Challenging clichés of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity.

Japan, anchored by its traditions, transformed by American post-war Occupation, and globally recognized for its technological innovations, manufacturing prowess, and pop culture, faces powerful challenges from within and without. How Japan chooses to handle these problems and opportunities will determine its future for decades to come. In this book, Jeff Kingston – one of the most lucid analysts of Japan today – takes readers on a fascinating journey through this country's contemporary history, exploring the key developments and forces, both at home and abroad, that are shaping Japan in the twenty-first century. Whether Prime Minister Shinzo Abe’s transformative agenda of “Abenomics” and “proactive pacifism” toward a rising China and a belligerent North Korea can set Japan on the path to greater prosperity and security remains to be seen. But having won a third term as president of the Liberal Democratic Party in 2018, Japan’s ongoing transformation is very much in Abe’s hands.

In this dismantling of the myth of Japanese "quality education", McVeigh investigates the consequences of what happens when statistical and corporatist forces monopolize the purpose of schooling and the boundary between education and employment is blurred.

This is a series of entry-level lectures on the Japanese sword and its history for those who are interested in studying Japanese art swords. The Japanese sword was basically designed as a weapon, but Japanese swordsmiths imbued qualities of grace and beauty into the blades as well as functional superiority. The intricate patterns of surface and texture formed by their highly developed forging and tempering techniques were made only in Japan. In the past, the Japanese looked at the swords as a spiritual symbol of Samurai, temples, and shrines. Nowadays, the Japanese regard swords as a cultural art object made of steel. Varieties of the appearance of swords are closely related to historical events. Textures, contours, and tempering designs are characteristics of a particular school (Den 伝) of swordsmiths. This is a series of lectures that discuss each period's history then talk about the swordsmiths' schools that were active in a particular province at the time. Because of that, each section starts with the history of the time. It is necessary to discuss history to see the flow of the events that affected the swords' shape and style.

A look at Japanese life and customs through the eyes of a Tokyo schoolgirl.