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  • On the Contributors

Hosokawa Shūhei is Professor at the International Research Center for Japanese Studies. His major fields are Japanese popular music and Japanese-Brazilian cultural history. He has published Samba no kuni ni enka wa nagareru (Enka in the Country of Samba, Chūō Kōronsha, 1995), Shinemaya Burajiru o yuku (Japanese Cinema Travels around Brazil, Shinchōsha, 1999), Tōki ni arite tsukurumono (Yearning from Afar, Misuzu Shobō, 2008, winner of the Yomiuri Literature Prize), Nikkei-Burajiru imin bungaku (Literature of Japanese-Brazilian Immigrants, 2 vols., Misuzu Shobō, 2012-13). He is co-editor of Karaoke around the World: Global Technology, Local Singing (with Mitsui Tōru, Routledge, 1998). His recent publications include: “Shochiku Girls’ Opera and 1920s Dotonbori Jazz,” in Music, Modernity and Locality in Prewar Japan: Osaka and Beyond (Ashgate 2013), “The Swinging Phonograph in a Hot Teahouse,” in Sound, Space and Sociality in Modern Japan (Routledge, 2014), and “Sketches of Silent Film Sound in Japan: Theatrical Functions of Ballyhoo, Orchestras, and Kabuki Ensembles,” in The Oxford Handbook of Japanese Cinema (Oxford, 2014).


Thomas Keirstead is Associate Professor in the Department of East Asian Studies at the University of Toronto. A medievalist with an enduring interest in historiography, he has written on early modern and modern conceptions of the past as it appears in a variety of genres, including film, anime, and historical fiction.


Lee Ufan was born in Korea and immigrated to Japan in 1956. He obtained a degree in philosophy at Nihon University, Tokyo, in 1961 and is widely known as the key ideologue of Mono-ha through his critical writings and sculptural practice that explore [End Page 262] the phenomenal encounter between organic and industrial objects. He is also known as a significant figure of Tansaekhwa (Korean monochrome painting) for his painting practice since 1973. Dividing his time between Japan and France, Lee has had solo exhibitions worldwide, most notably Lee Ufan: Marking Infinity at the Guggenheim Museum, New York, in 2011 and Lee Ufan–Versailles at the Palace of Versailles, France, in 2014.

Christine Marran is Associate Professor of Japanese Literature and Film at the University of Minnesota, specializing in gender studies and ecocriticism. Since the publication of her book on gender in literary and medical discourse (Poison Woman: Figuring Female Transgression in Modern Japanese Culture, University of Minnesota Press, 2007), Marran writes about environment and aesthetics in literature and visual culture. She has published in Japan at Nature’s Edge: The Environmental Context of a Global Power, and the journals Poetica, Environmental History, Mechademia, and elsewhere.


Miya Elise Mizuta is Adjunct Assistant Professor at the University of Southern California in the Department of East Asian Languages and Cultures and the Department of Art History. She is managing editor of the Review of Japanese Culture and Society (Jōsai University). The essay that appears here is drawn from her book manuscript Aesthetic Life: The Artistic Discourse of Beauty in Modern Japan. Her current book project explores the trope of illumination in literary works and the convergence of technology and art in light-based artistic media and is titled From Shadow to Illumination: Art, Literature, and Electric Light in Modern Japan.


Morikawa Kaichiro is Associate Professor at the School of Global Japanese Studies at Meiji University. He received an MA in architecture at Waseda University and served as commissioner of the Japanese pavilion at the Venice Biennale 9th International Architecture Exhibition in 2004, where he produced the exhibit OTAKU: persona = space = city. He is currently working to establish the Tokyo International Manga Museum and directing the Yoshihiro Yonezawa Memorial Museum of Manga and Subcultures at Meiji University. His publications include: Shuto no tanjō: moeru toshi Akihabara (Learning from Akihabara: The Birth of a Personapolis, Gentosha, 2003).


Kano Masanao is a historian of modern Japan and Professor Emeritus at Waseda University. He was one of the central figures in the field of minshūshi (people’s history), which emerged in the 1960s. His work has continued to evolve since, bridging social and intellectual history. His numerous works include: Nihon kindaika no shisō (Modernization [End Page 263...


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