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1
Noda, Manabu. "The Body Ill at Ease in Post-War Japanese Theatre". New Theatre Quarterly 23, n. 3 (agosto 2007): 272–82. http://dx.doi.org/10.1017/s0266464x07000176.
Testo completoAbstract (sommario):
Many theatre pieces in Japan now focus on a certain type of physicality which results from the sense of unease present in Japanese society. Manabu Noda argues that the senses of estrangement, distrust, apathy, helplessness, and incongruity in this supposedly democratic country come partly from the macho pressures under the right-wing Koizumi administration of 2001–06, and examines some current Japanese performances in the context of Japanese post-war society and of the continuing conflict in Iraq. He explores how these performances stage the body ill at ease – perceived as something irrevocably ‘left behind’ physically rather than textually. Manabu Noda is former general secretary of the Japan Centre of the International Association of Theatre Critics, and presently holds the position of Professor in the School of Arts and Letters at Meiji University in Tokyo. A theatre critic, he has also published books and essays on British and Japanese acting and theatre history. The present paper is based on a presentation in October 2006 at the conference ‘Foundation and Horizon of Hong Kong Performing Arts Criticism’, organized by the International Association of Theatre Critics in Hong Kong, and on a shortened version presented at the IATC 2006 Extraordinary Congress in Seoul.
2
Sonnenberg-Musiał, Katarzyna. "Z japońskiej perspektywy". Między Oryginałem a Przekładem 28, n. 4(58) (18 dicembre 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.
3
Cho, Namho. "A study of Hwarang by Korea independence activist in the Japanese occupation - through critic of Japanese scholars". Journal of Korean Sundo Culture 24 (28 febbraio 2018): 41–70. http://dx.doi.org/10.35573/jksc.24.2.
Testo completo
4
Emery, Elizabeth. "A Japoniste Friendship in Translation: Hayashi Tadamasa and Philippe Burty (1878–1890)". Journal of Japonisme 6, n. 1 (22 gennaio 2021): 27–75. http://dx.doi.org/10.1163/24054992-06010002.
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Abstract Art critic and collector Philippe Burty (1830–1890) was one of the first friends the Japanese interpreter (and future art dealer) Hayashi Tadamasa (1853–1906) made on arrival in Paris in 1878. The previously unknown letters translated into English within this essay present Hayashi’s work in Paris (1878) and Brussels (1880), his first impressions of Normandy (1882) and New York (1886), and his explanation of the evolution of Japanese painting (1885). They furnish valuable insights into the cross-cultural aesthetics that led the Japanese, the French, the British, the German, and Americans to collaborate in the development of the phenomenon now known as Japonisme, thereby filling in some of the information gaps surrounding Burty’s international networks and Hayashi’s early years in Europe.
5
Miller, Jennifer M. "“Let’s Not be Laughed at Anymore: Donald Trump and Japan from the 1980s to the Present”". Journal of American-East Asian Relations 25, n. 2 (4 luglio 2018): 138–68. http://dx.doi.org/10.1163/18765610-02502004.
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This article explores the central role of Japan’s rise to global economic prominence in the evolution of Donald J. Trump’s worldview. It traces how the transformation of the relationship between the United States and Japan during the 1980s informed Trump’s ideas about trade and protectionism, globalization, the international economy, and executive power. Trump, it argues, was a product of U.S.-Japanese relationship; while he began his public career as a prominent critic of Japan, claiming that the country exploited American trade and defense policy, his career in real estate heavily relied on Japanese finance. This contradictory approach continues to shape his understanding of Japan. As president, Trump repeatedly condemns Japan as predatory and protectionist, but also seeks expanded Japanese investment in the United States to revitalize the U.S. economy. Equally important, Trump has expanded criticisms originating with Japan to countries like China and Mexico, international agreements such as the Trans-Pacific Partnership and the North American Free Trade Agreement, and the World Trade Organization. By tracing Trump’s rhetorical, financial, and diplomatic encounters with Japan over the past thirty years, this article uncovers the sources of Trump’s contradictory attitudes towards trade, globalization, and cross-border investment and his understandings of strong leadership and executive power.
6
Lecińska-Ruchniewicz, Monika. "Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”". Slavia Occidentalis, n. 74/2 (10 dicembre 2018): 51–64. http://dx.doi.org/10.14746/so.2017.74.22.
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The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
7
Silverberg, Miriam. "Constructing the Japanese Ethnography of Modernity". Journal of Asian Studies 51, n. 1 (febbraio 1992): 30–54. http://dx.doi.org/10.2307/2058346.
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One afternoon in tokyo in the summer of 1921, ten Waseda University students visited the home of Gonda Yasunosuke, the critic of Japanese popular culture. Each was writing a dissertation on popular entertainment (minsbū goraku). Tell us, they asked Gonda, what were the authoritative texts they could find at Maruzen, the emporium specializing in foreign books? They wanted the real thing—Western language theoretical sources. “Forget it,” replied Gonda, “there aren't any in the Maruzen catalog. Go to Asakusa—Asakusa's your text.” The young men wanted an imported, printed master text, but Gonda would not comply. Instead, he demanded personal experience that would give them an understanding of cultural forms that a reading of printed texts (and, moreover, of imported printed texts) could not yield. He directed them to do on-site fieldwork in Asakusa Park where female and male laborers from large- and small-scale industries, artisans, and white-collar middleclass nouveaux riches mingled to play (Gonda 1922a [GYS 1:291–92]).
8
WILLIS, CLIVE. "Captain Jorge Álvares and Father Luís Fróis S.J.: Two Early Portuguese Descriptions of Japan and the Japanese". Journal of the Royal Asiatic Society of Great Britain & Ireland 22, n. 2 (aprile 2012): 391–438. http://dx.doi.org/10.1017/s1356186311000745.
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The dialogism of the Russian philosopher and literary critic Mikhail Bakhtin (1895–1975), that is, the study of cultural interaction and the acknowledgment of the value or at least of the objective existence of other cultures, corresponds to one of the most significant aspects of Renaissance Humanism.1 In his turn, the Franco-Bulgarian philosopher Tzvetan Todorov (born 1939) has stressed the Humanists’ quest for “cultural relativism”, as exemplified by Amerigo Vespucci, who sought to evaluate the arrival of Europeans from the standpoint of American Indians, in total contrast to the monological approach of Christopher Columbus.2 The emphasis was on a two-way process. Similar attitudes to those of Vespucci can be found in Thomas More's Utopia, in Michel de Montaigne's celebrated essay on the cannibals he encountered in Rouen, and in the Fides, religio moresque aethiopum of Damião de Góis (to mention but three prominent cases). Finally, it was the Palestinian-American literary theorist and cultural critic Edward Said (1935–2003) who throughout Orientalism (New York, 1978) propounded the widely accepted (though often hotly debated) theory that westerners’ analyses of eastern cultures were (and are) predominantly condescending, racist and imperialistic.
9
Silverman, Willa Z. "“The Most Passionate of All”". Journal of Japonisme 3, n. 1 (4 dicembre 2018): 1–51. http://dx.doi.org/10.1163/24054992-00031p01.
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Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese art dealers Hayashi Tadamasa and Siegfried Bing and the fine art printer Charles Gillot, Vever constituted a renowned collection of not only Japanese prints but also other art objects previously disregarded by collectors. Vever’s multiple and intersecting identities as luxury craft producer, leading member of professional associations, art historian and critic, collector, and Republican mayor placed him at the forefront of efforts to legitimate the collection and appreciation of Japanese art in France. His diaries also underscore the connections between the worlds of Japanese and Impressionist art collectors, and between proponents of japonisme and Art nouveau. Further, they highlight the importance of the 1900 Paris Exposition universelle as a triumphant moment for japonisme in France, just as they signal the shift on the part of some japonisants, at the same time, from Japanese art towards the decorative arts of the Islamic world.
10
Yokota-Murakami, Takayuki. "The Historically Changing Notion of (Female Bodily) Proportion and Its Relevance to Literature". Perichoresis 18, n. 2 (1 giugno 2020): 17–30. http://dx.doi.org/10.2478/perc-2020-0008.
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AbstractFutabatei Shimei (1864-1909) was an early modern Japanese novelist, translator, and critic. He wrote what is now generally conceived of as the first Japanese ‘modern’ novel, Drifting Clouds (1887-89). He translated works by Turgenev, Leo Tolstoy, Garshin, Gorky, and others. He also published a number of critical essays, treatises on literary theory, political papers, and so forth. His early translation of Turgenev’s short stories: Aibiki (Rendevous, 1888) and Meguriai (Three Trysts, 1889) were extremely influential on the contemporary literati, who were amazed at the fresh, poetic prose used in stark contrast to the traditional Japanese fiction in the pre-Reformation period. These translations, seen in the light of the present-day readers, were unique in what we might term today ‘foreignizing translation’. Lawrence Venuti in Invisibility of the Translator argues that the ideal of (English) translation has been to conceal itself as a translation, i.e. to present itself as an original text (chap I and passim). In that sense, Futabatei’s translations, scandalously presenting itself as a translation, that is to say, as an alien text, is extremely ‘foreignizing’.
11
Shim, Jung-Soon. "The Shaman and the Epic Theatre: the Nature of Han in the Korean Theatre". New Theatre Quarterly 20, n. 3 (agosto 2004): 216–24. http://dx.doi.org/10.1017/s0266464x04000119.
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The distinctively Korean concept of Han evokes a pervasive sense of sorrow, traditionally in need of shamanistic purging in the spirits of the dead, but also describing the sense of national trauma induced first by the Japanese occupation, then by the post-war division of the country. Han has also become an important feature of modern Korean drama, and in this article Jung-Soon Shim describes how Park Joh-Yeol's play The Toenails of General Oh (1974) revisits the concept, integrating indigenous cultural traditions – notably the shamanic ritual Gut – and how, in the production by Sohn Jin-Chaek, the director utilized a western style of epic theatre to create a ‘distanced’ style of Gut on the proscenium stage. Jung-Soon Shim is Professor of English at Soongsil University in Seoul, and a founding member of the Korean Association of Women in Theatre (KAWT), of which she is currently President. Her books include the two-volume Globalization and Korean Theatre (2003), which won the Best Book of the Year Award of the Korean Ministry of Culture. She also received the Best Critic Award for 2004 from the Korean Association of Theatre Critics. Her research for this article was supported by Soongsil University.
12
Hung, Chang-Tai. "The Politics of Songs: Myths and Symbols in the Chinese Communist War Music, 1937–1949". Modern Asian Studies 30, n. 4 (ottobre 1996): 901–29. http://dx.doi.org/10.1017/s0026749x00016838.
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Nie Er (1912–1935), a young Communist musician from Yunnan, could not possibly have imagined that when he wrote this patriotic song (with lyrics by the left-wing writer Tian Han [1898–1968]) for the 1935 filmChildren of Troubled Times (Fengyun ernü) it would soon become one of the most popular tunes in China. The overwhelming success of the song reflected a nation, long frustrated by imperialist (especially Japanese) aggression, thwarted reforms, domestic armed conflicts, and government ineptitude, venting its anger and crying out for a solution. When the Japanese invaded China two years later, ‘The March of the Volunteers’ was rapidly transformed into the quintessential song of resistance against Japan, sung at schools, in the army, at rallies, and on the streets. The song was influential in capturing the hearts and minds of millions during China's eight-year War of Resistance against Japan (1937–1945); its impact, in the words of one contemporary song critic, was ‘similar to that of the “Marseillaise” [in the French Revolution]’. When the Chinese Communist Party (CCP) seized power in it adopted the song as the official national anthem.
13
Terada, Yuma. "Artist of Liminality: Miwa Yanagi’s Myth Machines as Heterotopia". tba: Journal of Art, Media, and Visual Culture 3, n. 1 (30 novembre 2021): 211–25. http://dx.doi.org/10.5206/tba.v3i1.13907.
Testo completoAbstract (sommario):
In February 2020, Miwa Yanagi: Myth Machines (2019-2020), a traveling exhibition of works by the Japanese contemporary artist Miwa Yanagi (1967-), concluded its tour across Japan after failing to incite meaningful critical response from art historians and critics. The year-long, five-museum itinerary of the solo show reflected the public’s keen interest in Yanagi’s first major exhibition in a decade, but the enthusiasm was betrayed by the paucity of scholarly attention; beyond the four essays included in the catalogue, hardly any scholar or critic seriously engaged with the artist who previously represented Japan at the Venice Biennale and whose work continues to be exhibited internationally. The few texts that appeared display a noticeable anxiety toward Myth Machines—in particular its unapologetic juxtaposition of photography and theater—which suggests a failure of the prevailing art historical language to speak and write about Yanagi’s career. In response to this laconic condition, this paper identifies the concept of heterotopia, delineated by Michel Foucault on three occasions between 1966 and 1967, as a useful device to activate a discourse on Yanagi’s exhibition. A reading of Myth Machines as a heterotopia reveals an exhibition that astutely comments on the ongoing global political moment defined by divisions along racial, gender and national boundaries, visually symbolized by former American president Donald Trump’s divisive border wall.
14
Kaori, Kobayashi. "‘The Actors Are Come Hither’: Shakespeare Productions by Travelling Companies in Asia". New Theatre Quarterly 32, n. 1 (7 gennaio 2016): 49–60. http://dx.doi.org/10.1017/s0266464x15000858.
Testo completoAbstract (sommario):
In 1882, a critic of the journal Theatre noted that ‘the theatrical life of the present day might be described as a round of glorified strolling. The ‘circuits’ of Bristol, Norwich, and York of the last century are now replaced by those of the United States, South Africa, India, and Australia, and a modern actor thinks as little of a season in Melbourne or New York as his grandfather did of a week’s ‘starring’ in Edinburgh.’ Yet the story of how these Western theatre companies reached audiences in the faraway lands of the British Empire and Asia is still relatively untold. In this article Kaori Kobayashi explores in detail some itineraries around the turn of the twentieth century of these travelling companies, many of them relatively obscure, showing that the companies had a particular and significant impact on the development of Shakespearean performance and interpretation in the East. In essence, it is impossible to understand the rise of ‘Asian Shakespeare’ without also grasping how Western touring companies helped shape the East’s engagement with the West’s most canonical dramatist. Kaori Kobayashi is Professor of English at Nagoya City University, author of The Cultural History of The Taming of The Shrew (in Japanese, 2007), and editor of Shakespeare Performance Studies in Japan (in Japanese, 2010).
15
Rachmawati, Kurnia. "KRITIK MATERIALISTIK TEKS SASTRA MAJALAH PANDJI POESTAKA (1943--1945)". Pujangga 5, n. 2 (25 giugno 2020): 141. http://dx.doi.org/10.47313/pujangga.v5i2.846.
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<p>ABSTRAK<br /> <br />Penelitian ini bertujuan memaparkan struktur ideologi Teks Sastra dalam Majalah Pandji Poestaka pada masa<br />pendudukan Jepang di Indonesia (1943-1945). Pendekatan teori yang digunakan adalah materialisme yang<br />dipaparkan oleh Eagleton. Kritik sastra materialistik mangasumsikan bahwa teks sastra tidak bertindak pasif, tetapi<br />secara aktif menentukan proses produksi dan struktur ideologi yang membentuknya. Karya sastra merupakan produk<br />interaksi dan artikulasi aspek eksternal dan internal teks. Skema kritik sastra materialistik memosisikan aspek<br />eksternal berada di luar teks yang terdiri atas kontituen-kontituen ideologi yang meliputi: corak produksi umum,<br />ideologi umum, corak produksi sastra, ideologi kepegarangan, dan ideologi estetik. Internal teks merujuk pada<br />ideologi teks yang merupakan produk dari interaksi dan artikulasi kontituen-kontituen eksternal teks yang telah<br />dijabarkan sebelumnya dan membentuk serangkaian tegangan, pengolahan dan transformasi. Hasil Penelitian<br />ini menunjukkan bahwa teks yang berupa Teks Sastra dalam Majalah Pandji Poestaka merupakan hasil artikulasi<br />dominasi kekuasaan Jepang yang menerapkan sistem pemerintahan fasisme-militersme. Mobilization and Control <br />merupakan teknik Jepang guna mendominasi kekuatan dan relasi produksi di Indonesia. Dominasi tersebut<br />mengakibatkan tekanan dan ketimpangan dalam masyarakat, sehingga memunculkan kontestasi ideologi yang<br />diusung oleh para pejuang nasionalis, gerakan bawah tanah, hingga pemberontakan masyarakat kelas bawah yaitu<br />petani. Simpulannya pemberontakan tesebut melahirkan ideologi nasionalisme, sosialisme hingga anarkisme yang<br />memiliki cita-cita yang sama yaitu semangat kebebasan, anti imperialisme, kemerdekaan dan bayangan akan sebuah<br />bangsa (nation). <br /> <br />Kata Kunci: Struktur Ideologi, Teks Sastra Pandji Poestaka, Materialisme Eagleton.<br /> <br /> <br />ABSTRACT<br /> <br />This study describes the ideology structure of Teks Sastra in Pandji Poestaka magazine during the Japanese <br />colonial Indonesia (1943-1945). Theory applied in this study is Eagleton’s materialism. This critic concerns on how<br />a literary work acts in the process of production and in shaping the ideology structure. In this case, a literary work<br />is regarded as a product of interaction and articulation in external and internal aspects of the text. The materialism<br />critic places the external aspect outside the text, includes ideology constituents, such as general mode of production,<br />general ideology, literary mode of production, author ideology, and aesthetic ideology. Meanwhile, this critic refers<br />the internal aspect to ideology of the text. This ideology is a product of those constituents’ interaction and<br />articulation that form a sequence of exertions, accomplishment, and transformation. The result of the study<br />shows that the text Teks Sastra in Panjdi Poestaka magazine is articulation of Japanese domination that applied<br />fascism-militarism in their colonial. In order to dominate the strength and the production relation in Indonesia,<br />Japan also uses mobilization and control technic. Therefore, there is inequality in society and they are pressured.<br />This leads the society to do many kinds of struggle to fight the Japanese domination. The struggles produce the</p><p><br />ideology of nationalism, anti-imperialism. Besides, Indonesian wants to reach the Independence and to have a<br />nation.</p><p>Key Words: Structure of Ideology, Teks Sastra Pandji Poestaka, Materialism, Eagleton.</p>
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Ha, Sha. "The Encounter between Cambridge Literary Criticism and China". International Journal of Comparative Literature and Translation Studies 7, n. 4 (31 ottobre 2019): 42. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.4p.42.
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The purpose of the present paper is to study the impact of Cambridge Literary Criticism (CLC) on Chinese scholars, since the visit to Peking’s Tsinghua University by Prof. Igor Armstrong Richards, the initiator of CLC, in 1929, until present times. That first encounter signed the beginning of a fruitful intercultural communication activity between the two countries, which lasted for a decennial. Those contacts between the British literary world, imbued with the scientific spirit that was the basis of ‘Cambridge Criticism’, was very stimulating for the Chinese academic world, of that was being born. Unfortunately, those contacts were forcefully interrupted in 1939, in the raging of the anti-Japanese war. They resumed, with fruitful results, toward the end of last millennium, when the Chinese government issued a “Program for Education’s Reform and Development in China”. In present times the new movement of ‘Ethical Literary Criticism’ is developing in China by initiative of Prof. Nie Zhenzhao, from Peking’s ‘Central China Normal University’, who took inspiration from the works of the Cambridge literary critic Frank Raymond Leavis.
17
Sarantakes, Nicholas Evan. "The Teahouse Tempest". Journal of American-East Asian Relations 21, n. 2 (14 giugno 2014): 156–83. http://dx.doi.org/10.1163/18765610-02102005.
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The United States occupied the Japanese island of Okinawa as a colony in everything but name for twenty-seven years after World War II ended in August 1945. This action ran counter to the avowed U.S. foreign policy principle of self-determination. Novelist Vern Sneider, a former U.S. Army civil affairs officer who had been stationed on the island during the postwar years, was a critic of the occupation. For that reason he chose to use his first novel The Teahouse of the August Moon, published in 1951, to offer a critique of policies that he believed were ethnocentric and counterproductive to U.S. national interests. Although Teahouse grew in popularity in the United States as it became a play and then a theatrical film, it failed to have any influence on U.S. foreign policy. This was because playwright John Patrick removed the critique as he adapted the story for these different media formats. The Teahouse story does show, however, how world affairs can provide issues that engage large sections of the American public at many different levels.
18
Liu, Lydia H. "The Ghost of Arthur H. Smith in the Mirror of Cultural Translation". Journal of American-East Asian Relations 20, n. 4 (2013): 406–14. http://dx.doi.org/10.1163/18765610-02004004.
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Arthur H. Smith’s Chinese Characteristics (1890) remained the most widely read American book on China until Pearl Buck’s The Good Earth (1931). Smith’s collection of pungent and humorous essays, originally written for white expatriates in Asia, was accepted by Americans at home as a wise and authentic handbook. The book was soon translated into Japanese (1896), classical Chinese (1903), and at least three more times into Chinese since 1990. The characteristics Smith identified reflect his conception of the American Way of Life, racial hierarchy, the idea of progress, and the middle-class values with which he was brought up. He used race and “national character” to explain Chinese food, dress, body care, music, art, language, and architecture, as well as politics and religion. Lu Xun, the preeminent Chinese cultural critic of the early twentieth century, pondered why his country had been defeated and came to believe that the character of his countrymen was the key to their future survival. Smith’s criticisms were valuable for this task of introspection but Lu Xun took him to task for misunderstanding the concept of “face” because he did not grasp it in the social context of unequal power. The ghost of Arthur Smith thus haunts both Chinese and Americans.
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Fischler, Alan. "The Modern Major Remodelling of the Gilbert and Sullivan Operas". New Theatre Quarterly 34, n. 1 (10 gennaio 2018): 35–46. http://dx.doi.org/10.1017/s0266464x17000665.
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Following the success of The Gondoliers (1889), Gilbert wrote to Sullivan: ‘It gives one the chance of shining right through the twentieth century.’ However, while this prophecy was largely fulfilled, clouds of cultural disapproval have darkened over the Savoy operas since the start of the present century, especially with regard to the mockery of women's education at the heart of Princess Ida (1884) and, most pointedly, the demeaning and ostensibly racist depiction of the Japanese in The Mikado (1885). On the other hand, the largely overlooked Utopia, Limited (1893) has experienced a boom in productions over the last decade, seemingly due to its subject matter, which, as one recent critic put it, make it ‘an anti-colonialist, anti-capitalist comic opera’. He also argues that, while some of the traditional performance practices associated with The Mikado ought to be re-evaluated, recent objections to the spirit of the opera as a whole are not entirely justified, and that a re-evaluation of the validity of some (but not all) of the performance practices traditionally associated with The Mikado is both just and timely. Alan Fischler is a Professor of English at Le Moyne College, Syracuse. He is the author of Modified Rapture: Comedy in W. S. Gilbert's Savoy Operas (University of Virginia Press, 1991) and ‘Drama’ in the Blackwell Companion to Victorian Literature and Culture (2014), among many other articles on Gilbert and nineteenth-century theatre.
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Santosa, Puji. "Perlawanan Bangsa Terjajah Atas Harkat dan Martabat Bangsa: Telaah Postkolonial Atas Tiga Sajak Indonesia Modern". ATAVISME 12, n. 2 (31 dicembre 2009): 147–56. http://dx.doi.org/10.24257/atavisme.v12i2.166.147-156.
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Kesadaran kebangsaan mengenyahkan peniajahan adalah persoalan nasionalisme suatu bangsa. Nasionalisme di wilayah jajahan adalah reaksi dari tekanan-tekanan sosial dan poliris yang beraneka macam dari para penjajah. Indonesia telah mengalami penjajahan bcrulang kali, seperti penjajahan Portugis, Belanda, Inggris, dan Jepang. Jejak-jejak penjajahan bangsa Eropa dan bangsa Asia Timur Raya tersebut di Indonesia terekam secara jelas dalam sastra Indonesia modern, misalnya dalam tiga sajak Indonesia modern, yaitu sajak "Hang Tuah" karya Amir Hamzah yang merekam jejak pcrlawanan terhadap kolonial bangsa Postugis, sajak "Apa Kata Laut Banda" karya Mansur Samin yang merekam jejak perlawanan pahlawan Maluku terhadap kolonial bangsa Belanda, dan sajak "Sontanglelo" karya Mansur Samin yang merekam jejak perlawanan pcmuda Batak terhadap penjajahan bangsa Jepang. Ketiga sajak Indonesia modem itu dipilih sebagai percontoh pembicaraan tentang kritik postkolonial dengan alasan: (1) Ketiga sajak di atas merekam sejarah bangsa tentang jejak- jejak penjajahan di Indonesia, yakni suatu semangat kesadaran anak bangsa unluk berdaulat, terbebas dari penjajahan serta membangkitkan semangat nasionalisme bangsa, (2) Ketiga sajak di atas ditulis dalam bentuk puisi naratif atau balada yang berisi kisah perlawanan anak bangsa terhadap kolonial, yakni diwakili oleh tokoh Hang Tuah yang rnengadakan perlawanan terhadap bangsa Portugis, tokoh Maria Christina Martha yang mcngadakan perlawanan terhadap bangsa Belanda, dan tokoh Sontanglelo yang mengadakan pcrlawanan terhadap bangsa Jepang. Wujud perlawanan kctiga tokoh di atas merupakan reaksi atas tekanan sosial dan politik dari para kolonialis untuk pembebasan negerinya.
Abstract:
National awareness to evict colonialization is a nationalism issue of a nation. Nationalism in a colourized territory is a reaction from various social and political pressures of the colonizers. Indonesia had suffered from colonialization for many times, such as colonializations by Portuguese, Dutch, English, and Japanese. The trajectories of European and East Asian colonialization in Indonesia have clearly recorded in modem Indonesian literature, for instance in three modern Indonesian poems, namely "Hang Tuah", written by Amir Hamzah which recorded the resistance trajectory against Portuguese colonial, '' Apa Kata Laut Banda" written by Mansur Samin which recorded the resistance trdject01y of Maluku's heroine against the Dutch colonial, and "Sontanglelo" written by Mansur Samin which recorded the resistance trajectory of a Barak young man against Japanese colonial. The three modem Indonesian poems are selected as examples in a discussion of the postcolonial critic by the reasons: (1) The three poems are records of the national history about colonial trajectory in Indonesia, i.c. a spirit of a national awareness to independent, free from colonialism and arousing the nationalism spirit of a nation. (2) The three poems were written in the form of narrative poems or ballads presenting the stories of a nation resistance against colonialism, i.e. represented by Hang Tuah who fought against Portuguese colonialism, Maria Martha Christina who fought against Dutch colonialism, and Sontanglelo who fought against Japanese colonialism. The realization of the three characters is a reaction to the colonial's social and political pressures in liberating their nation.
Keywords: national awareness. nationalism, colonialism, postcolonial, liberation.
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Nugrahanto, Widyo. "BKR (BADAN KEAMANAN RAKYAT): Cikal Bakal Tentara Indonesia?" Metahumaniora 8, n. 3 (27 dicembre 2018): 389. http://dx.doi.org/10.24198/metahumaniora.v8i3.20718.
Testo completoAbstract (sommario):
AbstrakPenelitian ini berjudul BKR (Badan Kemanan Rakyat):Cikal Bakal Tentara Indonesia?!. Penelitian ini merupakan interpretasi baru tentang cikal bakal TNI, yang umumnya banyak merujuk pada PETA (Pembela Tanah Air). Metode penelitian yang digunakan adalah Metode Sejarah.Metode Sejarah memiliki empat tahapan yaitu Heuristik, Kritik, Interpretasi dan Historiografi.Sumber-sumber penelitian ini menggunakan koran-koran sezaman, majalah sezaman, dan buku. BKR dianggap sebagai cikal bakal TNI didasarkan beberapa sebab. Pertama, atas dasar legalitas formal, PETA telah dibubarkan sehingga BKR adalah satuan militer yang pertama kali dibentuk setelah Indonesia merdeka. BKR selanjutnya melahirkan pembentukan TKR (Tentara Keamanan Rakyat), TKR (Tentara Keselamatan Rakyat), TRI (Tentara Republik Indonesia) dan TNI (Tentara Nasional Indonesia). Kedua, jika PETA dianggap sebagai cikal bakal TNI, maka KNIL dan beberapa satuan keprajuritan diabaikan. Padahal, beberapa bekas perwira KNIL memiliki peran penting di tubuh BKR hingga TNI.Kata kunci: BKR, Tentara, TNIAbstractThe main subject this study is BKR – Indonesian civil defense corps – as origin of Indonesian Military. This study is new interpretation about the origin of TNI (Indonesian National Armed Forces) now. Many opinion refer to PETA as civil defense corps in Japanese occupation era. Study emlpoys a Historical Method, which consists of four stage: Heuristic, Critic, Interpretation, Historiography. The study utilize some sources such as newspaper, magazine, and book. Main finding of this study is PETA had dispersed as legality and formally and BKR was formed as the firts corps after Independence of Indonesia. Futhermore, BKR changed to TKR (Tentara Keamanan Rakyat), TKR (Tentara Keselamatan Rakyat), TRI (Tentara Republik Indonesia) until TNI (Tentara Nasional Indonesia). If PETA is considered as origins of Indonesian Military, then it ignore KNIL – a colonial armed forces – and the other defence corps. Even though the eks KNIL’s officer have important role in military managenment of BKR until TNI.Keywords: BKR, Military, TNI
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Nugrahanto, Widyo. "BKR (BADAN KEAMANAN RAKYAT): Cikal Bakal Tentara Indonesia?" Metahumaniora 8, n. 3 (27 dicembre 2018): 389. http://dx.doi.org/10.24198/mh.v8i3.20718.
Testo completoAbstract (sommario):
AbstrakPenelitian ini berjudul BKR (Badan Kemanan Rakyat):Cikal Bakal Tentara Indonesia?!. Penelitian ini merupakan interpretasi baru tentang cikal bakal TNI, yang umumnya banyak merujuk pada PETA (Pembela Tanah Air). Metode penelitian yang digunakan adalah Metode Sejarah.Metode Sejarah memiliki empat tahapan yaitu Heuristik, Kritik, Interpretasi dan Historiografi.Sumber-sumber penelitian ini menggunakan koran-koran sezaman, majalah sezaman, dan buku. BKR dianggap sebagai cikal bakal TNI didasarkan beberapa sebab. Pertama, atas dasar legalitas formal, PETA telah dibubarkan sehingga BKR adalah satuan militer yang pertama kali dibentuk setelah Indonesia merdeka. BKR selanjutnya melahirkan pembentukan TKR (Tentara Keamanan Rakyat), TKR (Tentara Keselamatan Rakyat), TRI (Tentara Republik Indonesia) dan TNI (Tentara Nasional Indonesia). Kedua, jika PETA dianggap sebagai cikal bakal TNI, maka KNIL dan beberapa satuan keprajuritan diabaikan. Padahal, beberapa bekas perwira KNIL memiliki peran penting di tubuh BKR hingga TNI.Kata kunci: BKR, Tentara, TNIAbstractThe main subject this study is BKR – Indonesian civil defense corps – as origin of Indonesian Military. This study is new interpretation about the origin of TNI (Indonesian National Armed Forces) now. Many opinion refer to PETA as civil defense corps in Japanese occupation era. Study emlpoys a Historical Method, which consists of four stage: Heuristic, Critic, Interpretation, Historiography. The study utilize some sources such as newspaper, magazine, and book. Main finding of this study is PETA had dispersed as legality and formally and BKR was formed as the firts corps after Independence of Indonesia. Futhermore, BKR changed to TKR (Tentara Keamanan Rakyat), TKR (Tentara Keselamatan Rakyat), TRI (Tentara Republik Indonesia) until TNI (Tentara Nasional Indonesia). If PETA is considered as origins of Indonesian Military, then it ignore KNIL – a colonial armed forces – and the other defence corps. Even though the eks KNIL’s officer have important role in military managenment of BKR until TNI.Keywords: BKR, Military, TNI
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Saito, Tatsuya. "Critical Reactions to the 1890 Japanese Print Exhibition in Paris". Journal of Japonisme 2, n. 1 (18 gennaio 2017): 38–72. http://dx.doi.org/10.1163/24054992-00021p02.
Testo completoAbstract (sommario):
The great Japanese pictorial arts retrospective held in Paris in 1890 drew considerable attention from critics. By examining press reviews, this article aims to clarify how the critics responded to the exhibition and Japanese prints. Many reviewers expressed favorable opinions of the exhibition, describing the characteristics of Japanese art and notable painters such as Hokusai, Hiroshige, and Utamaro as well as the so-called “primitive artists.” However, there was also harsh criticism of Japonisme and Japanese art, which is discussed here as well. Writers such as Teodor de Wyzewa, Edmond Pottier, and Jacques Tasset published original studies on the Japanese pictorial arts. Their writings will likewise be analyzed in order to present the wide variety of reactions in the critical sphere.
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Figal, Gerald. "How to jibunshi: Making and Marketing Self-histories of Shōwa among the Masses in Postwar Japan". Journal of Asian Studies 55, n. 4 (novembre 1996): 902–33. http://dx.doi.org/10.2307/2646528.
Testo completoAbstract (sommario):
The death of Emperor Hirohito on 7 January 1989, followed more recently by the fiftieth anniversary of the end of World War II, has indeed incited a degree of historical awareness among Japanese from all walks of life. In the wake of an enigmatic period of social self-restraint (jishuku) during the final months of the Shōwa period (1926–89), fettered reflections of Shōwa Japan inundated the media. Despite a few outspoken critics at the margins, retrospectives appearing on Japanese television and in mainstream print media after Hirohito's death have largely glossed over touchy subjects such as war atrocities, war responsibility, and the continued existence of the emperor system in the postwar era. No doubt that threats of right-wing terrorism aimed at even the mildest of critics of Japan's involvement in the Fifteen-Year War (1931–45) have done their share in encouraging such self-censorship. By most accounts, such efforts have proved effective in diffusing critical public opinion and in pruning public memory. Yet, the ending of the era has provided an extra impetus and a rhetorical rationale for a reckoning of everyday life in Shōwa Japan by the masses whose lives coincided with it: it is over, so now we can tell its story.
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Hatanaka, Hiroshi. "Answering the critics of Japanese whale research". Nature 436, n. 7053 (agosto 2005): 912. http://dx.doi.org/10.1038/436912c.
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Patzner, Claire. "Tawara Machi’s Bisymmetrical Self". Columbia Journal of Asia 1, n. 2 (9 dicembre 2022): 37–42. http://dx.doi.org/10.52214/cja.v1i2.10137.
Testo completoAbstract (sommario):
Tawara Machi is one of the most famous contemporary Japanese poets after the success of her collection of poetry titled Salad Anniversary. This collection of poetry utilized vivid imagery of everyday activities and revitalized the traditional Japanese tanka poetic form. While literary critics often view her poetry as anti-feminist writing that relies heavily on the “waiting woman” trope popularized by early tanka poetry, I argue that her work is multi-dimensional and expands on this trope. Although her writing involves more passive feminism than famous Japanese feminist poets such as Hiromi Itō, it should not be dismissed as docile or unprogressive. Critics also claim her poetry is flat and one note, likely due to its accessible language and short format. However, I believe that her poems are more layered than one might think and that critics should re-examine her work, despite its overwhelming mainstream popularity. In this short essay, I analyze a selection of Tawara’s poems from her collection Salad Anniversary and prove their duality and nuance.
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Fadli, Zaki Ainul. "EKSPRESI THUMOS MISHIMA YUKIO DALAM NOVEL KINKAKUJI". IZUMI 3, n. 1 (8 gennaio 2014): 92. http://dx.doi.org/10.14710/izumi.3.1.92-101.
Testo completoAbstract (sommario):
In the social study, there is a concept about strong desire to be recognized by others named thumos. Mishima as a Japanese ultranasionalist have a value about guarding the traditional Japanese values. Among of these values is the absolute position of Japanese emperor in the state. If Mishima’s thumos which expressed in the novel linked with his ideology, there is strong similarity between the protagonist’s disappointment and Mishima’s critics related with the Japanese society. Those assumptions supported by novel’s structural aspects.
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Takeda, Koichi, Emiko Suzuki, Tetsuro Nishino e Tetsunosuke Fujisaki. "CRITAC—An experimental system for Japanese text proofreading". IBM Journal of Research and Development 32, n. 2 (marzo 1988): 201–16. http://dx.doi.org/10.1147/rd.322.0201.
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Suárez, José I. "Dichotomy Christianity – Japaneseness". Letrônica 15, n. 1 (1 dicembre 2022): e41607. http://dx.doi.org/10.15448/1984-4301.2022.1.41607.
Testo completoAbstract (sommario):
The purpose of this study is to demonstrate briefly how Shusaku Endo, the noted Japanese author of Silence, stresses his Japanese identity over his Roman Catholic religion in novel The Samurai. This preference has unfortunately been ignored by Western literary critics who have instead opted to stress the importance of his religious beliefs in his fiction.
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Journal for Politics, Gender and Culture, Identities, e Kamelia Spassova. "Mimetic Machines in the Uncanny Valley". Identities: Journal for Politics, Gender and Culture 18, n. 1-2 (8 dicembre 2021): 22–33. http://dx.doi.org/10.51151/identities.v18i1-2.482.
Testo completoAbstract (sommario):
Uncanny valley (不 気 味 の 谷 ) is a notion introduced by the Japanese robotics professor Masahiro Mori in 1970. The basic claim of his hypothesis states that the anthropomorphic machines cause uncanny effect due to their imperfect resemblance to the human. Humanoids seem almost like people, but exactly the distance of this almost provokes hot debates. There are two trends in robotics, animation, architecture, and computer games. The first trend seeks to overcome the uncanny valley, constructing such an incredible machine that perfectly mimics human actions. The second trend – Masahiro Mori takes this side – consciously constructs non-anthropomorphic machines. The machine’s appearance, structure, shape, proportion of the parts, and motion must be visibly different from the human ones. The term uncanny valley appears in a European context soon after its introduction, due to Jasia Reichardt’s translation in 1978. She is an art critic and curator who is interested in the role of cybernetics in art. The joint between the uncanny valley in robotics and the legacy of Freud and Jentsch is established with this translation at the intersection point between aesthetics and science. This link opens new fields to theoretical and aesthetic imagination. Author(s): Kamelia Spassova Title (English): Mimetic Machines in the Uncanny Valley Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 18, No. 1-2 (2021). Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 22-33 Page Count: 12 Citation (English): Kamelia Spassova, “Mimetic Machines in the Uncanny Valley,” Identities: Journal for Politics, Gender and Culture, Vol. 18, No. 1-2 (2021): 22-33. Author Biography Kamelia Spassova, University of Sofia Kamelia Spassova is Associate professor at the Literary Theory Department at the University of Sofia, Bulgaria. She is a lecturer at the Slavic Institute, Department of Philosophy, University of Cologne (2016-2018). She has published in Bulgaria a theoretical book on the poetics of example: Event and Example in Plato and Aristotle (2012), which deals with the tension between literary example and exemplary work in philosophical and theoretical discourses. She has developed the project “Doppelganger as a Political Figure” (2014-2015) in the Centre for Advanced Study Sofia (CAS), an independent institution for scholarship in the humanities and social sciences. In her latest book Modern Mimesis. Self-reflexivity in Literature (2021) she works on the transformations of the concept of mimesis in the 20th century.
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Lestari, Eka Marthanty Indah. "A Critical Discourse Analysis of The Advertisement of Japanese Beauty Products". IZUMI 9, n. 1 (31 maggio 2020): 58–74. http://dx.doi.org/10.14710/izumi.9.1.58-74.
Testo completoAbstract (sommario):
This research analyzes the advertisement of Japanese beauty products through perspective of the critical discourse analysis as stated by Fairclough (1995). The discussed issues are linguistic features used in the advertisement of Japanese beauty products and the strategies used by advertisers to manipulate consumers who are women. Through three dimensions of the critical discourse analysis, it is known that the choices of vocabularies, grammar, modality, and rhetoric serve to bring psychological effect to consumers. Besides, the strategies used by advertisers to manipulate consumers for purchasing or using the offered products are puffery (exaggerating the quality of product), social proof (showing that their products are popular), liking (posting the positive reviews by celebrities for the related products), scarcity (limiting the quantity of product), emotional appeals (playing with the emotion of consumers), and scientific evidence (showing the scientific evidence). Analysis shows the result that advertisement is made based on the beauty myth in society. Besides, advertisement plays a role in creating and propagating the beauty myth in society.
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Sipos, George T. "Japanese Literature in Romanian Translation: The Case of Yukio Mishima". Analele Universității de Vest. Seria Științe Filologice, n. 59 (gennaio 2022): 131–39. http://dx.doi.org/10.35923/autfil.59.09.
Testo completoAbstract (sommario):
The translation and reception of Japanese literature in Romania has followed the vicissitudes of the country’s coming into modernity in the 19th century and slide into fascism and communism throughout the 20th century, as well as the subsequent ups and downs of the relationship with Japan. This research offers a brief overview of that sinuous path. It then focuses on the pre- and post-1990 reception of the works of Yukio Mishima (1925-1970), one of the iconic figures of Japan’s postwar literature and exemplary for his continued trials and tribulations with modernity. By making use of scholarly and journalistic sources, the current incipient research provides several examples of the translation and reception of Mishima’s works in Romania, as well as the extent to which his presence in this literary space has managed to permeate the psyche of Romanian scholars, literary critics and readers alike.
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YANG, SERENA. "Against ‘John Cage Shock’: Rethinking John Cage and the Post-war Avant-garde in Japan". Twentieth-Century Music 18, n. 3 (ottobre 2021): 341–62. http://dx.doi.org/10.1017/s1478572221000165.
Testo completoAbstract (sommario):
AbstractAfter Cage and Tudor visited Japan in 1962, the term ‘Cage Shock’ circulated widely among the Japanese public. My interviews with Japanese composers suggest that the term ‘Cage Shock’ oversimplifies the reception of Cage's debut in Japan. Composer Yūji Takahashi stated that Cage would have met Japanese audiences well prepared for his visit by musical trends present in Japan as early as the late 1940s. Building on the statement that the Japanese avant-garde was thriving before Cage visited Japan in 1962, this article aims to deconstruct the term ‘Cage Shock’ by restoring the complexity of the reception of Cage in Japan and by analysing the reasons why critics adopted the term ‘Cage Shock’. I argue that ‘Cage Shock’ has functioned more as a media buzzword that sensationalizes the story of Cage's impact on Japan than as an objective description of Japanese reaction to Cage.
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Choi, Ja-Myung. "Egalitarian Education or Meritocracy? : The OECD Perspective on Japanese Education and Its Japanese Critics, 1970". Korean Association For Japanese History 56 (31 dicembre 2021): 173–201. http://dx.doi.org/10.24939/kjh.2021.12.56.173.
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Strecher, Matthew C. "Beyond “Pure” Literature: Mimesis, Formula, and the Postmodern in the Fiction of Murakami Haruki". Journal of Asian Studies 57, n. 2 (maggio 1998): 354–78. http://dx.doi.org/10.2307/2658828.
Testo completoAbstract (sommario):
With the publication ofKaze no Uta o Kike(Hear the Wind Sing; 1979), Murakami Haruki (b. 1949) found himself more or less at odds with well-known members of the Japanese literary establishment. If one takes Murakami at his word, this was not the result of conscious effort on his part, but rather a matter of his own individualism, a certain indifference (feigned or not) toward the conventions and opinions of professional critics in Japan's literary community. He commented to journalist Kawamoto Saburō in a 1985 interview that “[i]t never occurred to me to resist the paradigms of existing ‘pure’ literature, or to offer some kind of antithesis to it…. I don't think I worried about whether existing types of works would go on existing, so long as I could write what I wanted, how I wanted” (Kawamoto 1985, 39–40). Such a statement might be taken as a reflection of the author's anxiety not to be labeled “anti-bundan“or otherwise standing against the proliferation of so called “pure“literature, orjunbungaku.And yet, given the general trend of Japanese literature from 1980 onward, beginning perhaps with Tanaka Yasuo's plotless novelNantonaku, Kurisutaru(Somehow, Crystal; 1980), Murakami appears to belong to a growing new set of contemporary authors who do precisely that: resist the concepts and definitions of “pure“literature, redefining the term to suit their own needs.
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Ramšak, Polona. "Ishiguro’s Japanese-English Identity and His Reception Internationally and in Slovenia". Acta Neophilologica 54, n. 1-2 (7 dicembre 2021): 99–114. http://dx.doi.org/10.4312/an.54.1-2.99-114.
Testo completoAbstract (sommario):
Kazuo Ishiguro is a British author of Japanese descent who has established himself globally as an award-winning writer of bestselling books. This article deals with the hybridity of the author, who is both Japanese and English, a popular writer who stirs reader emotions but is at the same time respected by critics. The article begins by addressing the ‘Japaneseness’ in Ishiguro’s work that is both obvious and skilfully concealed. In the second part, the article examines the reception of Ishiguro’s work by Slovenian readers and discusses potential reasons for their seeming lack of response.
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Erber, Pedro. "Art and/or Revolution: The Matter of Painting in Postwar Japan". ARTMargins 2, n. 1 (febbraio 2013): 37–57. http://dx.doi.org/10.1162/artm_a_00032.
Testo completoAbstract (sommario):
Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.
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ZGHEIB, Hani, e Hiroshi KATANO. "EVOLUTION OF CRITICS IN WESTERN MAGAZINES ON CONTEMPORARY JAPANESE ARCHITECTURE : Western analysis of contemporary Japanese architecture". Journal of Architecture and Planning (Transactions of AIJ) 65, n. 538 (2000): 259–67. http://dx.doi.org/10.3130/aija.65.259_3.
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Azuma, Hiroki, e Yuk Hui. "Homo animalis, a Japanese Futurism". Philosophy Today 65, n. 2 (2021): 401–8. http://dx.doi.org/10.5840/philtoday2021412395.
Testo completoAbstract (sommario):
In this dialogue, Hiroki Azuma discusses with Yuk Hui about the perception of technology in Japan after the defeat in the Second World War, from the Kyoto School to the postmodern critics, and the ambivalent conflicts between the modern and the tradition. The postmodern culture has a different signification in Japan than in the West as well as in other parts of Asia. Azuma documents the rise of the Otaku culture in Japan, and calls them “database animals,” a thesis that he formulated through his reading of Alexandre Kojève’s end of man and the absorption of the human subject into the technological world.
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Mangiron, Carmen. "The Localisation of Japanese Video Games". Journal of Internationalization and Localization 2 (1 gennaio 2012): 1–20. http://dx.doi.org/10.1075/jial.2.01man.
Testo completoAbstract (sommario):
Over the course of the last three decades the entertainment software industry has become a multibillion dollar industry and a worldwide phenomenon. The United States and Japan have traditionally been the main players in this industry, which owes part of its global success to internationalisation and the associated localisation processes. Due to the cultural distance between Japan and Western countries, Japanese games often undergo extensive cultural adaptation in order to market them successfully in those territories. This paper analyses the localisation of Japanese console games. After presenting a brief overview of the history of the localisation of Japanese games it describes the main internationalisation strategies adopted by Japanese developers and publishers. It also explores the main localisation strategies applied to Japanese games, i.e. domesticating or exoticising, exploring the cultural adaptation processes to which some Japanese games have been subject, and examines how critics and players reacted to the localised versions. Finally, it concludes with a reflection on the extent to which Japanese games should be culturally adapted for their international release in order to strike the right balance between domesticating and exoticising strategies taking into account different factors, such as the genre of the game, the gaming preferences of the target players, and the intended audience.
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Dalmi, Katalin. "Japanese Literature in Contemporary Hungary". Archiv orientální 89, n. 2 (30 settembre 2021): 311–37. http://dx.doi.org/10.47979/aror.j.89.2.311-337.
Testo completoAbstract (sommario):
This paper sheds light on the main trends in translation of Japanese literature in contemporary Hungary and theorize the role of Haruki Murakami’s works in making Japanese literature widely recognized. Firstly, the paper gives a general overview on translations of Japanese literature in Hungary in the post-1989 era. I argue that after a decline in translation in the 1990’s, the spread of anime and manga combined with the popularity of Haruki Murakami’s novels generated a growing interest in Japanese literature and culture in Hungary resulting in changed translation strategies. While translations were limited to pieces of the so-called junbungaku (pure literature) in the pre-1989 era, numerous pieces of taishūbungaku (popular literature) have been translated since the 2000’s, attracting a wider range of readers than ever. Based on book reviews from critics and readers published in traditional and social media, the second part of this paper will explore the main platforms of Japanese literature and analyze its reception. I argue that the magical realist setting combined with dialogues on fundamental questions of life create a specific literary mode which satisfy the Western readers’ desire for the exotic Other, ensuring the place of Japanese literature in the Western literary world.
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A. Weigand, Robert. "The performance and risk of banks in the U.S., Europe and Japan post-financial crisis". Investment Management and Financial Innovations 13, n. 4 (15 dicembre 2016): 75–94. http://dx.doi.org/10.21511/imfi.13(4).2016.07.
Testo completoAbstract (sommario):
The author compares the performance, growth, asset mix, risk, operational efficiency, profitability and capital holdings of the 20 largest banks in Japan, the U.S. and Europe from 2003-2015. Total revenue for each set of banks has declined by a full 20% since 2011. European banks are in a multiyear downward spiral, evidenced by dramatic declines in market capitalization, the book value of loans and total assets, and the level of deposits. Japanese bank performance is stagnant compared to Europe and the U.S. Both Japanese and European banks are particularly challenged by persistently lower net interest margins compared to U.S. banks.The percentage of impaired, restructured or nonperforming loans soared for U.S. and European banks post-crisis, but barely rose in Japan. All banks hold more Tier 1 capital than required by the Basel III accord, which has led to profound declines in their net profit margins and return on equity. Modeling the conditional volatility of U.S., Japanese and European banks provides evidence consistent with the idea that U.S. banks continue to exhibit a more robust post-crisis recovery, while Japanese and European banks continue to experience crisis-level conditions. Any evidence that Japanese and European banks have recovered from the financial crisis is fragile at best. Keywords: commercial banking, bank capital, regulation, risk, stock returns, profits. JEL Classification: G18, G21
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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art". Matèria. Revista internacional d'Art, n. 18-19 (16 settembre 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.
Testo completoAbstract (sommario):
The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.
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Genova, Pamela A. "Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku". Irish Journal of French Studies 15, n. 1 (1 dicembre 2015): 25–40. http://dx.doi.org/10.7173/164913315817039216.
Testo completoAbstract (sommario):
Ever since the opening of the ports of Japan to the West in 1854, French authors have participated in a fruitful dialogue of East-West exchange, to which the work of Yves Bonnefoy adds an engaging dimension. Bonnefoy, who reads Japanese and has spent time in Japan, has carried on throughout his career an equivocal relationship with Japanese aesthetics, especially notable in his complex views on haiku. Early on, Bonnefoy critiqued the form as a hollow discursive structure inattentive to the crucial referential relationship between art and world that he underscored in his own work as primary. Yet, interestingly, critics have described similarities between Bonnefoy's poetry and Japanese haiku, and indeed Bonnefoy later recanted his negative critique of the form. In the 1989 essay, 'Du haïku', he argues in fact that haiku embodies pure presence, expressing a kind of third dimension, situating itself in the space of the world and in the mind's eye, as it communicates the plenitude of being.
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Gromkowska-Melosik, Agnieszka. "Międzynarodowe testy języka angielskiego: japońskie paradoksy i kontrowersje". Kwartalnik Pedagogiczny 64, n. 1(251) (24 aprile 2019): 47–57. http://dx.doi.org/10.5604/01.3001.0013.1837.
Testo completoAbstract (sommario):
The aim of the article is to describe – on the example of teaching English – the reductionistic character of the testing phenomenon. Global international tests (TOEFL and TOEIC) provide excellent arguments to critics of the phenomenon of “testology”, related to reducing the school’s identity and student identity to results of test. An excellent example of this phenomenon is Japanese society. In Japan, where English is considered the cultural and professional capital of individuals, the paradoxes (and absurdities) of testing find their best exemplification. At the same time, the fact that English is completely different from Japanese results in contextualizing language tests in different, sometimes unexpected, cultural aspects of life. In addition, the controversy surrounding the testing of the English language proficiency in Japan is related to the discussion about cultural imperialism. All these issues will be analysed in the article, not only in the Japanese context but also in relation to whole “testing culture”.
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Kōdera, Tsukasa, Tatsuya Saito, Megumi Soda e Geneviève Aitken. "Introduction". Journal of Japonisme 2, n. 1 (18 gennaio 2017): 1–37. http://dx.doi.org/10.1163/24054992-00021p01.
Testo completoAbstract (sommario):
The exhibition of Japanese prints held at the École des Beaux-Arts in Paris in 1890 is a milestone in the history of Japonisme. Organized by S. Bing in collaboration with a number of Japonistes, the exhibition presented more than 1100 Japanese prints, illustrated books and kakemono. This article reconstructs this historic event in its diverse aspects: clarifying the preparation process, reconstructing the exhibition venue, identifying exhibits, and examining their lenders. All these factors will be placed in a historical context, revealing how meticulously Bing prepared the exhibition and subsequently promoted ukiyo-e prints in France. The impact of this exhibition on artists and critics, which is clearly visible in artists’ letters and contemporary reviews published in the press, is also briefly discussed.
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Rudiono, Rudiono, e Havidz Ageng Prakoso. "Fathering Japan: Japan's Strategy for Achieving Gender Equality in Response to UN Criticism". Jurnal Perempuan dan Anak 5, n. 1 (20 febbraio 2022): 11–22. http://dx.doi.org/10.22219/jpa.v5i1.18821.
Testo completoAbstract (sommario):
This journal aims to explain Japan's strategy in achieving gender equality in response to UN criticism through the Ikumen Project/ NPO Fathering Japan. The condition of gender inequality in Japanese society has generated worldwide attention and has also received criticism from the United Nations (UN) through CEDAW (The Convention on the Elimination of All Forms of Discrimination against Women). This is due to the high application of conventional cultural values of Japanese society which is commonly referred to as patriarchal culture. Therefore, the theory and concept used in this research is Gender Empowerment which looks at the efforts of state actors through the government in empowering men and women, Civil Society by looking at the important role of civil society groups in dealing with content trends in an organization. Countries and the concept of the Non-Profit Organization which looks at the history of the involvement of NPOs in dealing with several problems in the country. The author uses qualitative research and descriptive research by collecting data from secondary sources, books, theses and theses, journals and articles from online sources. The results of the study show that the increased participation of men in child care in 2017. This is the result of the existence of cooperation between the Japanese government and NPO Fathering Japan as an effort to increase public awareness to shift conventional cultural values, namely patriarchy which has become the main cause gender inequality to get criticism and pressure from several UN panels to immediately address the related issues and towards the achievement of gender equality.
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Kovner, Sarah. "Base Cultures: Sex Workers and Servicemen in Occupied Japan". Journal of Asian Studies 68, n. 3 (agosto 2009): 777–804. http://dx.doi.org/10.1017/s0021911809990052.
Testo completoAbstract (sommario):
This article examines how the bodies of Japanese women became a key site of political and cultural contestation during the Allied occupation. The sale of sex, once legally recognized and regulated, became a conspicuous symbol of postwar chaos. Ostracizing sex workers who catered to servicemen provided a means to display an abiding nationalism without directly confronting the occupiers. But these women were also indispensable in the economy of military base cities. Journalists and social critics sought to discern or impose order by devising elaborate taxonomies, cartographies, health regimes, and moral codes. Sex workers were active participants in this process, but their personal testimonies show how their lives defied categorization. When the Diet finally intervened with the 1956 Prostitution Prevention Law, it was merely the culmination of a long process involving every segment of Japanese society.
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Nordsieck, Hartmut. "Critical revision of the system of the Japanese Phaedusinae, proposed by Minato (1994) (Gastropoda: Stylommatophora: Clausiliidae)". Archiv für Molluskenkunde 127, n. 1-2 (27 novembre 1998): 21–32. http://dx.doi.org/10.1127/arch.moll/127/1998/21.
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Jarmołowicz-Dziekońska, Małgorzata. "The picture bride phenomenon: A reflection on photography from a cultural perspective in Yoshiko Uchida’s Picture Bride". Crossroads. A Journal of English Studies, n. 33(2) (2021): 39–66. http://dx.doi.org/10.15290/cr.2021.33.2.03.
Testo completoAbstract (sommario):
Literature and photography have always encouraged critics to explore interactions between text and image. Within the scope of culture, they also show significant potential in terms of their scholarly application, since the photograph becomes a practical tool for studying literary works within the cultural matrix. The paper aims to use this means of visualisation in order to examine the picture bride phenomenon illustrated in Yoshiko Uchida’s novel Picture Bride (1987), which reveals that behind the veil of apparently prosperous and lifelong marriages, there is a harsh matchmaking system which—solely on the basis of personal networking and Japanese marriage intermediaries—allows for shipping prospective wives from Japan to Japanese immigrants who settled in the United States a few decades earlier. Thus, the photograph constitutes a tool of analysis, which doubles as a tangible means of representation and a factual visualisation of metacognitive imagery.