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Die vorliegende Studie untersucht, wie die jesuitischen Japan-Missionare in der frühen Neuzeit christliche Inhalte in einen fremden Kontext übertragen und übersetzt haben. Dies geschieht anhand von zwei japanischen Quellen: einem – ins Japanische übersetzten – portugiesischen Katechismus sowie einer Sammlung biblischer Geschichten, die japanische Christen während der beinahe dreihundertjährigen Verfolgungszeit im Untergrund bewahrt und weitergegeben haben. Teile dieser Quellen werden zum ersten Mal übersetzt.

Musical representations of Europe in myth and allegory are well known, but when and under what circumstances did the words'European'and'music'become linked together? What did the resulting term mean in music before 1800 and how did it evolve into the label'Western music,'which features so prominently in pedagogical and scholarly discourses? In The Making of European Music in the Long Eighteenth Century, author D. R. M. Irving traces the emergence of such large-scale categories in Western European thought. Beginning in the 1670s, Jesuit missionaries in China began to refer to'European music,'and for the next hundred years the term appeared almost exclusively in comparison with musics from other parts of the world. It entered common use from the 1770s, and in the 1830s became synonymous with a new concept of'Western music.'Western European writers also associated these terms with notions of'progress'and'perfection.'Meanwhile, changing ideas about'modern'Europe's cultural relationship with classical antiquity, together with theories that systematically and condescendingly racialized people from other continents, influenced the ways that these scholars imagined and interpreted musical pasts around the globe. Irving weaves his analyses throughout the book's historical examinations, suggesting that'European music'originates from self-fashioning in contexts of intercultural comparison outside the continent, rather than from the resolution of national aesthetic differences within it. He shows that'Western music'as understood today arose in line with the growth of Orientalism and increasing awareness of musics of'the East.'All such reductive terms often imply homogeneity and essentialism, and Irving asks what a reassessment of their beginnings might mean for music history. Taken as a whole, the book shows how a renewed critique of primary sources can help dismantle historiographical constructs that arose within narratives of musical pasts involving Europe.

Part of a formidable publishing industry, cheap yet eye-catching graphic narratives consistently charmed early modern Japanese readers for around two hundred years. These booklets were called kusazōshi (“grass books”). Graphic Narratives from Early Modern Japan is the first English-language publication of its kind. It enables anyone new to kusazōshi to gain comprehensive knowledge of the field. For the specialist, our edited volume marks a turning point in scholarship, uncovering fresh research avenues. While exploring the powerful effects of the visual-verbal imagination, this collection opens up bold new vistas on the act of reading and advances provocations around comics and manga. Contributors are: Jaqueline Berndt, Joseph Bills, Michael Emmerich, Adam L. Kern, Fumiko Kobayashi, Frederick Feilden, Laura Moretti, Matsubara Noriko, Satō Satoru, Satō Yukiko, Satoko Shimazaki, Takagi Gen, Tanahashi Masahiro, Ellis Tinios, Tsuda Mayumi and, Glynne Walley.

In Strange Tales from Edo, William Fleming paints a sweeping picture of Japan's engagement with Chinese fiction in the early modern period (1600–1868). Large-scale analyses of the full historical and bibliographical record—the first of their kind—document in detail the wholesale importation of Chinese fiction, the market for imported books and domestic reprint editions, and the critical role of manuscript practices—the ascendance of print culture notwithstanding—in the circulation of Chinese texts among Japanese readers and writers. Bringing this big picture to life, Fleming also traces the journey of a text rarely mentioned in studies of early modern Japanese literature: Pu Songling's Liaozhai zhiyi (Strange Tales from Liaozhai Studio). An immediate favorite of readers on the continent, Liaozhai was long thought to have been virtually unknown in Japan until the modern period. Copies were imported in vanishingly small numbers, and the collection was never reprinted domestically. Yet beneath this surface of apparent neglect lies a rich hidden history of engagement and rewriting—hand-copying, annotation, criticism, translation, and adaptation—that opens up new perspectives on both the Chinese strange tale and its Japanese counterparts.

“Money, money, and more money.” In the eyes of early modern warlords, these were the three essential prerequisites for waging war. The transnational studies presented here describe and explain how belligerent powers did indeed rely on thriving markets where military entrepreneurs provided mercenaries, weapons, money, credit, food, expertise, and other services. In a fresh and comprehensive examination of pre-national military entrepreneurship – its actors, structures and economic logic – this volume shows how readily business relationships for supplying armies in the 17th and 18th centuries crossed territorial and confessional boundaries. By outlining and explicating early modern military entrepreneurial fields of action, this new transnational perspective transcends the limits of national historical approaches to the business of war. Contributors are Astrid Ackermann, John Condren, Jasmina Cornut, Michael Depreter, Sébastien Dupuis, Marian Füssel, Julien Grand, André Holenstein, Katrin Keller, Michael Paul Martoccio, Tim Neu, David Parrott, Alexander Querengässer, Philippe Rogger, Guy Rowlands, Benjamin Ryser, Regula Schmid, and Peter H. Wilson.

Only one elite Imperial Japanese Navy destroyer survived the cruel ocean battlefields of World War II. This is her story. Brett Walker, historian and captain, delves into questions of mechanics, armaments, navigation, training, and even indoctrination, illustrating the daily realities of war for Yukikaze and her crew. By shifting our perspective of the Pacific War away from grand Imperial strategies, and toward the intricacies of fighting on the water, Walker allows us to see the war from Yukikaze's bridge during the most harrowing battles, from Midway to Okinawa. Walker uncovers the ordinary sailor's experience, and we see sailors fight while deep-running currents of Japanese history unfold before their war-weary eyes. As memories of World War II fade, Yukikaze's story becomes ever more important, providing valuable lessons in our contemporary world of looming energy shortfalls, menacing climate uncertainties, and aggressive totalitarian regimes.

Bailey describes how the Sea of Okhotsk area became integrated into a world system of economic and cultural ties between the seventeenth and nineteenth centuries. This happened primarily because of maritime explorations, travel, and trade, which led to increased connections with both Russia and Japan.Individual chapters of the book provide analyses of historical sources which describe cross-cultural encounters and changes in the Sea of Okhotsk area. This includes analyses of explorers and travelers who traversed the region for commerce, exploration, diplomacy, and possible colonization. Historical sources are explored from the different perspectives of Russians, Japanese, Indigenous peoples, and international observers from Western countries. Cross-cultural encounters in the region among these groups led to collaboration, syncretism, and resistance, sometimes violent and sometimes peaceful. The last chapter discusses how some international travelers and foreign residents of Hokkaidō described the area at the end of the nineteenth century. Their perspectives confirm that Hokkaidō had become a fully colonized space.An essential resource for students and scholars of cross-cultural studies, Russian history, Japanese history, and Ainu and Indigenous history.

What is going on when a graphic novel has a twelfth-century samurai pick up a telephone to make a call, or a play has an ancient aristocrat teaching in a present-day schoolroom? Rather than regarding such anachronisms as errors, Samurai with Telephones develops a theory of how texts can use different types of anachronisms to challenge or rewrite history, play with history, or open history up to new possibilities. By applying this theoretical framework of anachronism to several Japanese literary and cultural works, author Christopher Smith demonstrates how different texts can use anachronism to open up history for a wide variety of different textual projects. From the modern period, this volume examines literature by Mori Ōgai and Ōe Kenzaburō, manga by Tezuka Osamu, art by Murakami Takashi, and a variety of other pop cultural works. Turning to the Early Modern period (Edo period, 1600–1868), which produced a literature rich with playful anachronism, he also examines several Kabuki and Bunraku plays, kibyōshi comic books, and gōkan illustrated novels. In analyzing these works, he draws a distinction between anachronisms that attempt to hide their work on history and convincingly rewrite it and those conspicuous anachronisms that highlight and disrupt the construction of historical narratives.

The'Opening of Japan'has been central to the retelling of Japan's modern history. Reopening the Opening of Japan fundamentally reconsiders what that historical moment entailed. What did intensified connections between Japan and the world mean both inside and outside of the country, and what does this tell us about Japan's historical significance on a global scale? The chapters excavate a rich array of surprising cross-border connections, from the global trade in mummified mermaids to the Japanese-Russian intellectual links underpinning the work of Akira Kurosawa. Re-thinking connectivity through non-state transnational perspectives, the book guides readers to new ways of doing and writing history. Contributors are: Lewis Bremner, Natalia Doan, Manimporok Dotulong, Maki Fukuoka, Eiko Honda, Sho Konishi, Mateja Kovacic, Joel Littler, Chinami Oka, Yu Sakai, Olga Solovieva, and Warren Stanislaus.

Shortlisted, 2024 Wallace K. Ferguson Prize, Canadian Historical AssociationChina's last imperial dynasty governed a vast and culturally diverse territory, encompassing a wide range of local political systems and regional elites. But the Qing empire was built and held together by a single imperial elite: the more than two million members of the hereditary Eight Banner system who were at the core of both the military and the bureaucracy. The banner population was multiethnic, linked by shared membership in a clearly demarcated status group defined in law and administrative practice. Banner people were bound to the court by an exchange of loyal service for institutionalized privilege, a relationship symbolically conceptualized as one of slave to master.Slaves of the Emperor explores the Qing approach to one of the fundamental challenges of early modern state-building: how to develop an effective bureaucracy with increasing administrative capacity to govern a growing polity while retaining the loyalty of the ruling family's most important supporters. David C. Porter traces how the banner system created a service elite through its processes of incorporating new members, its employment of bannermen as technical specialists, its imposition of service obligations on women as well as men, and its response to fiscal and ideological challenges. Placing Qing practices in comparative perspective, he uncovers crucial parallels to similar institutions in Tokugawa Japan, imperial Russia, and the Ottoman Empire. Slaves of the Emperor provides a new framework for understanding the structure and function of elites both in China and across Eurasia in the early modern period.