Notes
Introduction
1 See Bendix, In Search of Authenticity.
2 There is a very large literature on the Arts and Crafts movement in England. Two
notable historical treatments are those by Stansky, Redesigning the World; and Thomp-
son, William Morris. On arts and crafts in the United States, see Lears, No Place of
Grace; and Boris, Art and Labor. See also David Crowley, National Style and Nation-State:
Design in Poland from the Vernacular Revival to the International Style (Manchester: Man-
chester University Press, 1992); and Wendy R. Salmond, Arts and Crafts in Imperial
Russia: Reviving the Kustar Art Industries: 1870–1917 (Cambridge, England: Cambridge
University Press, 1996).
3 On China, see Chang-tai Hung, Going to the People.
4 Two studies dealing with the interwar enthusiasm in the United States for folk
culture and folk arts of the Appalachian region are Whisnant, All That Is Native and
Fine; and Becker, Selling Tradition. On the Mexican discovery of folk art, see López,
‘‘Lo más mexicano de México.’’
5 The standard reading of Yanagi’s given name is ‘‘Muneyoshi.’’ The characters can
also be read ‘‘S¯ oetsu.’’ Yanagi often used the latter reading, as did (and do) many of
his followers.
6 The standard work on Japanese Orientalism is Stefan Tanaka, Japan’s Orient.
7 Garon, Molding Japanese Minds.
8 See Bourdieu, Distinction; Thorstein Veblen, The Theory of the Leisure Class: An Economic
Study in the Evolution of Institutions (New York: Macmillan, 1899).
9 On the role of aesthetics in modern French national identity, see Tiersten, Marianne
in the Market; Auslander, Taste and Power; and Silverman, Art Nouveau in Fin-de-Siècle
France. On arts and crafts and the Meiji state, see Kinoshita Naoyuki, Bijutsu to iu
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