Early modern Japanese graphic narratives (kusazōshi) have found their go-to guide: this edited volume is the first in English to treat them in the round, uncovering fresh research avenues for the specialist and advancing provocations around comics, manga, and the literary.
Part of a formidable publishing industry, cheap yet eye-catching graphic narratives consistently charmed early modern Japanese readers for around two hundred years. These booklets were called kusazōshi (“grass books”). Graphic Narratives from Early Modern Japan is the first English-language publication of its kind. It enables anyone new to kusazōshi to gain comprehensive knowledge of the field. For the specialist, our edited volume marks a turning point in scholarship, uncovering fresh research avenues. While exploring the powerful effects of the visual-verbal imagination, this collection opens up bold new vistas on the act of reading and advances provocations around comics and manga. Contributors are: Jaqueline Berndt, Joseph Bills, Michael Emmerich, Adam L. Kern, Fumiko Kobayashi, Frederick Feilden, Laura Moretti, Matsubara Noriko, Satō Satoru, Satō Yukiko, Satoko Shimazaki, Takagi Gen, Tanahashi Masahiro, Ellis Tinios, Tsuda Mayumi and, Glynne Walley.
2022 Eisner Award Winner for Best Academic/Scholarly Work Japanese comics, commonly known as manga, are a global sensation. Critics, scholars, and everyday readers have often viewed this artform through an Orientalist framework, treating manga as the exotic antithesis to American and European comics. In reality, the history of manga is deeply intertwined with Japan’s avid importation of Western technology and popular culture in the early twentieth century. Comics and the Origins of Manga reveals how popular U.S. comics characters like Jiggs and Maggie, the Katzenjammer Kids, Felix the Cat, and Popeye achieved immense fame in Japan during the 1920s and 1930s. Modern comics had earlier developed in the United States in response to new technologies like motion pictures and sound recording, which revolutionized visual storytelling by prompting the invention of devices like speed lines and speech balloons. As audiovisual entertainment like movies and record players spread through Japan, comics followed suit. Their immediate popularity quickly encouraged Japanese editors and cartoonists to enthusiastically embrace the foreign medium and make it their own, paving the way for manga as we know it today. By challenging the conventional wisdom that manga evolved from centuries of prior Japanese art and explaining why manga and other comics around the world share the same origin story, Comics and the Origins of Manga offers a new understanding of this increasingly influential artform.
“[A]n excellent book...” —The Economist Financial Times Asia editor David Pilling presents a fresh vision of Japan, drawing on his own deep experience, as well as observations from a cross section of Japanese citizenry, including novelist Haruki Murakami, former prime minister Junichiro Koizumi, industrialists and bankers, activists and artists, teenagers and octogenarians. Through their voices, Pilling's Bending Adversity captures the dynamism and diversity of contemporary Japan. Pilling’s exploration begins with the 2011 triple disaster of earthquake, tsunami, and nuclear meltdown. His deep reporting reveals both Japan’s vulnerabilities and its resilience and pushes him to understand the country’s past through cycles of crisis and reconstruction. Japan’s survivalist mentality has carried it through tremendous hardship, but is also the source of great destruction: It was the nineteenth-century struggle to ward off colonial intent that resulted in Japan’s own imperial endeavor, culminating in the devastation of World War II. Even the postwar economic miracle—the manufacturing and commerce explosion that brought unprecedented economic growth and earned Japan international clout might have been a less pure victory than it seemed. In Bending Adversity Pilling questions what was lost in the country’s blind, aborted climb to #1. With the same rigor, he revisits 1990—the year the economic bubble burst, and the beginning of Japan’s “lost decades”—to ask if the turning point might be viewed differently. While financial struggle and national debt are a reality, post-growth Japan has also successfully maintained a stable standard of living and social cohesion. And while life has become less certain, opportunities—in particular for the young and for women—have diversified. Still, Japan is in many ways a country in recovery, working to find a way forward after the events of 2011 and decades of slow growth. Bending Adversity closes with a reflection on what the 2012 reelection of Prime Minister Shinzo Abe, and his radical antideflation policy, might mean for Japan and its future. Informed throughout by the insights shared by Pilling’s many interview subjects, Bending Adversity rigorously engages with the social, spiritual, financial, and political life of Japan to create a more nuanced representation of the oft-misunderstood island nation and its people. The Financial Times “David Pilling quotes a visiting MP from northern England, dazzled by Tokyo’s lights and awed by its bustling prosperity: ‘If this is a recession, I want one.’ Not the least of the merits of Pilling’s hugely enjoyable and perceptive book on Japan is that he places the denunciations of two allegedly “lost decades” in the context of what the country is really like and its actual achievements.” The Telegraph (UK) “Pilling, the Asia editor of the Financial Times, is perfectly placed to be our guide, and his insights are a real rarity when very few Western journalists communicate the essence of the world’s third-largest economy in anything but the most superficial ways. Here, there is a terrific selection of interview subjects mixed with great reportage and fact selection... he does get people to say wonderful things. The novelist Haruki Murakami tells him: “When we were rich, I hated this country”... well-written... valuable.” Publishers Weekly (starred): "A probing and insightful portrait of contemporary Japan."
Ichiro lives in New York City with his Japanese mother. His father, an American soldier, was killed in Iraq. Now, Ichi’s mom has decided they should move back to Japan to live with Ichi’s grandfather. Grandfather becomes Ichi’s tour guide, taking him to temples as well as the Hiroshima Peace Park, where Ichi starts to question the nature of war. After a supernatural encounter with the gods and creatures of Japanese mythology, Ichi must face his fears if he is to get back home. In doing so, he learns about the nature of man, of gods, and of war. He also learns there are no easy answers—for gods or men.
First runner-up for the 2019 Ray and Pat Browne Award for the Best Edited Collection in Popular and American Culture Cultures of War in Graphic Novels examines the representation of small-scale and often less acknowledged conflicts from around the world and throughout history. The contributors look at an array of graphic novels about conflicts such as the Boxer Rebellion (1899-1901), the Irish struggle for national independence (1916-1998), the Falkland War (1982), the Bosnian War (1992-1995), the Rwandan genocide (1994), the Israel-Lebanon War (2006), and the War on Terror (2001-). The book explores the multi-layered relation between the graphic novel as a popular medium and war as a pivotal recurring experience in human history. The focus on largely overlooked small-scale conflicts contributes not only to advance our understanding of graphic novels about war and the cultural aspects of war as reflected in graphic novels, but also our sense of the early twenty-first century, in which popular media and limited conflicts have become closely interrelated.
Kabuki's Nineteenth Century examines the theater culture of nineteenth-century Japan from the perspective of the history and materiality of the book, the nature of reception, and the making and making use of images. The aim of this book is to rediscover the kabuki theater of nineteenth-century Japan by shifting our critical focus from performance to print and the public sphere, and thus embedding theater history within the larger world of printed matter by means of which theatricality circulated beyond the stage and through which performance was most often consumed. Fundamental to Kabuki's Nineteenth Century is a reconsideration of the nature of the printed archive itself. The book argues that the archive of printed material related to the theater in nineteenth-century Japan (playbills, actor critiques, theater guides, maps, actor prints, calendars, and broadsheets) is something more than--and more complicated than--a set of materials out of which we might reconstitute the always transient event of performance. Rather, the archive constitutes an object of inquiry unto itself, an object that reveals as much about the interrelations between and among various printed media and genres circulating beyond the confines of the theater as it does about what happened on stage. Even as we use these materials to examine the history of performance, a series of different questions might be asked: what can the production, consumption, and collecting of this enormous body of printed matter tell us about such problems as the role of print in everyday life, the construction of specialized knowledges, and the manner in which a culture archives itself?
This book presents for the first time all texts constituting the Eastern Old Japanese corpus as well as the dictionary including all lexical items found. Unlike its relative Western Old Japanese, Eastern Old Japanese is not based on the language of just two geographic localities, but is stretched along several provinces of Ancient Japan along the Pacific Seaboard (modern Aichi to Ibaraki) and across the island of Honshū from Etchū (Modern Toyama and parts of Ishikawa) province to Shinano and Kai provinces (modern Nagano and Yamanashi). Therefore, references to places of attestation are included into our dictionary, too.
Yukie Sakai is a sprightly young home health aide eager to help her elderly clients. But what seems like a straightforward job quickly turns into a series of increasingly surreal and bizarre adventures that put Yukie’s wits to the test! Cartoonist Kago, who is well known for combining a more traditional manga style with hyper realistic illustration technique, an experimental visual storytelling approach, and outrageously sexual and scatological subject matter, has single-handedly created his own genre: “fashionable paranoia."