Podcasts about meiji japan

Bright on Buddhism - Episode 142 - What was the haibutsu kishaku movement in Meiji Japan? Why did it happen? What was the result?Resources: Breen, John and Mark Teeuwen. (2000). Shinto in History: Ways of the Kami. Honolulu: University of Hawaii Press. ISBN 978-0-8248-2362-7; ISBN 978-0-8248-2363-4; OCLC 43487317James Ketelaar: Of Heretics and Martyrs in Meiji Japan: Buddhism and its Persecution, Princeton 1990Grapard, Allan G. (1992), Review of: James Ketelaar, Of Heretics and Martyrs in Meiji Japan: Buddhism and Its Persecution, Princeton 1990. In: Japanese Journal of Religious Studies 19 (4), 390-395_________________________________If you like our show and would like to support us, we encourage you to give your money or resources to a worthy cause. We can get through this. Our strongest weapon is solidarity. Stay strong and help where you can. Thank you.Do you have a question about Buddhism that you'd like us to discuss? Let us know by emailing us at Bright.On.Buddhism@gmail.com.Credits:Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-HostProven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

In this episode, our guest is Reka Juhasz from the University of British Columbia and we talked about her academic journey, favorite books and papers in economics, why some countries could successfully industrialize while others failed, what made Meiji Japan special, and more! 06:58 Why could some countries industrialize more successfully than others? 09:55 What specifically happened in Meiji Japan in the 19th century? 20:10 What is the main message of this QJE paper? 23:00 Industrial Policy and Political Agendas28:25 Cheezy Questions and Never Have I Ever!Papers/Books mentioned in the episode: Codification, Technology Absorption, and the Globalization of the Industrial Revolution: https://www.nber.org/papers/w32667The Rise of "the Rest": https://global.oup.com/academic/product/the-rise-of-the-rest-9780195170597?cc=gb&lang=en&The Wind of Change: Maritime Technology, Trade, and Economic Development: https://www.aeaweb.org/articles?id=10.1257/aer.20140832

The Mask: A History of Breathing Bad Air (Yale UP, 2025) by Dr. Bruno J. Strasser and Dr. Thomas Schlich presents a history of masks protecting against bad air—in cities, factories, hospitals, and war trenches—exploring how our identities and beliefs shape the decision to wear a mask. For centuries, humans have sought to protect themselves from harmful air, whether from smoke, dust, vapors, or germs. This book offers the first history of respiratory masks—ranging from simple pieces of cloth to elaborate gas masks—and explores why they have sparked both hope and fear. Dr. Strasser and Dr. Schlich captivate readers with stories of individuals—from renowned doctors and political leaders to forgotten inventors and anonymous factory workers—who passionately debated the value of masks. In Renaissance Italy and Meiji Japan, in Victorian Britain and Cold War America, the way societies have engaged with face coverings reveals their deepest cultural and political fractures. The Mask challenges us to reconsider how we care for one another and the kind of environment we aspire to inhabit. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Mask: A History of Breathing Bad Air (Yale UP, 2025) by Dr. Bruno J. Strasser and Dr. Thomas Schlich presents a history of masks protecting against bad air—in cities, factories, hospitals, and war trenches—exploring how our identities and beliefs shape the decision to wear a mask. For centuries, humans have sought to protect themselves from harmful air, whether from smoke, dust, vapors, or germs. This book offers the first history of respiratory masks—ranging from simple pieces of cloth to elaborate gas masks—and explores why they have sparked both hope and fear. Dr. Strasser and Dr. Schlich captivate readers with stories of individuals—from renowned doctors and political leaders to forgotten inventors and anonymous factory workers—who passionately debated the value of masks. In Renaissance Italy and Meiji Japan, in Victorian Britain and Cold War America, the way societies have engaged with face coverings reveals their deepest cultural and political fractures. The Mask challenges us to reconsider how we care for one another and the kind of environment we aspire to inhabit. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

The Mask: A History of Breathing Bad Air (Yale UP, 2025) by Dr. Bruno J. Strasser and Dr. Thomas Schlich presents a history of masks protecting against bad air—in cities, factories, hospitals, and war trenches—exploring how our identities and beliefs shape the decision to wear a mask. For centuries, humans have sought to protect themselves from harmful air, whether from smoke, dust, vapors, or germs. This book offers the first history of respiratory masks—ranging from simple pieces of cloth to elaborate gas masks—and explores why they have sparked both hope and fear. Dr. Strasser and Dr. Schlich captivate readers with stories of individuals—from renowned doctors and political leaders to forgotten inventors and anonymous factory workers—who passionately debated the value of masks. In Renaissance Italy and Meiji Japan, in Victorian Britain and Cold War America, the way societies have engaged with face coverings reveals their deepest cultural and political fractures. The Mask challenges us to reconsider how we care for one another and the kind of environment we aspire to inhabit. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

The Mask: A History of Breathing Bad Air (Yale UP, 2025) by Dr. Bruno J. Strasser and Dr. Thomas Schlich presents a history of masks protecting against bad air—in cities, factories, hospitals, and war trenches—exploring how our identities and beliefs shape the decision to wear a mask. For centuries, humans have sought to protect themselves from harmful air, whether from smoke, dust, vapors, or germs. This book offers the first history of respiratory masks—ranging from simple pieces of cloth to elaborate gas masks—and explores why they have sparked both hope and fear. Dr. Strasser and Dr. Schlich captivate readers with stories of individuals—from renowned doctors and political leaders to forgotten inventors and anonymous factory workers—who passionately debated the value of masks. In Renaissance Italy and Meiji Japan, in Victorian Britain and Cold War America, the way societies have engaged with face coverings reveals their deepest cultural and political fractures. The Mask challenges us to reconsider how we care for one another and the kind of environment we aspire to inhabit. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The Mask: A History of Breathing Bad Air (Yale UP, 2025) by Dr. Bruno J. Strasser and Dr. Thomas Schlich presents a history of masks protecting against bad air—in cities, factories, hospitals, and war trenches—exploring how our identities and beliefs shape the decision to wear a mask. For centuries, humans have sought to protect themselves from harmful air, whether from smoke, dust, vapors, or germs. This book offers the first history of respiratory masks—ranging from simple pieces of cloth to elaborate gas masks—and explores why they have sparked both hope and fear. Dr. Strasser and Dr. Schlich captivate readers with stories of individuals—from renowned doctors and political leaders to forgotten inventors and anonymous factory workers—who passionately debated the value of masks. In Renaissance Italy and Meiji Japan, in Victorian Britain and Cold War America, the way societies have engaged with face coverings reveals their deepest cultural and political fractures. The Mask challenges us to reconsider how we care for one another and the kind of environment we aspire to inhabit. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Specialty Matcha Podcast, hosts Ryan and Zongjun (Sam) talk with with Dr. Rebecca Corbett, a historian specializing the history and practice of Japanese tea culture (chanoyu), and early modern Japanese women's history. Dr. Corbett shares her personal journey into the world of tea and discusses the complexities of gender roles within tea practices. The conversation also touches on the influence of the Urasenke school, the secretive nature of knowledge transmission in Chanoyu, and the institutionalized sexism present in Japanese society. Dr. Corbett's book, Cultivating Femininity: Women and Tea Culture in Edo and Meiji Japan, sheds light on the women who were written out of tea history and disproves orthodox narratives perpetuated by the largest and most powerful schools of tea ceremony in the world. https://libraries.usc.edu/person/rebecca-corbetthttps://theconversation.com/green-gruel-pea-soup-what-westerners-thought-of-matcha-when-they-tried-it-for-the-first-time-263014?utm_medium=article_clipboard_share&utm_source=theconversation.comhttps://library.oapen.org/handle/20.500.12657/30216https://globaltea.ucdavis.edu/

Meet Toshiko Kishida, feminist in Meiji Japan who delivered the famous Daughters in Boxes Speech.   Click to join my mailing listTeachers Pay Teachers StoreGrab a copy of History, Her Story, Our Story from Amazon!If you would like to support the podcast, you and Buy Me a CoffeeWrite a review on Podchaser, Apple or Spotify.The History Detective Season 1 & 2 Album is now available on Spotify and all of your music streaming services.Contact: Instagram @HistoryDetective9, email historydetective9@gmail.comHistory Detective WebsiteAll music written and performed by Kelly Chase.

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-review

The Russians came late to Japan, arriving after the Portuguese and other European powers. But as soon as they arrived, Russia tried to use spies and espionage to learn more about their neighbor—with various degrees of success. Sometimes, it failed miserably, like Russia's early attempts to make contact with pre-Meiji Japan, or the debacle during the Russo-Japanese War. Other times, they were wildly successful, like during the Battle of Khalkin Gol or with Richard Sorge's spy ring during the Second World War. James D. Brown covers Russia and the Soviet Union's efforts to learn more about Japan in Cracking the Crab: Russian Espionage Against Japan, from Peter the Great to Richard Sorge (Hurst, 2025), covering much both the famous examples of Russian spycraft, and the lesser-known missions—like Operation Postman, a successful effort to read the mail of Japanese diplomats in Italy. James is Professor of Political Science at Temple University, Japan. He is a specialist on East Asian politics and a regular media contributor, including for the BBC. His books include Japan, Russia and their Territorial Dispute (Routledge: 2016); and Japan's Foreign Relations in Asia (Routledge: 2018) and The Abe Legacy (Lexington Books: 2023) You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of Cracking the Crab. Follow on Twitter at @BookReviewsAsia. Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at@nickrigordon. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

This is a preview of a premium episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. Our dear friend Comrade Yui joins us to discuss Lee Sang-il's 2013 remake of UNFORGIVEN, which stars Ken Watanabe and transposes the action to Meiji Japan. We talk Japanese history, Westerns vs. jidaigeki, Pokémon metaphysics, and pantsing. Great ep, please enjoy. Follow Comrade Yui: https://www.youtube.com/channel/UCb3MlmPw9MfDK4chNVQ4gdA https://x.com/Comrade_Yui https://www.patreon.com/c/comrade_yui/ Yui's review of UNFORGIVEN (2013): https://letterboxd.com/comrade_yui/film/unforgiven-2013 Thanks as always to Jetski for our theme music and Jeremy Allison for our artwork.

We follow Korea's thousand-year struggle to maintain its integrity and independence, fending off cataclysmic invasions by the Mongols, the Manchus, and the samurai of Japan, and repeatedly transforming itself -- from a confederation of Buddhist warrior-nobles, to a strictly Confucian surveillance state, to a fledgling modern industrial nation -- before finally falling to Meiji Japan. Suggested reading: Han Woo-Keun, “The History of Korea”; Michael J. Seth, “A History of Korea” & “A Brief History of Korea”; Takashi Hatada, “A History of Korea”; Ki-Baek Lee, “A New History of Korea” Image: Seokguram Grotto, outside Gyeongju, late 700s Please sign on as a patron to hear all patron-only lectures! -- www.patreon.com/c/user?u=5530632

In this episode Dr. Rebecca Corbett, USC's Director of Special Projects and Japanese Studies Librarian in the East Asian Library provides additional context for Madame Butterfly, through her research on Japanese tea practices. This conversation was recorded as part of Connects' professional development series, Opera for Educators.

This week, we're continuing last week's footnote on daily life in Meiji Japan. Topics covered this week include life as a conscript in the army, changes to Japanese cuisine during the Meiji years, and entertainment from kabuki to early movies. Show notes here. 

This week on the Revised Introduction to Japanese History Footnotes: what was it like to live in the Meiji Era? Join us on a journey through a day in 1900, as we discuss breakfast foods, education, and factory jobs in the "new Japan." Show notes here.

The Handbook of Modern and Contemporary Japanese Women Writers (MHM Limited and Amsterdam University Press, 2022) offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women's writing in Japan. Professor Rebecca Copeland is a professor of Japanese literature at Washington University in St. Louis. Professor Copeland's research and teaching interests include modern and contemporary women's writing in Japan, modern literature and material culture, and translation studies. She is the author of The Sound of the Wind: The Life and Works of Uno Chiyo (1992) and Lost Leaves: Women Writers of Meiji Japan (2000), the latter of which was named a Choice Outstanding Academic Title for 2001. She is the editor of Woman Critiqued: Translated Essays on Japanese Women's Writing (2006) and co-editor of The Father-Daughter Plot: Japanese Literary Women and the Law of the Father (2001) and Modern Murasaki: Writing by Women of Meiji Japan (2006), and Diva Nation: Female Icons from Japanese Cultural History (2018). Professor Copeland also translates one of the most well-known Japanese woman writer, Kirino Natsuo's Grotesque (2007) and Joshinki (The Goddess Chronicles, 2012). The Goddess Chronicles won the 2014-15 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature. Professor Copeland is also a creative writer and her debut novel, The Kimono Tattoo, was published in 2021. Linshan Jiang is a Postdoctoral Associate in the Department of Asian and Middle Eastern Studies at Duke University. She received her Ph.D. in East Asian Languages and Cultural Studies from the University of California, Santa Barbara, where she also obtained a Ph.D. emphasis in Translation Studies. Her research interests include modern and contemporary literature, film, and popular culture in mainland China, Taiwan, and Japan; trauma and memory studies; gender and sexuality studies; queer studies; as well as comparative literature and translation studies. Her primary research project focuses on female writers' war experiences and memories of the Asia-Pacific War, entitled Women Writing War Memories. Her second research project explores how queerness is performed in Sinophone queer cultural productions. She has published articles about gender studies and queer studies in literature and culture as well as translations of scholarly and popular works in Chinese and English. She has been making a podcast named Gleaners with her friends for more than ten years and she is also a host of the East Asian Studies channel for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Handbook of Modern and Contemporary Japanese Women Writers (MHM Limited and Amsterdam University Press, 2022) offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women's writing in Japan. Professor Rebecca Copeland is a professor of Japanese literature at Washington University in St. Louis. Professor Copeland's research and teaching interests include modern and contemporary women's writing in Japan, modern literature and material culture, and translation studies. She is the author of The Sound of the Wind: The Life and Works of Uno Chiyo (1992) and Lost Leaves: Women Writers of Meiji Japan (2000), the latter of which was named a Choice Outstanding Academic Title for 2001. She is the editor of Woman Critiqued: Translated Essays on Japanese Women's Writing (2006) and co-editor of The Father-Daughter Plot: Japanese Literary Women and the Law of the Father (2001) and Modern Murasaki: Writing by Women of Meiji Japan (2006), and Diva Nation: Female Icons from Japanese Cultural History (2018). Professor Copeland also translates one of the most well-known Japanese woman writer, Kirino Natsuo's Grotesque (2007) and Joshinki (The Goddess Chronicles, 2012). The Goddess Chronicles won the 2014-15 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature. Professor Copeland is also a creative writer and her debut novel, The Kimono Tattoo, was published in 2021. Linshan Jiang is a Postdoctoral Associate in the Department of Asian and Middle Eastern Studies at Duke University. She received her Ph.D. in East Asian Languages and Cultural Studies from the University of California, Santa Barbara, where she also obtained a Ph.D. emphasis in Translation Studies. Her research interests include modern and contemporary literature, film, and popular culture in mainland China, Taiwan, and Japan; trauma and memory studies; gender and sexuality studies; queer studies; as well as comparative literature and translation studies. Her primary research project focuses on female writers' war experiences and memories of the Asia-Pacific War, entitled Women Writing War Memories. Her second research project explores how queerness is performed in Sinophone queer cultural productions. She has published articles about gender studies and queer studies in literature and culture as well as translations of scholarly and popular works in Chinese and English. She has been making a podcast named Gleaners with her friends for more than ten years and she is also a host of the East Asian Studies channel for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Handbook of Modern and Contemporary Japanese Women Writers (MHM Limited and Amsterdam University Press, 2022) offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women's writing in Japan. Professor Rebecca Copeland is a professor of Japanese literature at Washington University in St. Louis. Professor Copeland's research and teaching interests include modern and contemporary women's writing in Japan, modern literature and material culture, and translation studies. She is the author of The Sound of the Wind: The Life and Works of Uno Chiyo (1992) and Lost Leaves: Women Writers of Meiji Japan (2000), the latter of which was named a Choice Outstanding Academic Title for 2001. She is the editor of Woman Critiqued: Translated Essays on Japanese Women's Writing (2006) and co-editor of The Father-Daughter Plot: Japanese Literary Women and the Law of the Father (2001) and Modern Murasaki: Writing by Women of Meiji Japan (2006), and Diva Nation: Female Icons from Japanese Cultural History (2018). Professor Copeland also translates one of the most well-known Japanese woman writer, Kirino Natsuo's Grotesque (2007) and Joshinki (The Goddess Chronicles, 2012). The Goddess Chronicles won the 2014-15 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature. Professor Copeland is also a creative writer and her debut novel, The Kimono Tattoo, was published in 2021. Linshan Jiang is a Postdoctoral Associate in the Department of Asian and Middle Eastern Studies at Duke University. She received her Ph.D. in East Asian Languages and Cultural Studies from the University of California, Santa Barbara, where she also obtained a Ph.D. emphasis in Translation Studies. Her research interests include modern and contemporary literature, film, and popular culture in mainland China, Taiwan, and Japan; trauma and memory studies; gender and sexuality studies; queer studies; as well as comparative literature and translation studies. Her primary research project focuses on female writers' war experiences and memories of the Asia-Pacific War, entitled Women Writing War Memories. Her second research project explores how queerness is performed in Sinophone queer cultural productions. She has published articles about gender studies and queer studies in literature and culture as well as translations of scholarly and popular works in Chinese and English. She has been making a podcast named Gleaners with her friends for more than ten years and she is also a host of the East Asian Studies channel for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

The Handbook of Modern and Contemporary Japanese Women Writers (MHM Limited and Amsterdam University Press, 2022) offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women's writing in Japan. Professor Rebecca Copeland is a professor of Japanese literature at Washington University in St. Louis. Professor Copeland's research and teaching interests include modern and contemporary women's writing in Japan, modern literature and material culture, and translation studies. She is the author of The Sound of the Wind: The Life and Works of Uno Chiyo (1992) and Lost Leaves: Women Writers of Meiji Japan (2000), the latter of which was named a Choice Outstanding Academic Title for 2001. She is the editor of Woman Critiqued: Translated Essays on Japanese Women's Writing (2006) and co-editor of The Father-Daughter Plot: Japanese Literary Women and the Law of the Father (2001) and Modern Murasaki: Writing by Women of Meiji Japan (2006), and Diva Nation: Female Icons from Japanese Cultural History (2018). Professor Copeland also translates one of the most well-known Japanese woman writer, Kirino Natsuo's Grotesque (2007) and Joshinki (The Goddess Chronicles, 2012). The Goddess Chronicles won the 2014-15 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature. Professor Copeland is also a creative writer and her debut novel, The Kimono Tattoo, was published in 2021. Linshan Jiang is a Postdoctoral Associate in the Department of Asian and Middle Eastern Studies at Duke University. She received her Ph.D. in East Asian Languages and Cultural Studies from the University of California, Santa Barbara, where she also obtained a Ph.D. emphasis in Translation Studies. Her research interests include modern and contemporary literature, film, and popular culture in mainland China, Taiwan, and Japan; trauma and memory studies; gender and sexuality studies; queer studies; as well as comparative literature and translation studies. Her primary research project focuses on female writers' war experiences and memories of the Asia-Pacific War, entitled Women Writing War Memories. Her second research project explores how queerness is performed in Sinophone queer cultural productions. She has published articles about gender studies and queer studies in literature and culture as well as translations of scholarly and popular works in Chinese and English. She has been making a podcast named Gleaners with her friends for more than ten years and she is also a host of the East Asian Studies channel for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Handbook of Modern and Contemporary Japanese Women Writers (MHM Limited and Amsterdam University Press, 2022) offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women's writing in Japan. Professor Rebecca Copeland is a professor of Japanese literature at Washington University in St. Louis. Professor Copeland's research and teaching interests include modern and contemporary women's writing in Japan, modern literature and material culture, and translation studies. She is the author of The Sound of the Wind: The Life and Works of Uno Chiyo (1992) and Lost Leaves: Women Writers of Meiji Japan (2000), the latter of which was named a Choice Outstanding Academic Title for 2001. She is the editor of Woman Critiqued: Translated Essays on Japanese Women's Writing (2006) and co-editor of The Father-Daughter Plot: Japanese Literary Women and the Law of the Father (2001) and Modern Murasaki: Writing by Women of Meiji Japan (2006), and Diva Nation: Female Icons from Japanese Cultural History (2018). Professor Copeland also translates one of the most well-known Japanese woman writer, Kirino Natsuo's Grotesque (2007) and Joshinki (The Goddess Chronicles, 2012). The Goddess Chronicles won the 2014-15 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature. Professor Copeland is also a creative writer and her debut novel, The Kimono Tattoo, was published in 2021. Linshan Jiang is a Postdoctoral Associate in the Department of Asian and Middle Eastern Studies at Duke University. She received her Ph.D. in East Asian Languages and Cultural Studies from the University of California, Santa Barbara, where she also obtained a Ph.D. emphasis in Translation Studies. Her research interests include modern and contemporary literature, film, and popular culture in mainland China, Taiwan, and Japan; trauma and memory studies; gender and sexuality studies; queer studies; as well as comparative literature and translation studies. Her primary research project focuses on female writers' war experiences and memories of the Asia-Pacific War, entitled Women Writing War Memories. Her second research project explores how queerness is performed in Sinophone queer cultural productions. She has published articles about gender studies and queer studies in literature and culture as well as translations of scholarly and popular works in Chinese and English. She has been making a podcast named Gleaners with her friends for more than ten years and she is also a host of the East Asian Studies channel for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Handbook of Modern and Contemporary Japanese Women Writers (MHM Limited and Amsterdam University Press, 2022) offers a comprehensive overview of women writers in Japan, from the late 19th century to the early 21st. Featuring 24 newly written contributions from scholars in the field—representing expertise from North America, Europe, Japan, and Australia—the Handbook introduces and analyzes works by modern and contemporary women writers that coalesce loosely around common themes, tropes, and genres. Putting writers from different generations in conversation with one another reveals the diverse ways they have responded to similar subjects. Whereas women writers may have shared concerns—the pressure to conform to gendered expectation, the tension between family responsibility and individual interests, the quest for self-affirmation—each writer invents her own approach. As readers will see, we have writers who turn to memoir and autobiography, while others prefer to imagine fabulous fictional worlds. Some engage with the literary classics—whether Japanese, Chinese, or European—and invest their works with rich intertextual allusions. Other writers grapple with colonialism, militarism, nationalism, and industrialization. This Handbook builds a foundation which invites readers to launch their own investigations into women's writing in Japan. Professor Rebecca Copeland is a professor of Japanese literature at Washington University in St. Louis. Professor Copeland's research and teaching interests include modern and contemporary women's writing in Japan, modern literature and material culture, and translation studies. She is the author of The Sound of the Wind: The Life and Works of Uno Chiyo (1992) and Lost Leaves: Women Writers of Meiji Japan (2000), the latter of which was named a Choice Outstanding Academic Title for 2001. She is the editor of Woman Critiqued: Translated Essays on Japanese Women's Writing (2006) and co-editor of The Father-Daughter Plot: Japanese Literary Women and the Law of the Father (2001) and Modern Murasaki: Writing by Women of Meiji Japan (2006), and Diva Nation: Female Icons from Japanese Cultural History (2018). Professor Copeland also translates one of the most well-known Japanese woman writer, Kirino Natsuo's Grotesque (2007) and Joshinki (The Goddess Chronicles, 2012). The Goddess Chronicles won the 2014-15 Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature. Professor Copeland is also a creative writer and her debut novel, The Kimono Tattoo, was published in 2021. Linshan Jiang is a Postdoctoral Associate in the Department of Asian and Middle Eastern Studies at Duke University. She received her Ph.D. in East Asian Languages and Cultural Studies from the University of California, Santa Barbara, where she also obtained a Ph.D. emphasis in Translation Studies. Her research interests include modern and contemporary literature, film, and popular culture in mainland China, Taiwan, and Japan; trauma and memory studies; gender and sexuality studies; queer studies; as well as comparative literature and translation studies. Her primary research project focuses on female writers' war experiences and memories of the Asia-Pacific War, entitled Women Writing War Memories. Her second research project explores how queerness is performed in Sinophone queer cultural productions. She has published articles about gender studies and queer studies in literature and culture as well as translations of scholarly and popular works in Chinese and English. She has been making a podcast named Gleaners with her friends for more than ten years and she is also a host of the East Asian Studies channel for the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

This week on the Revised Introduction to Japanese History: the economics of Meiji Japan, and a brief foray into social attitudes towards Westernization. How did Japan transform itself from being largely cut off from the world economy to central to it within half a century, and what impact did all this change have on the national self-image and culture? Show notes here. Also: there will be no episode next week, as I will be on a school trip touring Japan with students. 

Sometimes our intrepid Decoders like to focus on a specific rhetorical technique or recurrent pattern that can be observed across the Gurusphere. Here, Matt and Chris take a look at a bite-size portion of the philosopher John Gray's recent appearance on Sam Harris' Making Sense podcast. Gray was invited to outline his critique of New Atheism, and his response is a remarkable monologue that encompasses a vast range of intellectual topics, philosophical thinkers, and historical periods. We travel from ancient religion to medieval peasants and finally to (almost) the contemporary era. It is a veritable tour de force of an erudite philosopher's mind palace. So join us for a hike around through that palace and see if you agree with our assessment that the notable features reflect some common issues in academic, philosophical, and guru discourse. Alternatively, you might find Gray's approach vibes with your interests, and that it is Matt and Chris who are simply showcasing their grumpy materialist perspective (again). It will probably be impossible to tell unless we first consider what Spinoza said to Oldenburg in 1665 while taking due consideration of the Kokutai doctrine as elaborated by the Mito School in Meiji Japan, but that, of course, leads us to ancient Egypt and the pharaohs...LinksIs Moral Progress a Fantasy?: A Conversation with John Gray (Episode #354)

Discover the life of Ichiyo Higuchi, the first female writer of Meiji Japan. We discuss the end of the Tokugawa Period, the beginning of the Meiji Restoration and how this set the stage for Japan as a formidable world power in the 20th century.Support the show

In this episode of The Unfinished Print, I speak with Henry Smith, Professor Emeritus in the Dept. of East Asian Languages & Cultures at Columbia University.  Together we delve into the scientific aspects of Meiji woodblock prints, exploring the trajectory of Nishiki-e during the late Edo and Meiji eras. Additionally, we examine the significance of cochineal and naphthol dyes, and scrutinize particle sizes. Henry's scholarly contributions include groundbreaking articles on subjects such as Hokusai and the Blue Revolution, with the introduction of Prussian Blue to the Japanese woodblock aesthetic during the mid to late Edo Period.  Join me in discovering how Henry's passion drew him into the enchanting world of Meiji woodblock prints, as we navigate the influence of Western collectors in Meiji Japan, exemplified by figures like English s urgeon William Anderson. Henry helps me in understanding the rich palette and the science behind Meiji prints, shaped by the infusion of imported dyes and pigments. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Publishers are given if known. The funeral procession of Meiji Emperor at Nijubashi designed by Yasuda Hanpo (1889-1947) Columbia Academic Commons  Professor Henry Smith's article on the Japanese Student movement, here. Peter Gluck - is an American architect who has won multiple awards and has designed buildings all over the world. He is the principal of GLUCK+, an architecture firm based in New York City.  Professor Carol Gluck - is a Special Research Scholar and George Sansom Professor Emerita of History, Department of History at Columbia University. She has written multiple books and articles on Japanese history.  Jane Jacobs (1916-2006) - an American-Canadian journalist, activist who had written extensively on the life and death of North American cities such as New York City, and Toronto. Her book The Death And Life Of Great American Cities, is considered a classic in urban planning for the modern city and its subsequent decline.  Robert Venturi (1925-2018) -  was an American architect and theorist known for his contributions to postmodern architecture. He, along with his partner and wife Denise Scott Brown, played a key role in shaping architectural discourse in the late 20th century. Venturi challenged the modernist principles that dominated architecture at the time, advocating for a more inclusive and eclectic approach. His book, Complexity and Contradiction in Architecture (1966) was where he critiqued the rigidity of modernist architecture and championed a more diverse and contextual approach to architecture.  Metabolism (Japan) - The Metabolism movement was characterized by a group of young Japanese architects and designers who sought to address the challenges of rapid urbanization and rebuilding after World War II. Key principles and concepts of Metabolism in Japanese architecture are megastructures, prefabrication and modularity, biology and organic growth, and technological innovation. One special notable example of Metabolist architecture was the now demolished Kisho Kurokawa's Nakagin Capsule Tower in Tōkyō. Shinjuku: The Phenomenal City - was the exhibition Henry Smith discussed in this episode. It was exhibited December 16, 1975 to March 7, 1976 at the Museum of Modern Art, New York City. More info, here. a+u magazine - also known as architecture and urbanism magazine, is a Japanese/English architecture magazine first published in 1971. More info, here.  Kōji Taki (1928-2011) - was a Japanese author, architectural critic, editor, and key figure in the Metabolist movement. He played a significant role in shaping the discourse of contemporary architecture in Japan and was instrumental in promoting the ideas of the Metabolists. Kappabashi - located in Tōkyō's Asakusa district, is a renowned destination for kitchenware and restaurant supplies. The street is lined with stores offering a diverse range of products, including traditional Japanese knives, sushi-making equipment, and unique culinary gadgets. Kappabashi is especially popular for its sampuru shops, where visitors can buy realistic food replicas commonly displayed outside restaurants. The area features a mix of large retailers and specialty stores, creating a charming atmosphere with its traditional Japanese architecture. It's easily accessible from Tawaramachi Station on the Tokyo Metro Ginza Line. fūkei hanga - are landscape images. These paintings and prints represent the natural world such as mountains, rivers, waterfalls. You can find these types of prints from the golden age of nishiki-e to shin-hanga, to today.  Sunset at Tomonotsu (1940, 9"x14") by Tsuchiya Koitsu (1879-1942) and published by Watanabe.  Mitaka - is a city located in the western part of Tōkyō, Japan. A very pretty and quiet part of the city it is famous for the Ghibli Museum, and Inokashira Park. 100 Views of Edo (名所江戸百景) - is a series of nishiki-e prints designed by Utagawa Hiroshige (1797-1858). It was published between 1856 and 1859 and consists of 118 or 119 prints, each depicting various scenes of Edo (Tōkyō). The prints show the beauty, diversity, and everyday life of Edo, capturing different seasons, landscapes, landmarks, and activities. Hiroshige's use of color, composition, and atmospheric effects contributes to the series' enduring popularity. The scenes range from bustling urban areas and landscapes to rural views, often incorporating elements of nature and traditional Japanese culture. Suruga-chō (1885) Thirty Six Views of Mount Fuji - one of Hokusai's most iconic series, known for its various depictions of Mount Fuji in different seasons, weather conditions, and different vantage points. The series includes "The Great Wave off Kanagawa." Published between 1830-1832 the series portrays Mount Fuji in different perspectives, everyday life, as well as the special importance of Mount Fuji in Edo culture. The series had a large impact on Western artists and thinkers, including the Impressionists and Post-Impressionists. Umezawa Hamlet-fields in Sagami Province (1830-31) Santa Barbara Museum of Art - is an art museum located in Santa Barbara, California, USA. Its collection contains art works from all over the world, focusing on paintings, sculpture, and paper works. More info, here.  Kobayashi Kiyochika (1847-1915) - was a painter and woodblock print designer famous for his war prints on the First Sino-Japanese War (July 25, 1894- April 17, 1895). Kiyochika captured the transitional period in Japanese history as the country underwent rapid modernization and Westernization during the late 19th and early 20th centuries. Onoguchi Tokuji Destroying The Gate at Jinzhoucheng (1895 14 3/4" x 28 9/16") published by Daikokuya. Utagawa School - was a school of print designers starting with Utagawa Toyoharu (1735-1814). He employed one point perspective (vanishing point) in his print designs, being influenced by Western perspective. The influence of the Utagawa school goes far in Japanese print history and one of its most successful. This schools print designs of kabuki portraits, beautiful women (bijin-ga), and landscapes are excellent. Some famous names attributed to the Utagawa school are Utamaro (1753-1806), Utagawa Kunisada (1786-1865), and Ando Hiroshige (1797-1858). A fine description of this school can be found, here at Artelino.  Newly Published Picture of the Battle of Jiuzan-shan in China (9 3/16" x 13 1/8") attributed to Utagawa Toyoharu Okumura Masanobu (1686-1784) - was a Japanese nishiki-e artist and print designer who lived during the Edo period. He is credited with pioneering the use of full-color printing and is considered one of the early masters of the art form. Okumura Masanobu was known for his contributions to bijin-ga and yakusha-e (actor prints). He played a role in the development of nishiki-e as a popular art form. More information can be found at Viewing Japanese Prints, here.  Large Perspective Picture of Evening Cool by Ryōgoku Bridge (ca. 1748) hand coloured Sumida River - is a major river that flows through Tōkyō, Japan. It plays a significant role in the history, culture, and landscape of the city. The Sumida River flows for approximately 27 kilometers (about 17 miles) through Tokyo, originating from Kita City and flowing into Tōkyō Bay. It passes through several wards, including Kita, Adachi, Sumida, Taito, Koto, and Chuo. The river has been portrayed in nishiki-e prints for generations, along with its bridges.  Kobayashi Kiyochika the Sumida River at Night (9.76"x14" - est. 1881) Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs. Yamayoshi Genba no jō Chikafusa (14 5/16" x 9 15/16" - 1848/49) published by Sumiyoshiya Ike no Taiga (1723-1776) - was a Japanese painter of the mid-Edo period, known for his skill in the Nanga style, which was influenced by Chinese literati painting. He is best remembered for his role in promoting a cross-cultural exchange of ideas between Japan and China in the realm of art and aesthetics during the Edo Period. Landscape with Pavilion (1750) Akita ranga painting - a style of Japanese painting that emerged in the late Edo period, particularly during the 19th century, in the region of Akita in northern Japan. The term "ranga" literally translates to "Dutch painting" and reflects the influence of European painting styles, particularly Dutch and Western techniques, which were introduced to Japan through trade with the Dutch during the Edo Period. More info, here.  Satake Shozan (1748-1785) - Pine Tree and Parakeet (68.11" x 22.83") est 1700's, painting. Shinobazu Pond - is a large pond located within Ueno Park in Tōkyō, Japan. Ueno Park is a spacious public park that is home to several museums, a zoo, temples, and beautiful green spaces. Shinobazu Pond is one of the central features of Ueno Park, and it is renowned for its scenic beauty and historical significance. hanmoto system - is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer. William Anderson (1842–1900) was an English surgeon and collector with a significant impact on the appreciation and understanding of Japanese art in the late 19th century. Anderson became a passionate collector of Japanese art, amassing a vast and diverse collection that included nishiki-e, ceramics, textiles, and other traditional artworks. His collection grew to be one of the most significant and comprehensive of its time. His bequest laid the foundation for the development of Japanese art studies in the West, influencing subsequent generations of scholars, collectors, and enthusiasts. ezōshiya - is a type of Japanese bookstore that specializes in selling "ehon" or picture books. Ehon are valued not only for their storytelling but also for the quality of illustrations. These books played a role in promoting visual literacy and appreciation of art in Japan. Nishiki-e had been sold at these book stores during the Edo Period.  Utagawa Kunisada (1786-1865) is widely regarded as one of the most significant woodblock print designers in Japanese history. His diverse portfolio includes prints ranging from landscapes and books to erotica and sumo. Kunisada worked during the vibrant era of nishiki-e alongside notable artists such as Andō Hiroshige (1797-1858), Katsushika Hokusai (1760-1849), and the aforementioned Kuniyoshi. This period represents a rich and abundant chapter in Japanese woodblock print history. Ichikawa Danjurō VIII as Hanzaemon published by Tamaya Sōsuke (1852) 13 9/16" x 9 3/16" cochineal - known as yōko in Japanese, is a red dye taken from the dried bodies of female cochineal insects. These insects are native to Central and South America, where they feed on the sap of prickly pear cacti. Cochineal has been used for centuries as a natural dye, valued for its vibrant red color. An article about synthetic pigments and cochineal in Japanese woodblock prints and co-written by Henry Smith can be found, here.  William Sturgis Bigelow (1850-1926) - was an avid collector of Japanese art. His extensive travels to Japan from 1882 to 1889, coupled with a close friendship with Ernest Fenollosa, enabled him to amass a remarkable collection. Bigelow's acquisitions played a pivotal role in promoting Japanese art in the Western world. World Of The Meiji Print - is a book published by Weatherhill in 1991 and written by Julia Meech-Pekarik. It describes how nishiki-e developed and evolved during the Meiji period.  Roger Keyes (1942-2020) - was a distinguished scholar of Japanese woodblock prints. His expertise was showcased in his 1982 dissertation, a comprehensive study of Tsukioka Yoshitoshi (1839-1892). Additionally, Keyes authored the book 'Ehon: The Artists and the Book in Japan' in 2006, further solidifying his significant contributions to the understanding of Japanese printmaking. Amy Reigle Newland - is a Japanese print scholar who has written various articles and books upon the subject. One of my favourite books by Newland is her book about Toyohara Kunichika, Time Present and Past: Images of A Forgotten Master (1999).  Bruce Coats - is Professor of Art History and the Humanities at Scripps College, Claremont, California. He has contributed to several books on Japanese woodblock prints, one of my favourites is Chikanobu: Modernity and Nostalgia in Japanese Prints (2006).  James A Michener (1907-1997) - was a Pulitzer Prize-winning writer, scholar, and esteemed academic known for his extensive contributions to various literary genres. Beyond his celebrated literary achievements, Michener also delved into the world of Japanese prints, demonstrating a multifaceted curiosity and intellectual versatility. His exploration of Japanese prints added another layer to his diverse body of work, reflecting a deep appreciation for Japanese art and culture. Honolulu Academy of Arts - founded in 1922 by Anna Rice Cooke, evolved into the Honolulu Museum of Art (HoMA) in 2012. Rice-Cooke's vision for a multicultural art space led to its creation, with an endowment and land donated by the Cooke family. The museum's architectural style blends Hawaiian, Chinese, and Spanish influences. Over the years, HoMA expanded, adding educational wings, a cafe, and more, while its permanent collection grew to over 50,000 pieces. In 2011, The Contemporary Museum merged with HoMA, unifying as the Honolulu Museum of Art. More info, here.  shinbun nishiki-e - the Meiji Restoration of 1868 marked a pivotal moment in Japan's history, prompting significant societal upheavals. Tōkyō, formerly Edo, became the new centre of Imperial Japan, and by 1871, the traditional feudal class system had been abolished, accompanied by compulsory education laws. This era of profound change spurred creative responses to economic challenges. Starting in the summer of 1874, innovative individuals introduced shimbun nishikie, vibrant single-sheet woodblock prints that served as colorful souvenirs. These prints, produced until 1876, were not just visually striking but also narratively engaging, recounting news articles in a format ideal for oral storytelling. Renowned artists like Ochiai Yoshiiku and Tsukioka Yoshitoshi, both students of the celebrated Utagawa Kuniyoshi, played a key role in illustrating these captivating snapshots of an evolving Japan. An excellent article on shinbun nishiki-e can be found here, from All About Japan.  Fighting Off A Wolf by Sadanobu II (1848-1940) from the Nichinichi Shinbun (9 1/2" x 6 3/4")  Satsuma Rebellion -  occurring in 1877, was a last stand against the modernization policies of the Meiji government by disaffected samurai from the Satsuma domain. Led by Saigō Takamori (1828-1877), a key figure in the Meiji Restoration. The rebellion sought to restore imperial power and resist the centralization efforts of the government. The conflict ended in a decisive government victory at the Battle of Shiroyama, where Saigō met his end, marking one of the final samurai-led uprisings in Japan's history. Suzuki Harunobu (1725-1770) -pioneered the art of nishiki-e, becoming the first to craft multi-color woodblock prints. Renowned for his exquisite designs, Harunobu's subjects often revolved around the portrayal of beautiful women, shunga (erotic art), and classical poetry. His innovative techniques and thematic choices significantly influenced the genre during the Edo period in Japan. Lovers Walking In The Snow (1764-1772) (11 1/4"x8 1/8") Emperor Meiji born Mutsuhito (1852 – 1912), was the 122nd Emperor of Japan, reigning from 1867 until his death in 1912. His reign, known as the Meiji Era, marked a transformative period in Japanese history. The Meiji Restoration of 1868 saw the end of the Tokugawa shogunate and the restoration of imperial rule, with Emperor Meiji playing a central role in Japan's modernization and westernization efforts. During his era, Japan underwent significant political, social, and economic reforms, propelling the country into the ranks of major world powers. Emperor Meiji's reign is often associated with Japan's rapid modernization and emergence onto the global stage. sōsaku-hanga -  also known as creative prints, is a printmaking style primarily, though not exclusively, characterized by prints created by a single artist. Originating in early twentieth-century Japan, alongside the shin-hanga movement, this style emphasizes the artist's direct involvement in the entire printmaking process — from design and carving to printing. While the designs, especially in the early stages, may appear rudimentary, the concept of artists producing their own prints marked a significant departure from the traditional model where a select group of carvers, printers, and publishers collaborated in the creation of woodblock prints. shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). fan print (uchiwa-e) - are crafted in the form of flat, oval fans using materials such as rice paper or silk. These prints are designed to be functional fans, allowing for practical use while showcasing artistic designs. Amy Poster - is the curator emerita of Asian Art at the Brooklyn Museum. aizuri-e - are woodblock prints made entirely with shades of blue. This style gained popularity during the Edo Period.  Keisai Eisen (1790-1848) - was a nishiki-e print designer and author during the Edo Period. His print designs are famous for beautiful women and large head prints (ōkubi-e).   surimono (date unknown - Edo Period) Hiraga Gennai (1729-1779/80) - was a versatile Japanese polymath and rōnin during the Edo period. His diverse talents spanned pharmacology, rangaku (Dutch learning), medicine, literature, painting, and invention. Notable creations include the erekiteru (electrostatic generator), kankanpu (asbestos cloth). Gennai authored satirical works such as Fūryū Shidōken den (1763) and Nenashigusa (1763), along with essays like On Farting and A Lousy Journey of Love. He also wrote guidebooks on male prostitutes, including the Kiku no en (1764) and San no asa (1768). Employing various pen names like Kyūkei and Fūrai Sanjin, he is most recognized by the name Hiraga Gennai. Yokohama-e -refers to a genre of Japanese woodblock prints depicting scenes from Yokohama, a pivotal port city during the late Edo and Meiji periods. These prints showcase the influx of international influences, featuring foreign ships, traders, and cultural exchanges. Yokohama-e captures the dynamic transformation of Japan as it opened to the world, portraying a vivid visual narrative of the city's bustling trade and encounters between Japanese and Western cultures. View of Foreigners' Houses on the Beach Street Seen From Yokohama Port (ca. 1873) by Hiroshige III (1842-1894) Sadahide Utagawa (1807-1878/79) - was a designer of nishiki-e during the late Edo and early Meiji Periods. He trained under Utagawa Kunisada and depicted medieval Japanese scenes, collaborating on the 53 Stations of the Tōkaidō, and prints related to Yokohama-e.   Battle of Ōei (ca.1848) Sir William Henry Perkin (1838–1907) was a British chemist who is renowned for his accidental discovery of the first synthetic dye, known as mauveine or mauve. This significant breakthrough occurred in 1856 when Perkin was attempting to synthesize quinine, a treatment for malaria, from coal tar derivatives. Instead, he obtained a purple-colored substance while working with aniline, leading to the creation of the vibrant purple dye. napthols - are special dyes used in making colourful fabrics on handlooms. They get their name from a specific part in their makeup called an azo group. These dyes are known for making colors really bright and long-lasting on fabrics. They help create fabrics in lots of different colors, like orange, brown, yellow, scarlet, golden yellow, black, red, violet, and more.  orpiment -  sekiō in Japanese, is a bright yellow to orange-yellow mineral composed of arsenic trisulfide (As2S3). It has been historically used as a pigment in painting and for other decorative purposes due to its vibrant color. Often found in association with realgar, another arsenic sulfide mineral, orpiment has also been employed in traditional medicine and alchemy. However, its toxic nature limits such applications, and it's crucial to note that handling orpiment, especially in powdered form, poses health risks due to the presence of arsenic. Marco Leona PhD - is the David H. Koch Scientist at Large at the Metropolitan Museum of Art. He has written several articles on Spectroscopy and art.  Estée Lauder (1906-2004) - was a pioneering American businesswoman and the co-founder of the renowned cosmetics company Estée Lauder Companies. Alongside her husband Joseph Lauder, she established the company in 1946, starting with a few skincare products she developed herself. Estée Lauder's hands-on approach to marketing and emphasis on quality turned her brand into a symbol of luxury. Initially selling to friends, she built a global beauty empire with a diverse product line including skincare, makeup, and fragrances. Today, the Estée Lauder Companies remain influential in the beauty industry, with a portfolio of well-known brands. Estée Lauder's legacy is marked by her significant contributions to the cosmetics world and her establishment of an enduring and iconic beauty brand. The Adachi Institute of Woodblock Prints - is a print studio located in Tōkyō. Established in 1994 in order to promote and preserve the colour woodblock print of Japan. More information, in English and in Japanese.  The 47 Rōnin of Akō - were a group of samurai who sought revenge for the unjust death of their master, Lord Asano Naganori, in 1701. After Asano was forced to commit seppuku (a form of ritual suicide), his loyal retainers, the 47 Ronin, meticulously planned and executed the revenge, successfully avenging their lord's honor. The story is a celebrated example of bushido (samurai code) and loyalty in Japanese history and folklore. smalt - is a deep blue pigment that has been historically used in art and ceramics. It is composed of finely powdered glass, often colored with cobalt oxide to achieve its distinctive blue hue. Smalt was popular during the Renaissance and Baroque periods as a substitute for expensive blue pigments like lapis lazuli. Artists would mix smalt with binders to create blue paint for their artworks. Smalt has some drawbacks, including a tendency to fade over time and a vulnerability to darkening when exposed to certain environmental conditions. Keiji Shinohara - is a Japanese mokuhanga printmaker who apprenticed under Uesugi Keiichiro in Ōsaka. He is the artist-in-residence at Wesleyan University in Connecticut. More info about Keiji can be found here, and here. Yamado-ike from the series Eight Views of Hirakata (2006) 11"x15": gum arabic - is a sap from two types of Acacia tree. In art it is used as a binder for pigments which creates viscosity (depending on how much or little is applied to your pigments) for your watercolours and oils. Rachel Levitas has a fine description on how she uses gum arabic in her work, here.  Bakumatsu Period -  refers to the final years of the Edo period, specifically from the mid-19th century to the early 1860s. The term "Bakumatsu" can be translated as "end of the shogunate." This era was characterized by significant political, social, and economic changes that eventually led to the overthrow of the Tokugawa shogunate and the restoration of imperial rule in the Meiji period. Bunsei Period - was a period in Japanese history which lasted from April 1818 - December 1830 CE © Popular Wheat Productions opening and closing musical credit - The Shadow of Your Smile by Dominic Farinacci, G@ Records (2023)  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                          

In today's episode, Dr. Johanna Strong is joined by Dr Alison Miller and Dr Alban Schmid. Alison is an associate professor of Art History and the Chair of Asian Studies at The University of the South in Sewanee, Tennessee and has published widely on Meiji Japan. She is the recipient of several distinguished fellowships, including being a Fulbright Fellow and an Andrew W. Mellon Postdoctoral fellow. Alban finished his PhD in 2022, examining the constitutional framework of the Korean Kingdom and its institutional links to the Chinese Empire. Alison and Alban join me today to discuss Meiji empresses and Korean queen dowagers. -- Commercial FREE for patrons! Sign up Now! Love the Tudors? Read the stories of the Tudors on Tudors Dynasty! Shop Tudors Dynasty Merchandise -- Credits: Host: Dr Johanna Strong Guests: Dr Alison Miller and Dr Alban Schmid Editing: Rebecca Larson Episode Music: Tavern Loop One by Alexander Nakarada, Free download: https://filmmusic.io/song/6282-tavern-loop-one, License (CC BY 4.0): https://filmmusic.io/standard-license, Artist website: https://www.serpentsoundstudios.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/rebecca-larson/message Support this podcast: https://podcasters.spotify.com/pod/show/rebecca-larson/support

Meiji Japan learns from the West and builds its economy, its army and the Japanese Imperial Navy. Japan begins its own gunboat diplomacy and takes control of the Ryukyu Islands. It defeats China in the Sino-Japanese War and gains Penghu and Taiwan, as well as control over Korea. Russian and Japanese tensions build. Great Britain allies with Japan and the Japanese Imperial Navy launches a sneak attack on Port Arthur (Dalian). Japan destroys two Russian fleets and Teddy Roosevelt negotiates the peace treaty. Asian and Chinese nationalists take heart in the Asian victory over a European power.Image: "Depiction of the Sino-Japanese War" by Rijksmuseum is marked with CC0 1.0 . Hosted on Acast. See acast.com/privacy for more information.

Christopher Craig's Middlemen of Modernity: Local Elites and Agricultural Development in Meiji Japan (U Hawaii Press, 2022) is a thoroughly research and engaging study of the role of local elites in the modernization of the Japanese countryside in the prewar era. “Agriculture,” Craig's writes, “is given short shrift in the story of Japanese modernity. Farming and modernization seem to exist at opposite ends of a spectrum.” This is true for both contemporary historians, who tend to neglect agricultural modernization, and the Meiji government who dedicated little attention and resources to agriculture. Thus, with the state focused more on the emblematic goals of mechanization, urbanization, and a modern military, it fell upon local elites in villages across the country to bring rice production into the modern era. Middlemen of Modernity is a comprehensive study of the role of these elites. The book is studded with stories of individual actors that remains closely connected to Japan's development and presents a history of agriculture from the early Meiji period to the postwar American occupation. Craig's chooses the area of Miyagi as his case study. Miyagi is a region often associated with failure and disaster. Known mostly as the site of the 3.11 disaster, and often associated with backwardness and underdevelopment (even as “Japan's internal colony”). Miyagi, Craig's shows, was one of the most prosperous agricultural regions in Japan prior to 1945. The drivers of this prosperity were the chihō meibōka (local notables). Local meibōka, like “Mayor Straw Sandals” Kamata Sannosuke, who became the emblematic figure of the movement, supposedly occupied the exact place government planners prescribed for them. Meiji-era agricultural policy called for village elites to mobilize their wealth and local reputations to introduce improved farming methods, transform the physical landscape, and increase agricultural production. Yet, as Craig shows the meibōka had their own agendas vis-à-vis both the government and their fellow farmers. Craig's work shows the multi-directional nature of state-society interactions during this era. The book tells an important unknown story of the role of rural civil society in Japan's modernization (a story often told through the lens of Tokyo and top-down modernization) and demonstrates that “agriculture was neither contrary nor ancillary to the larger project of modernization” of Japan in the 19th and 20th centuries, but an important driver of change. Ran Zwigenberg is an associate professor at Pennsylvania State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Christopher Craig's Middlemen of Modernity: Local Elites and Agricultural Development in Meiji Japan (U Hawaii Press, 2022) is a thoroughly research and engaging study of the role of local elites in the modernization of the Japanese countryside in the prewar era. “Agriculture,” Craig's writes, “is given short shrift in the story of Japanese modernity. Farming and modernization seem to exist at opposite ends of a spectrum.” This is true for both contemporary historians, who tend to neglect agricultural modernization, and the Meiji government who dedicated little attention and resources to agriculture. Thus, with the state focused more on the emblematic goals of mechanization, urbanization, and a modern military, it fell upon local elites in villages across the country to bring rice production into the modern era. Middlemen of Modernity is a comprehensive study of the role of these elites. The book is studded with stories of individual actors that remains closely connected to Japan's development and presents a history of agriculture from the early Meiji period to the postwar American occupation. Craig's chooses the area of Miyagi as his case study. Miyagi is a region often associated with failure and disaster. Known mostly as the site of the 3.11 disaster, and often associated with backwardness and underdevelopment (even as “Japan's internal colony”). Miyagi, Craig's shows, was one of the most prosperous agricultural regions in Japan prior to 1945. The drivers of this prosperity were the chihō meibōka (local notables). Local meibōka, like “Mayor Straw Sandals” Kamata Sannosuke, who became the emblematic figure of the movement, supposedly occupied the exact place government planners prescribed for them. Meiji-era agricultural policy called for village elites to mobilize their wealth and local reputations to introduce improved farming methods, transform the physical landscape, and increase agricultural production. Yet, as Craig shows the meibōka had their own agendas vis-à-vis both the government and their fellow farmers. Craig's work shows the multi-directional nature of state-society interactions during this era. The book tells an important unknown story of the role of rural civil society in Japan's modernization (a story often told through the lens of Tokyo and top-down modernization) and demonstrates that “agriculture was neither contrary nor ancillary to the larger project of modernization” of Japan in the 19th and 20th centuries, but an important driver of change. Ran Zwigenberg is an associate professor at Pennsylvania State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Christopher Craig's Middlemen of Modernity: Local Elites and Agricultural Development in Meiji Japan (U Hawaii Press, 2022) is a thoroughly research and engaging study of the role of local elites in the modernization of the Japanese countryside in the prewar era. “Agriculture,” Craig's writes, “is given short shrift in the story of Japanese modernity. Farming and modernization seem to exist at opposite ends of a spectrum.” This is true for both contemporary historians, who tend to neglect agricultural modernization, and the Meiji government who dedicated little attention and resources to agriculture. Thus, with the state focused more on the emblematic goals of mechanization, urbanization, and a modern military, it fell upon local elites in villages across the country to bring rice production into the modern era. Middlemen of Modernity is a comprehensive study of the role of these elites. The book is studded with stories of individual actors that remains closely connected to Japan's development and presents a history of agriculture from the early Meiji period to the postwar American occupation. Craig's chooses the area of Miyagi as his case study. Miyagi is a region often associated with failure and disaster. Known mostly as the site of the 3.11 disaster, and often associated with backwardness and underdevelopment (even as “Japan's internal colony”). Miyagi, Craig's shows, was one of the most prosperous agricultural regions in Japan prior to 1945. The drivers of this prosperity were the chihō meibōka (local notables). Local meibōka, like “Mayor Straw Sandals” Kamata Sannosuke, who became the emblematic figure of the movement, supposedly occupied the exact place government planners prescribed for them. Meiji-era agricultural policy called for village elites to mobilize their wealth and local reputations to introduce improved farming methods, transform the physical landscape, and increase agricultural production. Yet, as Craig shows the meibōka had their own agendas vis-à-vis both the government and their fellow farmers. Craig's work shows the multi-directional nature of state-society interactions during this era. The book tells an important unknown story of the role of rural civil society in Japan's modernization (a story often told through the lens of Tokyo and top-down modernization) and demonstrates that “agriculture was neither contrary nor ancillary to the larger project of modernization” of Japan in the 19th and 20th centuries, but an important driver of change. Ran Zwigenberg is an associate professor at Pennsylvania State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Christopher Craig's Middlemen of Modernity: Local Elites and Agricultural Development in Meiji Japan (U Hawaii Press, 2022) is a thoroughly research and engaging study of the role of local elites in the modernization of the Japanese countryside in the prewar era. “Agriculture,” Craig's writes, “is given short shrift in the story of Japanese modernity. Farming and modernization seem to exist at opposite ends of a spectrum.” This is true for both contemporary historians, who tend to neglect agricultural modernization, and the Meiji government who dedicated little attention and resources to agriculture. Thus, with the state focused more on the emblematic goals of mechanization, urbanization, and a modern military, it fell upon local elites in villages across the country to bring rice production into the modern era. Middlemen of Modernity is a comprehensive study of the role of these elites. The book is studded with stories of individual actors that remains closely connected to Japan's development and presents a history of agriculture from the early Meiji period to the postwar American occupation. Craig's chooses the area of Miyagi as his case study. Miyagi is a region often associated with failure and disaster. Known mostly as the site of the 3.11 disaster, and often associated with backwardness and underdevelopment (even as “Japan's internal colony”). Miyagi, Craig's shows, was one of the most prosperous agricultural regions in Japan prior to 1945. The drivers of this prosperity were the chihō meibōka (local notables). Local meibōka, like “Mayor Straw Sandals” Kamata Sannosuke, who became the emblematic figure of the movement, supposedly occupied the exact place government planners prescribed for them. Meiji-era agricultural policy called for village elites to mobilize their wealth and local reputations to introduce improved farming methods, transform the physical landscape, and increase agricultural production. Yet, as Craig shows the meibōka had their own agendas vis-à-vis both the government and their fellow farmers. Craig's work shows the multi-directional nature of state-society interactions during this era. The book tells an important unknown story of the role of rural civil society in Japan's modernization (a story often told through the lens of Tokyo and top-down modernization) and demonstrates that “agriculture was neither contrary nor ancillary to the larger project of modernization” of Japan in the 19th and 20th centuries, but an important driver of change. Ran Zwigenberg is an associate professor at Pennsylvania State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/food

Christopher Craig's Middlemen of Modernity: Local Elites and Agricultural Development in Meiji Japan (U Hawaii Press, 2021) is a thoroughly research and engaging study of the role of local elites in the modernization of the Japanese countryside in the prewar era. “Agriculture,” Craig's writes, “is given short shrift in the story of Japanese modernity. Farming and modernization seem to exist at opposite ends of a spectrum.” This is true for both contemporary historians, who tend to neglect agricultural modernization, and the Meiji government who dedicated little attention and resources to agriculture. Thus, with the state focused more on the emblematic goals of mechanization, urbanization, and a modern military, it fell upon local elites in villages across the country to bring rice production into the modern era. Middlemen of Modernity is a comprehensive study of the role of these elites. The book is studded with stories of individual actors that remains closely connected to Japan's development and presents a history of agriculture from the early Meiji period to the postwar American occupation. Craig's chooses the area of Miyagi as his case study. Miyagi is a region often associated with failure and disaster. Known mostly as the site of the 3.11 disaster, and often associated with backwardness and underdevelopment (even as “Japan's internal colony”). Miyagi, Craig's shows, was one of the most prosperous agricultural regions in Japan prior to 1945. The drivers of this prosperity were the chihō meibōka (local notables). Local meibōka, like “Mayor Straw Sandals” Kamata Sannosuke, who became the emblematic figure of the movement, supposedly occupied the exact place government planners prescribed for them. Meiji-era agricultural policy called for village elites to mobilize their wealth and local reputations to introduce improved farming methods, transform the physical landscape, and increase agricultural production. Yet, as Craig shows the meibōka had their own agendas vis-à-vis both the government and their fellow farmers. Craig's work shows the multi-directional nature of state-society interactions during this era. The book tells an important unknown story of the role of rural civil society in Japan's modernization (a story often told through the lens of Tokyo and top-down modernization) and demonstrates that “agriculture was neither contrary nor ancillary to the larger project of modernization” of Japan in the 19th and 20th centuries, but an important driver of change. Ran Zwigenberg is an associate professor at Pennsylvania State University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Christopher Craig's Middlemen of Modernity: Local Elites and Agricultural Development in Meiji Japan (U Hawaii Press, 2022) is a thoroughly research and engaging study of the role of local elites in the modernization of the Japanese countryside in the prewar era. “Agriculture,” Craig's writes, “is given short shrift in the story of Japanese modernity. Farming and modernization seem to exist at opposite ends of a spectrum.” This is true for both contemporary historians, who tend to neglect agricultural modernization, and the Meiji government who dedicated little attention and resources to agriculture. Thus, with the state focused more on the emblematic goals of mechanization, urbanization, and a modern military, it fell upon local elites in villages across the country to bring rice production into the modern era. Middlemen of Modernity is a comprehensive study of the role of these elites. The book is studded with stories of individual actors that remains closely connected to Japan's development and presents a history of agriculture from the early Meiji period to the postwar American occupation. Craig's chooses the area of Miyagi as his case study. Miyagi is a region often associated with failure and disaster. Known mostly as the site of the 3.11 disaster, and often associated with backwardness and underdevelopment (even as “Japan's internal colony”). Miyagi, Craig's shows, was one of the most prosperous agricultural regions in Japan prior to 1945. The drivers of this prosperity were the chihō meibōka (local notables). Local meibōka, like “Mayor Straw Sandals” Kamata Sannosuke, who became the emblematic figure of the movement, supposedly occupied the exact place government planners prescribed for them. Meiji-era agricultural policy called for village elites to mobilize their wealth and local reputations to introduce improved farming methods, transform the physical landscape, and increase agricultural production. Yet, as Craig shows the meibōka had their own agendas vis-à-vis both the government and their fellow farmers. Craig's work shows the multi-directional nature of state-society interactions during this era. The book tells an important unknown story of the role of rural civil society in Japan's modernization (a story often told through the lens of Tokyo and top-down modernization) and demonstrates that “agriculture was neither contrary nor ancillary to the larger project of modernization” of Japan in the 19th and 20th centuries, but an important driver of change. Ran Zwigenberg is an associate professor at Pennsylvania State University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joe Rogan talks with Lexman about Meiji Japan and the effects of the Taishō period on culture. They discuss the popularity of loafers and muleteering, and how these activities may not have been practical in the eyes of the Japanese people.

Last episode, we talked about the coming of the West and the way it impacted Japanese literature.This time we're talking about women as they take up a prominent position in the story of Japanese literature for the first time in almost 1000 years.Special focus on Ichiyō Higuchi and her best-beloved story "Takekurabe".Notes and sources are available on the podcast episode webpage.

The Visual Culture of Meiji Japan: Negotiating the Transition to Modernity (Routledge, 2021) examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century. Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances. The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Visual Culture of Meiji Japan: Negotiating the Transition to Modernity (Routledge, 2021) examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century. Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances. The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Visual Culture of Meiji Japan: Negotiating the Transition to Modernity (Routledge, 2021) examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century. Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances. The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Visual Culture of Meiji Japan: Negotiating the Transition to Modernity (Routledge, 2021) examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century. Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances. The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Visual Culture of Meiji Japan: Negotiating the Transition to Modernity (Routledge, 2021) examines the visual culture of Japan's transition to modernity, from 1868 to the first decades of the twentieth century. Through this important moment in Japanese history, contributors reflect on Japan's transcultural artistic imagination vis-a-vis the discernment, negotiation, assimilation, and assemblage of diverse aesthetic concepts and visual pursuits. The collected chapters show how new cultural notions were partially modified and integrated to become the artistic methods of modern Japan, based on the hybridization of major ideologies, visualities, technologies, productions, formulations, and modes of representation. The book presents case studies of creative transformation demonstrating how new concepts and methods were perceived and altered to match views and theories prevalent in Meiji Japan, and by what means different practitioners negotiated between their existing skills and the knowledge generated from incoming ideas to create innovative modes of practice and representation that reflected the specificity of modern Japanese artistic circumstances. The book will be of interest to scholars working in art history, Japanese studies, Asian studies, and Japanese history, as well as those who use approaches and methods related to globalization, cross-cultural studies, transcultural exchange, and interdisciplinary studies. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Manjari Chatterjee Miller, CFR's senior fellow for India, Pakistan, and South Asia, leads a conversation on why nations rise: China, India, and the narratives of great powers. FASKIANOS: Welcome to today's sessions of the Winter/Spring 2022 CFR Academic Webinar Series. I'm Irina Faskianos, vice president of the National Program and Outreach at CFR. Today's discussion is on the record and the video and transcript will be available on our website, CFR.org/academic. As always, CFR takes no institutional positions on matters of policy. We are delighted to have Manjari Chatterjee Miller with us to talk about why nations rise. Dr. Miller is CFR's senior fellow for India, Pakistan, and South Asia. She's currently on leave from Boston University where she is a tenured associate professor of international relations at Boston University's (BU) Frederick Pardee School of Global Studies. Dr. Miller is also a research associate in the Contemporary South Asian Studies Program at Oxford University's School of Global and Area Studies, and she's been a nonresident fellow at the Atlantic Council, the Belfer Center for Science and International Affairs, and several other universities. Dr. Miller is the author of several books, including her most recent one, which is what we'll be focused on today, Why Nations Rise: Narratives and The Path to Great Power. And it's a fantastic cover. I love that, Dr. Miller. So thank you for being with us and thank you. Love having you at CFR. I thought we could begin by you talking about some of the strands, the arguments from your book on what constitutes a rising power and why different countries rise and what the narrative is around that. MILLER: Yeah. Thank you so much, Irina. It is an honor to do this, and since I'm on leave from BU, it's lovely to be talking to academics and students again. So let me just—you know, I'm going to answer your question by going back a little in time, which is that, you know, when I wrote my first book, I was really looking at China and India and why they had these very similar responses to how they saw the world and their foreign policy, and so they often saw themselves as victims of colonialism, and they would essentially take the position that they were being victimized by other countries when it came to certain issues. And doing that—when I finished this book, I would give talks on the book and people would say, but they're rising powers, these countries are rising powers, so why do they talk about being victims when clearly they vanquished colonialism? And that was a really interesting question, right? So that was just a very interesting question. And I thought that's true. You know, these countries are rising powers; when do countries forget? So I began looking at Chinese news, and Chinese newspapers were full of these stories about what it meant for China to rise and how it was going to be a great power and what it should do and how should it respond to the United States? And then I looked at Indian newspapers and I didn't see much of that. I saw a lot of ideas on foreign policy but not really so much on India rising. So I thought, wow, this is really unusual. Is it normal for countries to be also calling themselves rising powers when other countries are, or is it not? So I went back to India and I did some interviews at really high levels of government and what I found really surprised me because it turned out that Indian officials were very uncomfortable with the idea of India as a rising power, they were not quite sure how to handle it, and they weren't strategizing in a long-term way about what it meant for India to rise. And I thought, wow, that's really weird. If we talk about rising powers so much, which we do because international relations is our specialty and we talk about rising powers a lot, as an important category of actors, what does it mean if one country talks about its rise and strategizes and another doesn't? Is this normal? And so I started going back in time and I thought, OK, let me look at the one other country which is a rising power and that was the United States, and wow, I found the United States talked about its rise and then I found that Meiji Japan talked about its rise, but then you had other countries that had opportunities to, you know—where they were increasing their military and economic power but didn't talk about their rise. India was one of them, but so was Cold War Japan, so was the Netherlands in the late nineteenth century, which was a very, very rich country. And so that's really the crux of the book is that, we talk about rising powers, whether it's us in the policy community or in the academic community—we talk about rising powers as this one category of actors, right, but that all rising powers are not created the same; there are different kinds of rising powers, and some of them behave exactly as we expect them to do, so they rise to become great powers, but then other rising powers seem stymied. And so what I argue in the book is that whether a country rises to become a great power or not is definitely dependent on its economic and military power, of course; you need that. But it is also dependent on what I call idea advocacy or, rather, the stories that these countries either tell or do not tell about their rise. And so the book really looks at two kinds of rising powers: one is active rising powers. So they rise to become great powers, they get military and economic power, but they also do what I call globalize their authority. So they basically start behaving as we would expect great powers to behave. And what's really interesting here is that what—how we would expect great powers to behave is not always the same, so in the nineteenth century, what we expected a great power to do is different from what we expect a great power to do today. So these active rising powers in the beginning of their rise, what they are is they're very accommodational of these great-power narratives, so that means they say, OK, hey, this is how a great power behaves, this is how we should behave, and so we're going to try and behave like them. And this is actually counterintuitive to how we normally think about rising powers because we think about them as revisionist, but active rising powers in the beginning are accommodational. And then you have this other kind of rising powers that are reticent rising powers, and reticent rising powers don't do that. So they don't have these narratives. They have military and economic power, they have opportunities, often to take advantage of that military and economic power, but they don't try and behave like the great power of the day; they don't try and get recognition of the fact that they're rising. They also lack narratives about becoming a great power. And so, I think the two big takeaways that I have is that when we talk about rising power, it's a process, so you become a rising power through this whole process that involves this material power, but then it also involves these narratives about becoming a great power. And the reason this is really important is because coming back to this China-India story, what I argue is that if you look at this idea advocacy that India is lacking and China has, what we find is that this can explain the differences in behavior between them, so they're not the same as rising powers. And this difference existed—I mean, of course, today we can say, look, China is just so much, you know, has just so much more in terms of military capability and economic power than India does and that would be correct. But in fact, we can see this even in the 1990s, right, so a period when their material power was comparable, we see that they developed very, very different narratives, so China had these narratives about becoming a great power, even at that time, and India did not. And so what we can really argue is that when we want to manage a rising power, these active rising powers that are the powers that we need to manage, we need to manage them when they're active, not when they suddenly become revisionist. And on the other hand, reticent rising powers like India often don't meet expectations, so because they have narratives that are not about becoming like the great power of the day, they have much more limited engagement with the international order and they can end up frustrating their allies and partners. And so in the book I essentially look at these six cases, right, so I look at three cases of active rising powers and three cases of reticent rising powers, and what I find is that across time and across culture and across regime type, you had these very particular kinds of beliefs about becoming a great power that the United States had, Meiji Japan had, 1990s China had, but then when you look at the Netherlands in the late nineteenth century or you look at Cold War Japan or you look at India in the 1990s, all periods for these countries, when they had some amount of military and economic power and the opportunity to take advantage of them, they didn't have these narratives; they had very different kinds of narratives. And the way they behaved was significantly different from how these active rising powers behave. And so that's really the basis of the book, is these six cases and the idea that we need to stop talking about rising powers as this one category of actors. And I'll leave you with just one note. So, one of the things that we often talk about as rising powers is BRICS, right, so Brazil, Russia, India, China, and South Africa, and people rarely realize that BRICS was something that was just made up; it was made up in 2005 by an analyst at Goldman Sachs who clumped these countries together based on the fact that they were emerging-markets economies, but then if you look at what each of these countries have or don't have, the picture is much more muddied. I mean, Brazil does not have nuclear weapons. Can you be a rising power without nuclear weapons? Can you become a great power without nuclear weapons? Russia—you know, especially with the Ukraine crisis—are we really thinking of Russia as an emerging country or is it a declining country, right? South Africa is a country that in the past has seen its life expectancy drop. Is that a rising power? So we use the term very loosely and we clump countries together and we need to understand that there's variation in between. FASKIANOS: Thank you very much. That was a great overview. And let's turn to all of you now for your questions and comments. You know how to do this. (Gives queuing instructions.) So we already have a couple written questions and I'm going to see—first hand, raised hand is from Ahmya Cheatham. Q: Yes. First and foremost I would just like to say that thank you so much for introducing this panel. I am an international studies major with an emphasis on foreign language, and I just really wanted to emphasize on the key point that you pointed out between the different kinds of powers and there isn't much taught historically, at least throughout the Western world or the United States where I'm from, about what you called reticent powers, which are people who—they had the military prowess or they had the opportunity to move in a more imperialist kind of way for power but didn't necessarily choose so. So I wanted to ask, why do you think those type of high powers aren't as recognized or taught about in Western culture? FASKIANOS: And Ahmya, what university are you with, college or university? Q: University of Wisconsin-Whitewater. FASKIANOS: Wonderful. Thank you. MILLER: I have a fondness for Wisconsin. My husband's from Madison, Wisconsin, so go Badgers. Yeah, so I'm heading—that's a great question. So your question is, why is it that the Western world has not recognized these categories of rising powers and I think it has as a lot to do with—well, first of all, in international relations theory in general—I mean, this is changing, but in the past, essentially, theorists focused on countries that had enough military or economic power to matter and what mattered was set by the West, right? So that's, obviously, one way in which you are clearly narrowing down right away which countries matter and which countries don't and that excluded a lot of Asia and Africa. But I think there's another way it matters which is that, if you look at the literature in rising powers, in academic theory—and as somebody in policy, I will say that IR theory is really important because it helps you understand policy better, OK, so do not dismiss it. But in academic theory, in IR theory, there's an entire body of work that's called power transition theory, OK, and power transition theory is about essentially—well, it's kind of set our expectations about why we fear rising powers. So what does power transition theory say? It says that there is a cycle in world politics, there's a recurring cycle, so you have a great power who's the status quo power, and then eventually there is always a challenger, and that challenger is a challenger because this country is dissatisfied with how goods are distributed in the international system, right, and because they're dissatisfied, they eventually challenge the status quo power for control of the international system so they can access those goods. Now, you see here—so when they challenge the status quo—how a war occurs, and so therefore you have this recurring cycle of conflict. And so that's why rising powers are considered such an important category in international relations because they have the power to affect war and peace. But then there's the other part of it, which is—and this is where my work comes in because when you are talking about a challenger's dissatisfaction with the distribution of goods, you're not really talking about how goods are actually distributed, right? You're really talking about their belief about how goods are distributed. And so, narratives, which come very strongly from what a country believes or does not believe about its role, then derives from those beliefs. If you ignore their perception, then you're ignoring a fundamental characteristic that should be intrinsic to rising powers, but we don't look at that. But power transition theory kind of has set our bar for how and why we think of rising powers, which is that they're always challengers, they always have military and economic power that matters, and they're always going to challenge the status quo. And I think everything else in rising powers has flown from power transition theory. FASKIANOS: Great. Thank you. Terron Adlam has a raised hand, also wrote the question, but why don't you just ask it yourself and give your affiliation? Q: Hi there. My name is Terron Adlam. I'm from Delaware State University. My question is, knowing how the olden times old powers are based on military and economic, knowing today's global society, do you think we have a new definition of global powers? MILLER: OK, so I think you actually have a two-part question here, right, so one part is, is the military and economic power the only thing that matters, and the second part is, do societal factors matter? So let me take the first one. So military and economic power do always matter, OK? I emphasize the importance of ideas and narratives in my book but I would in no way say that military and economic power does not matter for a country to become a great power. That would be nonsensical, right? What I'm saying is it is necessary but it's not sufficient, and that's where this book comes in because it helps you plug the gap and say, well, what else do you need, because clearly military and economic power, by themselves, cannot propel a country towards rising-power status. So that's the first part of it. The second part of it is about societal—what matters societally? And I think this is really interesting because this gets to the heart of how we think about great powers, and how we think about great powers is very different depending on the era that we're in, right? So what matters societally is different depending on the era that we are in. So let's look at the late nineteenth world. So the late nineteenth century world—what did it mean if you were going to be this great power and this great country? What did it mean if you wanted to become like that? And what it really meant was owning colonies. It meant not just being a great power but being a colonial great power. So in order to be a great power and to be like, let's say, Great Britain, you actually had to own colonies; you had to have sway over the lives and deaths of millions of citizens who you did not accept as equal citizens of your empire, right? That's what it meant to be a great power. So when you went out and gained territory, you weren't just gaining territory, you were gaining territory specifically for the purpose of what economists have called extractive colonialism, where you're extracting resources from the territory and then sending them back to the mother country. So when you look at the United States and Meiji Japan rise in this time, they engage in expansionism. That we know, right? But what's really interesting is that it's a very particular kind of expansionism. It's colonial expansionism. So all of the narratives that exist in Meiji Japan and in the United States, they're different in subtle ways, but in many ways they're similar, that they recognize that the path to great power is through colonies. So the question the United States has, well, should we acquire colonies, should we become a great power and acquire colonial great power? That's what they debate because the notion of great power is dependent on colonies. Now, if you fast forward to the 1990s, that's not what great power is anymore. I mean, nobody would—no country—even Russia does not say that we are out to colonize and this is our colony and it's perfectly OK to do that. That is not what being a great power means. Being a great power means controlling, directing, and shaping the process of globalization, particularly through international institutions. So the narratives of great power in the 1990s in India and China are not about becoming colonial great powers. So it's not about saying we're going to go out and acquire colonies, we're going to be like Meiji Japan and show how we're administering the colonies in really benevolent, beautiful ways, and how we're extracting resources efficiently. That would not be OK. That would not be socially acceptable. What they say is we're going to enter international institutions—particularly China says this, is that the path to great power lies through international institutions. And you can kind of, even in the 1990s, see the seeds of BRI in this, because that it is what BRI is; it's really about using institutions and the rules that were laid down after World War II by the United States and the liberal international order to see how China could actually end up controlling and impacting and eventually shaping those rules. So that's what great power is. So it is absolutely societal, because how we think of great power changes depending on the era that we're in. FASKIANOS: Thank you. I'm going to take the next question from Pamela Waldron-Moore, who is the chair of the political science department and professor at Xavier University of Louisiana: Is there a perception among states of internal global efficacy versus external global political efficacy, where internal efficacy reflects how India, for example, perceives itself versus how the globe was perceived to view the state's rise, and in this case example of China? MILLER: I'm sorry, Irina. I'm not sure I follow that question. Does she define political efficacy? FASKIANOS: She did not. But Pamela, do you want to unmute and give your definition? There we go. Pamela, great. You just have to unmute yourself. There we go. Q: OK. Yes. What I was referring to is the fact that internal efficacy is usually how you perceive yourself as a state and your rise, your power, your movement, versus the external efficacy where you understand who you are by the perceptions externally of others. So if the world sees you as a rising state, they will promote you and you start to think of yourself, perhaps in the case of India, as oh, yes, we are rising because we've done all these—we've established all of these links, these blocs. But if you are simply looking at yourself and saying, well, we're not, we don't have military might, we don't have X, Y, and Z, therefore we cannot see ourselves as efficacious, we can't call ourselves a rising state. So it's a question about perception. Is the perception of China, where everybody thinks, OK, you're moving fast and you're promoting yourself, different from the perception of India which, in the context of Asia and the Commonwealth and so forth, still see themselves as lesser than a rising state. I hope that is a little clearer. MILLER: Yes. It is. So that's actually really interesting because—I mean, there's certainly a difference, but here's the thing is that China's what you call internal efficacy aligns with external efficacy, so in that both China and external perceptions, China's external perceptions of China are aligned in the 1990s about China as a rising power, right? There's no dichotomy there. In India there's a dichotomy. So there's also external perceptions of India as a rising power, as evidenced by news media or reference or—I look at, like, different kinds of newspapers that refer to these countries. But the internal efficacy doesn't keep pace with the external efficacy. Now, actually—and I haven't heard that term before so thank you for bringing it to my attention; that's a really interesting way to put it—the question is why. I think the question is why is it that in China it's different and in India it's different? And this—and I think that, to be honest, like, there could be a whole volume on this, which is this question of where do narratives come from, and why is it that some countries develop this narrative, this internal perception of themselves that is concurrent with the external perception of themselves, but other countries don't? And you know—so when I was looking at—so, I mean, this book—six cases and huge and so I wasn't going to look at narratives as—and you're a political science professor so I'm just going to say it as a dependent variable; there was not the dependent variable. It was not what I was examining. I was examining it more as a cause. But if you did—I mean, I talk about this in the conclusion. It was interesting how many people had different ideas about where these narratives come from and why they were different in China and India. I mean, Indians and Chinese had different perceptions of this as well. Some of it was really institutional, about how the institutions were constructed and which institutions mattered when it came to foreign policy, and so therefore, Chinese institutions were set up in a way to be more diffused to these narratives, whereas Indian institutions were not. FASKIANOS: Thank you. I'm going to go next to the raised hand, Teresita Schaffer. Q: Thank you. And thank you for this really interesting introduction to your work. I am retired Foreign Service and I teach at Georgetown, of course on diplomacy. I spent much of my Foreign Service career working on India so that's where my examples come from. But you have a situation where India at independence saw itself as, to use the vernacular, punching above its actual weight, and it conducted its diplomacy, to a large extent, on that basis. It built up its military for the needs that it perceived already. And it was the economy which was the most out of step with this impending great-power status, and not until the Indian economy started growing fast did you see people in the so-called chattering classes talking about India as coming close to realizing the greatness of its five-thousand-year-old civilization. Do other countries that you studied display similar disconnects between the different elements of the things that make you more readily seen as a great power, or is the disconnect itself something that matters to this transition? MILLER: So, first of all, Ambassador, thank you for attending the talk. I'm honored. So let me restate your question. So you're asking, is it about civilizational greatness, that India had this perception that it needed to punch above its weight after independence and so that's why it began investing in its military and, eventually, of course, it did economic reforms. And so are you asking whether this notion of civilizational greatness is necessary? Could you clarify? Q: Not really, because—(inaudible, technical difficulties)—I'm asking whether it matters to your idea of rising powers but whether the different elements of—(inaudible, technical difficulties)—with one another or not. FASKIANOS: I don't know if that was just for me that was garbled. For some reason, your audio is now on the fritz, so we did not hear that at all. It was a bit garbled. Q: I could try again, briefly. FASKIANOS: There we go. Perfect. Go ahead. MILLER: And if it gets garbled again, perhaps you could put it in the chat because it sounded like a really interesting question. Q: There were reasons why India pushed the civilizational narrative. It fit in so beautifully with the way Nehru thought, and he was the foreign policy. But the economic and the military elements that you agreed were necessary elements were out of sync. The military element had to get built up earlier, largely because India's independent years started with a war. The economic was always viewed as a liability, until the point where India's economy started growing a whole lot faster in the 1990s. Question: Does the fact that the different elements are out of sync, does that figure in the way you think about the different kinds of rising powers? MILLER: Yes, it does because—and I'll tell you why. So—and I'm going to be—I'm going to state this very carefully. So in India's case—so there are a couple of different elements in what you're saying. So India has this idea of civilizational greatness even in the 1990s, so it's not that the idea of civilizational greatness went away, right? I mean, you see that even today in Prime Minister Modi's speeches or his talk with his harkening back to—I mean, of course, he talks about it as a Hindu civilization, but in the 1990s that wasn't what the talk was, although it was coming up. It was still about India as just a great civilization with secular nationalism being the predominant idea. So it wasn't about civilizational greatness. That never went away. This was about India's status changing, so it was specifically about being a rising power, which is that a country that is changing its status, not one that has always been a great power and has civilizational greatness to hark back upon, but rather its status was changing vis-a-vis the great power of the day, which is the United States. So that consciousness existed in China because China also had ideas of civilizational greatness but that wasn't the only thing that China was talking about in the 1990s. It was really talking about well, how do we take this—we are becoming a rising power and we are rising in the international system, our military and economic power is changing vis-a-vis other countries, particularly the status quo power; how, then, do we respond to that? And that response was lacking in India, although the notion of civilizational greatness did not go away. And the question I think you're particularly asking is what happens if you have narratives about being great, and you don't have the military power and you don't have the economic power? And that is a really interesting case because there was one case that historians told me about and I nod to it in my conclusion, and I don't explore it so I definitely do not want to go into it, and state with authority that this is the case. But Weimar Germany—I learned from a lot of historians that Weimar Germany was a country that lacked the military and economic power but had these narratives, that—of changing status, had these narratives that it was going to become great again. And because it did, these narratives actually propelled a lot of military and economic reforms that may not have otherwise resulted, and I'm saying that very carefully because I nod to this in my conclusion, but that is my understanding of the literature that I've read. So if that is true, if that is true that you can have narratives of great power but not have the military and economic power to back that up, do the narratives then propel you to aggressively acquire that military and economic power? And I think that's a really interesting and open question about whether that's the case. FASKIANOS: Thank you. I'm going to take the next question from Natalie Holley, who is an undergraduate student at Carnegie Mellon University. How has social media shaped these two categories of rising powers? What have been the advantages and consequences of social media use as countries construct their narratives? MILLER: Wow. (Laughs.) FASKIANOS: Good question. MILLER: That's a really—yeah, that's a really hard question to answer. So I will say that in the 1990s—I'm old enough to remember—there was no social media. (Laughs.) It did not exist in the 1990s so it certainly did not affect the narratives then. Would it affect the narratives now? So this is actually a bigger question and it's interesting because we talk about information and disinformation a lot, but to my knowledge, and this is—I actually have colleagues at Boston University who are working on this. The question is, to what extent does that disinformation then result in behavior. It's one thing to have disinformation and fake news, and we know that that exists in abundant ways. But then to actually show the link that when you get that disinformation, that in turn leads to a behavioral change among people who consume it, as opposed to just talking about it, that has not—that link has not been clearly shown yet, and people are working on it. So the colleague whom I was referencing is actually in the computer science department at Boston University and that's part of his research—does that change behavior? So that's the question you're asking is if you have social media and you see these narratives reflected and re-reflected in social media, does that then change behavior? And that's a—in some ways that's a chicken and egg situation. So let's take the narratives of Hindu nationalism that exist today in India or wolf warrior diplomacy that exists in China. Is that amplified on social media by Indian officials and Chinese officials? Absolutely. Hugely. And then it's picked up. So does that then intensify and then lead to behavioral change in what the government does? That's not always so clear, right? Even when it comes to wolf warrior diplomacy, I think it's Huang at Seton Hall University, I think, has a book that's going to come out soon which is really interesting because it shows how a lot of this is about, when Chinese officials talk about wolf warrior diplomacy or take these narratives up, it's not so much about changing China's behavior as posturing to the Chinese leadership that that is what you're doing. It's posturing to the Chinese leadership and saying we are doing what Xi Jinping wants us to do and we're reflecting all of these narratives. Does that then lead to a behavioral shift? That's not as clear. FASKIANOS: Thank you. We have several questions in the chat. Let's go to Maya Chadda with the raised hand. You need to unmute yourself, Maya. There we go. Q: OK, I just want to say it was wonderful introduction, very thought-provoking. A number of questions that Ambassador Schaffer—asked one of the—the key question I wanted to ask. The only thing I wanted to sort of comment/question on that I'd like to hear from you about is this gap we talked about, the gap between self-perception of the country, China or India, and its material basis, what it has achieved in terms of economic and political stability. There is an intervening factor there and that goes back to their historical experience in terms of the immediate issues, so while India and China were at a similar stage and saw themselves as victims of colonialism, they processed under colonialism very differently. In case of China, the Opium Wars, the unequal treaties, the Japanese invasion, everything that the civil war, rise of—it was a very, totally different experience of the country, which I think acts as an intervening factor. It sort of explains just how it sees itself as a great civilization and what it must do. You mentioned—you sort of remarked that China is much more pragmatic, India is much more ideological in building images—pragmatic in the sense what it should do internally in order to get there, to become a great power, while India sort of talks a lot and there is a greater gap between material power and image. So the question is this: Doesn't India's historical experience of independence, the perceptions, the narratives, as you call it, it built—I like to call it stories about themselves—they build. And China—doesn't that explain to a large extent the way in which they process the world today? MILLER: OK, so first of all, I did not say that China was pragmatic and India was ideological. I want to be crystal clear about that. I said that China had narratives and India did not. The deduction from that is not that China is pragmatic about it. It has these narratives about becoming a great power, or it did in the 1990s. Is it about—did they have very different experiences of colonialism? Yes and no. So they do have very different experiences of colonialism. India had two hundred years of extractive colonialism under the British Empire, so the Raj, and China had what's been called piecemeal colonialism. So you had the colonial—the Opium Wars but then you had the colonialism by Japan. And so what was interesting to me in my first book was that both the countries treated colonialism the same way. So they responded to colonialism as historical trauma, and they teach it as historical trauma. So in China it is taught as one hundred years of national humiliation. And then you have two hundred years of British colonialism, and this is really important to remember. And even though, in China's case, not only is—does China say that it was colonized for a hundred years, but China accepts the Qing, for example, which is not a Han dynasty, it's a Manchu dynasty, not as colonizers, as some historians have dubbed them, but as Chinese. So you have those contradictions. So the point is that they treat it the same way. They perceive colonialism the same way. Now, the reason this is—and this is particularly also evocative because I remember when I was doing the research for my first book, I came across these diplomatic negotiations between Zhou Enlai and Jawaharlal Nehru, which were the last negotiations in 1960 before the border war of 1962, and there's this really interesting conversation—these are like verbatim negotiations, transcripts of these negotiations, and what's really interesting in them is that there's this squabble between the Indian and Chinese delegates about who has been colonized more. So, Zhou Enlai says, no, no, you don't understand, we've been colonized, and I think it was Morarji Desai says, no, no, not as much as us; we have been colonized more. And so this idea of who's been colonized more in factual life doesn't matter so much as how they treat them. So no, I don't think that the absence or presence of narratives has to do with piecemeal colonialism in China and two hundred years of solidified colonial rule in India. What I do think it may have to do with is with institutions and I can—I mean, I want to be mindful of time, but I can talk a little bit about this very briefly. So it's really interesting because in India, what you find is in the foreign policy decision-making establishment, as you see ideas percolate in the establishment, that establishment is very, very—what's the word I'm trying to use?—it's very strong bulwark against ideas from outside. So there's a resistance to ideas from outside. So think tanks, for example, don't operate in the same way in India as they did in China in the 1990s and early 2000s. Everything is a little bit different now, now that Xi Jinping has taken over and the censorship and the authoritarianism have increased. But in the 1990s and early 2000s, in China you did not have independent opinions but you had a lot of autonomy among these think tanks. You had a lot of ideas that used to come up, ground up and affect how foreign policy officials thought about issues, and so it was really interesting because you'd see a back and forth in China between government and university think tanks and senior foreign policy officials that simply did not exist in India. And it exists in the U.S. today and it's somewhat—somewhat; I'm saying this very carefully—somewhat exists in China today because there's just so much more censorship. But let's say you had something like, Xi Jinping coming to the United States and saying, OK, we're going to talk about a new type of great-power relations. Well, before his visit, think tanks would be asked to convene a conference on new type of great-power relations and they would sit around and talk about what that meant, what it could mean, how could it be framed, and officials from the Ministry of Foreign Affairs would come and they would sit and attend these conferences. They wouldn't say a word, they would just take notes. Now, how those ideas actually made their way up to President Xi and then impacted his speeches or his foreign policy initiatives, I can't tell you. Nobody can. I mean, if I did, I'd be a billionaire. I wouldn't—(laughs)—be sitting here. But the fact is that there was that give and take. That give and take does not exist in India—did not exist in India and does not exist in India even today. So that kind of diffusion of ideas is different. Now, I'm not saying that that's exactly why those narratives exist in China and that's why they did not exist in India, but it gives you an idea of how institutions are very different, right, and institutions do matter when it comes to percolating ideas up and institutions do matter when it comes to impacting and institutionalizing and ensuring that narratives continue. So that could be a difference. So no, I don't think it's a difference in colonialism, and yes, I do think it can be an institutional difference. FASKIANOS: Great. So Kazi Sazid has written a question but also has a raised hand, so why don't you just ask it and if you could limit it to one question, that would be great. That way I don't have to choose when you get to more questions. Q: OK, so I'll say my first question is—I'm a student at Hunter College. So my question is, the Cold War demonstrated the dangers of two military hegemonic powers establishing a duopoly over global politics, which is the U.S. and the Soviet Union. How does the rise of India and China and let's add Nigeria as rising regional and global powers be seen as a positive thing to help balance the power structure by not allowing a single or two countries to completely control the global political rhetoric? Sorry if that's a loaded question. MILLER: That is a loaded question. (Laughs.) That's a very loaded question. I am not in the business of assigning value judgments to, just a country is a rising power per se. I will tell you that if you take India's perspective, India sees a multipolar world as better than a bipolar world. And so when it comes, even today, to the United States and Russia and China, what India wants is multipolarity. It does not want this bipolarity like the Cold War where it's forced to choose between one or the other. And of course it didn't; it was non-aligned. So are rising powers a positive or negative thing? So that depends really on who you read. If you look at power transition theorists, they would say no because a rising a power is always a challenger; it inevitably leads to war. Now, what I show in my book is that of course you don't always have challenging rising powers; you have different kinds of rising powers. So the question is—the question that you're really asking is that is revisionism a bad thing? It can be, right? I mean, World War II was an indication that revisionism was a bad thing. And so if you talk to China today and the Chinese, even they would say that revisionism is a bad thing and they would say that we're not trying to revise the international system, we're playing by the rules. And when the United States talks about a rule-based order, Chinese officials would say, but wait, we were sticking by the rules-based order and you changed the rules on us. That would be their take. So revisionism is a very, very loaded word, and so traditionally, yes, rising powers have been seen as challengers, but as I show, not all rising powers are the same. FASKIANOS: Great. Thank you. I'm going to take the next question from Brian Chao who's at the U.S. Naval War College. What are the differences, if any, in narratives and behaviors between rising powers that simply see themselves as returning to their rightful place among the great powers—example, China—a status they perhaps feel they never should have lost, and second, rising powers that may not have histories to draw upon and for whom great-power status is really something unprecedented? MILLER: I don't think rising powers see themselves as returning to their rightful place. China does, but that's not how Meiji Japan thought of itself. It wasn't about reattaining civilizational greatness. It was really about becoming a great power, and in Meiji Japan it was very much about becoming a great power like the Western great powers. That is what the narratives were. They were about becoming a colonial great power and showing the Western powers that Japan could administer its colonies just as efficiently, just as extractively, and just as well as them, and so Meiji Japan was very careful to abide by the laws and rules of the international order, and the narratives were not at all about civilizational greatness. And so—and again, the example here, again, is of India, which does have narratives about civilizational greatness but didn't have narratives about becoming—or didn't have narratives about rising-power status. So the two are not always the same. There's a subtle difference between them. But just because China also happens to have civilizational greatness narratives alongside its rising-power-status narratives doesn't mean that the two can be conflated. FASKIANOS: Thank you. I'm going to take the next written question from Isis Roopnarine from Howard University. How do you feel the global push toward environmental sustainability will affect current world powers and rising powers? Do you feel this will heavily impact India's ability to rise, or do you feel world powers like China may be limited heavily by carbon taxes, regulations, and maybe start to decline? MILLER: I don't know the answer to that question. I'm just going to totally punt on that because that—that's about environmental sustainability and whether that has long-term economic effects on countries. I assume it does, but a lot of it will depend on how much the—how countries buy into it. So I'm going to punt on that question. FASKIANOS: So we'll have to do a call or a webinar specifically focused on environmental concerns. MILLER: Which is a really important one, by the way, and we should. FASKIANOS: Absolutely. Absolutely. I am surprised to see that nobody's asked—so I'm going to take the moderator prerogative just to ask you to talk a little bit about Russia's invasion of Ukraine and vis-a-vis China and India and their response and how you feel that they are playing and thinking about their narrative, vis-a-vis their response to that conflict? MILLER: Yeah, so on the surface of it, it seems similar because they're both trying not to take a position and they're being careful about it, but it's also very—it's also different. So in India's case, India is really worried about the Ukraine crisis because India worries that it has this historical relationship with Russia and if it is publicly seen to condemn Russia with whom it has historical relationship, with whom it has had a very long defense relationship, with almost 70 percent of its military hardware today being Russian, it will drive Russia into the arms of China, which is India's number one enemy, so it is very clear about who its number one enemy is and it is China, and so India definitely does not want to publicly take a position that would essentially push Russia closer to China. At the same time, India also wants a multipolar world so it wants Russia and China and—well, particularly Russia—to be a factor in countering the rise of China and in balancing China and the United States. At the same time, India has a very deep strategic partnership with the United States and the relationship with the United States is not the same as it was twenty years ago so India also is very careful that it does not want to push the United States away from it, because this relationship has now broadened to include many, many sectors. So that's where you see India's position, where it's playing a very careful game; it hasn't come out and condemned Russia, but, at the same time, it has talked about—it's talked about humanitarian supplies to Ukraine, it has talked about the importance of there being a cease to the violence in Ukraine without actually coming out and taking a strong position on its side. Now, in China's case, it's gone back and forth. It's very interesting because—particularly I was struck by Ambassador Qin Gang's op-ed in the Washington Post recently, which kind of laid out China's clearly approved position on Russia. And so, in the West we think that—we've particularly seen these newspaper reports of China perhaps helping Russia, perhaps giving military supplies, will it help Russia evade sanctions, but what was really interesting to me in Ambassador Qin Gang's op-ed was the dilemma that it posed in those pages, and I'll tell you what I mean. So China in that op-ed, Ambassador Qin clearly says Ukraine is a sovereign state. Now that statement I have not seen from any Indian official. I have not actually seen any Indian official say Ukraine is a sovereign state. I have not seen that statement. It was there in Ambassador Qin's statement that Ukraine is a sovereign state. Then he said—and China does not support violation of sovereignty. And then he said, Ukraine is not like Taiwan because Taiwan is an internal affair, which means that Ukraine is not an internal affair, which is what Russia has been saying. So you kind of see this dilemma here that China poses where China has a relationship with Europe; China—(laughs)—a great relationship with Ukraine, right, and so what it sees is Russia jeopardizing all of that, and yet it cannot come out and condemn Russia very strongly either because it has this, the rapprochement that's been happening with Russia, and of course, the statement that President Putin and Xi Jinping laid out. So you see the countries with dilemmas in both respects, and even though the surface they look the same, the dilemmas are different. FASKIANOS: Thank you. I want to raise Ray Bromley's question, the University of Albany at SUNY: Would it be fair to say that India's reticence is based on a strong South Asian and British Commonwealth focus and an obsession with Pakistan? In other words, the Indian news media and educational system don't give enough attention to the world as a whole and to global issues; it focuses on reporting and discussing relations with Pakistan, so if you could comment on that. MILLER: Yes, and I have one quote that I'm going to give you that a very senior Indian Foreign Service official once said to me, which I think is exactly emblematic of India's relationship. This person said Pakistan is just an enemy; China is the adversary. And the reason—this is really important—is because India is not obsessed with Pakistan. India's obsessed with China, like really obsessed with China. And so India's focus is all about China. I mean, there's a huge power imbalance now with Pakistan, even with Pakistan with nukes. So what India's most worried about is a two-front war. If you have a war with Pakistan on the border and then a war with China on the border, and so what India would like is to do something that would forestall that, and that's really important. And so for India the focus is very much on China, and if you think that India's focus is on China, as a rising power that's going to become a great power, you would think that then the narratives would follow from that about India's status and how to manage China and India's own changing status, but they don't. FASKIANOS: Thank you. I'm going to take the last question from Mojúbàolú Olúfúnké Okome. Q: Thank you very much. I'm just wondering about how you rank these two rising powers. So which one has the most capabilities in terms of the military and economic power? And then, the tendency to be reticent and to swagger and be confidently stating that you are a rising power and you are challenging the hegemon—can this be attributed to cultural differences in terms of how one is supposed to move around in the world? OK, so where I come from it's like if your hand is not on the hilt of the sword, you don't challenge the people who killed your father. So if you're not really, really sure that you're going to win, you shouldn't start swaggering all over the place. So is that sort of influencing the dynamics of what's going on? MILLER: I have not heard that quote before. That's such an interesting proverb. Thank you for sharing that. So I would say no—(laughs)—because the narrative's about rising-power status and not about challenging international order. I think that's the point that I make very clearly in the book, which is that active rising powers, which are the countries that do have these narratives about rising-power status are countries that are essentially talking about how they will become a great power just like the great power that exists then. So far from being challenging, these are accommodational narratives. Now, that does not mean that these countries will not challenge later, but that's not what the narratives are, so it's hard to then argue that they stem from military and economic power. But also what's interesting is that particularly to forestall this, I looked at India and China in the 1990s, which is a time when their military and economic power are very comparable, which is really not the case today. Now, if I were to say, can you compare them militarily? No, you cannot; you cannot them militarily or economically. But you could in the 1990s. And so if it were true that these narratives derive from the sword, as you put it, then they should have derived in both cases, and they didn't. You had narratives, the presence of narratives in China but the absence of these narratives in India. And I should be very clear: It's not that India doesn't have foreign policy narratives. There's plenty of narratives on foreign policy. It was really these ideas about becoming a great power, about being a rising power, about responding to this changing status and these expectations that the globe seemed to have of both countries at the time. FASKIANOS: We are almost at the end of time and I just wonder, having looked back as you've done this research, do you want to project—or you may not want to do this—of where you see China and India's power spheres developing over the next decade? MILLER: (Laughs.) Wow. I don't want to project. I will say—I will say this: I think in China's case what happens domestically will be really important. I think domestic politics is something—I think there are two things about China that we tend to ignore in the United States. I think one is we tend to ignore the domestic politics of the Chinese Communist Party, which I think is crucially important for how China's power's going to play out in the next few decades. The other thing that we tend to ignore is we tend to ignore the fact that even in China, even with censorship, even with Xi Jinping being the most powerful Chinese president since Mao Zedong, you have a plethora of different interests and ideas in China and that doesn't make its way out of China. We tend to think of China as like this one single actor and it's not one single actor. There are different interests, there are different competing interests, there are different competing narratives, there are different competing ideas, and how all of those play out I think will be very, very important. FASKIANOS: Wonderful. With that, Manjari Miller, thank you very much for being with us. We really appreciate it. And I apologize for not getting to everybody's questions and comments but we had a very rich discussion and we'll have to have you back. We have put a link to Dr. Miller's book in the chat. We will be sending out the audio, video, and transcript link after the fact, but I do commend her book to all of you. And our last Academic Webinar of the semester will be on Wednesday, April 13, at 1:00 p.m. Eastern Time. Anne Richard, who is a professor at Georgetown University's School of Foreign Service, will talk about refugees and global migration. Very timely given the flows we are seeing from Ukraine as that war is happening. So I hope you all will join us for that. In the meantime, please follow us at @ CFR_academic. Visit CFR.org, ForeignAffairs.com, and ThinkGlobalHealth.org for research and analysis on global issues. So thank you all again. Thank you, Manjari. MILLER: Thank you so much, Irina. This was really fun. Really great questions, very stimulating discussion. FASKIANOS: Wonderful. Have a great day, everybody. (END)

The overwhelming majority of tea practitioners in contemporary Japan are women, but there has been little discussion on their historical role in tea culture (chanoyu). In Cultivating Femininity: Women and Tea Culture in Edo and Meiji Japan (U Hawaii Press, 2019), Rebecca Corbett (USC East Asian Library) writes women back into this history and shows how tea practice for women was understood, articulated, and promoted in the Edo (1603–1868) and Meiji (1868–1912) periods. Viewing chanoyu 茶の湯 from the lens of feminist and gender theory, she sheds new light on tea's undeniable influence on the formation of modern understandings of femininity in Japan. Corbett overturns the iemoto 家元 tea school's carefully constructed orthodox narrative by employing underused primary sources and closely examining existing tea histories. She incorporates Pierre Bourdieu's theories of social and cultural capital and Norbert Elias's “civilizing process” to explore the economic and social incentives for women taking part in chanoyu. Although the iemoto system sought to increase its control over every aspect of tea, including book production, eighteenth- and nineteenth-century popular texts aimed specifically at women evidence the spread of tea culture beyond parameters set by the schools. The expansion of chanoyu to new social groups cascaded from commoner men to elite then commoner women. Shifting the focus away from male tea masters complicates the history of tea in Japan and shows how women of different social backgrounds worked within and without traditionally accepted paradigms of tea practice. The direct socioeconomic impact of the spread of tea is ultimately revealed in subsequent advances in women's labor opportunities and an increase in female social mobility. Through their participation in chanoyu, commoner women were able to blur and lessen the status gap between themselves and women of aristocratic and samurai status. Cultivating Femininity offers a new perspective on the prevalence of tea practice among women in modern Japan. It presents a fresh, much-needed approach, one that will be appreciated by students and scholars of Japanese history, gender, and culture, as well as by tea practitioners. This book is now available for free in open access at DOAB, ProjectMuse, and JSTOR.  Takeshi Morisato is philosopher and sometimes academic. He is the editor of the European Journal of Japanese Philosophy. He specializes in comparative and Japanese philosophy but he is also interested in making Japan and philosophy accessible to a wider audience. Learn more about your ad choices. Visit megaphone.fm/adchoices

The overwhelming majority of tea practitioners in contemporary Japan are women, but there has been little discussion on their historical role in tea culture (chanoyu). In Cultivating Femininity: Women and Tea Culture in Edo and Meiji Japan (U Hawaii Press, 2019), Rebecca Corbett (USC East Asian Library) writes women back into this history and shows how tea practice for women was understood, articulated, and promoted in the Edo (1603–1868) and Meiji (1868–1912) periods. Viewing chanoyu 茶の湯 from the lens of feminist and gender theory, she sheds new light on tea's undeniable influence on the formation of modern understandings of femininity in Japan. Corbett overturns the iemoto 家元 tea school's carefully constructed orthodox narrative by employing underused primary sources and closely examining existing tea histories. She incorporates Pierre Bourdieu's theories of social and cultural capital and Norbert Elias's “civilizing process” to explore the economic and social incentives for women taking part in chanoyu. Although the iemoto system sought to increase its control over every aspect of tea, including book production, eighteenth- and nineteenth-century popular texts aimed specifically at women evidence the spread of tea culture beyond parameters set by the schools. The expansion of chanoyu to new social groups cascaded from commoner men to elite then commoner women. Shifting the focus away from male tea masters complicates the history of tea in Japan and shows how women of different social backgrounds worked within and without traditionally accepted paradigms of tea practice. The direct socioeconomic impact of the spread of tea is ultimately revealed in subsequent advances in women's labor opportunities and an increase in female social mobility. Through their participation in chanoyu, commoner women were able to blur and lessen the status gap between themselves and women of aristocratic and samurai status. Cultivating Femininity offers a new perspective on the prevalence of tea practice among women in modern Japan. It presents a fresh, much-needed approach, one that will be appreciated by students and scholars of Japanese history, gender, and culture, as well as by tea practitioners. This book is now available for free in open access at DOAB, ProjectMuse, and JSTOR.  Takeshi Morisato is philosopher and sometimes academic. He is the editor of the European Journal of Japanese Philosophy. He specializes in comparative and Japanese philosophy but he is also interested in making Japan and philosophy accessible to a wider audience. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Dr. Alison Miller depicts the domestic and feminine faces of 19th century Japanese imperialism, in Kobayashi Kiyochika's Illustration of the Empress Visiting a Field Hospital (in Hiroshima). The public-facing imperial family was a modern invention to Meiji Japan (1868-1912). Paparazzid in popular woodblock prints, Empress Shōken appeared in battlefields and blossom groves, symbolising Japan's shifting political landscape. But beyond propaganda, Illustration of the Empress hints at the interplay between printers, publishers, and popular markets, revealing how the public invested and participated in the national, imperial project. Challenging our masculine and overseas stereotypes, this print unveils how different Japanese women constructed the scaffolding of empire on the home front and with soft power. PRESENTER: Dr. Alison J. Miller, Assistant Professor of Art History at the University of the South in Sewanee, Tennessee. She specialises in modern and contemporary Japanese art history, with a focus on representations of gender, women, and the imperial family. ART: Illustration of the Empress Visiting a Field Hospital (in Hiroshima), Kobayashi Kiyochika (1895). IMAGE: ‘Illustration of the Empress Visiting a Field Hospital [in Hiroshima] (Yasen byōin gyōkō no zu)'. SOUNDS: Difondo. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

In The Dutch Language in Japan (1600-1900): A Cultural and Sociolinguistic Study of Dutch as a Contact Language in Tokugawa and Meiji Japan (Brill, 2020), Christopher Joby offers the first book-length account of the knowledge and use of the Dutch language in Tokugawa and Meiji Japan. For most of this period, the Dutch were the only Europeans permitted to trade with Japan. Using the analytical tool of language process, this book explores the nature and consequences of contact between Dutch and Japanese and other language varieties. The processes analyzed include language learning, contact and competition, code-switching, translation, lexical, syntactic, and graphic interference, and language shift. The picture that emerges is that the multifarious uses of Dutch, especially the translation of Dutch books, would have a profound effect on the language, society, culture, and intellectual life of Japan. You can get The Dutch Language in Japan (1600-1900) at a discount at the Brill website by entering the code 72150 on check out. (Promo Code effective until May/31/2021) Jingyi Li is a Ph.D. Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices

[Recorded 26 February 2020] Our understanding of language in Meiji Japan is chiefly focused upon the changes to the Japanese language itself: the creation of a central standardised Japanese and the relegation of regional variants to the status of dialects, as well as the simplification of grammar and the unification of spoken and written language. However, alongside this inward looking history, there is another, outward looking one: a history of debate about what the right language was for Japan to use to talk to the rest of world. This history features a range of unfamiliar languages: Volapuk, Esperanto, Zilengo, and Yokohama Kotoba, and reveals an important but forgotten dimension to Japan's modernity.