This captivating gallery offers rare glimpses of Japanese culture during the early years of the 20th century. Drawn from popular women's magazines of the Taishô period, its kuchi-e (frontispiece pictures) of bijin (beauties) represent a variety of artists, from the visual poetry of famous painters to more prosaic efforts by anonymous designers. Printed in the era's latest techniques of color lithography and offset printing, these kuchi-e bijin were created for mass production, yet they echo the form and appeal of woodblock prints from earlier generations. Their fashions are new enough to be exciting but sufficiently traditional to be reassuringly familiar. Embracing noble ideals and modern reality, the kuchi-e bijin suggest both the aspirations and the mundane truths of their audience, combining the sense of fine art and the sensibilities of popular illustration. Kendall H. Brown is Associate Professor of Asian Art History at California State University, Long Beach. His informative captions and Preface explore the images' literary content, social context, and the technologies used in their production. A valuable resource for scholars of Japanese art and period book illustration, this volume is also of tremendous interest to anyone with an eye for beauty.

The hugely popular Japanese artist Takehisa Yumeji (1884–1934) is an emblematic figure of Japan’s rapidly changing cultural milieu in the early twentieth century. His graphic works include leftist and antiwar illustrations in socialist bulletins, wrenching portrayals of Tokyo after the Great Kantō Earthquake of 1923, and fashionable images of beautiful women—referred to as “Yumeji-style beauties”—in books and magazines that targeted a new demographic of young female consumers. Yumeji also played a key role in the reinvention of the woodblock medium. As his art and designs proliferated in Japan’s mass media, Yumeji became a recognizable brand. In the first full-length English-language study of Yumeji’s work, Nozomi Naoi examines the artist’s role in shaping modern Japanese identity. Addressing his output from the start of his career in 1905 to the 1920s, when his productivity peaked, Yumeji Modern introduces for the first time in English translation a substantial body of Yumeji’s texts, including diary entries, poetry, essays, and commentary, alongside his illustrations. Naoi situates Yumeji’s graphic art within the emerging media landscape from 1900s through the 1910s, when novel forms of reprographic communication helped create new spaces of visual culture and image circulation. Yumeji’s legacy and his present-day following speak to the broader, ongoing implications of his work with respect to commercial art, visual culture, and print media.

A Vivid and Moving Portrait of a Reluctant Queen After sending his army to besiege another king's capital, King David forces himself on Bathsheba, a loyal soldier's wife. When her resulting pregnancy forces the king to murder her husband and add her to his harem, Bathsheba struggles to protect her son while dealing with the effects of a dark prophecy and deadly curse on the king's household. Combining historical facts with detailed fiction, Angela Hunt paints a realistic portrait of the beautiful woman who struggled to survive the dire results of divine judgment on a king with a divided heart.

"This study of modern Japan engages the fields of art history, literature, and cultural studies, seeking to understand how the “beautiful woman” (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868–1912). With origins in the formative period of modern Japanese art and aesthetics, the figure of the bijin appeared across a broad range of visual and textual media: photographs, illustrations, prints, and literary works, as well as fictional, critical, and journalistic writing. It eventually constituted a genre of painting called bijinga (paintings of beauties).Aesthetic Life examines the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art. As Japan worked to establish its place in the world, it actively presented itself as an artistic nation based on these ideals of feminine beauty. The book explores this exemplary figure for modern Japanese aesthetics and analyzes how the deceptively ordinary image of the beautiful Japanese woman—an iconic image that persists to this day—was cultivated as a “national treasure,” synonymous with Japanese culture."

A Complex and Compelling Glimpse at One of the Bible's Baddest Girls Life is not easy in Philistia, especially not for a woman and child alone. When beautiful, wounded Delilah finds herself begging for food to survive, she resolves that she will find a way to defeat all the men who have taken advantage of her. She will overcome the roadblocks life has set before her, and she will find riches and victory for herself. When she meets a legendary man called Samson, she senses that in him lies the means for her victory. By winning, seducing, and betraying the hero of the Hebrews, she will attain a position of national prominence. After all, she is beautiful, she is charming, and she is smart. No man, not even a supernaturally gifted strongman, can best her in a war of wits.

In this study the author analyses similarities, differences and contradictions in the cultural norms about gender expressed in proverbs she has found in oral and written sources from over 150 countries. Grouping the proverbs into categories as the female body, love, sex, childbirth and the female power, the author examines shared patterns in ideas about women and how men see them.

Like a gathering of flowers from hedge and field, or a cloak made of owl feathers, Blodeuwedd is a figure of great complexity. She is both Flower Maiden and Owl of Wisdom… unfaithful wife and representative of Sovereignty… fallen woman and feminist heroine… medieval cautionary tale and reclaimed divinity. Yet, for all of these seeming inconstancies, the key to understanding Blodeuwedd is being able to see her as a whole. Bringing together strands of Celtic lore, Welsh literature, British folk practice, and modern devotion, Celticist Jhenah Telyndru weaves a solid foundation from which scholars and seekers alike can come into deeper relationship with this oft-misunderstood figure. Ultimately, this journey to reclaim Blodeuwedd’s identity - a Sovereignty Goddess who ensured the cycle of the seasons by choosing, in turn, to partner with the Solar Hero of Summer and the Otherworldly Champion of Winter - reveals a transformational mythic pathway that can also guide us in the reclamation of our own sovereignty.

Familial Properties is the first full-length history of Vietnamese gender relations in the precolonial period. Author Nhung Tuyet Tran shows how, despite the bias in law and practice of a patrilineal society based on primogeniture, some women were able to manipulate the system to their own advantage. Women succeeded in taking pragmatic advantage of socioeconomic turmoil during a time of war and chaos to acquire wealth and, to some extent, control what happened to their property. Drawing from legal, literary, and religious sources written in the demotic script, classical Chinese, and European languages, Tran argues that beginning in the fifteenth century, state and local communities produced laws and morality codes limiting women’s participation in social life. Then in the seventeenth and eighteenth centuries, economic and political turmoil led the three competing states—the Mac, Trinh, and Nguyen—to increase their military service demands, producing labor shortages in the fields and markets of the countryside. Women filled the vacuum left by their brothers, husbands, and fathers, and as they worked the lands and tended the markets, they accumulated monetary capital. To protect that capital, they circumvented local practice and state law guaranteeing patrilineal inheritance rights by soliciting the cooperation of male leaders. In exchange for monetary and landed donations to the local community, these women were elected to become spiritual patrons of the community whose souls would be forever preserved by collective offering. By tracing how the women, local leaders, and court elites negotiated gender models to demarcate their authority, Tran demonstrates that despite the Confucian ethos of the times, survival strategies were able to subvert gender norms and create new cultural models. Gender, thus, as a signifier of power relations, was central to the relationship between state and local communities in early modern Vietnam. Rich and detailed in its use of documentary evidence from a range of archives, this work will be of great interest to scholars of Southeast Asian history and the comparative study of gender.