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Journal articles on the topic 'Kawaiisu'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Potter, Bryn Barabas. "Handbook of the Kawaiisu." California Archaeology 6, no. 1 (2014): 119–21. http://dx.doi.org/10.1179/1947461x14z.00000000028.

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2

Thomas, Patrick N. "The Central Vowel of Kawaiisu." International Journal of American Linguistics 83, no. 3 (2017): 539–59. http://dx.doi.org/10.1086/691588.

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3

Seiler, Hansjakob. "Kawaiisu: A Grammar and Dictionary with Texts. Maurice L. Zigmond , Curtis G. Booth , Pamela Munro." International Journal of American Linguistics 59, no. 3 (1993): 355–57. http://dx.doi.org/10.1086/466204.

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4

Rose, Megan Catherine. "Child’s Play? Exploring the Significance of Kawaii for Decora and Fairy-Kei Fashion Practitioners in Harajuku through a Case-Focused Analysis." New Voices in Japanese Studies 12 (August 17, 2020): 80–102. http://dx.doi.org/10.21159/nvjs.12.05.

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Literature that explores alternative kawaii (‘cute’; ‘adorable’) fashion associated with Harajuku, Japan, argues that it is an infantile practice in which practitioners seek to reject adult thoughts, feelings and responsibility through childish mannerisms and dress. These understandings of kawaii fashion, however, are formed without input from practitioners themselves. Drawing upon a case-focused analysis of alternative kawaii fashion practitioners in Harajuku derived from semi-structured interviews, this article seeks to contribute to this discussion from a sociological perspective. The artic

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5

Oe, Hiroko, and Max Weeks. "Kawaii Culture in Japan: A Bibliometric Analysis and Text Mining Approach Based on Pop-Cultural Diplomacy and Transmission into Global Values." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (2020): 3990–4004. http://dx.doi.org/10.33258/birci.v3i4.1495.

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This research aims to develop a discussion framework for Kawaii cultural study based on a bibliometric analysis and text mining approach. First, a bibliometric analysis is conducted on literature pertaining to ‘Kawaii and Japanese pop culture’ extracted from the academic database; from this standpoint, the current research topics in the field of Kawaii study are discussed. Second, we aim to provide direction for future research by mining the text data disseminated by three special exhibitions launched by Japanese museums on the theme of ‘Japanese Kawaii culture’ and planned by Kawaii cultural

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6

KAJIWARA, KANJI. "“Kawaii”Innovation." FIBER 66, no. 11 (2010): P.363. http://dx.doi.org/10.2115/fiber.66.p_363.

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7

Lieber-Milo, Shiri, and Hiroshi Nittono. "How the Japanese Term Kawaii Is Perceived Outside of Japan: A Study in Israel." SAGE Open 9, no. 3 (2019): 215824401986990. http://dx.doi.org/10.1177/2158244019869904.

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In Japan, many products contain the characteristics of small, round, bright colors, and are adorable and sweet, in short kawaii (“cute” in direct translation into English). Over the years, the mass production of kawaii goods has made its way to the West, initially through visual media and later on through consumption goods. This exposure has brought increased interest in Japan and its culture among young Westerners as well as a rise in familiarity with everyday Japanese words like kawaii. This study illuminates how non-Japanese people, in this case Israelis, define and treat the term kawaii. T

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8

Miller, Laura, and Carolyn S. Stevens. "From beautiful to cute." International Journal of Language and Culture 8, no. 1 (2021): 62–83. http://dx.doi.org/10.1075/ijolc.00035.mil.

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Abstract Japanese visual aesthetics as represented in traditional arts such as flower arranging, calligraphy and tea ceremony have long been celebrated or even emulated as exemplary expressions of beauty. The Japanese term utsukushii (beautiful) can be used to describe a wide variety of pleasing aspects of daily life, ranging from the human form to nature and even the gustatory experience. This article outlines traditional notions of beauty in the Japanese language, sketching forward to more contemporary expressions of visual culture that cluster around the term kawaii. This word is often tran

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9

OHKURA, Michiko. "Measurement of Kawaii." Journal of the Society of Mechanical Engineers 114, no. 1117 (2011): 850–51. http://dx.doi.org/10.1299/jsmemag.114.1117_850.

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10

Borggreen, Gunhild. "Cute and Cool in Contemporary Japanese Visual Arts." Copenhagen Journal of Asian Studies 29, no. 1 (2013): 39–60. http://dx.doi.org/10.22439/cjas.v29i1.4020.

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Under the headline of 'Japan Cool', popular culture from Japan has gained a significant role in the global market within the last decade. One of the concepts related to 'Japan Cool' is kawaii, meaning cute and sweet, both as a style and a lifestyle. Kawaii can be seen as visual trademarks in fashion, manga, animé, and many other parts of popular culture, as well as in visual arts by neo-pop artists such as Murakami Takashi and his associates. However, kawaii as a critical concept, has been flourishing in Japan since the 1980s, and has been the topic of sociological research that stresses the s

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11

Bîrlea, Oana-Maria. "Kawaii (Cute) Signs and Symbols as a Means of Maintaining Harmony in Japanese Society." Studia Universitatis Babeș-Bolyai Philologia 66, no. 1 (2021): 205–18. http://dx.doi.org/10.24193/subbphilo.2021.1.15.

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"Kawaii (Cute) Signs and Symbols as a Means of Maintaining Harmony in Japanese Society. This study focuses on the various facets of the Japanese concept of kawaii (“cute”, “adorable”), as resulting from print advertisements. In the last decade it has been intensively studied by different scholars from various research fields aiming to understand the Japanese worldview. The analysis of pop culture elements, of which kawaii is part of, was not an area of interest due to the fact that they were considered inferior to high culture (classical arts and traditions), but the influence of this concept

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12

Nittono, Hiroshi, Masashi Komori, Ayano Yoshida, Yoshihiro Kanai, and Mitsuhiro Ura. "The psychology of “kawaii”." Proceedings of the Annual Convention of the Japanese Psychological Association 83 (September 11, 2019): SS—052—SS—052. http://dx.doi.org/10.4992/pacjpa.83.0_ss-052.

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13

Cheok, Adrian David, and Owen Noel Newton Fernando. "Kawaii/Cute interactive media." Universal Access in the Information Society 11, no. 3 (2011): 295–309. http://dx.doi.org/10.1007/s10209-011-0249-5.

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14

BURDELSKI, MATTHEW, and KOJI MITSUHASHI. "“She thinks you’re kawaii”: Socializing affect, gender, and relationships in a Japanese preschool." Language in Society 39, no. 1 (2010): 65–93. http://dx.doi.org/10.1017/s0047404509990650.

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ABSTRACTKawaii, an adjective meaning ‘cute’, ‘adorable’, and ‘lovable’, is an important aspect of Japanese material culture and a key affect word used to describe things that are small, delicate, and immature. While “cuteness” has been widely discussed in relation to Japanese society and psychology and the globalization of Japanese culture, there has been little analysis of the word kawaii in interaction. This article explores the use of kawaii in interaction in a Japanese preschool. In particular, it analyzes ways teachers use multimodal resources, including talk, embodied actions, material o

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15

Kawai, Masataka. "Kawai's Response to Horiuti and Sakoda." Biophysical Journal 65, no. 5 (1993): 2263–64. http://dx.doi.org/10.1016/s0006-3495(93)81281-5.

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16

Botz-Bornstein, Thorsten. "Kawaii, kenosis, Verwindung: A reading of kawaii through Vattimo’s philosophy of ‘weak thought’." East Asian Journal of Popular Culture 2, no. 1 (2016): 111–23. http://dx.doi.org/10.1386/eapc.2.1.111_1.

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17

Dharma, Hendy Reginald Cuaca. "Representasi Budaya Kawaii dalam Chara-Bentou." Lingua Cultura 9, no. 1 (2015): 28. http://dx.doi.org/10.21512/lc.v9i1.758.

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This research aimed to find the inter-correlation between the factors of chara-bentou trend and the impression of kawaii culture on chara-bentou. By applying descriptive qualitative method, this study explained the factors of chara-bentou trend and the representation of kawaii in chara-bentou. Data were gathered from magazines, books, and questionnaire (field survey). Descriptive analysis was conducted to make interpretation based on the questionnaire given. As a conclusion, the children who have known chara-bentou since their childhood will know the art of food, like the Japanese said, “Eat w

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18

Bell, David. "Chaos, Kawaii, and Cultural Memory." International Journal of Arts Theory and History 8, no. 2 (2014): 11–21. http://dx.doi.org/10.18848/2326-9952/cgp/v08i02/36245.

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19

Purwaning Tyas, Agnes Siwi, and Georgius Benardi Darumukti. "#makansiangdubes: Gaining Foreigns’ Affections through Localized Contents." JLA (Jurnal Lingua Applicata) 3, no. 2 (2020): 87. http://dx.doi.org/10.22146/jla.57678.

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The effect of Japan nation branding in Indonesia is strong. Indonesian youths and teenagers are attracted to tokusatsu, manga, anime, figures, brands, and J-Pop which make them easily accept and are familiar with pop-culture and kawaii culture from Japan. The development of Japanese creative industries and internet media also reinforce Japanese cultural impacts in Indonesia, especially because Indonesian youths love to spend their pastime accessing social media. Taking this as a good opportunity, Masafumi Ishii, the Japanese Ambassador for Indonesia tries to present the images of Japanese to b

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20

Nittono, Hiroshi. "The two-layer model of ‘kawaii’: A behavioural science framework for understanding kawaii and cuteness." East Asian Journal of Popular Culture 2, no. 1 (2016): 79–95. http://dx.doi.org/10.1386/eapc.2.1.79_1.

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21

SUGANO, Shohei, Yutaka MIYAJI, and Ken TOMIYAMA. "Study on Kawaii-ness in Motion." Transactions of Japan Society of Kansei Engineering 14, no. 2 (2015): 315–23. http://dx.doi.org/10.5057/jjske.14.315.

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22

Kuan, Cindy. "Cancer Baby: cancer meets Kawaii culture." Lancet Oncology 15, no. 8 (2014): 796–97. http://dx.doi.org/10.1016/s1470-2045(14)70305-5.

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23

MIKAMI, Kanako, Ryosuke TAKAHASHI, Kazutoshi HIGASHIYAMA, and Kenichi NOMURA. "KAWAII Face created by Cinderella Technology ★." Journal of the Institute of Electrical Engineers of Japan 137, no. 8 (2017): 561–64. http://dx.doi.org/10.1541/ieejjournal.137.561.

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24

Hiramoto, Mie, and Lionel Wee. "Kawaii in the semiotic landscape." Sociolinguistic Studies 13, no. 1 (2019): 15–35. http://dx.doi.org/10.1558/sols.36212.

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25

OHKURA, Michiko, Sayaka GOTO, Asami HIGO, and Tetsuro AOTO. "Relationship between Kawaii Feeling and Biological Signals." Transactions of Japan Society of Kansei Engineering 10, no. 2 (2011): 109–14. http://dx.doi.org/10.5057/jjske.10.109.

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26

TSUCHIYAMA, Mami, Hiroshi MASAMOTO, Wasana KOWHAKUL, and Mikiji SHIGEMATSU. "Consideration of Cognitive Structure for “Kawaii Fragrance”." Transactions of Japan Society of Kansei Engineering 18, no. 4 (2019): 315–20. http://dx.doi.org/10.5057/jjske.tjske-d-18-00095.

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27

Keith, Sarah, and Diane Hughes. "Embodied Kawaii: Girls’ voices in J-pop." Journal of Popular Music Studies 28, no. 4 (2016): 474–87. http://dx.doi.org/10.1111/jpms.12195.

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28

Nittono, Hiroshi, and Kumiko Tanaka. "Psychophysiological responses to kawaii (cute) visual images." International Journal of Psychophysiology 77, no. 3 (2010): 268–69. http://dx.doi.org/10.1016/j.ijpsycho.2010.06.107.

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29

Bîrlea, Oana-Maria. "Cuteness (kawaii) as myth in Japanese advertising discourse." Studia Universitatis Babeș-Bolyai Philologia 65, no. 1 (2020): 41–55. http://dx.doi.org/10.24193/subbphilo.2020.1.03.

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30

LAOHAKANGVALVIT, Tipporn, Ikumi IIDA, Saromporn CHAROENPIT, and Michiko OHKURA. "A Study of Kawaii Feeling using Eye Tracking." International Journal of Affective Engineering 16, no. 3 (2017): 183–89. http://dx.doi.org/10.5057/ijae.ijae-d-16-00016.

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31

OHKURA, Michiko, Sayaka GOTO, Shuto MURAI, and Tetsuro AOTO. "STUDY ON CUTE (KAWAII) COLOR USING VIRTUAL OBJECTS." Transactions of Japan Society of Kansei Engineering 8, no. 3 (2009): 535–42. http://dx.doi.org/10.5057/jjske.8.535.

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32

OKADA, Mana, Naoki ODAKA, and Mamiko SAKATA. "Human Behavior Brought by “Kawaii” Emotion." Transactions of Japan Society of Kansei Engineering 19, no. 2 (2020): 207–13. http://dx.doi.org/10.5057/jjske.tjske-d-19-00070.

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33

Bîrlea, Oana-Maria. "“Cute Studies”. Kawaii (“Cuteness”) – A New Research Field." Philobiblon. Transylvanian Journal of Multidisciplinary Research in the Humanities 26, no. 1 (2021): 83–100. http://dx.doi.org/10.26424/philobib.2021.26.1.05.

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34

Hazama, Itsuhiro. "A Review of Kaori Kawai's Works on Dodoth and Raiding." Nomadic Peoples 14, no. 2 (2010): 164–67. http://dx.doi.org/10.3167/np.2010.140212.

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35

Samuels, Andrew. "Brief remarks on Toshio Kawai's response to my SAP lecture." Journal of Analytical Psychology 62, no. 5 (2017): 658–59. http://dx.doi.org/10.1111/1468-5922.12353.

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36

Ishikawa, Satoru. "What we feel Kawaii: effects of relationships and sex." Proceedings of the Annual Convention of the Japanese Psychological Association 81 (September 20, 2017): 3A—044–3A—044. http://dx.doi.org/10.4992/pacjpa.81.0_3a-044.

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37

Yoshida, Ayano, Yoshihiro Kanai, Taishi Kawamoto, and Hiroshi Nittono. "The influence of kawaii priming on social value orientation." Proceedings of the Annual Convention of the Japanese Psychological Association 82 (September 25, 2018): 2PM—084–2PM—084. http://dx.doi.org/10.4992/pacjpa.82.0_2pm-084.

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38

Thouny, Christophe. "Deformation as Destiny: Made in Abyss and Kawaii Consumption." Journal of AI Humanities 3 (April 30, 2019): 9–35. http://dx.doi.org/10.46397/jaih.3.1.

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39

Bow, Leslie. "Racist Cute: Caricature, Kawaii-Style, and the Asian Thing." American Quarterly 71, no. 1 (2019): 29–58. http://dx.doi.org/10.1353/aq.2019.0002.

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40

Kalnay. "Imperial Innocence: The Kawaii Afterlife of Little Black Sambo." Victorian Studies 62, no. 4 (2020): 565. http://dx.doi.org/10.2979/victorianstudies.62.4.01.

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41

BÎRLEA, Oana-Maria. "How are Kawaii (Cute) Fictional Characters Used in Japanese Advertising." Journal of Media Research 14, no. 1 (39) (2021): 55–78. http://dx.doi.org/10.24193/jmr.39.4.

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This article aims to explain the use and role of cute, adora- ble characters in Japanese advertising. Kawaii culture or the “culture of cute” has become known worldwide mainly because of Hello Kitty, the cat which led the “pink globalization”, as Yano (2013) states. In this paper we have attempted to reveal the symbolism of these apparent meaning- less cute signs and characters. Starting from Hofstede’s theory of cultural dimensions (2001, 2003, 2010), which shows how a society’s culture influ- ences the values of its members, we intended to show how are these kawaii characters used in Japanes

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42

WU, SAN-AN, and YUAN LU. "Notes on the genera and species in the mealybug tribe Serrolecaniini Shinji (Hemiptera: Coccoidea: Pseudococcidae) from China with description of a new species." Zootaxa 3251, no. 1 (2012): 30. http://dx.doi.org/10.11646/zootaxa.3251.1.2.

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The eight species in five genera belonging to the tribe Serrolecaniini recorded from China are discussed, including a newspecies Serrolecanium ferrisi Wu & Lu (previously misidentified as S. tobai (Kuwana) or S. indocalamus Wu) and a newcountry record for Serrolecanium kawaii Hendricks & Kosztarab. A key to species belonging to the tribe Serrolecaniini now known from China is included and illustrations are provided to the adult female of all species found in China.

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43

LI, WENLIANG, YINGYING WANG, YING WANG, and WEIHAI LI. "A new species of Suwallia Ricker, 1943 from Japan, and the identity of Alloperla teleckojensis Šámal, 1939 (Plecoptera: Chloroperlidae)." Zootaxa 5040, no. 4 (2021): 575–81. http://dx.doi.org/10.11646/zootaxa.5040.4.7.

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A new species of the genus Suwallia from Japan, S. kawaii sp. n. is described, illustrated with color images and compared with related taxa. Based on the examination of the holotype, we consider Alloperla teleckojensis Šámal, 1939 is synonymized with Alloperla deminuta Zapekina-Dulkeit, 1970, and the former was a valid name. The name S. errata sp. n. is given for the widespread species hitherto known as Suwallia teleckojensis sensu Zapekina-Dulkeit (1955).

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44

Enayyah, Barnawi, and Michiko Ohkura. "B5-2 Key Emotional Values and Kawaii for Saudi Women." Japanese journal of ergonomics 53, Supplement2 (2017): S544—S547. http://dx.doi.org/10.5100/jje.53.s544.

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45

TOMBE, Takahumi, Tipporn LAOHAKANGVALVIT, Aoi TAKIZAWA, and Michiko OHKURA. "2G4-1 A Study of Kawaii Feeling using Eye Tracking." Japanese Journal of Ergonomics 54, Supplement (2018): 2G4–1–2G4–1. http://dx.doi.org/10.5100/jje.54.2g4-1.

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46

UJIGAWA, Masato. "Classifying the Cause and Effect System of “Kawaii”." Transactions of Japan Society of Kansei Engineering 15, no. 1 (2016): 39–46. http://dx.doi.org/10.5057/jjske.tjske-d-15-00057.

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47

Nguyen, An. "Eternal maidens: Kawaii aesthetics and otome sensibility in Lolita fashion." East Asian Journal of Popular Culture 2, no. 1 (2016): 15–31. http://dx.doi.org/10.1386/eapc.2.1.15_1.

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48

SHIIZUKA, Hisao, and Ayako HASHIZUME. "C11 The Degree of KAWAII for Characters and Its Interactivity." Proceedings of the Symposium on sports and human dynamics 2011 (2011): 500–507. http://dx.doi.org/10.1299/jsmeshd.2011.500.

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49

Botz-Bornstein, Thorsten. "Wong Kar-wai’s Films and the Culture of the Kawaii." SubStance 37, no. 2 (2008): 94–109. http://dx.doi.org/10.1353/sub.0.0003.

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50

Nittono, Hiroshi, and Namiha Ihara. "Psychophysiological Responses to Kawaii Pictures With or Without Baby Schema." SAGE Open 7, no. 2 (2017): 215824401770932. http://dx.doi.org/10.1177/2158244017709321.

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