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The so-called "eight-headed beauty" is just a nationwide search for a Japanese woman who resembles an American woman, and this is no exception. That's the way it is, and there's nothing good or bad about it. If, however, a trend is formed and "spreads like an epidemic" and that Japanese women become more beautiful the more they resemble American women, and then they make every effort to make themselves more like American women, and that this effort involves deception, then the effect on the feelings of the whole nation will be comparable to that of the surrender of the army.
*The article is excerpted from "Hybrid Culture" ([Japanese] Kato Monday, translated by Weng Jiahui, Joint Publishing 2024-3)
Stills from the Japanese anime "The Three Sisters of Cat's Eye" unconditionally surrendered with an eight-headed body 1
When the Japanese army was defeated in the Pacific War and surrendered unconditionally, the people did not surrender emotionally. Even with the phrase "unconditional surrender" and the facts that correspond to it, the peculiar new term "final war" has emerged. It can be said that this reflects the situation at that time. If we think about it this way, if we want to say that in addition to the Japanese army and government, even the people have basically surrendered emotionally, it is from the time after the war, when a Japanese girl crossed the Pacific Ocean to participate in a beauty contest somewhere in the United States of America and won the third prize beautifully. The people have also surrendered emotionally – perhaps an exaggeration. However, compared to the term "unconditional surrender", most of the women who make up half of the people have fallen into another unspeakable state - that is, the famous eight-headed body.
It is true that Japanese women won the third prize in an international beauty pageant. If Japanese women are beautiful by international standards, then there is little reason to be unhappy if we look at the national nature of being happy as long as they are "international" regardless of the reason. However, the girl who won the third prize was an exception among Japanese women. And, in two senses, she's an exception. One layer means that anyway, those beauties who win awards in beauty contests, no matter how many prizes they win, and which country they put them in, she is an exception. On the other hand, she is an exception to Japanese women because of her physique, which is similar to most American movie stars, and not at all like 99 percent of Japanese women. The eight-headed body problem is a good example of this. The eight-headed body is an exception in Japan, but in Japan it is said that the "eight-headed body beauty" has been born. Needless to say, there is no such thing in the United States. Because the bodies of American women are almost in this proportion, saying "eight-headed beauty" in the United States is the same as saying "two-eyed beauty", which is meaningless at all.
In 1950, the first Miss Japan election, the champion Fujiko Yamamoto
So, once the American beauty pageant regarded the eight-headed body as one of the conditions for beauty, then, at least from this condition, almost all American women were eligible, but almost all Japanese women were not eligible. There is no doubt that there is nothing more natural than this. Because the beauty pageant is held in the United States, according to American standards, not in Japan, according to Japanese standards. I don't know which nationalities of beauty contest are participating, but the criteria are not international. To a large extent, it is national, and it is the standard of national character in the United States. This Japanese girl, who won the third prize beautifully, is not beautiful by international standards, but by American standards. To put it simply, the so-called "eight-headed beauty" is just a nationwide search for a Japanese woman who resembles an American woman, and this is no exception. That's the way it is, and there's nothing good or bad about it. If, however, a trend is formed and "spreads like an epidemic" and that Japanese women become more beautiful the more they resemble American women, and then they make every effort to make themselves more like American women, and that this effort involves deception, then the effect on the feelings of the whole nation will be comparable to that of the surrender of the army.
First of all, after the war, the army becomes useless. Moreover, with the exception of defeating two collapsed empires (the Qing Empire and the Russian Empire), the Japanese army never defeated a single foreign army of great blood. Originally, the talents of the Japanese people were not so much in the military as in the arts and crafts. It is understandable that it lost to the United States of America militarily, but did not surrender to the people. However, if there is a relationship between the beauty of a woman and the defeat of an army and navy and a non-first-class army, then they are not the same thing from the beginning. This touched on the fundamental point of national feelings—wasn't the Trojan War all about a woman?—— swaying the pride of the people. When Japanese women surrendered to American women and began to imitate them, a real unconditional surrender began. I'm afraid it's not just women, but when it comes to the standards of beauty, it's fair to say that Japan has created so many beautiful things so far, compared to the United States, which has not created anything.
In the political, economic, military, and technological spheres, Japan is now nothing more than a satellite of the United States. However, as poets of the past have recited, "beauty is eternal pleasure" – and if you want to achieve national independence in the field of beauty, you will feel that there seems to be hope. But in this crucial field, the success of the eight-headed girl seemed to be an opportunity to finally surrender Kaesong. If Tessie's 15th-century poet Vyon were asked to write about today's Japan, he would probably once again create a "queue of beauties of the past," admiring the faces of many Japanese beauties, from Ono Komachi to Utako, and saying, "But where is the snow last year?"
Kitagawa Utama's beauty painting
There are no international standards for beauty. Not only does the quality change when the place changes, but the criteria for judging the quality themselves also change. Not only does it vary from place to place, but even within the same place, the type of beauty varies from era to era, and even within the same era, it varies from person to person, and it may vary depending on the class to which the individual belongs. The standard of a beauty pageant in a small country town in the United States is the standard of a small country town, as long as you change the time and place, isn't there a better standard for beautiful women everywhere in the world?—— I can't help but think, at least it is common sense to remain skeptical. We have to think from a historical perspective. From the point of view of physique, the popular one is the eight-headed body. In other words, the smaller the shape of the head, the better. However, from the role of the brain, it is popular to think about things from a historical perspective. When discussing beauties, when it comes to the eight-headed body, it is necessary to take into account the historical changes in the standard of beauty. Moreover, when we really understand history from the perspective of dialectics, we must first clarify the big question of whether beauty is a superstructure!
2
The French writer Jean-Richard Blok once said:
The 18th century is the century of the chest, the 19th century is the century of the waist, and the 20th century is the century of the feet. There seems to be a tendency for ideals to decline along with the times. As an aside, it's intriguing that there is always a lack of brains. ......
In the 18th century, beauty paintings were popular in both England and France. Let's take a look at the beauty paintings in France at that time. That was, of course, before the Revolution, before the people of Paris broke through the Bastille, freed political prisoners, overthrew the absolute monarchy, and established a democratic government on the basis of the Declaration of the Rights of Man (150 years later, along with the defeat on the mainland) in France, which called Revolution Day (a date that has a stupid name in Japan, the "Paris Festival"). - Whether it is countless copper engravings depicting customs, or oil paintings signed by Boucher and Fragonard and Watteau, many works show bare chests and white and plump breasts. In other words, the 18th century was the "century of the breasts", and in order to qualify as a beauty, you must first have full breasts. However, in the 19th century, the situation changed, for example, from Renoir's bath girl, the center of charm can be seen shifting from the plump chest to the voluminous waist. And, finally, when the era of famous actresses insuring their feet with tens of thousands of dollars arrived, it entered the "century of feet". - Jean-Richard Bullock wrote this between the two world wars, probably during Marlene Dietrich's most popular period. Marilyn Monroe probably hasn't been on stage yet. After the Second World War, the second half of the 20th century began, and there were signs that the situation had changed again, and if the first half was the "age of the feet", the second half was probably back to the "age of the chest". Because if the ideal descends to the feet, there is nothing more to descend, and there is no other way than to return to the starting point. In France, or more broadly, in the West, the standard of beauty will change dramatically depending on the times. At the height of the Italian Renaissance, when Western Europe had probably never created such a wealth of beauty in such a short period of time and in such a small area, Botticelli's Venus, Titian's Maria, and Tintoletto's Leda were all so well-proportioned. In contrast, Dior's models can even be said to be skinny, and most of the female movie stars in the United States are like them. The typical Western-style beauty has changed. In search of the end result of this change, go to the window of a tailor's shop or the little house where you go to the movies – it's not too clever a story. Whenever I see poor teenage girls who are trying to lose weight, even taking pills and going on hunger strikes—and this is not limited to Japan—I always think about how sad it is to be uneducated. If she had spent ten times reading a film magazine to look at a book of paintings, she would have turned a curse into a blessing if she had only seen a beautiful woman in Titian's paintings.
Titian's "Divine Love and Worldly Love" However, to understand the relativity of values, customs, habits, morals, and religions between the East and the West, understanding history is one of the ways, and another way is to travel. James George Fraser wrote a large number of books after a long journey, among which The Golden Bough is the most important fundamental source for the study of primitive societies. Durkheim used these sources to come to the conclusion that the so-called transcendental category of critical philosophy does not apply to all human beings, and that it is universal only within the framework of a particular civilized society. If the category of transcendental is no longer universal and proper, why is the criterion for judging beauty still universal and proper? That is to say, girls have their own beauty, but they have to pick out the most beautiful one—according to Durkheim, or a popular illustrator in Japan, or a journalist in the United States of America, or a tribal chief on the west coast of Africa, and the result will be completely different depending on the person. Whether it's on the coast of Kamakura, or in Los Angeles, or in the Ivory Coast, there is no girl who looks the same beautiful. You don't even have to wait for Fraser and Durkheim, as long as you travel, anyone will understand the truth that "hearing is better than seeing".
Fortunately, now that transportation facilities are well developed, and if our government respects basic human rights such as freedom to travel and live, and does not delay the issuance of passports – but the "purpose of travel" must be clear when applying for a passport, in which case the reader's purpose of travel is currently "to study the relativity of the values of local society, especially the value of beauty" – we can spend two days in Europe. At that time, we could use our own eyes, and for about three days, we could observe that people in Tokyo were trying to lighten their hair in order to become beautiful, and somewhere in Europe, where most people's hair was bright, black hair was a sign of rare beauty, and was praised for it. Needless to say, the result is definitely a complete loss of interest in the effort to change the color of the hair. Not only the color of the hair, but also the color of the skin. Where most people's skin is yellow, the whiter the complexion, the more beautiful it is, and where most people's skin is white, amber skin is more attractive. Didn't there be such lyrics in popular songs in the past, "Although her complexion is dark, she is a beautiful woman in Nanyang...... and that's what she said." On the one hand, it is beautiful to look at what you are used to, and on the other hand, the principle of scarcity is also applicable to the standard of beauty to some extent - but that's it. The women in her paintings have elongated eyes. Renoir's women are round, watery, and sparkling eyes. Why not Gero, but Renoir? Is it necessary to put some atropine in Goro's eyes to dilate the pupils?—— (As an aside, atropine is a parasympathetic anesthetic.) When the parasympathetic nerve is stimulated, the pupil sphincter contractes, so if you put atropine into the eye, the pupil will dilate, giving the impression that the eye is getting bigger. The reason why the drug makes the eyes look big and beautiful, in general, is probably the anesthetic effect of atropine on the parasympathetic nerves. ）
However, the qualifications of a beautiful woman are not limited to anthropological and anatomical conditions. Isn't it the color of the hair, the color of the skin, the pigmentation of the tissues, the bone structure of the body such as the eight heads or several heads, and the physiological aspects of fat metabolism that determine the beauty of women? The Ministry of Education, Culture, Sports, and Culture also said that "cultivating sentiments" is also very important. The eight-headed body was originally an anatomical problem, and to put it more broadly, it was at most the field involved in anthropology, but once it comes to reason and sentiment, the praise of beautiful women has to involve the field of sociology. In this way, there is a problem with the well-known view that there is no such thing as reason and sentiment in the general sense, only reason in the class sense and sentiment in the class sense. I feel that there is some truth to this point of view, which is in Paris. Because I saw there for the first time the face of the bourgeois.
A still from the movie "Inglourious Basterds".
Let me explain first, it's not that I haven't seen bourgeois in Tokyo, it's just that I didn't have the opportunity to see so many of them at one time, and at a glance I could see faces lined up with 100% bourgeois national physiognomy. Although it still has feudal and pre-modern elements, Japan had already entered the stage of monopoly capitalism before the war, that is, Tokyo should have something of a bourgeois character.
However, Tokyo doesn't have the balconies of Parisian cafés where people gather in large numbers and sit side by side towards the crowds of people. Even if there is such a thing, it seems that the bourgeois who want to come to Tokyo do not have the inherent appearance of their own class. The appearance of those guys is no different from the appearance of the big brother in society. In Paris, however, the appearance and expression are completely different depending on the class. For example, when passing by the café next to the opera house where the bourgeois gathered, the guys sitting there don't look like people of the same nationality or country as the people in the popular Republic Square. There are no cafes in London like in Paris, so it's not so obvious when you walk down the road, but it's no different from Paris. But in the United Kingdom, the Queen is an exception. I'm not a royalist. The Queen of England did not own the land in the middle of the capital, which was so large that it seemed nice to have a park. Moreover, she does not speak a strange English, and certainly not in Chinese, she is known to speak a beautiful standard language (of course, I have only heard her speeches). And, most importantly, she's a mass-market beauty – even if the verdict varies from person to person, at least her face is mass-shaped. It's not so much the face of a woman in fur as it is the type of beauty or two that you can definitely see in a popular cafeteria like ABC or Lion. Therefore – but it cannot be said in one sentence – she is very popular among fans. As a result, the Queen of the British Empire, at least in style, seems to have something beyond class.
Coronation portrait of Elizabeth II
But, in general, the type of beauty also varies according to class – and this is more pronounced than in Japan, the two advanced capitalist countries of Britain and France.
In other words, the standard of beauty varies according to the time, place, class. To use another analogy, it's like a literary work is good or bad. If literature is called a superstructure, then the standard of beauty headed by the eight-headed figure is also a superstructure, and here we have to faithfully reproduce the complex problems caused by viewing literature as a superstructure. Beauty varies according to time, place, and class, so she will also be associated with the development of productive forces in some form, but at the same time, there is both the aspect of "beauty is eternal pleasure", and there may be an aspect that transcends time, place, and class.
3
However, I have probably talked too much about the West, and I may have said too much about Japan's past. The reader may ask: What is the society we live in in Japan today? Our problem is not Renoir, nor Uta, but someone next door. I think so too. But that's entirely personal. A is beautiful when he laughs, and that's because I'm a little obsessed with A. No matter how funny B is crying, it's not beautiful no matter how you look at it, that's because I'm not interested in B personally. If you look at it from the objective point of view of a third party, whether A or B, they are not particularly beautiful or ugly, and the general situation is like this. Because there's nothing else around me at the moment. You read in the eyes of your lover, in the expression of my lover in a moment, the "eternal femininity", the overflowing tenderness and infinite hope, or the endless fountain of despair, which cannot be measured by the crude standard of the eight-headed body. Because that's what yours or my lover has, it's something that is indispensable to our own lives. In this sense, it is something of absolute value. However, in the eyes of others, it is just a commonplace, and in this sense, it is only something of relative value. However, for example, the eight-headed body is a manifestation of an effort to objectify such subjective things. It can be said that the most naïve part of this kind of effort may be the eight-headed body, and the most effortful place is the beauty painting. When it comes to the topic of beauty, let me express my subjective feelings to the outside world, and tell me who I like - that is, write articles for magazines - then as long as I am not satisfied with the eight-headed body, I will go to the beauty painting. In other words, it's either song or Renoir. If I don't mention Japan today, it's not just because I'm worried about the inconvenience, but also because of the fact that modern Japan doesn't see the flourishing of beauty paintings. But there is no time to dwell on this matter here, because if you talk about it, you will leave the topic of beauty and become a problem of culture itself. Returning to the topic of beauty, the existence of beautiful women is like a delicacy, and nothing can be compared to the real thing. Even in this glorious field, there is so little content about "heads" in the mainland tradition that if you want to imitate foreign countries, you want to have a small head shape - I think this trend is a little funny.
20th Century Japanese Thought
Hybrid culture
[Day] Kato Monday by Weng Jiahui Translation Life, Reading, New Knowledge Joint Bookstore 2024-3ISBN:9787108077523 Price: 56.00 yuan
In 1956, Kodansha published Kato's masterpiece on Japanese culture, "Hybrid Culture" (Japanese title: 雑種文化), subtitled "Japan's Little Hope." The book includes a number of critical essays, such as "The Hybridity of Japanese Culture" and "The Hope of Hybrid Japanese Culture", and analyzes the characteristics of Japanese culture from the perspective of comparative culture. Kato pointed out that English and French culture are purebred cultures, while Japanese culture is a typical hybrid culture. Overseas scholars disagree with some of Kato's views, pointing out that British and French cultures are not pure-blooded cultures, but are also the result of a long-term integration of multiple civilizations. In this regard, Kato responded and added to it in his subsequent research.
This is the first time that a Japanese scholar has put forward the idea of "hybrid culture", and this book has attracted wide attention and discussion in the academic and social circles since its publication. The Japanese academic community commented that Kato was the first person with an international perspective, and his keen insight and meticulous analytical skills were amazing. In 1974, Kodansha republished the book in the form of a library version after the author adjusted the title, making it the most popular edition among readers. "Hybrid Culture" has become one of the required reading books for majors in Japanese language and culture, comparative literature, and world literature at various universities in Japan. The term "hybrid culture" is also widely used, as a cultural typology concept, which no longer refers specifically to Japanese culture, but also to various mixed cultures in general.
Kato's purpose in conducting cultural studies is mainly to dig into the crux of conservatism and collectivism in Japanese culture from the depths of his mind, and his assertion of hybridization in Japanese culture is to prevent narrow Yamato national supremacy. The ideas he expresses in this book still have a unique value that transcends time today.
The monster imperialism of the 20th century
Compiled by Xingde Qiushui and compiled by Zhao Jinghua
Life, Reading, New Knowledge Joint Bookstore 2023-9
ISBN：9787108076250 定价：65.00元
This book is a collection of two books published in succession, with the author's "Monster Imperialism in the 20th Century" as the main body and a series of "Proposals for Socialism".
These two works, published in 1901 and 1902 respectively, have an ideological and theoretical structural correspondence in terms of content: the critique of imperialism as a counterpoint is based on the idea of socialism as a main topic. Therefore, the basic content of this book includes two aspects: first, with reference to the principles of freedom, equality, and fraternity and socialist thought in Europe and the United States, and in light of the actual situation in Japan, it cuts into the imperialist issue from the aspects of social ethics and cultural psychology such as justice and humanity, and takes the "patriotism" of national imperialism as the scripture and the national strategy of militarism as the weft, and painstakingly punishes the myth of Japan's "great empire" since the end of the 19th century; and second, it discusses the "essence," "ideal," "urgent need," "application," and "general trend" of socialism and other basic aspects, including the concept of equality, the reform of the system of production and distribution, the establishment of public ownership, and the vision of socialism replacing imperialism.
Almost all of Xingde Qiushui's works have been closely watched by the Chinese as early as their publication, and there are constantly translations, and even multiple translations of one book. However, after 1949, "Imperialism" and "Proposal for Socialism" were never published in new translations, and the old translations were half-written and half-white in the late Qing Dynasty and early Republic of China, which is no longer suitable for today's readers. Therefore, the release of the new translation is not only of great significance for understanding the development of Japanese intellectual history in the 20th century, but also for Chinese readers to understand the process of the spread of anti-imperialist, anti-war and socialist ideas in East Asia.
China in the Storm: Selected Writings of Hidemi Ozaki [Japanese] Hidemi Ozaki Written by Zhang Xiuge Zhao Jinghua Translated Life, Reading, and New Knowledge Joint Bookstore 2023-7ISBN: 9787108075604 Price: 78.00 yuan
Hidemi Ozaki was Japan's most high-profile observer of China during the Sino-Japanese War. At the same time, as a historical figure, he has always been endowed with multiple identities, such as an outstanding journalist, a current affairs commentator, a member of the Sorge Red International Espionage Organization, and even a democrat and an international communist who worries about the country and the people. In 1944, at the age of 43, Hidemi Ozaki was hanged by the Japanese fascists, which made him an anti-war and revolutionary legend of the century after World War II. This legend goes beyond the historical and intellectual level, and has been repeatedly retold in the field of mass communication, but the narrative at the mass level has always been muddy. Hidemi Ozaki as a historical figure, especially as a sincere understander of China's social revolution and national liberation struggle in the 20th century, as well as a critic of imperialism and an advocate of the equal union of Asian nations, has not yet been clearly portrayed in the complex biographical and research literature.
In a sense, Ozaki Hidemi also sacrificed for the cause of revolution and liberation of the Chinese people. Therefore, we rearrange his writings during his lifetime and interpret them in the context of the drastic changes in world history of the 20th century, in an attempt to unearth his outstanding legacy of China theory from the ideological and academic levels. This is the original intention of compiling and publishing this "China in the Storm".
The content of this book is arranged in chronological order of the original work published or written, covering the War of Resistance Against Japanese Aggression, the solution of Sino-Japanese relations, how to build an Asian socialist circle, and the development direction of the Chinese revolution.
Culture and the country
Translated by Gao Huaxin
Life, Reading, and New Knowledge Joint Bookstore 2023-6
ISBN：9787108075987 定价：88.00元
One of the cornerstones of post-war Japan
A work that is indispensable for understanding the "origins" of post-war Japanese thought
A staunch defense of the spirit of the pacifist constitution
An excellent expression of the idea of a "cultural nation".
"Culture and the Nation" is a collection of speeches and reports made by Shigeru Minamihara during his tenure as president of the University of Tokyo, which had a wide and far-reaching impact on both university teachers and students and members of the Diet. The main ideas of the society are as follows: First, the establishment of democratic politics is the most important thing in the construction of a peaceful "cultural state", and its fundamental purpose is to pass the "human revolution" Second, the post-war pacifist constitution, which renounces war and pursues the lofty concept of permanent peace, should not only be a firm oath of the Japanese nation after the defeat of the war, but also a human goal pursued by the peoples of the world. The author is deeply concerned about the demilitarization policy and the resumption of Japan's armaments, calling it a regression from the post-war democratic revolution to reactionary conservatism.
It is generally believed that the above ideas and propositions in the book, including the methodology for grasping the world, the concept of human nature, and the concept of a "cultural state", have become the spiritual cornerstone of postwar Japan, and are important for understanding the "origin" of postwar Japanese thought and the development of cultural concepts. The author's philosophy not only reflected the general aspirations of progressive intellectuals in Japan during the occupation period, but also profoundly influenced the direction of the development of progressive thought in the post-war period and the humanistic tradition of liberal arts education in Japanese universities.
The texts in the book are clear and clear, which is conducive to reading for all kinds of readers.
A Study on the History of Japanese Political Thought (Revised Translation)
Written by Maruyama and translated by Wang Zhongjiang
Life, Reading, New Knowledge Joint Bookstore 2022-10
ISBN：9787108073754 定价：78.00元
A Study on the History of Japanese Political Thought is Maruyama's famous and representative work, first published in 1952. In a series of works represented by this book, Maruyama used a unique method of intellectual history to make a groundbreaking exposition of Japan's political thought in modern times, laid the foundation for a new political science in post-war Japan, and created a basic research paradigm that transcends the field of political science and is common to post-war Japanese social sciences—starting from the deep psychological and spiritual structure of the Japanese people, analyzing their political and even social action patterns, so as to find ways to deepen the understanding of social science from the perspective of human culture rather than economic structure.
In the book, Maruyama seeks to find the resources of modernity in Japanese thought itself, thus breaking the general theory that Japan's modernization was caused by the West and that Japanese modernity was also the product of Western influence. He focuses on the disintegration of Zhuzigaku, which was the ruling ideology of the Tokugawa shogunate, and the development and evolution of the accompanying theories such as the Shogunate and the Shonaga Studies, which were rich in opportunities for modern transformation. In Japanese academia, where Zhuzixue is regarded as a feudal and decadent thought, Maruyama's fresh perspective undoubtedly provides new possibilities for examining Zhuziology. In addition, Maruyama discusses the formation and characteristics of early Japanese nationalism from a realistic perspective.
Today, this book has long become a model in Japanese intellectual circles, a coordinate for future generations to refer to regardless of their arguments, and it is also a cadenza composed by Maruyama Mao with his extraordinary intellect as a historian of ideas.
Japanese Thought (Iwanami Complete Edition) [Japanese] Maruyama Mao Written by Tang Liguo Ou Jianying Liu Yuebing Translation Life, Reading, New Knowledge Joint Bookstore 2022-10ISBN: 9787108073938 Price: 59.00 yuan
"The Japanese Mind" is one of Maruyama's most famous works, and it has a wide social influence that transcends the academy. The book contains four articles, which are the crystallization of Maruyama's reflections on the tension between history and the present in the face of the reality of post-war Japan from 1957 to 1959, and are of great significance in his lifelong academic research.
In the book, Maruyama provides an in-depth analysis of some major issues in modern Japanese thought, such as the imperial system, tradition and modernity, seclusion and founding, organization and individuality, intellectuals and the masses, resistance and turn, politics and literature, etc., and discusses them from the broad perspective of the entire history of Japanese thought, and summarizes some structural characteristics of Japanese thought, such as "heterogeneity" and "non-constructivity". Through this book, readers can appreciate Maruyama's astonishingly sensitive and penetrating way of thinking, as well as read the implications of Maruyama's thoughts for ourselves in the context of China, which is different from Japan's.
We have published an abridged translation of "The Japanese Mind" (2009). In order to present Maruyama Mao's thoughts more completely, this publication is based on the 1961 Iwanami New Book Edition, which is a full translation of the entire text.
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