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Over the last 20 years, ethnic minority groups have been increasingly featured in Japanese Films. However, the way these groups are presented has not been a subject of investigation. This study examines the representation of so-called Others – foreigners, ethnic minorities, and Okinawans – in Japanese cinema. By combining textual and contextual analysis, this book analyses the narrative and visual style of films of contemporary Japanese cinema in relation to their social and historical context of production and reception. Mika Ko considers the ways in which ‘multicultural’ sentiments have emerged in contemporary Japanese cinema. In this respect, Japanese films may be seen not simply to have ‘reflected’ more general trends within Japanese society but to have played an active role in constructing and communicating different versions of multiculturalism. In particular, the book is concerned with how representations of ‘otherness’ in contemporary Japanese cinema may be identified as reinforcing or subverting dominant discourses of ‘Japaneseness’. the author book also illuminates the ways in which Japanese films have engaged in the dramatisation and elaboration of ideas and attitudes surrounding contemporary Japanese nationalism and multiculturalism. By locating contemporary Japanese cinema in a social and political context, Japanese Cinema and Otherness makes an original contribution to scholarship on Japanese film study but also to bridging the gap between Japanese studies and film studies.
Representing the Other in Modern Japanese Literature looks at the ways in which authors writing in Japanese in the twentieth century constructed a division between the ‘Self’ and the ‘Other’ in their work. Drawing on methodology from Foucault and Lacan, the clearly presented essays seek to show how Japanese writers have responded to the central question of what it means to be ‘Japanese’ and of how best to define their identity. Taking geographical, racial and ethnic identity as a starting point to explore Japan's vision of 'non-Japan', representations of the Other are examined in terms of the experiences of Japanese authors abroad and in the imaginary lands envisioned by authors in Japan. Using a diverse cross-section of writers and texts as case studies, this edited volume brings together contributions from a number of leading international experts in the field and is written at an accessible level, making it essential reading for those working in Japanese studies, colonialism, identity studies and nationalism.
The Constructed Other argues that the assumed otherness of Japanese architecture has made it both a testbed for Western architectural theories and a source of inspiration for Western designers. The book traces three recurring themes in Western accounts of Japanese architecture from the reopening of Japan in the mid-nineteenth century to the present day: a wish to see Western architectural theories reflected in Japanese buildings; efforts to integrate elements of Japanese architecture into Western buildings; and a desire to connect contemporary Japanese architecture with Japanese tradition. It is suggested that, together, these narratives have had the effect of creating what amounts to a mythical version of Japanese architecture, often at odds with historical fact, but which has exercised a powerful influence on the development of building design internationally.
A transnational history of the performance, reception, translation, adaptation and appropriation of Bizet's Carmen from 1875 to 1945. This volume explores how Bizet's opera swiftly travelled the globe, and how the story, the music, the staging and the singers appealed to audiences in diverse contexts.
Betsy Forero-Montoya is an Associate Professor in the School of Arts and Humanities at Universidad de los Andes (Colombia). She received a PhD in Japa-nese Studies from Tsukuba University and a Master's of Arts from Sophia University. She has been teach-ing and conducting research on Japan for almost two decades. She has authored articles and book chap-ters on media portrayal of gender and ethnicity, and on popular culture.
Representing the Other in Modern Japanese Literature looks at the ways in which authors writing in Japanese in the twentieth century constructed a division between the ‘Self’ and the ‘Other’ in their work. Drawing on methodology from Foucault and Lacan, the clearly presented essays seek to show how Japanese writers have responded to the central question of what it means to be ‘Japanese’ and of how best to define their identity. Taking geographical, racial and ethnic identity as a starting point to explore Japan's vision of 'non-Japan', representations of the Other are examined in terms of the experiences of Japanese authors abroad and in the imaginary lands envisioned by authors in Japan. Using a diverse cross-section of writers and texts as case studies, this edited volume brings together contributions from a number of leading international experts in the field and is written at an accessible level, making it essential reading for those working in Japanese studies, colonialism, identity studies and nationalism.
Japanese society is often referred to as an example of a homogeneous culture moderated by an ethos of groupism. Yet often enough homogeneity is its own worst enemy as norms are required and enforced at the centre of power to the detriment of individual and human rights.
Immigrant Japan? Sounds like a contradiction, but as Gracia Liu-Farrer shows, millions of immigrants make their lives in Japan, dealing with the tensions between belonging and not belonging in this ethno-nationalist country. Why do people want to come to Japan? Where do immigrants with various resources and demographic profiles fit in the economic landscape? How do immigrants narrate belonging in an environment where they are "other" at a time when mobility is increasingly easy and belonging increasingly complex? Gracia Liu-Farrer illuminates the lives of these immigrants by bringing in sociological, geographical, and psychological theories—guiding the reader through life trajectories of migrants of diverse backgrounds while also going so far as to suggest that Japan is already an immigrant country.
"Inoue has accomplished an extraordinary task, which is without precedent in the East Asian Fields. To my knowledge, no author has ever demonstrated as persuasively as she does that the issues concerning women's Japanese can be explored in such an innovative, engaging way. Vicarious Language brilliantly displays how effectively Foucauldian archaeology can be introduced to the study of gender and language, and undermines any of the previous studies in English of what is erroneously referred to as the unique feature of the Japanese language. This is a superb model of engaged scholarship."—Naoki Sakai, author of Voices of the Past: The Status of Language in Eighteenth-Century Japanese Discourse "Miyako Inoue's Vicarious Language is a work of scholarly distinction and cultural insight. She explores the texture of Japanese modernity, its national rituals and social practices, by way of a sustained, semiotic analysis of womens' language—the language of self-expression that women use in intimate and institutional contexts, and the language used to define the gendered roles assigned to women within the powers of patriarchy. Her sources range widely from scholarly studies to the 'popular opinion' fostered by newspapers and advertisements; her excellent ethnography investigates the strategies of institutions and organisations, while inquiring into the politics and poetics of everyday life; her analytic method is, at once, conceptually sophisticated and textually intensive. This is a work that allows you to participate in the lifeworld of the Japanese language, at the illuminating moment when gender relations are writ large in the social syntax of national life. This is a book that will make a lasting impression on a range of disciplines."—Homi K. Bhabha, Anne F.Rothenberg Professor, Harvard University