Academic literature on the topic 'Japanese Western influences'
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Journal articles on the topic "Japanese Western influences"
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Harris, Michael W., and Jane Thaler. "The soft power of the information sciences: Western influences on the development of Japan's library and archival systems." Library and Information History 36, no. 1 (April 2020): 32–48. http://dx.doi.org/10.3366/lih.2020.0005.
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The history of information practices in Japan runs parallel to its larger cultural influences — namely its long history of adaptation of the cultures of China and Korea, with a more recent turn towards the West. The soft power, the use of culture to extend influence over a foreign country, exerted by the US on Japanese libraries and archives can be felt in official policies and professional practices. In order to understand the variation and complicated nature of hegemonic influences the West has had on Japan's information culture, this paper will examine the history of librarianship and archival practices via the lens of practices imported to and/or avoided by the nation.
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Sonnenberg-Musiał, Katarzyna. "Z japońskiej perspektywy." Między Oryginałem a Przekładem 28, no. 4(58) (December 18, 2022): 127–39. http://dx.doi.org/10.12797/moap.28.2022.58.06.
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FROM A JAPANESE PERSPECTIVE: THE WESTERN INFLUENCES IN THE WORKS OF ŌGAI
The article focuses on how Mori Ōgai (1862-1922), a Japanese writer, translator and literary critic, incorporated references to European literature and culture in his novellas: Maihime (The Dancing Girl, 1890), Mōsō (Delusion, 1911) and Hanako (1910). The hermeneutic approach sheds light on the Japanese author’s vivid interest in foreign languages, cultural symbols, philosophy and arts which contributes to the intricate image of foreign influences in his oeuvre and invite his readers and translators in Europe to revisit their own cultural tradition.
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Ueyama, Takahiro. "The Development of the Japanese Nursing Profession: Adopting and Adapting Western Influences." Social History of Medicine 18, no. 3 (December 1, 2005): 521–22. http://dx.doi.org/10.1093/shm/hki072.
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Doering, Keiko, Judith McAra-Couper, and Andrea Gilkison. "Hermeneutic Phenomenology: Bridging Western and Japanese Perspectives and Languages." International Journal of Qualitative Methods 21 (January 2022): 160940692211036. http://dx.doi.org/10.1177/16094069221103667.
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This article offers the reader methodological insights emerging from a hermeneutic phenomenological study that examined the meaning of the woman–midwife relationship in Japan. The methodology of hermeneutic phenomenology was chosen because it is well suited to reveal women’s and midwives’ lived experience that is often taken for granted in day-to-day maternity care settings. However, implementing the methodology was not without its challenges. These challenges included whether hermeneutic phenomenology, based on Western philosophy, could be appropriate for conducting a study involving a researcher and participants who identify as Japanese. Further, while the study required final write up in English, the interviews were conducted in Japanese. Utilizing hermeneutic phenomenology relies on language as the tool for accessing the phenomenon of enquiry. However, Japanese culture is less expressive and, relative to Western cultures, values non-verbal communication. Beyond verbal expression, language also conveys unique influences of each culture. Although it may be challenging to conduct research between different cultures, and their unique ways of thinking and languages, it is not an impossible situation and can be rewarding. The value of using hermeneutic phenomenology for a Japanese centered study helped to convey the meaning of the woman–midwife relationship in Japan. This article details the unique process of the study, in terms of the philosophical foundation and languages, to provide methodological insights and advances for future cross-cultural qualitative research.
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Kamakura, Toshimitsu, Juko Ando, and Yutaka Ono. "Genetic and Environmental Influences on Self-Esteem in a Japanese Twin Sample." Twin Research 4, no. 6 (December 1, 2001): 439–42. http://dx.doi.org/10.1375/twin.4.6.439.
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AbstractThe purpose of the present study is to clarify the mechanism of Japanese self-esteem (SE) in genetic and environmental influences using twin methodology. Eighty-one pairs of adolescent twins, including 50 pairs of monozygotic (MZ) twins and 31 pairs of dizygotic (DZ) twins, participated in this study. Self-esteem was assessed using the Rosenberg Self-Esteem Scale (RSES), translated into Japanese. As a result of using univariate twin analyses, model comparisons using the Akaike Information Criterion (AIC) indicated that the AE model was the best fit (AIC = −5.35). In the best-fitting AE model, the heritability (a2) of SE was revealed to be moderate, accounting for 49% of the variance; environmental influences (individual-specific environmental factors) explained 51% of the variance. These results are consistent with the findings of some behavioral genetics studies of SE in the West and show that there is no difference between Western and Japanese populations in the mechanism of SE considering genetic and environmental influences. The results also suggest the importance of considering both genetic and environmental factors in studies of Japanese SE.
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Hastings, Sally A. "The Development of the Japanese Nursing Profession: Adopting and Adapting Western Influences (review)." Monumenta Nipponica 61, no. 3 (2006): 416–18. http://dx.doi.org/10.1353/mni.2006.0031.
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Dmitruk, Natalia. "Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary." Literatura i Kultura Popularna 23 (May 31, 2018): 93–107. http://dx.doi.org/10.19195/0867-7441.23.7.
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Religious beliefs from the perspectiveb of Japanese aesthetics: Mushishi by Yuki UrushibaraThe Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japanese culture and the aesthetics along with it is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.
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Nugroho, Dhimas Adi, Fitri Alfarisy, Afizal Nuradhim Kurniawan, and Elin Rahma Sarita. "Tren Childfree dan Unmarried di kalangan Masyarakat Jepang." COMSERVA Indonesian Jurnal of Community Services and Development 1, no. 11 (April 24, 2022): 1023–30. http://dx.doi.org/10.36418/comserva.v1i11.153.
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The entry of western cultural influences into Japan brought various kinds of trends, both in the form of technology, science and trends, one of which is the trend of child-free and unmarried, this trend began to be followed by Japanese people, especially in urban areas. child-free and unmarried trends. This research uses descriptive analysis method, describes the current trends in Japanese society, and data obtained from literature studies. The development of this trend has had a major impact on Japan, especially women and on the rate of population growth, the patriarchal culture that has existed for a long time has spurred Japanese women to voice their rights in self-determination. The feminist movement developed and had a great influence on Japanese women. From this trend, it can be concluded that population problems are starting to emerge, including the increasing number of elderly people and the low rate of population growth. In addition, the Japanese government's efforts have emerged so that the rights of Japanese women are fulfilled and population growth increases
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Demeulenaere-Douyère, Christiane. "Japan at the World’s Fairs: A Reflection." Journal of Japonisme 5, no. 2 (September 7, 2020): 129–51. http://dx.doi.org/10.1163/24054992-00052p01.
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Abstract The primary purpose of world’s fairs was commercial and industrial, focused on the celebration of technical and material progress. At the same time, they were places of immaterial exchanges between exhibitors and visitors, all of whom contributed a diversity of customs and cultures. As major exhibitions developed in Europe (1850–1900), Japan was opening to Western influences after a centuries-old period of self-isolation. The advent of the Meiji era marked the decision to transform feudal Japan into a modern capitalist state; in order to find economic partners, Japan became a regular presence at the world’s fairs. Openness gave way to confluence: European visitors discovered a living, rich image of Japan, complete with its traditions and arts. The revelation, to a wider audience, of Japanese art was at the origin of an artistic movement – Japonisme – which would have a lasting influence on European artists. Japan’s regular contributions to world’s fairs, especially those in Paris (1867, 1878, 1889, and 1900), enjoyed great popular success and shaped the European understanding of, and taste for, Japanese arts and culture.
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Yao, Keisuke. "The Fundamentally Different Roles of Interpreters in the Ports of Nagasaki and Canton." Itinerario 37, no. 3 (December 2013): 105–15. http://dx.doi.org/10.1017/s0165115313000855.
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With the expansion of Western power from the seventeenth century onward, many Asian countries were confronted with difficult political and economic problems in their relations with Europe. In several countries in Asia, in order to suppress Western cultural influences within their own nations, governments often employed foreigners as interpreters for their own diplomacy and trade with Europeans, with some governments even prohibiting their people from learning foreign languages.But, in the case of Japan, interpreters played a crucial role in both the study of the Dutch language and the integration of Western knowledge during the eighteenth and nineteenth centuries. It seems that early-modern Japanese interpreters were quite different from the interpreters of Western languages in other countries in Asia, as in Nagasaki interpreters of the Dutch language were shogunate-appointed Japanese nationals.Here I will examine and compare several aspects of the Chinese pidgin-English interpreters at Canton and the Japanese Dutch-language interpreters at Nagasaki, in particular their origins, incomes, duties, learning, and businesses. Through this examination I will demonstrate how the so-called Westernisation processes adopted in China and Japan were actually reflected in and represented by the different models of foreign trade at the ports of Canton and Nagasaki.
Dissertations / Theses on the topic "Japanese Western influences"
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Hockley, Allen F. "Harunobu : an Ukiyo-e artist who experimented with Western- style art." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28070.
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From the beginning of serious art historical study of Japanese woodblock prints or Ukiyo-e, the artist Suzuki Harunobu (1725-1770) has been accorded a prominent position in the development of that art form primarily because of his role in the creation of the first full colour prints. This, and his particular conception of feminine beauty which he chose to illustrate most often as the main subject of his art, made him the dominant artist of his generation. The popularity he achieved during his lifetime was monumental, but he met with a premature and untimely death. Shortly after his death Shiba Kōkan (1747-1818), a young artist just beginning his career, made forgeries of Harunobu's prints and later admitted to doing so in his autobiography. Based on Kōkan's confession, there developed among art historians and connoisseurs, a long running, at times heated and, as yet, unresolved debate focussed upon determining which of Harunobu's prints are in fact forgeries.
Because Kōkan eventually acquired fame as an artist who experimented with styles and techniques newly imported to Japan from Europe, Harunobu's prints that contain linear perspective, one such Western technique, have traditionally and without question been designated as forgeries. To this author, making such an attribution based on this criterion seems somewhat illogical. Why would Kōkan introduce something foreign to Harunobu's style into prints he intended to pass off as Harunobu's originals? The simplest resolution to this quandary is to assume that Harunobu must have also been experimenting with imported European styles.
Based on this premise, this thesis introduces literary and visual evidence linking Harunobu to a number of sources of European-style art. Much of this evidence was uncovered through a re-examination of Harunobu's prints and literary accounts of his life in accordance with the social and artistic context in which he worked. The prints and the documents which this thesis discusses have long been known to art historians. They simply needed to be reworked to support this premise.
This thesis does, however, introduce one print from the collection of the Oregon Art Institute which seems to have been overlooked by other scholars. It provides a clear example of Harunobu's Western-style art and through visual analysis of it, its sources can be identified among the Western-style megane-e of Maruyama ōkyo ( 1733-1795).
The concluding section of this thesis examines the consequences
of this evidence. Two of the so-called forgeries are reattributed to Harunobu and his prints as a whole are recast within the tradition of Western-style art in Japan.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Desjardins, Kelly. "Fence, Flavor, and Phantasm: Balancing Japanese Musical Elements and Western Influence within an Historical and Cultural Context." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157602/.
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Given the diversity found in today's Japanese culture and the size of the country's population, it is easy to see why the understanding of Japanese wind band repertoire must be multi-faceted. Alongside Western elements, many Japanese composers have intentionally sought to maintain their cultural identity through the addition of Japanese musical elements or concepts. These added elements provide a historical and cultural context from which to frame a composition or, in some cases, a composer's compositional output. The employment of these elements serve as a means to categorize the Japanese wind band repertoire. In his studies on cultural identities found in Japanese music, Gordon Matthews suggests there are three genres found within Japanese culture. He explains these as "senses of 'Japaneseness' among Japanese musicians." They include Fence, Flavor, and Phantasm. Bringing a new perspective to the idea of Japanese influence, I trace the implementation of these facets of Japanese music through the wind band music of Japanese composers. I demonstrate that Japanese wind band genres are the result of a combination of Japanese musical elements and Western influence and argue that the varying levels of this combination, balanced with historical and cultural context, create three distinct genres within the Japanese wind band repertoire.
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Lo, Albert. "The Impact of American Conductors on the Development of Japanese Wind Band Repertoire as Evidenced in the Programming of Tokyo Kosei Wind Orchestra, Musashino Academia Musicae, Showa Academia Musicae, Senzoku Gakuen School of Music, and Tokyo University of the Arts." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404612/.
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The wind bands in Japan are considered by many scholars and wind band conductors to be among some of the finest ensembles in today's wind ensemble medium. The literature and repertoire of Japanese ensembles have evolved from orchestral transcriptions, patriotic music, and military marches to original compositions by European, American, and Japanese composers. British conductor Timothy Reynish states that Japanese wind band music has looked traditionally towards the United States and occasionally United Kingdom for inspiration and repertoire. This phenomenon can be attributed to the many collegiate American and the few English wind band conductors who traveled to Japan as guest conductors, and in some cases, became residents of Japan. The focus of this study is to closely examine this significant impact of American collegiate wind band conductors, their influence on Japanese programming and how that programming has affected the collegiate repertoire. This study includes surveys of repertoire, concert programs, discographies of recordings, and interviews with prominent American conductors currently conducting in Japan. This research documents the impact that American wind band conductors have had on the programming of Japanese wind bands and how their influence have altered the collegiate repertoire. Evidence of this impact is documented by Toshio Akiyama, who states that "The influence of visiting musicians from abroad must be measured as one of the most influential aspects affecting Japanese band growth. Although the effect of Japanese musicians traveling to the United States or Europe has been beneficial, the overall impact on large numbers of people has been more directly due to the visitors from abroad."
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Kishimoto, Masashi. "Tracing the Development of Japanese Choral Tradition, and the Influence of Buddhism and Western Music." Diss., North Dakota State University, 2012. https://hdl.handle.net/10365/26861.
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This research deals with the origin and development of Japanese choral music emphasizing Japanese folk tunes. The process of how modern styles of Japanese choral music evolved is rather complicated, and has been greatly influenced by the paralleled development of society, tradition, culture, language, politics, and religion. In order to truly understand the essence and evolution of traditional Japanese music, it is crucial to recognize the cultural influences that make up Japanese history. In the late fifth century, Japan started to absorb new music from mainland Asia into its own culture. This led to the development of new musical ideas, laying the groundwork for musical traditions that defined Japanese culture for years to come. Both mainland Asia and Europe introduced strong religious influences (Buddhism and Christianity, respectively). However, it was not until the radical influence of European music in the 19th century merged with traditional Japanese folk song and created the modern synthesis of the form. This research aims to discuss how the different aspects of both Eastern and Western music, more specifically their unique rhythms, scales, chords and harmonies, evolved and now coexist within Japanese culture and music. Choral works based on Japanese folk tunes are used to assess specific developmental influences.
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Teixeira, Marcos Caetano. "O mangá como tradição e contemporaneidade: o caso de Mushishi." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/6101.
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A pesquisa aqui apresentada tem como objetivo a análise do mangá Mushishi, de Yuki Urushibara (1999-2008), no que se refere à tradição e a contemporaneidade enquanto representação de uma história e de um povo. Para chegar a tais objetivos, um levantamento histórico baseado na evolução do Japão pós-guerra e sua conquista mundial através do entretenimento pela cultura pop inicia o pensamento, tendo por base do contexto de contemporaneidade de Agamben (2009) seguido, posteriormente, por uma análise comparativa entre os quadrinhos ocidentais e os mangás japoneses, visando estabelecer uma base que mostre a troca de influências entre ambos, o que também leva a ilustrar as questões referentes ao mercado e aos princípios de aceitação de mídia pelo consumidor. A análise no que se refere aos pontos de identidade e lugar do ser social é feita a partir das teorias de Nietzche (1983-2011) e Rolnik (1993), os quais colocam em questão o ser humano enquanto agente social e ator de seu próprio mundo, bem como a aplicação dos conceitos de catarse e reconhecimento de si de Aristóteles (2008), o que, após aplicado à obra em questão, revela como os mangás, exemplificados por Mushishi, podem se mostrar retratos fiéis de um povo ou de uma época.
The research presented here aims to analyze the manga Mushishi, by Yuki Urushibara (1999-2008), in regard to tradition and contemporaneity as a representation of a history and a people. To reach such goals, a historical survey based on the evolution of postwar Japan and its worldwide conquest through pop culture entertainment initiates thought, based on the contemporaneous context of Agamben (2009) followed later by an analysis comparative analysis between western comics and Japanese manga, in order to establish a basis for the exchange of influences between the two, which also leads to illustrate market issues and the principles of consumer acceptance of media. The analysis regarding the points of identity and place of the social being is made from the theories of Nietzche (1983-2011) and Rolnik (1993), which put in question the human being as social agent and actor of his own world, as well as the application of the concepts of catharsis and self-recognition of Aristotle (2008), which, after applied to the work in question, reveals how the manga, exemplified by Mushishi, can be faithful portraits of a people or a time.
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Culy, Anna M. "Clothing their identities : competing ideas of masculinity and identity in Meiji Japanese culture." 2013. http://liblink.bsu.edu/uhtbin/catkey/1721294.
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This is an in-depth analysis of competing cultural ideas at a pivotal time in Japanese history through study of masculinity and identity. Through diaries, newspaper articles, and illustrations found in popular periodicals of the Meiji period, it is evident that there were two major groups who espoused very different sets of ideals competing for the favor of the masses and the control of Japanese progress in the modern world. Manner of dress, comportment, hygiene, and various other parts of outward appearance signified the mentality and ideology of the person in question. One group espoused traditional Japanese ideas of masculinity and dress while another advocated embracing Western dress and culture. This, in turn, explained their opinions on the direction they believed Japan should take. Throughout the Meiji period (1868-1912), the two ideas grew and competed for supremacy until the late Meiji period when they merged to form a traditional-minded modernity.Department of History
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Jo-Ying, Chu, and 祝若穎. "The development of Western modern educational discipline during Japanese colonial period and its influence on the pedagogy of public elementary school (1895-1945)." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/35860060598738633324.
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博士國立臺灣師範大學
教育學系
99
In this thesis, the development of Western modern educational discipline during Japanese colonial period was studied, and the pedagogy of public elementary school was used as the example. The Western modern educational discipline developed during the Japanese colonial period was imported from Japan which originated from Europe and the United States of America. It was propagated to Taiwan by teachers who were trained in the higher-education institutions and by the educational magazines and books published by scholars and teachers. Thus, the study of educational discipline during Japanese colonial period should be focused on connections between Western modern educational discipline and Japan modern history. The educational discipline and pedagogy during Japanese governed period presented different characteristics in each stage as follows. In the first stage (1895-1918), Western educational discipline was introduced and the pedagogy approached completion. In the second stage (1919-1930), Western educational discipline and the pedagogy of child-centeredness blossomed. The third stage (1931-1936), the diversification of Western educational discipline and the pedagogy of combination began. The forth stage (1937-1945), the deterioration of Western educational discipline and the pedagogy of disciplined training emerged. The thesis discovered that educational discipline during Japanese governed period was closely related with Western modern educational discipline, including Pesstolozi’s and Herbart’s educational discipline, Dewey’s child-centeredness from America, Persönlichkeitspädagogik and Kulturpädagogik of Germany, Arbeitspaedagogik and Heimatkunde. These were introduced to Taiwan sequentially and brought about great popularity among Taiwan educational circles. The pedagogy of public elementary school also followed the tide of educational discipline and revealed elements of modern progress, such as emphasizing individual differences amongst students, living pedagogy and the intuitive teaching. The thesis provides two important contributions to academic research. First, the study filled in a blank space in Taiwan’s educational discipline history. Due to the fact that Taiwan had been governed by different rulers in recent centuries, contemporaries should study the different Western educational disciplines introduced by Japanese, Chinese, and Taiwanese scholars in order to flourish more advanced and diversified academic achievements in present Taiwan. Second, the thesis expanded the horizon of space and time coordinates of local educational discipline. The study formulated and discussed the development of educational discipline during Japanese governed period, then drew the historical skeleton of an entirety image of Taiwan educational science, which will be instrumental to develop the localization of Taiwan educational discipline in the future.
Books on the topic "Japanese Western influences"
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Shirt, Joanne. Japanese influences on Western art and fashion. Derby: Derbyshire College of Higher Education, 1989.
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Knipe, Tony. Japonisme: Japanese reflections in western art. Sunderland, England: Northern Centre for Contemporary Art, 1986.
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The meeting of Eastern and Western art. 2nd ed. Berkeley: University of California Press, 1989.
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Shiratori, Fumiko. The cultural background of Japanese economic development. Malate, Manila, Philippines: De La Salle University Press, 1995.
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translator, Ran Amalia, ed. Erotic japonisme: The influence of Japanese sexual imagery on Western art. Leiden: Hotei Publishing, 2014.
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Cortés, Ovidi Carbonell i. Presencias japonesas: La interacción con Occidente en la literatura y las otras artes. Salamanca: Ediciones Universidad de Salamanca, 2014.
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Wichmann, Siegfried. Japonisme: The Japanese influence on western art since 1858. London: Thames and Hudson, 1999.
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Japonisme: The Japanese influence on Western art since 1858. New York, N.Y: Thames & Hudson, 1999.
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Juyō to henʾyō Nihon kindai bungaku: Dante kara Jiddo made. Tōkyō: Ōfū, 2000.
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Wichmann, Siegfried. Japonisme: The influence on western art in the 19th and 20th centuries. New York: Park Lane, 1985.
Find full textBook chapters on the topic "Japanese Western influences"
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Wells, Audrey. "Sun’s Western Influences in the Japanese Crucible." In The Political Thought of Sun Yat-sen, 29–38. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9781403919755_3.
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Merviö, Mika Markus. "Interpretation and Reconstruction of Environment, Aesthetics, and Politics in Japan." In Advances in Religious and Cultural Studies, 53–75. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1807-6.ch004.
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The tradition of Japanese thinking on environment has developed in close interaction with both Asian and Western influences. However, Japanese society has constantly created new ideas and representations of reality that reflect the actual environment and changes in society. This chapter analyses the continued transformation of Japanese society and ideological constructions especially in the areas of environment and aesthetics. In particular, it is worthwhile to analyse the changing relationship to environment as it is depicted in Japanese art and thought. However, artistic expression is also vulnerable to the ideological construction of past and present, and, as always with expression, ideas and depiction of ideas do not only stem directly from reality, such as physical nature, or experiences of people, but may also be part of a political or ideological agenda to reconstruct the past or present.
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Thomas, Roger K. "Introduction." In Counting Dreams, 1–17. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759994.003.0001.
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This chapter introduces Nomura Bōtō, a loyalist nun from Fukuoka who left a substantial corpus of poetry and prose writings and played a role in shaping the events in northern Kyushu and western Honshu. The chapter expounds on the rise of waka, which is a legacy of an age prior to foreign influences. Moreover, Bōtō's experiences illustrate the traditional poetry genre, class structure, and changing role of women in late Tokugawa Japan alongside the chiliastic atmosphere in some sectors of Bakumatsu society. The chapter also notes the Japanese concept of millenarianism wherein the user attempts to incongruously impose Western concepts.
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Helleiner, Eric. "Another Chinese Contribution and Korea’s Gaehwa Group." In The Neomercantilists, 261–80. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501760129.003.0010.
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This chapter discusses the ideologies of Chinese neomercantilist Liang Qichao and the emergence of neomercantilist thought in Korea. Liang's idea of neomercantilism rejects the notion of nationalism as a stepping stone towards a cosmopolitan future while coming into terms with Western and Japanese neomercantilist influences and Chinese intellectual tradition. The chapter notes a group of Gaehwa thinkers promoted neomercantilist views following Korea's economic opening due to external pressure. Additionally, Gaehwa thinkers drew on Silhak reformist thought. The chapter mentions how East Asian neomercantilism placed heavy emphasis on export-led growth and more ambitious kinds of government economic activism than Friedrich List did.
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McLelland, Mark. "Takahashi Tetsu and Popular Sexology in Early Postwar Japan, 1945–1970." In Global History of Sexual Science, 1880-1960. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520293373.003.0010.
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This chapter examines popular sexology in Japan during the period 1945–1970 by focusing on the career of Takahashi Tetsu, one of the country's most prominent sexual scientists in the post-World War II era. Takahashi promulgated a liberal version of Freudianism, particularly his acceptance of the ubiquity of “sexual perversity,” and collected, published, and thereby helped popularize a wide variety of information about sexuality. After providing an overview of Takahashi's prewar influences and activities, the chapter considers the spread of sexological knowledge during the time of Occupation (1945–1952). It then shows how Takahashi mobilized the works of Alfred C. Kinsey and other Western sexual scientists in the early 1950s and attempted to synthesize them with what he saw as an indigenous Japanese approach. It concludes with a discussion of Takahashi's legacy in the field of sexual science.
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Zhang, Minyu. "Re-discovering Buddha’s Land: The Transnational Formative Years of China’s Indology." In Translocal Lives and Religion: Connections between Asia and Europe in the Late Modern World, 149–68. Equinox Publishing, 2021. http://dx.doi.org/10.1558/equinox.31743.
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Since its reopening up in the 1840s, China came again into contact with India, the former “Buddha’s land,” which was at that time a conquered frontier of new powers. In that particular historical context, knowledge about India not only entails purely intellectual interests, but entangles with questions about China’s cultural self-identity and political ideology. Modern Indology was brought into China as a part of Western studies, first indirectly via Japanese scholarship and later directly from the Europe-US Western world. The internalized Buddhist legacy and the work of diligent Buddhist intellectuals added Chinese indigenousness to this branch of Western studies. Early scholars’ encounters with Western oriental studies paved the way for Ji Xianlin, who later studied Indology in Göttingen and brought back the German academic tradition to China. Other future Indologists, including both laymen like Jin Kemu and Buddhists like Baihui, turned towards India, following the Chinese diaspora along the revived China-India trade route. For the leftists who were anxiously seeking solutions to end China’s miseries, however, India provided only bitter lessons about how a “backward oriental culture” can weaken a nation. Pragmatic concerns intervened in scholarly life when China had to rely on the Allies’ strategic supply provided via India during the later years of World War II. As a result, the government established a Hindi programme in the new National Institute of Oriental Languages, which was later incorporated into Peking University. Hindi scholars like Yan Shaoduan and Liu Anwu preferred secular writings, those of Premchand and Yashpal in particular, depicting a progressive India that invoked a non-religious common affinity between the two countries. Thus, in the formative years of China’s Indology, Chinese intellectuals developed their perspectives within three important transnational networks; the revived Buddhist ancestral China-India connection, the scholarly network around Western, particularly German orientalists, and the political network based on socialist and anti-imperialist ideology. The internalization of these streams resulted in a distinct appearance of China’s Indology and still influences China’s perception of India.
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Rappo, Gaétan. "Essentialism in Early Shinto Studies." In Exploring Shinto, 34–56. Equinox Publishing, 2020. http://dx.doi.org/10.1558/equinox.39482.
Full textAbstract:
In earlier years Western ideas on Shinto were strongly influenced by “nativist” (kokugaku) ideas on the subject emanating from Japan and hence tended to showcase a very “essentialist” view of Shintō. This paper critiques various Western writers whose writings were typical of this approach. However the paper also explores how this attitude had a reverse influence on pre-war Japanese thinkers. This was especially the case with Hiraizumi Kiyoshi, a scholar who became a major figure in the production of the extreme imperialist ideology of the early Shōwa period. He was also a major source for discourses comparing the Japanese spirit to Nazi ideals, which were created mostly by contemporary German scholars. The origins of this process can be seen in Hiraizumi’s sojourns in Europe, especially in France, Germany and England, from 1930 to 1931.
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Buljan, Katherine, and Carole M. Cusack. "Japanese Modernity and the Manga and Anime Art Forms." In Anime, Religion and Spirituality: Profane and Sacred Worlds in Contemporary Japan, 11–62. Equinox Publishing, 2015. http://dx.doi.org/10.1558/equinox.25887.
Full textAbstract:
This chapter examines the emergence of the manga and anime forms in terms of the historical development of Japanese artistic modes that are antecedent to these forms, and also through consideration of the development of Japanese modernity. It is argued that the manga and anime forms and Japanese modernity both retain traditional Eastern religious and aesthetic concerns, while freely appropriating Western religious and aesthetic motifs, which results in a unique new cultural synthesis that is equally appealing to Eastern and Western audiences. The intention of this chapter is to demonstrate that the earliest precursors of manga are a number of centuries old and that manga, and thus anime, is deeply embedded in the history of Japanese art, religion and life, as highlighted in certain studies. This interpretation is important in that it offers an alternative to the claim that the origins of the comic book aesthetic are European, and that the influence of Walt Disney (1901–1966) on early manga illustrators is more important than their Japanese forebears.
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Leskosky, Richard J. "Metanoia in Anime." In Animating the Spirited, 81–96. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0007.
Full textAbstract:
Through the concept of metanoia, this essay surveys examples of its occurrence in anime and suggests possible reasons for its relative frequency there. The author discusses the concept in his study of protagonist and antagonist characters, and the related concept of the story arc—revealing how a character changes over the course of the film and how the narrative plot is affected by the character’s transformation. The author particularly explores the varieties of rehabilitated antagonists in the context of Japanese anime and examines the literary and cultural antecedents for this sort of character and the character’s shifting moral stance. He also compares and contrasts them to the typical western character arcs and different hero-types featured in Hollywood films. The author concludes that the occurrence of metanoia in Japanese anime is influenced by Buddhist beliefs, for example, the concept of karma and subsequent changes of the spiritual identity of the character.
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Kim, H. Yumi. "Introduction." In Madness in the Family, 1—C0.P53. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197507353.003.0001.
Full textAbstract:
Abstract In the face of Western imperialist threats in the 1850s, Japanese leaders sought to strengthen the nation by drawing on the latest global scientific and medical knowledge. By the 1880s, this included the introduction of European-influenced psychiatry. Japanese psychiatrists claimed that mental diseases required medical treatment in specialized institutions rather than confinement at home, as had been common practice. But the state implemented no social welfare policies to make new medical services more accessible and affordable to the public. The institution of the family, especially women, thus continued to carry the burden of caring for those considered mad. When women were the ones to fall mentally ill, family served as a crucial set of relationships through which they understood their illnesses. While doctors located the source of affliction in their physiology and reproductive malfunctions, many women narrated their experiences of illness by invoking the relations and language of kinship.