Detailed and diverse, Proliferating Talent challenges us to rethink a crucial period in Japanese history. The eight essays translated here broadly cover the eventful half century that witnessed the collapse of the Tokugawa shogunate and the rise of the modern Japanese state to the position of an international power. Edited by J.S.A. Elisonas and Richard Rubinger, professors of East Asian languages and cultures at Indiana University, Proliferating Talent is full of nuances and carefully textured readings in which local developments are carefully balanced against major national events.

Detailed and diverse, Proliferating Talent challenges us to rethink a crucial period in Japanese history. The eight essays translated here broadly cover the eventful half century that witnessed the collapse of the Tokugawa shogunate and the rise of the modern Japanese state to the position of an international power. Edited by J.S.A. Elisonas and Richard Rubinger, professors of East Asian languages and cultures at Indiana University, Proliferating Talent is full of nuances and carefully textured readings in which local developments are carefully balanced against major national events.

The idea that personal cultivation leads to social and material well-being became widespread in late Tokugawa Japan (1600–1868). Practical Pursuits explores theories of personal development that were diffused in the early nineteenth century by a network of religious groups in the Edo (Tokyo) area, and explains how, after the Meiji Restoration of 1868, the leading members of these communities went on to create ideological coalitions inspired by the pursuit of a modern form of cultivation. Variously engaged in divination, Shinto purification rituals, and Zen practice, these individuals ultimately used informal political associations to promote the Confucian-style assumption that personal improvement is the basis for national prosperity. This wide-ranging yet painstakingly researched study represents a new direction in historical analysis. Where previous scholarship has used large conceptual units like Confucianism and Buddhism as its main actors and has emphasized the discontinuities in Edo and Meiji religious life, Sawada addresses the history of religion in nineteenth-century Japan at the level of individuals and small groups. She employs personal cultivation as an interpretive system, crossing familiar boundaries to consider complex linguistic, philosophical, and social interconnections.

Among the most radical of the Meiji reforms was a plan for a centralized, compulsory educational system modeled after those in Europe and America. But with almost no support from the government, local officials, teachers, and citizens pursued alternative visions. Their efforts led to the growth and consolidation of a new educational system.

Mark Lincicome offers a new perspective on Japenese educational debates and policy reforms that have taken place under the guise of internationalization since the mid-1980s. By contextualizing these developments within a historical framework spanning the entire twentieth century, he challenges the argument-put forward by education officials, conservative politicians, and their supporters in the academy and the business world-that history offers no guide for addressing the educational challenges that face contemporary Japan. Combining diachronic and synchronic approaches, Lincicome analyzes repeated attempts throughout the twentieth century to "internationalize education" (kyoiku no kokusaika) in Japan. This comparison reveals important similarities that transcend educational policy to encompass Japanese conceptions of individual, national, and international identity; relations between the individual, the nation, the state, and the international community; and the type of education best suited to negotiating multiple identities among the next generation of Japanese subject-citizens. Book jacket.

'Hollywood Independents' explores the crucial period between 1948 and 1962 when independent film producers first became key components of the modern corporate entertainment industry. Mann examines their impact, the decline of the studios, the rise of television, and the rise of potent talent agencies such as MCA.

Research outside Japan on the history and significance of the Japanese visual arts since the beginning of the Meiji period (1868) has been, with the exception of writings on modern and contemporary woodblock prints, a relatively unexplored area of inquiry. In recent years, however, the subject has begun to attract wide interest. As is evident from this volume, this period of roughly a century and a half produced an outpouring of art created in a bewildering number of genres and spanning a wide range of aims and accomplishments. Since Meiji is the first sustained effort in English to discuss in any depth a time when Japan, eager to join in the larger cultural developments in Europe and the U.S., went through a visual revolution. Indeed, this study of the visual arts of the nineteenth and twentieth centuries suggests a fresh history of modern Japanese culture—one that until now has not been widely visible or thoroughly analyzed outside that country. In this extensive collection, which includes some 190 black-and-white and color reproductions, scholars from Japan, Europe, Australia, and America explore an impressive array of subjects: painting, sculpture, prints, fashion design, crafts, and gardens. The works discussed range from early Meiji attempts to create art that referenced Western styles to postwar and contemporary avant-garde experiments. There are, in addition, substantive investigations of the cultural and intellectual background that helped stimulate the creation of new and shifting art forms, including essays on the invention of a modern artistic vocabulary in the Japanese language and the history of art criticism in Japan, as well as an extensive account of the career and significance of perhaps the best-known Japanese figure concerned with the visual arts of his period, Okakura Tenshin (1862–1913), whose Book of Tea is still widely read today. Taken together, the essays in this volume allow readers to connect ideas and images, thus bringing to light larger trends in the Japanese visual arts that have made possible the vitality, range, and striking achievements created during this turbulent and lively period. Contributors: Stephen Addiss, Chiaki Ajioka, John Clark, Ellen Conant, Mikiko Hirayama, Michael Marra, Jonathan Reynolds, J. Thomas Rimer, Audrey Yoshiko Seo, Eric C. Shiner, Lawrence Smith, Shuji Tanaka, Reiko Tomii, Mayu Tsuruya, Toshio Watanabe, Gennifer Weisenfeld, Bert Winther-Tamaki, Emiko Yamanashi.