Written Chinese served as a prestigious, cosmopolitan script across medieval East Asia, from as far west as the Tarim Basin to the eastern kingdom of Heian period Japan (794–1185). In this book, Brian Steininger revisits the mid-Heian court of the Tale of Genji and the Pillow Book, where literary Chinese was not only the basis of official administration, but also a medium for political protest, sermons of mourning, and poems of celebration.

Chinese Literary Forms in Heian Japan reconstructs the lived practice of Chinese poetic and prose genres among Heian officials, analyzing the material exchanges by which documents were commissioned, the local reinterpretations of Tang aesthetic principles, and the ritual venues in which literary Chinese texts were performed in Japanese vocalization. Even as state ideology and educational institutions proclaimed the Chinese script’s embodiment of timeless cosmological patterns, everyday practice in this far-flung periphery subjected classical models to a string of improvised exceptions. Through careful comparison of literary and documentary sources, this book provides a vivid case study of one society’s negotiation of literature’s position—both within a hierarchy of authority and between the incommensurable realms of script and speech.

Writers and intellectuals in modern Japan have long forged dialogues across the boundaries separating the spheres of literature and thought. This book explores some of their most intellectually and aesthetically provocative connections in the volatile transwar years of the 1920s to 1950s. Reading philosophical texts alongside literary writings, the study links the intellectual side of literature to the literary dimensions of thought in contexts ranging from middlebrow writing to avant-garde modernism, and from the wartime left to the postwar right.

Chapters trace these dynamics through the novelist Tanizaki Jun’ichirō’s collaboration with the nativist linguist Yamada Yoshio on a modern translation of The Tale of Genji; the modernist writer Yokomitsu Riichi’s dialogue with Kyoto School philosophers around the question of “worldliness”; the Marxist poet Nakano Shigeharu’s and the philosopher Tosaka Jun’s thinking about prosaic everyday language; and the postwar rumination on liberal society that surrounded the scholar Edwin McClellan while he translated Natsume Sōseki’s classic 1914 novel Kokoro as a graduate student in the United States working with the famed economist Friedrich Hayek. Revealing unexpected intersections of literature, ideas, and politics in a global transwar context, the book concludes by turning to Murakami Haruki and the resonances of those intersections in a time closer to our own.

This study revolves around the career of Kobayashi Hideo (1902–1983), one of the seminal figures in the history of modern Japanese literary criticism, whose interpretive vision was forged amidst the cultural and ideological crises that dominated intellectual discourse between the 1920s and the 1940s.

Kobayashi sought in criticism a vehicle through which to rhetorically restore to the artistic work an aura of concreteness that precluded interpretation and instead inspired awe, to somehow recover a literary experience unmediated by intellectual machinations. In adhering firmly to this worldview for the duration of World War II, Kobayashi came to assume a complex stance toward the wartime regime. Although his interweaving of aesthetics and ideology exhibited elements of both resistance and complicity, his critical ethos served ultimately to undergird his wartime fascist stance by encouraging acquiescence to authority, championing patriotism, and calling for more vigorous thought control.

Treating Kobayashi’s influential works and the historical context in which they are rooted, James Dorsey traces the emergence of a modern critical consciousness in conversation with such concerns as the nature of materiality in capitalist culture, the relationship of narrative to subjectivity, and the nostalgia for beauty in a time of war.