When the Emperor Hirohito died in 1989, Japanese newspapers had to use a special, exalted word to refer to his death, and had to depict his life uncritically, as one beginning in turbulence but ending in magnificent accomplishment. To do otherwise would have exposed them to terrorism from the vigilant right wing. Yet this insightful book by a Japanese-American scholar who grew up in both cultures reveals the hidden fault lines in the realm of the dying emperor by telling the stories of three unlikely dissenters: a supermarket owner who burned the national flag; an aging widow who challenged the state's "deification" of fallen soldiers; and the mayor of Nagasaki, who risked his career and his life by suggesting that Hirohito bore some responsibility for World War II.

Foremost among Japanese literary classics and one of the world's earliest novels, the Tale of Genji was written around the year A.D. 1000 by Murasaki Shikibu, a woman from a declining aristocratic family. For sophisticaion and insight, Western prose fiction was to wait centuries to rival her work. Norma Field explore the shifting configurations of the Tale, showing how the hero Genji is made and unmade by a series of heroines. Professor Field draws on the riches of both Japanesse and Western scholarship, as well as on her own sensitive reading of the Tale. Included are discussions of the social, psychological, and political dimensions of the aesthetics of this novel, with emphasis on the crucial relationship of erotic and political concerns to prose fiction. Norma Field is Assistant Professor of Far Eastern Languages and Civilizations at the University of Chicago. Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Spirit of Japanese Law focuses on the century following the Meiji Constitution, Japan's initial reception of continental European law. As John Owen Haley traces the features of contemporary Japanese law and its principal actors, distinctive patterns emerge. Of these none is more ubiquitous than what he refers to as the law's "communitarian orientation." While most westerners may view judges as Japanese law's least significant actors, Haley argues that they have the last word because their interpretations of constitution and codes define the authority and powers they and others hold. Based on a "sense of society," the judiciary confirms bonds of village, family, and firm, and "abuse of rights" and "good faith" similarly affirms community. The Spirit of Japanese Law concludes with constitutional cases that help explain the endurance of community in contemporary Japan.

Nakagami Kenji is today regarded as one of the most important and influential Japanese post-war writers. Born in 1946 in the burakumin ghetto of the small coastal town of Shingu in southern Wakayama prefecture, Nakagami sailed up as a rising star on the literary skies in the mid-seventies when he became the first writer born after the Second World War to win the prestigious Akutagawa prize. He was also the first writer of the burakumin background to receive wide literary acclaim and recognition from critics and from the literary establishment. The reception of Nakagami's literature has placed him simultaneously both at the avant-garde of modern Japanese literature and near the nostalgic roots of Japan's literary origins. For while his engagement with the Japanese traditional narrative, the monogatari does indeed often seem to bring him disturbingly close to an almost reactionary nostalgia, fissures in his narrative – both in voice, structure, and theme – will at the same time dismantle this nostalgic return. Focusing on one novel, Nakagami's masterpiece Kiseki (Miracles) from 1989, this study traces his pendulous movement from nostalgia to avant-garde and back again. At the heart of the study lies the concept of negotiation – a negoti ation of cultures, languages, and borders. Nakagami is a minority writing against the constraints of a language and literature that has throughout history contributed to the discrimination of his minority group. Facing this challenge head on, Nakagami engages the literary genres that lie at the root of this discrimination, thus laying bare the difficulties facing anyone trying to break free of the bonds of culture, history, and literature.

In Transgenerational Remembrance, Jessica Nakamura investigates the role of artistic production in the commemoration and memorialization of the Asia-Pacific War (1931–1945) in Japan since 1989. During this time, survivors of Japanese aggression and imperialism, previously silent about their experiences, have sparked contentious public debates about the form and content of war memories. The book opens with an analysis of the performance of space at Yasukuni Shinto Shrine, which continues to promote an anachronistic veneration of the war. After identifying the centrality of performance in long-standing dominant narratives, Transgenerational Remembrance offers close readings of artistic performances that tackle subject matter largely obscured before 1989: the kamikaze pilot, Japanese imperialism, comfort women, the Battle of Okinawa, and Japanese American internment. These case studies range from Hirata Oriza’s play series about Japanese colonial settlers in Korea and Shimada Yoshiko’s durational performance about comfort women to Kondo Aisuke’s videos and gallery installations about Japanese American internment. Working from theoretical frameworks of haunting and ethics, Nakamura develops an analytical lens based on the Noh theater ghost. Noh emphasizes the agency of the ghost and the dialogue between the dead and the living. Integrating her Noh-inflected analysis into ethical and transnational feminist queries, Nakamura shows that performances move remembrance beyond current evidentiary and historiographical debates.

Kinslayer. Soul reaver. Sorcerer. Thief. And last emperor of a cruel, decadent race. Elric of Melniboné is all of these–and more. His life is sustained by drugs and magic–and energy sucked from the victims of his vampiric black sword, Stormbringer, a weapon feared by men and gods alike. Denied the oblivion he seeks, poised between a tragic past he cannot escape and a terrifying future he is doomed to bring about, Elric is a hero like no other. Del Rey is proud to present the fifth installment in its definitive collection featuring the immortal creation of Michael Moorcock, named Grand Master by the Science Fiction and Fantasy Writers of America. Highlights include an epic novel of Elric’s early years, The Fortress of the Pearl; the script of the graphic novel Elric: The Making of a Sorcerer; a previously unpublished proposal for a new series; and Hugo Award—winning author Neil Gaiman’s moving fictional tribute to Elric, the short story “One Life, Furnished in Early Moorcock.” Gorgeously illustrated by Michael Wm. Kaluta, Elric: In the Dream Realms is a dream come true for sword-and-sorcery fans.

As they examine three related themes of postwar history, the authors describe an ongoing historical process marked by unexpected changes, such as Japan's extraordinary economic growth, and unanticipated continuities, such as the endurance of conservative rule. --From publisher's description.