Josai University - Review of Japanes Culture and Society

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"
    • 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)

    • 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)

    • 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)

    • 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”
    • 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)


    • 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)


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

    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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


    • 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)


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