This publication is the result of a three-year research project between eminent Russian and Japanese historians. It offers an an in-depth analysis of the history of relations between Russia and Japan from the 18th century until the present day. The format of the publication as a parallel history presents views and interpretations from Russian and Japanese perspectives that showcase the differences and the similarities in their joint history. The fourteen core sections, organized along chronological lines, provide assessments on the complex and sensitive issues of bilateral Russo-Japanese relations, including the territory problem as well as economic exchange.
Engaging the Other: “Japan and Its Alter-Egos”, 1550-1850 Ronald P. Toby examines new discourses of identity and difference in early modern Japan, a discourse catalyzed by the “Iberian irruption,” the appearance of Portuguese and other new, radical others in the sixteenth century. The encounter with peoples and countries unimagined in earlier discourse provoked an identity crisis, a paradigm shift from a view of the world as comprising only “three countries” (
sangoku), i.e., Japan, China and India, to a world of “myriad countries” (
bankoku) and peoples. In order to understand the new radical alterities, the Japanese were forced to establish new parameters of difference from familiar, proximate others, i.e., China, Korea and Ryukyu. Toby examines their articulation in literature, visual and performing arts, law, and customs.
If any scientific object has over the course of human history aroused the fascination of both scientists and artists worldwide, it is beyond doubt the moon. The moon is also by far the most interesting celestial body when it comes to reflecting on the dualistic nature of photography as applied to the study of the universe. Against this background,
Selene’s Two Faces sets out to look at the scientific purpose, aesthetic expression, and influence of early lunar drawings, maps and photographs, including spacecraft imaging. In its approach,
Selene’s Two Faces is intermedial, intercultural and interdisciplinary. It brings together not only various media (photography, maps, engravings, lithographs, globes, texts), and cultures (from Europe, America and Asia), but also theoretical perspectives.
Women, Rites, and Ritual Objects in Premodern Japan, edited by Karen M. Gerhart, is a multidisciplinary examination of rituals featuring women, in which significant attention is paid to objects produced for and utilized in these rites as a lens through which larger cultural concerns, such as gender politics, the female body, and the materiality of the ritual objects, are explored. The ten chapters encounter women, rites, and ritual objects in many new and interactive ways and constitute a pioneering attempt to combine ritual and gendered analysis with the study of objects.
Contributors include: Anna Andreeva, Monica Bethe, Patricia Fister, Sherry Fowler, Karen M. Gerhart, Hank Glassman, Naoko Gunji, Elizabeth Morrissey, Chari Pradel, Barbara Ruch, Elizabeth Self.
Disassembling the Celebrity Figure: Credibility and the Incredible questions the credibility of celebrity brands, exploring how fandoms depend on perceptions and representations of authenticity. It asks how authenticity is projected by global celebrities, and how fans consume these carefully curated personas, and explores how the media breaks down barriers between celebrities and fans. It presents a discussion of celebrities as brands, exploring how their images are maintained after they pass away. It also offers analysis of the ways in which historical figures are later reconstructed as celebrities, and explores how their images are circulated and consumed across contemporary media. Ultimately, the book examines authenticity in celebrity culture by looking at fandom, media representation, branding and celebrity deaths.
Contributors are Marie Josephine Bennett, Lise Dilling-Nielsen, Kylo-Patrick R. Hart, Mingyi Hou, Renata Iwicka, Ephraim Das Janssen, Magdalen Wing-Chi Ki, Celia Lam, Mirella Longo, Aliah Mansor, Jackie Raphael and Millicent Weber.
Dancer, Nun, Ghost, Goddess explores the story of the dancers Giō and Hotoke, which first appeared in the fourteenth-century narrative
Tale of the Heike. The story of the two love rivals is one of loss, female solidarity, and Buddhist salvation. Since its first appearance, it has inspired a stream of fiction, theatrical plays, and visual art works. These heroines have become the subjects of lavishly illustrated hand scrolls, ghosts on the noh stage, and Buddhist and Shinto goddesses. Physical monuments have been built to honor their memories; they are emblems of local pride and centerpieces of shared identity. Two beloved characters in the Japanese literary imagination, Giō and Hotoke are also models that have instructed generations of women on how to survive in a male-dominated world.
In this comprehensive study of the Tenjukoku Shūchō Mandara, Chari Pradel provides a new interpretation of this assemblage of embroidered textile fragments associated with Prince Shōtoku (574–622). By analyzing the scant visual evidence in the context of East Asian visual art of the period, the author recreates the subject represented on the seventh century artifact and demonstrates that it was not Buddhist (as previously believed), but associated with the funerary iconography of China that arrived in Japan with immigrants from the Korean peninsula. In addition, by closely investigating the context for the compilation of each of the documents associated with the artifact, Pradel illuminates the history of the embroidery and its changing significance and perception over the centuries.
The ubiquity of references to dogs in medieval and early modern texts and images must at some level reflect their actual presence in those worlds, yet scholarly consideration of this material is rare and scattered across diverse sources. This volume addresses that gap, bringing together fifteen essays that examine the appearance, meaning, and significance of dogs in painting, sculpture, manuscripts, literature, and legal records of the period, reaching beyond Europe to include cultural material from medieval Japan and Islam. While primarily art historical in focus, the authors approach the subject from a range of disciplines and with varying methodology that ultimately reveals as much about dogs as about the societies in which they lived.
Contributors are Kathleen Ashley, Jane Carroll, Emily Cockayne, John Block Friedman, Karen M. Gerhart, Laura D. Gelfand, Craig A. Gibson, Walter S. Gibson, Nathan Hofer, Jane C. Long, Judith W. Mann, Sophie Oosterwijk, Elizabeth Carson Pastan, Donna L. Sadler, Alexa Sand, and Janet Snyder.
Time holds an enduring fascination for humans.
Time and Trace investigates the human experience and awareness of time and time’s impact on a wide range of cultural, psychological, and artistic phenomena, from reproductive politics and temporal logic to music and theater, from law to sustainability, from memory to the Vikings. The volume presents selected essays from the 15th triennial conference of the International Society for the Study of Time from the arts (literature, music, theater), history, law, philosophy, science (psychology, biology), and mathematics. Taken together, they pursue the trace of time into the past and future, tracing temporal processes and exploring the traces left by time in individual experience as well as culture and society.
Contributors are: Michael Crawford, Orit Hilewicz, Rosemary Huisman, John S. Kafka, Erica W. Magnus, Arkadiusz Misztal, Carlos Montemayor, Stephanie Nelson, Peter Øhrstrøm, Jo Alyson Parker, Thomas Ploug, Helen Sills, Lasse C. A. Sonne, Raji C. Steineck, and Frederick Turner.
The Rhetoric of Photography in Modern Japanese Literature, Atsuko Sakaki closely examines photography-inspired texts by four Japanese novelists: Tanizaki Jun’ichirō (1886-1965), Abe Kōbō (1924-93), Horie Toshiyuki (b. 1964) and Kanai Mieko (b. 1947). As connoisseurs, practitioners or critics of this visual medium, these authors look beyond photographs’ status as images that document and verify empirical incidents and existences, articulating instead the physical process of photographic production and photographs’ material presence in human lives. This book offers insight into the engagement with photography in Japanese literary texts as a means of bringing forgotten subject-object dynamics to light. It calls for a fundamental reconfiguration of the parameters of modern print culture and its presumption of the transparency of agents of representation.