Reviewed by: Engaging the Other: 'Japan' and Its Alter Egos, 1550–1850 by Ronald P. Toby Kären Wigen Engaging the Other: 'Japan' and Its Alter Egos, 1550–1850. By Ronald P. Toby. Leiden: Brill, 2019. 393 pages. Hardcover, €138.00/$166.00. This book brings together seven previously published articles written by Ronald P. Toby in a burst of creative energy between 1994 and 2002. Five of the seven have been available until now only in Japanese; their translation and compilation into a single volume greatly facilitate access to the oeuvre of a pioneer in the transnational, spatial, and visual history of early modern Japan. The first extended essay in the volume—"Mapping the Margins: The Ragged Edges of State and Nation" (chapter 2)—captures the excitement of the early years of the spatial turn. Here Toby adduces copious cartographic evidence to show that, until the mid-nineteenth century, Nihon's southern and northern boundaries were inconsistently and ambiguously mapped. By the time this essay was published in Japan in 2001, similar arguments were going mainstream in the English-speaking world, thanks to pioneering work by Thongchai Winichakul, David Howell, and others. Those who were newly embarking on careers at the time may read Toby's contribution with a touch of nostalgia. His sense of discovery is palpable, recalling the excitement of historians' first encounters with the notions of the geo-body and the logo-map. Hailed by Benedict Anderson in the revised edition of Imagined Communities (London: Verso Books, 1991), Thongchai's work had just begun to open up the cartographic archive, suggesting new lines of inquiry that remain generative to this day. But Toby's turn was not exclusively spatial. Chapters 3, 4, 5, and 6 follow his gaze from the geo-body to the human body, a more intimate scale that afforded opportunities to pore over the depiction of Korean and Chinese figures in Japanese art. These essays (originally published in the mid-1990s) represented an extension into the visual field of the core interests that had animated his first book, State and Diplomacy in Early Modern Japan (Princeton University Press, 1984). Leaving behind the governmental records on which that landmark work had been based, Toby now took delight in decoding the lexicon deployed by painters and printmakers to signal "Chinese," "Korean," "Ryukyuan," or "barbarian" to the Edo viewer. Showcasing the author's skill at close reading of both visual and verbal texts, these four richly illustrated chapters constitute the heart of the present volume. A final essay entitled "The Mountain That Needs No Interpreter: Mt. Fuji and the Foreign" (chapter 7) ties the collection together nicely by uniting the geographical and the figural. The most recent and also the longest work in the volume, it introduces some three dozen Edo- and Meiji-era depictions of Mt. Fuji being either viewed by foreigners in Japan or glimpsed from abroad. The range of genres that featured this pairing of native landscape and foreign gaze is striking in its own right; Toby's abundant examples extend from woodblock prints to hand-painted scrolls, panoramic screens, and votive plaques (ema). Animating them all, he argues, is the [End Page 272] conceit that Mt. Fuji was the greatest mountain in the world, capable on the one hand of drawing men from afar "to admire the mountain and even to worship it" (p. 282) and, on the other, of projecting an "amuletic power" (p. 269) far and wide to protect Japan from any alien threat. Only in his epilogue ("Antiphonals of Identity") does Toby lay out the question that drove him to investigate "the lexicon, grammar, and rhetoric of Self and Other" in Japan in the first place: My initial interest in this was sparked by the seemingly simple question, how did two-and-a-half centuries of overtly peaceful, amicable, and, for the most part, mutually satisfactory relations between Japan and Korea morph in the nineteenth century into a discourse that authorized Japanese aggression and invasion, political manipulation, and ultimately the colonization of Korea? Was there in the popular culture a subtext to the superficially innocent, playful Tojin performances seen in so many festivals across Japan? (p. 333) By that...
Read full abstract