Nishiyama Matsunosuke is one of the most important historians of Tokugawa (Edo) popular culture, yet until now his work has never been translated into a Western language. Edo Culture presents a selection of Nishiyama’s writings that serves not only to provide an excellent introduction to Tokugawa cultural history but also to fill many gaps in our knowledge of the daily life and diversions of the urban populace of the time. Many essays focus on the most important theme of Nishiyama’s work: the seventeenth to nineteenth centuries as a time of appropriation and development of Japan’s culture by its urban commoners. In the first of three main sections, Nishiyama outlines the history of Edo (Tokyo) during the city’s formative years, showing how it was shaped by the constant interaction between its warrior and commoner classes. Next, he discusses the spirit and aesthetic of the Edo native and traces the woodblock prints known as ukiyo-e to the communal activities of the city’s commoners. Section two focuses on the interaction of urban and rural culture during the nineteenth century and on the unprecedented cultural diffusion that occurred with the help of itinerant performers, pilgrims, and touring actors. Among the essays is a delightful and detailed discourse on Tokugawa cuisine. The third section is dedicated to music and theatre, beginning with a study of no, which was patronized mainly by the aristocracy but surprisingly by commoners as well. In separate chapters, Nishiyama analyzes the relation of social classes to musical genres and the aesthetics of kabuki. The final chapter focuses on vaudeville houses supported by the urban masses.

During the eighteenth century, Edo (today’s Tokyo) became the world’s largest city, quickly surpassing London and Paris. Its rapidly expanding population and flourishing economy encouraged the development of a thriving popular culture. Innovative and ambitious young authors and artists soon began to look beyond the established categories of poetry, drama, and prose, banding together to invent completely new literary forms that focused on the fun and charm of Edo. Their writings were sometimes witty, wild, and bawdy, and other times sensitive, wise, and polished. Now some of these high spirited works, celebrating the rapid changes, extraordinary events, and scandalous news of the day, have been collected in an accessible volume highlighting the city life of Edo. Edo’s urban consumers demanded visual presentations and performances in all genres. Novelties such as books with text and art on the same page were highly sought after, as were kabuki plays and the polychrome prints that often shared the same themes, characters, and even jokes. Popular interest in sex and entertainment focused attention on the theatre district and “pleasure quarters,” which became the chief backdrops for the literature and arts of the period. Gesaku, or “playful writing,” invented in the mid-eighteenth century, satirized the government and samurai behavior while parodying the classics. These entertaining new styles bred genres that appealed to the masses. Among the bestsellers were lengthy serialized heroic epics, revenge dramas, ghost and monster stories, romantic melodramas, and comedies that featured common folk. An Edo Anthology offers distinctive and engaging examples of this broad range of genres and media. It includes both well-known masterpieces and unusual examples from the city’s counterculture, some popular with intellectuals, others with wider appeal. Some of the translations presented here are the first available in English and many are based on first editions. In bringing together these important and expertly translated Edo texts in a single volume, this collection will be warmly welcomed by students and interested readers of Japanese literature and popular culture.

An introduction to the theatrical art of comic storytelling that originated in the Edo period, Rakugo sheds light on Japanese culture as a whole: its aesthetics, social relations, and learning styles. Enriched with personal anecdotes, Rakugo explicates the art's contemporary performance culture: the image, training and techniques of the storytellers, the venues where they perform, and the role of the audience in sustaining the art. Laurie Brau inquires into how this comic art form participates in the discourse of heritage, serving as a symbol of the Edo culture, while continuing to appeal to Japanese today. Written in an accessible manner, this book is appropriate for all levels of student or researcher.

In 1926, professional musicians Constantine Shapiro, born in Moscow, 1896 and Lydia Chernetsky (Odessa, 1905) met and married in Berlin, Germany after their respective families had suffered continuous persecution in war-torn Russia, or the Soviet Union, as it was known after 1922. With Hitler's national socialism on the rise, remaining in Berlin was for the newly-weds out of the question and they decided to continue their odyssey, first to Palestine, then China, to ultimately spend the World War II years in the relative safety of Japan. In 1931, they found themselves in Japan, where Isaac, son number four and author of this memoir, was born. With World War II imminently looming, and the subsequent bombing of Pearl Harbor, their lives were disrupted once again. In 1944, the Yokohama shore was banned for foreigners and the Shapiro family including their five children, were forced to move to Tokyo, where they survived endless hardships, among others the intensified strategic United States bombing campaigns on Tokyo. Operation Meetinghouse started March 9, 1945 and is regarded as the single most destructive bombing raid in human history. The Japanese later called the operation the Night of the Black Snow. During the subsequent American occupation of Japan, 14-year-old Isaac, being multi lingual, was hired as an interpreter by John Calvin `Toby' Munn, a United States Marine colonel, (later promoted to Lt. Gen.) who, when the war was over, paved the way for Isaac, or Ike as he soon became known, to immigrate to the United States. In the summer of 1946, Isaac landed in Hawaii, at the time a United States territory, altering the course of his life forever.

First Published in 1995. Some thirty years have passed since the death of Noel Nouet. He was a revered teacher, historian, writer and talented woodblock artist who became the author’s person friend during the 1950s in Japan. The original French edition of this book (1961) began with Noel Nouer's description of what he intended his book to be. He had no claims, he said, to have written a scholarly work. Rather he wanted 'to present a kind of emakimono, picture-scroll, of Tokyo' that would be 'pleasant to peruse’.

In recent years Japan's cuisine, or washoku, has been eclipsing that of France as the world's most desirable food. UNESCO recognized washoku as an intangible cultural treasure in 2013 and Tokyo boasts more Michelin-starred restaurants than Paris and New York combined. International enthusiasm for Japanese food is not limited to haute cuisine; it also encompasses comfort foods like ramen, which has reached cult status in the U.S. and many world capitals. Together with anime, pop music, fashion, and cute goods, cuisine is part of the "Cool Japan" brand that promotes the country as a new kind of cultural superpower. This collection of essays offers original insights into many different aspects of Japanese culinary history and practice, from the evolution and characteristics of particular foodstuffs to their representation in literature and film, to the role of foods in individual, regional, and national identity. It features contributions by both noted Japan specialists and experts in food history. The authors collectively pose the question "what is washoku?" What culinary values are imposed or implied by this term? Which elements of Japanese cuisine are most visible in the global gourmet landscape and why? Essays from a variety of disciplinary perspectives interrogate how foodways have come to represent aspects of a "unique" Japanese identity and are infused with official and unofficial ideologies. They reveal how Japanese culinary values and choices, past and present, reflect beliefs about gender, class, and race; how they are represented in mass media; and how they are interpreted by state and non-state actors, at home and abroad. They examine the thoughts, actions, and motives of those who produce, consume, promote, and represent Japanese foods.