Asia Perspectives: History, Society, and Culture – serie

There are many Lhasas. One is a grid of uniform boulevards lined with plush hotels, all-night bars, and blue-glass-fronted offices. Another is a warren of alleyways that surround a seventh-century temple built to pin down a supine demoness. A web of Stalinist, rectangular blocks houses the new nomenklatura. Crumbling mansions, once home to noble ministers, famous lovers, nationalist spies, and covert revolutionaries, now serve as shopping malls and faux-antique hotels. Each embodiment of the city partakes of the others' memories, whispered across time and along the city streets. In this imaginative new work, Robert Barnett offers a powerful and lyrical exploration of a city long idealized, disregarded, or misunderstood by outsiders. Looking to its streets and stone, Robert Barnett presents a searching and unforgettable portrait of Lhasa, its history, and its illegibility. His book not only offers itself as a manual for thinking about contemporary Tibet but also questions our ways of thinking about foreign places.Barnett juxtaposes contemporary accounts of Tibet, architectural observations, and descriptions by foreign observers to describe Lhasa and its current status as both an ancient city and a modern Chinese provincial capital. His narrative reveals how historical layering, popular memory, symbolism, and mythology constitute the story of a city. Besides the ancient Buddhist temples and former picnic gardens of the Tibetan capital, Lhasa describes the urban sprawl, the harsh rectangular structures, and the geometric blue-glass tower blocks that speak of the anxieties of successive regimes intent upon improving on the past. In Barnett's excavation of the city's past, the buildings and the city streets, interwoven with his own recollections of unrest and resistance, recount the story of Tibet's complex transition from tradition to modernity and its painful history of foreign encounters and political experiment.

In the late twelfth century, Japanese people called the transitional period in which they were living the "age of warriors." Feudal clans fought civil wars, and warriors from the Kanto Plain rose up to restore the military regime of their shogun, Yoritomo. The whole of this intermediary period came to represent a gap between two stable societies: the ancient period, dominated by the imperial court in Heian (today's Kyoto), and the modern period, dominated by the Tokugawa bakufu based in Edo (today's Tokyo). In this remarkable portrait of a complex period in the evolution of Japan, Pierre F. Souyri uses a wide variety of sources-ranging from legal and historical texts to artistic and literary examples-to form a magisterial overview of medieval Japanese society. As much at home discussing the implications of the morality and mentality of The Tale of the Heike as he is describing local disputes among minor vassals or the economic implications of the pirate trade, Souyri brilliantly illustrates the interconnected nature of medieval Japanese culture. The Middle Ages was a decisive time in Japan's history because it confirmed the country's national identity.New forms of cultural expression, such as poetry, theater, garden design, the tea ceremony, flower arranging, and illustrated scrolls, conveyed a unique sensibility-sometimes in opposition to the earlier Chinese models followed by the old nobility. The World Turned Upside Down provides an animated account of the religious, intellectual, and literary practices of medieval Japan in order to reveal the era's own notable cultural creativity and enormous economic potential.

In the late twelfth century, Japanese people called the transitional period in which they were living the "age of warriors." Feudal clans fought civil wars, and warriors from the Kanto Plain rose up to restore the military regime of their shogun, Yoritomo. The whole of this intermediary period came to represent a gap between two stable societies: the ancient period, dominated by the imperial court in Heian (today's Kyoto), and the modern period, dominated by the Tokugawa bakufu based in Edo (today's Tokyo). In this remarkable portrait of a complex period in the evolution of Japan, Pierre F. Souyri uses a wide variety of sources-ranging from legal and historical texts to artistic and literary examples-to form a magisterial overview of medieval Japanese society. As much at home discussing the implications of the morality and mentality of The Tale of the Heike as he is describing local disputes among minor vassals or the economic implications of the pirate trade, Souyri brilliantly illustrates the interconnected nature of medieval Japanese culture. The Middle Ages was a decisive time in Japan's history because it confirmed the country's national identity.New forms of cultural expression, such as poetry, theater, garden design, the tea ceremony, flower arranging, and illustrated scrolls, conveyed a unique sensibility-sometimes in opposition to the earlier Chinese models followed by the old nobility. The World Turned Upside Down provides an animated account of the religious, intellectual, and literary practices of medieval Japan in order to reveal the era's own notable cultural creativity and enormous economic potential.

Available for the first time in English, this is the definitive account of the practice of sexual slavery the Japanese military perpetrated during World War II by the researcher principally responsible for exposing the Japanese government's responsibility for these atrocities. The large scale imprisonment and rape of thousands of women, who were euphemistically called "comfort women" by the Japanese military, first seized public attention in 1991 when three Korean women filed suit in a Toyko District Court stating that they had been forced into sexual servitude and demanding compensation. Since then the comfort stations and their significance have been the subject of ongoing debate and intense activism in Japan, much if it inspired by Yoshimi's investigations. How large a role did the military, and by extension the government, play in setting up and administering these camps? What type of compensation, if any, are the victimized women due? These issues figure prominently in the current Japanese focus on public memory and arguments about the teaching and writing of history and are central to efforts to transform Japanese ways of remembering the war.Yoshimi Yoshiaki provides a wealth of documentation and testimony to prove the existence of some 2,000 centers where as many as 200,000 Korean, Filipina, Taiwanese, Indonesian, Burmese, Dutch, Australian, and some Japanese women were restrained for months and forced to engage in sexual activity with Japanese military personnel. Many of the women were teenagers, some as young as fourteen. To date, the Japanese government has neither admitted responsibility for creating the comfort station system nor given compensation directly to former comfort women. This English edition updates the Japanese edition originally published in 1995 and includes introductions by both the author and the translator placing the story in context for American readers.

In May 1936, Abe Sada committed the most notorious crime in twentieth-century Japan-the murder and emasculation of her lover. What made her do it? And why was she found guilty of murder yet sentenced to only six years in prison? Why have this woman and her crime remained so famous for so long, and what does her fame have to say about attitudes toward sex and sexuality in modern Japan? Despite Abe Sada's notoriety and the depictions of her in film and fiction (notably in the classic In the Realm of the Senses), until now, there have been no books written in English that examine her life and the forces that pushed her to commit the crime. Along with a detailed account of Sada's personal history, the events leading up to the murder, and its aftermath, this book contains transcripts of the police interrogations after her arrest-one of the few existing first-person records of a woman who worked in the Japanese sex industry during the 1920s and 1930s-as well as a memoir by the judge and police records.Geisha, Harlot, Strangler, Star steps beyond the simplistic view of Abe Sada as a sexual deviate or hysterical woman to reveal a survivor of rape, a career as a geisha and a prostitute, and a prison sentence for murder. Sada endured discrimination and hounding by paparazzi until her disappearance in 1970. Her story illustrates a historical collision of social and sexual values-those of the samurai class and imported from Victorian Europe against those of urban and rural Japanese peasants.

Yoshimasa may have been the worst shogun ever to rule Japan. He was a failure as a soldier, incompetent at dealing with state business, and dominated by his wife. But his influence on the cultural life of Japan was unparalleled. According to Donald Keene, Yoshimasa was the only shogun to leave a lasting heritage for the entire Japanese people. Today Yoshimasa is remembered primarily as the builder of the Temple of the Silver Pavilion and as the ruler at the time of the Onin War (1467-1477), after which the authority of the shogun all but disappeared. Unable to control the daimyos-provincial military governors-he abandoned politics and devoted himself to the quest for beauty. It was then, after Yoshimasa resigned as shogun and made his home in the mountain retreat now known as the Silver Pavilion, that his aesthetic taste came to define that of the Japanese: the no theater flourished, Japanese gardens were developed, and the tea ceremony had its origins in a small room at the Silver Pavilion. Flower arrangement, ink painting, and shoin-zukuri architecture began or became of major importance under Yoshimasa.Poets introduced their often barely literate warlord-hosts to the literary masterpieces of the past and taught them how to compose poetry. Even the most barbarous warlord came to want the trappings of culture that would enable him to feel like a civilized man. Yoshimasa and the Silver Pavilion gives this long-neglected but critical period in Japanese history the thorough treatment it deserves.

Yoshimasa may have been the worst shogun ever to rule Japan. He was a failure as a soldier, incompetent at dealing with state business, and dominated by his wife. But his influence on the cultural life of Japan was unparalleled. According to Donald Keene, Yoshimasa was the only shogun to leave a lasting heritage for the entire Japanese people. Today Yoshimasa is remembered primarily as the builder of the Temple of the Silver Pavilion and as the ruler at the time of the Onin War (1467-1477), after which the authority of the shogun all but disappeared. Unable to control the daimyos-provincial military governors-he abandoned politics and devoted himself to the quest for beauty. It was then, after Yoshimasa resigned as shogun and made his home in the mountain retreat now known as the Silver Pavilion, that his aesthetic taste came to define that of the Japanese: the no theater flourished, Japanese gardens were developed, and the tea ceremony had its origins in a small room at the Silver Pavilion. Flower arrangement, ink painting, and shoin-zukuri architecture began or became of major importance under Yoshimasa.Poets introduced their often barely literate warlord-hosts to the literary masterpieces of the past and taught them how to compose poetry. Even the most barbarous warlord came to want the trappings of culture that would enable him to feel like a civilized man. Yoshimasa and the Silver Pavilion gives this long-neglected but critical period in Japanese history the thorough treatment it deserves.

There are many Lhasas. One is a grid of uniform boulevards lined with plush hotels, all-night bars, and blue-glass-fronted offices. Another is a warren of alleyways that surround a seventh-century temple built to pin down a supine demoness. A web of Stalinist, rectangular blocks houses the new nomenklatura. Crumbling mansions, once home to noble ministers, famous lovers, nationalist spies, and covert revolutionaries, now serve as shopping malls and faux-antique hotels. Each embodiment of the city partakes of the others' memories, whispered across time and along the city streets. In this imaginative new work, Robert Barnett offers a powerful and lyrical exploration of a city long idealized, disregarded, or misunderstood by outsiders. Looking to its streets and stone, Robert Barnett presents a searching and unforgettable portrait of Lhasa, its history, and its illegibility. His book not only offers itself as a manual for thinking about contemporary Tibet but also questions our ways of thinking about foreign places.Barnett juxtaposes contemporary accounts of Tibet, architectural observations, and descriptions by foreign observers to describe Lhasa and its current status as both an ancient city and a modern Chinese provincial capital. His narrative reveals how historical layering, popular memory, symbolism, and mythology constitute the story of a city. Besides the ancient Buddhist temples and former picnic gardens of the Tibetan capital, Lhasa describes the urban sprawl, the harsh rectangular structures, and the geometric blue-glass tower blocks that speak of the anxieties of successive regimes intent upon improving on the past. In Barnett's excavation of the city's past, the buildings and the city streets, interwoven with his own recollections of unrest and resistance, recount the story of Tibet's complex transition from tradition to modernity and its painful history of foreign encounters and political experiment.

The first anthology of its kind, The Modern Murasaki brings the vibrancy and rich imagination of women's writing from the Meiji period to English-language readers. Along with traditional prose, the editors have chosen and carefully translated short stories, plays, poetry, speeches, essays, and personal journal entries. Selected readings include writings by the public speaker Kishida Toshiko, the dramatist Hasegawa Shigure, the short-fiction writer Shimizu Shikin, the political writer Tamura Toshiko, and the novelists Miyake Kaho, Higuchi Ichiyo, Tazawa Inabune, Kitada Usurai, Nogami Yaeko, and Mizuno Senko. The volume also includes a thorough introduction to each reading, an extensive index listing historical, social, and literary concepts, and a comprehensive guide to further research. The fierce tenor and bold content of these texts refute the popular belief that women of this era were passive and silent. A vital addition to courses in women's studies and Japanese literature and history, The Modern Murasaki is a singular resource for students and scholars.

The first anthology of its kind, The Modern Murasaki brings the vibrancy and rich imagination of women's writing from the Meiji period to English-language readers. Along with traditional prose, the editors have chosen and carefully translated short stories, plays, poetry, speeches, essays, and personal journal entries. Selected readings include writings by the public speaker Kishida Toshiko, the dramatist Hasegawa Shigure, the short-fiction writer Shimizu Shikin, the political writer Tamura Toshiko, and the novelists Miyake Kaho, Higuchi Ichiyo, Tazawa Inabune, Kitada Usurai, Nogami Yaeko, and Mizuno Senko. The volume also includes a thorough introduction to each reading, an extensive index listing historical, social, and literary concepts, and a comprehensive guide to further research. The fierce tenor and bold content of these texts refute the popular belief that women of this era were passive and silent. A vital addition to courses in women's studies and Japanese literature and history, The Modern Murasaki is a singular resource for students and scholars.

The attack on Pearl Harbor, which precipitated the Greater East Asia War and its initial triumphs, aroused pride and a host of other emotions among the Japanese people. Yet the single year in which Japanese forces occupied territory from Alaska to Indonesia was followed by three years of terrible defeat. Nevertheless, until the shattering end of the war, many Japanese continued to believe in the invincibility of their country. But in the diaries of well-known writers--including Nagai Kafu, Takami Jun, Yamada Futaru, and Hirabayashi Taiko--and the scholar Watanabe Kazuo, varying doubts were vividly, though privately, expressed. Donald Keene, renowned scholar of Japan, selects from these diaries, some written by authors he knew well. Their revelations were sometimes poignant, sometimes shocking to Keene. Ito Sei's fervent patriotism and even claims of racial superiority stand in stark contrast to the soft-spoken, kindly man Keene knew. Weaving archival materials with personal recollections and the intimate accounts themselves, Keene reproduces the passions aroused during the war and the sharply contrasting reactions in the year following Japan's surrender.Whether detailed or fragmentary, these entries communicate the reality of false victory and all-too-real defeat.

Aisin Gioro Xianyu (1907-1948) was the fourteenth daughter of a Manchu prince and a legendary figure in China's bloody struggle with Japan. After the fall of the Manchu dynasty in 1912, Xianyu's father gave his daughter to a Japanese friend who was sympathetic to his efforts to reclaim power. This man raised Xianyu, now known as Kawashima Yoshiko, to restore the Manchus to their former glory. Her fearsome dedication to this cause ultimately got her killed. Yoshiko had a fiery personality and loved the limelight. She shocked Japanese society by dressing in men's clothes and rose to prominence as Commander Jin, touted in Japan's media as a new Joan of Arc. Boasting a short, handsome haircut and a genuine military uniform, Commander Jin was credited with many daring exploits, among them riding horseback as leader of her own army during the Japanese occupation of China. While trying to promote the Manchus, Yoshiko supported the puppet Manchu state established by the Japanese in 1932-one reason she was executed for treason after Japan's 1945 defeat.The truth of Yoshiko's life is still a source of contention between China and Japan: some believe she was exploited by powerful men, others claim she relished her role as political provocateur. China holds her responsible for unspeakable crimes, while Japan has forgiven her transgressions. This biography presents the richest and most accurate portrait to date of the controversial princess spy, recognizing her truly novel role in conflicts that transformed East Asia.

Aisin Gioro Xianyu (1907-1948) was the fourteenth daughter of a Manchu prince and a legendary figure in China's bloody struggle with Japan. After the fall of the Manchu dynasty in 1912, Xianyu's father gave his daughter to a Japanese friend who was sympathetic to his efforts to reclaim power. This man raised Xianyu, now known as Kawashima Yoshiko, to restore the Manchus to their former glory. Her fearsome dedication to this cause ultimately got her killed. Yoshiko had a fiery personality and loved the limelight. She shocked Japanese society by dressing in men's clothes and rose to prominence as Commander Jin, touted in Japan's media as a new Joan of Arc. Boasting a short, handsome haircut and a genuine military uniform, Commander Jin was credited with many daring exploits, among them riding horseback as leader of her own army during the Japanese occupation of China. While trying to promote the Manchus, Yoshiko supported the puppet Manchu state established by the Japanese in 1932-one reason she was executed for treason after Japan's 1945 defeat.The truth of Yoshiko's life is still a source of contention between China and Japan: some believe she was exploited by powerful men, others claim she relished her role as political provocateur. China holds her responsible for unspeakable crimes, while Japan has forgiven her transgressions. This biography presents the richest and most accurate portrait to date of the controversial princess spy, recognizing her truly novel role in conflicts that transformed East Asia.

From the beginning of the American Occupation in 1945 to the post-bubble period of the early 1990s, popular music provided Japanese listeners with a much-needed release, channeling their desires, fears, and frustrations into a pleasurable and fluid art. Pop music allowed Japanese artists and audiences to assume various identities, reflecting the country's uncomfortable position under American hegemony and its uncertainty within ever-shifting geopolitical realities. In the first English-language study of this phenomenon, Michael K. Bourdaghs considers genres as diverse as boogie-woogie, rockabilly, enka, 1960s rock and roll, 1970s new music, folk, and techno-pop. Reading these forms and their cultural import through music, literary, and cultural theory, he introduces readers to the sensual moods and meanings of modern Japan. As he unpacks the complexities of popular music production and consumption, Bourdaghs interprets Japan as it worked through (or tried to forget) its imperial past. These efforts grew even murkier as Japanese pop migrated to the nation's former colonies.In postwar Japan, pop music both accelerated and protested the commodification of everyday life, challenged and reproduced gender hierarchies, and insisted on the uniqueness of a national culture, even as it participated in an increasingly integrated global marketplace. Each chapter in Sayonara Amerika, Sayonara Nippon examines a single genre through a particular theoretical lens: the relation of music to liberation; the influence of cultural mapping on musical appreciation; the role of translation in transmitting musical genres around the globe; the place of noise in music and its relation to historical change; the tenuous connection between ideologies of authenticity and imitation; the link between commercial success and artistic integrity; and the function of melodrama. Bourdaghs concludes with a look at recent Japanese pop music culture.

From the beginning of the American Occupation in 1945 to the post-bubble period of the early 1990s, popular music provided Japanese listeners with a much-needed release, channeling their desires, fears, and frustrations into a pleasurable and fluid art. Pop music allowed Japanese artists and audiences to assume various identities, reflecting the country's uncomfortable position under American hegemony and its uncertainty within ever-shifting geopolitical realities. In the first English-language study of this phenomenon, Michael K. Bourdaghs considers genres as diverse as boogie-woogie, rockabilly, enka, 1960s rock and roll, 1970s new music, folk, and techno-pop. Reading these forms and their cultural import through music, literary, and cultural theory, he introduces readers to the sensual moods and meanings of modern Japan. As he unpacks the complexities of popular music production and consumption, Bourdaghs interprets Japan as it worked through (or tried to forget) its imperial past. These efforts grew even murkier as Japanese pop migrated to the nation's former colonies.In postwar Japan, pop music both accelerated and protested the commodification of everyday life, challenged and reproduced gender hierarchies, and insisted on the uniqueness of a national culture, even as it participated in an increasingly integrated global marketplace. Each chapter in Sayonara Amerika, Sayonara Nippon examines a single genre through a particular theoretical lens: the relation of music to liberation; the influence of cultural mapping on musical appreciation; the role of translation in transmitting musical genres around the globe; the place of noise in music and its relation to historical change; the tenuous connection between ideologies of authenticity and imitation; the link between commercial success and artistic integrity; and the function of melodrama. Bourdaghs concludes with a look at recent Japanese pop music culture.

Rather than resist the vast social and cultural changes sweeping Japan in the nineteenth century, the poet Masaoka Shiki (1867-1902) instead incorporated new Western influences into his country's native haiku and tanka verse. By reinvigorating these traditional forms, Shiki released them from outdated conventions and made them more responsive to newer trends in artistic expression. Altogether, his reforms made the haiku Japan's most influential modern cultural export. Using extensive readings of Shiki's own writings and accounts of the poet by his contemporaries and family, Donald Keene charts Shiki's revolutionary (and often contradictory) experiments with haiku and tanka, a dynamic process that made the survival of these traditional genres possible in a globalizing world. Keene particularly highlights random incidents and encounters in his impressionistic portrait of this tragically young life, moments that elicited significant shifts and discoveries in Shiki's work.The push and pull of a profoundly changing society is vividly felt in Keene's narrative, which also includes sharp observations of other recognizable characters, such as the famous novelist and critic Natsume Soseki. In addition, Keene reflects on his own personal relationship with Shiki's work, further developing the nuanced, deeply felt dimensions of its power.

Rather than resist the vast social and cultural changes sweeping Japan in the nineteenth century, the poet Masaoka Shiki (1867-1902) instead incorporated new Western influences into his country's native haiku and tanka verse. By reinvigorating these traditional forms, Shiki released them from outdated conventions and made them more responsive to newer trends in artistic expression. Altogether, his reforms made the haiku Japan's most influential modern cultural export. Using extensive readings of Shiki's own writings and accounts of the poet by his contemporaries and family, Donald Keene charts Shiki's revolutionary (and often contradictory) experiments with haiku and tanka, a dynamic process that made the survival of these traditional genres possible in a globalizing world. Keene particularly highlights random incidents and encounters in his impressionistic portrait of this tragically young life, moments that elicited significant shifts and discoveries in Shiki's work.The push and pull of a profoundly changing society is vividly felt in Keene's narrative, which also includes sharp observations of other recognizable characters, such as the famous novelist and critic Natsume Soseki. In addition, Keene reflects on his own personal relationship with Shiki's work, further developing the nuanced, deeply felt dimensions of its power.

Natsume Sōseki (1867–1916) was the father of the modern novel in Japan, chronicling the plight of bourgeois characters caught between familiar modes of living and the onslaught of Western values and conventions. Yet even though generations of Japanese high school students have been expected to memorize passages from his novels and he is routinely voted the most important Japanese writer in national polls, he remains less familiar to Western readers than authors such as Kawabata, Tanizaki, and Mishima.In this biography, John Nathan provides a lucid and vivid account of a great writer laboring to create a remarkably original oeuvre in spite of the physical and mental illness that plagued him all his life. He traces Sōseki’s complex and contradictory character, offering rigorous close readings of Sōseki’s groundbreaking experiments with narrative strategies, irony, and multiple points of view as well as recounting excruciating hospital stays and recurrent attacks of paranoid delusion. Drawing on previously untranslated letters and diaries, published reminiscences, and passages from Sōseki’s fiction, Nathan renders intimate scenes of the writer’s life and distills a portrait of a tormented yet unflaggingly original author. The first full-length study of Sōseki in fifty years, Nathan’s biography elevates Sōseki to his rightful place as a great synthesizer of literary traditions and a brilliant chronicler of universal experience who, no less than his Western contemporaries, anticipated the modernism of the twentieth century.

Natsume Sōseki (1867–1916) was the father of the modern novel in Japan, chronicling the plight of bourgeois characters caught between familiar modes of living and the onslaught of Western values and conventions. Yet even though generations of Japanese high school students have been expected to memorize passages from his novels and he is routinely voted the most important Japanese writer in national polls, he remains less familiar to Western readers than authors such as Kawabata, Tanizaki, and Mishima.In this biography, John Nathan provides a lucid and vivid account of a great writer laboring to create a remarkably original oeuvre in spite of the physical and mental illness that plagued him all his life. He traces Sōseki’s complex and contradictory character, offering rigorous close readings of Sōseki’s groundbreaking experiments with narrative strategies, irony, and multiple points of view as well as recounting excruciating hospital stays and recurrent attacks of paranoid delusion. Drawing on previously untranslated letters and diaries, published reminiscences, and passages from Sōseki’s fiction, Nathan renders intimate scenes of the writer’s life and distills a portrait of a tormented yet unflaggingly original author. The first full-length study of Sōseki in fifty years, Nathan’s biography elevates Sōseki to his rightful place as a great synthesizer of literary traditions and a brilliant chronicler of universal experience who, no less than his Western contemporaries, anticipated the modernism of the twentieth century.

The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts. Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art.In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.

Memories of World War II exert a powerful influence over Japan's culture and society. In The Japanese and the War, Michael Lucken details how World War II manifested in the literature, art, film, funerary practices, and education reform of the time. Concentrating on the years immediately before and after (1937 to 1952), Lucken explores the creation of an idea of Japanese identity that still resonates in everything from soap operas to the response to the Fukushima nuclear disaster. Lucken defines three distinct layers of Japan's memory of World War II: the population's expectations at the beginning, the trauma caused by conflict and defeat, and the politics of memory that arose after Japan lost to the Allied powers. Emphasizing Japanese-language sources, Lucken writes a narrative of the making of Japanese cultural memory that moves away from Western historical modes and perspectives. His approach also paints a new portrait of the U.S. occupation, while still maintaining a cultural focus.Lucken sets out to capture the many ways people engage with war, but particularly the full range of Japan's experiences, which, he argues, the Japanese state has yet to fully confront, leading to a range of tensions at home and abroad.

Many books in Japanese have been devoted to the poet and critic Ishikawa Takuboku (1886-1912). Although he died at the age of twenty-six and wrote many of his best-known poems in the space of a few years, his name is familiar to every literate Japanese. Takuboku's early death added to the sad romance of the unhappy poet, but there has been no satisfactory biography of his life or career, even in Japanese, and only a small part of his writings have been translated. His mature poetry was based on the work of no predecessor, and he left no disciples. Takuboku stands unique. Takuboku's most popular poems, especially those with a humorous overlay, are often read and memorized, but his diaries and letters, though less familiar, contain rich and vivid glimpses of the poet's thoughts and experiences. They reflect the outlook of an unconstrained man who at times behaved in a startling or even shocking manner. Despite his misdemeanors, Takuboku is regarded as a national poet, all but a saint to his admirers, especially in the regions of Japan where he lived. His refusal to conform to the Japan of the time drove him in striking directions and ranked him as the first poet of the new Japan.

In April 1859, at age fifty, Shinohara Chuemon left his old life behind. Chuemon, a well-off farmer in his home village, departed for the new port city of Yokohama, where he remained for the next fourteen years. There, as a merchant trading with foreigners in the aftermath of Japan's 1853 "opening" to the West, he witnessed the collapse of the Tokugawa shogunate, the civil war that followed, and the Meiji Restoration's reforms. The Merchant's Tale looks through Chuemon's eyes at the upheavals of this period, using the story of an ordinary merchant farmer and its Yokohama setting as a vantage point onto sweeping social transformation and its unwitting agents. In a narrative history rich in colorful detail, Simon Partner focuses on Japan's common people to investigate the relationship between individual motivation and social change. Chuemon, like most newcomers to Yokohama, came in search of economic opportunity.Partner explores how he and other mundane actors in Yokohama's daily life shed light on vital issues in Japan's modern history, including the legacies of the Meiji Restoration; the nature of the East Asian treaty port system; and the importance of regimes of daily life such as food, clothing, medicine, and hygiene in the negotiation of national identity. Though centered on the experiences of an individual, The Merchant's Tale is also the history of a place. Created under pressure from aggressive foreign powers, Yokohama was the scene of gunboat diplomacy, the birthplace of new lifestyles, a connection to global markets, and the beachhead of Japan's technological modernization. Partner's microhistory of a vibrant meeting place humanizes the story of Japan's revolutionary 1860s and their profound consequences for Japanese society and culture.

In April 1859, at age fifty, Shinohara Chūemon left his old life behind. Chūemon, a well-off farmer in his home village, departed for the new port city of Yokohama, where he remained for the next fourteen years. There, as a merchant trading with foreigners in the aftermath of Japan’s 1853 “opening” to the West, he witnessed the collapse of the Tokugawa shogunate, the civil war that followed, and the Meiji Restoration’s reforms. The Merchant’s Tale looks through Chūemon’s eyes at the upheavals of this period.In a narrative history rich in colorful detail, Simon Partner uses the story of an ordinary merchant farmer and its Yokohama setting as a vantage point onto sweeping social transformation and its unwitting agents. Chūemon, like most newcomers to Yokohama, came in search of economic opportunity. His story sheds light on vital issues in Japan’s modern history, including the legacies of the Meiji Restoration; the East Asian treaty port system; and the importance of everyday life—food, clothing, medicine, and hygiene—for national identity. Centered on an individual, The Merchant’s Tale is also the story of a place. Created under pressure from aggressive foreign powers, Yokohama was the scene of gunboat diplomacy, a connection to global markets, the birthplace of new lifestyles, and the beachhead of Japan’s modernization. Partner’s history of a vibrant meeting place humanizes the story of Japan’s revolutionary 1860s and their profound consequences for Japanese society and culture.

Few scholars have done more than Harry Harootunian to shape the study of modern Japan. Incorporating Marxist critical perspectives on history and theoretically informed insights, his scholarship has been vitally important for the world of Asian studies. Uneven Moments presents a selection of Harootunian’s essays on Japan’s intellectual and cultural history from the late Tokugawa period to the present that span the many phases of his distinguished career and point to new directions for Japanese studies.Uneven Moments begins with reflections on area studies as an academic field and how we go about studying a region. It then moves into discussions of key topics in modern Japanese history. Harootunian considers Japan’s fateful encounter with capitalist modernity and the implications of uneven development, examining the combinations of older practices with new demands that characterized the twentieth century. The book examines the making of modern Japan, the transformations of everyday life, and the collision between the production of forms of cultural expression and new political possibilities. Finally, Harootunian analyzes Japanese political identity and its forms of reckoning with the past. Exploring the shifting relationship among culture, the making of meaning, and politics in rich reflections on Marxism and critical theory, Uneven Moments presents Harootunian’s intellectual trajectory and in so doing offers a unique assessment of Japanese history.

Few scholars have done more than Harry Harootunian to shape the study of modern Japan. Incorporating Marxist critical perspectives on history and theoretically informed insights, his scholarship has been vitally important for the world of Asian studies. Uneven Moments presents a selection of Harootunian’s essays on Japan’s intellectual and cultural history from the late Tokugawa period to the present that span the many phases of his distinguished career and point to new directions for Japanese studies.Uneven Moments begins with reflections on area studies as an academic field and how we go about studying a region. It then moves into discussions of key topics in modern Japanese history. Harootunian considers Japan’s fateful encounter with capitalist modernity and the implications of uneven development, examining the combinations of older practices with new demands that characterized the twentieth century. The book examines the making of modern Japan, the transformations of everyday life, and the collision between the production of forms of cultural expression and new political possibilities. Finally, Harootunian analyzes Japanese political identity and its forms of reckoning with the past. Exploring the shifting relationship among culture, the making of meaning, and politics in rich reflections on Marxism and critical theory, Uneven Moments presents Harootunian’s intellectual trajectory and in so doing offers a unique assessment of Japanese history.

South Korean historian Jie-Hyun Lim, raised under an anticommunist dictatorship, turned to Marxian thought to explain his country’s development, even as he came to struggle with its Eurocentrism. As a transnational scholar working in postcommunist Poland, Lim recognized striking similarities between Korean and Polish history and politics. One realization stood out: Both Korea and Poland—at once the “West” for Asia yet “Eastern” Europe—had been assigned the role of “East.”This book explores entangled Easts to reconsider global history from the margins. Examining the politics of history and memory, Lim reveals the affinities linking Eastern Europe and East Asia. He draws out commonalities in their experiences of modernity, in their transitions from dictatorship to democracy, and in the shaping of collective memory. Ranging across Poland, Germany, Israel, Japan, and Korea, Lim traces the global history of how notions of victimhood have become central to nationalism. He criticizes mass dictatorships of right and left in the Global Easts, considering Nazi jurist Carl Schmitt’s notion of sovereign dictatorship and the concept of decisionist democracy. Lim argues that nationalism is inherently transnational, critiquing how the nationalist imagination of the Global East has influenced countries across borders. Theoretically sophisticated and conceptually innovative, this book sheds new light on the transnational complexity of historical memory and imagination, the boundaries between democracy and mass dictatorship, and the fluidity of East and West.