The Image Of Japan

Japan's image has experienced numerous transmutations. The book covers the metamorphosis from Japan's image of a feudal, exotic and romantic land inhabited by Madam Butterflies, to its sudden emergence as a geopolitical power following its defeat of Russia in 1905. More was to come. In the 1930s and 40s the image of the kamikaze vividly illustrated the fanaticism and barbarity associated with Japan in World War II. With the 1964 Tokyo Olympics, Japan rejoined the international community as a friend and ally of the US. The next transmutation came in the 1980s when the Japanese economy appeared to be functioning on anabolic steroids and its continued ascent to take over the US was predicted. "Japanese management" became more than a science, almost a religion, among business schools and consultancies. Today there are two images: one is conveyed through manga, karaoke and the global fashion for sushi; the other is of an economically and demographically declining nation. Will this image correspond to Japan's swan song or are there more transmutations on the way? One constant in Japanese history and the image it has projected has been the country's constant ability to surprise.

Just as a person contrives a style, the purpose of which is integration and the effect of which is presentation, so a nation collectively projects an appearance, a "national" style. Such styles are made of many layers. The deepest layer is composed of the immutable and the traditional. Nearer the surface floats fashion, changeable but sometimes more abiding. And frothing on the surface is fad. By definition a fad is novel and appears from outside. Fads must have instant appeal and do not have a long shelf life. In Japan, an assortment of islands, the outside is often the quality that defines the inside. Japan has a history of chasing fads and fashion. Since the 19th century, foreign products have been welcomed in, from the cult for "squeaky shoes" in the mid-19th century to the current fad for virtual reality girlfriends. Japan s mandate was that, having been opened late, it had to hurry to catch up. Fads provide both a social distraction and a sense of cohesion, indicating not only foreign importation but also native adaptation. The Image Factory is both an investigation into fads, fashions and style such as US Army surplus uniforms, "pachinko," mutating hair colors and an appreciation of their inherent meanings. The Japanese have seized upon fads and fashion as an arm of enterprise to a much greater extent than elsewhere in the world. Ephemerality has been put to work, the transient has become industrialized, and the results are highly conspicuous."

This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a "culture of the sound image", it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.

Bushido: The Soul of Japan written by Inazo Nitobe was one of the first books on samurai ethics that was originally written in English for a Western audience, and has been subsequently translated into many other languages (also Japanese). Nitobe found in Bushido, the Way of the Warrior, the sources of the virtues most admired by his people: rectitude, courage, benevolence, politeness, sincerity, honor, loyalty and self-control, and he uses his deep knowledge of Western culture to draw comparisons with Medieval Chivalry, Philosophy, and Christianity.

"Japan’s “Christian Century” began in 1549 with the arrival of Jesuit missionaries led by Saint Francis Xavier, and ended in 1639 when the Tokugawa regime issued the final Sakoku Edict prohibiting all traffic with Catholic lands. “Sakoku”—national isolation—would for more than two centuries be the sum total of the regime’s approach to foreign affairs. This policy was accompanied by the persecution of Christians inside Japan, a course of action for which the missionaries and their zealots were in part responsible because of their dogmatic orthodoxy. The Christians insisted that “Deus” was owed supreme loyalty, while the Tokugawa critics insisted on the prior importance of performing one’s role within the secular order, and denounced the subversive doctrine whose First Commandment seemed to permit rebellion against the state. In discussing the collision of ideas and historical processes, George Elison explores the attitudes and procedures of the missionaries, describes the entanglements in politics that contributed heavily to their doom, and shows the many levels of the Japanese response to Christianity. Central to his book are translations of four seventeenth-century, anti-Christian polemical tracts."

This book examines the ways in which English is conceptualised as a global language in Japan, and considers how the resultant language ideologies – drawn in part from universal discourses; in part from context-specific trends in social history – inform the relationships that people in Japan have towards the language. The book analyses the specific nature of the language’s symbolic meaning in Japan, and how this meaning is expressed and negotiated in society. It also discusses how the ideologies of English that exist in Japan might have implications for the more general concept of ‘English as a global language’. To this end it considers the question of what constitutes a ‘global’ language, and how, if at all, a balance can be struck between the universal and the historically-contingent when it comes to formulating a theory of English within the world.

From the Foreword: Friends of Moon and Winds-so were the Japanese poets called who wrote the tiny poems that comprise the greater part of this book. Dewdrops of smallest compass are they, yet mirroring in vivid flashes the whole of Japanese life. In few words of primitive, childlike simplicity these old sages sang, for the little hokku poems are gems of only three lines comprising no more than seventeen syllables, the tiniest poems in the world. These minute gems, however, usher one into that atmosphere of tender sympathy with all that has life, that world of benign serenity where dwelt the ancient poets of Japan. Cricket, butterfly, bee, and frog, stars, flowers, winds-these were the things of which they sang. What could be more simple or within the understanding of the smallest child? Yet here is real poetry, and not mere doggerel, the finest poetry of Japan. -- Provided by publisher.

Many Japanese once revered the wolf as Oguchi no Magami, or Large-Mouthed Pure God, but as Japan began its modern transformation wolves lost their otherworldly status and became noxious animals that needed to be killed. By 1905 they had disappeared from the country. In this spirited and absorbing narrative, Brett Walker takes a deep look at the scientific, cultural, and environmental dimensions of wolf extinction in Japan and tracks changing attitudes toward nature through Japan's long history. Grain farmers once worshiped wolves at shrines and left food offerings near their dens, beseeching the elusive canine to protect their crops from the sharp hooves and voracious appetites of wild boars and deer. Talismans and charms adorned with images of wolves protected against fire, disease, and other calamities and brought fertility to agrarian communities and to couples hoping to have children. The Ainu people believed that they were born from the union of a wolflike creature and a goddess. In the eighteenth century, wolves were seen as rabid man-killers in many parts of Japan. Highly ritualized wolf hunts were instigated to cleanse the landscape of what many considered as demons. By the nineteenth century, however, the destruction of wolves had become decidedly unceremonious, as seen on the island of Hokkaido. Through poisoning, hired hunters, and a bounty system, one of the archipelago's largest carnivores was systematically erased. The story of wolf extinction exposes the underside of Japan's modernization. Certain wolf scientists still camp out in Japan to listen for any trace of the elusive canines. The quiet they experience reminds us of the profound silence that awaits all humanity when, as the Japanese priest Kenko taught almost seven centuries ago, we "look on fellow sentient creatures without feeling compassion."

The Art of Japanese Architecture presents a complete overview of Japanese architecture in its historical and cultural context. The book begins with a discussion of early prehistoric dwellings and concludes with a description of works by important modern Japanese architects. Along the way it discusses the iconic buildings and architectural styles for which Japan is so justly famous--from elegant Shinden and Sukiya aristocratic villas like the Kinkakuji "Golden Pavilion" in Kyoto, to imposing Samurai castles like Himeji and Matsumoto, and tranquil Zen Buddhist gardens and tea houses to rural Minka thatched-roof farmhouses and Shinto shrines. Each period in the development of Japan's architecture is described in detail and the most important structures are shown and discussed--including dozens of UNESCO World Heritage Sites. The aesthetic trends in each period are presented within the context of Japanese society at the time, providing a unique in-depth understanding of the way Japanese architectural styles and buildings have developed over time and the great variety that is visible today. The book is profusely illustrated with hundreds of hand-drawn 3D watercolor illustrations and color photos as well as prints, maps and diagrams. The new edition features dozens of new photographs and a handy hardcover format that is perfect for travelers.