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What is the role of folklore in the discussion of catastrophe and
trauma? How do disaster survivors use language, ritual, and the
material world to articulate their experiences? What insights and
tools can the field of folkloristics offer survivors for navigating
and narrating disaster and its aftermath? Can folklorists
contribute to broader understandings of empathy and the roles of
listening in ethnographic work? We Are All Survivors is a
collection of essays exploring the role of folklore in the wake of
disaster. Contributors include scholars from the United States and
Japan who have long worked with disaster-stricken communities or
are disaster survivors themselves; individual chapters address
Hurricane Katrina, Hurricane Maria, and two earthquakes in Japan,
including the earthquake, tsunami, and nuclear disaster of 2011.
Adapted from a 2017 special issue of Fabula (from the International
Society for Folk Narrative Research), the book includes a revised
introduction, an additional chapter with original illustrations,
and a new conclusion considering how folklorists are documenting
the COVID-19 pandemic. We Are All Survivors bears witness to
survivors' expressions of remembrance, grieving, and healing.
What is the role of folklore in the discussion of catastrophe and
trauma? How do disaster survivors use language, ritual, and the
material world to articulate their experiences? What insights and
tools can the field of folkloristics offer survivors for navigating
and narrating disaster and its aftermath? Can folklorists
contribute to broader understandings of empathy and the roles of
listening in ethnographic work? We Are All Survivors is a
collection of essays exploring the role of folklore in the wake of
disaster. Contributors include scholars from the United States and
Japan who have long worked with disaster-stricken communities or
are disaster survivors themselves; individual chapters address
Hurricane Katrina, Hurricane Maria, and two earthquakes in Japan,
including the earthquake, tsunami, and nuclear disaster of 2011.
Adapted from a 2017 special issue of Fabula (from the International
Society for Folk Narrative Research), the book includes a revised
introduction, an additional chapter with original illustrations,
and a new conclusion considering how folklorists are documenting
the COVID-19 pandemic. We Are All Survivors bears witness to
survivors' expressions of remembrance, grieving, and healing.
Monsters, ghosts, fantastic beings, and supernatural phenomena of
all sorts haunt the folklore and popular culture of Japan. Broadly
labeled "yokai," these creatures come in infinite shapes and sizes,
from "tengu" mountain goblins and "kappa" water spirits to
shape-shifting foxes and long-tongued ceiling-lickers. Currently
popular in anime, manga, film, and computer games, many yokai
originated in local legends, folktales, and regional ghost stories.
Drawing on years of research in Japan, Michael Dylan Foster
unpacks the history and cultural context of yokai, tracing their
roots, interpreting their meanings, and introducing people who have
hunted them through the ages. In this delightful and accessible
narrative, readers will explore the roles played by these
mysterious beings within Japanese culture and will also learn of
their abundance and variety through detailed entries, some with
original illustrations, on more than fifty individual creatures.
"The Book of Yokai" provides a lively excursion into Japanese
folklore and its ever-expanding influence within global popular
culture. It invites readers to examine how people create, transmit,
and collect folklore, and how they make sense of the mysteries in
the world around them. By exploring yokai as a concept, we can
better understand broader processes of tradition, innovation,
storytelling, and individual and communal creativity.
For nearly 70 years, the United Nations Educational, Scientific and
Cultural Organization (UNESCO) has played a crucial role in
developing policies and recommendations for dealing with intangible
cultural heritage. What has been the effect of such sweeping global
policies on those actually affected by them? How connected is
UNESCO with what is happening every day, on the ground, in local
communities? Drawing upon six communities ranging across three
continents-from India, South Korea, Malawi, Japan, Macedonia and
China-and focusing on festival, ritual, and dance, this volume
illuminates the complexities and challenges faced by those who find
themselves drawn, in different ways, into UNESCO's orbit. Some
struggle to incorporate UNESCO recognition into their own local
understanding of tradition; others cope with the fallout of a
failed intangible cultural heritage nomination. By exploring
locally, by looking outward from the inside, the essays show how a
normative policy such as UNESCO's intangible cultural heritage
policy can take on specific associations and inflections. A number
of the key questions and themes emerge across the case studies and
three accompanying commentaries: issues of terminology; power
struggles between local, national and international stakeholders;
the value of international recognition; and what forces shape
selection processes. With examples from around the world, and a
balance of local experiences with broader perspectives, this volume
provides a unique comparative approach to timely questions of
tradition and change in a rapidly globalizing world.
Water sprites, mountain goblins, shape-shifting animals, and the
monsters known as yokai have long haunted the Japanese cultural
landscape. This history of the strange and mysterious in Japan
seeks out these creatures in folklore, encyclopedias, literature,
art, science, games, manga, magazines, and movies, exploring their
meanings in the Japanese cultural imagination and offering an
abundance of valuable and, until now, understudied material.
Michael Dylan Foster tracks yokai over three centuries, from their
appearance in seventeenth-century natural histories to their
starring role in twentieth-century popular media. Focusing on the
intertwining of belief and commodification, fear and pleasure,
horror and humor, he illuminates different conceptions of the
"natural" and the "ordinary" and sheds light on broader social and
historical paradigms - and ultimately on the construction of Japan
as a nation.
Takashi Murakami (b. 1962), one of contemporary art s most widely
recognized exponents, receives a long-awaited critical
consideration in this important volume. Accompanying the first
retrospective exhibition devoted solely to Murakami s paintings,
this book traces Murakami s career from his earliest training to
his current studio practice. Where other books address the
commercial aspects of Murakami s work, this is the first serious
survey of his work as a painter. Through essays and illustrations
many previously unpublished it explores the artist s relationship
to the tradition of Japanese painting and his facility in
straddling high and low, ancient and modern, Eastern and Western,
commercial and high art. New texts address Murakami s output in the
context of postwar Japan, situating the artist in relation to
folklore, traditional Japanese painting, the Tokyo art scene in the
1980s and 1990s, and the threat of nuclear annihilation. This
richly illustrated volume also includes a detailed biography and
exhibition history. Takashi Murakami is a true essential for
collectors and fans alike.
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