This provocative collection of essays is a comprehensive study of the "father-daughter dynamic" in Japanese female literary experience. Its contributors examine the ways in which women have been placed politically, ideologically, and symbolically as "daughters" in a culture that venerates "the father." They weigh the impact that this daughterly position has had on both the performance and production of women's writing from the classical period to the present. Conjoining the classical and the modern with a unified theme reveals an important continuum in female authorship-a historical approach often ignored by scholars. The essays devoted to the literature of the classical period discuss canonical texts in a new light, offering important feminist readings that challenge existing scholarship, while those dedicated to modern writers introduce readers to little-known texts with translations and readings that are engaging and original. Contributors: Tomoko Aoyama, Sonja Arntzen, Janice Brown, Rebecca L. Copeland, Midori McKeon, Eileen Mikals-Adachi, Joshua S. Mostow, Sharalyn Orbaugh, Esperanza Ramirez-Christensen, Edith Sarra, Atsuko Sasaki, Ann Sherif.

The first major study to challenge the narrow definition of post traumatic stress disorder (PTSD) by rereading six American literary texts, this book argues for the importance of literature in representing not just circumscribed, singular traumatic events, as Cathy Caruth argued in the late nineties, but for giving voice to chronic and cumulative, or complex, traumatic experiences. This interdisciplinary study traces the development of father–daughter incest narratives published in the last hundred years, from male-authored fiction to female-authored memoir, bringing new readings to Fitzgerald’s Tender Is the Night, Ellison’s Invisible Man, and the Dylan Farrow-Woody Allen case. This study builds on the work of those ushering in a second-wave of trauma theory, which has argued that the difficulty of speaking about a traumatic experience is not necessarily caused by neurobiological changes that prevent victims from recalling details. Rather, it’s from social and political repercussions. In other words, they argue that many who experience trauma aren’t unable to deliver accounts; they fear the results. There is a significant gender component to trauma, whose implications, along with those of race and class, have largely gone unexamined in the first-wave of trauma theory. Exploring two additional questions about articulating trauma, this book asks what happens when the voice of trauma is crying out from what Toni Morrison has called the “most delicate,” “most vulnerable” member of society: a female child; and, second, what happens when the trauma is not just a time-limit event but chronic and cumulative experiences. Some traumatic experiences, namely father–daughter incest, are culturally reduced to the untellable, and yet accounts of paternal incest are readily available in American literature. This book is written in part as a response to the psychological community which failed to include complex PTSD in the latest edition of the DSM (DSM-5), denying victims, many of whom are father–daughter incest survivors, the validation and recognition they deserve and leaving many misdiagnosed and thereby mistreated.

How fathers affect their daughters' social, academic, intellectual, athletic, and psychological development is then considered. Factors that can weaken father-daughter relationships, such as divorce, including various theoretical perspectives, are explored in chapters 5 and 6. Father-daughter relationships of racial or ethnic minorities and an array of potentially destructive situations that affect these relationships are the focus of chapters 7 and 8. The impact of fathers who are incarcerated, abusive, alcoholics, gay, or sperm donors are considered. The book concludes with suggestions on where we go from here.

As girls enter their tween and teen years, it’s especially important for them to have an open and growing relationship with their father. Unfortunately, this is often the time when parental relationships are strained. The One Year Father-Daughter Devotions can foster communication and understanding; and it’s a wonderful way for a father to bond with his daughter during a crucial point in her life. Each of the 365 devotions begins with an introductory story, then daddy-daughter time provides discussion questions, activities, or other practical applications of the daily lesson. A “What’s the Word” section gives a related Bible verse to help bring God’s Word alive as father and daughter apply the Scripture to their lives. Written by three fathers, the devotions have a tone that is conversational and relatable: the authors use everything from flavored potato chips to the Etch-A-Sketch game to share truths about God’s Word and to help fathers and daughters relate to each other.

When Libby grows up she swears to herself to never pick up a drink to not end up like her Dad, but when she is seventeen she finds herself living the same life she hated her father for having. Maybe she is her father's daughter after all.

This volume explores the development of literary culture in sixteenth-century England as a whole and seeks to explain the relationship between the Reformation and the literary renaissance of the Elizabethan period. Its central theme is the 'common' in its double sense of something shared and something base, and it argues that making common the work of God is at the heart of the English Reformation just as making common the literature of antiquity and of early modern Europe is at the heart of the English Renaissance. Its central question is 'why was the Renaissance in England so late?' That question is addressed in terms of the relationship between Humanism and Protestantism and the tensions between democracy and the imagination which persist throughout the century. Part One establishes a social dimension for literary culture in the period by exploring the associations of 'commonwealth' and related terms. It addresses the role of Greek in the period before and during the Reformation in disturbing the old binary of elite Latin and common English. It also argues that the Reformation principle of making common is coupled with a hostility towards fiction, which has the effect of closing down the humanist renaissance of the earlier decades. Part Two presents translation as the link between Reformation and Renaissance, and the final part discusses the Elizabethan literary renaissance and deals in turn with poetry, short prose fiction, and the drama written for the common stage.

This book reveals fundamental connections between nationalist violence, religious identity, and the origins of the novel in the early modern period. Through fresh interpretations of music, literature, and history it argues that the expulsion of the Muslim population created a historic and artistic aperture that was addressed in new literary forms.

Considered by many film critics and scholars as a master of Japanese Cinema, director Ozu Yasujiro still inspires filmmakers both within and outside of Japan. With fifteen never before published chapters in English by contributors from North America, Europe, and Japan, Reorienting Ozu explores the Japanese director's oeuvre and his lasting impact on global art cinema. Exploring major theoretical frameworks that characterize Ozu studies, chapters consider the various cultural factors that influenced the director's cinematic output, such as the anxiety of middleclass Japan in the 1930s, the censorship imposed by the US-occupation after World War II, and women's rights in Ozu's late work such as Tokyo Twilight (1957). Ultimately, chapters illuminate Ozu's influence on the directors of Japan and beyond. With the recent restoration and re-release of Ozu's early and late films, this volume provides an opportunity to examine not only the auteur's major works but also the relationships--both cultural and aesthetic--that are forged among directors across the world.

For many years the domain of specialists in early Latin, in complex metres, and in the reconstruction of texts, Roman comedy is now established in the mainstream of Classical literary criticism. Where most books stress the original performance as the primary location for the encountering of the plays, this book finds the locus of meaning and appreciation in the activity of a reader, albeit one whose manner of reading necessarily involves the imaginative reconstruction of performance. The texts are treated, and celebrated, as literary devices, with programmatic beginnings, middles, ends, and intertexts. All the extant plays of Plautus and Terence have at least a bit part in this book, which seeks to expose the authors' fabulous artificiality and artifice, while playing along with their differing but interrelated poses of generic humility.