Synopses & Reviews
Whether in the form of the ongoing automotive wars, books and films such as Michael Crichton's Rising Sun, or George Bush's ill-fated trip to Japan in 1991, frictions between the United States and Japan have been steadily on the rise. Americans are bombarded with images of Japan's fundamental difference; at the same time, voices in Japan call for a Japan That Can Say No. If the guiding principle of the Clinton administration is indeed new values for a new generation, how will this be reflected in U.S.-Japanese relations?
Convinced that no true solution to U.S.-Japanese frictions can be achieved without tracing these frictions back to their origin, Ryuzo Sato here draws on a binational experience that spans three decades in both the Japanese and American business and academic communities to do just that. In an attempt to bridge the communication gap between the two countries and dispel some of the mutual ignorance and misunderstanding that prevails between the two, Sato addresses the following questions:
--Is Japan really different?
--Has America's sun set?
--How have conflicting views on the role of government affected U.S.-Japan relations?
--What are the real differences in American and Japanese industrial policies?
--What is the anatomy of U.S.-Japanese antagonisms?
--What effect has the collapse of the bubble economy had on relations?
--What is Japan's future course? Is it truly a technological superpower? Can it avoid international isolation?
An incisive personal look at one of the most important political and economic global relationships, written by a major player in the world of international business and finance, THE CHRYSANTHEMUM AND THE EAGLE provides a readable and engaging tour of U.S.-Japan relations, past and present.
Review
"[Sato] sets out to tell Japanese readers how their country looks from the U.S. and why—in his opinion—some American criticisms of Japan are right ... [Sato] strikes gold with a list of things Japan can do to put itself right with the rest of the world."
"Sato knows both Japanese realities and American dissatisfactions. He sees things from a rare vantage point. Some Japanese may feel he is too critical of Japan, while more Americans may think he overly values the Japanese model. But both can learn much from his book and, after reading it, will be convinced that he talks a great deal of sense and conclude that united, the two nations stand to gain, divided, to lose."
Review
"This stimulating collection of essays critically examines and celebrates what, for centuries, many have deeply feared and many others have known and cherished to be true-that theatre is, indeed, the queerest art. The special ephermerality and perilousness of queer existence on- and offstage make this volume's excellently rendered project of documentation through performance, writing, and publication not only admirable and necessary but urgent."-The Drama Review,
Review
"A rich and varied collection, featuring the voices both of academics and theatre practitioners."-American Theatre,
Review
"Eclectic array of essays."-Theater Journal,
Review
"The panel discussions...contributes a warm, witty and deliciously rhetorical piece."-Lambda Book Report,
Synopsis
Whether in the form of the ongoing automotive wars, books and films such as Michael Crichton's Rising Sun, or George Bush's ill-fated trip to Japan in 1991, frictions between the United States and Japan have been steadily on the rise. Americans are bombarded with images of Japan's fundamental difference; at the same time, voices in Japan call for a Japan That Can Say No. If the guiding principle of the Clinton administration is indeed new values for a new generation, how will this be reflected in U.S.-Japanese relations?
Convinced that no true solution to U.S.-Japanese frictions can be achieved without tracing these frictions back to their origin, Ryuzo Sato here draws on a binational experience that spans three decades in both the Japanese and American business and academic communities to do just that. In an attempt to bridge the communication gap between the two countries and dispel some of the mutual ignorance and misunderstanding that prevails between the two, Sato addresses the following questions:
--Is Japan really different?
--Has America's sun set?
--How have conflicting views on the role of government affected U.S.-Japan relations?
--What are the real differences in American and Japanese industrial policies?
--What is the anatomy of U.S.-Japanese antagonisms?
--What effect has the collapse of the bubble economy had on relations?
--What is Japan's future course? Is it truly a technological superpower? Can it avoid international isolation?
An incisive personal look at one of the most important political and economic global relationships, written by a major player in the world of international business and finance, THE CHRYSANTHEMUM AND THE EAGLE provides a readable and engaging tour of U.S.-Japan relations, past and present.
Synopsis
From Shakespeare's gender-bending play
Twelfth Night to the the critically-acclaimed Broadway hit
Angels in America, from 17th century kabuki theater of Japanperformed by cross-dressing prostitutesto the NEA-denounced performance art of Holly Hughes, theater has long beenas co-editor Alisa Solomon terms itthe queerest art.
The Queerest Art is a pioneering collection of essays by and conversations among a diverse range of leading theater academics and artists. The first anthology to bring scholars and makers of queer theater into direct dialogue, the volume explores such subjects as same-sex desire in Restoration comedy, the racialized impact of colonial Shakespeare, the cuerpo politizado of a performance artist in contemporary Los Angeles, and the nitty-gritty of getting a queer show presented in Peoria. The Queerest Art rereads the history of performance as a celebration and critique of dissident sexualities, exploring the politics of pleasure and the pleasure of politics that drive the theater.
Lively and accessible, The Queerest Art will be useful to scholars, students, artists, and theater-goers alike interested in what makes queer theater . . . and what makes theater queer.
Contributors include: Jill Dolan, Brian Freeman, Randy Gener, George E. Haggerty, Holly Hughes, Ania Loomba, Tim Miller, José Esteban Mu-oz, Deb Parks-Satterfield, Lola Pashalinski, Everett Quinton, David Román, David Savran, Laurence Senelick, Don Shewey, Carmelita Tropicana, Valerie Traub, Paula Vogel, Doric Wilson, and Stacy Wolf.
About the Author
Ryuzo Sato is C.V. Starr Professor of Economics and Director of the Center for Japan-U.S. Business and Economics Studies at the Stern School of Business at New York University. An Adjunct Professor of the John F. Kennedy School of Government at Harvard University and a Research Associate of the National Bureau of Economics Research, Sato was the recipient of the first Yomiuri Rondansho Award in Social Science Writing in 1991. Steeped in the business culture of both nations, he has for over 30 years divided his time lecturing and conducting research in Japan and the United States.