This volume makes available for the first time in English two of the most important novels of Japanese colonialism: Yuasa Katsuei’s Kannani and Document of Flames. Born in Japan in 1910 and raised in Korea, Yuasa was an eyewitness to the ravages of the Japanese occupation. In both of the novels presented here, he is clearly critical of Japanese imperialism. Kannani (1934) stands alone within Japanese literature in its graphic depictions of the racism and poverty endured by the colonized Koreans. Document of Flames (1935) brings issues of class and gender into sharp focus. It tells the story of Tokiko, a divorced woman displaced from her Japanese home who finds herself forced to work as a prostitute in Korea to support herself and her child. Tokiko eventually becomes a landowner and oppressor of the Koreans she lives amongst, a transformation suggesting that the struggle against oppression often ends up replicating the structure of domination.

In his introduction, Mark Driscoll provides a nuanced and engaging discussion of Yuasa’s life and work and of the cultural politics of Japanese colonialism. He describes Yuasa’s sharp turn, in the years following the publication of Kannani and Document of Flames, toward support for Japanese nationalism and the assimilation of Koreans into Japanese culture. This abrupt ideological reversal has made Yuasa’s early writing—initially censored for its anticolonialism—all the more controversial. In a masterful concluding essay, Driscoll connects these novels to larger theoretical issues, demonstrating how a deep understanding of Japanese imperialism challenges prevailing accounts of postcolonialism.

During the 1980s, many of America’s most respected colleges and universities suffered financial crises, athletic scandals, a troubling upsurge of racial conflict, and the divisiveness of political correctness “wars.” Yet Duke University not only avoided these dangers but changed dramatically from a very good regional university to one of the nation’s top research institutions. Its undergraduate campus was hailed as a “hot college”; its Blue Devils basketball team was pronounced a model for student athletes; its graduate and professional schools gained new national prominence; and its scholars were quoted frequently in the popular press on both sides of the political correctness debates.
In Keeping an Open Door, Duke chancellor (1982-1985) and president (1985-1993) Keith Brodie and coauthor Leslie Banner recount what it was like to lead Duke during an era of change for research universities across the country: how Brodie reached some of his most controversial decisions, including the “Black Faculty Initiative”; his strategy for precluding abuse in Division I athletics at Duke; how his training as a psychiatrist shaped his leadership style and influenced how he dealt with trustees, deans, faculty, and students; and the avenues of power still open to today’s university presidents. The history and feeling of life on the Duke campus during the Brodie era are vividly evoked in photographs and key speeches introduced by the former president’s personal recollections.
Keeping an Open Door provides an insider’s view of issues critical to modern research universities and will interest anyone concerned with the history and future of higher education.

“Keeping Faith, Losing Faith: Religious Belief and Political Economy” considers the historical and current relationship between religious and economic schools of thought. The volume explores the integration of theology and economics that was prevalent before the twentieth century, the rise of secular neoclassical economic models in the middle of that century, and the recent trend toward examining economic behavior through the prism of religious belief.

Two of the essays examine the antagonism between Christianity and utilitarianism in postrevolutionary French economics and the rising influence of the materialism of the market vis-à-vis the declining authority of the Roman Catholic Church in eighteenth-century Europe. Other topics explored include the work of the great American neoclassicist Frank Knight, the combination of utility analysis and Christian principles among the “clerical economists” in America, and the effect of a crisis of personal faith on the theories of the English philosopher and economist Henry Sidgwick.

This special issue of the Journal of Health Politics, Policy and Law centers on Nobel laureate Kenneth J. Arrow’s seminal article "Uncertainty and the Welfare Economics of Medical Care." When the essay first appeared in 1963, health economics did not exist as an established field, and there was a professional and social bias against thinking about health care in economic terms. Arrow’s trailblazing article laid the foundation for modern health economics and has guided its direction for four decades.

Now the Journal of Health Politics, Policy and Law examines this legacy, opening with a foreword by Mark V. Pauly, one of the first to publish a response to Arrow’s original article and a major voice in health economics today. A reprint of the article itself serves as a springboard from which contributors assess the accuracy of Arrow’s portrayal of the United States health care system in the early sixties and evaluate how the system has progressed since that time. The contributors to this remarkable collection include some of the most distinguished scholars in the health policy field.

Designed to be an effective reference tool, this issue sets Arrow’s original article apart from the rest by printing it on tinted paper. The contributors’ responses to Arrow are divided into four parts—Part 1: Supply, Demand, and Health Care Competition; Part 2: Risk, Insurance, and Redistribution; Part 3: Information, Knowledge, and Medical Markets; Part 4: Social Norms and Professionalism.

In twenty essays on subjects such as noise, acoustics, music, and silence, Keywords in Sound presents a definitive resource for sound studies, and a compelling argument for why studying sound matters. Each contributor details their keyword's intellectual history, outlines its role in cultural, social and political discourses, and suggests possibilities for further research. Keywords in Sound charts the philosophical debates and core problems in defining, classifying and conceptualizing sound, and sets new challenges for the development of sound studies.

Contributors. Andrew Eisenberg, Veit Erlmann, Patrick Feaster, Steven Feld, Daniel Fisher, Stefan Helmreich, Charles Hirschkind, Deborah Kapchan, Mara Mills, John Mowitt, David Novak, Ana Maria Ochoa Gautier, Thomas Porcello, Tom Rice, Tara Rodgers, Matt Sakakeeny, David Samuels, Mark M. Smith, Benjamin Steege, Jonathan Sterne, Amanda Weidman

Television shows, comic strips, video games, and other forms of media directed at children are the subject of frequent and rancorous debate. In Kids’ Media Culture some of the most prominent cultural theorists of children’s media join forces with exciting new voices in the field to consider the production and consumption of media aimed at children. What’s good for kids and what’s merely exploitive? Are shows that attempt to level the socioeconomic playing field by educating children effective? The essays in this anthology tackle these questions and pose provocative new questions of their own.
As part of their argument that children’s reactions to mass media are far more complex and dynamic than previously thought, contributors examine the rise of mass media in postwar America. They explore how books, cartoons, and television shows of the 1950s and 1960s—such as Lassie and Dennis the Menace—helped redefine American identity and export an image of a particularly American optimism and innocence worldwide. Other essays take up the controversies surrounding such shows as Sesame Street, My So-Called Life, and Mighty Morphin Power Rangers. After discussing the differences in how children and adults react to such programs, the collection focuses on television in schools and the ways that mass media convey messages about gender and socialization.
Kids’ Media Culture makes clear that children are active, engaged participants in the media culture surrounding them. This volume will be compelling reading for those interested in television and cultural studies as well as anyone interested in children’s education and welfare.

Contributors. Heather Gilmour, Sean Griffin, Heather Hendershot, Henry Jenkins, Yasmin B. Kafai, Jyotsna Kapur, Marsha Kinder, Susan Murray, Elissa Rashkin, Ellen Seiter, Lynn Spigel, Karen Orr Vered

In Kids Rule! Sarah Banet-Weiser examines the cable network Nickelodeon in order to rethink the relationship between children, media, citizenship, and consumerism. Nickelodeon is arguably the most commercially successful cable network ever. Broadcasting original programs such as Dora the Explorer, SpongeBob SquarePants, and Rugrats (and producing related movies, Web sites, and merchandise), Nickelodeon has worked aggressively to claim and maintain its position as the preeminent creator and distributor of television programs for America’s young children, tweens, and teens. Banet-Weiser argues that a key to its success is its construction of children as citizens within a commercial context. The network’s self-conscious engagement with kids—its creation of a “Nickelodeon Nation” offering choices and empowerment within a world structured by rigid adult rules—combines an appeal to kids’ formidable purchasing power with assertions of their political and cultural power.

Banet-Weiser draws on interviews with nearly fifty children as well as with network professionals; coverage of Nickelodeon in both trade and mass media publications; and analysis of the network’s programs. She provides an overview of the media industry within which Nickelodeon emerged in the early 1980s as well as a detailed investigation of its brand-development strategies. She also explores Nickelodeon’s commitment to “girl power,” its ambivalent stance on multiculturalism and diversity, and its oft-remarked appeal to adult viewers. Banet-Weiser does not condemn commercial culture nor dismiss the opportunities for community and belonging it can facilitate. Rather she contends that in the contemporary media environment, the discourses of political citizenship and commercial citizenship so thoroughly inform one another that they must be analyzed in tandem. Together they play a fundamental role in structuring children’s interactions with television.

The King and the Adulteress brings together two essays that propose radically revisionary readings of two of the most important literary works in the Western canon, Flaubert’s Madame Bovary and Shakespeare’s King Lear. In offering a new understanding of a deeply sadomasochistic relationship and of an authoritarian pathology, renowned psychoanalyst Roberto Speziale-Bagliacca combines psychoanalysis with literary studies to challenge the conventional judgments of readers and the stereotyped interpretations of literary critics to these masterpieces.
Approaching the characters in Bovary and Lear from both an analytic and a critical viewpoint, Speziale-Bagliacca reinterprets many issues and events that involve archetypal figures of modern literary mythology. In fact, he reverses much of the received opinion about them. Charles Bovary, for example, far from being a victim of his wife’s neurotic restlessness or the epitome of a passive imbecile, is a masochist of the highest order who makes a decisive contribution to Emma’s miserable end. Lear, rather than a tragedy involving the sweet Cordelia, noble Kent, and the Fool as good and loyal supporters of an old king driven to madness by his overbearing evil daughters, is precisely the opposite. The sympathetic understanding of the reader should go, Speziale-Bagliacca suggests, also to Regan, Goneril, and Edmund, while the king, whose crisis is interpreted in the light of psychoanalytic findings on depression, finally becomes the true unbeloved "bastard" of the play.
Roberto Speziale-Bagliacca is a psychoanalyst and Professor of Psychotherapy at the Medical School of the University of Genoa. He is the author of On the Shoulders of Freud and many other works.

Taking King Lear as her central text, Judy Kronenfeld seriously questions the critical assumptions of much of today’s most fashionable Shakespeare scholarship. Charting a new course beyond both New Historicist and deconstructionist critics, she suggests a theory of language and interpretation that provides essential historical and linguistic contexts for the key terms and concepts of the play. Opening the play up to the implications of these contexts and this interpretive theory, she reveals much about Lear, English Reformation religious culture, and the state of contemporary criticism.

Kronenfeld’s focus expands from the text of Shakespeare’s play to a discussion of a shared Christian culture—a shared language and set of values—a common discursive field that frames the social ethics of the play. That expanded focus is used to address the multiple ways that clothing and nakedness function in the play, as well as the ways that these particular images and terms are understood in that shared context. As Kronenfeld moves beyond Lear to uncover the complex resonances of clothing and nakedness in sermons, polemical tracts, legislation, rhetoric, morality plays, and actual or alleged practices such as naked revolts by Anabaptists and the Adamians’ ritual disrobing during religious services, she demonstrates that many key terms and concepts of the period cannot be tied to a single ideology. Instead, they represent part of an intricate network of thought shared by people of seemingly opposite views, and it is within such shared cultural networks that dissent, resistance, and creativity can emerge. Warning her readers not to take the language of literary texts out of the linguistic context within which it first appeared, Kronenfeld has written a book that reinterprets the linguistic model that has been the basis for much poststructuralist criticism.

A Study of the Weatherhead East Asian Institute, Columbia University

Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.

Over the past decade, Korean popular culture has become a global phenomenon. The "Korean Wave" of music, film, television, sports, and cuisine generates significant revenues and cultural pride in South Korea. The Korean Popular Culture Reader provides a timely and essential foundation for the study of "K-pop," relating the contemporary cultural landscape to its historical roots. The essays in this collection reveal the intimate connections of Korean popular culture, or hallyu, to the peninsula's colonial and postcolonial histories, to the nationalist projects of the military dictatorship, and to the neoliberalism of twenty-first-century South Korea. Combining translations of seminal essays by Korean scholars on topics ranging from sports to colonial-era serial fiction with new work by scholars based in fields including literary studies, film and media studies, ethnomusicology, and art history, this collection expertly navigates the social and political dynamics that have shaped Korean cultural production over the past century.

Contributors. Jung-hwan Cheon, Michelle Cho, Youngmin Choe, Steven Chung, Katarzyna J. Cwiertka, Stephen Epstein, Olga Fedorenko, Kelly Y. Jeong, Rachael Miyung Joo, Inkyu Kang, Kyu Hyun Kim, Kyung Hyun Kim, Pil Ho Kim, Boduerae Kwon, Regina Yung Lee, Sohl Lee, Jessica Likens, Roald Maliangkay, Youngju Ryu, Hyunjoon Shin, Min-Jung Son, James Turnbull, Travis Workman

Recent Duke University graduate Aaron Dinin has produced an entertaining, imaginative look at Krzyzewskiville, the tent city named after Duke University's head men's basketball coach Mike Krzyzewski (Sha-shef-ski). A unique Duke tradition, Krzyzewskiville is used to determine which students are admitted into key games. Taking Geoffrey Chaucer's Canterbury Tales as his model, Dinin has created characters who narrate their semifictionalized tales—by turns reverent, bawdy, and humorous—to enlighten readers about this cherished institution.

So the story begins. On a wintry night in Durham, North Carolina, writes Dinin, twelve students huddle under the meager protection of a nylon tent. They have little in common except the sacrosanct tradition that has brought them together for the past month. Before the sun next sets, they will anoint themselves in blue and white paint and enter nearby Cameron Indoor Stadium to worship at the altar of Blue Devils basketball. In the meantime, they abide in Krzyzewskiville.

A stranger enters the tent, a respected sportswriter, and suggests that the tenters pass the hours until the next tent check by telling stories of Krzyzewskiville. Like Chaucer’s pilgrims, the students compete to tell the best tale. They report on ribald tenting exploits, relate a dream in which Duke basketball players and coaches test a fan’s loyalty, debate the rationality of tenting as a way of allocating students’ tickets, and describe the spontaneous tent city that sprang up one summer when their beloved “Coach K” was offered a job elsewhere. This storytelling competition creates a loving portrait of the complex rules and tribal customs that make up the rich community and loyal fans that are Krzyzewskiville.

Mickie Krzyzewski, Coach K’s wife and a familiar courtside figure at Duke basketball games, has contributed a foreword praising the “love, commitment, and ownership” of the citizens of Krzyzewskiville.

The films of Akira Kurosawa have had an immense effect on the way the Japanese have viewed themselves as a nation and on the way the West has viewed Japan. In this comprehensive and theoretically informed study of the influential director’s cinema, Mitsuhiro Yoshimoto definitively analyzes Kurosawa’s entire body of work, from 1943’s Sanshiro Sugata to 1993’s Madadayo. In scrutinizing this oeuvre, Yoshimoto shifts the ground upon which the scholarship on Japanese cinema has been built and questions its dominant interpretive frameworks and critical assumptions.
Arguing that Kurosawa’s films arouse anxiety in Japanese and Western critics because the films problematize Japan’s self-image and the West’s image of Japan, Yoshimoto challenges widely circulating clichés about the films and shows how these works constitute narrative answers to sociocultural contradictions and institutional dilemmas. While fully acknowledging the achievement of Kurosawa as a filmmaker, Yoshimoto uses the director’s work to reflect on and rethink a variety of larger issues, from Japanese film history, modern Japanese history, and cultural production to national identity and the global circulation of cultural capital. He examines how Japanese cinema has been “invented” in the discipline of film studies for specific ideological purposes and analyzes Kurosawa’s role in that process of invention. Demonstrating the richness of both this director’s work and Japanese cinema in general, Yoshimoto’s nuanced study illuminates an array of thematic and stylistic aspects of the films in addition to their social and historical contexts.
Beyond aficionados of Kurosawa and Japanese film, this book will interest those engaged with cultural studies, postcolonial studies, cultural globalization, film studies, Asian studies, and the formation of academic disciplines.