Using the framework of Edward Said’s Orientalism, this work examines how Western rock and pop artists—particularly during the age of album rock from the 1970s through the 1990s—perpetuated long-held stereotypes of Japan in their direct encounters with the country and in songs and music videos with Japanese content.
Almost right from the introduction of baseball to Japan the sport was regarded as qualitatively different from the original American model. This vision of Japanese baseball associates the sport with steadfast devotion (magokoro) and the values of the samurai class in the code of Bushidō, in which greatness is achieved through hard work under the tutelage of a selfless master. In Contesting the Myths of Samurai Baseball Keaveney analyzes the persistent appeal of such mythologizing, arguing that the sport has been serving as a repository for traditional values, to which the Japanese have returned time and again in epochs of uncertainty and change. Baseball and modern culture emerged and developed side by side in Japan, giving cultural representations of this national pastime special insights into Japanese values and their contortions from the late nineteenth century to the present day. Keaveney explains the origins of the cultural construct “Samurai baseball” and reflects on the recurrences of these essentialist discourses at critical junctures in Japan’s modern history. Since the early modern period, writers, filmmakers, and manga artists have alternately affirmed and debunked these popular myths of baseball. This study presents an overview of these cultural products, beginning with Masaoka Shiki’s pioneering baseball writings, then moves on to the long history of baseball films and the venerable tradition of baseball fiction, and finally considers the substantial body of baseball manga and anime. Perhaps what is most striking is the continuous relevance of baseball and its values as a point of cultural reference for the Japanese people; their engagement with baseball is a genuine national love affair. “A fascinating study of samurai baseball and the culture it represents viewed through historical and contemporary literature, poetry, manga, and movies. An important, original work that is full of insights. Christopher Keaveney has put enormous effort into researching this book and he is to be congratulated. I learned a lot by reading it.” —Robert Whiting, author of You Gotta Have Wa and The Meaning of Ichiro “Keaveney’s book offers a nuanced introduction to the Japanese model of samurai baseball along with an analysis of many of the works that treat the guiding principles of that model. A fresh look at Japan’s national pastime.” —Bobby Valentine, former MLB player and manager and former manager of the Chiba Lotte Marines of Nippon Professional Baseball “Christopher Keaveney effortlessly combines a thorough knowledge of Japanese baseball—its players, managers, fans—with the cultural productions surrounding it. The result is a nostalgic trip through history and an edifying survey of literature, film, and manga.” —David Desser, professor emeritus, University of Illinois at Urbana-Champaign
Beyond Brushtalk explores interactions between Japanese and Chinese writers during the golden age of such exchange, 1919 to 1937. During this period, there were unprecedented opportunities for exchange between writers, which was made possible by the ease of travel between Japan and China during these years and the educational background of Chinese writers as students in Japan. Although the salubrious interaction that developed during that period was destined not to last, it nevertheless was significant as a courageous essay at cultural interaction. This book will appeal not only to those interested in Sino-Japanese studies, an increasingly important field of study in its own right, but will also appeal to scholars of both Japanese literature and Chinese literature and researchers whose areas of interest correspond to the major writers included in this work such as Lu Xun and Zhou Zuoren on the Chinese side and Tanizaki Jun'ichirō and Hayashi Fumiko on the Japanese side. The relations and resulting literary works involving these major writers are often relatively neglected aspects of their total output and will draw interest from scholars of their work. This book will be accessible to both Sinologists and Japanologists with little background in the corresponding field, and to the generalist possessing an interest in literary exchange.
Yamamoto Sanehiko's (1885-1952) achievements as a publisher, writer, and politician in the interwar period served as both a catalyst and a template for developments after the wars. While exploring the accomplishments the compelling figure, this study sheds new light on the social, cultural, and political changes that occurred in postwar Japan.
Figures of the World: The Naturalist Novel and Transnational Form overturns Eurocentric genealogies and globalizing generalizations about “world literature” by examining the complex, contradictory history of naturalist fiction. Christopher Laing Hill follows naturalism’s emergence in France and circulation around the world from North and South America to East Asia. His analysis shows that transnational literary studies must operate on multiple scales, combine distant reading with close analysis, and investigate how literary forms develop on the move. The book begins by tracing the history of naturalist fiction from the 1860s into the twentieth century and the reasons it spread around the world. Hill explores the development of three naturalist figures—the degenerate body, the self-liberated woman, and the social milieu—through close readings of fiction from France, Japan, and the United States. Rather than genealogies of European influence or the domination of cultural “peripheries” by the center, novels by Émile Zola, Tayama Katai, Frank Norris, and other writers reveal conspicuous departures from metropolitan models as writers revised naturalist methods to address new social conditions. Hill offers a new approach to studying culture on a large scale for readers interested in literature, the arts, and the history of ideas.
Using the framework of Edward Said’s Orientalism, this work examines how Western rock and pop artists—particularly during the age of album rock from the 1970s through the 1990s—perpetuated long-held stereotypes of Japan in their direct encounters with the country and in songs and music videos with Japanese content.
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