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The novella Romaji Diary represents the first instance of a Japanese writer using romaji (roman script) to tell stories in a way that could not be told in kana or kanji. Sad Toys is a collection of 194 Tanka, the traditional 31 syllable poems that are evocative of Japan's misty past and its tentative steps into the wider world. The publication of this edition of two of Takuboku Ishikawa's finest and most popular works together in translation has proven to be interesting from various standpoints. Romaji Diary and the collection of tanka, Sad Toys, while different forms of literature, are not as dissimilar as they appear on the surface. Takuboku himself wrote that poetry "must be an exact report, an honest diary, of the changes in a man’s emotional life," and these tanka are indeed as much a diary as a standard prose one. Both works reflect clearly, honestly, and poignantly the emotions and philosophy of a complex individual living in a time of profound change in Japan. Romaji Diary is here presented in full in English for the first time.
The novella Romaji Diary represents the first instance of a Japanese writer using Romaji - roman script - to relate stories in non-kana or kanji format. Sad Toys is a collection of 194 Tanka, the traditional 31-syllable poems that evoke Japan's misty past.
A collection of journals written by Japanese men and women who journeyed to America, Europe, and China between 1860 and 1920. The diaries faithfully record personal views of the countries and their cultures and sentiments that range from delight to disillusionment.
A fascinating look into the world of the Geisha through the 400-year-old art of Ko-Uta, the traditional song form sung to three-stringed shamisen music. It is a vivid evocation of the romanticism of feudal Japan. Traditional Japanese ko–uta are the musical embodiment of the geisha in the intoxicating "flower and willow world." Literally, these are "little songs" sung by a geisha who accompanies herself on the three–stringed shamisen. Liza Dalby, fully trained in the arts of the geisha and fluent in Japanese, is a magnificent guide who brings alive the spirit of this delightful musical form. Little Songs of the Geisha presents beautiful calligraphy and vivid translations of twenty–five ko–uta, to which Liza Dalby adds lively explanatory notes illuminating the puns and Japanese literary devices which might otherwise elude the Western reader. To draw out the fullest essence of the floating world, Little Songs of the Geisha offers an appendix with traditional musical notations for the shamisen as well as in standard Western form.
The essays in Formations of Colonial Modernity in East Asia challenge the idea that notions of modernity and colonialism are mere imports from the West, and show how colonial modernity has evolved from and into unique forms throughout Asia. Although the modernity of non-European colonies is as indisputable as the colonial core of European modernity, until recently East Asian scholarship has tried to view Asian colonialism through the paradigm of colonial India (for instance), failing to recognize anti-imperialist nationalist impulses within differing Asian countries and regions. Demonstrating an impatience with social science models of knowledge, the contributors show that binary categories focused on during the Cold War are no longer central to the project of history writing. By bringing together articles previously published in the journal positions: east asia cultures critique, editor Tani Barlow has demonstrated how scholars construct identity and history, providing cultural critics with new ways to think about these concepts--in the context of Asia and beyond. Chapters address topics such as the making of imperial subjects in Okinawa, politics and the body social in colonial Hong Kong, and the discourse of decolonization and popular memory in South Korea. This is an invaluable collection for students and scholars of Asian studies, postcolonial studies, and anthropology. Contributors. Charles K. Armstrong, Tani E. Barlow, Fred Y. L. Chiu, Chungmoo Choi, Alan S. Christy, Craig Clunas, James A. Fujii, James L. Hevia, Charles Shiro Inouye, Lydia H. Liu, Miriam Silverberg, Tomiyama Ichiro, Wang Hui
Tuberculosis ran rampant in Japan during the late Meiji and Taisho years (1880s–1920s). Many of the victims of the then incurable disease were young female workers from the rural areas, who were trying to support their families by working in the new textile factories. The Japanese government of the time, however, seemed unprepared to tackle the epidemic. Elisheva A. Perelman argues that pragmatism and utilitarianism dominated the thinking of the administration, which saw little point in providing health services to a group of politically insignificant patients. This created a space for American evangelical organizations to offer their services. Perelman sees the relationship between the Japanese government and the evangelists as one of moral entrepreneurship on both sides. All the parties involved were trying to occupy the moral high ground. In the end, an uneasy but mutually beneficial arrangement was reached: the government accepted the evangelists’ assistance in providing relief to some tuberculosis patients, and the evangelists gained an opportunity to spread Christianity further in the country. Nonetheless, the patients remained a marginalized group as they possessed little agency over how they were treated. “Perelman captures the strategies that enabled Protestant missionaries to become a central force in treating tuberculosis and providing social services in prewar Japan. Acting as ‘moral entrepreneurs,’ the medical missionaries deftly raised funds abroad, gained support from the Japanese state, gained converts, and cultivated a corps of Japanese medical practitioners.” —Sheldon Garon, Princeton University; author of Molding Japanese Minds: The State in Everyday Life “Based on a wide range of primary and secondary sources, this groundbreaking book traces evangelical Christianity and the work of medical missions in late nineteenth- and early twentieth-century Japan. It is a must-read for anyone interested in the history of Christianity, disease, medicine, or public health in modern Japan.” —William Johnston, Wesleyan University; author of The Modern Epidemic: A History of Tuberculosis in Japan
"Nobody has thought as widely and as concretely (therefore, as helpfully) as Richie has about how a single distinctive culture gathers up contradictions, coheres, works, resists change, and changes.--Susan Sontag"
Akiko Yosano's Tangled Hair, published in 1901, had a sensational impact on Japanese literature, and we are pleased to make this highly praised translation (originally published 30 years a
This compilation of twenty-one favorite fairy tales introduces the rich world of Japanese fantasy, a world of ghouls, goblins, and ogres; sea serpents and sea kings; kindly animals and magic birds; demons and dragons; princes and princesses. In "My Lord Bag of Rice" goldfish dancers and carp musicians delight the brave warrior Hidesato; in "The Mirror of Matsuyama" a lonely daughter endures her fate with the help of a "shining disc" given by her departed mother; "The Jellyfish and the Monkey" explains how that sea creature lost its bones; and the hero of "Momotaro," a tale familiar to every child in Japan, is born from a peach that washes up on a riverbank. Settings and characters vary from tale to tale but the effect of each story in this volume is the same—to transport the reader, young or old, to mysterious shores, magical kingdoms, and mythical lands. The Japanese Fairy Book is a wondrous introduction to Japan's rich fantasy tradition.
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.