In thirteen wide-ranging essays, scholars and students of Asian and women's studies will find a vivid exploration of how female roles and feminine identity have evolved over 350 years, from the Tokugawa era to the end of World War II. Starting from the premise that gender is not a biological given, but is socially constructed and culturally transmitted, the authors describe the forces of change in the construction of female gender and explore the gap between the ideal of womanhood and the reality of Japanese women's lives. Most of all, the contributors speak to the diversity that has characterized women's experience in Japan. This is an imaginative, pioneering work, offering an interdisciplinary approach that will encourage a reconsideration of the paradigms of women's history, hitherto rooted in the Western experience.
Re-Imaging Japanese Women takes a revealing look at women whose voices have only recently begun to be heard in Japanese society: politicians, practitioners of traditional arts, writers, radicals, wives, mothers, bar hostesses, department store and blue-collar workers. This unique collection of essays gives a broad, interdisciplinary view of contemporary Japanese women while challenging readers to see the development of Japanese women's lives against the backdrop of domestic and global change. These essays provide a "second generation" analysis of roles, issues and social change. The collection brings up to date the work begun in Gail Lee Bernstein's Recreating Japanese Women, 1600-1945 (California, 1991), exploring disparities between the current range of images of Japanese women and the reality behind the choices women make.
“Recreating Japanese Men is a wonderful and invaluable book. Its interdisciplinary mix of essays opens the door to a new world of scholarship on masculinity in Japan." —David L. Howell, Harvard University “By considering a wide variety of alternative masculinities throughout Japanese history, these essays reveal the tensions, conflicts and overlapping between competing masculine and feminine ideals and practices in surprising ways.” —Robert A. Nye, Oregon State University “This gallery of striking but also subtle images of Japanese masculinity both reinforces old and reveals new historical understandings of Japanese political and military institutions, social divisions, and cultural anxieties. Essential reading in both Japan and masculinity studies.“ --Gary Cross, author of Men to Boys: The Making of Modern Immaturity.
In Japan as in the United States, family farming is on the wane, increasingly rejected by the younger generation in favor of more promising economic pursuits and more sophisticated comforts. Yet for centuries past, the village and the family farm have constituted the world of the vast majority of Japanese women, as of Japanese men. The dramatic economic and demographic developments of the past two decades have orced extensive changes in the lives of Japanese farm women, many of hwom have been left virtually in charge of their family farms. This book is a study of Japanese farm women's lives in the present era: its central figure is 42-year-old Haruko, a complex, vibrant woman who both exemplifies and makes a mockery of the stereotype of Japanese women. Through Haruko we learn the work routine, family relationships, and social life of the women who are the mainstay of Japanese agriculture. Other women from Haruko's village also figure in the story, and the author's observations of them, based largely on a six-month stay with Haruko and her family in 1974-75, are supplemented with data from questionnaires and personal interviews. An epilogue recounts the author's return to Haruko's village in 1982 and describes the changes that have occurred since 1975 in the lives of Haruko's family and other village women. The book is illustrated with photographs.
"Grounded in ethnographic data, the book offers an examination of how policy and meaning frame the choices Japanese make about how to die. As an essay in descriptive bioethics, it engages an extensive literature in the social sciences and bioethics to examine some of the answers people have constructed to end-of-life issues. Like their counterparts in other postindustrial societies, Japanese find no simple way of handling situations such as disclosure of diagnosis, discontinuing or withholding treatment, organ donation, euthanasia, and hospice. Through interviews and case studies in hospitals and homes, Susan Orpett Long offers a window on the ways in which "ordinary" people respond to serious illness and the process of dying."--BOOK JACKET.
In A New History of Japanese Cinema Isolde Standish focuses on the historical development of Japanese film. She details an industry and an art form shaped by the competing and merging forces of traditional culture and of economic and technological innovation. Adopting a thematic, exploratory approach, Standish links the concept of Japanese cinema as a system of communication with some of the central discourses of the twentieth century: modernism, nationalism, humanism, resistance, and gender. After an introduction outlining the earliest years of cinema in Japan, Standish demonstrates cinema's symbolic position in Japanese society in the 1930s - as both a metaphor and a motor of modernity. Moving into the late thirties and early forties, Standish analyses cinema's relationship with the state-focusing in particular on the war and occupation periods. The book's coverage of the post-occupation period looks at "romance" films in particular. Avant-garde directors came to the fore during the 1960s and early seventies, and their work is discussed in depth. The book concludes with an investigation of genre and gender in mainstream films of recent years. In grappling with Japanese film history and criticism, most western commentators have concentrated on offering interpretations of what have come to be considered "classic" films. A New History of Japanese Cinema takes a genuinely innovative approach to the subject, and should prove an essential resource for many years to come.
In Our Unions, Our Selves, Anne Zacharias-Walsh provides an in-depth look at the rise of women-only unions in Japan, an organizational analysis of the challenges these new unions face in practice, and a firsthand account of the ambitious, occasionally contentious, and ultimately successful international solidarity project that helped to spark a new feminist labor movement. In the early 1990s, as part of a larger wave of union reform efforts in Japan, women began creating their own women-only labor unions to confront long-standing gender inequality in the workplace and in traditional enterprise unions. These new unions soon discovered that the demand for individual assistance and help at the bargaining table dramatically exceeded the rate at which the unions could recruit and train members to meet that demand. Within just a few years, women-only unions were proving to be both the most effective option women had for addressing problems on the job and in serious danger of dying out because of their inability to grow their organizational capacity. Zacharias-Walsh met up with Japanese women’s unions at a critical moment in their struggle to survive. Recognizing the benefits of a cross-national dialogue, they teamed up to host a multiyear international exchange project that brought together U.S. and Japanese activists and scholars to investigate the links between organizational structure and the day-to-day problems nontraditional unions face, and to develop Japan-specific participatory labor education as a way to organize and empower new generations of members. They also gained valuable insights into the fine art of building and maintaining the kinds of collaborative, cross border relationships that are essential to today’s social justice movements, from global efforts to save the environment to the Fight for $15 and Black Lives Matter.
At the dawn of the 1930s a new empowered and liberated image of the female was taking root in popular culture in the West. This 'modern woman' archetype was also penetrating into Eastern cultures, however, challenging the Chinese and Japanese historical norm of the woman as homemaker, servant or geisha. Through a focus on the writings of the Western women who engaged with the Far East, and the Eastern writers and personalities who reacted to this new global gender communication by forming their own separate identities, Katrina Gulliver reveals the complex redefining of the self taking place in a crucial time of political and economic upheaval. Including an analysis of the work of Nobel Prize laureate Pearl S. Buck, The Modern Woman in China and Japan is an important contribution to gender studies and will appeal to historians and scholars of China and East Asia as well as to those studying Asian and American literature.
Based on research over a six-year period into three age groups of women, this important new study offers in depth analysis for the first time of the experience of expatriate Japanese wives living temporarily in the United Kingdom. It focuses on the roles of the ‘housewife’ in the context of the changing status of women in contemporary Japan.
The author examines widowhood in Japanese society through an anthropological lens. It discusses the history of the Japanese widow as compared her to her Chinese and Korean counterparts. Gender roles, the government's role, particularly in respect to war widows, religion, and the changing face of widowhood today are also considered.
