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Articoli di riviste sul tema "Japanese critic"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 gennaio 2023

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1

Noda, Manabu. "The Body Ill at Ease in Post-War Japanese Theatre." New Theatre Quarterly 23, no. 3 (August 2007): 272–82. http://dx.doi.org/10.1017/s0266464x07000176.

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Many theatre pieces in Japan now focus on a certain type of physicality which results from the sense of unease present in Japanese society. Manabu Noda argues that the senses of estrangement, distrust, apathy, helplessness, and incongruity in this supposedly democratic country come partly from the macho pressures under the right-wing Koizumi administration of 2001–06, and examines some current Japanese performances in the context of Japanese post-war society and of the continuing conflict in Iraq. He explores how these performances stage the body ill at ease – perceived as something irrevocabl

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2

Sonnenberg-Musiał, Katarzyna. "Z japońskiej perspektywy." Między Oryginałem a Przekładem 28, no. 4(58) (December 18, 2022): 127–39. http://dx.doi.org/10.12797/moap.28.2022.58.06.

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FROM A JAPANESE PERSPECTIVE: THE WESTERN INFLUENCES IN THE WORKS OF ŌGAI The article focuses on how Mori Ōgai (1862-1922), a Japanese writer, translator and literary critic, incorporated references to European literature and culture in his novellas: Maihime (The Dancing Girl, 1890), Mōsō (Delusion, 1911) and Hanako (1910). The hermeneutic approach sheds light on the Japanese author’s vivid interest in foreign languages, cultural symbols, philosophy and arts which contributes to the intricate image of foreign influences in his oeuvre and invite his readers and translators in Europe to rev

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3

Cho, Namho. "A study of Hwarang by Korea independence activist in the Japanese occupation - through critic of Japanese scholars." Journal of Korean Sundo Culture 24 (February 28, 2018): 41–70. http://dx.doi.org/10.35573/jksc.24.2.

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4

Emery, Elizabeth. "A Japoniste Friendship in Translation: Hayashi Tadamasa and Philippe Burty (1878–1890)." Journal of Japonisme 6, no. 1 (January 22, 2021): 27–75. http://dx.doi.org/10.1163/24054992-06010002.

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Abstract Art critic and collector Philippe Burty (1830–1890) was one of the first friends the Japanese interpreter (and future art dealer) Hayashi Tadamasa (1853–1906) made on arrival in Paris in 1878. The previously unknown letters translated into English within this essay present Hayashi’s work in Paris (1878) and Brussels (1880), his first impressions of Normandy (1882) and New York (1886), and his explanation of the evolution of Japanese painting (1885). They furnish valuable insights into the cross-cultural aesthetics that led the Japanese, the French, the British, the German, and America

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5

Miller, Jennifer M. "“Let’s Not be Laughed at Anymore: Donald Trump and Japan from the 1980s to the Present”." Journal of American-East Asian Relations 25, no. 2 (July 4, 2018): 138–68. http://dx.doi.org/10.1163/18765610-02502004.

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This article explores the central role of Japan’s rise to global economic prominence in the evolution of Donald J. Trump’s worldview. It traces how the transformation of the relationship between the United States and Japan during the 1980s informed Trump’s ideas about trade and protectionism, globalization, the international economy, and executive power. Trump, it argues, was a product of U.S.-Japanese relationship; while he began his public career as a prominent critic of Japan, claiming that the country exploited American trade and defense policy, his career in real estate heavily relied on

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Lecińska-Ruchniewicz, Monika. "Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”." Slavia Occidentalis, no. 74/2 (December 10, 2018): 51–64. http://dx.doi.org/10.14746/so.2017.74.22.

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The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the

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7

Silverberg, Miriam. "Constructing the Japanese Ethnography of Modernity." Journal of Asian Studies 51, no. 1 (February 1992): 30–54. http://dx.doi.org/10.2307/2058346.

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One afternoon in tokyo in the summer of 1921, ten Waseda University students visited the home of Gonda Yasunosuke, the critic of Japanese popular culture. Each was writing a dissertation on popular entertainment (minsbū goraku). Tell us, they asked Gonda, what were the authoritative texts they could find at Maruzen, the emporium specializing in foreign books? They wanted the real thing—Western language theoretical sources. “Forget it,” replied Gonda, “there aren't any in the Maruzen catalog. Go to Asakusa—Asakusa's your text.” The young men wanted an imported, printed master text, but Gonda wo

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8

WILLIS, CLIVE. "Captain Jorge Álvares and Father Luís Fróis S.J.: Two Early Portuguese Descriptions of Japan and the Japanese." Journal of the Royal Asiatic Society of Great Britain & Ireland 22, no. 2 (April 2012): 391–438. http://dx.doi.org/10.1017/s1356186311000745.

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The dialogism of the Russian philosopher and literary critic Mikhail Bakhtin (1895–1975), that is, the study of cultural interaction and the acknowledgment of the value or at least of the objective existence of other cultures, corresponds to one of the most significant aspects of Renaissance Humanism.1 In his turn, the Franco-Bulgarian philosopher Tzvetan Todorov (born 1939) has stressed the Humanists’ quest for “cultural relativism”, as exemplified by Amerigo Vespucci, who sought to evaluate the arrival of Europeans from the standpoint of American Indians, in total contrast to the monological

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9

Silverman, Willa Z. "“The Most Passionate of All”." Journal of Japonisme 3, no. 1 (December 4, 2018): 1–51. http://dx.doi.org/10.1163/24054992-00031p01.

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Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese

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10

Yokota-Murakami, Takayuki. "The Historically Changing Notion of (Female Bodily) Proportion and Its Relevance to Literature." Perichoresis 18, no. 2 (June 1, 2020): 17–30. http://dx.doi.org/10.2478/perc-2020-0008.

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AbstractFutabatei Shimei (1864-1909) was an early modern Japanese novelist, translator, and critic. He wrote what is now generally conceived of as the first Japanese ‘modern’ novel, Drifting Clouds (1887-89). He translated works by Turgenev, Leo Tolstoy, Garshin, Gorky, and others. He also published a number of critical essays, treatises on literary theory, political papers, and so forth. His early translation of Turgenev’s short stories: Aibiki (Rendevous, 1888) and Meguriai (Three Trysts, 1889) were extremely influential on the contemporary literati, who were amazed at the fresh, poetic pros

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11

Shim, Jung-Soon. "The Shaman and the Epic Theatre: the Nature of Han in the Korean Theatre." New Theatre Quarterly 20, no. 3 (August 2004): 216–24. http://dx.doi.org/10.1017/s0266464x04000119.

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The distinctively Korean concept of Han evokes a pervasive sense of sorrow, traditionally in need of shamanistic purging in the spirits of the dead, but also describing the sense of national trauma induced first by the Japanese occupation, then by the post-war division of the country. Han has also become an important feature of modern Korean drama, and in this article Jung-Soon Shim describes how Park Joh-Yeol's play The Toenails of General Oh (1974) revisits the concept, integrating indigenous cultural traditions – notably the shamanic ritual Gut – and how, in the production by Sohn Jin-Chaek

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12

Hung, Chang-Tai. "The Politics of Songs: Myths and Symbols in the Chinese Communist War Music, 1937–1949." Modern Asian Studies 30, no. 4 (October 1996): 901–29. http://dx.doi.org/10.1017/s0026749x00016838.

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Nie Er (1912–1935), a young Communist musician from Yunnan, could not possibly have imagined that when he wrote this patriotic song (with lyrics by the left-wing writer Tian Han [1898–1968]) for the 1935 filmChildren of Troubled Times (Fengyun ernü) it would soon become one of the most popular tunes in China. The overwhelming success of the song reflected a nation, long frustrated by imperialist (especially Japanese) aggression, thwarted reforms, domestic armed conflicts, and government ineptitude, venting its anger and crying out for a solution. When the Japanese invaded China two years later

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Terada, Yuma. "Artist of Liminality: Miwa Yanagi’s Myth Machines as Heterotopia." tba: Journal of Art, Media, and Visual Culture 3, no. 1 (November 30, 2021): 211–25. http://dx.doi.org/10.5206/tba.v3i1.13907.

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In February 2020, Miwa Yanagi: Myth Machines (2019-2020), a traveling exhibition of works by the Japanese contemporary artist Miwa Yanagi (1967-), concluded its tour across Japan after failing to incite meaningful critical response from art historians and critics. The year-long, five-museum itinerary of the solo show reflected the public’s keen interest in Yanagi’s first major exhibition in a decade, but the enthusiasm was betrayed by the paucity of scholarly attention; beyond the four essays included in the catalogue, hardly any scholar or critic seriously engaged with the artist who previous

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14

Kaori, Kobayashi. "‘The Actors Are Come Hither’: Shakespeare Productions by Travelling Companies in Asia." New Theatre Quarterly 32, no. 1 (January 7, 2016): 49–60. http://dx.doi.org/10.1017/s0266464x15000858.

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In 1882, a critic of the journal Theatre noted that ‘the theatrical life of the present day might be described as a round of glorified strolling. The ‘circuits’ of Bristol, Norwich, and York of the last century are now replaced by those of the United States, South Africa, India, and Australia, and a modern actor thinks as little of a season in Melbourne or New York as his grandfather did of a week’s ‘starring’ in Edinburgh.’ Yet the story of how these Western theatre companies reached audiences in the faraway lands of the British Empire and Asia is still relatively untold. In this article Kaor

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15

Rachmawati, Kurnia. "KRITIK MATERIALISTIK TEKS SASTRA MAJALAH PANDJI POESTAKA (1943--1945)." Pujangga 5, no. 2 (June 25, 2020): 141. http://dx.doi.org/10.47313/pujangga.v5i2.846.

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<p>ABSTRAK<br /> <br />Penelitian ini bertujuan memaparkan struktur ideologi Teks Sastra dalam Majalah Pandji Poestaka pada masa<br />pendudukan Jepang di Indonesia (1943-1945). Pendekatan teori yang digunakan adalah materialisme yang<br />dipaparkan oleh Eagleton. Kritik sastra materialistik mangasumsikan bahwa teks sastra tidak bertindak pasif, tetapi<br />secara aktif menentukan proses produksi dan struktur ideologi yang membentuknya. Karya sastra merupakan produk<br />interaksi dan artikulasi aspek eksternal dan internal teks. Skema kritik sastra m

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16

Ha, Sha. "The Encounter between Cambridge Literary Criticism and China." International Journal of Comparative Literature and Translation Studies 7, no. 4 (October 31, 2019): 42. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.4p.42.

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The purpose of the present paper is to study the impact of Cambridge Literary Criticism (CLC) on Chinese scholars, since the visit to Peking’s Tsinghua University by Prof. Igor Armstrong Richards, the initiator of CLC, in 1929, until present times. That first encounter signed the beginning of a fruitful intercultural communication activity between the two countries, which lasted for a decennial. Those contacts between the British literary world, imbued with the scientific spirit that was the basis of ‘Cambridge Criticism’, was very stimulating for the Chinese academic world, of that was being

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17

Sarantakes, Nicholas Evan. "The Teahouse Tempest." Journal of American-East Asian Relations 21, no. 2 (June 14, 2014): 156–83. http://dx.doi.org/10.1163/18765610-02102005.

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The United States occupied the Japanese island of Okinawa as a colony in everything but name for twenty-seven years after World War II ended in August 1945. This action ran counter to the avowed U.S. foreign policy principle of self-determination. Novelist Vern Sneider, a former U.S. Army civil affairs officer who had been stationed on the island during the postwar years, was a critic of the occupation. For that reason he chose to use his first novel The Teahouse of the August Moon, published in 1951, to offer a critique of policies that he believed were ethnocentric and counterproductive to U

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18

Liu, Lydia H. "The Ghost of Arthur H. Smith in the Mirror of Cultural Translation." Journal of American-East Asian Relations 20, no. 4 (2013): 406–14. http://dx.doi.org/10.1163/18765610-02004004.

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Arthur H. Smith’s Chinese Characteristics (1890) remained the most widely read American book on China until Pearl Buck’s The Good Earth (1931). Smith’s collection of pungent and humorous essays, originally written for white expatriates in Asia, was accepted by Americans at home as a wise and authentic handbook. The book was soon translated into Japanese (1896), classical Chinese (1903), and at least three more times into Chinese since 1990. The characteristics Smith identified reflect his conception of the American Way of Life, racial hierarchy, the idea of progress, and the middle-class value

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19

Fischler, Alan. "The Modern Major Remodelling of the Gilbert and Sullivan Operas." New Theatre Quarterly 34, no. 1 (January 10, 2018): 35–46. http://dx.doi.org/10.1017/s0266464x17000665.

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Following the success of The Gondoliers (1889), Gilbert wrote to Sullivan: ‘It gives one the chance of shining right through the twentieth century.’ However, while this prophecy was largely fulfilled, clouds of cultural disapproval have darkened over the Savoy operas since the start of the present century, especially with regard to the mockery of women's education at the heart of Princess Ida (1884) and, most pointedly, the demeaning and ostensibly racist depiction of the Japanese in The Mikado (1885). On the other hand, the largely overlooked Utopia, Limited (1893) has experienced a boom in p

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20

Santosa, Puji. "Perlawanan Bangsa Terjajah Atas Harkat dan Martabat Bangsa: Telaah Postkolonial Atas Tiga Sajak Indonesia Modern." ATAVISME 12, no. 2 (December 31, 2009): 147–56. http://dx.doi.org/10.24257/atavisme.v12i2.166.147-156.

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Kesadaran kebangsaan mengenyahkan peniajahan adalah persoalan nasionalisme suatu bangsa. Nasionalisme di wilayah jajahan adalah reaksi dari tekanan-tekanan sosial dan poliris yang beraneka macam dari para penjajah. Indonesia telah mengalami penjajahan bcrulang kali, seperti penjajahan Portugis, Belanda, Inggris, dan Jepang. Jejak-jejak penjajahan bangsa Eropa dan bangsa Asia Timur Raya tersebut di Indonesia terekam secara jelas dalam sastra Indonesia modern, misalnya dalam tiga sajak Indonesia modern, yaitu sajak "Hang Tuah" karya Amir Hamzah yang merekam jejak pcrlawanan terhadap kolonial ban

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Nugrahanto, Widyo. "BKR (BADAN KEAMANAN RAKYAT): Cikal Bakal Tentara Indonesia?" Metahumaniora 8, no. 3 (December 27, 2018): 389. http://dx.doi.org/10.24198/metahumaniora.v8i3.20718.

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AbstrakPenelitian ini berjudul BKR (Badan Kemanan Rakyat):Cikal Bakal Tentara Indonesia?!. Penelitian ini merupakan interpretasi baru tentang cikal bakal TNI, yang umumnya banyak merujuk pada PETA (Pembela Tanah Air). Metode penelitian yang digunakan adalah Metode Sejarah.Metode Sejarah memiliki empat tahapan yaitu Heuristik, Kritik, Interpretasi dan Historiografi.Sumber-sumber penelitian ini menggunakan koran-koran sezaman, majalah sezaman, dan buku. BKR dianggap sebagai cikal bakal TNI didasarkan beberapa sebab. Pertama, atas dasar legalitas formal, PETA telah dibubarkan sehingga BKR adalah

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Nugrahanto, Widyo. "BKR (BADAN KEAMANAN RAKYAT): Cikal Bakal Tentara Indonesia?" Metahumaniora 8, no. 3 (December 27, 2018): 389. http://dx.doi.org/10.24198/mh.v8i3.20718.

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AbstrakPenelitian ini berjudul BKR (Badan Kemanan Rakyat):Cikal Bakal Tentara Indonesia?!. Penelitian ini merupakan interpretasi baru tentang cikal bakal TNI, yang umumnya banyak merujuk pada PETA (Pembela Tanah Air). Metode penelitian yang digunakan adalah Metode Sejarah.Metode Sejarah memiliki empat tahapan yaitu Heuristik, Kritik, Interpretasi dan Historiografi.Sumber-sumber penelitian ini menggunakan koran-koran sezaman, majalah sezaman, dan buku. BKR dianggap sebagai cikal bakal TNI didasarkan beberapa sebab. Pertama, atas dasar legalitas formal, PETA telah dibubarkan sehingga BKR adalah

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23

Saito, Tatsuya. "Critical Reactions to the 1890 Japanese Print Exhibition in Paris." Journal of Japonisme 2, no. 1 (January 18, 2017): 38–72. http://dx.doi.org/10.1163/24054992-00021p02.

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The great Japanese pictorial arts retrospective held in Paris in 1890 drew considerable attention from critics. By examining press reviews, this article aims to clarify how the critics responded to the exhibition and Japanese prints. Many reviewers expressed favorable opinions of the exhibition, describing the characteristics of Japanese art and notable painters such as Hokusai, Hiroshige, and Utamaro as well as the so-called “primitive artists.” However, there was also harsh criticism of Japonisme and Japanese art, which is discussed here as well. Writers such as Teodor de Wyzewa, Edmond Pott

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24

Figal, Gerald. "How to jibunshi: Making and Marketing Self-histories of Shōwa among the Masses in Postwar Japan." Journal of Asian Studies 55, no. 4 (November 1996): 902–33. http://dx.doi.org/10.2307/2646528.

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The death of Emperor Hirohito on 7 January 1989, followed more recently by the fiftieth anniversary of the end of World War II, has indeed incited a degree of historical awareness among Japanese from all walks of life. In the wake of an enigmatic period of social self-restraint (jishuku) during the final months of the Shōwa period (1926–89), fettered reflections of Shōwa Japan inundated the media. Despite a few outspoken critics at the margins, retrospectives appearing on Japanese television and in mainstream print media after Hirohito's death have largely glossed over touchy subjects such as

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25

Hatanaka, Hiroshi. "Answering the critics of Japanese whale research." Nature 436, no. 7053 (August 2005): 912. http://dx.doi.org/10.1038/436912c.

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Patzner, Claire. "Tawara Machi’s Bisymmetrical Self." Columbia Journal of Asia 1, no. 2 (December 9, 2022): 37–42. http://dx.doi.org/10.52214/cja.v1i2.10137.

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Tawara Machi is one of the most famous contemporary Japanese poets after the success of her collection of poetry titled Salad Anniversary. This collection of poetry utilized vivid imagery of everyday activities and revitalized the traditional Japanese tanka poetic form. While literary critics often view her poetry as anti-feminist writing that relies heavily on the “waiting woman” trope popularized by early tanka poetry, I argue that her work is multi-dimensional and expands on this trope. Although her writing involves more passive feminism than famous Japanese feminist poets such as Hiromi It

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Fadli, Zaki Ainul. "EKSPRESI THUMOS MISHIMA YUKIO DALAM NOVEL KINKAKUJI." IZUMI 3, no. 1 (January 8, 2014): 92. http://dx.doi.org/10.14710/izumi.3.1.92-101.

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In the social study, there is a concept about strong desire to be recognized by others named thumos. Mishima as a Japanese ultranasionalist have a value about guarding the traditional Japanese values. Among of these values is the absolute position of Japanese emperor in the state. If Mishima’s thumos which expressed in the novel linked with his ideology, there is strong similarity between the protagonist’s disappointment and Mishima’s critics related with the Japanese society. Those assumptions supported by novel’s structural aspects.

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Takeda, Koichi, Emiko Suzuki, Tetsuro Nishino, and Tetsunosuke Fujisaki. "CRITAC—An experimental system for Japanese text proofreading." IBM Journal of Research and Development 32, no. 2 (March 1988): 201–16. http://dx.doi.org/10.1147/rd.322.0201.

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Suárez, José I. "Dichotomy Christianity – Japaneseness." Letrônica 15, no. 1 (December 1, 2022): e41607. http://dx.doi.org/10.15448/1984-4301.2022.1.41607.

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The purpose of this study is to demonstrate briefly how Shusaku Endo, the noted Japanese author of Silence, stresses his Japanese identity over his Roman Catholic religion in novel The Samurai. This preference has unfortunately been ignored by Western literary critics who have instead opted to stress the importance of his religious beliefs in his fiction.

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Journal for Politics, Gender and Culture, Identities, and Kamelia Spassova. "Mimetic Machines in the Uncanny Valley." Identities: Journal for Politics, Gender and Culture 18, no. 1-2 (December 8, 2021): 22–33. http://dx.doi.org/10.51151/identities.v18i1-2.482.

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Uncanny valley (不気味の谷 ) is a notion introduced by the Japanese robotics professor Masahiro Mori in 1970. The basic claim of his hypothesis states that the anthropomorphic machines cause uncanny effect due to their imperfect resemblance to the human. Humanoids seem almost like people, but exactly the distance of this almost provokes hot debates. There are two trends in robotics, animation, architecture, and computer games. The first trend seeks to overcome the uncanny valley, constructing such an incredible machine that perfectly mimics human actions. The second trend – Masahiro Mori takes

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Lestari, Eka Marthanty Indah. "A Critical Discourse Analysis of The Advertisement of Japanese Beauty Products." IZUMI 9, no. 1 (May 31, 2020): 58–74. http://dx.doi.org/10.14710/izumi.9.1.58-74.

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This research analyzes the advertisement of Japanese beauty products through perspective of the critical discourse analysis as stated by Fairclough (1995). The discussed issues are linguistic features used in the advertisement of Japanese beauty products and the strategies used by advertisers to manipulate consumers who are women. Through three dimensions of the critical discourse analysis, it is known that the choices of vocabularies, grammar, modality, and rhetoric serve to bring psychological effect to consumers. Besides, the strategies used by advertisers to manipulate consumers for purcha

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Sipos, George T. "Japanese Literature in Romanian Translation: The Case of Yukio Mishima." Analele Universității de Vest. Seria Științe Filologice, no. 59 (January 2022): 131–39. http://dx.doi.org/10.35923/autfil.59.09.

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The translation and reception of Japanese literature in Romania has followed the vicissitudes of the country’s coming into modernity in the 19th century and slide into fascism and communism throughout the 20th century, as well as the subsequent ups and downs of the relationship with Japan. This research offers a brief overview of that sinuous path. It then focuses on the pre- and post-1990 reception of the works of Yukio Mishima (1925-1970), one of the iconic figures of Japan’s postwar literature and exemplary for his continued trials and tribulations with modernity. By making use of scholarly

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YANG, SERENA. "Against ‘John Cage Shock’: Rethinking John Cage and the Post-war Avant-garde in Japan." Twentieth-Century Music 18, no. 3 (October 2021): 341–62. http://dx.doi.org/10.1017/s1478572221000165.

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AbstractAfter Cage and Tudor visited Japan in 1962, the term ‘Cage Shock’ circulated widely among the Japanese public. My interviews with Japanese composers suggest that the term ‘Cage Shock’ oversimplifies the reception of Cage's debut in Japan. Composer Yūji Takahashi stated that Cage would have met Japanese audiences well prepared for his visit by musical trends present in Japan as early as the late 1940s. Building on the statement that the Japanese avant-garde was thriving before Cage visited Japan in 1962, this article aims to deconstruct the term ‘Cage Shock’ by restoring the complexity

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Choi, Ja-Myung. "Egalitarian Education or Meritocracy? : The OECD Perspective on Japanese Education and Its Japanese Critics, 1970." Korean Association For Japanese History 56 (December 31, 2021): 173–201. http://dx.doi.org/10.24939/kjh.2021.12.56.173.

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Strecher, Matthew C. "Beyond “Pure” Literature: Mimesis, Formula, and the Postmodern in the Fiction of Murakami Haruki." Journal of Asian Studies 57, no. 2 (May 1998): 354–78. http://dx.doi.org/10.2307/2658828.

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Abstract (sommario):

With the publication ofKaze no Uta o Kike(Hear the Wind Sing; 1979), Murakami Haruki (b. 1949) found himself more or less at odds with well-known members of the Japanese literary establishment. If one takes Murakami at his word, this was not the result of conscious effort on his part, but rather a matter of his own individualism, a certain indifference (feigned or not) toward the conventions and opinions of professional critics in Japan's literary community. He commented to journalist Kawamoto Saburō in a 1985 interview that “[i]t never occurred to me to resist the paradigms of existing ‘pure’

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Ramšak, Polona. "Ishiguro’s Japanese-English Identity and His Reception Internationally and in Slovenia." Acta Neophilologica 54, no. 1-2 (December 7, 2021): 99–114. http://dx.doi.org/10.4312/an.54.1-2.99-114.

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Kazuo Ishiguro is a British author of Japanese descent who has established himself globally as an award-winning writer of bestselling books. This article deals with the hybridity of the author, who is both Japanese and English, a popular writer who stirs reader emotions but is at the same time respected by critics. The article begins by addressing the ‘Japaneseness’ in Ishiguro’s work that is both obvious and skilfully concealed. In the second part, the article examines the reception of Ishiguro’s work by Slovenian readers and discusses potential reasons for their seeming lack of response.

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Erber, Pedro. "Art and/or Revolution: The Matter of Painting in Postwar Japan." ARTMargins 2, no. 1 (February 2013): 37–57. http://dx.doi.org/10.1162/artm_a_00032.

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Abstract (sommario):

Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.

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ZGHEIB, Hani, and Hiroshi KATANO. "EVOLUTION OF CRITICS IN WESTERN MAGAZINES ON CONTEMPORARY JAPANESE ARCHITECTURE : Western analysis of contemporary Japanese architecture." Journal of Architecture and Planning (Transactions of AIJ) 65, no. 538 (2000): 259–67. http://dx.doi.org/10.3130/aija.65.259_3.

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Azuma, Hiroki, and Yuk Hui. "Homo animalis, a Japanese Futurism." Philosophy Today 65, no. 2 (2021): 401–8. http://dx.doi.org/10.5840/philtoday2021412395.

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Abstract (sommario):

In this dialogue, Hiroki Azuma discusses with Yuk Hui about the perception of technology in Japan after the defeat in the Second World War, from the Kyoto School to the postmodern critics, and the ambivalent conflicts between the modern and the tradition. The postmodern culture has a different signification in Japan than in the West as well as in other parts of Asia. Azuma documents the rise of the Otaku culture in Japan, and calls them “database animals,” a thesis that he formulated through his reading of Alexandre Kojève’s end of man and the absorption of the human subject into the technolog

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Mangiron, Carmen. "The Localisation of Japanese Video Games." Journal of Internationalization and Localization 2 (January 1, 2012): 1–20. http://dx.doi.org/10.1075/jial.2.01man.

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Abstract (sommario):

Over the course of the last three decades the entertainment software industry has become a multibillion dollar industry and a worldwide phenomenon. The United States and Japan have traditionally been the main players in this industry, which owes part of its global success to internationalisation and the associated localisation processes. Due to the cultural distance between Japan and Western countries, Japanese games often undergo extensive cultural adaptation in order to market them successfully in those territories. This paper analyses the localisation of Japanese console games. After presen

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Dalmi, Katalin. "Japanese Literature in Contemporary Hungary." Archiv orientální 89, no. 2 (September 30, 2021): 311–37. http://dx.doi.org/10.47979/aror.j.89.2.311-337.

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This paper sheds light on the main trends in translation of Japanese literature in contemporary Hungary and theorize the role of Haruki Murakami’s works in making Japanese literature widely recognized. Firstly, the paper gives a general overview on translations of Japanese literature in Hungary in the post-1989 era. I argue that after a decline in translation in the 1990’s, the spread of anime and manga combined with the popularity of Haruki Murakami’s novels generated a growing interest in Japanese literature and culture in Hungary resulting in changed translation strategies. While translatio

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A. Weigand, Robert. "The performance and risk of banks in the U.S., Europe and Japan post-financial crisis." Investment Management and Financial Innovations 13, no. 4 (December 15, 2016): 75–94. http://dx.doi.org/10.21511/imfi.13(4).2016.07.

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The author compares the performance, growth, asset mix, risk, operational efficiency, profitability and capital holdings of the 20 largest banks in Japan, the U.S. and Europe from 2003-2015. Total revenue for each set of banks has declined by a full 20% since 2011. European banks are in a multiyear downward spiral, evidenced by dramatic declines in market capitalization, the book value of loans and total assets, and the level of deposits. Japanese bank performance is stagnant compared to Europe and the U.S. Both Japanese and European banks are particularly challenged by persistently lower net

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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art." Matèria. Revista internacional d'Art, no. 18-19 (September 16, 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.

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Abstract (sommario):

The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Ja

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Genova, Pamela A. "Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku." Irish Journal of French Studies 15, no. 1 (December 1, 2015): 25–40. http://dx.doi.org/10.7173/164913315817039216.

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Ever since the opening of the ports of Japan to the West in 1854, French authors have participated in a fruitful dialogue of East-West exchange, to which the work of Yves Bonnefoy adds an engaging dimension. Bonnefoy, who reads Japanese and has spent time in Japan, has carried on throughout his career an equivocal relationship with Japanese aesthetics, especially notable in his complex views on haiku. Early on, Bonnefoy critiqued the form as a hollow discursive structure inattentive to the crucial referential relationship between art and world that he underscored in his own work as primary. Ye

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Gromkowska-Melosik, Agnieszka. "Międzynarodowe testy języka angielskiego: japońskie paradoksy i kontrowersje." Kwartalnik Pedagogiczny 64, no. 1(251) (April 24, 2019): 47–57. http://dx.doi.org/10.5604/01.3001.0013.1837.

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The aim of the article is to describe – on the example of teaching English – the reductionistic character of the testing phenomenon. Global international tests (TOEFL and TOEIC) provide excellent arguments to critics of the phenomenon of “testology”, related to reducing the school’s identity and student identity to results of test. An excellent example of this phenomenon is Japanese society. In Japan, where English is considered the cultural and professional capital of individuals, the paradoxes (and absurdities) of testing find their best exemplification. At the same time, the fact that Engli

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Kōdera, Tsukasa, Tatsuya Saito, Megumi Soda, and Geneviève Aitken. "Introduction." Journal of Japonisme 2, no. 1 (January 18, 2017): 1–37. http://dx.doi.org/10.1163/24054992-00021p01.

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Abstract (sommario):

The exhibition of Japanese prints held at the École des Beaux-Arts in Paris in 1890 is a milestone in the history of Japonisme. Organized by S. Bing in collaboration with a number of Japonistes, the exhibition presented more than 1100 Japanese prints, illustrated books and kakemono. This article reconstructs this historic event in its diverse aspects: clarifying the preparation process, reconstructing the exhibition venue, identifying exhibits, and examining their lenders. All these factors will be placed in a historical context, revealing how meticulously Bing prepared the exhibition and subs

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Rudiono, Rudiono, and Havidz Ageng Prakoso. "Fathering Japan: Japan's Strategy for Achieving Gender Equality in Response to UN Criticism." Jurnal Perempuan dan Anak 5, no. 1 (February 20, 2022): 11–22. http://dx.doi.org/10.22219/jpa.v5i1.18821.

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Abstract (sommario):

This journal aims to explain Japan's strategy in achieving gender equality in response to UN criticism through the Ikumen Project/ NPO Fathering Japan. The condition of gender inequality in Japanese society has generated worldwide attention and has also received criticism from the United Nations (UN) through CEDAW (The Convention on the Elimination of All Forms of Discrimination against Women). This is due to the high application of conventional cultural values of Japanese society which is commonly referred to as patriarchal culture. Therefore, the theory and concept used in this research is

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Kovner, Sarah. "Base Cultures: Sex Workers and Servicemen in Occupied Japan." Journal of Asian Studies 68, no. 3 (August 2009): 777–804. http://dx.doi.org/10.1017/s0021911809990052.

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Abstract (sommario):

This article examines how the bodies of Japanese women became a key site of political and cultural contestation during the Allied occupation. The sale of sex, once legally recognized and regulated, became a conspicuous symbol of postwar chaos. Ostracizing sex workers who catered to servicemen provided a means to display an abiding nationalism without directly confronting the occupiers. But these women were also indispensable in the economy of military base cities. Journalists and social critics sought to discern or impose order by devising elaborate taxonomies, cartographies, health regimes, a

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Nordsieck, Hartmut. "Critical revision of the system of the Japanese Phaedusinae, proposed by Minato (1994) (Gastropoda: Stylommatophora: Clausiliidae)." Archiv für Molluskenkunde 127, no. 1-2 (November 27, 1998): 21–32. http://dx.doi.org/10.1127/arch.moll/127/1998/21.

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Jarmołowicz-Dziekońska, Małgorzata. "The picture bride phenomenon: A reflection on photography from a cultural perspective in Yoshiko Uchida’s Picture Bride." Crossroads. A Journal of English Studies, no. 33(2) (2021): 39–66. http://dx.doi.org/10.15290/cr.2021.33.2.03.

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Abstract (sommario):

Literature and photography have always encouraged critics to explore interactions between text and image. Within the scope of culture, they also show significant potential in terms of their scholarly application, since the photograph becomes a practical tool for studying literary works within the cultural matrix. The paper aims to use this means of visualisation in order to examine the picture bride phenomenon illustrated in Yoshiko Uchida’s novel Picture Bride (1987), which reveals that behind the veil of apparently prosperous and lifelong marriages, there is a harsh matchmaking system which—

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