spread reveals a great cat monster and a lady in distress; and in the fin
ponent, all against the minute detail of a distant landscape.
 

f-page wc see the wailing ^^■a
 

4.  (:om])iled from Asakura Kame/o, [Shinshu] X'ilion
shijietiu nenpyi) (Tokyo: Shun'yodo, 192f>). Although in¬
complete, this chronology of published fiction is a
good reflection of dominant trends.

5.   Andrew Markus, The Willow in Auliiinn: Ryulei
Tanehiko, 1783-1842 (Cambridge, MA: Council on East
Asian Studies, Harvard University, 1992). Injapanese,
interesting essays on gokan as a combinatory art form
are to be found in Suzuki Juzo, Ehon to ukiyo-e (Tokyo;
Bijutsu Shuppausha. 1969), 13-67.

6. The first seveiuy-one vnhnnes of The Tale of Shiranuhi
were published in the years 1849-1885 in
traditional gokan format, but the final volumes 73-90
(vol. 72 was lost) appeared only in a movable-type
edition in Zoliu Teikoku bunko, vols. 28-29, published by
Hakubunkan in 1900 with only a few frontispiece
ilhislialions.
 

7.  Yazaki Sabun, "Kusa/oshi to .Meiji siioki." W'ascda
bungaku (October 1927), as quoted in Maeda Ai, "Meiji
shoki gesaku shuppan no doko—Kinsei shuppan kiko
no kaitai," Maeda Ai chosakushu 2: Kindai dokusha no
seiritsu (Tokyo: Chikuma shobo, 1989). 55. Maeda's
essay, a pioneering study in Meiji publishing history,
originally appeared in Kinsei biingci, nos. 9 (|une 1963)
and 10 (February 1964).

8.   Charles Inouc, "Pictocentiism," Yearlmnk of Com¬
parative and General Lileralure. no. 40 (1992): 223-39.

9.     For a good survey of Japanese comic-book
culture, see Frederick Schodt. Manga! Manga!: The
World of Japanese Comics (Tokyo: Kodansha iiuei-
national, 1986).
 

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