Journal articles: 'Tōkyō (Japon)'

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Christina, Ellensohn. "The Facilitation of Child Development in a Japanese Nursery School." Vienna Journal of East Asian Studies 4, no. 1 (June 1, 2014): 1–26. http://dx.doi.org/10.2478/vjeas-2013-0001.

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Abstract This paper aims to explore the topic of facilitating children’s development in a Japanese day-care centre (hoikuen). The research is based on a case study with participant observation in the daycare facility Minami Ōsawa Nursery School in Tōkyō. After a short overview on preschool education in Japan and an introduction to Minami Ōsawa Nursery School, the three main topics of child development around the age of five years-cognitive, social-emotional and motor development- will be further explored. These three areas will be defined more precisely in the context of the selfproclaimed aims and daily routine of the hoikuen team. Furthermore the importance of a child’s autonomy is addressed.

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Kasulis, Thomas P. "Japanese Philosophy? No Such Thing: Japan's Contribution to World Philosophizing." International Journal of Asian Studies 16, no. 2 (July 2019): 131–42. http://dx.doi.org/10.1017/s1479591419000147.

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For almost five decades I have been studying Japanese philosophy, but only gradually have I come to realize there is no such thing. The ghost of Nakae Chōmin 中江兆民 (1847–1901) probably gloats with satisfaction to hear this gaijin say that. My statement seems to echo his assessment more than a century ago when he pronounced that Japan had always been and continued to be devoid of philosophy. Although I admire Chōmin for his intellectual courage, standing up to the thought police even to the extent of being temporarily exiled from Tōkyō, my position is not at all the same as his. Nakae Chōmin is not only dead, but unfortunately, when it came to understanding both philosophy and its relation to Japan, he was also dead wrong. So although in reference to Japanese philosophy, I claim there is no such thing, I do not mean what Chōmin meant. To understand what I do mean, we have to examine my claim word by word.

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Huang, Po-Lung. "Japanese street dance culture in manga and anime: Hip hop transcription in Samurai Champloo and Tokyo Tribe-2." East Asian Journal of Popular Culture 7, no. 1 (April 1, 2021): 61–79. http://dx.doi.org/10.1386/eapc_00039_1.

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Street dance, one of the four most important elements of hip hop culture, was developed mainly by African American youths in the 1970s and imported to Japan in the 1980s. Since then, street dance has been diversified by local media such as manga/anime in Japan. This article therefore analyses how Japanese storytelling, exemplified by Shin’ichirō Watanabe’s anime Samurai Champloo (2004–05), Santa Inoue’s manga Tokyo Tribe-2 (1997–2005) and Tatsuo Satō’s anime adaptation Tokyo Tribes (2006–07), has transcribed the hip hop elements into the Tokugawa-Edo period’s art scenes and fictitious ‘Tōkyō’, and provides a basis for understanding hip hop culture in Japan by drawing on Charles Taylor’s ‘language of perspicuous contrast’ (1985). Although manga and anime quickly reflected popular cultural trends in Japan, hip hop elements did not manifest as main material until Tokyo Tribe-2 was released. Thus, there was apparently a prolonged interval between the arrival of hip hop culture in Japan and its representation by manga/anime after Japanese youths’ first fancied street dance. Therefore, street dance culture could have been transformed within the Japanese cultural context. This article also analyses the representation/transcription of street dance and hip hop in manga/amine by contextualizing the Japanese sociopolitical background to explain this prolonged interval.

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Kido, Ewa Maria. "ELEMENTS OF THE UBRANSCAPE IN TOKYO." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 8, no. 1 (June 29, 2012): 75–92. http://dx.doi.org/10.35784/teka.2495.

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Tokyo Metropolis (Tōkyō-to) of 13 mln people, crowded, colored, noisy, made of very freely designed buildings, with railway loop line separating the inner center from the outer center – from one side is similar to other large metropolises in Japan, and from another – being a capitol and having the Imperial Palace as its symbolical center, is unique. This article discusses elements of urbanscape, such as transportation infrastructure – roads and railways; junctions and city centers – neighborhoods; urban interiors – streets and squares; border lines and belts – rivers, parks; dominant urban structures, outstanding elements – landmarks, and characteristic sights, that contribute to aesthetic appeal of the landscape of Tokyo. The conclusion is that although both European cities and Tokyo have well-functioning centers, as well as subcenters of the polycentric metropolises, their forms are differing because they reflect local urban planning, aesthetics, and culture.

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Balogh, Lehel. "The Moral Compatibility of Two Japanese Psychotherapies: An Appraisal of the Ethical Principles of Morita and Naikan Methods." Vienna Journal of East Asian Studies 12, no. 1 (December 1, 2020): 124–48. http://dx.doi.org/10.2478/vjeas-2020-0005.

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AbstractThe article expounds and compares two representative contemporary psychotherapeutic approaches which grew out of the Buddhist cultural heritage of Japan and have proved successful in dealing with mental disorders in both Eastern and Western countries. Morita and Naikan therapies are regularly discussed and evaluated together as their compatibility and belongingness are unquestionable facts, even though they appeared at different times and in different milieus. One emerged from the clinical practice of a psychiatric department at a Tōkyō hospital where patients with neurasthenia were being treated, while the other appeared in rural Nara as a transformed version of an ancient ascetic tradition which aimed to assist devoted Buddhists attaining enlightenment. The article investigates the similarities and differences that form the foundations of the metaphysical, ethical, and therapeutic presuppositions of both therapies, pointing out the degree of their compatibility, and the possibility of conceiving a unified ethical framework for them.

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Sostero, Marco. "Museum Culture of Remembrance: The Depiction of World War II in Japanese, German and Austrian Museums." Vienna Journal of East Asian Studies 3, no. 1 (March 1, 2012): 165–92. http://dx.doi.org/10.2478/vjeas-2012-0006.

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Abstract As one component of cultural memory, museums have the potential to co-form the remembrance of an entire society. They try to minimise the experience deficiency of their visitors and help them further to know and understand history in an interesting and vivid way. The present paper will show how and to what extent important museums in Japan, Germany and Austria try to shape the historical consciousness of their visitors. With the Yūshūkan in Tōkyō, the Heiwa Kinen Shiryōkan in Hiroshima, the Deutsches Historisches Museum in Berlin and the Heeresgeschichtliches Museum in Vienna, four representative institutions will be taken as indicators of the national efforts to re-appraise the history of World War II. Analyses of the different exhibitions, together with an international comparison, will document the individual position of each museum as well as its political intention. In addition, legal and cultural backgrounds that can lead to a country-specific, ideologically biased museum-based depiction of World War II will also be taken into consideration.

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Rasche, Julia. "Ueno Park during Meiji Times – a Mirror of its Time: Discursive Space and Symbolic Representation of Modernity." Vienna Journal of East Asian Studies 1, no. 1 (March 1, 2011): 91–122. http://dx.doi.org/10.2478/vjeas-2011-0004.

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Abstract With the Great Council of State‟s 16th decree, the Meiji administration introduced the neologism kōen, „public park‟, to the Japanese language and the administrative system. One of the re-named parks was today‟s Ueno Kōen, which during the Meiji period changed with regards to character and appearance. It came to house the first modern museums, the first modern zoo, and the first public library. Industrial fairs were to be held in Ueno Kōen and a train station was built, connecting the rural north with Japan‟s capital. Meiji politicians re-designed the park grounds, in which today not only institutions of education, industry and modernity are located, but the highest number of homeless people in any one place in Tōkyō is to be found. The research question, „What kind of space was constituted in the place Ueno Kōen during Meiji time?‟ is to be answered with the discourse theory of the German sociologist Reiner Keller and the theory on the social construction of space offered by the German sociologist Martina Löw. The article will show that Ueno Park was to become a spatial representation of Japan‟s modernisation process and of the policies of „enlightenment‟ and „rich country, strong army‟, bunmei kaika and fukoku kyōhei.

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Oh, Younjung. "Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s." Journal of Asian Studies 78, no. 1 (February 2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.

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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.

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Gregus, Adam. "Shadows Under a Rising Sun: Utopia and Its Dark Side in Kirino Natsuo’s Poritikon." Vienna Journal of East Asian Studies 8, no. 1 (December 20, 2017): 1–31. http://dx.doi.org/10.2478/vjeas-2016-0001.

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Abstract Kirino Natsuo, arguably one of the most popular contemporary Japanese authors in Western markets (a number of her novels having been translated into English, German, French, Italian, Dutch or Spanish, among other languages) who is often being recognised as a mystery writer, only enjoys limited acknowledgment for the thematic breadth and genre diversity of her work. Such description is not only inaccurate (Kirino published her last true mystery novel in 2002), but also manifests itself in the limited and underdeveloped treatment of her work in Western academic writing. This paper deals with Kirino Natsuo’s 2011 novel Poritikon (Politikon) and its analysis within the greater context of Kirino’s work. A focus is put upon introducing the novel as utopian fiction with the aim to illustrate ways in which Kirino Natsuo utilises utopian genre patterns as well as how her utopia works to provide a commentary on contemporary Japan. The utopian theme present in Poritikon makes the novel a rather untypical entry in Kirino’s oeuvre (although not a unique one, since her novels Tōkyō-jima [Tokyo Island, 2008 1 ] and Yasashii otona [Gentle Adults, 2010] also work with elements of utopian/dystopian fiction) as well as within the Japanese literary scene in general, and provides an interesting argument for Kirino Natsuo as more than ‘just’ a mystery writer.

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10

Josephy-Hernández, Daniel E. "The Translation of Graphemes in Anime in Its Original and Fansubbed Versions." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 1 (June 22, 2017): 78. http://dx.doi.org/10.21992/t9rw5z.

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Anime, Japanese animation, is massive, with “60% of the animation in the world made in Japan” (Goto-Jones 2009, 3). Anime occasionally makes an innovative use of graphemes on screen, but this has not been studied so far. This study, then, describes and analyses how graphemes have been translated in anime, presenting a series of cases, but concentrating on three particular releases: Gurren Lagann, Kill la Kill, and Tōkyō Godfathers, products that feature a frequent and innovative use of graphemes in its anime. These graphemes are categorised into two types: (1) the ones that are part of the original anime and (2) the graphemes added in fansubbed anime. Much anime is fansubbed (subtitled by fans), and these fans are not constrained by the industry’s rules, meaning that they have complete liberty in subtitling, allowing for really creative forms of subtitling. Even if this freedom can sometimes be taken to the extreme—with subtitles covering the entire screen—fansubs have shown creative subtitling solutions, specially in the case of graphemes that cover a great part of the screen. After describing and analysing these graphemes and how they have been subtitled, this article concludes that, even if fansubs can frequently be excessive, they are at the fore of creativity, and present better solutions than official subtitles in the translation of graphemes in anime.

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11

Tao, Cai. "Guan Liang, Tan Huamu, and Ding Yanyong: Their Modern Art Practice and the Phenomenon of the “Tōyō Review”." China and Asia 2, no. 1 (June 24, 2020): 3–56. http://dx.doi.org/10.1163/2589465x-00201002.

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During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the Western modern art currents that were centered in Paris, these Japan-trained artists, with their comparative cultural perspectives, began to re-examine their own cultural tradition and form a cross-media creative model with an intrinsic cultural reflectiveness and innovative outlook. Moreover, the phenomenon of the “Tōyō review” 東洋回顧 that emerged from the intense interactions between the cultures of East and West not only brought about the concept of “Chinese painting,” but also led to the rise of the notion of the “superiority of Chinese art.”

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12

Hedberg, William C. "Chinese Fiction as a ‘Signal Bell of the Revolution’ and the Transregional Birth of an Author." East Asian Publishing and Society 9, no. 2 (October 29, 2019): 125–50. http://dx.doi.org/10.1163/22106286-12341333.

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Abstract This essay examines late nineteenth- and early twentieth-century interest in Shi Nai’an, the putative author of the traditional Chinese novel, The Water Margin. Despite the paucity of reliable evidence attesting to Shi Nai’an’s composition of The Water Margin, Japanese writers of the Meiji period were keenly interested in Shi on the basis of his alleged stature as a pioneering author of Oriental or East Asian (Tōyō) fiction. This characterization of Shi Nai’an was a byproduct of the recently established academic discipline of literary history in Japan, and the concomitant desire by Meiji-period historians to locate a literary text that could compete with Western works in terms of narrative and structural complexity. When late Qing-period Chinese authors became aware of Japanese writing on Shi Nai’an, they built on this budding biographical tradition by emphasizing Shi’s identification with an incipient Chinese nationalism, evidenced by his alleged resistance to the Mongol regime during the Yuan dynasty. The case study of Shi Nai’an thus illustrates the nexus between the construction of authorial personae and the pursuit of various ideological goals, as well as demonstrates the centrality of transregional literary contact in the formation of emergent concepts of authorship and canonization in modern East Asia.

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13

Keyworth, George A. "‘Study Effortless-Action’." Journal of Religion in Japan 6, no. 2 (2017): 75–106. http://dx.doi.org/10.1163/22118349-00602003.

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Today there is a distinction in Japanese Zen Buddhist monasticism between prayer temples and training centers. Zen training is typically thought to encompass either meditation training or public-case introspection, or both. Yet first-hand accounts exist from the Edo period (1603–1868) which suggest that the study of Buddhist (e.g., public case records, discourse records, sūtra literature, prayer manuals) and Chinese (poetry, philosophy, history) literature may have been equally if not more important topics for rigorous study. How much more so the case with the cultivation of the literary arts by Zen monastics? This paper first investigates the case of a network of eminent seventeenth- and eighteenth-century scholar-monks from all three modern traditions of Japanese Zen—Sōtō, Rinzai, and Ōbaku—who extolled the commentary Kakumon Kantetsu 廓門貫徹 (d. 1730) wrote to every single piece of poetry or prose in Juefan Huihong’s 覺範恵洪 (1071–1128) collected works, Chan of Words and Letters from Stone Gate Monastery (Ch. Shimen wenzichan; Jp. Sekimon mojizen). Next, it explores what the wooden engravings of Study Effortless-Action and Efficacious Vulture at Daiōji, the temple where Kantetsu was the thirteenth abbot and where he welcomed the Chinese émigré Buddhist monk Xinyue Xingchou (Shin’etsu Kōchū 心越興儔, alt. Donggao Xinyue, Tōkō Shin’etsu 東皐心越, 1639–1696), might disclose about how Zen was cultivated in practice? Finally, this paper asks how Kantetsu’s promotion of Huihong’s “scholastic” or “lettered” Chan or Zen might lead us rethink the role of Song dynasty (960–1279) literary arts within the rich historical context of Zen Buddhism in Edo Japan?

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CHIAVACCI, David. "Wakamono to Shigoto: ‘Gakkō Keiyu no Shūshoku’ o Koete (Young People and Employment in Japan: Beyond the ‘School-Mediated Job Search’), by Yuki Honda. Tokyo: Tōkyō Daigaku Shuppankai, 2005, vi + 224 pp., ¥3,800 (hardcover ISBN 4-13-051311-7)." Social Science Japan Journal 9, no. 2 (July 20, 2006): 322–25. http://dx.doi.org/10.1093/ssjj/jyl015.

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15

Albeker, András Zsigmond. "Új népszerűsítő japán nyelvtörténet: Okimori Takuya 沖森卓也: Nihongo zenshi. 日本語全史 [Átfogó japán nyelvtörténet]. Tōkyō, 2017." Távol-keleti Tanulmányok 9, no. 2017/2 (October 1, 2018). http://dx.doi.org/10.38144/tkt.2017.2.8.

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16

"Kimitada Miwa. Nihon: 1945-nen no shiten [Japan: From the Viewpoint of 1945]. Tokyo: Tōkyō Daigaku Shuppankai. 1986. Pp. xi, 237." American Historical Review, October 1989. http://dx.doi.org/10.1086/ahr/94.4.1155.

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Journal articles on the topic 'Tōkyō (Japon)'

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