Matthews Hamabata got off to an unpromising start when he first arrived in Japan to study influential business families. An unmarried, third-generation Japanese-American graduate student, he was there to learn about business executives in their roles as male principals and heads of households. Some Japanese were less than hospitable and often downright rude to him, and the souvenirs bearing the Harvard University emblem that he had brought along for gifts proved to be inappropriate within the highly ritualized system of Japanese gift-giving. In this engaging and personal narrative, we watch Hamabata in the first disappointing six months of his fieldwork as he attempts to map the boundaries of culture, class, and sexuality. "I became my own biggest fieldwork problem," he writes. "Was I inside or out? When I thought I was in, I was actually out, but when I acknowledged the fact that I was out, I was let in." He soon recognized the importance of marital and filial relations in transmitting power in the business world, and he began to direct his study to examining the social and emotional lives of all members of the Japanese ie (household) and the way they affect business activity and ownership. He takes us behind the scenes of the family enterprise to see how the multiple "layers of reality"--biological, social, religious, emotional, and symbolic--relate and cause dilemmas for ie members. (Names, locations, and other details have been altered for the sake of anonymity.) We meet the Moriuchis, the Itoos, the Okimotos--people who must constantly balance their own personal desires against the good of the ie. Many telling vignettes illustrate a central tension in their lives--their need for love, power, and emotional expression versus the constraints of traditional attitudes toward their ancestors, public honor, the economic enterprise, and the obligation to continue the ie over time. A grandfather stubbornly refuses to hand over the reins of succession to the next generation, creating an impossible situation that eventually tears apart an economic empire, as well as the fabric of various interrelated families. Economic, familial, and religious factors figure in a clash for succession between the person who possesses the ancestral tablets and the head of the enterprise. A daughter must reconcile personal love with arranged marriage. Ambitions for the son in line for succession war with the realization that this spoiled, incompetent young man may well ruin the ie. A fascinating portrait of everyday life told with vibrant sensitivity as well as humor, this book is full of the vitality of common concerns: life choices, love and commitment, confrontations with death. It is about very real people trying to make sense of their lives--trying to reconcile the roles and duties dictated by custom and tradition with rapidly changing expectations in the international milieu of contemporary Japan.

"The life of Shibue Io and her family, a kind of Japanese Buddenbrooks, may be unknown in the West, but her rich and engaging story marks the intersection of a remarkable woman with a fascinating time in history."--Arthur Golden, author of Memoirs of a Geisha "It stands clichÈs about traditional Japan on their heads. . . .Together with the people she knew, Io lives on in this literary album of old family pictures. It is well worth looking at."--Ian Buruma, New York Times Book Review "A most engaging book. Seeing Shibue Io through the various lenses of her husband, her son, Tamotsu (from whom much information is gleaned), the novelist Ogai, and the biographer McClellan is an interesting, moving, disarming experience."--Donald Richie, Japan Times "McClellan. . . has created a lively world, populated by women of various classes, samurai, doctors, poets, merchants, juvenile delinquents, and old eccentrics. The various incidents in which these people become involved provide a vivid picture of late Tokugawa society. This is a remarkable accomplishment."--Nakai Yoshiyuki, Monumenta Nipponica "An engrossing, informative, and extremely useful book. . . . Woman in the Crested Kimono is not simply the account of one unusual Tokugawa woman. It is an evocation of a family, and through a family the entire samurai class, going from the comparative affluence of the late Tokugawa period through the turmoils of the restoration and beyond."--Susan Napier, Journal of Asian Studies Daughter of a merchant family in nineteenth-century Japan and wife of a distinguished scholar-doctor of the samurai class, Shibue Io was a woman remarkable in her own right for her exceptionally keen mind and fearless spirit. Edwin McClellan now draws on the biography of her husband, written by Mori Ogai, to tell the story of Shibue Io, her society, and her times.

Often considered an exotic garment of “traditional Japan,” the kimono is in fact a vibrant part of Japanese modernity, playing an integral role in literature and film throughout the twentieth century. Reading the Kimono in Twentieth-Century Japanese Literature and Film is the first extended study to offer new ways of interpreting textual and visual narratives through “kimono language”—what these garments communicate within their literary, historical, and cultural contexts. Kimonos on the page and screen do much more than create verisimilitude or function as one-dimensional symbols. They go beyond simply indicating the wearer’s age, gender, class, and taste; as eloquent, heterogeneous objects, they speak of wartime and postwar histories and shed light on everything from gender politics to censorship. By reclaiming “kimono language”—once a powerful shared vernacular—Michiko Suzuki accesses inner lives of characters, hidden plot points, intertextual meanings, resistant messages, and social commentary. Reading the Kimono examines modern Japanese literary works and their cinematic adaptations, including Tanizaki Jun’ichirō’s canonical novel, The Makioka Sisters, and its film versions, one screened under the US Occupation and another directed by Ichikawa Kon in 1983. It also investigates Kōda Aya’s Kimono and Flowing, as well as Naruse Mikio’s 1956 film adaptation of the latter. Reading the Kimono additionally advances the study of women writers by discussing texts by Tsuboi Sakae and Miyao Tomiko, authors often overlooked in scholarship despite their award-winning, bestselling stature. Through her analysis of stories and their afterlives, Suzuki offers a fresh view of the kimono as complex “material” to be read. She asks broader questions about the act of interpretation, what it means to explore both texts and textiles as inherently dynamic objects, shaped by context and considered differently over time. Reading the Kimono is at once an engaging history of the modern kimono and its representation, and a significant study of twentieth-century Japanese literature and film.

From casual to formal, the kimono shape has endured for centuries as an internationally recognized icon of Japanese life and culture. With 18 original designs, each a knitted interpretation of a traditional kimono style, this handbook makes knitting homemade kimonos deceptively easy. Projects are based on rectangular forms that require very little shaping, and are ideal first-garment projects for knitters wanting to venture beyond scarves. Clever details in stitch patterns and edgings, such as the use of silk, linen, and bamboo yarns, add sophistication and elegance to even the simplest designs. The flattering drape and luxurious style of the kimono will appeal to veteran and beginning knitters alike.

The book explores the use and meaning of the kimono in America and traces the transformation of the garment from its ethnic origins, through its many appearances in fine art, costume, and high fashion, to its role in the contemporary Art-to-Wear Movement. It explores the American use of the kimono as a garment, as a symbol, and as an art form.

Discusses the geisha--practioners of music and dance and unmarried companions to the Japanese male elite.

This book examines the complex relationship between class and gender dynamics among tea ceremony (chadō) practitioners in Japan. Focusing on practitioners in a provincial city, Akita, the book surveys the rigid, hierarchical chadō system at grass roots level. Making critical use of Bourdieu’s idea of cultural capital, it explores the various meanings of chadō for Akita women and argues that chadō has a cultural, economic, social and symbolic value and is used as a tool to improve gender and class equality. Chadō practitioners focus on tea procedure and related aspects of chadō such as architecture, flower arranging, gardening and pottery. Initially, only men were admitted to chadō; women were admitted in the Meiji period (1868-1912) and now represent the majority of practitioners. The author - a chadō practitioner and descendant of chadō teachers - provides a thorough, honest account of Akita women based on extensive participant observation and interviews. Where most literature on Japan focuses on metropolitan centres such as Kitakyushu and Tokyo, this book is original in both its subject and scope. Also, as economic differences between metropolitan and non-metropolitan areas have become more pronounced, it is timely to explore the specific class and gender issues affecting non-metropolitan women. This book contributes not only to the ethnographic literature on chadō and non-metropolitan women in Japan, but also to the debates on research methodology and the theoretical discussion of class.