also overtly challenged outdated social, economic, and political conditions and advocated for reform. It was sometimes anarchic, sometimes revolutionary, but it staked out a critical role for artists in opposing the status quo and envisioning utopias. Given Imahashi’s repeated use of the term “avantgarde,” it seems natural to wonder how Naotake perceived his own social and political role. In an endnote, Imahashi touches on scholarship implying that Naotake was involved with political disputes, but she refutes the associated interpretation (p. 321, note 28). Is there more to this? Admitting in her postscript to a long-held fascination with Shinobazu Pond, Imahashi kindles the reader’s imagination as she displays an impressive command of her subject. Many readers will appreciate the author’s lively prose, the translator’s skill, and the publisher’s willingness to add extensive scholarly resources in the book’s fi nal section. In the end, it is Imahashi’s evident love of detective work that makes her book an absorbing read.

中文翻译：

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芬芳的袖子和缠结的头发：Rajyashree Pandey 的中世纪日本叙事中的身体、女人和欲望

还公开挑战过时的社会、经济和政治条件，并倡导改革。它有时是无政府状态，有时是革命性的，但它表明了艺术家在反对现状和设想乌托邦方面的关键作用。鉴于今桥反复使用“前卫”一词，很自然地想知道直武是如何看待自己的社会和政治角色的。在尾注中，今桥谈到了学术界，暗示直武卷入了政治纠纷，但她驳斥了相关的解释（第 321 页，注释 28）。还有更多吗？在她的附言中承认长期以来对不忍池的迷恋，今桥激发了读者的想象力，因为她展示了令人印象深刻的主题。许多读者会欣赏作者活泼的散文，译者的技巧，以及出版商愿意在本书的最后一部分添加广泛的学术资源。最后，是今桥对侦探工作的明显热爱使她的书引人入胜。