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The third book of our well-received Speculative Japan series, this volume brings more outstanding authors from the Japanese archipelago to English, with a selection of never-before published stories covering a broad range of speculative fiction... from gritty SF to dark fantasy, enjoy a whole new dimension of the imagination!
A selection of outstanding works of fantasy and science fiction from Japan, published here in English for the first time to reveal new and very different slices of the Japanese imagination. Following the success of the first Speculative Japan book, Volume 2 explores the visions of best-selling authors across a range of genres, from the heart-warming fantasy of Awa Naoko to the cold, lonely outer spaces of Tani Koshu. Explore the Japanese view of speculative fiction, and discover the similarities and differences that make cross-cultural literature so satisfying.
New talents from Japan introduced to the English-speaking world. From deep in the mountains of the Japanese countryside to the plains of frigid Pluto, from a warm South Pacific isle to a freezing mountainside, to Mars or inside a lonely psyche... a positive smorgasbord of speculative enjoyment, in English for the first time!
Sexuality, Maternity, and (Re)productive Futures explores how contemporary Japanese female speculative fiction writers have challenged historical inequalities of sex, gender difference, and family roles by imagining alternative worlds where sexes are fluid and childbearing crosses the boundaries of male/female, biological/bioengineered, and human/nonhuman.
In Japan's Reluctant Realism , Michael J. Green examines the adjustments of Japanese foreign policy in the decade since the end of the Cold War. Green presents case studies of China, the Korean peninsula, Russia and Central Asia, Southeast Asia, the international financial institutions, and multilateral forums (the United Nations, APEC, and the ARF). In each of these studies, Green considers Japanese objectives; the effectiveness of Japanese diplomacy in achieving those objectives; the domestic and exogenous pressures on policy-making; the degree of convergence or divergence with the United States in both strategy and implementation; and lessons for more effective US - Japan diplomatic cooperation in the future. As Green notes, its bilateral relationship with the United States is at the heart of Japan's foreign policy initiatives, and Japan therefore conducts foreign policy with one eye carefully on Washington. However, Green argues, it is time to recognize Japan as an independent actor in Northeast Asia, and to assess Japanese foreign policy in its own terms.
Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (Tetsuo: The Iron Man [1988] and Tetsuo II: Body Hammer [1992]), Sato Hisayasu (Muscle [1988] and Naked Blood [1995]) Kurosawa Kiyoshi (Cure [1997], Séance [2000], and Kaïro [2001]), Nakata Hideo (Ringu [1998], Ringu II [1999], and Dark Water [2002]), and Miike Takashi (Audition [1999] and Ichi the Killer [2001]) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or 'monstrous' alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.