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Japan, although a small country, is identified as perhaps the only civilization composed of just one nation. In spite of its many encounters with axial civilizations Japan has somehow preserved a unique sense of self. This enduring quality lends an air of mystery to Japanese culture that continues to draw the fascination of many. Such curiosity about the nature of Japan and its people has prompted the publication of many books that contribute to the academic genre known as “Nipponjinron.” This book makes a distinctly new contribution as a theological anthropology of Japaneseness by paying careful attention to the religious sensibilities that undergird Japanese behavior. The author draws on numerous seminal works of Nipponjinron to build a sturdy philosophical and historical platform. Through concrete examples, classic literature, historical analysis, and religious reflection, the author carefully and skillfully illuminates a new path to understanding Japaneseness by drawing the reader’s attention to the lifeblood of Japanese behavior, “maternal-filial affection.”
As Japan enters the 21st century with a new emperor, this title continues to be an indispensable guide through often enigmatic and historical idiosyncrasies of Japanese culture and politics that are often confusing to the outsider. This title includes information on the latest social developments, customs, rituals, business culture, medicine and arts.
Can traditional Japanese life concepts--like loyalty, harmony, meticulousness--make sense in Western societies? Here are dozens of ideas for decluttering the spirit.
In this book, Yuko Kawai departs from the common conception of Japan as an ethnically homogenous nation. A Transnational Critique of Japaneseness: Cultural Nationalism, Racism, and Multiculturalism in Japan investigates the construction of Japaneseness from a transnational perspective, examining ways to make Japanese nationhood more inclusive. Kawai analyzes a variety of communicational practices during the first two decades of the twenty-first century while situating Japaneseness in its longer historical transformation from the late nineteenth century. Kawai focuses on governmental and popular ideas of Japaneseness in light of local, global, historical, and contemporary contexts as well as in relation to a diverse array of Others in both Asia and the West.
Our images of non-Western cultures are often based on stereotypes that are replicated over the years. These stereotypes often appear in popular media and are responsible for a pre-set image of otherness. The present book investigates these processes and the media representation of otherness, especially as an artificial construct based on stereotypes and their repetition, in the case of Japan. 'Western Japaneseness' thereby illustrates how the Western image of Japan in popular media is rather a construct that, in a way, replicated itself, instead of a more serious encounter with a foreign and different cultural context. This book will be of great value to students and academics who hold interest in media studies, Japanese studies, and cultural studies. It will also appeal to a broader audience with interests in Japan more generally.
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.
For more than 140 years, Japan's koseki registration system has functioned as the official means by which an individual qualifies as 'Japanese'. Information concerning each family is entered into one koseki register record in a system that documents the status relationship information of Japan's population based on the notion of 'bloodline'. Tracing the history of the koseki registration system from its inception in the Meiji era through its use in Japan's colonial holdings in the pre-war era and to the present day, The State Construction of 'Japaneseness' challenges the very foundations of the system, arguing that it promotes prejudice and discrimination and fosters a divisive understanding of the 'Japanese' as a people. This significant work presents conclusive evidence on how the koseki registration system has used deeply problematic understandings of ethnicity, citizenship and the family to define 'the Japanese', excluding and discriminating against those unable to fit into the framework of this highly politicised bureaucratic system.
The total number of foreign tourists received in countries throughout the world was 530 million in 1995. That number broke through the 1 billion mark for the first time in 2012, at 1,035,000,000. In 2015, it reached 1,180,000,000. According to Anthony Elliott and John Urry, modern society has been characterized as being "mobile", and within that we are also living "mobile lives". In modern society, flows of people, things, capital, information, ideas and technologies are constantly occurring, and as they are merging like a violently rushing stream, what could be termed a landscape of mobilities has appeared. Social realities are in flux and are transforming to become different than they were before. This volume will expand the inquiry of tourism mobilities comprehensively and clearly from the fields of humanities and social sciences. In particular, tourism mobilities has been actively investigated up to now in the UK, US, Europe and Australia, but even though the Japanese body of literature contains a great many excellent studies of Japanese examples, there are almost no English-language articles presenting their results. Publishing examples of Japanese tourism mobilities will not only foster new and exciting lines of inquiry for existing and future research on tourism mobilities, but will also have implications for humanities and social sciences throughout the world.
At the age of 6, I discovered a jar of brightly colored shells under my grandmother's kitchen sink. When I inquired where they had come from, she did not answer. Instead, she told me in broken English, "Ask your mother. " My mother's response to the same question was, "Oh, I made them in camp. " "Was it fun?" I asked enthusiastically. "Not really," she replied. Her answer puzzled me. The shells were beautiful, and camp, as far as I knew, was a fun place where children roasted marshmallows and sang songs around the fire. Yet my mother's reaction did not seem happy. I was perplexed by this brief exchange, but I also sensed I should not ask more questions. As time went by, "camp" remained a vague, cryptic reference to some time in the past, the past of my parents, their friends, my grand parents, and my relatives. We never directly discussed it. It was not until high school that I began to understand the significance of the word, that camp referred to a World War II American concentration camp, not a summer camp. Much later I learned that the silence surrounding discus sions about this traumatic period of my parents' lives was a phenomenon characteristic not only of my family but also of most other Japanese American families after the war.
This book will focus on analyzing the different aspects of Japan's representation in the novels of Haruki Murakami and David Mitchell. It is proven that Murakami creates and recreates Japan without implementing any orientalist features or exotic imagery. In the works of both authors, the intent to depict a new world of Japan stripped of traditional stereotypical traits becomes clear. The difference between Murakami and Mitchell's representation of Japan lies in the difference between Japan as seen by the Japanese and Japan as seen by modern Westerners, but both are 'correct' images of Japan. It is a recreation of the global image of Japan. In that sense, the texts of Murakami and Mitchell are complementary representations of Japan through East-West cultural dialogue. Studying the representations of Japan and Japanese national character helps to understand the role of Murakami and Mitchell in the formation of a new image of Japan, the de-stereotyping of anachronistic ideas about Japanese national exclusivity, enriching by doing so the world literature with new visions of the country and its culture. The purpose of the comparative analysis of English and Japanese literary works performed in this work is to reveal both deep analogies and differences in the representation of the image of Japan, actualizing the national specificity of the texts. This research advances the understanding of how both general and specific components of literary representations of Japan and Japaneseness are manifested in the East-West cultural dialogue.