ever, the activities of these residents either took place in specifi c locations within the city or were directly impacted by the city’s topography. Including at least one general map that indicated the key sites featured in the essays would have helped readers to get their bearings within the city. More signifi cantly, Pitelka and Tseng’s overview of the cultural history of Kyoto seems to bypass completely the part of the Edo period that lies between the volume’s two foci. It might have been helpful, for instance, to learn that after the initial burst of attention and energy in the seventeenth century, Kyoto went through a slow decline, losing its population, its political centrality even within the Kinai region, and its status as the cultural leader. Famously, in his 1781 memoir, Nishōtei Hanzan (1714–83) called the city the “blossoming countryside” (hana no inaka). Kyoto, however, regained political attention toward the end of the Edo period as a strategic location for the anti-Tokugawa movements, making it once again the site of fi erce street battles, resulting in the devastating 1864 fi re. Just as in the case of the map, this omission may have been by choice, perhaps to ensure a strictly parallel treatment in the two parts of the book. On the other hand, introducing the Kyoto of this in-between period could have further illustrated, for instance, how the anxiety felt by seventeenth-century Kyotoites was well warranted—though their activities could not save the city completely from its later marginalization—and what a blow the emperor’s move had on the Kyoto residents of the nineteenth century, who had to literally “reinvent” a large portion of the city from the ground up. Nevertheless, this volume is an informative and insightful investigation into the cultural history of Kyoto with an approach potentially applicable to the study of other cities and communities.

中文翻译：

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更新的浪潮：1900 年至 1960 年的现代日本版画：《日本之汉加系列精选》，阿姆斯特丹编辑。作者：Chris Uhlenbeck、Amy Reigle Newland 和 Maureen de Vries

这些居民的活动要么发生在城市内的特定地点，要么直接受到城市地形的影响。包括至少一张指示文章中重点站点的通用地图，将有助于读者了解这座城市的方位。更重要的是，Pitelka 和 Tseng 对京都文化历史的概述似乎完全绕过了位于本书两个焦点之间的江户时代。例如，了解在 17 世纪最初的注意力和活力爆发之后，京都经历了缓慢的衰退，失去了人口，失去了它甚至在基奈地区的政治中心地位，以及它作为文化领袖。著名的是，在他 1781 年的回忆录中，Nishōtei Hanzan（1714-83 年）称这座城市为“开花的乡村”（hana no inaka）。然而，京都在江户时代末期重新获得政治关注，成为反德川运动的战略要地，使其再次成为激烈的街头战斗的场所，导致了 1864 年的毁灭性火灾。就像地图的情况一样，这种省略可能是出于选择，也许是为了确保本书的两个部分严格平行处理。另一方面，介绍这个中间时期的京都可以进一步说明，例如，17 世纪京都人的焦虑是有充分理由的——尽管他们的活动不能完全拯救这座城市免受后来的边缘化——以及天皇的举动对 19 世纪的京都居民造成了多大的打击，他们不得不从头开始“改造”城市的很大一部分。然而，这本书是对京都文化历史的翔实和有见地的调查，其方法可能适用于其他城市和社区的研究。