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The famous ryosai-kenbo or 'good wife and wise mother' role of women was not, after all, a traditional Confucian view but a modern construct. In fact, its first appearance in Japan was in the latter half of the 19th century, due principally to the influence of European ideas about women.
Winner of the 2013 Choice Outstanding Academic Title Award The famous ryōsai kenbo, or ‘good wife, wise mother’ role of women was not, after all, a traditional Confucian view but a modern construct. In fact, its first appearance in Japan, as Koyama Shizuko points out, was in the latter half of the nineteenth century – due principally to the influence of European ideas about women. Girls at the time were proud to fulfill their new role of contributing to not just the family but to the formation of the state. Koyama’s discovery has transformed how we see modern women’s history in Japan and the similar discoveries that have followed regarding China's ‘wise wife, good mother’ and Korea's ‘wise mother, good wife.’ Previous studies have interpreted ryōsai kenbo thought, which was widely recognized in nationally-sanctioned educational standards, as a ‘backward’, ‘feudal’ or even ‘reactionary’ view of women, and therefore peculiar to girls’ and womens’ education in prewar Japan. As a result, ryōsai kenbo thought was seen to be completely distinct from postwar views of women in Japan and Western Europe that have also emphasized the role of women as wives and mothers. Here, however, ryōsai kenbo thought is examined as a mode of thought inseparable from such issues as the formation of the modern citizen-state and the formation of the ‘modern family.’ Instead of reducing it to a specific, pre-World War II Japanese ideal of womanhood, Koyama argues that ryōsai kenbo thought is, in fact, a modern mode of thought related to, and having much in common with, views of the qualities desirable in a woman both in postwar Japanese society, as well as in modern Western nations and beyond.
The Culture of Japan as Seen through Its Leisure brings together scholars of various disciplines from around the globe to discuss different forms of leisure activities in past and present Japan, thus enriching our knowledge of Japanese culture. Arranged in five sections, the volume focuses on everyday activities such as leisure, sports, travel and nature, theater and music, playing games, and gambling. The editors place the treated leisure activities into a historical frame of reference and relate them to the well-known classification scheme of games by Roger Caillois.
Presenting a vivid social history of “the new woman” who emerged in Japanese culture between the world wars, The New Japanese Woman shows how images of modern women burst into Japanese life in the midst of the urbanization, growth of the middle class, and explosion of consumerism resulting from the postwar economic boom, particularly in the 1920s. Barbara Sato analyzes the icons that came to represent the new urban femininity—the “modern girl,” the housewife, and the professional working woman. She describes how these images portrayed in the media shaped and were shaped by women’s desires. Although the figures of the modern woman by no means represented all Japanese women, they did challenge the myth of a fixed definition of femininity—particularly the stereotype emphasizing gentleness and meekness—and generate a new set of possibilities for middle-class women within the context of consumer culture. The New Japanese Woman is rich in descriptive detail and full of fascinating vignettes from Japan’s interwar media and consumer industries—department stores, film, radio, popular music and the publishing industry. Sato pays particular attention to the enormously influential role of the women’s magazines, which proliferated during this period. She describes the different kinds of magazines, their stories and readerships, and the new genres the emerged at the time, including confessional pieces, articles about family and popular trends, and advice columns. Examining reactions to the images of the modern girl, the housewife, and the professional woman, Sato shows that while these were not revolutionary figures, they caused anxiety among male intellectuals, government officials, and much of the public at large, and they contributed to the significant changes in gender relations in Japan following the Second World War.
The traditional Japanese ideology of ryosai kenbo--good wife, wise mother--has relegated women to the home after marriage and childbirth. But in increasing numbers, Japanese women are choosing to remain in the workplace long past those milestones, despite the uneasy and sometimes hostile response of management to their persistence. Glenda Roberts spent a year at a large garment manufacturer in the Kansai region of Japan, working on the assembly line and documenting the lives of her female coworkers. The result of that study is this persuasive, multilayered analysis of a vital but little-examined sector of the Japanese workforce--the female permanent blue-collar worker. Through the workers' personal accounts and vignettes of factory life, Roberts examines why these women work, what satisfaction they find in remaining in the workforce, and how they meet the demands of work and household, caught in a contradiction between traditional sociocultural ideology and modern economic reality. Roberts' portrait gives us the clear voices of these women, who work with quiet determination to achieve the culturally radical goal of lifetime employment, a goal traditionally available only to men.
Gendered Power sheds light on the sources of power for three prominent women of the Meiji period: Meiji Empress Haruko; public speaker, poet, and diarist Nakajima Shoen; and educator and prolific author Shimoda Utako. By focusing on the role Chinese classics (kanbun) played in the language employed by elite women, the chapters focus on how Empress Haruko, Shoen, and Shimoda Utako contributed new expectations for how women should participate in a modernizing Japan. By being in the public eye, all three women countered criticism of and commentary on their writings and activities, which they parried by navigating gender constraints. The success or failure as women ascribed to these three figures sheds light on the contradictions inhabited by them during a transformative period for Japanese women. By proposing and interrogating the possibility of Meiji women’s power, the book examines contradictions that were symptomatic of their struggles within the vast social, cultural, and political transformations that took place during the period. The book demonstrates that an examination of that conflict within feminist history is crucial in order to understand what radical resistance meant in the face of women-centered authority.
The Reproductive Bargain reveals the institutional sources of labor insecurities behind Japan’s postwar employment system. This economic juggernaut’s decline cannot be understood without reference to the reproductive bargain. The historical terms of the reproductive bargain rests on the establishment of company citizenship in support of a standard employment relationship, privileging the male breadwinner in calculations for benefits in exchange for the salarymen working long hours in relatively secure jobs at the enterprise and relying on women’s unpaid reproductive labor in the family and increasingly on women’s waged work in nonstandard jobs. Such institutionalized relationships, formerly the engines of growth and stability, drag economic expansion and employment security. Gendering institutional analysis is a key to deciphering the enigma of Japanese capitalism.
The all-female Takarazuka Revue is world-famous today for its rococo musical productions, including gender-bending love stories, torridly romantic liaisons in foreign settings, and fanatically devoted fans. But that is only a small part of its complicated and complicit performance history. In this sophisticated and historically grounded analysis, anthropologist Jennifer Robertson draws from over a decade of fieldwork and archival research to explore how the Revue illuminates discourses of sexual politics, nationalism, imperialism, and popular culture in twentieth-century Japan. The Revue was founded in 1913 as a novel counterpart to the all-male Kabuki theater. Tracing the contradictory meanings of Takarazuka productions over time, with special attention to the World War II period, Robertson illuminates the intricate web of relationships among managers, directors, actors, fans, and social critics, whose clashes and compromises textured the theater and the wider society in colorful and complex ways. Using Takarazuka as a key to understanding the "logic" of everyday life in Japan and placing the Revue squarely in its own social, historical, and cultural context, she challenges both the stereotypes of "the Japanese" and the Eurocentric notions of gender performance and sexuality.
Relocating Authority examines the ways Japanese Americans have continually used writing to respond to the circumstances of their community’s mass imprisonment during World War II. Using both Nikkei cultural frameworks and community-specific history for methodological inspiration and guidance, Mira Shimabukuro shows how writing was used privately and publicly to individually survive and collectively resist the conditions of incarceration. Examining a wide range of diverse texts and literacy practices such as diary entries, note-taking, manifestos, and multiple drafts of single documents, Relocating Authority draws upon community archives, visual histories, and Asian American history and theory to reveal the ways writing has served as a critical tool for incarcerees and their descendants. Incarcerees not only used writing to redress the “internment” in the moment but also created pieces of text that enabled and inspired further redress long after the camps had closed. Relocating Authority highlights literacy’s enduring potential to participate in social change and assist an imprisoned people in relocating authority away from their captors and back to their community and themselves. It will be of great interest to students and scholars of ethnic and Asian American rhetorics, American studies, and anyone interested in the relationship between literacy and social justice.