Academic literature on the topic 'Japanese Culture Center of America'
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Journal articles on the topic "Japanese Culture Center of America"
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Gripentrog, John. "Power and Culture." Pacific Historical Review 84, no. 4 (November 1, 2015): 478–516. http://dx.doi.org/10.1525/phr.2015.84.4.478.
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This study explores how the Japanese government endeavored to shape American public opinion through the promotion of Japanese aesthetics in the several years following the Manchurian crisis—and, importantly, how this “cultural diplomacy” was received by Americans. At the center of Japan’s state-sponsored cultural initiative was the Society for International Cultural Relations (Kokusai Bunka Shinkōkai, or KBS). By drawing attention to Japan’s historically esteemed cultural traditions, Japan’s leaders hoped to improve the nation’s image and leverage international power. Critical American reviews and general-interest articles on KBS programs proffered images of a society imbued with a profound sense of artistic sophistication. To this end, the KBS’s cultural diplomacy tended to reinforce a popular assumption among Americans that Japan’s body politic in the 1930s was meaningfully divided between “moderates” and “militarists.” Japan’s cultural diplomacy, however, was undermined from the start by an irreconcilable tension: to simultaneously legitimize regional expansionism and advance internationalist cooperation. After the outbreak of the Sino-Japanese War in the summer of 1937 and subsequent proclamations that presumed Japanese hegemony in Asia, naked aggression rendered any lighthearted cultural exchange increasingly irrelevant. Indeed, KBS activities in the United States dwindled—a point that made clear the limits of cultural diplomacy.
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LEE, Seok-Won. "Shimizu Ikutarō and the Precarious Coexistence of Progressivism and Conservatism." Social Science Japan Journal 24, no. 2 (June 1, 2021): 327–45. http://dx.doi.org/10.1093/ssjj/jyab021.
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Abstract Shimizu Ikutarō (1907–1988) is one of the most controversial postwar Japanese intellectuals. His transition from the icon of the Anpo protests to an advocate of a nuclear Japan has been considered an intellectual conversion (tenkō). Instead of revisiting the notion of conversion, this study shows that his wartime thoughts—bottom-up nationalism in particular—continued to influence Shimizu’s postwar writings and activism on both conservative and liberal sides. Shimizu delineated his historical concept of how ordinary people in Meiji and Taisho Japan had contributed to the development of a modern society and called for the construction of a new system. Endorsing Japan’s wartime efforts, Shimizu strove to center nationalist energies by ordinary Japanese on his concept of a new Japan. However, Shimizu’s adherence to bottom-up movements in wartime and postwar Japan reflects his problematic interpretation of Japanese history. Neglecting Japan’s nationalistic path to colonial violence, his writings on the society and culture of wartime and postwar Japan affirm grass-root nationalism as Japan’s key to modern development. This line of thinking was later associated with anti-American nationalist movements in the 1950s. His notion of civil society movements soon encountered a highly nationalistic project of a nuclear Japan in the 1970s.
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Portilho, Carla. "A Japanese-American Sam Spade: The Metaphysical Detective in Death in Little Tokyo, by Dale Furutani." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 39–51. http://dx.doi.org/10.1515/abcsj-2017-0003.
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AbstractThe aim of this essay is to discuss the legacy of the roman noir in contemporary detective fiction produced outside the hegemonic center of power, here represented by the novel Death in Little Tokyo (1996), written by Japanese-American author Dale Furutani. Starting from the concept of the metaphysical detective (Haycraft 76; Holquist 153-156), characterized by deep questioning about narrative, interpretation, subjectivity, the nature of reality and the limits of knowledge, this article proposes a discussion about how these literary works, which at first sight represent a traditionally Anglo-American genre, constitute narratives that aim to rescue the memory, history and culture of marginalized communities. Typical of late modernity detective fiction, the metaphysical detective has none of the positivistic detective’s certainties, as he does not share in his Cartesian notion of totality, being presented instead as a successor of the hardboiled detective of the roman noir. In this article I intend to analyze the paths chosen by the author and discuss how his re-reading of the roman noir dialogues with the texts of hegemonic noire detective fiction, inscribing them in literary tradition and subverting them at the same time.
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Khan, Kalsoom, Mumtaz Ahmad, and Malik Mujeeb ur Rahman. "Poetic Negotiations: Salad Bowl Feminism in Selected Poetry of Fehmida Riaz, Pat Mora and Joan Loveridge-Sanbonmatsu." Global Social Sciences Review V, no. II (June 30, 2020): 541–50. http://dx.doi.org/10.31703/gssr.2020(v-ii).51.
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The research attempts to evaluate the depiction of women's oppression in specific postcolonial contexts at the hands of the interlocked power pattern formed by manifold factors like patriarchy, class conflict, religion, ethnicity and imperialism in the selected poetry of the renowned Pakistani poetess Fehmida Riaz, the Latino American Poetess Pat Mora, and the Japanese poetess Sanbonmatsu. It applies the theory of Postcolonial Feminism to bring to the fore the oppression of postcolonial women at the intersection of gender, class, race, religion and culture, hence, offering a critique of Western Feminist discourse and its slogan of sisterhood, which tends to erase heterogeneity in women's situations across the globe. The theory of Third World Feminism as well as the portrayals in these poetic compositions from a variety of postcolonial social formations, highlight the fact that postcolonial women are not a monolithic and archetypal suffering category as presented in Western discourses; instead, their resistant agency and subversive subjectivity also stands at the center of their creative writings.
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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.
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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.
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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).
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Manapsal, Jessie D., and Mark Joseph Layug. "Kapampangan People and Their Language: A Case Study." Journal of Humanities and Social Sciences Studies 1, no. 2 (March 31, 2019): 36–40. http://dx.doi.org/10.32996/jhsss.2019.1.2.5.
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This study aims to understand the Kapampangan people and their language settling at the heart of Central Luzon or Region III in the Philippines. This study attempts to address the origin of the Kapampangan people, their language and their influences on the Filipino culture as a whole. In spite of the fact that the province of Pampanga is in the midst of the Tagalog, Pangasinese and Ilocano speaking provinces, it remains united in language and, up to this date, used by the native Kapampangans. They believed that it is a member of the Malayo-Polynesian branch of the Austronesian language family and is also known as Pampango, Capampangan, Pampangueño or Amanung Sisuan. The province also declared that once Spain used it as the seat of the Spanish government in the Philippines. According to some historians, the people of Pampanga played an important role in the campaign for reforms and independence during Spanish, American and Japanese colonization. Kapampangans are very proud of their origin and language that remains the bedrock of their existence. Today, the Province of Pampanga is considered one of the fastest-growing provinces in the Philippines, notwithstanding it was devastated by the eruption of Mt. Pinatubo in 1991. Perhaps the behavior and culture of the Kapampangans that made them bounce back from nature’s wrath and, in a short span of time, fully recover and on the track again. The objective of the study is to understand the Kapampangan and its language, origin and development. In particular, it seeks to answer the following: What are the sources of the Kapampangan language? What makes the language unique among other languages? What are the roles of the Kapampangan during colonization? Why the Kapampangan language is an endangered language? The finding of the study: The provincial government of Pampanga, in coordination with the Department of Education, must revive the Pampangan language in all schools in Pampanga as a medium of instruction for Kinder to Grade 12. In coordination with all the cities and towns, the provincial government of Pampanga should practice as part of their official communication the Pampangan language. The provincial government of Pampanga must create a center for Kapampangan Studies. If both Kapampangans make it compulsory to converse in Pampangan The scope of the research concentrates on the Kapampangan language. It will be presented through available records, media interviews and historical data. Social scientists, in particular, have made wide use of qualitative research methods to examine contemporary real-life situations and provide the basis for the application of ideas and extension of methods.
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Williams, Peter W. "“Does American Religious History Have a Center?” Reflections." Church History 71, no. 2 (June 2002): 386–90. http://dx.doi.org/10.1017/s0009640700095767.
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The three essays presented in this session raise issues that remind me of two classic representations of the problem of interpretation. In the Japanese film Rashomon, four differing and incompatible accounts of the same event are presented by the central characters, leaving the viewer to wonder which, if any, is the “true” version. Similarly, in the “Doubloon” chapter of Melville's Moby Dick, Captain Ahab nails a Spanish gold coin to the mast as a potential reward for the first man to spot the white whale; subsequently, each member of the crew gazes at the doubloon and falls into his own unique chain of associations that it evokes. Each of these fictional situations evokes the dilemma of the historian in general and the religious historian in particular: how can I deliver an accurate, persuasive, and satisfying account of my material, given the inevitable differences in perception and value that separate me not only from my professional peers but from the vast numbers of individuals and groups whose account might well be different from mine? As Stephen Stein indicates, the dilemma is not purely “academic,” since our students expect a coherent narrative from us, and will inevitably go away frustrated if we simply give them fragments that seem to form no discernible whole.
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Van Luong, HY, and Diệp Đinh Hoa. "Culture and Capitalism in the Pottery Enterprises of Biên Hòa, South Vietnam (1878–1975)." Journal of Southeast Asian Studies 22, no. 1 (March 1991): 16–32. http://dx.doi.org/10.1017/s0022463400005440.
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In the past two decades, social scientists have paid considerably greater attention to the possible role of native sociocultural frameworks in structuring the organization of economic enterprises. The primary research focusing on the Japanese and Chinese cases relates to the emergence of many highly competitive industries in capitalist East Asia in which relations of production do not necessarily resemble American or Western industrial relations. The following historical analysis of production relations in the pottery industry of Tân Vạn, a major centre of Southern Vietnamese ceramic production, seeks to contribute empirical data for comparative purposes within the East Asian sociocultural sphere.
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Irina Pelea, Crînguța. "Exploring the Iconicity of Godzilla in Popular Culture. A Comparative Intercultural Perspective: Japan-America." Postmodernism Problems 10, no. 1 (April 2, 2020): 18–40. http://dx.doi.org/10.46324/pmp2001018.
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The present study aims to compare the representation of Godzilla or Gojira, considered one of the most representative cultural icons of Japanese cinematography within the intertwinement of the fluid, versatile and dynamic context of contemporary Japanese and North American film industry. The undying popularity of Godzilla is puzzling, and one can ask himself where the appeal of this irradiated dinosaur-like fictional monster lies in. The author adopts a comparative intercultural perspective, one that integrates research into a much broader sociohistorical context, with particular attention to how the culturally enhanced linguistic component influences the symbolism incorporated by Godzilla in Japan and how it is reimagined in its Hollywood counterpart.Hence, the theoretical section brings into discussion relevant and previously unpublished Japanese-language literature on Godzilla, thus trying to balance both Western and Japanese perspectives academically. The present research applies the methodology of narrative analysis to investigate from a comparative perspective significant differences existing in the narrative development and portrayal of the iconic monster in “Shin Godzilla” (Japan, 2016) versus “Godzilla: King of the Monsters” (the USA, 2019). One of the most relevant findings refers to the impossibility of ultimately transferring or translating the cultural specificity of the iconic beast within the North American media context, despite recycling almost the same film narrative: therefore, Gojira is inherently Japanese.
Dissertations / Theses on the topic "Japanese Culture Center of America"
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Michaud, Kristen L. "Japanese American Internment Centers on United States Indian Reservations: A Geographic Approach to the Relocation Centers in Arizona, 1942-1945." Connect to this title, 2008. http://scholarworks.umass.edu/theses/185/.
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Moss, Dori Felice. "Strangers in their Own Land: A Cultural History of Japanese American Internment Camps in Arkansas 1942-1945." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11262007-135045/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Mary Stuckey, committee chair; Kathryn Fuller-Seeley, Leonard Teel, committee members. Electronic text (100 p.) : digital, PDF file. Description based on contents viewed Feb. 6, 2008. Includes bibliographical references (p. 90-100).
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EASTMAN, CHRISTOPHER EDWARD. "JAPAN CULTURAL FORUM ARCHITECTURAL SYNTHESIS THROUGH TRANS-CULTURAL STRATEGIES." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053368953.
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Schmidli, Michael David. ""Railcars Loaded With Crisp Fresh Vegetables" A study of Agriculture at the Tule Lake Relocation Center 1942-1946." PDXScholar, 2008. https://pdxscholar.library.pdx.edu/open_access_etds/2934.
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In the Spring and Summer of 1942, the population of West Coast Japanese were rounded up and forcibly moved from their homes to temporary camps and soon after to ten permanent relocation camps in the interior Western United States. This thesis traces the history of one such camp, the Tule Lake Relocation Center. In this thesis I argue that from its inception the Tule Lake Center was unique among the ten camps. The decision to build a permanent center at Tule Lake was based upon the unique potential the area provided for agriculture on a huge scale. The other permanent centers were located in remote inhospitable areas where large scale agricultural operations were impossible.
The introduction outlines my key research questions and the methodology used. This section identifies my central theme, agriculture at the Tule Lake Relocation Center, and situates my own research within the existing scholarship on the Japanese-American Relocation. Chapter one is a review of the factors, including racial animosity, and wartime hysteria leading up to the decision to relocate every Japanese individual living on the West Coast. Chapter two discusses the little known history of how and why Tule Lake was chosen for a permanent relocation center. Chapter three documents the commitment of the War Relocation Authority to a massive agricultural project at the Tule Lake Center.
Chapter four recounts the tumultuous registration period at Tule Lake. In the winter of 1943, the War Relocation Authority and the War Department combined to administer a loyalty questionnaire to every internee over the age of 17, revealing shocking disloyalty at Tule Lake. Chapter five discusses the decision of the War Relocation Authority to segregate Japanese Americans declared disloyal, and the choice of Tule Lake as the segregation center. Chapter six discusses the events, in particular the tragic accidental death of a farm worker, which led to the end of large scale agriculture at Tule Lake.
In conclusion, I assert that War Relocation Authority blunders, including a lack of cultural sensitivity, led directly to the cessation of the agricultural project at Tule Lake Segregation Center.
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敏子, 入江, and Toshiko Irie. "Transnational Takarazuka : Japanese female performers and America from the 1930s to the 1950s." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13153220/?lang=0, 2021. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13153220/?lang=0.
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本博士論文では、戦間期から戦後にかけての宝塚歌劇団と、アメリカのトランスナショナルな関係性について焦点をあて、アメリカと継続的な接点があった宝塚女性演者に着目をする。宝塚演者のような特殊性を持つ女性たちに焦点を当てることは、当時の新たな日本人女性像を見出すことを可能にする。同時に、トランスナショナルな視点を用いた結果、彼女たちが日本人女性としてのアイデンティを国内だけではなく、国外とのやり取りを通じて構築していたという事実を明らかにする。This project is one of the first attempts to explore the transnational history of Takarazuka by following the complex processes by which Americans and Japanese used Takarazuka to explore the contours of Japanese identity and femininity in the period from the late 1930s to the 1950s. Especially, through this dissertation, I will focus on the voices of Takarazuke females whose historical voices have barely been featured in the previous research. By using transnationalism as a main analytical theme, I argue that these females used the given opportunities to recreate their own identities, especially through the difficulties of negotiating the boundaries during the time when the role of Japanese women was continuously transforming.
博士(アメリカ研究)
Doctor of Philosophy in American Studies
同志社大学
Doshisha University
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Duffy, Sean E. "Seeing through cultures : perceiving and estimating object extent in North America and Japan /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3097100.
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Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art." Thesis, 2012. http://hdl.handle.net/1828/4142.
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Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.Graduate
Books on the topic "Japanese Culture Center of America"
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Charles, Kikuchi, ed. Jim and Jap Crow: A cultural history of 1940s interracial America. Princeton: Princeton University Press, 2012.
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Nihon bunka no chūshin to shūen: Center and periphery in Japanese culture. Nagoya-shi: Fūbaisha, 2010.
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Miyoshi, Masao. Off center: Power and culture relations between Japan and the United States. Cambridge, Mass: Harvard University Press, 1994.
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Off center: Power and culture relations between Japan and the United States. Cambridge, Mass: Harvard University Press, 1991.
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1931-, Garfinkle Norton, and Yankelovich Daniel, eds. Uniting America: Restoring the vital center to American democracy. New Haven: Yale University Press, 2005.
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E, Neitzel Jill, ed. Pueblo Bonito: Center of the Chacoan world. Washington, D.C: Smithsonian Books, 2003.
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Holstein, William J. The Japanese power game: What it means for America. New York: Scribner, 1990.
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Brown, James Allison. Mound City: The archaeology of a renown Ohio Hopewell mound center. Lincoln, Neb: U.S. Dept. of the Interior, National Park Service, Midwest Archeological Center, 2012.
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1913-, Brues Alice Mossie, ed. The Spiro Ceremonial Center: The archaeology of Arkansas Valley Caddoan culture in eastern Oklahoma. Ann Arbor: Museum of Anthropology, University of Michigan, 1996.
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O'R, Sears Elsie, and Steinen Karl T, eds. Fort Center: An archaeological site in the Lake Okeechobee Basin. Gainesville: University Press of Florida, 1994.
Find full textBook chapters on the topic "Japanese Culture Center of America"
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Camp, Roderic Ai. "Province Versus the Center: Democratizing Mexico's Political Culture." In Assessing Democracy in Latin America, 76–92. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429040504-9.
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Chiappe Ippolito, Matías. "Latin America as a Catalyst to Restore Japanese Culture: Tsurumi Shunsuke’s Post-Mexico Philosophy." In East Asia, Latin America, and the Decolonization of Transpacific Studies, 251–66. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-74528-8_12.
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Patrick, Stephanie, and Mythili Rajiva. "Introduction." In The Forgotten Victims of Sexual Violence in Film, Television and New Media, 1–23. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95935-7_1.
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Abstract#MeToo is a contemporary global feminist movement against sexual violence and rape culture, including media representations that normalize gendered violence. But #MeToo has also re-centered white, western, middle-class, heteronormative, and able-bodied women. This collection explores who is left out of mainstream media stories of sexual violence, critiquing feminist media studies work that ignores black feminist and intersectional scholarship. Topics include 1990s filmic representations of white working-class girls; the disposability of televisual sex workers; the fetishizing and/or disappearing of racialized characters in order to center white heroism and/or heteronormativity; the explicit construction of fat women as impossible victims; and rape-revenge films in Japanese cinema. Finally, outside traditional media, topics include Canadian true crime podcasts on Missing and Murdered Indigenous Women; problematic tropes on reality television; the coding of sexual violence in digital assistants; and the subversive potential of stand-up comedy shows that center the experiences of rape victims.
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Pae, Hye K. "The East and the West." In Literacy Studies, 107–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55152-0_6.
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Abstract This chapter reviews the cultural aspects of the East and the West. A wide range of differences between the East and the West is discussed in terms of the extrinsic and intrinsic differences. The extrinsic differences comprise architecture, the mode of clothing, everyday practices, and language and script, while the intrinsic differences consist of culture and value systems, attention and perception (holistic vs. analytic), problem solving (relation vs. categorization), and rhetorical structure (linear vs. roundabout). The locus of these differences is identified with respect to philosophical foundations and the characteristics of Eastern and Western cultures. The prevalent interpretations of the differences between the East and the West center on Diamond’s (1999) guns, germs, and steel, Nisbett’s (2003) geography of thought, and Logan’s (2004) alphabet effects. However, these interpretations cannot explain differences in ideologies, religious practices, and societal values among Chinese, Japanese, and Koreans. Therefore, script relativity becomes a new interpretation of the engine behind the differences among the three East-Asian nations and between the East and the West.
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Armstrong-Hough, Mari. "Our Diabetes." In Biomedicalization and the Practice of Culture, 92–109. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646688.003.0006.
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This chapter examines Japanese providers’ strategies for managing patients with diabetes using interview data and participant observation from full-time clinical shadowing of outpatient and inpatient exams at three major health centers, diabetes education classes, medical staff meetings, all-hospital assemblies, and dialysis center activities. While American health care providers spoke privately about diabetes and patients with diabetes in pessimistic terms, Japanese providers maintained high expectations and hopes for type 2 diabetes outcomes, even in private when they were not cheerleading patients. Providers in Japan imagined the origins and inevitable progression of diabetes differently from their peers in the United States, rendering them more optimistic about patients’ futures and more likely to favor lifestyle change.
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Nogami, Takenori. "The Trade Networks of Japanese Porcelain in the Asia-Pacific Region." In Historical Archaeology of Early Modern Colonialism in Asia-Pacific. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054766.003.0009.
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The Manila-Acapulco galleon trade route was established after the Spanish founded Manila City in 1571. Many Asian goods, such as silks and spices, were exported by the Spanish galleons. Many New World goods, including Mexican silver, crossed the Pacific Ocean and were brought to Asia. For instance, the cargoes sent to Acapulco from Manila included East Asian porcelain. On the other hand, in the early modern period, Japanese porcelains were exported from Nagasaki and carried throughout the world. Although, under the rule of the Tokugawa shogunate, Spanish galleons could not enter Nagasaki until the mid-nineteenth century, the Spanish could still get Japanese porcelains if they were brought by Chinese ships. Because Manila was one of the most important port cities of the trade network in Asia, Chinese ships imported many Chinese and Japanese porcelains to Manila. The Spanish in Manila used Japanese porcelains and exported some of them to Acapulco. These were distributed among Spanish colonial cities in the Americas. The majority of them were underglazed blue Kraak-type dishes, underglazed blue items, and overglazed enamel chocolate cups. They reflect Spanish colonial life and culture in America. Moreover, Chinese and Japanese porcelain had an influence on the ceramic industry in America.
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Wu, Ellen D. "Imperatives of Asian American Citizenship." In The Color of Success. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691157825.003.0001.
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This introductory chapter describes the racial order in twentieth-century America—its evolution, consequences, and significance. Japanese and Chinese Americans, the largest ethnic Asian populations, and the two that figured most prominently in the public eye between the 1940s and 1960s, are central to this investigation. Their trajectories unfold separately in order to illuminate their distinct histories. Yet Japanese and Chinese Americans also appear in tandem to emphasize the many parallels that account for their concurrent emergence as model minorities. As a mix of cultural, social, and political history, the chapter highlights how the discursive and the material mattered for Japanese American, Chinese American, and ultimately Asian American identity formation from World War II through the “Cold War civil rights” years.
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Metzger, Sabine. "“She Loves the Blood of the Young”." In Vampires and Zombies. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496804747.003.0003.
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This chapter situates “The Story of Chūgōrō” within the context of both Hearn’s escape from Western civilization and a growing fascination in America with Japanese art and culture. Hearn’s age witnessed not only a flourishing of Gothic and vampire literature but also, in the wake of the opening of Yokohama, the crescendo of Japonisme. In his re-writing of the old Japanese tale, Hearn circumvents Transylvanian terminology and references to the Gothic. Instead, he foregrounds the story’s Japanese-ness. What is “startling” and “strange” for Hearn’s turn-of-the-century readers is not necessarily that the protagonist of his story falls prey to a blood-loving seductress, but rather Japan itself, considered to be the exotic per se. With her similarity to the Western vampire, the bloodthirsty female proves to be a familiar figure in the midst of the unfamiliar—a figure mediating between East and West, partaking of what could be called a form of the “transcultural supernatural.”
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Reed, Christopher. "Sublimation and Eccentricity in the art of Mark Tobey." In Bachelor Japanists. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231175753.003.0004.
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Follows the career of artist Mark Tobey, whose long-standing interest in Japan exemplifies twentieth-century Western trends toward fascination with Zen Buddhism, rustic Japanese pottery, and calligraphy. Tobey’s career intersects in illuminating ways with very well known figures – the artist John Cage, the potter Bernard Leach, the critic Clement Greenberg – allowing this chapter to explore the impact of World War and Cold War on Japanism. The chapter concludes with an argument connecting initiatives to integrate Japanese-Americans into the cultural mainstream with the end of Japanism as a structure of dissent.
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Langlitz, Nicolas. "The Birth of Cultural Primatology from the Spirit of Japanese Uniqueness." In Chimpanzee Culture Wars, 25–54. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691204284.003.0003.
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This chapter discusses the birth of cultural primatology in mid-twentieth-century Japan, looking at the prehistory of the chimpanzee culture wars. The story begins in 1948 with the observation of a troop of Japanese macaques on a subtropical islet. As Kinji Imanishi and his students fed them sweet potatoes on the beach, the monkeys invented a way of washing off the sand in the sea. Subsequently, they passed on the new behavior from generation to generation. The Japanese primatologists conceived of this social transmission as preculture. They framed their anthropomorphic conceptualization, as well as a research practice that made no effort to minimize human interference, in terms of Japanese culture. Soon Imanishi's anti-Darwinian evolutionary theory became engulfed in national and international controversy over its association with nationalist politics and its breach of the divide between science and the humanities. Ironically, this self-consciously Japanese brand of scholarship had not only appropriated European and American elements of evolutionist thought, including the idea of animal traditions, but also stirred up a controversy over primate cultures that polarized primatology far beyond the boundaries of national cultures.
Conference papers on the topic "Japanese Culture Center of America"
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Nakane, Ikuko. "Accusation, defence and morality in Japanese trials: A Hybrid Orientation to Criminal Justice." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.16-5.
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The Japanese criminal justice system has gone through transformations in its modern history, adopting the models of European Continental Law systems in the 19th century as part of Japan’s modernisation process, and then the Anglo-American Common Law orientation after WWII. More recently, citizen judges have been introduced to the criminal justice process, a further move towards an adversarial orientation with increased focus on orality and courtroom discourse strategies. Yet, the actual legal process does not necessarily represent the adversarial orientation found in Common Law jurisdictions. While previous research from cultural and socio-historical perspectives has offered valuable insights into the Japanese criminal court procedures, there is hardly any research examining how adversarial (or non-adversarial) orientation is realised through language in Japanese trials. Drawing on an ethnographic study of communication in Japanese trials, this paper discusses a ‘hybrid’ orientation to the legal process realised through courtroom discourse. Based on courtroom observation notes, interaction data, lawyer interviews and other relevant materials collected in Japan, trial participants’ discourse strategies contributing to both adversarial and inquisitorial orientations are identified. In particular, the paper highlights how accusation, defence and morality are performed and interwoven in the trial as a genre. The overall genre structure scaffolds competing narratives, with prosecution and defence counsel utilising a range of discourse strategies for highlighting culpability and mitigating factors. However, the communicative practice at the micro genre level shows an orientation to finding the ‘truth,’ rehabilitation of offenders and maintaining social order. The analysis of courtroom communication, contextualised in the socio-historical development of the Japanese justice system and in the ideologies about courtroom communicative practice, suggests a gap between the practice and official/public discourses of the justice process in Japan. At the same time, the findings raise some questions regarding the powerful role that language plays in different ways in varying approaches to delivery of justice.
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Wang, Jianran, Xiaofang Liu, Haifeng Zhang, Qi Luo, Shihong Jiang, and Haifeng Hong. "Study of Carbody Structure Design Under Different Standards." In ASME 2021 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/imece2021-67822.
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Abstract Under the background of economic globalization, more and more car-builders not only supply railway vehicles to domestic market, but also actively bidding international projects and deliver products all over the world. The railway vehicle design standards are significantly different throughout the world. Using carbody system as example, the popular standards include European standard system (EN), British standard GM/RT 2100, International Union of Railways (UIC) standard system, US standard system (AAR/APTA/ASME) and Japanese standard system (JIS). In addition, some country’s standard might have special requirement based on local conditions and culture. These various standards will inevitably present different carbody design requirements. Among the above standards, EN and US standards are applicable to Europe, China, and America, which are largest railway vehicle markets in the world. This paper will introduce the history and characteristics of the mainstream rail vehicle standards worldwide and analyze the relationship between standard and vehicle design. Light Rail Vehicle (LRV), subway and commuter rail vehicle (multi-level vehicle) are selected as typical examples for the interpretation and application of US standard and EN standard separately. The 3 major requirements of carbody design, including static strength, fatigue strength and crashworthiness, are compared between US and EN standards to specify the general difference as well as the influence on the carbody design, such as material distribution, structure development, which could provide valuable reference for researchers and engineers in the rail vehicle industry to define and design new products more efficiently across different country’s rail standards.
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Kuroda, Koji, and Hiroyuki Hamada. "Proposal of Future-Applied Conventional Technology." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-67390.
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Japan is geopolitically blessed with natural grace such as beautiful four seasons, abundant forest, fruitful earth and fresh water. And it seems that it has induced the deep trust between nature and human and has cultivated the Japanese unique culture which harmonizes nature with human sensibility. The origin of handmade technology in Japan dates back to the Jomon period more than 10,000 years ago. The Jomon potteries excavated were made by utilizing the technologies of kneading clay with water and sintering by fire, and some of them were discovered to have the lacquer coatings on their surfaces extracted from plants. The conventional technology would be created by our predecessors who had the sophisticated sensitivity and the excellent imagination cultivated with the careful observation of nature behavior. The technology was handed down to today through various historical changes in response to the diverse values of the individual era. It can be considered that the Japanese conventional technology is the nature friendly cultural asset co-created by nature and human through the long-term environmental changes more than 10000 years. Future-applied conventional technology is the most reliable technology study to develop the future and to hand over the advanced value to the next generation.In this study, we scrutinized the related theme studied by Future-Applied Conventional Technology Center in Kyoto Institute of Technology, in order to extract the engineering element inherent in the conventional technologies and classify into common elements and specific elements for each technology. From the view point of nature and human relation, engineering elements were extracted comprehensively about the main materials, the auxiliary materials, the human sensibility, the hand tools and the human skills. The main materials and the auxiliary materials were classified into “wood, fire, earth, metal, water” according to the old Eastern thought “the five elements theory” which constitute nature, and animal-derived materials in addition. The human sensibility elements were extracted about the material evaluation, the dynamic process observation and the finished degree evaluation and classified into five senses “visual, auditory, tactile, taste, smell”, and the other sense such as fitness feeling with clothes or accessories. The hand tools were listed such as brush, trowel, spatula, scissors and hammer with the features of usage. The human skills were extracted about each material manipulating process comprehensively and classified into common elements and specific elements, by considering the features respectively. With applying this study as a guideline for the innovation of the future technology harmonized with nature and human, it would be expected to promote variety of researches of the conventional technology and to develop the future technology for the modern cutting-edge field, by feeling the importance of the engineering elements and their relationship study inherent in the conventional technology.