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In Edo-period Japan, readers relished works known as kibyōshi that combined text and illustration on the same page, much like comic books and manga. Monsters often took center stage in these stories. This book presents a selection of Edo monster comics in English for the first time, introducing readers to a captivating, humorous, and eye-opening genre of popular fiction. The River Imp and the Stinky Jewel and Other Tales collects five kibyōshi published between 1778 and 1807, chosen for both entertainment value and stylistic variety. Their authors reinvent traditional Japanese monsters as contemporary characters who mirror the foibles of the human world. They tell stories such as: The lover of the long-necked rokuro-kubi makes a ridiculous attempt to rescue her from her human captor. A mischievous river creature steals a jewel lodged deep inside a boy’s buttocks, setting off a curious chain of events involving a historical samurai and a real-life “fart man.” A demon girl from hell is sent to the world of the living in order to destroy a sacred Buddhist statue—but things don’t go quite as she plans. Exploring the grotesque, comic, bumbling, salacious, and charming world of these creatures, the stories also provide a glimpse into the society and culture of Edo-period Japan through the monsters’ distorted lens. The kibyōshi are reproduced in their entirety, conveying the feel of the original comics and allowing readers to experience the full visual impact of the monsters.
Significantly expanded and updated—a lively excursion into Japanese folklore and its increasing influence within global popular culture. Monsters, spirits, fantastic beings, and supernatural creatures haunt the folklore and popular culture of Japan. Broadly labeled yōkai, they appear in many forms, from tengu mountain goblins and kappa water sprites, to shape-shifting kitsune foxes and long-tongued ceiling-lickers. Popular today in anime, manga, film, and video games, many yōkai originated in local legends, folktales, and regional ghost stories. The Book of Yōkai invites readers to examine how people create, transmit, and collect folklore, and how they make sense of the mysteries in the world around them. Revised and expanded, this second edition features fifty new illustrations, including an all-new yōkai gallery of stunning color images tracing the visual history of yōkai across centuries. In clear and accessible language, Michael Dylan Foster unpacks the cultural and historical contexts of yōkai, interpreting their varied meanings and introducing people who have pursued them through the ages.
Part of a formidable publishing industry, cheap yet eye-catching graphic narratives consistently charmed early modern Japanese readers for around two hundred years. These booklets were called kusazōshi (“grass books”). Graphic Narratives from Early Modern Japan is the first English-language publication of its kind. It enables anyone new to kusazōshi to gain comprehensive knowledge of the field. For the specialist, our edited volume marks a turning point in scholarship, uncovering fresh research avenues. While exploring the powerful effects of the visual-verbal imagination, this collection opens up bold new vistas on the act of reading and advances provocations around comics and manga. Contributors are: Jaqueline Berndt, Joseph Bills, Michael Emmerich, Adam L. Kern, Fumiko Kobayashi, Frederick Feilden, Laura Moretti, Matsubara Noriko, Satō Satoru, Satō Yukiko, Satoko Shimazaki, Takagi Gen, Tanahashi Masahiro, Ellis Tinios, Tsuda Mayumi and, Glynne Walley.
This is the first of a three-volume anthology of Edo- and Meiji-era urban literature that includes An Edo Anthology: Literature from Japan’s Mega-City, 1750–1850 and A Tokyo Anthology: Literature from Japan’s Modern Metropolis, 1850–1920. The present work focuses on the years in which bourgeois culture first emerged in Japan, telling the story of the rising commoner arts of Kamigata, or the “Upper Regions” of Kyoto and Osaka, which harkened back to Japan’s middle ages even as they rebelled against and competed with that earlier era. Both cities prided themselves on being models and trendsetters in all cultural matters, whether arts, crafts, books, or food. The volume also shows how elements of popular arts that germinated during this period ripened into the full-blown consumer culture of the late-Edo period. The tendency to imagine Japan’s modernity as a creation of Western influence since the mid-nineteenth century is still strong, particularly outside Japan studies. A Kamigata Anthology challenges such assumptions by illustrating the flourishing phenomenon of Japan’s movement into its own modernity through a selection of the best examples from the period, including popular genres such as haikai poetry, handmade picture scrolls, travel guidebooks, kabuki and joruri plays, prose narratives of contemporary life, and jokes told by professional entertainers. Well illustrated with prints from popular books of the time and hand scrolls and standing screens containing poems and commentaries, the entertaining and vibrant translations put a spotlight on texts currently unavailable in English.
Presents six detective stories from Japanese mystery writer, Seicho Matsumoto.he puzzle in these tales lies not so much in "who dunnit" but rather in howt was done.
In A Medicated Empire, Timothy M. Yang explores the history of Japan's pharmaceutical industry in the early twentieth century through a close account of Hoshi Pharmaceuticals, one of East Asia's most influential drug companies from the late 1910s through the early 1950s. Focusing on Hoshi's connections to Japan's emerging nation-state and empire, and on the ways in which it embraced an ideology of modern medicine as a humanitarian endeavor for greater social good, Yang shows how the industry promoted a hygienic, middle-class culture that was part of Japan's national development and imperial expansion. Yang makes clear that the company's fortunes had less to do with scientific breakthroughs and medical innovations than with Japan's web of social, political, and economic relations. He lays bare Hoshi's business strategies and its connections with politicians and bureaucrats, and he describes how public health authorities dismissed many of its products as placebos at best and poisons at worst. Hoshi, like other pharmaceutical companies of the time, depended on resources and markets opened up, often violently, through colonization. Combining global histories of business, medicine, and imperialism, A Medicated Empire shows how the development of the pharmaceutical industry simultaneously supported and subverted regimes of public health at home and abroad.
How does a small provincial city in southern Japan become the site of a world-famous wheelchair marathon that has been attracting the best international athletes since 1981? In More Than Medals, Dennis J. Frost answers this question and addresses the histories of individuals, institutions, and events—the 1964 Paralympics, the FESPIC Games, the Ōita International Wheelchair Marathon, the Nagano Winter Paralympics, and the 2021 Tokyo Summer Games that played important roles in the development of disability sports in Japan. Sporting events in the postwar era, Frost shows, have repeatedly served as forums for addressing the concerns of individuals with disabilities. More Than Medals provides new insights on the cultural and historical nature of disability and demonstrates how sporting events have challenged some stigmas associated with disability, while reinforcing or generating others. Frost analyzes institutional materials and uses close readings of media, biographical sources, and interviews with Japanese athletes to highlight the profound—though often ambiguous—ways in which sports have shaped how postwar Japan has perceived and addressed disability. His novel approach highlights the importance of the Paralympics and the impact that disability sports have had on Japanese society. Open access edition funded by the National Endowment for the Humanities.
Comfort Women Activism follows the movement championed by pioneer activists in Japan to demonstrate how their activism has kept a critical interpretation of the atrocities against women committed before and during World War II alive. The book shows how the challenges faced by the activists have evolved from the beginning of their uphill battles all the way to contemporary times. They were able to change social attitudes and get their message across. Yet the ambiguous position of post–World War II Japan’s government—which has consistently rejected any sign of guilt over its imperialist past—has kept the activists on their toes. Pivotal and serendipitous turning points have also played a crucial role. In particular, in the early 1990s, the post-Soviet world order assisted in creating the appropriate conditions for the movement to gather transnational support. These conditions have eroded over time; yet due to the activists’ fidelity to survivors, the movement has persisted to this day. Tai uses the activists’ narratives to show the multifaceted aspects of the movement. By measuring these narratives against scholarly debates, she argues that comfort women activism in Japan could be called a new form of feminism. “A manuscript of this depth covering such a range of material about the comfort women movement has not previously been available in English. I am deeply impressed by the author’s scholarly commitment and humanitarian compassion. The accounts provided in the book are particularly moving, putting a human face on the transnational comfort women movement that has had a global impact.” —Peipei Qiu, Vassar College “Eika Tai urges a postcolonial understanding of how activists in Japan came to embrace the issue of ‘comfort women,’ make it their own, and engage on a transnational, multigenerational effort. Her book is an absolutely clear rejection of those who portray this historical topic as activism meant to ‘hate Japan.’ Instead, she claims that this issue is at the heart of a divided Japan.” —Alexis Dudden, University of Connecticut
Shonen Knife-an all-female punk trio from Osaka, Japan-cultivated a global fan base that has included the likes of Nirvana's Kurt Cobain and Sonic Youth's Thurston Moore. Their 1998 album Happy Hour, filled with tunes about delicacies ranging from sushi to banana chips, encapsulates the band's charming fusion of cuteness with punk rock cool. Tracing histories of food and josei rock in Japan, McCorkle Okazaki outlines the ways Shonen Knife has, over the last forty years, consistently used seemingly straightforward songs about food to comment on gender stereotypes in popular culture.