At once an intimate account of the diarists' lives and a testimony to the greater struggles and advances of Japanese culture, this book illuminates the hidden and largely unknown worlds of imperial courts, Buddhist monasteries, country inns, and merchants' houses.

At once an intimate account of the diarists' lives and a testimony to the greater struggles and advances of Japanese culture, this book illuminates the hidden and largely unknown worlds of imperial courts, Buddhist monasteries, country inns, and merchants' houses.

A study of Persian travel accounts, dealing with India, Iran and Central Asia between 1400 and 1800.

In the Middle Ages, Muslim travelers embarked on a rihla, or world tour, as surveyors, emissaries, and educators. On these journeys, voyagers not only interacted with foreign cultures—touring Greek civilization, exploring the Middle East and North Africa, and seeing parts of Europe—they also established both philosophical and geographic boundaries between the faithful and the heathen. These voyages thus gave the Islamic world, which at the time extended from the Maghreb to the Indus Valley, a coherent identity. Islam and Travel in the Middle Ages assesses both the religious and philosophical aspects of travel, as well as the economic and cultural conditions that made the rihla possible. Houari Touati tracks the compilers of the hadith who culled oral traditions linked to the prophet, the linguists and lexicologists who journeyed to the desert to learn Bedouin Arabic, the geographers who mapped the Muslim world, and the students who ventured to study with holy men and scholars. Travel, with its costs, discomforts, and dangers, emerges in this study as both a means of spiritual growth and a metaphor for progress. Touati’s book will interest a broad range of scholars in history, literature, and anthropology.

This is a primary source collection of narratives about the travel and discovery in North and South America, Africa, Asia, and Europe in the 16th century.

In retracing explorer Mungo Park's fatal journey down West Africa's Niger River, author and adventuress Salak became the first person to travel alone from Mali's Old Segou to Timbuktu, the legendary "doorway to the end of the world." This is her story.

First published in 2001. This is the first substantial reference work in English on the various forms that constitute "life writing." As this term suggests, the Encyclopedia explores not only autobiography and biography proper, but also letters, diaries, memoirs, family histories, case histories, and other ways in which individual lives have been recorded and structured. It includes entries on genres and subgenres, national and regional traditions from around the world, and important auto-biographical writers, as well as articles on related areas such as oral history, anthropology, testimonies, and the representation of life stories in non-verbal art forms.

Branding Japanese Food is the first book in English on the use of food for the purpose of place branding in Japan. At the center of the narrative is the 2013 inscription of “Washoku, traditional dietary cultures of the Japanese, notably for the celebration of New Year” on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. The authors challenge the very definition of washoku as it was presented in the UNESCO nomination, and expose the multitude of contradictions and falsehoods used in the promotion of Japanese cuisine as part of the nation-branding agenda. Cwiertka and Yasuhara argue further that the manipulation of historical facts in the case of washoku is actually a continuation of similar practices employed for centuries in the branding of foods as iconic markers of tourist attractions. They draw parallels with gastronomic meibutsu (famous products) and edible omiyage (souvenirs), which since the early modern period have been persistently marketed through questionable connections with historical personages and events. Today, meibutsu and omiyage play a central role in the travel experience in Japan and comprise a major category in the practices of gift exchange. Few seem to mind that the stories surrounding these foods are hardly ever factual, despite the fact that the stories, rather than the food itself, constitute the primary attraction. The practice itself is derived from the intellectual exercise of evoking specific associations and sentiments by referring to imaginary landscapes, known as utamakura or meisho. At first restricted to poetry, this exercise was expanded to the visual arts, and by the early modern period familiarity with specific locations and the culinary associations they evoked had become a fixed component of public collective knowledge. The construction of the myths of meibutsu, omiyage, and washoku as described in this book not only enriches the understanding of Japanese culinary culture, but also highlights the dangers of tweaking history for branding purposes, and the even greater danger posed by historians remaining silent in the face of this irreversible reshaping of the past into a consumable product for public enjoyment.

From the renowned journalist comes this intimate account of his years in the field, traveling for the first time beyond the Iron Curtain to India, China, Ethiopia, and other exotic locales. In the 1950s, Ryszard Kapuscinski finished university in Poland and became a foreign correspondent, hoping to go abroad – perhaps to Czechoslovakia. Instead, he was sent to India – the first stop on a decades-long tour of the world that took Kapuscinski from Iran to El Salvador, from Angola to Armenia. Revisiting his memories of traveling the globe with a copy of Herodotus' Histories in tow, Kapuscinski describes his awakening to the intricacies and idiosyncrasies of new environments, and how the words of the Greek historiographer helped shape his own view of an increasingly globalized world. Written with supreme eloquence and a constant eye to the global undercurrents that have shaped the last half-century, Travels with Herodotus is an exceptional chronicle of one man's journey across continents.

Eccentric artists are “the vagaries of humanity” that inhabit the deviant underside of Japanese society: This was the conclusion drawn by pre–World War II commentators on most early modern Japanese artists. Postwar scholarship, as it searched for evidence of Japan’s modern roots, concluded the opposite: The eccentric, mad, and strange are moral exemplars, paragons of virtue, and shining hallmarks of modern consciousness. In recent years, the pendulum has swung again, this time in favor of viewing these oddballs as failures and dropouts without lasting cultural significance. This work corrects the disciplinary (and exclusionary) nature of such interpretations by reconsidering the sudden and dramatic emergence of aesthetic eccentricity during the Edo period (1600–1868). It explains how, throughout the period, eccentricity (ki) and madness (kyō) developed and proliferated as subcultural aesthetics. By excavating several generations of early modern Japan’s eccentric artists, it demonstrates that individualism and strangeness carried considerable moral and cultural value. Indeed, Edo society fetishized various marginal personae—the recluse, the loser, the depraved, the outsider, the saint, the mad genius—as local heroes and paragons of moral virtue. This book concludes that a confluence of intellectual, aesthetic, and social conditions enabled multiple concurrent heterodoxies to crystallize around strangeness as a prominent cultural force in Japanese society. A study of impressive historical and disciplinary breadth, The Aesthetics of Strangeness also makes extensive use of primary sources, many previously overlooked in existing English scholarship. Its coverage of the entire Edo period and engagement with both Chinese and native Japanese traditions reinterprets Edo-period tastes and perceptions of normalcy. By wedding art history to intellectual history, literature, aesthetics, and cultural practice, W. Puck Brecher strives for a broadly interdisciplinary perspective on this topic. Readers will discover that the individuals that form the backbone of his study lend credence to a new interpretation of Edo-period culture: a growing valuation of eccentricity within artistic and intellectual circles that exerted indelible impacts on mainstream society. The Aesthetics of Strangeness demystifies this emergent paradigm by illuminating the conditions and tensions under which certain rubrics of strangeness— ki and kyō particularly—were appointed as aesthetic criteria. Its revision of early modern Japanese culture constitutes an important contribution to the field.