Publications

Rosemary Candelario

• Flowers Cracking Concrete: Eiko & Koma’s Asian/American Choreographies. Middletown, CT: Wesleyan University Press, 2o16.
• “‘Now we have a passport’: global and local butoh.” In The Routledge Companion to Butoh Performance, edited by Bruce Baird and Rosemary Candelario, 245-253. London: Routledge, 2018.

Michelle Liu Carriger

• “‘Maiden’s Armor’: Global Gothic Lolita Fashion Communities and Technologies of Girly Counter-Identity.” Theatre Survey special issue, “Performing Girlhoods” 60 .1 (January 2019 ): 122 -146.
• “No ‘Thing to Wear’: A Brief History of Kimono and Inappropriation from Japonisme to Kimono Protests.” Theatre Research International, 43 .2 (July 2018 ): 165-184.

Andrea S. Goldman

• Opera and the City: The Politics of Culture in Beijing, 1770-1900 (Stanford, CA: Stanford U Press, 2012).

Kristopher W. Kersey

• “Impermanence, Futurity, and Loss in Twelfth-Century Japan,” in Destroyed – Disappeared – Lost – Never Were, edited by Beate Fricke and Aden Kumler, 87–99. University Park: The Pennsylvania State University Press, 2022.

John Namjun Kim

• Co-edited with Richard F. Calichman. The Politics of Culture: Around the Work of Naoki Sakai. London: Routledge, 2010. 255 pages.
• “Die Poetik einer transzendentalen Deduktion: Das Ich bei Tawada und Kant” (The Poetics of a Transcendental Deduction: The I in Tawada and Kant).Text + Kritik. Zeitschrift für Literatur. Yoko Tawada. VII, no. 191/192 (2011):  94-98.
• “Ethnic Irony: The Poetic Parabasis of the Promiscuous Personal Pronoun in Yoko Tawada’s ‘Eine leere Flasche’ (A Vacuous Flask).” The German Quarterly 83, no. 3 (2010):  333-52.
• “Writing the Cleft: Tawada Translates Celan.” In Poetik der Transformation: Beiträge zum Gesamtwerk. Mit dem Stück Sancho Pansa von Yoko Tawada, edited by Christine Ivanovic, 233-39. Tübingen: Stauffenburg, 2010.
• “Politics as Translation: Naoki Sakai and the Critique of Hermeneutics.” In The Politics of Culture: Around the Work of Naoki Sakai, edited by Richard Calichman, and John Namjun Kim, 52-71. London: Routledge, 2010.
  

Namiko Kunimoto

• Imperial Animations in Transpacific Contemporary Art. In preparation.
• “Katsura Yuki and the Allegorical Turn,” chapter in Water Moon Reflections: Essays in Honor of Patricia Berger. Edited by Ellen Huang, Nancy G. Lin, Michelle McCoy, and Michelle H. Wang, (Berkeley: UC Press, 2022), 267-288
• Ōtō seyo kaigasha: nakamura hiroshi intabyū  interviews with Nakamura Hiroshi, edited by Shimada Yoshiko. Tokyo: Hakujunsha, 2021.
• “Photography and the Minamata Disaster” in eds. Erina Duganne, Terri Weissman, and Heather Diack et al., Global Photography: A Critical History (New York: Bloomsbury, 2020), 70-74.
• “Tanaka Atsuko and Electric Dress” in eds. Naoki Yamamoto and Koji Toba, Mediology in a Time of Transformation. (Tokyo: Shinwasha Publishing, 2019), 258-286.
• The Stakes of Exposure: Anxious Bodies in Postwar Japanese Art. Minneapolis: University of Minnesota Press, 2017.
• “Olympic Labor and Displacement: Babel and Its Towers.” Review of Japanese Culture and Society, vol. 33, 2024, p. 88-92. (2024). (peer-reviewed).
• “Cindy Mochizuki and Autumn Strawberry.” Catalogue essay for Autumn Strawberry, (Surrey: Surrey Museum of Art, 2023).
• “Transwar Art in Japan.” Third Text, Vol 36, 6 (December 2022), 583-601. (peer-reviewed)
• Situating “Becoming a Statue of a Japanese ‘Comfort Woman:’ Shimada Yoshiko, Bourgeois Liberalism and the Afterlives of Japanese Imperialism.” Verge: Studies in Global Asias, (vol 8, no 2), 170-200, 2022. (peer-reviewed).
• “On Violence and Gender in Postwar Japanese Art: As Seen Through Untitled, 1962.” White Cube Gallery online exhibit, 2022.
• “Tsujimura Kazuko and the Body/Object.” The Asia-Pacific Journal: Japan Focus vol. 19, no. 3 (Feb 2021). (peer-reviewed).
• “Shiraga Kazuo: The Hero and Concrete Violence”, Art History volume 36, issue 1, (February 2013).
• “Portraits of the Sun: Violence, Gender, and Nation in the Art of Shiraga Kazuo and Tanaka Atsuko”, PhD dissertation, University of California, Berkeley, Proquest, 2010.
  
• “Tanaka Atsuko and the Circuits of Subjectivity” Art Bulletin (forthcoming September 2013).
• “Olympic Dissent: Art, Politics, and the Tokyo Games,” Asia-Pacific Japan Focus Vol. 16. Issue 15, Number 2 (2018). (peer-reviewed)

Gregory Levine

• “Buddha Rush: A Story of Art and its Consequences”, BOOM: A Journal of California, Vol. 2, 3 (Fall, 2012): 45-61.
• “Malraux’s Buddha Heads”, In Blackwell Companion to Asian Art, ed. Deborah Hutton, Rebecca Brown (London: Blackwell, 2011), 629-654.
  

Ann-Elise Lewallen

•  The Fabric of Indigeneity: Contemporary Ainu Identity and Gender in Colonial Japan. School for Advanced Research Press: Santa Fe, NM, 2016.
  
• 2014 Beyond Ainu Studies: Changing Academic and Public Perspectives. Co-editor with Mark Hudson and Mark Watson. Honolulu: University of Hawai’i Press.
  
• 2014 “The Gender of Cloth: Ainu Women and Cultural Revitalization.” In Beyond Ainu Studies. Co-editor with Mark Hudson and Mark Watson. Honolulu: University of Hawai’i Press.
  
• 2014 “Introduction.” Co-authored with Mark Watson. In Beyond Ainu Studies. Co-editor with Mark Hudson and Mark Watson. Honolulu: University of Hawai’i Press.
  
• 2010 “Beyond Feminism: Indigenous Ainu Women and Narratives of Empowerment in Japan.” Edited by Cheryl Suzack, Shari M. Huhndorf, Jeanne Perreault, and Jean Barman. In Indigenous Women and Feminism: Culture, Activism, Politics. Vancouver: University of British Columbia Press, pp. 152-180.
  
• 2009 “Bones of Contention: Negotiating Anthropological Ethics within Fields of Ainu Refusal.” In Politics and Pitfalls of Japan Ethnography: Reflexivity, Responsibility, and Anthropological Ethics. Jennifer Robertson, ed. London: Routledge, pp. 3-24.
• 신화속고토복원을위한유적탐색:메이지시대한반도에서의고고학과 미술사학적조사(1900-1916)(Reclaiming the Ruins of Imagined Imperial Terrains: Meiji Archaeology and art historical surveys in the Korean peninsula (1900-1916).” 일본의발명과 근대 ( The Discovery of “Japan” and Modernity), pp. 247-284, Edited by Sang-in Yoon and Kyu-tae Park, Seoul: Yeesan Publishing Co. 2006 (Book chapter in Korean).

Margherita R. Long

•  2017. “On Shame, Contempt, and Care: Eco-politics and Affect Theory in Ōe’s Post-Fukushima Activism.”Ecocriticism in Japan, ed. Hisaaki Wake, Keijiro Suga and Masami Yuki. Rowman & Littlefield. 121-138.
• 2019. “Humanism and the Hikari-Event: Reading Ōe with Stengers, in Catastrophic Times.” positions (2020) 28 (2): 421–445.
• Reprint: Literature after Fukushima, ed. Linda Flores, Routledge (forthcoming).

William Marotti

• Money, Trains and Guillotines: Art and Revolution in 1960s Japan (Duke University Press, 2013).<>
• Adapted excerpt: “Creative Destruction,” Artforum International (February 2013).
• “Japan 1968: The Performance of Violence and the Theater of Protest,” American Historical Review (February 2009): 97-135.

Kate McDonald

• Kate McDonald, “Speaking Japanese: Language and the Expectation of Empire,” in The Affect of Difference: Representations of Race in the Japanese Empire, ed. Christopher Hanscom and Dennis Washburn (Honolulu: University of Hawaii Press, 2016)
• “Ryôdo, rekishi, aidentitii: Sen-Man kankô to Nihon teikoku no keisei” (Territory, history, identity: Korea-Manchuria tourism and the making of the Japanese empire), Contact Zone, no. 5 (2012): 1-18.

Anne McKnight

• “The Wages of Affluence: The High-Rise Housewife in Japanese Sex Films,” Camera Obscura: Feminism, Culture, and Media Studies (2012) 27(1 79): 1-29; doi:10.1215/02705346-1533430. Honorable Mention, Katherine Singer Kovács Essay Award, Society for Cinema and Media Studies.

Tara Rodman

• Fantasies of Ito Michio. University of Michigan Press, 2024.

Annmaria Shimabuku

• Alegal: Biopolitics and the Unintelligibility of Okinawan Life. Fordham University Press, 2018.
• “A Postcolonial Critique: Okinawa from a Gendered Perspective” in Challenging Ueno Chizuko. Editors: Senda Yûki. Keisô Shobô. Tokyo, 2011. p.248-261.
  
• “Who Should Bear the Burden of US Bases? Governor Nakaima’s Plea for ‘Relocation Site Outside of Okinawa Prefecture, but within Japan.’” The Asia-Pacific Journal. Vol. 9: 45, No. 1 (2011).
  
• “Transpacific Colonialism: An Intimate View of Transnational Activism in Okinawa” CR: The New Centennial Review. Vol. 12: 1 (2012) p.131-158. 27p.
  
• “Undying Colonialism: Translator’s Afterword” The New Centennial Review: Interdisciplinary Perspectives on the Americas. Vol. 12: 1 (2012) p.117-130. 23p.
  

Serk Bae Suh

• Treacherous Translation: Culture, Nationalism, and Colonialism in Korea and Japan from the 1910s to the 1960s (Berkeley: Global, Area, and International Archive/University of California Press, 2013)
• “The Location of “Korean” Culture: Ch’oe Chaesŏ and Korean Literature in a Time of Transition”, Journal of Asian Studies, 70.1 (Spring 2011): 53-75.
• “Treacherous Translation: the 1938 Japanese-Language Theatrical Version of the Korean Tale Ch’unhyangjŏn,” positions: east asia cultures critique, 18. 1 (Spring 2010):171-197.

Wakako Suzuki

• Suzuki, Wakako. “Children’s Play and Gender Performance: Motifs of Transformation in Tanizaki Jun’ichirō’s “The Children” = 子どもの遊びとジェンダー・パフォーマンス: 谷崎潤一郎「少年」:におけ る変身のモチーフ.” U.S.-Japan Women’s Journal 62 (2022): 38-58. https://doi.org/10.1353/jwj.2022.0008.
• Shizuko, Wakamatsu, and Wakako Suzuki. “Trees That Grow Kimono (1895) = 着物のなる木.” U.S.-Japan Women’s Journal 62 (2022): 26-37. https://doi.org/10.1353/jwj.2022.0007.
• Yoriko, Kume, David Boyd, and Wakako Suzuki. “Shōjo Constructed: The Genre Formation of the Meiji-Era Shōjo Shōsetsu = 構成される「少女」∼ 明治期「少女小説」のジャンル形成.” U.S.-Japan Women’s Journal 62 (2022): 9-25. https://doi.org/10.1353/jwj.2022.0006.
• Dollase, Hiromi Tsuchiya, and Wakako Suzuki. “Introduction: Girls and Literature = イントロダクション： 少女と文学.” U.S.-Japan Women’s Journal 62 (2022): 1-8. https://doi.org/10.1353/jwj.2022.0005.

Bert Winther-Tamaki

• Tsuchi: Earthy Materials in Contemporary Japanese Art. University of Minnesota Press, 2022.
• Maximum Embodiment: Yôga, the Western Painting of Japan, 1912-1955. Honolulu: University of Hawai’i Press, 2012.
• “Earth Flavor (Tsuchi aji) in Postwar Japanese Ceramics,” Japan Review: Journal of the International Center for Japanese Studies, vol. 32, 2018.
• “Remediated Ink: The Debt of Modern and Contemporary Asian Ink Aesthetics to Non-Ink Media,” Getty Research Journal, no.10 (January 2018): 121-148.
• “The Ligneous Aesthetic of Postwar Sōsaku Hanga (‘Creative Prints’) and American Perspectives on the Modern Japanese Culture of Wood,” Archives of Asian Art, vol.66, no. 2. (September 2016): 213-238.
• “From Resplendent Signs to Heavy Hands: Japanese Painting in War and Defeat, 1937-1952” in J.Thomas Rimer, ed. Since Meiji: Perspectives on the Japanese Visual Arts, 1868-2000 (Honolulu: University of Hawai’i Press, 2012): 124-143.”
• “Kuniyoshi’s Choice,” in Omuka Toshiharu, ed., Ishii korekushon kenkyu: Kuniyoshi Yasuo, [Ishii Collection Studies: Yasuo Kuniyoshi] vol. 2, Faculty of Art & Design, University of Tsukuba, Japan. English and Japanese. 2013.

• “Overtly, Covertly, or Not at All: Putting ‘Japan’ in Japanese American Painting” in C.Mills, L.Glazer, A.Goerlitz, eds. East-West Interchange in American Art: A Long and Tumultuous Relationship (Washington, D.C.: Smithsonian Institution Scholarly Press, 2012): 112-125.

• “To Put On A Big Face: The Globalist Stance of Okamoto Tarô’s Tower of the Sun for the Japan World Exposition, 1970” Review of Japanese Culture and Society XXIII (Josai University, Saitama, Japan) (December 2011): 81-101.