Issues

	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)

	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)

	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)

	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)

	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)

	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)

	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)

• 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)

• 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)

• 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)

• 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)

• Lisa Bloom, “Introduction” (i-iv)
• Part?: 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)

• 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)

• 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)

• 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)

• 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)

• 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)

• 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)

• 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)

• 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)