During the interwar years in Japan, discourse on culture turned sharply inward after generations of openness to Western ideas. The characterizations that arose—that Japanese culture is unique, essential, and enduring—came to be accepted both inside and outside Japan. Leslie Pincus focuses on the work of Kuki Shuzo, a philosopher and the author of the classic "Iki" no Kozo, to explore culture and theory in Japan during the interwar years. She shows how Japanese intellectual culture ultimately became complicit, even instrumental, in an increasingly repressive and militaristic regime that ultimately brought the world to war. Pincus provides an extensive critical study of Kuki's intellectual lineage and shows how it intersects with a number of central figures in both European and Japanese philosophy. The discussion moves between Germany, France, and Japan, providing a guide to the development of culture in a number of national settings from the turn of the century to the 1930s. Inspired by the work of Foucault, the Marxist culturalists, and the Frankfurt School, Pincus reads against the grain of traditional interpretation. Her theoretically informed approach situates culture in a historical perspective and charts the ideological dimensions of cultural aesthetics in Japan. Authenticating Culture in Imperial Japan makes an important contribution to our understanding of modernity, nationalism, and fascism in the early twentieth century.

During the interwar years in Japan, discourse on culture turned sharply inward after generations of openness to Western ideas. The characterizations that arose—that Japanese culture is unique, essential, and enduring—came to be accepted both inside and outside Japan. Leslie Pincus focuses on the work of Kuki Shuzo, a philosopher and the author of the classic "Iki" no Kozo, to explore culture and theory in Japan during the interwar years. She shows how Japanese intellectual culture ultimately became complicit, even instrumental, in an increasingly repressive and militaristic regime that ultimately brought the world to war. Pincus provides an extensive critical study of Kuki's intellectual lineage and shows how it intersects with a number of central figures in both European and Japanese philosophy. The discussion moves between Germany, France, and Japan, providing a guide to the development of culture in a number of national settings from the turn of the century to the 1930s. Inspired by the work of Foucault, the Marxist culturalists, and the Frankfurt School, Pincus reads against the grain of traditional interpretation. Her theoretically informed approach situates culture in a historical perspective and charts the ideological dimensions of cultural aesthetics in Japan. Authenticating Culture in Imperial Japan makes an important contribution to our understanding of modernity, nationalism, and fascism in the early twentieth century.

Exploring the emergence and evolution of theories of nationhood that continue to be evoked in present-day Japan, Susan L. Burns provides a close examination of the late-eighteenth-century intellectual movement kokugaku, which means "the study of our country.” Departing from earlier studies of kokugaku that focused on intellectuals whose work has been valorized by modern scholars, Burns seeks to recover the multiple ways "Japan" as social and cultural identity began to be imagined before modernity. Central to Burns's analysis is Motoori Norinaga’s Kojikiden, arguably the most important intellectual work of Japan's early modern period. Burns situates the Kojikiden as one in a series of attempts to analyze and interpret the mythohistories dating from the early eighth century, the Kojiki and Nihon shoki. Norinaga saw these texts as keys to an original, authentic, and idyllic Japan that existed before being tainted by "flawed" foreign influences, notably Confucianism and Buddhism. Hailed in the nineteenth century as the begetter of a new national consciousness, Norinaga's Kojikiden was later condemned by some as a source of Japan's twentieth-century descent into militarism, war, and defeat. Burns looks in depth at three kokugaku writers—Ueda Akinari, Fujitani Mitsue, and Tachibana Moribe—who contested Norinaga's interpretations and produced competing readings of the mythohistories that offered new theories of community as the basis for Japanese social and cultural identity. Though relegated to the footnotes by a later generation of scholars, these writers were quite influential in their day, and by recovering their arguments, Burns reveals kokugaku as a complex debate—involving history, language, and subjectivity—with repercussions extending well into the modern era.

In the late nineteenth century, Japan's new Meiji government established museums to showcase a national aesthetic heritage. Inspired by Western museums and expositions, these institutions were introduced by government officials hoping to spur industrialization and self-disciplined public behavior, and to cultivate an "imperial public" loyal to the emperor. Japan's network of museums expanded along with its colonies. By the mid-1930s, the Japanese museum system had established or absorbed institutions in Taiwan, Korea, Sakhalin, and Manchuria. Not surprising, colonial subjects' views of Japanese imperialism differed from those promulgated by the Japanese state. Meanwhile, in Japan, philanthropic and commercial museums were expanding, revising, and even questioning the state-sanctioned aesthetic canon. Public Properties describes how museums in Japan and its empire contributed to the reimagining of state and society during the imperial era, despite vigorous disagreements about what was to be displayed, how, and by whom it was to be seen.

In every part of the world and in every era, philosophers have reflected on the meaning of culture and its philosophical significance. Japanese Philosophers on Society and Culture:Nishida Kitarō, Watsuji Tetsurō, and Kuki Shūzō explores how three of Japan's preeminent philosophers of the twentieth century—Nishida Kitarō, Watsuji Tetsurō and Kuki Shūzō—defined culture and analyzed what it tells us about social relations. Graham Mayeda also explores little-known aspects of the work of each philosopher, including a philosophical analysis of Watsuji's travel diary, Pilgrimages to the Ancient Temples in Nara, the place of intuition in Kuki's ethics of otherness, and the role of culture in realizing Nishida's concept of reality as the historical world. Each of these three philosophers adapted philosophical methodologies such as phenomenology, hermeneutics, and dialectical logic to studying the traditional sources of Japanese culture: Confucianism, Buddhism, Bushidō and Shintō. This book focuses on the way that Nishida, Watsuji and Kuki critiqued the methodologies that they adopted from European philosophy and modified them to reflect the values that form the basis of their own cultural tradition. Finally, Mayeda engages with the problem of cultural essentialism by identifying the progressive and conservative elements of each philosopher's characterization of Japanese culture.

"A gem to be consulted by all students of anthropology, history, ethnomusicology, and colonial studies." Hyung Il Pal, author of Constructing "Korean" Origins: A Critical Review of Archaeology, Historiography, and Racial Myth in Korean State Formation Theories --