Seth Jacobowitz rethinks the origins of modern Japanese language, literature, and visual culture, presenting the first systematic study of the ways that media and inscriptive technologies available in Japan at its threshold of modernization in the late nineteenth to early twentieth century shaped and brought into being modern Japanese literature.

In the Company of Men examines representations of male-male sexuality in literature from the Meiji period, when Japan launched an unprecedented modernization campaign.

After centuries of repression of the female voice in literature, the Meiji (1868-1912) and Taisho (1912-1926) periods in Japanese history saw important changes in both the way women wrote and the way they were read. However, even the most accepted female writers of these two eras were judged by criteria different from those applied to men, and only the most conservative were praised by the (male) critics. This study of the women who wrote in the modern era examines both famous and now-obscure writers within the context of their moments in time and their influence on later generations of Japanese women writers. Arranged chronologically, the book covers the pioneering women of the early Meiji period, the ethos of reactionary conservatism, the romantic movement in poetry, women writers of the naturalist school, Taisho liberalism, and the new era of literary women. An introduction outlines the various schools of Japanese female writers during the late nineteenth and early twentieth centuries, as well as the social and cultural trends that helped produce them. The text is appropriate for both well-read scholars of Japanese literature and newcomers to the works of the "fair ladies of the back chamber," as these creative and driven writers were once called.

This volume examines the Meiji Restoration through a global history lens to re-interpret the formation of a globally-cast, Japanese nation-state.

First, there are questions concerning the role and relative importance of internal and external factors in the pattern of events. Did the activities of the Western powers prompt changes in Japan that would not otherwise have taken place? Or did they merely hasten a process that had already begun? Similarly, did Western civilization give a new direction to Japanese development, or do no more than provide the outward forms through which indigenous change could manifest itself? Was it a matrix, or only a shopping list? Second, how far was the evolution of modern Japan in some sense "inevitable"? Were the main features of Meiji society already implicit in the Tempo reforms, only awaiting an appropriate trigger to bring them into being? More narrowly, was the character of Meiji institutions determined by the social composition of the anti-Tokugawa movement, or did it derive from a situation that took shape only after the Bakufu was overthrown? This is to pose the problem of the relationship between day-to-day politics and long-term socioeconomic change. One can argue, paraphrasing Toyama, that the political controversy about foreign affairs provided the means by which basic socioeconomic factors became effective; or one can say, with Sakata, that the relevance of socioeconomic change is that it helped to decide the manner in which the fundamentally political ramifications of the foreign question were worked out. The difference of emphasis is significant. Finally, have recent historians, in their preoccupation with other issues, lost sight of something important in their relative neglect of ideas qua ideas? Ought we perhaps to stop treating loyalty to the Emperor as simply a manifestation of something else? After all, the men whose actions are the object of our study took that loyalty seriously enough, certainly as an instrument of politics, if not as an article of faith.

First published in Japan in 1983, this book is now a classic in modern Japanese literary studies. Covering an astonishing range of texts from the Meiji period (1868-1912), it presents sophisticated analyses of the ways that experiments in literary language produced multiple new--and sometimes revolutionary--forms of sensibility and subjectivity. Along the way, Kamei Hideo carries on an extended debate with Western theorists such as Saussure, Bakhtin, and Lotman, as well as with such contemporary Japanese critics as Karatani Kojin and Noguchi Takehiko. Transformations of Sensibility deliberately challenges conventional wisdom about the rise of modern literature in Japan and offers highly original close readings of works by such writers as Futabatei Shimei, Tsubouchi Shoyo, Higuchi Ichiyo, and Izumi Kyoka, as well as writers previously ignored by most scholars. It also provides a new critical theorization of the relationship between language and sensibility, one that links the specificity of Meiji literature to broader concerns that transcend the field of Japanese literary studies. Available in English translation for the first time, it includes a new preface by the author and an introduction by the translation editor that explain the theoretical and historical contexts in which the work first appeared.

Most Japanese literary historians have suggested that the Meiji Period (1868-1912) was devoid of women writers but for the brilliant exception of Higuchi Ichiyo (1872-1896). Rebecca Copeland challenges this claim by examining in detail the lives and literary careers of three of Ichiyo's peers, each representative of the diversity and ingenuity of the period: Miyake Kaho (1868-1944), Wakamatsu Shizuko (1864-1896), and Shimizu Shikin (1868-1933). In a carefully researched introduction, Copeland establishes the context for the development of female literary expression. She follows this with chapters on each of the women under consideration. Miyake Kaho, often regarded as the first woman writer of modern Japan, offers readers a vision of the female vitality that is often overlooked when discussing the Meiji era. Wakamatsu Shizuko, the most prominent female translator of her time, had a direct impact on the development of a modern written language for Japanese prose fiction. Shimizu Shikin reminds readers of the struggle women endured in their efforts to balance their creative interests with their social roles. Interspersed throughout are excerpts from works under discussion, most never before translated, offering an invaluable window into this forgotten world of women's writing.