And Freedman and Slade, 'Introducing Japanese Popular Culture' and Shamoon and Mcmorran, 'Teaching Japanese Popular Culture'

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H-Japan Prusa on Atkins, 'A History of Popular Culture in Japan: From the Seventeenth Century to the Present' and Freedman and Slade, 'Introducing Japanese Popular Culture' and Shamoon and McMorran, 'Teaching Japanese Popular Culture'

Review published on Monday, November 19, 2018

E. Taylor Atkins. A History of Popular Culture in Japan: From the Seventeenth Century to the Present. London: Bloomsbury Academic, 2017. xi + 276 pp. $29.95 (paper), ISBN 978-1-4742-5854-8.Alisa Freedman, Toby Slade, eds. Introducing Japanese Popular Culture. Abingdon: Routledge, 2017. 568 pp. $170.00 (cloth), ISBN 978-1-138-85208-2.Deborah Shamoon, Chis McMorran, eds. Teaching Japanese Popular Culture. Ann Arbor: AAS, 2016. 308 pp. $31.00 (paper), ISBN 978-0-924304-78-1.

Reviewed by Igor Prusa (Czech Academy of Sciences Oriental Institute)Published on H-Japan (November, 2018) Commissioned by Martha Chaiklin

Printable Version: http://www.h-net.org/reviews/showpdf.php?id=51299

This set of books is essential reading for those who aim to take Japanese culture seriously. They have been published in a postmillennial zeitgeist when course enrollments in Japanese popular culture (JPC) are on the rise, with scholars gradually becoming preoccupied with how to effectively use popular culture in higher education. Further, this set of books represents a pinnacle of serious academic research on JPC, which started booming around two decades ago when Douglas McGray stated that Japanese culture and economy came to be shaped through the appeal and attraction of JPC. While expanding the vast pool of knowledge on JPC, the three books reviewed here provide the most complex picture to date. Reading them together is recommended since they focus on the same phenomenon while offering differing yet compatible approaches.

A History of Popular Culture in Japan maps the contours of JPC from the outset in the seventeenth century to its present form. It offers some sociohistorical background for better understanding the specific case studies that appear in the other books. However,A History is no average history textbook, but an interdisciplinary analysis of texts, performances, and sites within their pop-cultural contexts. Atkins deepens his diachronic analysis by scrutinizing various production-consumption patterns while using the tools of critical social theory. Such a framework brings to the fore themes such as cultural power, political conflict, and social identity (importantly, including gender, class, and race) against the backdrop of Japan’s cultural history. These themes are, however, elaborated in much greater detail in Introducing Japanese Popular Culture. Atkins does provide some general background for understanding millennial JPC towards the end, but the latest trends are more thoroughly described in Introducing. Conceptually differing from Atkins’s chronological analysis, this volume is structured as a collection of case studies that are cleverly organized into sections based on genre.

The chronologically structured A History rethinks the parameters by expanding the scope beyond

Citation: H-Net Reviews. Prusa on Atkins, 'A History of Popular Culture in Japan: From the Seventeenth Century to the Present' and Freedman and Slade, 'Introducing Japanese Popular Culture' and Shamoon and McMorran, 'Teaching Japanese Popular Culture'. H- Japan. 11-26-2018. https://networks.h-net.org/node/20904/reviews/3173321/prusa-atkins-history-popular-culture-japan-seventeenth-century Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Japan traditional research topics such as ukiyo-e, kabuki, and bunraku, to include minor local performances (e.g., wandering theater troupes) and urban sites of cultural production (e.g., red-light districts). The author scrutinizes townsman culture chōnin( bunka) against the background of Edo’s shifting demography. At times perceived as a morally depraved antidote to Japanese classical/folk culture, this culture set the standards for JPC, shaping consumer desires ever since. The warrior population of the early Tokugawa did stimulate an emergence of a unique economy, making Edo the consumer capital. However, in times of relative peace, the samurai class was declining while townsman culture was on the rise—as was their demand for entertainment, spectacle, and lewdness. Throughout the Meiji period (1868-1912) some elements of Tokugawa culture were deemed outdated or vulgar, and the author demonstrates how their cultural survival was conditioned by the hegemony: artists, producers, and theater-owners had to share the government’s ideological consensus. This hegemonic synergy became even more evident during the interwar modernity of the Taisho period (1912-26), when some segments of JPC were forced into a symbiotic relationship with the militarized state. Consequently, manga, anime, and their predecessor, paper theater kami( shibai) gained a new function of normalizing war for children, while the survival of the famous Takarazuka revue hinged on opportunism and mutual reciprocity between the revue and the state. More importantly, Atkins demonstrates that Taisho was equally emblematic of individualism, consumerism, and internationalism against the backdrop of a transition from agricultural to industrial Japan. This transition gave birth to new cultures of taste during the Taishō era, such as the cosmopolitan lifestyles of “modern girls” moga( ), or the amusingly perverted imagery of “erotic-grotesque- nonsense” (ero guro nansensu). While being motivated by sociopolitical upheavals of the time, many consumers of JPC preferred rebellion, hedonism, decadence, irrationality, and “twisted sexuality” (ijō seiai), which is still the case today.

The final part of the book focuses on postwar Japan and the role of JPC, which was censored during the US occupation, but once the censorship was lifted, Japanese cultural production thrived: apart from the traditional genres such as samurai/yakuza, new cinematic genres emerged: the monster movies (kaijū eiga) with Godzilla as the icon, the “sun tribe” films (taiyōzoku) about corrupted youth, superhero movies with special effects (tokusatsu), and softcore pornography (roman poruno). The origins and transformations of manga also fall into this period: from the 1950s manga reflecting postwar trauma to the spread of fan fiction (dōjinshi) in the 1990s. To Atkins, postwar animation is largely trans/posthuman, apocalyptic, and dystopian, representing a collapse (social, material, spiritual), which goes hand-in-hand with a nihilist corruption of authority. Toward the end of his book, Atkins demonstrates how the Cool Japan agenda became a distinctive feature of global popular culture in the millennial age. He claims that the 1990s meant a fundamental shift in Japanese popular music more toward dance-oriented idol-pop. Atkins ascribes this enormous boom to Japan’s structural dependency on idols, celebrities, and things “cute” kawaii( ), but also to the rise of consumption practices linked to the emergence of a distinct youth culture.

The next book, Introducing Japanese Popular Culture, starts where Atkins’s historical narrative ends: in millennial Cool Japan, with thriving cultural industries and affective economies. Over five hundred pages in twelve parts, the volume maps the main contours of contemporary JPC. It opens with a discussion on the “cute” mascots (kawaii) and “wobbly characters” (yuru kyara). Debra Occhi and Christine Yano show that today, same as centuries ago, items such as Hello Kitty are “protective shields” against the stresses of adulthood. Equally importantly, Occhi explains how Japanese prefectural mascots such as Kumamon from Kumamoto are used for corporate/political agendas and

“Television” focuses on three popular J-TV genres: superheroes, serialized dramas, and travel shows. Katsuno Hirofumi observes how the turbulent sociopolitical zeitgeist since the late 1960s gave rise to new superhero archetypes that were more monstrous, technologized, and “grotesque.” The author demonstrates how this enabled the 1970s robot-heroes to act on their own moral judgement, rather than being based on the “illusory” nature of modern justice. The hero narratives not only reflect the zeitgeist, but they also negotiate social roles, as Alisa Freedman explores. She points out that Japanese TV dramas often frame heroines to promote family values and emphasize stereotypical patriarchal views of women.

In “Videogames,” the contributors observe how Japanese gamers can proactively engage in various gaming imageries, where authorship of the game text is diffused. Applying the tools of cultural studies and literary analysis to the Japanese game hit “Final Fantasy VII” (1997), Rachael Hutchinson observes how video games resonate with the postwar/post-Fukushima zeitgeist. Kathryn Hemmann extends Hutchinson’s analysis by attaching more importance to the apocalyptic setting of the video game “Tokyo Jungle.” Hemmann relates these tendencies to the emerging awareness of philosophical posthumanism in Japan, which includes dystopia, nihilism, and attraction to posthuman themes.

Preference for the unreal over the human is also the main theme of “Fan Media and Technology.” Mark McLelland observes how at the outset of 2000 a new type of consumer-producer emerged in Japan (the so-called produser). These produsers become engaged not only in the consumption of the meaning of the text, but also in the very production of that meaning by generating their own ideas and sending feedback to producers. Laura Miller comments on the omnipresent Japanese phenomenon of “print clubs” (purikura). While tracing its roots, Miller suggests that print club albums (purichō) supplanted the role of the diary (nikki) in classical Japanese culture. Craig Norris examines one of the foremost Japanese anime artists, Miyazaki Hayao. Norris, however, does not explore Miyazaki’s anime as such but relates the author’s work to the phenomenon of media pilgrimage (i.e., fans traveling to geographical sites that are somehow related to Miyazaki’s work). The fans often consume rumor without verification, but their main point is to enjoy the shared atmosphere of the pilgrimage. Ian Condry takes us to the worlds of the virtual idol, Hatsune Miku in particular. He demonstrates that Miku is a socioeconomic assemblage that emerged from fan activities as much as from business planning.

In “Music” the authors attach some importance to the transactions between Western and Japanese musicians, which generated new music styles. Michael Furmanovsky writes on the Japanese electric guitar boom (ereki būmu) since the 1960s. Importantly, this form of culture, as Jayson Makoto Chun further demonstrates, was largely based on the transnational links between Japan and the United States. Chun advances the concept of pop pacific as a space of transnational flow and cultural construction via domesticating American influences and repackaging them for Japanese audiences. In both cases, the American pop practice eventually became an authentic Japanese experience readily embraced by Japanese fans. Related to this, Patrick Galbraith describes how Japanese fans (re)produce the affective economics wherein intimate relationships are built and maintained between idols and fans in order to shape their desires. Galbraith boldly adds that that in their “labor for love,” neither idols nor fans are purely victims. Besides, the exploitative business practices of the idol industry agencies are applied toward both the idols and the fans. David Novak focuses on the

Part 6 concerns the Japanese postwar cinema. Authors analyze popular genres of Japanese monster movies, Japanese horror, and the role of the Japanese home video (V-Cinema). William Tsutsui’s contribution lies in its original focus on the “cheesiness” of Japanese monster movies such as Godzilla (1954). Tsutsui surmises that filmic cheese, usually associated with cheapness, self-parody, and low-budget production, was actually manufactured by Hollywood producers and distributors via extensive editing. Hirano Kyoko establishes an interesting argumentation related to Japanese horror in general and the horror classic Yotsuya Kaidan and its film adaption by Nakagawa Nobuo (1959) in particular. Hirano convincingly argues that the appeal ofYotsuya Kaidan does not lie only in the enduring popularity of ghost stories in Japan, but it is equally importantly a sympathetic tale of a woman’s suffering in patriarchal Edo. Tom Mes contrasts Japanese mainstream cinema production with the Japanese home video market (V-Cinema) as a parallel film industry that bypasses normal cinemas. Importantly, Mes reminds the reader that the typical V-Cinema genres are action/gangster films and softcore pornography, but this does not render the content vulgar and simplistic. On the contrary, V-Cinema was a starting point for some acclaimed Japanese directors, while the platform became a new source of revenue for the troubled film industry.

The “Anime” authors believe that contemporary anime is one of the most efficient means to understand the Japanese condition. Alan Cholodenko philosophizes on Japanese apocalyptic anime, which can be approached as a continuation of war by other means, while Renato Rusca reexamines two anime genres from the 1960s: “robot hero” (cf. robotto anime) and “magical girl” (cf. rorikon anime). Looking at the anime series The Tatami Galaxy (2010), Marc Steinberg illustrates how the series condensed the logic of transmedia storytelling within the convergence culture. Steinberg theorizes the role of media mix in Japan as a strategy to disperse multiple formations of narratives and representations developed across a single franchise. The Tatami Galaxy condenses the logics of convergence and divergence into a single media form, but Steinberg assumes that it is the divergence (rather than convergence) that lies at the heart of the Japanese media mix.

“Manga” focuses predominantly on the role of fans and the political uses of JPC. Suzuki Shige explores the Japanese alternative manga genregekiga and its symbolic role in shaping Japanese countercultures. Diverging from traditional manga, these “dramatic pictures” engage with social criticism in lengthy narratives with little comical effect. Jennifer Prough extends the scope of this discussion by examining magazines that focus on shōjo manga—Japanese female cartoonists writing for younger girls from the perspective of commercial production and reader feedback. Deborah Shamoon conducts an in-depth analysis of the manga series Ōoku: The Inner Chambers (2005). The narrative of Ōoku is constructed as an imagined history of the Edo period in which powerful females rule the country while men are kept in male “harems” (ōoku). Shamoon convincingly demonstrates that the implicit message lies in the fact that the corrosive nature of absolute power has little to do with gender. Thomas Lamarre problematizes the role of cyborg hero characters. He argues that in order to grasp the “real” meaning of such narratives, we must apply the nondualist empiricism of

Nishida Kitarō. In order to justify this methodology, Lamarre deconstructs the manga series Kōkaku Kidōtai: The Ghost in the Shell (1989). Ranging from humans with liminal cyberization to intelligent robots, these are entities that actually need more feeling and less computation, and they entail differences in degree rather than differences in nature.

One of the key theoretical implications of "Popular Literature“ is the dialectial shift from traditional "pure literature“ (junbungaku) to its contemporary avant garde forms. By focusing on the literary work of Murakami Haruki, Rebecca Suter suggests that the origins of Murakami’s popularity actually stemmed from the fringes of the Japanese culture industry, which allowed him to challenge the conservatism of national literature via novel genre forms. Suter rightly argues that it was the creative appropriation of North American culture that attracted a broad range of Murakami fans across the globe. It was, however, not only the transnationalism which rendered Murakami’s books as avant- pop. It is equally importantly a skillful literary combination of high art, popular culture, and the nonrational dimension of experiences that makes Murakami a literary icon of JPC. Alisa Freedman offers a rather different, but equally arresting perspective within JPC. She analyzes the “cell phone novels” (keitai shōsetsu) that grew popular in Japan, especially after the millennium. This trend not only points to the continued desire for the printed word in Japan, but Freedman believes that the cell phone novels are also a generational phenomenon that changed popular literature.

“Sites and Spectacles” delineates the impact of globalized JPC as related to the notions of urban, rural, and spectacular. Damien Liu-Brennan opens by focusing on the deeply rooted Japanese tradition of fireworks (hanabi). Echoing the monograph of Atkins, Liu-Brennan contextualizes hanabi historically as an outcome of the decreasing need for gunpowder in Edo against the backdrop of the decline of the samurai class and the rise of townsmen culture with its increasing demand for entertainment and spectacle. Sharalyn Orbaugh touches in her chapter upon another traditional street spectacle, the “paper theater” (kami shibai) popular since the late 1920s. Orbaugh sees kami shibai as a form of street theater for kids and the working class, typical of naïve simplicity and countryside mentality (later, however, the transformations ofkami shibai were used to maintain imperial social imagery—much like the Takarazuka revue). Kuroishi Izumi focuses on the urban transformation of Tokyo’s Shibuya ward. Kuroishi observes how the competition between new department stores and culture halls fused the commercial and cultural around Shibuya station. She comments on how Shibuya was transformed into a (hyper)consumer space since the 1970s, only to be later regarded as “polluted” by the Japanese youth. Similar transformations occurred in Tokyo’s Akihabara. Patrick Galbraith documents the transformation of the hectic electric city into a tourist- friendly “holy land” of otaku (obsessed fan). Galbraith adds, however, that Akihabara became a showcase of Cool Japan, leaving little room for the “weird otaku,” who are seen as potentially harmful to the image of Cool Japan. Tong Lam takes the notion of spectacularity to yet another level by elaborating on the phenomenon of ruin enthusiasm in Japan haikyo( būmu). This form of tourism includes seeking out and documenting abandoned facilities, mines, hotels, hospitals, and amusement parks. Lam convincingly argues that these abandoned sites are more than just mindless spectacles for destruction—they are sites of play and nostalgia, representing the tension between aesthetic pleasure and violence, progress and destruction.

“Fashion” is a relatively new segment of JPC. While leaning toward the main theoretical inclinations of the whole volume, the authors demonstrate the disappearing divide between high and popular, and local and global in contemporary Japanese fashion. Toby Slade brings to the fore the traditional

In “Contemporary Art,” Tom Looser explores the superflat art of Murakami Takashi. Looser observes how an ironic critique, skilfully combined with a clichéd embrace of mass culture can redefine artistic practices. First, Looser points at the textuality of Murakami’s paintings: layered surfaces from different worlds with different value systems are linked into new multidimensional paintings, inviting a more speculative form of cultural experience. Looser takes on the intertextuality, because superflat adopts and combines anything from ukiyo-e to anime. Adrian Fawell extends the scope of this section by focusing on the works and performances of yet another postmodern “iconoclast,” Aida Makoto, who combines the “uncool” reality of the male-oriented downtown culture with political satire and “playful nihilism” (often reflecting the postwar/post-Fukushima trauma). James Jack follows a similar train of thought when he argues that an authentic art production is to be found less in orderly spaces like commercial exhibition galleries, and more in geographically removed, “disorderly” localities that emphasize historical accuracy and cultural authenticity at the expense of profit.

The third book reviewed here, Teaching Japanese Popular Culture, approaches JPC as a valuable teaching resource and can serve as a didactic tool for the more progressive lecturers of JPC worldwide. One of the core presumptions of this volume is that a serious study of JPC should not only enhance the Japanese language-learning experience, but students should become so-called aca-fans (academics who are also fans) that are trained to think critically about their favorite pop-cultural products. Importantly, it complements the two other books reviewed here. The best sources for these young aca-fans would be precisely the two aforementioned books. Furthermore, the authors of Teaching believe that a balanced critical pedagogy will allow both Japanese and international students to better decode patterns of authority and power in JPC. Sally McLaren and Alwyn Spies begin with a theoretically compelling framework that can serve as an overarching critical pedagogy. They distinguish between five educational paradigms in teaching JPC: “Pop to prop” (Japanese pop culture courses function primarily to attract students), “Proper Pop” (attempts to establish some Japan-pop-related disciplines within the traditional academic rigor), “Pop as Propaganda” (celebrating rather than scrutinizing the nature of Japanese pop), “Poco Pop” (using the critical tools of postcolonial theory and cultural studies), and finally, “Pop to Prep” (teaching Japanese pop as a means to attain intercultural communication skills). They add that the key to success is a balance between student/fan popularity and academic rigor. This will deepen the students’ perspectival flexibility when elaborating on large-scale issues as well as on marginal topics. William S. Armour and Sumika Iida further extend the theoretical scope by examining three literacy pedagogies in the context of teaching. While the authentic-literacy pedagogy teaches how to immerse in personally meaningful reading/writing, the didactic-literacy pedagogy places some importance in reading materials that highlight their sociohistorical context. This pedagogy is, however, often based on learning a “proper way” to engage with cultural products, so they suggest adding “functional literacy

Citation: H-Net Reviews. Prusa on Atkins, 'A History of Popular Culture in Japan: From the Seventeenth Century to the Present' and Freedman and Slade, 'Introducing Japanese Popular Culture' and Shamoon and McMorran, 'Teaching Japanese Popular Culture'. H- Japan. 11-26-2018. https://networks.h-net.org/node/20904/reviews/3173321/prusa-atkins-history-popular-culture-japan-seventeenth-century Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 6 H-Japan pedagogy” that enables students to conduct a more critical research on what is the actual purpose of the analyzed text. The authors conclude that for an ideal critical pedagogy the educators should blend didactic and critical literacy, which will in turn enable the learner to become a proactive participant in the JPC discourse. Cosima Wagner discusses how the global JPC boom was reflected in the increasing popularity of Japan Pop in Germany. Again, based on her own teaching experience, Wagner argues that a working group can facilitate student-centered learning whereas the role of a teacher should lie solely in coordinating the class discussion. In accord with other authors, Wagner further claims that such a setting facilitates the desired transformation of fan knowledge into scholarly thinking. Simultaneously however, the basic precondition of this transition is based on the students’ will to abandon—at least partially—the idealization of their pop-cultural objects of desire. Unsurprisingly, Wagner shows support for the “Poco Pop” approach, especially when scrutinizing the Cool Japan agenda. She deems it equally important to actually visit those sites where the Japanese Cool is being manufactured—both as an idea and a product. Therefore, her classroom trip to Japan was not limited to pilgrimage sites such as Akihabara, but also included temples, museums, and importantly, those Japanese ministries that had a say in promoting Cool Japan.

In “In the Media Studies Classroom: Teaching about Popular Culture,” Akiko Sugawa-Shimada recounts teaching JPC as part of a media studies course. She reminds us that since the 2000s a growing number of Japanese universities have offered courses on JPC. She demonstrates how these genres can be studied academically for their sociocultural and ideological implications against the backdrop of Japanese history. Sugawa-Shimada proceeds with an analysis of Japanese and international students' impressions learning Japanese pop culture in English. During her courses Sugawa-Shimada practiced discussions with four to five students (both mixed and nonmixed), and this environment improved the participation of Japanese students who feel handicapped due to insufficient language skills. She noticed a certain reluctance of some Japanese students to distance themselves from their own naturalized culture (including the belief that only native Japanese- speakers can appreciate the “untranslatable” Japan). It is thus important for such students to be challenged to reevaluate their own cultural stereotypes through a non-Japanese perspective. This can include a study of the foreign interpretations of JPC, but also an intercultural discussion on Japaneseness, violence, or sexualization of girls in the media. Jan Bardsley’s chapter suggests how to “teach fashion” while applying a critical theoretical framework. Bardsley’s initial suggestion lies in the advantage of teaching JPC through the lens of the semiotics of fashion, which should enable students to gain a more complex view of popular culture. She overlaps with “Proper Pop” -- while attempting to establish Japanese fashion as a proper subcultural inquiry within the discourse of JPC, Bardsley argues that Japanes—popular fashion should be a part of academic curriculum. Apart from the importance of transnational flows, fashion is yet another form of popular culture that is being used to construct national identities or international relations. Thus, fashion literacy lies in decoding and interpreting the “politics of dress” in its specific sociohistorical context, and in observing how fashion both reinforces and challenges social and gender stereotypes.

Part 3 of the book focuses more closely on using pop-cultural sources in teaching. While calling for more aca-fans, Melanie King points out that instead of fostering mere appreciation, studying JPC can serve as a means of connecting to artistic, religious, and historical traditions. King documents how renowned Japanese avant garde artists invert the meaning of American pop with resources from traditional Japanese culture, turning negative conditions of postmodernity into uniquely Japanese art. Drawing from her own teaching experience, Deborah Shamoon attaches importance to the co-

When I teach JPC, I distinguish the three “functions” of culture in general: not only the classical notion of culture as imitation (mimesis, re-presentation), but also culture as cultivation (contemplation, propaganda), and finally culture as play (deconstruction, convergence). All these books shed light on how these functions came to be fulfilled throughout the cultural history of Japan. Some chapters describe how Japanese art imitated and essentialized lived experience through new performances and artifacts, others steer toward decoding the cultivating/cultivated undercurrents of JPC, while those operating within the postmodern discourse would emphasize the function of JPC as a playful “emancipation” via deconstruction, media-mixing, and proactive participation. They indicate that behind the façade of JPC’s structural inevitability there is considerable maneuvering and calculated decision-making. Still, JPC is simultaneously perceived as a “struggle for meanings,” and the books show that JPC was from its very beginning at times conforming to, at times obstructing official agendas. Further, Japanese culture industry indeed transformed JPC from urban mass culture to global “high” art while co-opting foreign influences. But also owing to this, JPC is now perhaps the best example of a culture which consists of permutations of highbrow and lowbrow, local and global, and cool and uncool. In the educational discourse of JPC,Teaching stands out as a great methodological source by fusing critical pedagogical knowledge and practical teaching experience. Such pedagogy enables students to approach the ongoing JPC fever not only as a spontaneous cultural boom promoting things Japanese, but also as a political process that appropriates the unique, subtly countercultural appeal in order to pursue an ideological and commercial agenda. The reviewed books are eminently readable collections of theoretical accounts and case studies. As a group they provide an analytical framework for understanding both the historical roots and present developments of JPC. Moreover, by synthesizing the latest scholarship from a variety of disciplines, they offer a fresh, multidisciplinary approach to the culture in question. This too makes the reviewed books an extremely valuable resource for scholars, students, and teachers of JPC worldwide.

Citation: Igor Prusa. Review of Atkins, E. Taylor, A History of Popular Culture in Japan: From the Seventeenth Century to the Present and Freedman, Alisa; Slade, Toby, eds., Introducing Japanese Popular Culture and Shamoon, Deborah; McMorran, Chis, eds., Teaching Japanese Popular Culture. H-Japan, H-Net Reviews. November,URL: 2018. http://www.h-net.org/reviews/showrev.php?id=51299

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