong with [his] hearing aid”. Warning sirens spreading around the nation, also featured in the film, transformed the notion of human ear into a machine, which could distinguish information from noise.

Deafness was also a politically contested disease among males in the McCarthy hearings. When John Howard Lawson of the Hollywood ten was asked whether he had been a member of the Communist Party, he acted as if he were deaf and avoided naming names. Many blacklistees repeated Lawson’s hard of hearing performance while citing the First Amendment. This logic was also featured in Joseph H. Lewis’s noir film The Big Combo (1955). The film treats hearing aid as a dangerous technology as the protagonist, an American policeman, breaks his ear organ.

Historically considered, deafness in the postwar society was first interpreted as weak national stance against Communism. Along with cultural infiltration of hearing aid technology, human ears with prosthetic were gradually narrated and recognized as an information machine. In this regard,Cyberneticians, audiologists, cold warriors, and citizens in the 50’s started, all at the same time, to share an unconsciously political view of the body. With cultural constructions of prosthetic-appended ears, the wounded spaces of the post-war world were at last transformed into, and perceived as, the cold war information space.

「写真の進歩」は，毎年一度時期を決めて前年一年間の写真技術の動きを振り返ることにより，日々進歩を続ける写真技術の全体像を時系列的に俯瞰することを狙いとして，継続的に取り組んでいる企画です．
執筆陣は，技術委員会傘下の各研究会の代表者を中心に，それ以外の識者も加えた各分野の専門家により構成されています．各執筆者は担当の分野に応じた観点から，主として前年一年間に発表された技術（文献），製品，作品，統計等について，可能な限りその特徴・傾向・分析などのコメントを加えつつ紹介します．なお具体的な内容については各執筆者の意向を尊重しています．
過去の「写真の進歩」は，写真学会ホームページ（http://www.spstj.org/）の「学会誌からのトピックス」（http://www.spstj.org/book/pickups.html）にも掲載されていますのでご利用下さい．

Minority students often have their campus organizations conduct events and activities that help enhance their ethnic ties, confront discrimination, and improve their social status. These activities focus not only on school-related issues, but also on community life in general. They are regarded as one kind of identity politics. This politics has come to signify a wide range of activities based on the shared experiences of injustice committed against certain social groups. The fundamental objective is for minority groups to acquire a positive self-understanding, because they have often been forced to accept a negative self-image imposed upon them by mainstream society.

The purpose of this paper is to examine the identity politics of a college student organization which identifies itself as the Nikkei Student Union (NSU) at the University of California, Los Angeles (UCLA) to look into what Nikkei means in the US now. The result can offer us some clues to understanding modem Japanese Americans, a unique major Asian group which has much fewer immigrants and achieves a relatively higher social status than other major Asian groups in the US.

The UCLA NSU was founded in 1981 as the first Japanese descendants’ campus organization to engage in identity politics. The most important annual event on campus is “Cultural Night” whose main purpose is to showcase what the members’ culture is and who they are. It consists of a Taiko performance, Odori, skits depicting their lives in the US, and other modem cultural performances such as hip-hop. The club has also played an active role in the community by helping in local projects, such as providing mentors to underprivileged children living in a low-income housing unit in Little Tokyo.

These NSU activities deeply related to identity politics are based on the concept of “Japanese Americans.” It is a framework for Japanese descendants to understand themselves as an American group not Japanese, which has overcome terrible hardships in the US such as internment during World War 2. This concept, which was produced and spread during the Redress movement, promoted Japanese community cohesion.

But the current NSU consists of not only Japanese descendants who are related to internment and the Redress movement but also new Japanese offspring whose parents came to the US after World War 2 and non-Japanese members. After joining the NSU, they learn to understand the differences between Japanese and Japanese Americans and produce a narrative to connect themselves to Japanese American culture and history, influenced by the concept of “Japanese Americans.” Each of the diversified members reconstructs the concept of “Japanese Americans” respectively. That is why Nikkei has several meanings in the NSU.

The NSU has played important roles in identity politics on the basis of a flexible concept of “Japanese Americans” not just for Japanese Americans but for people from other ethnic or racial backgrounds. This case may offer hints about how to surmount the essentialism that identity politics often causes.