The Bridge of Dreams is a brilliant reading of The Tale of Genji that succeeds both as a sophisticated work of literary criticism and as an introduction this world masterpiece. Taking account of current literary theory and a long tradition of Japanese commentary, the author guides both the general reader and the specialist to a new appreciation of the structure and poetics of this complex and often seemingly baffling work. The Tale of Genji, written in the early eleventh century by a court lady, Murasaki Shikibu, is Japan's most outstanding work of prose fiction. Though bearing a striking resemblance to the modern psychological novel, the Genji was not conceived and written as a single work and then published and distributed to a mass audience as novels are today. Instead, it was issued in limited installments, sequence by sequence, to an extremely circumscribed, aristocratic audience. This study discusses the growth and evolution of the Genji and the manner in which recurrent concerns-political, social, and religious-are developed, subverted, and otherwise transformed as the work evolves from one stage to another. Throughout, the author analyzes the Genji in the context of those literary works and conventions that Murasaki explicitly or implicitly presupposed her contemporary audience to know, and reveals how the Genji works both within and against the larger literary and sociopolitical tradition. The book contains a color frontispiece by a seventeenth-century artist and eight pages of black-and-white illustrations from a twelfth-century scroll. Two appendixes present an analysis of biographical and textual problems and a detailed index of principal characters.

The Cambridge History of Japanese Literature provides, for the first time, a history of Japanese literature with comprehensive coverage of the premodern and modern eras in a single volume. The book is arranged topically in a series of short, accessible chapters for easy access and reference, giving insight into both canonical texts and many lesser known, popular genres, from centuries-old folk literature to the detective fiction of modern times. The various period introductions provide an overview of recurrent issues that span many decades, if not centuries. The book also places Japanese literature in a wider East Asian tradition of Sinitic writing and provides comprehensive coverage of women's literature as well as new popular literary forms, including manga (comic books). An extensive bibliography of works in English enables readers to continue to explore this rich tradition through translations and secondary reading.

Basho (1644-94) is perhaps the best known Japanese poet in both Japan and the West, and yet there has been remarkably little serious scholarship in English on his achievement. This book is intended to address that virtual void by establishing the ground for critical discussion and reading of a central figure in Japanese culture, placing the works of Basho and his disciples in the context of broader social change.
Intended for both the general reader and the specialist, "Traces of Dreams" examines the issues of language, landscape, cultural memory, and social practice in early modern Japan through a fundamental reassessment of "haikai"--popular linked verse that eventually gave birth to modern "haiku"--particularly that of Basho and his disciples.
The author analyzes haikai not only as a specific poetic genre but as a mode of discourse that emerged from the profound engagement between the new commoner culture that came to the fore in the seventeenth century cities "and" the earlier traditions, which haikai parodied, transformed, and translated into the vernacular.
"Traces of Dreams" explores the manner in which haikai both appropriated and recast the established cultural and poetic associations embodied in nature, historical objects, and famous places--the landscape that preserved the cultural memory and that became the source of authority as well as the contested ground for haikai re-visioning and re-mapping.

Today the term "Japanese literary classics" implies such texts as the Man'yoshu, Kojiki, Tale of Genji, Tale of the Heike, Noh drama, and the works of Saikaku, Chikamatsu, and Basho, which are considered the wellspring and embodiment of Japanese tradition and culture. Most of these texts, however, did not become "classics" until the end of the nineteenth century, in a process closely related to the emergence of Japan as a modern nation-state and to the radical reconfiguration of notions of literature and learning under Western influence. As in Europe and elsewhere, the construction of a national literature and language with a putative ancient lineage was critical to the creation of a distinct nation-state. This book addresses the issue of national identity and the ways in which modern European disciplinary notions of "literature" and genres played a major role in the modern canonization process. These "classics" did not have inherent, unchanging value; instead, their value was produced and reproduced by various institutions and individuals in relation to socio-economic power. How then were these texts elevated and used? What kinds of values were given to them? How was this process related to larger social, political, and religious configurations? This book, which looks in depth at each of the major "classics," explores these questions in a broad historical context, from the medieval period, when multiple canons competed with each other, through the early modern and modern periods. Throughout, the essays focus on the roles of schools, commentators, and socio-religious institutions, and on issues of gender. The result is a new view of the transformation of the Japanese canon and its intimate connection with the issue of national and cultural identity.

Basho (1644-94) is perhaps the best known Japanese poet in both Japan and the West, and yet there has been remarkably little serious scholarship in English on his achievement. This book is intended to address that virtual void by establishing the ground for critical discussion and reading of a central figure in Japanese culture, placing the works of Basho and his disciples in the context of broader social change.
Intended for both the general reader and the specialist, "Traces of Dreams" examines the issues of language, landscape, cultural memory, and social practice in early modern Japan through a fundamental reassessment of "haikai"--popular linked verse that eventually gave birth to modern "haiku"--particularly that of Basho and his disciples.
The author analyzes haikai not only as a specific poetic genre but as a mode of discourse that emerged from the profound engagement between the new commoner culture that came to the fore in the seventeenth century cities "and" the earlier traditions, which haikai parodied, transformed, and translated into the vernacular.
"Traces of Dreams" explores the manner in which haikai both appropriated and recast the established cultural and poetic associations embodied in nature, historical objects, and famous places--the landscape that preserved the cultural memory and that became the source of authority as well as the contested ground for haikai re-visioning and re-mapping.

"Traditional Japanese Literature" features a rich array of works dating from the very beginnings of the Japanese written language through the evolution of Japan's noted aristocratic court and warrior cultures. It contains stunning new translations of such canonical texts as "The Tales of the Heike" as well as works and genres previously ignored by scholars and unknown to general readers.

This volume includes generous selections from "Man'y?sh," "The Tale of Genji," "The Pillow Book," "Kokinsh," and other classics of Japanese literature, as well as a stunning range of folk literature, epic tales of war, poetry, and no drama. The anthology offers an impressive representation of dramatic, poetic, and fictional works from both high and low culture, along with religious and secular anecdotes, literary criticism, and works written in Chinese by Japanese writers. The wealth of classical poetry, linked verse, and popular poetry is accompanied by extensive commentary.

"Traditional Japanese Literature" is a companion volume to Columbia University Press's "Early Modern Japanese Literature: An Anthology, 1600-1900" and part of its four-volume history of Japanese literature. Arranged by chronology and genre, the readings are insightfully introduced and placed into their political, cultural, and literary context, and the extensive bibliographies offer further study for scholars and readers. Including a wide range of classic and popular works in poetry, prose, and drama, this anthology presents a definitive overview of traditional Japanese literature and deepens our understanding of classical and medieval Japanese culture.

In 2005, the celebrated scholar of Japanese literature Haruo Shirane published "Classical Japanese: A Grammar," Now, with "Classical Japanese Reader and Essential Dictionary," he completes his two-volume textbook for learning classical, or literary, Japanese& mdash;the primary written language in Japan from the seventh to the mid-twentieth century. The text contains carefully selected readings that address a wide array of grammatical concerns and that steadily progress from easy to difficult. The selections encompass a wide range of historical periods and styles, including essays, fiction, and poetry from such noted works as "The Tale of Genji," "The Tales of Ise," "The Pillow Book," "The Tales of the Heike," and "Essays in Idleness," and such authors as Ihara Saikaku, Matsuo Basho, Ueda Akinari, Motoori Norinaga, and Fukuzawa Yukichi. Each reading is accompanied by a short English introduction, a vocabulary list, and extensive grammatical notes, and ends with a comprehensive grammatical annotation.

The classical Japanese-English dictionary composes the last third of the book and features approximately 2,500 key words, highlighting those used most frequently. The first of its kind, this volume is a vital tool for students, scholars, and translators of classical Japanese.

Burton Watson and Haruo Shirane, renowned translators and scholars, introduce English-speaking readers to the vivid tradition of early and medieval Japanese anecdotal ( "setsuwa") literature. These orally narrated and written tales drew on both local folk tradition and continental sources. Taken from seven major anthologies of anecdotal literature compiled between the ninth and thirteenth centuries, these dramatic and often amusing stories open a major window onto the foundations of Japanese culture.

Out of thousands of "setsuwa," Shirane has selected thirty-eight of the most powerful and influential, each of which is briefly introduced. Recounting the exploits of warriors, farmers, priests, and aristocrats, and concerning topics as varied as poetry, violence, power, and sex, these tales reveal the creative origins of a range of literary and dramatic genres, from court tales and travel accounts to "no" drama and Kabuki. Watson's impeccable translations relay the wit, mystery, and Buddhist sensibility of these protean works, while Shirane's sophisticated analysis illuminates the meaning and context of their compact stories. Capped by an extensive bibliography, this collection fully immerses the reader in the thrilling world of secular and religious tales.

Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. The most comprehensive compendium of short medieval Japanese fiction in English, Monsters, Animals, and Other Worlds illuminates a rich world of literary, Buddhist, and visual culture largely unknown today outside of Japan. These stories, called otogizoshi, or Muromachi tales (named after the Muromachi period, 1337 to 1573), date from approximately the fourteenth through seventeenth centuries. Often richly illustrated in a painted-scroll format, these vernacular stories frequently express Buddhist beliefs and provide the practical knowledge and moral education required to navigate medieval Japanese society. The otogizoshi represent a major turning point in the history of Japanese literature. They bring together many earlier types of narrative-court tales, military accounts, anecdotes, and stories about the divine origins of shrines and temples--joining book genres with parlor arts and the culture of itinerant storytellers and performers. The works presented here are organized into three thematically overlapping sections titled, "Monsters, Warriors, and Journeys to Other Worlds," "Buddhist Tales," and "Interspecies Affairs." Each translation is prefaced by a short introduction, and the book features images from the original scroll paintings, illustrated manuscripts, and printed books.

Bringing together scholars from across the world, Haruo Shirane presents a fascinating portrait of "The Tale of Genji"'s reception and reproduction over the past thousand years. The essays examine the canonization of the work from the late Heian through the medieval, Edo, Meiji, Taisho, Showa, and Heisei periods, revealing its profound influence on a variety of genres and fields, including modern nation building. They also consider parody, pastiche, and re-creation of the text in various popular and mass media. Since the "Genji" was written by a woman for female readers, contributors also take up the issue of gender and cultural authority, looking at the novel's function as a symbol of Heian court culture and as an important tool in women's education. Throughout the volume, scholars discuss achievements in visualization, from screen painting and woodblock prints to "manga" and anime. Taking up such recurrent themes as cultural nostalgia, eroticism, and gender, this book is the most comprehensive history of the reception of "The Tale of Genji" to date, both in the country of its origin and throughout the world.

"The Tales of the Heike" is one of the most influential works in Japanese literature and culture, remaining even today a crucial source for fiction, drama, and popular media. Originally written in the mid-thirteenth century, it features a cast of vivid characters and chronicles the epic Genpei war, a civil conflict that marked the end of the power of the Heike and changed the course of Japanese history. "The Tales of the Heike" focuses on the lives of both the samurai warriors who fought for two powerful twelfth-century Japanese clans-the Heike (Taira) and the Genji (Minamoto)-and the women with whom they were intimately connected.

"The Tales of the Heike" provides a dramatic window onto the emerging world of the medieval samurai and recounts in absorbing detail the chaos of the battlefield, the intrigue of the imperial court, and the gradual loss of a courtly tradition. The book is also highly religious and Buddhist in its orientation, taking up such issues as impermanence, karmic retribution, attachment, and renunciation, which dominated the Japanese imagination in the medieval period.

In this new, abridged translation, Burton Watson offers a gripping rendering of the work's most memorable episodes. Particular to this translation are the introduction by Haruo Shirane, the woodblock illustrations, a glossary of characters, and an extended bibliography.

The Nihon ryoiki, a collection of setsuwa, or "anecdotal" tales, compiled by a monk in late-eighth- or early-ninth-century Japan, records the spread of Buddhist ideas in Japan and the ways in which Buddhism's principles were adapted to the conditions of Japanese society. Beginning in the time before Buddhism was introduced to Japan, the text captures the effects of the nation's initial contact with Buddhism-brought by emissaries from the king of the Korean state of Paekche-and the subsequent adoption and dissemination of these new teachings in Japanese towns and cities. The Nihon ryoiki provides a crucial window into the ways in which Japanese Buddhists began to make sense of the teachings and texts of their religion, incorporate religious observances and materials from Korea and China, and articulate a popularized form of Buddhist practice and belief that could extend beyond monastic centers. The setsuwa genre would become one of the major textual projects of classical and medieval Buddhism, with nearly two dozen collections appearing over the next five centuries. The Nihon ryoiki serves as a vital reference for these later works, with the tales it contains finding their way into folkloric traditions and becoming a major source for Japanese authors well into the modern period.

Today the term "Japanese literary classics" implies such texts as the Man'yoshu, Kojiki, Tale of Genji, Tale of the Heike, Noh drama, and the works of Saikaku, Chikamatsu, and Basho, which are considered the wellspring and embodiment of Japanese tradition and culture. Most of these texts, however, did not become "classics" until the end of the nineteenth century, in a process closely related to the emergence of Japan as a modern nation-state and to the radical reconfiguration of notions of literature and learning under Western influence. As in Europe and elsewhere, the construction of a national literature and language with a putative ancient lineage was critical to the creation of a distinct nation-state. This book addresses the issue of national identity and the ways in which modern European disciplinary notions of "literature" and genres played a major role in the modern canonization process. These "classics" did not have inherent, unchanging value; instead, their value was produced and reproduced by various institutions and individuals in relation to socio-economic power. How then were these texts elevated and used? What kinds of values were given to them? How was this process related to larger social, political, and religious configurations? This book, which looks in depth at each of the major "classics," explores these questions in a broad historical context, from the medieval period, when multiple canons competed with each other, through the early modern and modern periods. Throughout, the essays focus on the roles of schools, commentators, and socio-religious institutions, and on issues of gender. The result is a new view of the transformation of the Japanese canon and its intimate connection with the issue of national and cultural identity.

The Tales of the Heike is one of the most influential works in Japanese literature and culture, remaining even today a crucial source for fiction, drama, and popular media. Originally written in the mid-thirteenth century, it features a cast of vivid characters and chronicles the epic Genpei war, a civil conflict that marked the end of the power of the Heike and changed the course of Japanese history. The Tales of the Heike focuses on the lives of both the samurai warriors who fought for two powerful twelfth-century Japanese clans-the Heike (Taira) and the Genji (Minamoto)-and the women with whom they were intimately connected. The Tales of the Heike provides a dramatic window onto the emerging world of the medieval samurai and recounts in absorbing detail the chaos of the battlefield, the intrigue of the imperial court, and the gradual loss of a courtly tradition. The book is also highly religious and Buddhist in its orientation, taking up such issues as impermanence, karmic retribution, attachment, and renunciation, which dominated the Japanese imagination in the medieval period. In this new, abridged translation, Burton Watson offers a gripping rendering of the work's most memorable episodes. Particular to this translation are the introduction by Haruo Shirane, the woodblock illustrations, a glossary of characters, and an extended bibliography.

Always the first to respond to a crisis, Medecins Sans Frontieres and its sister organization Medecins du Monde have set into place a style of humanitarian action that combines rapid intervention with invaluable critical assessment. Whether the crisis is war, famine, or a natural diaster, these organizations have set a precedent for humanitarian action that has yet to be surpassed. Their efforts were not developed in a vacuum. A close look at the history of humanitarianism, especially within the United States, Great Britain, and Switzerland, reveals the existing forms of action that MSF, MDM, and many other groups used to perfect their programs. These include the relief practices of the Red Cross combined with the mobilization of public opinion implemented by Amnesty International. The contributors to this volume assess competing French and "Anglo-Saxon" models of intervention and project the next phase of humanitarianism in the twenty-first century.

Elegant representations of nature and the four seasons populate a wide range of Japanese genres and media -- from poetry and screen painting to tea ceremonies, flower arrangements, and annual observances. In Japan and the "Culture of the Four Seasons," Haruo Shirane shows how, when, and why this practice developed and explicates the richly encoded social, religious, and political meanings of this imagery.

Refuting the belief that this tradition reflects Japan's agrarian origins and supposedly mild climate, Shirane traces the establishment of seasonal topics to the poetry composed by the urban nobility in the eighth century. After becoming highly codified and influencing visual arts in the tenth and eleventh centuries, the seasonal topics and their cultural associations evolved and spread to other genres, eventually settling in the popular culture of the early modern period. Contrasted with the elegant images of nature derived from court poetry was the agrarian view of nature based on rural life. The two landscapes began to intersect in the medieval period, creating a complex, layered web of competing associations. Shirane discusses a wide array of representations of nature and the four seasons in many genres, originating in both the urban and rural perspective: textual (poetry, chronicles, tales), cultivated (gardens, flower arrangement), material (kimonos, screens), performative (noh, festivals), and gastronomic (tea ceremony, food rituals). He reveals how this kind of "secondary nature," which flourished in Japan's urban architecture and gardens, fostered and idealized a sense of harmony with the natural world just at the moment it was disappearing.

Illuminating the deeper meaning behind Japanese aesthetics and artifacts, Shirane clarifies the use of natural images and seasonal topics and the changes in their cultural associations and function across history, genre, and community over more than a millennium. In this fascinating book, the four seasons are revealed to be as much a cultural construction as a reflection of the physical world.

Elegant representations of nature and the four seasons populate a wide range of Japanese genres and media-from poetry and screen painting to tea ceremonies, flower arrangements, and annual observances. In Japan and the Culture of the Four Seasons, Haruo Shirane shows how, when, and why this practice developed and explicates the richly encoded social, religious, and political meanings of this imagery. Refuting the belief that this tradition reflects Japan's agrarian origins and supposedly mild climate, Shirane traces the establishment of seasonal topics to the poetry composed by the urban nobility in the eighth century. After becoming highly codified and influencing visual arts in the tenth and eleventh centuries, the seasonal topics and their cultural associations evolved and spread to other genres, eventually settling in the popular culture of the early modern period. Contrasted with the elegant images of nature derived from court poetry was the agrarian view of nature based on rural life. The two landscapes began to intersect in the medieval period, creating a complex, layered web of competing associations. Shirane discusses a wide array of representations of nature and the four seasons in many genres, originating in both the urban and rural perspective: textual (poetry, chronicles, tales), cultivated (gardens, flower arrangement), material (kimonos, screens), performative (noh, festivals), and gastronomic (tea ceremony, food rituals). He reveals how this kind of "secondary nature," which flourished in Japan's urban architecture and gardens, fostered and idealized a sense of harmony with the natural world just at the moment it was disappearing. Illuminating the deeper meaning behind Japanese aesthetics and artifacts, Shirane clarifies the use of natural images and seasonal topics and the changes in their cultural associations and function across history, genre, and community over more than a millennium. In this fascinating book, the four seasons are revealed to be as much a cultural construction as a reflection of the physical world.

The Nihon ryoiki, a collection of setsuwa, or "anecdotal" tales, compiled by a monk in late-eighth- or early-ninth-century Japan, records the spread of Buddhist ideas in Japan and the ways in which Buddhism's principles were adapted to the conditions of Japanese society. Beginning in the time before Buddhism was introduced to Japan, the text captures the effects of the nation's initial contact with Buddhism-brought by emissaries from the king of the Korean state of Paekche-and the subsequent adoption and dissemination of these new teachings in Japanese towns and cities. The Nihon ryoiki provides a crucial window into the ways in which Japanese Buddhists began to make sense of the teachings and texts of their religion, incorporate religious observances and materials from Korea and China, and articulate a popularized form of Buddhist practice and belief that could extend beyond monastic centers. The setsuwa genre would become one of the major textual projects of classical and medieval Buddhism, with nearly two dozen collections appearing over the next five centuries. The Nihon ryoiki serves as a vital reference for these later works, with the tales it contains finding their way into folkloric traditions and becoming a major source for Japanese authors well into the modern period.

Written by a leading scholar in the field, "Classical Japanese: A Grammar" is an elegant, comprehensive, and practical guide to classical Japanese. Extensive notes and historical explanations make this volume useful as both a reference for advanced students and a textbook for beginning students.

Classical Japanese ( "bungo") was used to write Japanese for more thirteen hundred years, until World War II. The volume, which explains how classical Japanese is related to modern Japanese, includes

Detailed explanations of basic grammar, including helpful, easy-to-use tables of grammatical forms

Annotated excerpts from classical premodern texts, with accompanying grammar and vocabulary notes

Exercises and an answer booklet

Detailed explanations of honorific expressions

Appendixes on sound changes, prefixes, and suffixes, rhetorical techniques, and auxiliary verb combinations

This abridged edition of Haruo Shirane's popular anthology, "Early Modern Japanese Literature," retains the essential texts that have made the original volume such a valuable resource. The book introduces English-speaking readers to prose fiction genres, including "dangibon," "kibyoshi" (satiric picture books), "sharebon" (books of wit and fashion), "yomihon," "kokkeibon" (books of humor), "gokan" (bound books), and "ninjobon" (books of romance and sentiment). It also features poetic genres such as "waka," haiku, "senryu," and "kyoka," and plays ranging from Chikamatsu's puppet plays to nineteenth-century kabuki. Readers will continue to benefit from the anthology's selection of significant essays, treatises, literary criticism, folk stories, and other noncanonical works, as well as the numerous prints that accompanied these works. They will also find Shirane's introductions and critical commentary, which guide the reader through the allusive and often elliptical nature of these incredible selections.

The Tale of Genji, written one thousand years ago, is a masterpiece of Japanese literature, is often regarded as the best prose fiction in the language. Read, commented on, and reimagined by poets, scholars, dramatists, artists, and novelists, the tale has left a legacy as rich and reflective as the work itself. This sourcebook is the most comprehensive record of the reception of The Tale of Genji to date. It presents a range of landmark texts relating to the work during its first millennium, almost all of which are translated into English for the first time. An introduction prefaces each set of documents, situating them within the tradition of Japanese literature and cultural history. These texts provide a fascinating glimpse into Japanese views of literature, poetry, imperial politics, and the place of art and women in society. Selections include an imagined conversation among court ladies gossiping about their favorite characters and scenes in Genji; learned exegetical commentary; a vigorous debate over the morality of Genji; and an impassioned defense of Genji's ability to enhance Japan's standing among the twentieth century's community of nations. Taken together, these documents reflect Japan's fraught history with vernacular texts, particularly those written by women.

This is the first anthology ever devoted to early modern Japanese literature, spanning the period from 1600 to 1900, known variously as the Edo or the Tokugawa, one of the most creative epochs of Japanese culture. This anthology, which will be of vital interest to anyone involved in this era, includes not only fiction, poetry, and drama, but also essays, treatises, literary criticism, comic poetry, adaptations from Chinese, folk stories and other non-canonical works. Many of these texts have never been translated into English before, and several classics have been newly translated for this collection.

"Early Modern Japanese Literature" introduces English readers to an unprecedented range of prose fiction genres, including dangibon (satiric sermons), kiby?shi (satiric and didactic picture books), sharebon (books of wit and fashion), yomihon (reading books), kokkeibon (books of humor), g?kan (bound books), and ninj?bon (books of romance and sentiment). The anthology also offers a rich array of poetry -- waka, haiku, senry?, ky?ka, ky?shi -- and eleven plays, which range from contemporary domestic drama to historical plays and from early puppet theater to nineteenth century kabuki. Since much of early modern Japanese literature is highly allusive and often elliptical, this anthology features introductions and commentary that provide the critical context for appreciating this diverse and fascinating body of texts.

One of the major characteristics of early modern Japanese literature is that almost all of the popular fiction was amply illustrated by wood-block prints, creating an extensive text-image phenomenon. In some genres such as kiby?shi and g?kan the text in fact appeared inside the woodblock image. Woodblock prints of actors were also an important aspect of the culture of kabuki drama. A major feature of this anthology is the inclusion of over 200 woodblock prints that accompanied the original texts and drama.

Burton Watson and Haruo Shirane, renowned translators and scholars, introduce English-speaking readers to the vivid tradition of early and medieval Japanese anecdotal ( "setsuwa") literature. These orally narrated and written tales drew on both local folk tradition and continental sources. Taken from seven major anthologies of anecdotal literature compiled between the ninth and thirteenth centuries, these dramatic and often amusing stories open a major window onto the foundations of Japanese culture.

Out of thousands of "setsuwa," Shirane has selected thirty-eight of the most powerful and influential, each of which is briefly introduced. Recounting the exploits of warriors, farmers, priests, and aristocrats, and concerning topics as varied as poetry, violence, power, and sex, these tales reveal the creative origins of a range of literary and dramatic genres, from court tales and travel accounts to "no" drama and Kabuki. Watson's impeccable translations relay the wit, mystery, and Buddhist sensibility of these protean works, while Shirane's sophisticated analysis illuminates the meaning and context of their compact stories. Capped by an extensive bibliography, this collection fully immerses the reader in the thrilling world of secular and religious tales.

Monsters, Animals, and Other Worlds is a collection of twenty-five medieval Japanese tales of border crossings and the fantastic, featuring demons, samurai, talking animals, amorous plants, and journeys to supernatural realms. The most comprehensive compendium of short medieval Japanese fiction in English, Monsters, Animals, and Other Worlds illuminates a rich world of literary, Buddhist, and visual culture largely unknown today outside of Japan. These stories, called otogizoshi, or Muromachi tales (named after the Muromachi period, 1337 to 1573), date from approximately the fourteenth through seventeenth centuries. Often richly illustrated in a painted-scroll format, these vernacular stories frequently express Buddhist beliefs and provide the practical knowledge and moral education required to navigate medieval Japanese society. The otogizoshi represent a major turning point in the history of Japanese literature. They bring together many earlier types of narrative-court tales, military accounts, anecdotes, and stories about the divine origins of shrines and temples--joining book genres with parlor arts and the culture of itinerant storytellers and performers. The works presented here are organized into three thematically overlapping sections titled, "Monsters, Warriors, and Journeys to Other Worlds," "Buddhist Tales," and "Interspecies Affairs." Each translation is prefaced by a short introduction, and the book features images from the original scroll paintings, illustrated manuscripts, and printed books.

Bringing together scholars from across the world, Haruo Shirane presents a fascinating portrait of "The Tale of Genji"'s reception and reproduction over the past thousand years. The essays examine the canonization of the work from the late Heian through the medieval, Edo, Meiji, Taisho, Showa, and Heisei periods, revealing its profound influence on a variety of genres and fields, including modern nation building. They also consider parody, pastiche, and re-creation of the text in various popular and mass media. Since the "Genji" was written by a woman for female readers, contributors also take up the issue of gender and cultural authority, looking at the novel's function as a symbol of Heian court culture and as an important tool in women's education. Throughout the volume, scholars discuss achievements in visualization, from screen painting and woodblock prints to "manga" and anime. Taking up such recurrent themes as cultural nostalgia, eroticism, and gender, this book is the most comprehensive history of the reception of "The Tale of Genji" to date, both in the country of its origin and throughout the world.