The last twenty years has seen a growth of interest and fascination with the Japanese, and the emergence of Japan as a world economic power has stimulated many works that have attempted to understand Japanese culture. The focus of this book is not on Japanese culture or society per se: rather, it is on how Japanese culture and society structure, shape, and mold the emotions of the Japanese people. All cultures shape and mold emotions, but the degree to which the Japanese culture shapes emotion has led to several misunderstandings about the emotional life of the Japanese, which this book attempts to correct. Describing the findings of over two decades of research, this book presents the Japanese as human beings with real feelings and emotions rather than as mindless pawns caught in the web of their own culture. In the process, it unmasks many myths that have grown around the subject and reveals important similarities as well as differences between the emotional life of the Japanese and that of people of other cultures.

This book, the product of a joint project between a Japanese and an American scholar, successfully addresses the issues important to Americans and others interested in contemporary Japan.

In The Spectacle of Japanese American Trauma, Emily Roxworthy contests the notion that the U.S. government’s internment policies during World War II had little impact on the postwar lives of most Japanese Americans. After the curtain was lowered on the war following the bombings of Hiroshima and Nagasaki, many Americans behaved as if the “theatre of war” had ended and life could return to normal. Roxworthy demonstrates that this theatrical logic of segregating the real from the staged, the authentic experience from the political display, grew out of the manner in which internment was agitated for and instituted by the U.S. government and media. During the war, Japanese Americans struggled to define themselves within the web of this theatrical logic, and they continue to reenact this trauma in public and private to this day. The political spectacles staged by the FBI and the American mass media were heir to a theatricalizing discourse that can be traced back to Commodore Matthew Perry’s “opening” of Japan in 1853. Westerners, particularly Americans, drew upon it to orientalize—disempower, demonize, and conquer—those of Japanese descent, who were characterized as natural-born actors who could not be trusted. Roxworthy provides the first detailed reconstruction of the FBI’s raids on Japanese American communities, which relied on this discourse to justify their highly choreographed searches, seizures, and arrests. Her book also makes clear how wartime newspapers (particularly those of the notoriously anti-Asian Hearst Press) melodramatically framed the evacuation and internment so as to discourage white Americans from sympathizing with their former neighbors of Japanese descent. Roxworthy juxtaposes her analysis of these political spectacles with the first inclusive look at cultural performances staged by issei and nisei (first- and second-generation Japanese Americans) at two of the most prominent “relocation centers”: California’s Manzanar and Tule Lake. The camp performances enlarge our understanding of the impulse to create art under oppressive conditions. Taken together, wartime political spectacles and the performative attempts at resistance by internees demonstrate the logic of racial performativity that underwrites American national identity. The Spectacle of Japanese American Trauma details the complex formula by which racial performativity proved to be a force for both oppression and resistance during World War II.

Multiethnic Japan challenges the received view of Japanese society as ethnically homogeneous. Employing a wide array of arguments and evidence--historical and comparative, interviews and observations, high literature and popular culture--John Lie recasts modern Japan as a thoroughly multiethnic society. Lie casts light on a wide range of minority groups in modern Japanese society, including the Ainu, Burakumin (descendants of premodern outcasts), Chinese, Koreans, and Okinawans. In so doing, he depicts the trajectory of modern Japanese identity. Surprisingly, Lie argues that the belief in a monoethnic Japan is a post-World War II phenomenon, and he explores the formation of the monoethnic ideology. He also makes a general argument about the nature of national identity, delving into the mechanisms of social classification, signification, and identification.

This history of the ninja uncovers the truth behind the image—from the exploits of medieval ninjas to their modern incarnation as pop culture icons. The ninja is a legendary figure in Japanese military culture, a fighter widely regarded as the world’s greatest expert in secret warfare. The word alone conjures the image of a masked assassin dressed in black, capable of extraordinary feats of daring; a mercenary who disposes of enemies by sending sharp iron stars spinning towards them. This is, of course, a popular myth, based on exaggerations and Hollywood movies. But the truth, as Stephen Turnbull explains in Ninja, is even more fascinating. A leading expert on samurai culture, Turnbull presents an authoritative study of ninja history based on original Japanese sources, many of which have never been translated before. These include accounts of castle attacks, assassinations and espionage, as well as the last great ninja manual, which reveals the spiritual and religious ideals that were believed to lie behind the ninja’s arts. Turnbull’s critical examination of the ninja phenomenon ranges from undercover operations during the age of Japan’s civil wars to the modern emergence of the superman ninja as a comic book character. The book concludes with a detailed investigation of the ninja in popular culture.

This volume of twelve essays with useful bibliographies, in the fields of history, art, religion, literature, anthropology, political science, and law, documents the history of United States scholarship on Japan since 1945.