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How did Buddhism, so prominent in Japanese life for over a thousand years, become the target of severe persecution in the social and political turmoil of the early Meiji era? How did it survive attacks against it and reconstitute itself as an increasingly articulate and coherent belief system and a bastion of the Japanese national heritage? Here James Ketelaar elucidates not only the development of Buddhism in the late nineteenth century but also the strategies of the Meiji state.
These essays on Meiji Japan, written by scholars from nine nations, reflect a determination to destabilize existing paradigms in the social sciences and humanities, in favor of a multiplicity of perspectives that privilege subjectivity and the inclusion of non-elite groups.
Eshinni (1182–1268?), a Buddhist nun and the wife of Shinran (1173–1262), the celebrated founder of the True Pure Land, or Shin, school of Buddhism, was largely unknown until the discovery of a collection of her letters in 1921. In this study, James C. Dobbins, a leading scholar of Pure Land Buddhism, has made creative use of these letters to shed new light on life and religion in medieval Japan. He provides a complete translation of the letters and an explication of them that reveals the character and flavor of early Shin Buddhism. Readers will come away with a new perspective on Pure Land scholarship and a vivid image of Eshinni and the world in which she lived. After situating the ide...
The essays in this volume focus on the historical, institutional, and ritual context of a number of Japanese Buddhist paintings, sculptures, calligraphies, and relics?some celebrated, others long overlooked.
Featuring an interdisciplinary and international group of scholars, Tumultuous Decade examines Japanese domestic and foreign affairs between 1931 and 1941.
On September 13, 1912, the day of Emperor Meiji’s funeral, General Nogi Maresuke committed ritual suicide by seppuku (disembowelment). It was an act of delayed atonement that paid a debt of honor incurred thirty-five years earlier. The revered military hero’s wife joined in his act of junshi ("following one’s lord into death"). The violence of their double suicide shocked the nation. What had impelled the general and his wife, on the threshold of a new era, to resort so drastically, so dramatically, to this forbidden, anachronistic practice? The nation was divided. There were those who saw the suicides as a heroic affirmation of the samurai code; others found them a cause for embarrass...
Using ceremonials such as imperial weddings and funerals as models, T. Fujitani illustrates what visual symbols and rituals reveal about monarchy, nationalism, city planning, discipline, gender, memory, and modernity. Focusing on the Meiji Period (1868-1912), Fujitani brings recent methods of cultural history to a study of modern Japanese nationalism for the first time. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997. Using ceremonials such as imperial weddings and funerals as models, T. Fujitani illustrates what visual symbols and rituals reveal about monarchy, nationalism, city planning, discipline, gender, memory, and modernity. Focusing on the Meiji Period (1868-19
The complex and coherent development of Japanese art during thecourse of the nineteenth century was inadvertently disrupted by apolitical event: the Meiji Restoration of 1868. Scholars of both thepreceding Edo (1615-1868) and the succeeding Meiji (1868-1912) erashave shunned the decades bordering this arbitrary divide, thus creatingan art-historical void that the former view as a period of waningtechnical and creative inventiveness and the latter as one threatenedby Meiji reforms and indiscriminate westernization and modernization.Challenging Past and Present, to the contrary, demonstrates that theperiod 1840-1890, as seen progressively rather than retrospectively, experienced a dramatic transformation in the visual arts, which in turnmade possible the creative achievements of the twentieth century
The chapters in this volume variously challenge a number of long-standing assumptions regarding eighteenth- and nineteenth-century Japanese society, and especially that society’s values, structure and hierarchy; the practical limits of state authority; and the emergence of individual and collective identity. By interrogating the concept of equality on both sides of the 1868 divide, the volume extends this discussion beyond the late-Tokugawa period into the early-Meiji and even into the present. An Epilogue examines some of the historiographical issues that form a background to this enquiry. Taken together, the chapters offer answers and perspectives that are highly original and should prove stimulating to all those interested in early modern Japanese cultural, intellectual, and social history Contributors include: Daniel Botsman, W. Puck Brecher, Gideon Fujiwara, Eiko Ikegami, Jun’ichi Isomae, James E. Ketelaar, Yasunori Kojima, Peter Nosco, Naoki Sakai, Gregory Smits, M. William Steele, and Anne Walthall.
In a 2001 poll, Turks ranked the United States highest when asked: "Which country is Turkey's best friend in international relations?" When the pollsters reversed the question—"Which country is Turkey's number one enemy in international relations?"—the United States came in second. How did Turkey's citizens come to hold such opposing views simultaneously? In The Limits of Westernization, Perin E. Gürel explains this unique split and its echoes in contemporary U.S.-Turkey relations. Using Turkish and English sources, Gürel maps the reaction of Turks to the rise of the United States as a world-ordering power in the twentieth century. As Turkey transitioned from an empire to a nation-stat...