down the role of the female character when remaking a Japanese original. The paper by José Montaño is the only paper that transcends genre boundaries, looking at girlhood in Japanese television and film and how shōjo are represented. Laura Montero, on the other hand, returns to the literal understanding of the word ‘goddess’ and offers a film analysis of Takahashi Isao’s anime Princess Kaguya, linking it back to the myth it is based on. The penultimate chapter, by Víctor Navarro-Remesal, stands out, as it is one of the few that deals with video games and the role of goddesses and women therein. The book concludes with a paper by Hortelano on ghostly goddesses in Japanese cinema. As can be seen from this brief summary, the book brings together different themes, approaches and methods. For the most part, it succeeds in uniting them, as each of the chapters makes a valuable contribution to the discussion of the meaning of ‘goddesses’ in Japanese visual media. However, the ‘goddess’ framework as outlined in the introduction at times seems too tight a corset. While this is not necessarily a negative thing, it does have the side effect of obscuring the fact that some of the papers are more about gender than divinity. What is most striking about this volume is not that the definitions of the main objects of research vary but that the chapters are of very diverse length. One is a mere 10 pages long and thus stands out from those that are over 20 pages long. As a result, the shorter chapters appear to be interesting collections of thoughts, their relative brevity meaning they look more superficial than they are and doing them a disservice. Editing the longer ones would have taken care of this. Additionally, it would have freed up space for another chapter, as it is somewhat surprising that there is no chapter dealing explicitly and solely with television. Television, with its plethora of themes, has always featured strong women, particularly in drama, where motherhood, which could equally come under the theme of ‘goddesses’, has played an important role. While Navarro-Remesal does mention it, a chapter on women’s roles/mother’s roles in Japanese television would have complemented the rest of the volume. In spite of its shortcomings, the book does include some very interesting papers and it is generally well edited (apart from the imbalance mentioned above). The papers are well researched and well argued. Most importantly, the volume gives as much room to rising stars as to established academics. For that, the editor should be commended.

中文翻译：

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千草周边：16 世纪日本的茶与艺术

在翻拍日本原作时，降低女性角色的角色。何塞·蒙塔诺 (José Montaño) 的论文是唯一一篇超越流派界限的论文，着眼于日本电视和电影中的少女时代以及少女的表现方式。另一方面，劳拉·蒙特罗 (Laura Montero) 回归对“女神”一词的字面理解，并对高桥功的动漫《辉夜公主》进行了电影分析，将其与它所基于的神话联系起来。由维克多·纳瓦罗-雷梅萨尔 (Víctor Navarro-Remesal) 撰写的倒数第二章引人注目，因为它是少数涉及电子游戏以及其中女神和女性角色的章节之一。这本书的结尾是 Hortelano 的一篇关于日本电影中幽灵女神的论文。从这个简短的总结中可以看出，本书汇集了不同的主题、方法和方法。在大多数情况下，它成功地将他们团结在一起，因为每一章都对日本视觉媒体中“女神”的含义的讨论做出了宝贵的贡献。然而，介绍中概述的“女神”框架有时似乎太紧身胸衣。虽然这不一定是消极的事情，但它确实有一个副作用，即掩盖了一些论文更多地关于性别而不是神性的事实。本书最引人注目的不是主要研究对象的定义各不相同，而是章节的长度非常不同。一个只有 10 页长，因此从超过 20 页的那些中脱颖而出。因此，较短的章节似乎是有趣的思想集合，它们的相对简洁意味着它们看起来比实际更肤浅，对它们不利。编辑较长的会解决这个问题。此外，它本来可以为另一章腾出空间，因为没有一章明确且仅涉及电视，这有点令人惊讶。拥有众多主题的电视总是以坚强的女性为特色，尤其是在戏剧中，母性（同样可以归入“女神”主题）发挥了重要作用。虽然 Navarro-Remesal 确实提到了它，但关于日本电视中女性角色/母亲角色的一章会补充本书的其余部分。尽管有缺点，这本书确实包含了一些非常有趣的论文，并且通常编辑得很好（除了上面提到的不平衡之外）。这些论文经过充分研究和充分论证。最重要的是，本书为冉冉升起的新星和知名学者提供了同样多的空间。为此，编辑应该受到赞扬。