The last decades of the eighteenth century gave rise to an explosion of literary activity in Edo (now Tokyo) that lasted until the mid-nineteenth century, with an army of writers producing prodigious quantities of fiction. This study traces the life and literary career of Shikitei Sanba (1776-1882), a writer in the mainstream of that generation, the author of more than one hundred works of fiction, many in comic veins. This book-length critical treatment of a major writer of gesaku(playful compositions) is a welcome breakthrough, since Samba's life, his era of literary activity, and the popular genres in which he worked have received scant treatment in English. Robert Leutner describes Sanba as a representative writer within a literary scene shifting from amateur to professional and becoming increasingly commercial. The text is enhanced by Leutner's translations of excerpts from Sanba's various writings and culminates in two long passages in original translations, fully annotated, of Ukiyoburo, "The Bathhouse of the Floating World," one of Sanba's best-known works. In "The Men's Bath" and "The Women's Bath" readers will encounter an array of Edo types. Their informal conversations convey the qualities of humor, the sociological characteristics, and much of the flavor of life in Sanba's Edo.

Unlike traditional Japanese literature, which has a rich tradition of comedy, modern Japanese literature is commonly associated with a high seriousness of purpose. In this pathbreaking study, Joel R. Cohn analyzes works by three writers—Ibuse Masuji (1898–1993), Dazai Osamu (1909–1948), and Inoue Hisashi (1934– )—whose works constitute a relentless assault on the notion that comedy cannot be part of serious literature. Cohn focuses on thematic, structural, and stylistic elements in the works of these writers to show that modern Japanese comedic literature is a product of a particular set of historical, social, and cultural experiences. Cohn finds that cultural and social forces in modern Japan have led to the creation of comic literature that tends to deflect attention away from a human other and turn in on itself in different forms.

This translation of 65 pieces from Qian Zhongshu's Guanzhui bian (Limited Views) makes available for the first time in English a representative selection from Qian's massive four-volume collection of essays and reading notes on the classics of early Chinese literature. First published in 1979, it has been hailed as one of the most insightful and comprehensive treatments of themes and motifs in early Chinese writing to appear in this century. Scholar, novelist, and essayist Qian Zhongshu (b. 1910) is arguably contemporary China's foremost man of letters, andLimited Views is recognized as the culmination of his study of literature in both the Chinese and the Western traditions.

Christianity is often praised as an agent of Chinese modernization or damned as a form of cultural and religious imperialism. In both cases, Christianity’s foreignness and the social isolation of converts have dominated this debate. Eugenio Menegon uncovers another story. In the sixteenth century, European missionaries brought a foreign and global religion to China. Converts then transformed this new religion into a local one over the course of the next three centuries. Focusing on the still-active Catholic communities of Fuan county in northeast Fujian, this project addresses three main questions. Why did people convert? How did converts and missionaries transform a global and foreign religion into a local religion? What does Christianity’s localization in Fuan tell us about the relationship between late imperial Chinese society and religion? Based on an impressive array of sources from Asia and Europe, this pathbreaking book reframes our understanding of Christian missions in Chinese-Western relations. The study’s implications extend beyond the issue of Christianity in China to the wider fields of religious and social history and the early modern history of global intercultural relations. The book suggests that Christianity became part of a preexisting pluralistic, local religious space, and argues that we have so far underestimated late imperial society’s tolerance for “heterodoxy.” The view from Fuan offers an original account of how a locality created its own religious culture in Ming-Qing China within a context both global and local, and illuminates the historical dynamics contributing to the remarkable growth of Christian communities in present-day China.

The rise of the Mongol empire transformed world history. Its collapse in the mid-fourteenth century had equally profound consequences. Four themes dominate this study of the late Mongol empire in Northeast Asia during this chaotic era: the need for a regional perspective encompassing all states and ethnic groups in the area; the process and consequences of pan-Asian integration under the Mongols; the tendency for individual and family interests to trump those of dynasty, country, or linguistic affiliation; and finally, the need to see Koryo Korea as part of the wider Mongol empire. Northeast Asia was an important part of the Mongol empire, and developments there are fundamental to understanding both the nature of the Mongol empire and the new post-empire world emerging in the 1350s and 1360s. In Northeast Asia, Jurchen, Mongol, Chinese, Korean, and Japanese interests intersected, and the collapse of the Great Yuan reshaped Northeast Asia dramatically. To understand this transition, or series of transitions, the author argues, one cannot examine states in isolation. The period witnessed intensified interactions among neighboring polities and new regional levels of economic, political, military, and social integration that explain the importance of personal and family interests and of Korea in the Mongol state.

Rulin waishi (The Unofficial History of the Scholars) is more than a landmark in the history of the Chinese novel. This eighteenth-century work, which was deeply embedded in the intellectual and literary discourses of its time, challenges the reader to come to grips with the mid-Qing debates over ritual and ritualism, and the construction of history, narrative, and lyricism. Wu Jingzi’s (1701–54) ironic portrait of literati life was unprecedented in its comprehensive treatment of the degeneration of mores, the predicaments of official institutions, and the Confucian elite’s futile struggle to reassert moral and cultural authority. Like many of his fellow literati, Wu found the vernacular novel an expressive and malleable medium for discussing elite concerns. Through a close reading of Rulin waishi, Shang Wei seeks to answer such questions as What accounts for the literati’s enthusiasm for writing and reading novels? Does this enthusiasm bespeak a conscious effort to develop a community of critical discourse outside the official world? Why did literati authors eschew publication? What are the bases for their social and cultural criticisms? How far do their criticisms go, given the authors’ alleged Confucianism? And if literati authors were interested solely in recovering moral and cultural hegemony for their class, how can we explain the irony found in their works?

As direct descendants of the great courtier-poets Fujiwara no Shunzei (1114-1204) and his son Teika (1162-1244), the heirs of the noble Reizei house can claim an unbroken literary lineage that spans over eight hundred years. During all that time, their primary goal has been to sustain the poetic enterprise, or michi (way), of the house and to safeguard its literary assets. Steven D. Carter weaves together strands of family history, literary criticism, and historical research into a coherent narrative about the evolution of the Reizei Way. What emerges from this innovative approach is an elegant portrait of the Reizei poets as participants in a collective institution devoted more to the continuity of family poetic practices and ideals than to the concept of individual expression that is so central to more modern poetic culture. In addition to the narrative chapters, the book also features an extensive appendix of one hundred poems from over the centuries, by poets who were affiliated with the Reizei house. Carter’s annotations provide essential critical context for this selection of poems, and his deft translations underscore the rich contributions of the Reizei family and their many disciples to the Japanese poetic tradition.

P’ansori, the traditional oral narrative of Korea, is sung by a highly trained soloist to the accompaniment of complex drumming. The singer both narrates the story and dramatizes all the characters, male and female. Performances require as long as six hours and make extraordinary vocal demands. In the first book-length treatment in English of this remarkable art form, Marshall R. Pihl traces the history of p’ansori from its roots in shamanism and folktales through its nineteenth-century heyday under highly acclaimed masters and discusses its evolution in the twentieth century. After examining the place of p’ansori in popular entertainment and its textual tradition, he analyzes the nature of texts in the repertoire and explains the vocal and rhythmic techniques required to perform them. Pihl’s superb translation of the alternately touching and comic "Song of Shim Ch’ong"--the first annotated English translation of a full p’ansori performance text--illustrates the emotional range, narrative variety, and technical complexity of p’ansori literature. The Korean Singer of Tales will interest not only Korean specialists, but also students of comparative literature, folklore, anthropology, and music.

China’s sixteenth and seventeenth centuries saw an unprecedented explosion in the production and circulation of woodblock-printed books. What can surviving traces of that era’s print culture reveal about the makers and consumers of these books? Home and the World addresses this question by carefully examining a wide range of late Ming books, considering them not merely as texts, but as material objects and economic commodities designed, produced, and marketed to stand out in the distinctive book marketplace of the time, and promising high enjoyment and usefulness to readers. Although many of the mass-market commercial imprints studied here might have struck scholars from the eighteenth century on as too trivial, lowbrow, or slipshod to merit serious study, they prove to be an invaluable resource, providing insight into their readers’ orientations toward the increasingly complex global stage of early modernity and toward traditional Chinese conceptions of textual, political, and moral authority. On a more intimate scale, they tell us about readers’ ideals of a fashionable and pleasurable private life. Through studying these works, we come closer to recapturing the trend-conscious, sophisticated, and often subversive ways readers at this important moment in China’s history imagined their world and their place within it. 2015 Joseph Levenson Book Prize, Pre-1900 Category, China and Inner Asia Council of the Association for Asian Studies