This book draws attention to a striking aspect of contemporary Japanese culture: the prevalence of discussions and representations of "spirits" (tama or tamashii). Ancestor cults have played a central role in Japanese culture and religion for many centuries; in recent decades, however, other phenomena have expanded and diversified the realm of Japanese animism. For example, many manga, anime, TV shows, literature, and art works deal with spirits, ghosts, or with an invisible dimension of reality. International contributors ask to what extent these are cultural forms created by the media for consumption, rather than manifestations of "traditional" ancestral spirituality in their adaptations to contemporary society. Spirits and Animism in Contemporary Japan considers the modes of representations and the possible cultural meanings of spirits, as well as the metaphysical implications of contemporary Japanese ideas about spirits. The chapters offer analyses of specific cases of "animistic attitudes" in which the presence of spirits and spiritual forces is alleged, and attempt to trace cultural genealogies of those attitudes. In particular, they present various modes of representation of spirits (in contemporary art, architecture, visual culture, cinema, literature, diffuse spirituality) while at the same time addressing their underlying intellectual and religious assumptions.

David Romtvedt's No Way: An American ""Tao Te Ching"" explores the art of living in the fast-paced, dangerous, unpredictable contemporary world. Lucid and wise in the spirit of its ancient Chinese predecessor, No Way functions as a kind of offbeat-yet-deadly-serious manual on the conduct of life. This slightly tongue-in-cheek take on the Tao's advice acknowledges that nobody likes being told how to live, least of all the author himself. With an openness to complexity and mystery, in tones that range from cool to passionate, No Way brings the Tao into the social turmoil of a twenty-first-century United States beset by political strife, mass shootings, and financial greed. Romtvedt combats cynicism and malaise with wry verse that positions itself in the role of the trickster. The voice of these poems can be serious and contradictory yet also humorous and welcoming. By suggesting that the days of the ancient Tao are gone for good, No Way offers readers an invitation to guide themselves forward, free of sages and rulers.

Eastern Approaches to Western Film: Asian Aesthetics and Reception in Cinema offers a renewed critical outlook on Western classic film directly from the pantheon of European and American masters, including Alfred Hitchcock, George Lucas, Robert Bresson, Carl Dreyer, Jean-Pierre Melville, John Ford, Leo McCarey, Sam Peckinpah, and Orson Welles. The book contributes an "Eastern Approach" into the critical studies of Western films by reappraising selected films of these masters, matching and comparing their visions, themes, and ideas with the philosophical and paradigmatic principles of the East. It traces Eastern inscriptions and signs embedded within these films as well as their social lifestyle values and other concepts that are also inherently Eastern. As such, the book represents an effort to reformulate established discourses on Western cinema that are overwhelmingly Eurocentric. Although it seeks to inject an alternative perspective, the ultimate aim is to reach a balance of East and West. By focusing on Eastern aesthetic and philosophical influences in Western films, the book suggests that there is a much more thorough integration of East and West than previously thought or imagined.

Equanimity, good health, peace of mind, and long life are the goals of the ancient Taoist tradition known as "internal alchemy," of which "Cultivating Stillness " is a key text. Written between the second and fifth centuries, the book is attributed to T'ai Shang Lao-chun--the legendary figure more widely known as Lao-Tzu, author of the "Tao-te Ching ." The accompanying commentary, written in the nineteenth century by Shui-ch'ing Tzu, explains the alchemical symbolism of the text and the methods for cultivating internal stillness of body and mind. A principal part of the Taoist canon for many centuries, "Cultivating Stillness " is still the first book studied by Taoist initiates today.

Ancestral ritual in early China was an orchestrated dance between what was present (the offerings and the living) and what was absent (the ancestors). The interconnections among the tangible elements of the sacrifice were overt and almost mechanical, but extending those connections to the invisible guests required a medium that was itself invisible. Thus in early China, ancestral sacrifice was associated with focused thinking about the ancestors, with a structured mental effort by the living to reach out to the absent forebears and to give them shape and existence. Thinking about the ancestors-about those who had become distant-required active deliberation and meditation, qualities that had to be nurtured and learned. This study is a history of the early Chinese ancestral cult, particularly its cognitive aspects. Its goals are to excavate the cult's color and vitality and to quell assumptions that it was no more than a simplistic and uninspired exchange of food for longevity, of prayers for prosperity. Ancestor worship was not, the author contends, merely mechanical and thoughtless. Rather, it was an idea system that aroused serious debates about the nature of postmortem existence, served as the religious backbone to Confucianism, and may even have been the forerunner of Daoist and Buddhist meditation practices.

The Tao Te Ching is one of the most widely read Asian classics. And it is also one of the most frequently translated books in all of history, in part because it is impossible to translate it into English in a strictly literal way; the text just has too many Chinese characters that convey multiple meanings. This often leads translators to burden the text with verbose language or loose interpretations. And when this happens the terse enigmatic beauty of the original work is lost. Here, in what may be the most faithful translation of the Tao Te Ching, the translators have stepped out of the way to let the original text speak for itself. The result is a lucid, economical rendering of the classic that allows readers to get as close to the original text as possible without knowing Chinese.Accompanying this translation are twenty-one stunning ink paintings by Stephen Addiss, as well as an introduction by the PEN Translation Prize winner and esteemed Asian scholar Burton Watson. In his introduction, Watson offers some background on the Tao Te Ching and explains the historical context in which it was written. This remarkable translation also allows readers to interact with the text and experience for themselves the nuanced art of translating. In each of the eighty-one chapters, one significant line is highlighted and alongside it are the original Chinese characters with their transliteration. Readers can then turn to the glossary and translate this line on their own, thereby deepening their understanding of the original text and of the myriad ways it can be translated into English.