Josai University - Review of Japanes Culture and Society
Issues

 
 
Volume XXVII   December 2016
Special Journal Issue in Honor of Kyoko Selden
Guest Editors: Bert Winther-Tamaki and Kenichi Yoshida
  • Mizuta Noriko, In Remembrance of Kyoko Selden (1)
  • Brett de Bary, Remembering Kyoko Selden (3)
  • Alisa Freedman, Introduction to the Special Issue in Honor of Kyoko Selden (6)

Classical Literature

  • Joan Piggott, Introduction to the Taiheiki: The Chronicle of Great Peace (11)
    Selections from the Taiheiki: The Chronicle of Great Peace (fourteenth century)
    (translated by Kyoko Selden and Joan Piggott) (17)
  • Kyoko Selden, Introduction to the Hinin Taiheiki: The Paupers’ Chronicle of Peace (26)
    Hinin Taiheiki: The Paupers’ Chronicle of Peace (1688) (translated by Kyoko Selden with Joshua Young) (32)
  • Sasaki Dōyo, Renga by Sasaki Dōyo Selected from the Tsukubashū (Tsukuba Anthology, 1356-57) (translated and annotated by Kyoko Selden) (55)

Madame Butterfly

  • Tsubouchi Shikō, The Takarazuka Concise Madame Butterfly (Shukusatsu Chōchō-san, 1931) (translated by Kyoko Selden with Lili Selden and introduced by Arthur Groos) (63)

Recollections of War

  • Kyoko Selden, A Childhood Memoir of Wartime Japan (with an afterword by Akira Iriye) (81)

Atomic Bomb Literature

  • Hayashi Kyōko, Masks of Whatchamacallit: A Nagasaki Tale (Nanjamonja no men, 1976) (translated by Kyoko Selden) (104)

Ainu Literature

  • Chiri Yukie, The Song the Owl God Himself Sang. “Silver Droplets Fall Fall All Around.” An Ainu Tale (Kamuichikap kamui yaieyukar, “Shirokanipe ranran pishkan,” 1923) (translated and introduced by Kyoko Selden) (127)

Okinawan Stories

  • Kayano Shigeru, The Goddess of the Wind and Okikurmi (Ainu no min’wa: kaze no kami to Okikurmi, 1975) (translated and introduced by Kyoko Selden) (138)
  • Uehara Noboru, Our Gang Age, 1970 (1970 nen no gyangu eiji, 1982) (translated by Kyoko Selden and Alisa Freedman) (147)
  • Sakiyama Tami, Excerpt from Swaying, Swinging (Yuratiku yuritiku, 2003) (translated by Kyoko Selden and Alisa Freedman) (160)

Art and Beauty

  • Artistic Legacy of the Fifteenth Century Selections from Japan: The Shaping of Daimyo Culture, 1185-1868 (translated by Kyoko Selden) (168)
  • Nagai Kafū, Selections from “Ukiyo-e Landscapes and Edo Scenic Places” (Ukiyo-e no sansuiga to Edo meisho, 1914) (translated by Kyoko Selden and Alisa Freedman) (175)
  • Cho Kyo, Selections from The Search for the Beautiful Woman: A Cultural History of Japanese and Chinese Beauty (Bijo towa nanika: Nitchū bijin no bunkashi, 2001) (translated and introduced by Kyoko Selden) (184)

Poetry

  • Mitsuhashi Toshio, Selected Haiku (1930s-90s) (translated by Kyoko Selden and introduced by Hiroaki Sato) (191)
  • Kyoko Selden, Three Poems (1970s) (197)

Biography

  • Suzuki Shin’ichi, Selections from Nurtured by Love (Ai ni ikiru, 1966) (translated by Kyoko Selden and Lili Selden and introduced by Lili Selden) (210)

Women and Modernism

  • Osaki Midori, Wandering in the Realm of the Seventh Sense (Dainana kankai hōkō, 1931) (translated by Kyoko Selden and Alisa Freedman) (220)

Calligraphy

  • Three Heian Poems (translation with calligraphy by Kyoko Selden) (275)

Bibliography

  • Selected Works by Kyoko Selden (279)

On the Contributors (285)

 
 
Volume XXVI   December 2014
Commensurable Distinctions: Intercultural Negotiations of Modern and Contemporary Japanese Visual Culture
Guest Editors: Bert Winther-Tamaki and Kenichi Yoshida

Introduction

  • Bert Winther-Tamaki and Kenichi Yoshida, Commensurable Distinctions: Intercultural Negotiations of Modern and Contemporary Japanese Visual Culture (1)

Intersectionality

  • Bert Winther-Tamaki, Six Episodes of Convergence Between Indian, Japanese, and Mexican Art from the Late Nineteenth Century to the Present (13)
  • Yasuko Tsuchikane, Picasso as Other—Koyama Fujio and the Polemics of Postwar Japanese Ceramics (33)
  • Kojima Kaoru, Pictures of Beautiful Women: A Modern Japanese Genre and Its Counterparts in Europe, China, Korea, and Vietnam (50)

Realpolitik

  • Inaga Shigemi, A “Pirates’ View” of Art History (65)
  • Takashina Erika, From The Sea Beyond: Hōsui, Seiki, Tenshin and the West
    Sea of Hybridization: In Dispute over Urashima (translated by Christina M. Spiker) (80)
  • Yamamoto Sae, From The Representation of “Japan” in Wartime World’s Fairs
    Modernists and “Japaneseness” (translated by Aoki Fujio, Jessica Jordan, and Paul W. Ricketts) (104)
  • Adrian Favell, Resources, Scale and Recognition in Japanese Contemporary Art: “Tokyo Pop” and the Struggle for a Page in Art History (135)

Driftworks

  • Ozawa Tsuyoshi, Four Projects (154)
  • Kinoshita Naoyuki, From The Sideshow Called Fine Art (translated by Michael P. Cronin) (161)
  • Chinghsin Wu, Reality Within and Without: Surrealism in Japan and China in the Early 1930s (185)
  • Karen M. Fraser, Fukuhara Shinzō and the “Japanese” Pictorial Aesthetic (205)

Abstraction

  • Kitazawa Noriaki, From Temple of the Eye: Notes on the Reception of “Fine Art”
    (translated by Kenneth Masaki Shima) (224)
  • Kinoshita Nagahiro, From Van Gogh as Intellectual History: The Reception of Reproductions and Imagination (translated by Kevin Singleton) (238)
  • Yuko Kikuchi, Minor Transnational Inter-Subjectivity in the People’s Art of Kitagawa Tamiji (262)
  • Hayashi Michio, The Imagined Map of the Nation: Postwar Japan from 1945 to 1970 (281)

Sedimentation

  • Okazaki Kenjirō, A Place to Bury Names, or Resurrection (Circulation and Continuity of Energy) as a Dissolution of Identity: Isamu Noguchi’s Memorial to the Dead of Hiroshima and Shirai Sei’ichi’s Temple Atomic Catastrophes (300)
  • Kenichi Yoshida, Deactivating the Future: Sawaragi Noi’s Polemical Recoil from Contemporary Art (314)
  • Satō Dōshin, From Art and Identity: For Whom, For What? The “Present” Upon the “Contemporary” (translated by Sarah Allen) (337)

Art in Focus

  • Reiko Tomii, Section Editor, in memoriam On Kawara (358)

On the Contributors (361)

 
 
Volume XXV   December 2013
Working Words: New Appoaches to Japanese Studies
Guest Editors: Jordan Sand, Alan Tansman
and Dennis Washburn

  • Jordan Sand, Alan Tansman, Dennis Washburn, Introduction to “Working Words:
    New Approaches to Japanese Studies” (1-8)
  • Hosokawa Shūhei, Ongaku, Onkyō/Music, Sound (9-20)
  • Thomas Keirstead, Shigaku/History (21-32)
  • Christine Marran, Zange/Confession (33-42)
  • Miya Elise Mizuta, Bijin/Beauty (43 - 55)
  • Morikawa Kaichiro, Otaku/Geek (translated by Dennis Washburn) (56-66)
  • Jordan Sand, Chūryū/Middling (67-77)
  • Satō Kenji, Kyōdo/Native Soil (translated by Jordan Sand) (78-86)
  • Mariko Asano Tamanoi, Kioku, Omoide/Memory (87-98)
  • Alan Tansman, Saburaimu/Sublime (99-108)
  • Tsukahara Togo, Kagaku, Kyūri/Science (translated by Matthew Fargo and
    Jordan Sand) (109-115)
  • Dennis Washburn, Bungaku/Literature (116-126)
  • Bert Winther-Tamaki, Yōga/The Western Painting, National Painting,
    and Global Painting of Japan (127-136)

    Translated Essays

  • Yanagita Kunio, Excerpts from The Legends of Japan (1929), (translated by
    David Humphrey) (137-151)
  • Maruyama Masao, “Being” and “Doing” (1958), (translated by
    Dennis Washburn) (152-169)
  • Nakane Chie, Group Characteristics Based on “Place” (1967),
    (translated by Paul Roquet) (170-178)
  • Kano Masanao, The First Stirrings of Folk Scholarship (Minkangaku) in Modern Japan (1983), (translated by David Henry) (179-197)

    Art in Focus

  • Reiko Tomii, Section Editor
    Voices of Mono-ha Artists:Contemporary Art in Japan, Circa 1970 (from a panel discussion at the University of Southern California, February 2012)
    (transcribed by Hayato Fujioka) (translated by Rika Iezumi Hiro and Reiko Tomii, with Mika Yoshitake) (198-199)
  • Mika Yoshitake, What Is Mono-ha? (200-211)
  • Reiko Tomii, Six Contradictions of Mono-ha (212-220)
  • Sekine Nobuo and Koshimizu Susumu, with Joan Kee, Dialogue 1 (221-225)
  • Lee Ufan and Suga Kishio, with Mika Yoshitake, Dialogue 2 (226-229)
  • Haraguchi Noriyuki with Reiko Tomii, Dialogue 3 (230-232)
  • Haraguchi Noriyuki, Koshimizu Susumu, Lee Ufan, Sekine Nobuo, and Suga Kishio, with Hollis Goodall, Roundtable (233-235)
  • Lee Ufan, Beyond Being and Nothingness: On Sekine Nobuo (1970–71) (translated by Reiko Tomii) (236-259)

    On the Contributors (260)


     
     
    Volume XXIV   December 2012
    Beyond Tenshin: Okakura Kakuzō's Multiple Legacies
    Guest Editors: Noriko Murai and Yukio Lippit

    • Noriko Murai and Yukio Lippit, Acknowledgements (xi)
    • Noriko Murai and Yukio Lippit, “Okakura Kakuzō: A Reintroduction” (1-14)
    • Takeuchi Yoshimi,"Okakura Tenshin: Civilization Critique from the Standpoint
      of Asia, 1962" (15-25)
      (translated by Christopher L. Hill)
    • Kinoshita Nagahiro, "Okakura Kakuzō as a Historian of Art" ( 26-38)
    • Inaga Shigemi, "Okakura Kakuzō and India: The Trajectory of Modern National Consciousness and Pan-Asian Ideology Across Borders (39-57)
      (translated by Kevin Singleton)
    • John Rosenfield, "Okakura Kakuzō and Margaret Noble (Sister Nivedita):
      A Brief Episode" (58-69)
    • Noriko Murai, "Okakura’s Way of Tea: Representing Chanoyu in Early Twentieth-Century America (70-93)
    • Allen Hockley, "Other Tea Cults" (94-115)
    • Victoria Weston, "What's in a Name? Rethinking Critical Terms Used to Discuss Mōrōtai"
      (116-137)
    • Chelsea Foxwell, "New Art and the Display of Antiquities in Mid-Meiji Tokyo" (137-154)
    • Alice Y. Tseng, "In Defense of Kenchiku: Itō Chūta’s Theorization of Architecture as a Fine Art in the Meiji Period" (155-167)
    • Okakura Kakuzō, Reading “Calligraphy Is Not Art, 1882” (168-175)
      (translated by Timothy Unverzagt Goddard)
    • Okakura Kakuzō, “Kokka, 1889” (176-183)
      (translated by Timothy Unverzagt Goddard)
    • Okakura Kakuzō, “Concerning the Institutions of Art Education, 1897” (184-195)
      (translated by Kevin Singleton)
    • Nozomi Naoi with Noriko Murai, “Select Annotated Bibliography of Okakura Kakuzō” (196-209)

      Fiction:
    • Nagai Kafū, "Ukiyo-e Landscapes and Edo Scenic Places," 1914 (210-232)
      (translated by Kyoko Selden and Alisa Freedman)
      On the Contributors (233)

       
       
      Volume XXIII   December 2011
      Expo '70 and Japanese Art: Dissonant Voices
      Guest Editor: Midori Yoshimoto

      • Midori Yoshimoto, "Expo ’70 and Japanese Art: Dissonant Voices,” An Introduction and Commentary (1-12)
      • Nakai Yasuyuki, “Japan World Exposition—Reconsidering Expo Art, 2007” (13-25)
        (translated by Mika Yoshitake)
      • William O. Gardner, “The 1970 Osaka Expo and/as Science Fiction” (26-43)
      • Haryū Ichirō, "Expo ’70 as the Ruins of Culture, 1970" (44-56)
        (translated by Ignacio Adriasola)
      • Hyunjung Cho, "Expo ’70: The Model City of an Information Society" ( 57-71)
      • Isozaki Arata, "Recalling The Days of Expo Art, 2001" (72-80)
        (translated by Machida Gen)
      • Bert Winther-Tamaki, "To Put On A Big Face: The Globalist Stance of Okamoto Tarō’s Tower of the Sun for the Japan World Exposition" (81-101)
      • Okamoto Tarō, "Ancient Blood, Contemporary Blood, 1971" (102-112)
        (translated by Reiko Tomii)
      • Midori Yoshimoto, "Textiles Pavilion: An Anomaly and Critique of Expo ’70" (113-131)
      • Yasufumi Nakamori, "Criticism of Expo ’70 in Print: Journals Ken, Bijutsu techō, and Dezain hihyō " (132-144)

        Artists’ Pages:
      • Tōmatsu Shōmei, "Untitled," 1970 (146-147)
      • Akasegawa Genpei, "A Redevelopment Proposal for the Expo ’70 Site,” 1970 (148-149)
        (translated by Reiko Tomii)
      • Matsuzawa Yutaka, "Matter Must Vanish: A Proposal for Redevelopment of the Former Expo Site,” 1970, (150-153)
        (translated by Reiko Tomii)

      • KuroDalaiJee, "Performance Art and/as Activism: Expo ’70 Destruction Joint-Struggle Group” (154-173)
      • Hiroko Ikegami, “World Without Boundaries?” E.A.T. and the Pepsi Pavilion at Expo ’70, Osaka (174-190)
      • Reiko Tomii, "Toward Tokyo Biennale 1970: Shapes of the 'International' in the Age of International Contemporaneity" (191 -210)

        Fiction:
      • Uehara Noboru, "Our Gang Age," 1970 (211-224)
        (translated by Kyoko Selden and Alisa Freedman)
      • Shōji Kaoru, "Watch Out, Little Red Riding Hood" (224-230)
        (Chapter One, 1969) (translated by Kyoko Selden and Alisa Freedman)

        Bibliography:
      • Hyunjung Cho, Select Annotated Bibliography of Expo ’70 (231-242)

        On the Contributors (243)
       
       
      Volume XXII   December 2010
      Decentering Theory: Reconsidering the History of Japanese Film Theory
      Guest Editor: Aaron Gerow

      • Aaron Gerow, "Introduction: The Theory Complex” (1-13)
      • Satō Tadao, “Does Film Theory Exist in Japan?” (14-23)
        (translated by Joanne Bernardi)
      • Gonda Yasunosuke, “The Principles and Applications of the Moving Pictures (Excerpts)” (24-36)
        (translated by Aaron Gerow)
      • Aaron Gerow, “The Process of Theory: Reading Gonda Yasunosuke and Early Film Theory”
        (37-43)
      • Imamura Taihei, “A Theory of the Animated Sound Film” (44-51)
        (translated by Michael Baskett)
      • Imamura Taihei, “A Theory of Film Documentary” (52-59)
        (translated by Michael Baskett)
      • Irie Yoshirō, “Approaching Imamura Taihei: Film Theory and Originality” (60-79)
        (translated by Phil Kaffen)
      • Nakai Masakazu, "Film Theory and the Crisis in Contemporary Aesthetics” (80-87)
        (translated by Phil Kaffen)
      • Kitada Akihiro, “An Assault on 'Meaning': On Nakai Masakazu’s Concept of 'Mediation'” (88-103)
        (translated by Alex Zahlten)
      • Yoshida Kijū, “My Theory of Film: A Logic of Self-Negation” (104-109)
        (translated by Patrick Noonan)
      • Patrick Noonan, “The Alterity of Cinema: Subjectivity, Self-Negation, and Self-Realization in Yoshida Kijū’s Film Criticism” (110-129)
      • Ryan Cook, “An Impaired Eye: Hasumi Shigehiko on Cinema and Stupidity” (130-143)
      • Nakamura Hideyuki, "Ozu, or on the Gesture” (144-160)
        (translated by Kendall Heitzman)
      • Akutagawa Ryūnosuke, “Asakusa Park: A Certain Film Script” (162-175)
        (translated by Kyoko Selden)
       
       
      Volume XXI   December 2009
      Unfinished Business: The Endless Postwar in Japanese Cinema and Visual Culture
      Guest Editor: Mitsuyo Wada-Marciano

      • Mitsuyo Wada-Marciano, “Introduction” (1-6)
      • Ōshima Nagisa, “The Defeated Have No Images –Had Television Existed at the End of the War” (translated by Sachiko Mizuno) (7-17)
      • Mitsuyo Wada-Marciano, “The Postwar Japanese Melodrama”
        (translated by Bianca Briciu) (19-32)
      • Iwamoto Kenji, “Emperor Meiji and the Great Russo-Japanese
        War”– Nostalgia and Restoration in Okura Mitsugu’s “Emperor Film”
        (translated by Dariko Kuroda-Baskett)(33-49)
      • Hideaki Fujiki, “Visual Historiography in Japanese
        Photographic Collections of the Postwar Era” (51-70)
      • Yomota Inuhiko, “A Portrait of Emperor Hirohito:
        Sokurov’s The Sun” (translated by Asato Ikeda) (71-81)
      • Mitsuhiro Yoshimoto, "'Genjitsu' (Reality) / 'Riaritî'(Reality):
        In Lieu of an Introduction" (translated by Shōta Ogawa)(83-96)
      • Asato Ikeda, “Fujita Tsuguharu Retrospective 2006:
        Resurrection of a Former Official War Painter" (97-115)
      • Akiko Takenaka, “Politics of Representation or Representation
        of Politics? Yasukuni the Film” (117-136)

      Fiction:

      • Medoruma Shun , “The Wind Sound ”
        (translated by Kyoko Selden and Alisa Freedman) (137-72)
      On the Contributors (173 - 76)
       
       
      Volume XX   December 2008
      The Culture of Translation in Modern Japan
      Guest Editor: Indra Levy

      • Indra Levy, “Introduction: Modern Japan and the Trialectics of Translation” (1-14)
      • Andre Haag, "Maruyama Masao and Katō Shuichi on Translation and Japanese Modernity"
        (15 -46)
      • Yanabu Akira, “Translation Words: Formation and Background (excerpts)” (47-70)
        “Shakai – The Translation of a People Who Had No Society”
        (translated by Thomas Gaubatz)
        "Kare and Kanojo – The Shifting Referents of Two Translation Pronouns”
        (translated by Andre Haag)
      • Saeki Junko, "“rom Iro (Eros) to Ai=Love: The Case of Tsubouchi Shōyō"
        (translated by Indra Levy) (71-98)
      • Yoshimoto Takaaki, "On Tenkō, or Ideological Conversion"
        (translated by Hisaaki Wake) (99-119)
      • Christine M. E. Guth, "Hokusai’s Geometry" (120-32)
      • Atsuko Ueda, "Sound, Scripts, and Styles: Kanbun kundokutai and the National Language
        Reforms of 1880s Japan" (133-56)
      • Miri Nakamura, “Monstrous Language: The Translation of Hygienic Discourse in Izumi
        Kyōka’s The Holy Man of Mount Kōya" (157-77)
      • Melek Ortabasi, “Brave Dogs and Little Lords: Some Thoughts on Translation, Gender, and the Debate on Childhood in Mid Meiji” (178-205)
      • Jan Bardsley, “The New Woman of Japan and the Intimate Bonds of Translation” (206-25)
      • Michael Emmerich, "Making Genji Ours: Translation, World Literature, and Masamune Hakuchō’s Discovery of The Tale of Genji"26-45)
      • Yanabu Akira, “In the beginning, there was the Word”
        (translated by Indra Levy) (246-52)

      Fiction:

      • Arakida Reijo, “Fireflies Above the Stream”
        (translated by Kyoko Selden) (253-64)

      Bibliography:
      Aragorn Quinn, “Annotated Bibliography of Translation in Japan” (265-96)

       
      Dec 2007  
      Volume XIX   December 2007
      Aspects of Classical Japanese Travel Writing
      Guest Editor: Eiji Sekine

      • Eiji Sekine, “Introduction” (1-6)
      • David Eason, “Tracing the Path of “Medieval Travelers”: A Few Words on
        Amino Yoshihiko’s Historical Approach and Legacy” (7-13)
      • Amino Yoshihiko, “Medieval Travelers: Two Points of View,”
        translated by David Eason (14-29)
      • Kubukihara Rei, “Various Aspects of Diary and Travel Literature,”
        translated by Edith Sarra (30-56)
      • Naito Mariko, “The Journey of an Utamakura Through the Past: ‘Shiga Mountain
        Pass’ and ‘Shiga Flower Garden’” (57-70)
      • Christina Laffin, “Travel as Sacrifice: Abutsu’s Poetic Journey in Diary of
        the Sixteenth Night Moon” (71-86)
      • Kimura Saeko, “Regenerating Narratives: The Confessions of Lady Nijō
        as a Story for Women’s Salvation” (87-102)
      • Monika Dix, “Ascending Hibariyama: Chūjōhime’s Textual, Physical,
        and Spiritual Journey to Salvation” (103-16)
      • Charo B. D’Etcheverry, “From The Tale of Sagoromo to ‘Major Captain Sagoromo’:
        Travel in Heian and Muromachi Tales” (117-31)
      • Herbert Plutschow, “What Pre-Modern Japanese Travel Writing Tells Us” (132-48)

      Fiction:

      • Hayashi Kyōko, “From Trinity to Trinity,” translated by Kyōko Selden (149-74)

      Letters to the Editors:

      • Shigemi Inaga, “A Commentary on Ayako Kano’s Review of
        the Feminist Art History Debates” (175-80)
      • Ayako Kano, “Response to Shigemi Inaga’s Commentary” (181-84)
       
      Dec 2006  
      Volume XVIII   December 2006
      Don Quixote, East and West
      Guest Editor: Michelle Tanenbaum

      • Michelle Tanenbaum, “Introduction: The Traveling Don Quixote” (1-11)
      • Rachel Schmidt, “The Intersection of Desire, Erotics, and National Identity in Gustave
        Dore's Don Quixote” (12-31)
      • Michelle Tanenbaum, “Staging a Rewriting: Madame Bovary and the Romantic
        Interpretation of Don Quixote” (32-45)
      • Park Chul, “The Reception of Don Quixote in Korea,”
        translated by Michelle Tanenbaum (46-56)
      • Kuramoto Kunio, “Don Quixote and Natsume Sōseki,”
        translated by Jennifer Cullen (57-74)
      • Jaime Fernandez S.J., “The True Meaning of the Epitaph for Don Quixote’s Tomb,”
        translated by David Wood and Nora Zepeda (75-86)
      • Matthew Fraleigh, “El ingenioso samurai Don Kihōte del Japón: Serizawa Keisuke’s A
        Don Quixote Picture Book (87-120)
      • Jugaku Bunshō, “The Origins of A Don Quixote Picture Book,” tr
        anslated by Mika Yoshitake (121-31)
      • Seiro Bantarō, “Modern Japanese Literature and Don Quixote,” t
        ranslated by Franz Prichard (132-46)
      • Nakamura Mitsuo, “On Don Quixote,” translated by Jennifer Cullen (147-56)
      • Yi Muny?l, “For the Emperor Chapter Two: Dream of the Great One,”
        translated by Youngju Ryu (157-74)
      • Dan Kazuo, “The Don Quixote Who Fell From the Sky,”
        translated by Kyōko Selden (175-92)
      Dec 2005  
      Volume XVII   December 2005
      1960s Japan: Art Outside the Box
      Guest Editor: Reiko Tomii

      • Reiko Tomii, “Acknowledgements” (iv-v)
      • Reiko Tomii, “Notes to the Reader” (vi-x)
      • Reiko Tomii, “‘Art Outside the Box’ in 1960s Japan:
        An Introduction and Commentary” (1-12)
      • Kuroda Raiji, “Kyūshū-ha as a Movement: Descending to the Undersides of Art,”
        translated by Reiko Tomii (12-35)
      • Kuroda Raiji, “Appendix: An Overview of Kyūshū-ha,” translated by Reiko Tomii (36-50)
      • Kuroda Raiji, “A Flash of Neo Dada: Cheerful Destroyers in Tokyo” (1993),
        translated by Reiko Tomii with Justin Jesty (51-71)
      • Kevin Conconnan, “War Is Over!: John and Yoko’s Christmas Eve Happening,
        Tokyo, 1969” (72-85)
      • Japanese Art Since 1945: The First PoNJA-GenKon Symposium:
        Ryan Holmberg, “From ‘Opening Remarks’” (86-88)
      • Terayama Shūji, “Emperor Tomato Ketchup,” translated by Steven Clark (89-97)
      • Nagano Chiaki, “Some Young People,” translated by Midori Yoshimoto (98-105)
      • Cai Guo-Qiang, “Cai Guo-Qiang on Guerilla Art:
        A Public Dialogue with Reiko Tomii” (106-7)
      • Abstracts from Japanese Art Since 1945: The First PoNJA-GenKon Symposium “Panel 1: Fiction Disruption”: Ryan Holmberg, Cathy P. Steblyk, and Steve Clark (108-9)
      • “Panel 2: Ephemeral in the 1960s”: Midori Yoshimoto, Ming Tiampo, Mika Yoshitake,
        and Reiko Tomii (110-12)
      • “Panel 3: Art and the Growing Nation”: Bert Winther-Tamaki, Alicia Volk,
        and Yasufumi Nakamori (113-15)
      • Huang-chuan Yi, “From Make Your Name Foreign” (116)
      • Reiko Tomii with Miwako Tezuka, “About PoNJA-GenKon and the Symposium” (117-18)

      Fiction:

      • Yoko Ono, “The Saga of Japanese Men Sinking,” translated by Reiko Tomii (120-31)
      Dec 2004  
      Volume XVI   December 2004
      Women’s Voices, Past and Present: Twelve Japanese Stories
      Guest Editor: Kyōko Selden

      • Lili Selden, “Introduction” (i-iv)
      • Oan, original narrator, “The Tale of Oan” (Oan monogatari, 1837),
        translated by Chris Nelson and Kyōko Selden (1-5)
      • Kōda Rohan, “The Single Sword” (Ikkōken, 1890),
        translated by Kyōko Selden (6-21)
      • Ozaki Midori, “Miss Cricket” (Kōrogijō, 1932), translated by Seiji M. Lippit (22-31)
      • Mori Mari, “Thorn” (Toge, 1957), translated by Angela Yiu (32-38)
      • Nakayama Shiro, “The Shore at Low Tide” (Shiohigata, 1975), translated by Robert Steen, Yumi Asaoka, Joseph Murphy, Carolyn Ramsey, and Haruyoshi Takayanagi (39-65)
      • Hayashi Kyōko, “Masks of Whatchamacallit” (Nanjamonja no men, 1976), t
        ranslated by Kyōko Selden (66-88)
      • Tsushima Yūko, “Water's Edge” (Suihen, 1979),
        translated by Gillian Kinjo and Susan Bouterey (89-98)
      • Saegusa Kazuko, “The Cherry Blossom Train” (Sakura densha, 1980),
        translated by Kyōko Selden and Alisa Freedman (99-108)
      • Ōba Minako, “Birdsong” (Tori no uta, 1985), translated by Seiji M. Lippit (109-25)
      • Kurahashi Yumiko, “The Strange Story of a Pumpkin” (Kabocha kitan, 1985),
        translated by Kyōko Selden (126-31)
      • Ogawa Yōko, “Transit” (Toranjitto, 1996), translated by Alisa Freedman (132-42)
      • Tawada Yōko, “Starlets Scintillating in My Eyes” (Meboshi no hana chiromeite, 1999),
        translated by Kyōko Selden (143-51)
      Dec 2003  
      Volume XV   December 2003
      Japanese Art: the Scholarship and Legacy of Chino Kaori
      Guest editor: Melissa McCormick

      • Melissa McCormick, “Introduction” (i-iv)
      • Melissa McCormick, “On the Scholarship of Chino Kaori” (1-24)
      • Ayako Kano, “Women? Japan? Art?: Chino Kaori and the Feminist Art History Debates” (25-38)
      • Chino Kaori, “The Emergence and Development of Famous Place Painting as a Genre,”
        translated by Chelsea Foxwell and Jack Stoneman (39-61)
      • Chino Kaori, “Embodying Hope: Colonial Memory and Contemporary Art in Korean Museums,” translated by Tomoko Sakomura (62-71)
      • Chino Kaori Bibliography, edited and translated by Melissa McCormick (72-86)
      • Abstracts from Critical Horizons: A Symposium on Japanese Art
        in Memory of Chino Kaori (87-113)
      • Maiko Behr, “Ichii no Tsubone and the Asukai Connection:
        Edo Period Attributions of a Muromachi Tale” (87-88)
      • Gunhild Borggreen, “Cultural Clichés in Contemporary Art:
        The Reception of Mori Mariko's Work” (88-89)
      • Doris Croissant, “Sexualizing Cultural Memory--The Manga Hermeneutics of
        The Tale of Genji” (90-91)
      • Patricia J. Graham, “‘Fans Floating in Waves’ as a Representative Design Motif of
        Japanese Visual Culture” (91-93)
      • Ikeda Shinobu, “How to Read ‘Gender in Japanese Art’ Today:
        The Present Condition of Gender Studies in Japan” (93-94)
      • Kamei Wakana, “Representations of Aristocratic Women in Picture Scrolls of the
        Muromachi Period : Kano Motonobu's Drunken Ogre Scroll” (94-95)
      • Fusae Kanda, “The Yamato-e Landscape: Then and Now” (95-96)
      • Kim Hyeshin, “Modernity and Tradition in Colonial-Era Korea: The Discourse on the
        ‘New Woman’ and the Courtesan” (97-98)
      • Kokatsu Reiko, “The Institutional Matrix and Social Milieu of Japanese Women Oil
        Painters” (98-99)
      • Elizabeth Lillehoj, “Gender and Genre: Themes in Seventeenth-Century Paintings at
        the Imperial Palace” (99-100)
      • Melissa McCormick, “Female Authorship and the Dialogic Imagination in
        A Tale of Brief Slumbers” (101-2)
      • Mizuno Rȳoko, “The Gendering of Scenic Representations: Depictions of Yamato and
        Kara in Shrine Mandala Paintings” (102-4)
      • Joshua S. Mostow, “Gender and Cultural Capital: The Hakubyō and Kubo-Family
        Tales of Ise Illustrated Scroll” (104-5)
      • Noriko Murai, “Okakura's Way of Tea: The Gender of Cultural Representation in
        The Book of Tea” (105-6)
      • Narihara Yuki, “Reconsidering the Illustration of the Significance of the Sanskrit Letter ‘A’ and Its Patronage: On the Interpretation of the Image of a Tonsured Woman” (106-8)
      • Barbara Ruch, “Chino Kaori's Last Contribution to the Imperial Buddhist Convent Research and Restoration Project: Miyazaki Yūzensai's Chinese Children at Play at Daishōji Imperial Convent” (108-9)
      • Reiko Tomii, “Akai Akai Asahi Asahi--Red, Red Is the Rising Sun: Wartime Memory in
        Akasegawa Genpei's TheSakura Illustrated” (109-10)
      • Miriam Wattles, “‘Asazuma Boat’: Political Satire Figured Female?” (111-12)
      • Midori Yoshimoto, “The Emergence of Women in Japanese Avant-Garde Art,
        1955-1965” (112-13)

      Fiction:

      • Ogawa Yōko “Transit,” translated by Alisa Freedman (114-25)
       
       
      Volume XIV   December 2002
      Meiji Literature and the Artwork
      Guest Editor: Miya Mizuta Lippit

      • Miya Mizuta Lippit, “Introduction” (i-vii)
      • Daniel O'Neill, “San'yūtei Enchō's Ghosts and the Aesthetics of Things Unseen” (1-8)
      • Miya Mizuta Lippit, “Reconfiguring Visuality: Literary Realism and Illustration in
        Meiji Japan” (9-24)
      • Shū Kuge, “Between Sight and Rhythm: Aspects of Modernity in Tayama Katai's
        ‘Flat Depiction’” (25-38)
      • Miyamoto Hirohito, “The Formation of an Impure Genre–On the Origins of Manga,”
        translated by Jennifer Prough (39-48)
      • Kang Jun, “Orality and the Transforming Senses in Meiji Media: An Exploration of
        Kami-Shibai and Japanese Folklore,” translated by Kutsuzawa Kiyomi (49-59)
      • Noriko Murai, “Okakura's Way of Tea: Representing Chanoyu in
        Early Twentieth-Century America” (60-77)

      Fiction:

      • Kōda Rohan, “The Single Sword,” translated by Kyōko Selden (78-88)
       
       
      Volume XIII   December 2001
      Architecture: Re-building the Future
      Guest Editors: Sunil Bald and Yolande Daniels

      • Yolande Daniels, “Introduction” (i-v)
      • Ken Tadashi Oshima, “Hijiribashi Spanning Time and Crossing Place” (1-21)
      • Torben Berns, “The Trouble with ‘Boku’–A Meditation on Cosmopolitan Architecture” (22-30)
      • Ōta Sumiho, “College Campus Design: Jōsai International University and
        Jōsai University” (31-50)
      • Sunil Bald, “Memories, Ghosts, and Scars: Architecture and Trauma in New York and Hiroshima” (51-57)

      Fiction:

      • Tawada Yōko, “Starlets Scintillating in My Eyes,” translated by Kyōko Selden (58-64)
       
       
      Volumes XI-XII   December 1999-2000
      Violence in the Modern World
      Guest Editor: Tani Tōru

      • Tani Tōru, “Introduction” (i-v)
      • Imamura Hitoshi, “The Violence Deeply Rooted in Society” (1-8)
      • Minoo Moallem, “The Textualization of Violence in a Global World:
        Gendered Citizenship and Discourses of Protection” (9-17)
      • Martin Jay, “Walter Benjamin, Remembrance, and the First World War” (18-31)
      • Bessho Yoshimi, “The Logic of Apologizing for War Crimes ‘as a Japanese’” (32-42)
      • Huzinaga Sigeru, “Nazi Holocaust and Atomic Holocaust:
        Transforming Spiritual Crisis into an Ideology of Humanity” (43-53)
      • Hayashi Yōko, “Issues Surrounding the Wartime ‘Comfort Women’” (54-65)
      • Takazato Suzuyo, “The Base and the Military: Structural Violence against Women” (66-78)
      • Maruyama Tokuji, “Violence and Communication in the History and
        Context of Minamata Disease” (79-99)

      Fiction:

      • Hayashi Kyōko, “Dear Friend,” translated by Kyōko Selden (100-6)
       
       
      Volume X   December 1998
      Japanese Film and History, as History
      Guest Editor: Akira Mizuta Lippit

      • Akira Mizuta Lippit, “Introduction” (i-ii)
      • Iwamoto Kenji, “From Rensageki to Kinodrama” (1-13)
      • Hase Masato, “The Origins of Censorship: Police and Motion Pictures in
        the Taishō Period” (14-23)
      • Mitsuyo Wada-Marciano, “Modernity, Cinema, and the Body: Analysis of the Shōchiku Kamata Film Wakamono yo naze naku ka? (Why Do the Youth Cry?; 1930)” (24-34)
      • Mukudai Chiharu, “History in Film Style: On Absent Cause in Mizoguchi Films
        from the 1950s” (34-45)
      • Ukai Satoshi, “Postcolonial Conditions Explained to Japanese Children*” (46-55)
      • Akira Mizuta Lippit, “Antigraphy: Notes on Atomic Writing and
        Postwar Japanese Cinema” (56-65)

      Fiction:

      • Tani Kakimori, “Oan monogatari (The Tale of an Old Nun),” translated by Chris Nelson
        and Kyōko Selden (66-69)
       
       
      Volume IX   December 1997
      Gender, Colonialism, Technology and “Development”
      Guest Editor: Lisa Bloom

      • Lisa Bloom, “Introduction” (i-iv)
      • Part I: International Symposium on “Gender, Technology, and ‘Development’" Jōsai International University, Japan, October 3, 1997 Georgina Waylen, “Analyzing Women in the Politics of the Third World” (1-14)
      • Suresht R. Bald, “Women and Healthcare: A Critique of USAID Policies in India” (15-19)
      • Wachi Yasuko, “Swabalamban Bikas or Self-Reliant Development:
        Nepalese Women Activists in Development Today” (21-35)
      • Lisa Bloom, “Gender, Popular Science and National Geographic in
        the Age of Multiculturalism” (36-47)
      • Ibrahim M. Samater, “Gender and Development:
        An Observer's Reflections on the JIU Symposium” (46-65)
      • Part II: Japanese Feminism's Relationship to National, Racial, and Colonial Concerns Hotta Midori, “Beyond Our Invisibility--Diverse Feminisms and the Quest of Japanese Women for Self-defined Identity” (66-78)
      • Ueno Chizuko, “‘Reproductive Rights/ Health' and Japanese Feminism” (79-92)

      Fiction:

      • Tomioka Taeko, “Happy Birthday,” translated by Kyōko Selden (93-104)
       
       
      Volume VIII   December 1996
      Cultural and Social Changes in Respect of Asian Women

      • Mizuta Noriko, “Foreword” (i-ii)
      • Wachi Yasuko, “Introduction: We Come Together as We Speak Out--Deconstructing
        Sexism in Culture and in Social Institutions” (iii-vii)
      • Yamazaki Tomoko, “Keynote Speech: On the History of Asian Women Exchanges” (1-8)
      • Mizuta Noriko, Wachi Yasuko, Xue Keqiao, Zhang Yulan, and Yagi Kimiko (chair) “Round-Table Discussion: Asian Women Change Their Culture and Society” (9-14)
      • Lu Li, “Nukata no Okimi: A Bright Star in the History of Waka--The Poems and the Poet” (15-21)
      • Xu Kun, “Chinese Women's Literature Since 1955” (23-27)
      • Kamimura Masao, “Japanese Film and Women: The Works of Mizoguchi Kenji and
        Naruse Mikio” (28-32)
      • Xue Keqiao, “Women Disguised as Men: Longing for the Past in Chinese Cinema” (33-36)
      • Kora Rumiko, “The Polarized World at the End of Fascism: An Examination of
        Hirabayashi Taeko's Blind Chinese Soldiers” (37-40)
      • Tian He, “Migration of Labor Force from Rural Areas and Women in China” (41-46)
      • Ushijima Chihiro, “Women's Working in Postwar Japan: The M-Pattern and the
        Gender Differentiation of Occupations and Labor Markets” (47-56)
      • Chen Hui, “Reform and Liberalization Policies and the Reemployment of
        Urban Female Labor” (57-62)
      • Wang Xiaodan, “Female Education: A Comparative Study of India and China” (63-69)
        Uozumi Akiyo, “Working Women and Child-Rearing in the Village” (70-77)

      Fiction:

      • Ozaki Midori, “The Cricket Girl,” translated by Seiji M. Lippit (78-84)
       
       
      Volume VII   December 1995
      Encounters with the Other:
      Philosophical Perspectives from Japan and the West

      Guest Editor: Tani Tōru

      • Mizuta Noriko, “Foreword” (i-ii)
      • Tani Tōru, “Introduction” (iii-xii)
      • Richard J. Bernstein, “The Retrieval of Democratic Ethos (1-12)
      • Takeda Sumio, “Orikuchi Shinobu and the Song of Life:
        The Ancient Japanese View of Communication” (13-21)
      • Mizutani Masahiko, “The Possibility of Critique in a Multicultural World” (22-26)
      • Takahashi Tetsuya, “Community and the Law of Return: Between Ethics and
        the Question of Being” (27-39)
      • Sato Yasukuni, “The Criticism of Science and its Assimilation in Modern Japanese Though: Phenomenology and Science in the Work of Watsuji Tetsuro” (40-47)

      Fiction:

      • Mori Mari, “Thorn,” translated by Angela Yiu (48-52)
      • Tomioka Taeko, “Hatsumukashi,” translated by Kyōko Selden (84-91)
       
       
      Volume VI   December 1994
      Reexamination of Modern Subjectivity in Japanese Fiction
      Guest Editor: Sekine Eiji

      • Mizuta Noriko, “Foreword” (i)
      • Sekine Eiji, “Introduction” (iii-iv)
      • Wakui Takashi, “The Vernacular Movement (Genbun itchi undo) in Japan and
        the Formation of Selfhood” (1-9)
      • Charles Shirō Inouye, “In the Scopic Regime of Discovery: Ishikawa Takuboku's
        Rōmaji Nikki and the Gendered Premise of Self-Identity” (10-23)
      • Ann Sherif, “Salvation from a Barren Paternity: The Concept of Masculinity and
        Kōda Rohan's Writings” (24-30)
      • Lewis Dibble, “Mori Ōgai: Subjectivity, Historical Change, and Their Proper Language” (31-37)
      • Rebecca L. Copeland, “Shimizu Shikin's ‘The Broken Ring’:
        A Narrative of Female Awakening” (38-47)
      • Sekine Eiji, “Modernity and Madness: Lu Xun, Sōseki, and Irokawa Takehiro” (48-53)

      Fiction:

      • Tsushima Yūko, “Water's Edge,” translated by Gillian Kinjo and Susan Bouterey (53-60)
       
       
      Volume V   December 1993
      Nature and Selfhood in Japanese Literature
      Guest Editor: Jared Lubarsky

      • Kitada Sachie, “Foreword” (i)
      • Jared Lubarsky, “Introduction” (iii)
      • Nakanishi Susumu, “Language and Nature” (1-7)
      • Joshua S. Mostow, “Self and Landscape in Kagerō Nikki” (8-19)
      • Ted Goossen, “Connecting Rhythms: Nature and Selfhood in Shiga Naoya's
        Reconciliation and A Dark's Night's Passing” (20-33)
      • Kishida-Ellis Toshiko, “Nature and Self in Modern Japanese Poetry: Hagiwara
        Sakutarō, Itō Shizuo, and Miyoshi Yatsuji” (34-47)
      • Susan J. Napier, “Marginal Arcadias: Ōe Kenzaburō's Pastoral and Antipastoral” (46-58)
      • Mizuta Noriko, “Symbiosis and Renewal: Transformations of
        the Forest World of Ōba Minako” (59-66)

      Fiction:

      • Nakayama Shirō, “The Shore of Low Tide,” translated by Robert Steen, Yumi Asaoka,
        Joseph Murphy, Carolyn Ramsey, Haruyoshi Takayanagi (67-83)
       
       
      Volume IV   December 1991
      Women’s Self-Representation and Culture
      Guest Editors: Nina Y. Morgan and Peter E. Morgan

      • Mizuta Noriko, “Foreword” (iii)
      • Nina Y. Morgan and Peter E. Morgan, “International Interpretations: Representation,
        Women, and Difference” (iv-ix)
      • Lillian S. Robinson, “Women on the Job: Work Life or Real Life?” (1-10)
      • Sneja Gunew, “Authentic Self-Representation and the Temptations of Irony in
        Recent Australian Migrant (non Anglo-Celtic) Women's Writing” (11-17)
      • Saegusa Kazuko, “The Narcissism of Female Representation and the Professional Writer” (18-21)
      • Michelle Yeh, “New Images of Women in Modern Chinese Poetry:
        The Feminist Poetic of Xia Yu” (22-26)
      • Marilyn Yalom, “Female Life Writing: A Western Perspective” (27-30)
      • Marjorie Evasco, “Coming on Her Own into Her Country: Philippine Women's
        Self-Referential Writing, 1970-1990” (31-36)
      • E. Ann Kaplan, “Women and Film in International Perspective:
        Where Are We? Where Do We Go?” (37-45)
      • Yvonne Rainer, “Narrative in the (Dis)Service of Identity” (46-52)
      • Fujimoto Yukari, “A Life-Size Mirror: Women's Self-Representation in Girls' Comics” (53-57)
        Anna Leah Sarabia, “WOMANWATCH: Pioneering Feminist Broadcasting in
        the Philippines” (58-61)
      • Mizuta Noriko, E. Ann Kaplan, Avital Ronell, Anna Leah Sarabia, Anna Ogino, and Fukuko Kobayashi (facilitator), “Symposium: Women's Culture: Postmodern Expression” (62-76)
      • Shirley Geok-lin Lim, “Interchanges: East/West Feminist Identities” (77-78)

      Poetry:

      • Shiraishi Kazuko, “Little Planet” (79)
      • Shirley Geok-lin Lim, “Pantoun for Chinese Women” (80)
      • Watanabe Mieko, “Bliss” (81)
      • Marjorie Evasco, “Dreamweavers” (82)
      • Kora Rumiko, “Sprouts” (83)

      Fiction:

      • Oba Minako, “Birdsong,” translated by Seiji M. Lippit (84-93)
       
       
      Volume III, Number 1   December 1989
      Women and the Family
      Guest Editors: Renée M. Kilmer and Thomas F. Lannin

      • Mizuta Noriko, “Foreword” (ii-iii)
      • Renée M. Kilmer and Thomas F. Lannin, Jr., “Introduction” (iv-vii)
      • Ueno Chizuko, “Women's Labor Under Patriarchal Capitalism in the Eighties” (1-6)
      • Ochiai Emiko, “The Modern Family and Japanese Culture: Exploring the Japanese
        Mother-Child Relationship” (7-15)
      • Miriam M. Johnson, “Love, Sex, and Marriage--American Style” (16-20)
      • Takahashi Michiko, “Working Mothers and Families” (21-30)
      • Emily Abel, “Family Care for the Elderly in the United States” (31-36)
      • Serizawa Motoko, “Aspects of an Aging Society” (37-46)
      • Marilyn Yalom, “Father-Daughter Incest: Family Dynamics, Research Findings, and
        Survivor Memoirs” (47-52)
      • Hoshino Sumiko, “Married Couples, Separate Surnames: A Step Toward More
        Pluralistic Lifestyles” (53-59)
      • Fujieda Mioko, “Some Thoughts on Domestic Violence in Japan” (60-66)
      • Irene Diamond, “Family Planning, the State, and the Control of Fertility” (67-78)
      • Tomioka Taeko, Ueno Chizuko, Mizuta Noriko, Miriam M. Johnson, Myra Strober, and Ogino Miho (facilitator) “Symposium: Women and the Family: Post-Family Alternatives” (79-96)

      Fiction:

      • Takahashi Takako, “The Oracle,” translated by Nina Blake (97-110)
       
       
      Volume II, Number 1   December 1988
      U.S.-Japan Friction

      • Mizuta Noriko, “Foreword”
      • Aoki Tamotsu, “On the Negativity of Culture as Perceived in the Era of Anti-Relativism” (3-13)
      • Mieno Yasushi, “Monetary Policy and the Internationalization of the Economy:
        A Warning on Speculation and Inflation” (14-25)
      • Oba Tomomitsu, “Thoughts on the Changing Yen and the Crisis of the Dollar:
        How Strong is the Yen?” (26-34)
      • Nukazawa Kazuo, “Japan-U.S. Economic Friction; Present and Future:
        Protectionism and the Demand for Market Liberalization” (35-46)
      • Kurosawa Yoh, “Problems of International Finance:
        A Banker's View on Monetary Friction” (47-59)
      • Minoru Nagaoka, “Financial Reconstruction and Economic Friction:
        How Can These Dilemmas Be Solved?” (61-76)

      Fiction:

      • Masuda Mizuko, “Living Alone,” translated by Seiji M. Lippit (77-91)
       
       
      Volume I, Number 1   October 1986
      Japan and the Japanese

      • Mizuta Noriko, “Foreword”
      • Sakaguchi Ango, “Discourse on Decadence (1946): A Penetrating Look at the Chaos
        of Japan Amidst the Ruin of War” (1-5)
      • Kida Minoru, “An Excursion Through a Hamlet for Lunatics (1946):
        A Satirical Comment on the Japanese Provincialism” (6-14)
      • Kato Shuichi, “Japan as a Hybrid Culture (1955): A Discussion of the Japanese Manner of Introducing, Imitating, and Assimilating Elements of Foreign Cultures” (15-24)
      • Umesao Tadao, “Japan as Viewed from an Eco-Historical Perspective (1957):
        An Argument Revealing the Dynamics of the Japanese Culture” (25-31)
      • Sakuta Keiichi, “A Reconsideration of the Culture of Shame (1964): A Reevaluation of Ruth Benedict’s Description of Japanese Society as a Culture of Shame” (32-39)
      • Shiba Ryotaro, “Japanese History from a Personal Viewpoint (1972): A Comment on the Japanese Sense of “What is Right” as Perceived at the Times of Unrest as the Age of Civil Wars Meiji Restoration” (40-45)
      • Yoneyama Toshinao, “The Importance of the Peer Group in Japanese Society (1976):
        An Inquiry into What the ‘Horizontal Society’ of Japan Offers in Terms of Collectivism and Solidarity” (46-50)
      • Inoue Tadashi, “The Structure of Seken-Tei (Appearances) (1977): An Analysis of Concepts That Shape the Consciousness and Behavior of the Japanese People” (51-61)
      • Kato Hidetoshi, “Characteristics of Theories of Japanese Culture (1977): The Key to Japanese Creativity Which is Highly Hospitable to Outside Stimuli” (62-71)
      • Kawai Hayao, “The Hollow Center in the Mythology of Kojiki (1980): An Analysis of the Original Meaning of Space in Japanese Myth” (72-77)
      • Kano Masanao, “Changing Perspectives on the Family in Post-War Japan (1983):
        Problems of the Family and Home: Change and Disintegration” (78-84)
      • Tanigawa Kenichi, “‘Tokoyo’ (The Eternal World)--The Archetype of the Japanese World View (1983): The Japanese View of Death and the Desire for the Other World” (85-91)
      • Hata Hiromi and Wendy Smith, “The Vertical Structure of Japanese Society as a Utopia (1985):
        A Critique of Nakane Chie’s Theory of Vertical Society” (92-109)

      Fiction:

      • Tomioka Taeko, “Time Table” (1975), translated by Kyōko Selden (110-23)