By Patrick Smith

ISBN-10: 0307789721

ISBN-13: 9780307789723

The japanese are within the means of re-creating themselves--an exercise they've got undertaken at durations all through historical past, continually caused by way of a mixture of family and worldwide forces. during this landmark e-book, Patrick Smith asserts number of forces--the fulfillment of fabric affluence, the chilly War's finish, and the loss of life of Emperor Hirohito--are now spurring Japan once more towards a primary redefinition of itself.

As Smith argues, this calls for of the West an both thorough reevaluation of the image we have now held of Japan during the last half-century. He unearths how fiscal overdevelopment conceals profound political, social, and mental under-development. And by means of refocusing on "internal history" and the japanese personality, Smith bargains a brand new framework for realizing Japan and the japanese as they are surely. the japanese, he says, are actually trying to regulate the very factor we think distinguishes them: the connection among the person and society.

Timely, measured, and authoritative, this e-book illuminates a brand new Japan, a kingdom getting ready to drop the masks it holds as much as the West and to lead a process its personal within the world.

Jacket photo: the nice Wave of Kanagawa, from 36 perspectives of Mount Fuji (detail) by way of Katsushika Hokusai. inner most assortment.

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From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed. Chieko I. : Greenwood, 1994), pp. 132–143. 2. In the early to mid-Meiji, the terms “keishu¯ ” and “joryu¯ ” (woman’s style) were used interchangeably to define the works of women. But keishu¯ was used with more frequency when referring to women writers collectively. By the end of the Meiji period, joryu¯ replaced keishu¯ in this regard as well, except when critics referred retrospectively to the women writers of the earlier age.

University of Chicago, 1991), p. 93. Sakaki, “Sliding Door,” p. 4. As cited and translated in Tomi Suzuki, Narrating the Self: Fictions of Japanese Modernity (Stanford: Stanford University Press, 1996), p. 24. Akiyama Shun, “Ima joryu¯ bungaku to wa nani ka: Sengo shi to no kanren de,” Kokubungaku kaishaku to ky¯zai o no kenkyu¯ 15 (December 1980): 124–127, as quoted and translated in Joan Ericson, “The Origins of the Concept of Women’s Literature,” in The Woman’s Hand: Gender and Theory in Japanese Women’s Writing, ed.

They were articulate, intellectually curious, and proudly conscious of their need to assert control over their own destiny—both physical and intellectual. Writing, whether or not they took up the brush in a conscious effort to protest, offered these women access to the ever-shifting spheres beyond the ken of family, home, and appropriate social roles. introduction: meiji women writers 25 notes 1. From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed.

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