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The year 1543 marked the beginning of a new global consciousness in Japan with the arrival of storm-blown Portuguese merchants in Tanegashima Island in southern Japan. Other Portuguese rapidly followed and Japan became aware of a world beyond India. The Portuguese brought with them the musket, which was quickly copied and began to change Japanese warfare. Francis Xavier arrived in 1549 and other Christian missionaries soon after. This is not a new story but it is the first time that Japanese, Portuguese and other European accounts have been brought together and presented in English.

When we look beyond lesson planning and curricula—those explicit facets that comprise so much of our discussion about education—we remember that teaching is an inherently social activity, shaped by a rich array of implicit habits, comportments, and ways of communicating. This is as true in the United States as it is in Japan, where Akiko Hayashi and Joseph Tobin have long studied early education from a cross-cultural perspective. Taking readers inside the classrooms of Japanese preschools, Teaching Embodied explores the everyday, implicit behaviors that form a crucially important—but grossly understudied—aspect of educational practice.
           
Akiko Hayashi and Joseph Tobin embed themselves in the classrooms of three different teachers at three different schools to examine how teachers act, think, and talk. Drawing on extended interviews, their own real-time observations, and hours of video footage, they focus on how teachers embody their lessons: how they use their hands to gesture, comfort, or discipline; how they direct their posture, gaze, or physical location to indicate degrees of attention; and how they use the tone of their voice to communicate empathy, frustration, disapproval, or enthusiasm. Comparing teachers across schools and over time, they offer an illuminating analysis of the gestures that comprise a total body language, something that, while hardly ever explicitly discussed, the teachers all share to a remarkable degree. Showcasing the tremendous importance of—and dearth of attention to—this body language, they offer a powerful new inroad into educational study and practice, a deeper understanding of how teaching actually works, no matter what culture or country it is being practiced in. 

Television, Japan, and Globalization makes a monumental contribution to the literature of television studies, which has increasingly recognized its problematic focus on US and Western European media, and a compelling intervention in discussions of globalization, through its careful attention to contradictory and complex phenomena on Japanese TV. Case studies include talent and stars, romance, anime, telops, game and talk shows, and live-action nostalgia shows. The book also looks at Japanese television from a political and economic perspective, with attention to Sky TV, production trends, and Fuji TV as an architectural presence in Tokyo.

The combination of textual analysis, clear argument, and historical and economic context makes this book ideal for media studies audiences. Its most important contribution may be moving the study of Japanese popular culture beyond the tired truisms about postmodernism and opening up new lines of thinking about television and popular culture within and between nations.

Beginning with the closing decade of European colonial rule in Southeast Asia and covering the wartime Japanese empire and its postwar disintegration, Tensions of Empire focuses on the Japanese in Southeast Asia, Indonesians in Japan, and the legacy of the war in Southeast Asia. It also examines Japanese perceptions of Southeast Asia and the lingering ambivalence toward Japanese involvement in Asia and toward the war in particular.

Drawing on extensive multilingual archival research and interviews, Ken‘ichi Goto has produced a factually rich and balanced view of this region’s historical events of the last century.

Tensions of Empire features detailed discussions of Portuguese Timor in the 1930s and 1940s, the decolonization of Malaya, and twentieth-century Indonesia. This extended inquiry yields a unique view of the complicated network within and beyond the colonial and imperial relationships between a one-time nonwestern colonial power and an entire region.

Of great interest to students of Japan-Southeast Asia relations and to specialists in the modern history of both Southeast Asia and Japan, Professor Goto’s Tensions of Empire is a fascinating account of Japan’s recent past from the inside.

In this revealing study, Daisuke Miyao explores "the aesthetics of shadow" in Japanese cinema in the first half of the twentieth century. This term, coined by the production designer Yoshino Nobutaka, refers to the perception that shadows add depth and mystery. Miyao analyzes how this notion became naturalized as the representation of beauty in Japanese films, situating Japanese cinema within transnational film history. He examines the significant roles lighting played in distinguishing the styles of Japanese film from American and European film and the ways that lighting facilitated the formulation of a coherent new Japanese cultural tradition. Miyao discusses the influences of Hollywood and German cinema alongside Japanese Kabuki theater lighting traditions and the emergence of neon commercial lighting during this period. He argues that lighting technology in cinema had been structured by the conflicts of modernity in Japan, including capitalist transitions in the film industry, the articulation of Japanese cultural and national identity, and increased subjectivity for individuals. By focusing on the understudied element of film lighting and treating cinematographers and lighting designers as essential collaborators in moviemaking, Miyao offers a rereading of Japanese film history.

In The Ashio Riot of 1907, Nimura Kazuo explains why the workers at the Ashio copper mine—Japan’s largest mining concern and one of the largest such operations in the world—joined together for three days of rioting against the Furukawa Company in February 1907. Exploring an event in labor history unprecedented in the Japan of that time, Nimura uses this riot as a launching point to analyze the social, economic, and political structure of early industrial Japan. As such, The Ashio Riot of 1907 functions as a powerful critique of Japanese scholarly approaches to labor economics and social history.
Arguing against the spontaneous resistance theory that has long dominated Japanese social history accounts, Nimura traces the laborers’ unrest prior to the riots as well as the development of the event itself. Drawing from such varied sources as governmental records, media reports, and secret legal documents relating to the riot, Nimura discusses the active role of the metal mining workers’ trade organization and the stance taken by mine labor bosses. He examines how technological development transformed labor-management relations and details the common characteristics of the laborers who were involved in the riot movement. In the course of this historical analysis, Nimura takes on some of the most influential critical perspectives on Japanese social and labor history. This translation of Nimura’s prize-winning study—originally published in Japan—contains a preface by Andrew Gordon and an introduction and prologue written especially for this edition.

An engrossing account of the military, cultural, and commercial impact of Japan and the USA on the island nation of Palau

The expansionist Japanese empire annexed the inhabited archipelago of Palau in 1914. The airbase built on Peleliu Island became a target for attack by the United States in World War II. The Battle over Peleliu:  Islander, Japanese, and American Memories of War offers an ethnographic study of how Palau and Peleliu were transformed by warring great powers and further explores how their conflict is remembered differently by the three peoples who shared that experience.
 
Author Stephen C. Murray uses oral histories from Peleliu’s elders to reconstruct the island’s prewar way of life, offering a fascinating explanation of the role of land and place in island culture. To Palauans, history is conceived geographically, not chronologically. Land and landmarks are both the substance of history and the mnemonic triggers that recall the past. Murray then offers a detailed account of the 1944 US invasion against entrenched Japanese forces on Peleliu, a seventy-four-day campaign that razed villages, farms, ancestral cemeteries, beaches, and forests, and with them, many of the key nodes of memory and identity.
 
Murray also explores how Islanders’ memories of the battle as shattering their way of life differ radically from the ways Japanese and Americans remember the engagement in their histories, memoirs, fiction, monuments, and tours of Peleliu. Determination to retrieve the remains of 11,000 Japanese soldiers from the caves of Peleliu has driven high-profile civic groups from across the Japanese political spectrum to the island. Contemporary Japan continues to debate pacifist, right-wing apologist, and other interpretations of its aggression in Asia and the Pacific. These disputes are exported to Peleliu, and subtly frame how Japanese commemoration portrays the battle in stone and ritual. Americans, victors in the battle, return to the archipelago in far fewer numbers. For them, the conflict remains controversial but is most often submerged into the narrative of “the good war.”
 
The Battle over Peleliu is a study of public memory, and the ways three peoples swept up in conflict struggle to create a common understanding of the tragedy they share.

First published in 1939 and extensively revised in 1943, The Book of the Dead, loosely inspired by the tale of Isis and Osiris from ancient Egypt, is a sweeping historical romance that tells a gothic tale of love between a noblewoman and a ghost in eighth-century Japan. Its author, Orikuchi Shinobu, was a well-received novelist, distinguished poet, and an esteemed scholar. He is often considered one of the fathers of Japanese folklore studies, and The Book of the Dead is without a doubt the most important novel of Orikuchi’s career—and it is a book like no other. 

Here, for the first time, is the complete English translation of Orikuchi’s masterwork, whose vast influence is evidenced by multiple critical studies dedicated to it and by its many adaptations, which include an animated film and a popular manga. This translation features an introduction by award-winning translator Jeffrey Angles discussing the historical background of the work as well as its major themes: the ancient origins of the Japanese nation, the development of religion in a modernizing society, and the devotion necessary to create a masterpiece. Also included are three chapters from The Mandala of Light by Japanese intellectual historian Andō Reiji, who places the novel and Orikuchi’s thought in the broader intellectual context of early twentieth-century Japan.

The Book of the Dead focuses on the power of faith and religious devotion, and can be read as a parable illustrating the suffering an artist must experience to create great art. Readers will soon discover that a great deal lies hidden beneath the surface of the story; the entire text is a modernist mystery waiting to be decoded.

The Burden of the Past reexamines the dispute over historical perception between Japan and South Korea, going beyond the descriptive emphasis of previous studies to clearly identify the many independent variables that have affected the situation. From the history textbook debates, to the Occupation-period exploitation of “comfort women,” to the Dokdo/Takeshima territory dispute and Yasukuni Shrine visits, Professor Kimura traces the rise and fall of popular, political, and international concerns underlying these complex and highly fraught issues.
 
Utilizing Japanese and South Korean newspaper databases to review discussion of the two countries’ disputed historical perceptions from the end of World War II to the present, The Burden of the Past provides readers with the historical framework and the major players involved, offering much-needed clarity on such polarizing issues. By seeing behind the public discourse and political rhetoric, this book offers a firmer footing for a discussion and the steps toward resolution.

One of the most prolific and respected directors of Japanese cinema, Naruse Mikio (1905–69) made eighty-nine films between 1930 and 1967. Little, however, has been written about Naruse in English, and much of the writing about him in Japanese has not been translated into English. With The Cinema of Naruse Mikio, Catherine Russell brings deserved critical attention to this under-appreciated director. Besides illuminating Naruse’s contributions to Japanese and world cinema, Russell’s in-depth study of the director sheds new light on the Japanese film industry between the 1930s and the 1960s.

Naruse was a studio-based director, a company man renowned for bringing films in on budget and on time. During his long career, he directed movies in different styles of melodrama while displaying a remarkable continuity of tone. His films were based on a variety of Japanese literary sources and original scripts; almost all of them were set in contemporary Japan. Many were “women’s films.” They had female protagonists, and they depicted women’s passions, disappointments, routines, and living conditions. While neither Naruse or his audiences identified themselves as “feminist,” his films repeatedly foreground, if not challenge, the rigid gender norms of Japanese society. Given the complex historical and critical issues surrounding Naruse’s cinema, a comprehensive study of the director demands an innovative and interdisciplinary approach. Russell draws on the critical reception of Naruse in Japan in addition to the cultural theories of Harry Harootunian, Miriam Hansen, and Walter Benjamin. She shows that Naruse’s movies were key texts of Japanese modernity, both in the ways that they portrayed the changing roles of Japanese women in the public sphere and in their depiction of an urban, industrialized, mass-media-saturated society.

Employing original fieldwork, historical analysis, and sociological theory, Sekine and Bonanno probe how Japan’s food and agriculture sectors have been shaped by the global push toward privatization and corporate power, known in the social science literature as neoliberalism. They also examine related changes that have occurred after the triple disaster of March 2011 (the earthquake, tsunami, and meltdown of the Fukushima Daiichi nuclear reactor), noting that reconstruction policy has favored deregulation and the reduction of social welfare.
 
Sekine and Bonanno stress the incompatibility of the requirements of neoliberalism with the structural and cultural conditions of Japanese agri-food. Local farmers’ and fishermen’s emphasis on community collective management of natural resources, they argue, clashes with neoliberalism’s focus on individualism and competitiveness. The authors conclude by pointing out the resulting fundamental contradiction: The lack of recognition of this incompatibility allows the continuous implementation of market solutions to problems that originate in these very market mechanisms.
 

This bold collection of essays demonstrates the necessity of understanding fascism in cultural terms rather than only or even primarily in terms of political structures and events. Contributors from history, literature, film, art history, and anthropology describe a culture of fascism in Japan in the decades preceding the end of the Asia-Pacific War. In so doing, they challenge past scholarship, which has generally rejected descriptions of pre-1945 Japan as fascist. The contributors explain how a fascist ideology was diffused throughout Japanese culture via literature, popular culture, film, design, and everyday discourse. Alan Tansman’s introduction places the essays in historical context and situates them in relation to previous scholarly inquiries into the existence of fascism in Japan.

Several contributors examine how fascism was understood in the 1930s by, for example, influential theorists, an antifascist literary group, and leading intellectuals responding to capitalist modernization. Others explore the idea that fascism’s solution to alienation and exploitation lay in efforts to beautify work, the workplace, and everyday life. Still others analyze the realization of and limits to fascist aesthetics in film, memorial design, architecture, animal imagery, a military museum, and a national exposition. Contributors also assess both manifestations of and resistance to fascist ideology in the work of renowned authors including the Nobel-prize-winning novelist and short-story writer Kawabata Yasunari and the mystery writers Edogawa Ranpo and Hamao Shirō. In the work of these final two, the tropes of sexual perversity and paranoia open a new perspective on fascist culture. This volume makes Japanese fascism available as a critical point of comparison for scholars of fascism worldwide. The concluding essay models such work by comparing Spanish and Japanese fascisms.

Contributors. Noriko Aso, Michael Baskett, Kim Brandt, Nina Cornyetz, Kevin M. Doak, James Dorsey, Aaron Gerow, Harry Harootunian, Marilyn Ivy, Angus Lockyer, Jim Reichert, Jonathan Reynolds, Ellen Schattschneider, Aaron Skabelund, Akiko Takenaka, Alan Tansman, Richard Torrance, Keith Vincent, Alejandro Yarza

The Culture of the Quake is first and foremost an exploration of Taishō-era narrative fiction. Every major film studio produced earthquake films, and authors from I-novelists to modernists, proletarian writers to popular fiction writers wrote something on the earthquake. In every case pre-existing attitudes toward their work shaped the way these people represented the earthquake, and yet the overwhelming destruction and mass suffering also posed particular challenges in representation. How could one show the pain without exploitation? Other scholars have looked at some of these groups of writers or filmmakers individually, but there are no studies looking at how they each tackled a similar subject.

The Great Kanto Earthquake is an understudied event that has only recently caught the attention of scholars. By focusing on the way it was represented in high and low culture, The Culture of the Quake gives insight into how people experienced the disaster and how they interpreted it in the years following. This book should be of interest to scholars of Japanese and Asian literature, film, culture, and history, and scholars of disaster studies.

Due to falling fertility rates, the aging of the baby-boom cohort, and increases in life expectancy, the percentage of the population that is elderly is expected to increase rapidly in the United States and Japan over the next two decades. These fourteen essays show that, despite differences in culture and social and government structure, population aging will have many similar macro and micro effects on the economic status and behavior of the elderly in both countries.

The most obvious effects will be on social programs such as public pension systems and the provision for medical needs of the elderly. But, the contributors demonstrate, aging will also affect markets for labor, capital, housing, and health care services. It will affect firms through their participation in the demand side of the labor market and through their provisions for pensions. And aging will influence saving rates, the rate of return on assets, the balance of payments, and, most likely, economic growth.

This volume will interest scholars and policy makers concerned with the economics of aging.

Economists disagree on whether recent U.S. trade policies are harmful or helpful, but they all agree that there is a new trend toward focusing on results-oriented policies in specific markets and with particular trading partners. These twelve essays by leading international economists explore crucial issues in U.S. trade policy today. Topics examined include the markets for automobile and automobile parts in the United States and Japan, the U.S. response to "unfair" trading practices such as dumping, and the effects of industry- and country-specific policies. Examples include high-technology and agricultural industries and off-shore assembly in U.S. border cities.

The volume concludes that some policies can act to both protect imports and promote exports, that the threat of protectionist policies can often have effects that are as pronounced as their implementation, and that regulatory policy has as great an impact on trade and investment patterns as does trade policy itself. It will be of crucial interest to international trade economists, policy specialists, and political scientists.

In The End of Japanese Cinema Alexander Zahlten moves film theory beyond the confines of film itself, attending to the emergence of new kinds of aesthetics, politics, temporalities, and understandings of film and media. He traces the evolution of a new media ecology through deep historical analyses of the Japanese film industry from the 1960s to the 2000s. Zahlten focuses on three popular industrial genres: Pink Film (independently distributed softcore pornographic films), Kadokawa (big-budget productions as part of a transmedia strategy), and V-Cinema (direct-to-video films). He examines the conditions of these films' production to demonstrate how the media industry itself becomes part of the politics of the media text and to highlight the complex negotiation between media and politics, culture, and identity in Japan. Zahlten points to a different history of film, one in which a once-powerful film industry transformed into becoming only one component within a complex media-mix ecology. In so doing, Zahlten opens new paths for uncovering similar broad processes in other large media societies.

A Study of the Weatherhead East Asian Institute, Columbia University

For Western economists and journalists, the most distinctive facet of the post-war Japanese business world has been the keiretsu, or the insular business alliances among powerful corporations. Within keiretsu groups, argue these observers, firms preferentially trade, lend money, take and receive technical and financial assistance, and cement their ties through cross-shareholding agreements. In The Fable of the Keiretsu, Yoshiro Miwa and J. Mark Ramseyer demonstrate that all this talk is really just urban legend.

In their insightful analysis, the authors show that the very idea of the keiretsu was created and propagated by Marxist scholars in post-war Japan. Western scholars merely repatriated the legend to show the culturally contingent nature of modern economic analysis. Laying waste to the notion of keiretsu, the authors debunk several related “facts” as well: that Japanese firms maintain special arrangements with a “main bank,” that firms are systematically poorly managed, and that the Japanese government guided post-war growth. In demolishing these long-held assumptions, they offer one of the few reliable chronicles of the realities of Japanese business.

The Female as Subject presents 11 essays by an international group of scholars from Europe, Japan, and North America examining what women of different social classes read, what books were produced specifically for women, and the genres in which women themselves chose to write. The authors explore the different types of education women obtained and the levels of literacy they achieved, and they uncover women’s participation in the production of books, magazines, and speeches. The resulting depiction of women as readers and writers is also enhanced by thirty black-and-white illustrations.

For too long, women have been largely absent from accounts of cultural production in early modern Japan. By foregrounding women, the essays in this book enable us to rethink what we know about Japanese society during these centuries. The result is a new history of women as readers, writers, and culturally active agents.

The Female as Subject is essential reading for all students and teachers of Japan during the Edo and Meiji periods. It also provides valuable comparative data for scholars of the history of literacy and the book in East Asia.

The Flash of Capital analyzes the links between Japan’s capitalist history and its film history, illuminating what these connections reveal about film culture and everyday life in Japan. Looking at a hundred-year history of film and capitalism, Eric Cazdyn theorizes a cultural history that highlights the spaces where film and the nation transcend their customary borders—where culture and capital crisscross—and, in doing so, develops a new way of understanding historical change and transformation in modern Japan and beyond.

Cazdyn focuses on three key moments of historical contradiction: colonialism, post-war reconstruction, and globalization. Considering great classics of Japanese film, documentaries, works of science fiction, animation, and pornography, he brings to light cinematic attempts to come to terms with the tensions inherent in each historical moment—tensions between the colonizer and the colonized, between the individual and the collective, and between the national and the transnational. Paying close attention to political context, Cazdyn shows how formal inventions in the realms of acting, film history and theory, thematics, documentary filmmaking, and adaptation articulate a struggle to solve implacable historical problems. This innovative work of cultural history and criticism offers explanations of historical change that challenge conventional distinctions between the aesthetic and the geopolitical.

In an “other world” composed of language—it could be a fathomless Martian well, a labyrinthine hotel or forest—a narrative unfolds, and with it the experiences, memories, and dreams that constitute reality for Haruki Murakami’s characters and readers alike. Memories and dreams in turn conjure their magical counterparts—people without names or pasts, fantastic animals, half-animals, and talking machines that traverse the dark psychic underworld of this writer’s extraordinary fiction.

Fervently acclaimed worldwide, Murakami’s wildly imaginative work in many ways remains a mystery, its worlds within worlds uncharted territory. Finally in this book readers will find a map to the strange realm that grounds virtually every aspect of Murakami’s writing. A journey through the enigmatic and baffling innermost mind, a metaphysical dimension where Murakami’s most bizarre scenes and characters lurk, The Forbidden Worlds of Haruki Murakami exposes the psychological and mythological underpinnings of this other world. Matthew Carl Strecher shows how these considerations color Murakami’s depictions of the individual and collective soul, which constantly shift between the tangible and intangible but in this literary landscape are undeniably real.

Through these otherworldly depths The Forbidden Worlds of Haruki Murakami also charts the writer’s vivid “inner world,” whether unconscious or underworld (what some Japanese critics call achiragawa, or “over there”), and its connectivity to language. Strecher covers all of Murakami’s work—including his efforts as a literary journalist—and concludes with the first full-length close reading of the writer’s newest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage.

In the decades following World War II, municipal leaders and ordinary citizens embraced San Francisco’s identity as the “Gateway to the Pacific,” using it to reimagine and rebuild the city. The city became a cosmopolitan center on account of its newfound celebration of its Japanese and other Asian American residents, its economy linked with Asia, and its favorable location for transpacific partnerships. The most conspicuous testament to San Francisco’s postwar transpacific connections is the Japanese Cultural and Trade Center in the city’s redeveloped Japanese-American enclave.
           
Focusing on the development of the Center, Meredith Oda shows how this multilayered story was embedded within a larger story of the changing institutions and ideas that were shaping the city. During these formative decades, Oda argues, San Francisco’s relations with and ideas about Japan were being forged within the intimate, local sites of civic and community life. This shift took many forms, including changes in city leadership, new municipal institutions, and especially transformations in the built environment. Newly friendly relations between Japan and the United States also meant that Japanese Americans found fresh, if highly constrained, job and community prospects just as the city’s African Americans struggled against rising barriers. San Francisco’s story is an inherently local one, but it also a broader story of a city collectively, if not cooperatively, reimagining its place in a global economy.
 

The History of Modern Japanese Education is the first account in English of the construction of a national school system in Japan, as outlined in the 1872 document, the Gakusei. Divided into three parts tracing decades of change, the book begins by exploring the feudal background for the Gakusei during the Tokugawa era which produced the initial leaders of modern Japan. Next, Benjamin Duke traces the Ministry of Education's investigations of the 1870s to determine the best western model for Japan, including the decision to adopt American teaching methods. He then goes on to cover the eventual "reverse course" sparked by the Imperial Household protest that the western model overshadowed cherished Japanese traditions. Ultimately, the 1890 Imperial Rescript on Education integrated Confucian teachings of loyalty and filial piety with Imperial ideology, laying the moral basis for a western-style academic curriculum in the nation's schools.

Throughout its long history, Japan had no concept of what we call “religion.” There was no corresponding Japanese word, nor anything close to its meaning. But when American warships appeared off the coast of Japan in 1853 and forced the Japanese government to sign treaties demanding, among other things, freedom of religion, the country had to contend with this Western idea. In this book, Jason Ananda Josephson reveals how Japanese officials invented religion in Japan and traces the sweeping intellectual, legal, and cultural changes that followed.

 

Although the wartime Japanese military administration of Indonesia was critical to the making of modern Indonesia, it remains shrouded in mystery, in part because of the systematic destruction of records following the Japanese surrender. These excerpts from personal memoirs of individual Japanese soldiers and administrators provide unique glimpses of the occupation—from the Japanese landing on Java and the Dutch surrender, to the independence proclamation in Jakarta, to the violence in Surabaya following the Japanese surrender. Through the eyes of Japanese at all levels of responsibility, we see the internal Indonesian turmoil, the struggle toward an independence movement, and the efforts of some Japanese to promote independence, despite the policies of imperial headquarters.

Not only does this collection illuminate modern Indonesian history, it provides students of Japanese history with a feeling for the variety of Japanese responses to the war effort. The Japanese Experience in Indonesia will therefore be of interest to Southeast and East Asian historians and political scientists, as well as to those with a more general interest in World War II.