In Japan today, women are the primary drivers of religious re-enchantment, and they are exerting pressure on shrines, temples, and the media industries to accommodate their interests and aesthetic tastes. Employing a semantically broad meaning of "occult" to include the mysterious or supernatural, Laura Miller examines how it manifests to offer avenues of self-exploration and spiritual capital that fundamentally appeal to women. Female seekers have had a major impact on the fashioning and marketing of spiritual sites, texts, and objects, often through encoding the kawaii, or cute, aesthetic. Miller makes the case that the gendered nature of occult hunting has been neglected in research and that greater attention to gendered perspectives reveals significant facets of sociality and recreation. Written from an interdisciplinary cultural studies perspective, Occult Hunting and Supernatural Play in Japan interlaces history, art, literature, religion, media studies, and anthropology to explore ubiquitous yet understudied activities such as having one's fortune told; visiting "power spots," locations thought to hold exceptional supernatural energy; and playing with new types of tarot decks. Book chapters also focus on material religion, including objects like good luck amulets and votive plaques, Taoist paper talismans, pilgrim stamps, and ancient curved beads called magatama. Tracing their histories and transformations, Miller insists that these forms of visual and material religion and their related activities are neither trivial nor simply commercial gambits. Rather, they provide insights into the realms of creative exploration, pleasure, and spiritual development in the lives of girls and young women.

In Japan today, women are the primary drivers of religious re-enchantment, and they are exerting pressure on shrines, temples, and the media industries to accommodate their interests and aesthetic tastes. Employing a semantically broad meaning of “occult” to include the mysterious or supernatural, Laura Miller examines how it manifests to offer avenues of self-exploration and spiritual capital that fundamentally appeal to women. Female seekers have had a major impact on the fashioning and marketing of spiritual sites, texts, and objects, often through encoding the kawaii, or cute, aesthetic. Miller makes the case that the gendered nature of occult hunting has been neglected in research and that greater attention to gendered perspectives reveals significant facets of sociality and recreation. Written from an interdisciplinary cultural studies perspective, Occult Hunting and Supernatural Play in Japan interlaces history, art, literature, religion, media studies, and anthropology to explore ubiquitous yet understudied activities such as having one’s fortune told; visiting “powerspots,” locations thought to hold exceptional supernatural energy; and playing with new types of tarot decks. Book chapters also focus on material religion, including objects like good luck amulets and votive plaques, Taoist paper talismans, pilgrim stamps, and ancient curved beads called magatama. Tracing their histories and transformations, Miller insists that these forms of visual and material religion and their related activities are neither trivial nor simply commercial gambits. Rather, they provide insights into the realms of creative exploration, pleasure, and spiritual development in the lives of girls and young women.

This volume explores "performative linguistic space", namely a space which ushers or hinders linguistic practices. Space is made productive as a result of individuals who bring linguistic politics from diverse spaces into new ones. By moving away from the notions of discrete units of language and linguistic communities associated with a specific space, this volume suggests a fluid productive aspect of space. It goes beyond the assumed space-linguistic community association through ethnographic accounts that mediate linguistic anthropology, cultural geography, sociolinguistics, and deaf studies.

Occult Japan is an esoteric study of Japanese personality and possession based on Japan's indigenous religion, Shinto, and other aspects of Japanese culture, history and heritage. Shinto, also known as "The Way of the Gods," revolves around the kami ("gods" or "spirits"), supernatural entities believed to inhabit all things. The kami are worshiped at kamidana household shrines, family shrines, and public shrines. The study offers exhaustive observations and academic discussions of various aspects of Japanese life, including language, religious practices, economics, travels in Japan, and the development of personality.

Occult Japan is an esoteric study of Japanese personality and possession based on Japan's indigenous religion, Shinto, and other aspects of Japanese culture, history and heritage. Shinto, also known as "The Way of the Gods," revolves around the kami ("gods" or "spirits"), supernatural entities believed to inhabit all things. The kami are worshiped at kamidana household shrines, family shrines, and public shrines. The study offers exhaustive observations and academic discussions of various aspects of Japanese life, including language, religious practices, economics, travels in Japan, and the development of personality.

From the pioneering work of eighteenth-century painter Toriyama Sekien to contemporary superstar Takashi Murakami, Japan Supernatural presents wildly imaginative works by Japanese artists past and present and takes readers on a journey of discovery through the astonishing array of yōkai culture and yūrei (ghosts)--phenomenal beings from fiendish goblins to mischievous shapeshifters--that have inhabited Japanese culture for centuries. Once a means of explaining the unexplainable, they have been kept alive in stories and artworks. Evolving into a form of entertainment ranging from horror to the comical, they have maintained an ongoing presence in Japanese novels, films, anime, manga, and games. Drawn from around the world, the artworks illustrated in Japan Supernatural date from the eighteenth to the twenty-first century and include fantastically detailed ukiyo-e woodblock prints, miniature netsuke, wall-sized scrolls, and large-scale contemporary photographs, paintings, and installations. Some of the greatest Japanese artists of the past, including Katsushika Hokusai, Utagawa Kuniyoshi, Tsukioka Yoshitoshi, and Kawanabe Kyosai, are featured alongside contemporary artists such as Chiho Aoshima, Miwa Yanagi, and Takahashi Murakami, who update the tradition for the present.