This study of the writings of Japanese travelers to China from 1862 to 1945 serves both as a window onto changing Japanese images of China and as a vivid account of Sino-Japanese interactions over nearly a century. The year 1862 saw the lifting of the Tokugawa shogunate's ban of over two centuries on overseas contacts, and Japanese travelers were able to resume contact with China, which had begun some fifteen hundred years before. Through the centuries, China had exerted a profound influence on the development of Japanese culture, and what began as a wish to adopt the latest, most developed political and cultural achievements of China - assumed to be the most advanced country on earth -- later became an effort to understand the essence of Japan by defining its difference from China. This book is based upon some five hundred accounts of travel in China by Japanese, only a handful of which have previously been available in Western literature.

This collection of essays, based on international collaboration by scholars in Japan, South Korea, Taiwan, and the United States, is the first systematic, interdisciplinary attempt to address the social, political, and spiritual significance of the modern arts both in Japan and its empire between 1920 and 1960. These forty years, punctuated by war, occupation, and reconstruction, were turbulent and brutal, but also important and even productive for the arts. The volume takes a trans-war (rather than an inter-war) approach, beginning with the cultural politics of painting, poetry, and fiction in Japanese-occupied Korea and Taiwan following World War I. The narrative continues with the impact of Japan's war in China and the Pacific War on major Japanese novelists, playwrights, painters, and filmmakers, before moving on to the final stage, Japan's defeat and initial recovery. During the Allied Occupation of Japan and in its aftermath, Japanese artists both confronted and dismissed the question of war responsibility by preserving, reviving, or reinventing the political cartoon, Kabuki drama, literature of the body, and the aesthetics of decadence. Contributors: Haruko Taya Cook, Kyoko Hirano, Youngna Kim (Kim Youngna), H. Eleanor Kerkham, David R. McCann, Marlene J. Mayo, J. Thomas Rimer, Mark H. Sandler, Rinjiro Sodei, Wang Hsui-hsiung (Wang Xiuxiong), Alan Wolfe, Angelina C. Yee.

Most scholarship on Japan's cultural policy toward modern China reflects the paradigm of cultural imperialism. In contrast, this study demonstrates that Japan was mindful of Chinese opinion and sought the cooperation of the Chinese government. China, however, actively sought to redirect this policy to serve its national interests and aspirations.

The classic Chinese novel The Water Margin (Shuihu zhuan) tells the story of a band of outlaws in twelfth-century China and their insurrection against the corrupt imperial court. Imported into Japan in the early seventeenth century, it became a ubiquitous source of inspiration for translations, adaptations, parodies, and illustrated woodblock prints. There is no work of Chinese fiction more important to both the development of early modern Japanese literature and the Japanese imagination of China than The Water Margin. In The Japanese Discovery of Chinese Fiction, William C. Hedberg investigates the reception of The Water Margin in a variety of early modern and modern Japanese contexts, from eighteenth-century Confucian scholarship and literary exegesis to early twentieth-century colonial ethnography. He examines the ways Japanese interest in Chinese texts contributed to new ideas about literary canons and national character. By constructing an account of Japanese literature through the lens of The Water Margin’s literary afterlives, Hedberg offers an alternative history of East Asian textual culture: one that focuses on the transregional dimensions of Japanese literary history and helps us rethink the definition and boundaries of Japanese literature itself.

Over the past thirty-five years, Joshua Fogel has pioneered the study of Sino-Japanese cultural and political relations—understood as the intersections of the histories of these two countries. This volume brings together many of his essays and reviews in this new field. For a variety of reasons discussed within, scholars have been reluctant to look at these two nation’s historical connections, either through comparative analysis or actual interactions. Fogel’s work has focused squarely here. Among the issues addressed are Japanese scholarly views of modern China and Chinese history, Chinese considerations of the Japanese language in the Ming and Qing periods, the Japanese immigration to the East Asian Mainland (especially to Shanghai and Harbin), and more.

Bitterly contested memories of war, colonisation, and empire among Japan, China, and Korea have increasingly threatened regional order and security over the past three decades. In Sino-Japanese relations, identity, territory, and power pull together in a particularly lethal direction, generating dangerous tensions in both geopolitical and memory rivalries. Buzan and Goh explore a new approach to dealing with this history problem. First, they construct a more balanced and global view of China and Japan in modern world history. Second, building on this, they sketch out the possibilities for a 21st century great power bargain between them. Buzan puts Northeast Asia's history since 1840 into both a world historical and a systematic normative context, exposing the parochial nature of the China-Japan history debate in relation to what is a bigger shared story about their encounter with modernity and the West, within which their modern encounter with each other took place. Arguing that regional order will ultimately depend substantially on the relationship between these two East Asian great powers, Goh explores the conditions under which China and Japan have been able to reach strategic bargains in the course of their long historical relationship, and uses this to sketch out the main modes of agreement that might underpin a new contemporary great power bargain between them in a variety of future scenarios for the region. The frameworks adopted here consciously blend historical contextualisation, enduring concerns with wealth, power and interest, and the complex relationship between Northeast Asian states' evolving encounters with each other and with global international society.

Print, Profit, and Perception examines the dynamic cross-cultural exchanges occurring in China and Taiwan from the first Sino-Japanese War to the mid-twentieth century. Drawing examples from various genres, this interdisciplinary volume presents nine empirically grounded case studies on the growth in the production, dissemination and consumption of texts, which lay behind a dramatic expansion of knowledge. The chapters collectively address the co-existence of globalization and localization processes in the period. By taking into account intra-Asian cultural encounters and tracing the multiple competing forces encountered by many, this book offers a fresh and compelling take on how individuals and social groups participated in transnational conceptual flows. Contributors include: Paul Bailey, Che-chia Chang, Elizabeth Emrich, Tze-ki Hon, Max K.W. Huang, Mei-e Huang, Mike Shi-chi Lan, Pei-yin Lin, and Weipin Tsai.