DOCSLIB.ORG

The Representation of Japanese Cultures in Hollywood Film Emperor (2012)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Representation of Japanese Cultures in Hollywood Film Emperor (2012) THE REPRESENTATION OF JAPANESE CULTURES IN HOLLYWOOD FILM EMPEROR (2012) A Thesis Submitted to the Faculty of Adab and Humanities in Partial Fulfilment of Requirements for Degree of Strata One (S1) FRANSYUDHA ABANDHIKA 11150260000050 DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ADAB AND HUMANITIES UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 2019 ABSTRACT Fransyudha Abandhika, NIM: 11150260000050, The Representation of Japanese Cultures in Hollywood film Emperor (2012). Thesis: Department of English Literature, Faculty of Adab and Humanities, Universitas Islam Negeri Syarif Hidayatullah Jakarta, 2019. This research aims to show the representation of Japanese cultures in Hollywood film Emperor (2012). The method used is Descriptive qualitative and the concept used is Representation by Stuart Hall, Cinematography Points of View by Joseph M, Boggs. All the data are collected from the dialogues of the characters and the pictures or screen-captures that represent Japanese cultures of the film. Results show that this film has successfully represented Japanese cultures particularly: Beliefs, Social tradition, Japanese House design, Tea ceremony, Butsudan, Seiza, Ojigi, Sensu Fan, Futon, Katana, Origami, Shodo, Hotokebashi, Kanji, Japanese Rising Sun Flag, Japanese Identical Colours, Japanese clothes Kimono and Japanese school uniforms by stereotypically described Japanese cultures through appearances, dialogues, actions, habits, behaviour and so on. Moreover, the representation of Japanese cultures in this film highlight the high culture of Japan itself. Keywords: Cultures, Representation, Hollywood, Japanese Traditions, Emperor. i APPROVAL SHEET THE REPRESENTATION OF JAPANESE CULTURES IN HOLLYWOOD FILM EMPEROR (2012) A Thesis Submitted to the Faculty of Adab and Humanities in Partial Fulfilment of Requirements for Degree of Strata One (S1) FRANSYUDHA ABANDHIKA 11150260000050 Approved by Advisor NINA FARLINA, M. Hum NIP: 19850429 201503 2 002 (Day/Date: Thursday, September 5th, 2019) DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ADAB AND HUMANITIES STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2019 ii LEGALIZATION Name: Fransyudha Abandhika NIM: 11150260000050 The thesis entitled: The Representation of Japanese Cultures in Hollywood film Emperor (2012). Has been defended before the Adab and Humanities Faculty’s examination Committee on (September 25th, 2019). The thesis has already been accepted as a partial fulfilment of the requirement for Strata One Degree. Jakarta, 2019 Examination Committee Signature Date 1. Hasnul Insani Djohar, Ph. D. (Chair Person) 7th/11/19 19760501 200801 2 010 2. M Agus Suriadi, M. Hum. (Secretary) 7th/11/19 19780801 201411 1 001 3. Nina Farlina, M. Hum. (Advisor) 5th/11/19 19850429 201503 2 002 4. Ida Rosida,M. Hum. (Examiner I) 3rd/11/19 5. Hilmi Akmal, M. Hum. (Examiner II) 3rd/11/19 19760918 2008 01 1 009 iii DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text. Jakarta, August 2019 Fransyudha Abandhika iv ACKNOWLEDGMENT Bismillahirrahmaninrrahim. In the name of Allah, the beneficent and the merciful God, may peace and blessing of Allah be upon all of us. Praise being to Allah SWT and peace and blessing be upon the great human leader our prophet Muhammad SAW and all of followers. I would like to give the most appreciation and many thanks to Allah SWT. Finally, I could finish this thesis to gain the Degree of undergraduate of English Literature Department in the Faculty of Adab and Humanities, Syarif Hidayatullah State Islamic University Jakarta. This thesis is presented to English Literature Department of Adab and Humanities faculty UIN Jakarta as partial fulfilment of the requirement for undergraduate degree. I would like to express the highest gratitude to my mother; Elly Yati and also my brothers and sisters who have given spirit and motivation to finish this thesis and my study. I also would like to thank my advisor: Mrs, Nina Farlina, M. Hum. for her great patients, times, advices and contributions on finishing this thesis. May Allah SWT bless her and her family. I also would like to convey my sincere gratitude particularly to: 1. Saiful Umam, Ph. D., as the Dean of Adab and Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta. 2. Hasnul Insani, Ph. D., as the Head of English Literature Department. 3. M Agus Suriadi, M. Hum., as the Secretary of English Literature Department. 4. All lectures of English Literature Department for their teaching during my study. 5. My aunties and my uncles for always support me to finish this thesis. 6. Universitas Indonesia Library, UIN Syarif Hidayatullah Jakarta Library, and American Corner who provided research references and comfortable place for me to completed this thesis. 7. KKN Kiranawira 2018. v 8. To all my friends of ELD C 2015. 9. Elsa Erika, Dina Saparindah and Tommy Anggi as the reviewers of this thesis. And finally, to all my beloved friends of English Literature Department who cannot mention one by one, but I will never forget them. Jakarta, August 2019 Fransyudha Abandhika vi TABLE OF CONTENTS ABSTRACT ............................................................................................................ i APPROVAL SHEET ............................................................................................ ii LEGALIZATION ................................................................................................ iii DECLARATION .................................................................................................. iv ACKNOWLEDGMENT ...................................................................................... v TABLE OF CONTENTS .................................................................................... vii TABLE OF PICTURES ...................................................................................... ix GLOSSARY .......................................................................................................... xi CHAPTER I INTRODUCTION .......................................................................... 1 A. Background of Study ................................................................................. 1 B. Focus of the Research ................................................................................ 3 C. Research Questions .................................................................................... 3 D. Objectives of the Research ........................................................................ 4 E. Significance of the Research ...................................................................... 4 F. Methodology ............................................................................................... 4 1. Method of the Research ......................................................................... 4 2. Unit of Analysis ....................................................................................... 5 3. Techniques for Collecting the Data....................................................... 5 8. Techniques for Data analysis ................................................................. 5 9. Instrument of the Research ................................................................... 5 CHAPTER II THEORETICAL FRAMEWORK ............................................. 6 A. Previous Research ...................................................................................... 6 B. Cinematography ......................................................................................... 8 vii C. Representation ............................................................................................ 9 CHAPTER III RESEARCH FINDINGS .......................................................... 12 A. The Representation of Japanese Cultures ............................................. 12 CHAPTER IV CONCLUSION AND SUGGESTION .................................... 53 A. Conclusion ................................................................................................. 53 B. Suggestion ................................................................................................. 54 WORKS CITED .................................................................................................. 55 APPENDIX .......................................................................................................... 59 viii TABLE OF PICTURES Picture 1. Christianity Cross on the Wall .............................................................. 13 Picture 2. Butsudan in the House .......................................................................... 14 Picture 3. General Bonner Fellers meets Emperor Hirohito ................................. 16 Picture 4. Do not touch emperor directly .............................................................. 17 Picture 5. Emperor Hirohito and General Douglas MacArthur ............................ 17 Picture 6. The painting of the sun goddess Amaterasu ......................................... 19 Picture 7. Konoe’s House from outside view........................................................ 21 Picture 8. Konoe’s Shoji Wall ............................................................................... 22 Picture
Load more

Recommended publications
  • Torture, Forced Confessions, and Inhuman Punishments: Human Rights Abuses in the Japanese Penal System
    UCLA UCLA Pacific Basin Law Journal Title Torture, Forced Confessions, and Inhuman Punishments: Human Rights Abuses in the Japanese Penal System Permalink https://escholarship.org/uc/item/63f7h7tc Journal UCLA Pacific Basin Law Journal, 20(2) Author Vize, Jeff Publication Date 2003 DOI 10.5070/P8202022161 Peer reviewed eScholarship.org Powered by the California Digital Library University of California TORTURE, FORCED CONFESSIONS, AND INHUMAN PUNISHMENTS: HUMAN RIGHTS ABUSES IN THE JAPANESE PENAL SYSTEM Jeff Vize* INTRODUCTION Japan has rarely found itself on the most-wanted lists of human rights activists, and perhaps for good reason. It is the richest and most stable nation in Asia,' and seems to practice none of the flagrantly abusive policies of regional neighbors like China2 or Myanmar. 3 Its massive economy provides a high stan- dard of living. 4 Crime, though rising rapidly in the last ten years, is still minuscule by international standards. In 2000, Japanese authorities reported that there were 1,985 crimes for every 100,000 inhabitants, compared to 4,124 in the United States, and * University of California at Davis, King Hall School of Law, J.D. (2004). The author would like to thank Professor Diane Marie Amann for her helpful advice, comments, and criticism. The author would also like to thank Professor Kojiro Sakamoto, and his wife Chikage, for their advice from a Japanese perspective. 1. JAPAN'S NEW ECONOMY: CONTINUITY AND CHANGE IN THE TWENTY-FIRST CENTURY 2-3 (Magnus Blomstrom et al. eds., 2001). See also Statistics Division, United Nations, Indicators on Income and Economic Activity, at http://un- stats.un.org/unsd/demographic/social/inc-eco.htm (last visited July 27, 2003) (listing Japan's per capita gross domestic product for 2001 at $32,540, the fifth highest in the world).
    [Show full text]
  • The Kata of Muso Jikiden Eishin Ryu
    The Kata of Muso Jikiden Eishin Ryu Shoden Level or Omori-ryu There are three levels of Iai (aware and ready) kata (formal techniques) in Eishin ryu. The first or shoden level consist of eleven forms developed by Omori Rokurozaemon, a student of Hasegawa Eishin and an expert in Shinkage Ryu kenjutsu. With the unification of Japan the samurai had no wars to fight (1615-1867). Omori combined a series of sword drawing exercises with the etiquette of the tea ceremony to create the formal Seiza Kata. This was the birth of ‘Iaido’ where techniques of self-defense became techniques of self-development. These kata are used for grading for second dan and above in the All United States Kendo Federation. They are called the koryu kata, which means classical martial traditions or ancient forms. All but one, Oikaze, begin from the seiza (kneeling) position. The O chiburi (blood throw) is done standing with the feet together. Present Name English meaning and explanation of technique 1. Mae Front The enemy is in seiza before you when he goes for his sword. 2. Migi Right You is facing right and your enemy is in seiza at your left. 3. Hidari Left You are facing left and your enemy is in seiza at your right. 4. Ushiro Rear You are facing the rear and the enemy is in seiza behind you. 5. Yaegaki Barriers within Your enemy survives your first over head cut and plays possum barriers until you begin noto. As he attacks again, you move back and draw to block a cut to the leg and counter-attack with kirioroshi.
    [Show full text]
  • University of Nevada, Reno American Shinto Community of Practice
    University of Nevada, Reno American Shinto Community of Practice: Community formation outside original context A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Anthropology By Craig E. Rodrigue Jr. Dr. Erin E. Stiles/Thesis Advisor May, 2017 THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by CRAIG E. RODRIGUE JR. Entitled American Shinto Community Of Practice: Community Formation Outside Original Context be accepted in partial fulfillment of the requirements for the degree of MASTER OF ARTS Erin E. Stiles, Advisor Jenanne K. Ferguson, Committee Member Meredith Oda, Graduate School Representative David W. Zeh, Ph.D., Dean, Graduate School May, 2017 i Abstract Shinto is a native Japanese religion with a history that goes back thousands of years. Because of its close ties to Japanese culture, and Shinto’s strong emphasis on place in its practice, it does not seem to be the kind of religion that would migrate to other areas of the world and convert new practitioners. However, not only are there examples of Shinto being practiced outside of Japan, the people doing the practice are not always of Japanese heritage. The Tsubaki Grand Shrine of America is one of the only fully functional Shinto shrines in the United States and is run by the first non-Japanese Shinto priest. This thesis looks at the community of practice that surrounds this American shrine and examines how membership is negotiated through action. There are three main practices that form the larger community: language use, rituals, and Aikido. Through participation in these activities members engage with an American Shinto community of practice.
    [Show full text]
  • Battle of Okinawa 1 Battle of Okinawa
    Battle of Okinawa 1 Battle of Okinawa Battle of Okinawa Part of World War II, the Pacific War A U.S. Marine from the 2nd Battalion, 1st Marines on Wana Ridge provides covering fire with his Thompson submachine gun, 18 May 1945. Date 1 April – 22 June 1945 Location Okinawa, Japan [1] [1] 26°30′N 128°00′E Coordinates: 26°30′N 128°00′E Result Allied victory, Okinawa occupied by U.S. until 1972 Belligerents United States Empire of Japan United Kingdom Canada Australia New Zealand Commanders and leaders Simon B. Buckner, Jr. † Mitsuru Ushijima † Roy Geiger Isamu Chō † Joseph Stilwell Minoru Ota † Chester W. Nimitz Keizō Komura Raymond A. Spruance Sir Bernard Rawlings Philip Vian Bruce Fraser Strength 183,000 (initial assault force only) ~120,000, including 40,000 impressed Okinawans Casualties and losses More than 12,000 killed More than 110,000 killed More than 38,000 wounded More than 7,000 captured 40,000–150,000 civilians killed The Battle of Okinawa, codenamed Operation Iceberg, was fought on the Ryukyu Islands of Okinawa and was the largest amphibious assault in the Pacific War of World War II. The 82-day-long battle lasted from early April until mid-June 1945. After a long campaign of island hopping, the Allies were approaching Japan, and planned to use Okinawa, a large island only 340 mi (550 km) away from mainland Japan, as a base for air operations on the planned Battle of Okinawa 2 invasion of Japanese mainland (coded Operation Downfall). Four divisions of the U.S.
    [Show full text]
  • Bowing in Procedures
    礼法／礼の仕方 Reiho/Rei no Shikata Bowing Methods/Bowing Etiquette Class opening and closing ceremonies It is important that all students understand the formalities of 道場 Dojo (training hall) training, and this is for several reasons. First, we are here to learn more than just martial arts. Without formalities, etiquette, and other aspects we become nothing more than trained, fighting animals. Because of the Japanese language and cultural barriers, it is important to better understand the art, the people and the culture by learning to overcome these barriers through un- derstanding of the formalities. Japanese culture is filled with social pleasantries, polite interactions, ritualistic formalities and respectful etiquette. For us to train in Japanese martial arts, especially ones as old and traditional as the 古流 Koryu (classical, old martial arts) in the Seirin Dojo, it is important to learn the principles, procedures and ceremonies relevant to training in the arts. And second, we strive for creating an authentic training environment and atmosphere, one that mirrors how training is conducted in Japan. As all students are encouraged to train in Japan and at special training events held throughout the world, you will find that knowledge of etiquette and training formalities will not only be help- ful, but will be necessary to practice. We will go over the special ceremony used for opening and closing training ses- sions in a formal Dojo here. In Japanese culture (and other Asian cultures as well), bowing serves many purposes. First and foremost, it is a simple way to communicate a greeting. The Japanese people are not as “touchy-feely” as we are here in the West.
    [Show full text]
  • The Making of an American Shinto Community
    THE MAKING OF AN AMERICAN SHINTO COMMUNITY By SARAH SPAID ISHIDA A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2008 1 © 2007 Sarah Spaid Ishida 2 To my brother, Travis 3 ACKNOWLEDGMENTS Many people assisted in the production of this project. I would like to express my thanks to the many wonderful professors who I have learned from both at Wittenberg University and at the University of Florida, specifically the members of my thesis committee, Dr. Mario Poceski and Dr. Jason Neelis. For their time, advice and assistance, I would like to thank Dr. Travis Smith, Dr. Manuel Vásquez, Eleanor Finnegan, and Phillip Green. I would also like to thank Annie Newman for her continued help and efforts, David Hickey who assisted me in my research, and Paul Gomes III of the University of Hawai’i for volunteering his research to me. Additionally I want to thank all of my friends at the University of Florida and my husband, Kyohei, for their companionship, understanding, and late-night counseling. Lastly and most importantly, I would like to extend a sincere thanks to the Shinto community of the Tsubaki Grand Shrine of America and Reverend Koichi Barrish. Without them, this would not have been possible. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................7
    [Show full text]
  • Korea, a Pitiful Third-Rate Nation
    Korea, a Pitiful Third-Rate Nation Even First-Rate Korean Newspapers Are Plagued with Anti-Japanese Fundamentalism By Nishimura Kohyu, journalist/critic Calling the Emperor “Japanese King” is the Greatest Insult The illegal landing on Takeshima conducted by South Korea’s President Lee Myung-bak on August 10 sounded like a big fanfare heralding a war against Japan by specific Asian nations. From this day on, especially from September 11 through 18, anti-Japanese riots spread throughout China. Today, the East Asian situation surrounding Japan is getting tougher and tougher. Recent anti-Japanese riots broke out in at least 108 cities and regions across China, including medium to small ones, and have become the largest xenophobic upheavals since the establishment of normalized relationship between Japan and China forty years ago—possibly even since the Boxer Rebellion or the North Qing Incident in 1900. On August 15, the anniversary marking the end of the War, anti-Japanese activists from Hong Kong aboard a fishing vessel broke into the waters around the Senkaku Islands and 10 Chinese, including a TV crew managed to land on one of the Islands, despite Japanese efforts to prevent them. On the previous day, August 14, the Republic of Korea’s President Lee Myung-bak reportedly told an audience during a symposium held at Korea National University of Education that if the Japanese King (the Koreans dishonorably use these words when referring to the Emperor) “wants to visit Korea, he should sincerely apologize for the victims of the independence movements,” according to an August 14 article from the Jiji Press, demonstrating his view that it is necessary to apologize to activists of the independence movements of the Colonial Era before an Imperial visit can be realized.
    [Show full text]
  • About Zen Bu Kan
    About Zen Bu Kan Zen Bu Kan is an iaido dojo of the Muso Jikiden Eishin Ryu lineage located in Salt Lake City, Utah. Zen Bu Kan was started by Jules Harris Sensei. Having studied in New York, Harris Sensei moved to Utah to study Zen at the renowned Kanzeon Zen Center in Salt Lake City. A scholar, warrior, and spiritual leader; Harris Sensei taught without thought of personal gain, only to pass on the lineage. He moved back East, to Pennsylvania, to further his spiritual studies. Zen Bu Kan is now led by his students Jason Hankins Sensei and Dick Beckstead Sensei. More recently, Zen Bu Kan has begun to teach kendo under the direction of Robert Stroud Sensei, 7th dan renshi. Stroud Sensei leads a dojo in Boise, Idaho, and serves as a kendo mentor and instructor to Zen Bu Kan’s sensei. Iaido students at Zen Bu Kan begin by learning the basic fundamentals of iaido. Having learned the fundamentals, students then begin to learn the twelve Seitei kata. The Seitei kata are the standard by which iaido practitioners (iaidoka) world-wide begin their training and upon which they are tested. Eventually, students move on to learn the Omori-Ryu and Muso Jikiden Eishin Ryu kata. Zen Bu Kan does not operate for profit and is solely supported by its students at cost. This allows the school to keep the price of tuition to a minimum, but it also means that the school is heavily dependant upon its students to remain in operation. The students form both the body and the support staff of the school.
    [Show full text]
  • The Debate Over Japan's Rising Sun Flag
    NIDS コメンタリー第 89 号 The Debate over Japan’s Rising Sun Flag SHOJI Junichiro, Vice President for Academic Affairs No. 89, November 26, 2019 Introduction Korea, just as Germany proscribed the Nazi’s In October 2018, South Korea hosted an international predominant symbol, the swastika (known in German as fleet review off the coast of Jeju Island. Their navy the Hakenkreuz, or “hooked cross”). requested that the vessels of participating countries only In this article, I set aside the Japanese Government’s fly their national flag and the South Korean flag at the legal justifications for displaying the Kyokujitsuki. event. This request was chiefly targeted at Japan because Instead, I analyze a key narrative behind the controversy, South Korea wanted Japanese vessels to refrain from which equates the symbol to the Nazi swastika and flying the Kyokujitsuki, or “Rising Sun Flag,” which is identifies it as a “war crime flag.” the naval ensign of the Japan Maritime Self-Defense Force (JMSDF). 1 The Nazi Swastika: Symbolizing a Regime and its Ideology Japan refused to comply with the request. The Minister of Defense, Itsunori Onodera, replied, “Our naval vessels The swastika is an ancient Sanskrit symbol that can be must display the ensign under domestic laws, according traced back millennia. It has been prominently featured to the Self-Defense Forces Act. Moreover, the United in religions that originated in India, such as Hinduism Nations Convention on the Law of the Sea mandates that and Buddhism. However, in the late nineteenth and early warships must bear an external mark distinguishing the twentieth century, the swastika became entwined with ship’s nationality, and that’s exactly what the flag in nationalist movements, especially in Germany, where it question is.” Since South Korea was unconvinced by this symbolized the Aryan “master race.”1 In the 1920s, the argument, the succeeding Minister of Defense in Japan, Nazi Party adopted the swastika as its official flag.
    [Show full text]
  • The Legalization of Hinomaru and Kimigayo As Japan's National Flag
    The legalization of Hinomaru and Kimigayo as Japan's national flag and anthem and its connections to the political campaign of "healthy nationalism and internationalism" Marit Bruaset Institutt for østeuropeiske og orientalske studier, Universitetet i Oslo Vår 2003 Introduction The main focus of this thesis is the legalization of Hinomaru and Kimigayo as the national flag and anthem of Japan in 1999 and its connections to what seems to be an atypical Japanese form of postwar nationalism. In the 1980s a campaign headed by among others Prime Minister Nakasone was promoted to increase the pride of the Japanese in their nation and to achieve a “transformation of national consciousness”.1 Its supporters tended to use the term “healthy nationalism and internationalism”. When discussing the legalization of Hinomaru and Kimigayo as the national flag and anthem of Japan, it is necessary to look into the nationalism that became evident in the 1980s and see to what extent the legalization is connected with it. Furthermore we must discuss whether the legalization would have been possible without the emergence of so- called “healthy nationalism and internationalism”. Thus it is first necessary to discuss and try to clarify the confusing terms of “healthy nationalism and patriotism”. Secondly, we must look into why and how the so-called “healthy nationalism and internationalism” occurred and address the question of why its occurrence was controversial. The field of education seems to be the area of Japanese society where the controversy regarding its occurrence was strongest. The Ministry of Education, Monbushō, and the Japan Teachers' Union, Nihon Kyōshokuin Kumiai (hereafter Nikkyōso), were the main opponents struggling over the issue of Hinomaru, and especially Kimigayo, due to its lyrics praising the emperor.
    [Show full text]
  • 1. the Rising Sun Flag As Part of Japanese Culture the Design of the Rising Sun Flag Symbolizes the Sun As the Japanese National Flag Does
    1. The Rising Sun Flag As Part Of Japanese Culture The design of the Rising Sun Flag symbolizes the sun as the Japanese national flag does. This design has been widely used in Japan for a long time. Today, the design of the Rising Sun Flag is seen in numerous scenes in daily life of Japan, such as in fishermen’s banners hoisted to signify large catch of fish, flags to celebrate childbirth, and in flags for seasonal festivities. Japanese culture and rising sun flags Daily life and rising sun flags Priest Kiyomori, an old Kabuki story , by The return to Ukedo port (2017) of People celebrating the opening of Ginko Adachi, 1885 An ukiyoe print , Lucky gods Visit fishing boats that had evacuated due to the Hokkaido Shinkansen with big Enoshima Palace, by Yoshiiku the Great East Japan Earthquake fishing flags, 2016 Ochiai, 1869 ©Kyodo News Images ©Kyodo News Images Reference ●Press Conference by the Chief Cabinet Secretary KATO, May 18, 2021(AM) (excerpt) ・・・・・As you all know, the design of the Rising Sun Flag models the shape of the sun like the national flag of Japan and is widely used throughout Japan, such as good catch flags used by fishermen and celebratory flags for childbirth and seasonal festivities. Claims that the flag is an expression of political or discriminatory assertions are false. The Government of Japan has explained, and will continue to explain at every opportunity its view that the display of the Rising Sun Flag is not political promotion, to the international community including the Republic of Korea.
    [Show full text]
  • 2Nd Global Conference Music and Nationalism National Anthem Controversy and the ‘Spirit of Language’ Myth in Japan
    2nd Global Conference Music and Nationalism National Anthem Controversy and the ‘Spirit of Language’ Myth in Japan Naoko Hosokawa Max Weber Postdoctoral Fellow European University Institute, Florence Email address: [email protected] Abstract This paper will discuss the relationship between the national anthem controversy and the myth of the spirit of language in Japan. Since the end of the Pacific War, the national anthem of Japan, Kimigayo (His Imperial Majesty's Reign), has caused exceptionally fierce controversies in Japan. Those who support the song claim that it is a traditional national anthem sung since the nineteenth century with the lyrics based on a classical waka poem written in the tenth century, while those opposed to it see the lyrics as problematic for their imperialist ideology and association with negative memories of the war. While it is clear that the controversies are mainly based on the political interpretation of the lyrics, the paper will shed light on the myth of the spirit of language, known as kotodama, as a possible explanation for the uncommon intensity of the controversy. The main idea of the myth is that words, pronounced in a certain manner have an impact on reality. Based on this premise, the kotodama myth has been reinterpreted and incorporated into Japanese social and political discourses throughout its history. Placing a particular focus on links between music and the kotodama myth, the paper will suggest that part of the national anthem controversy in Japan can be explained by reference to the discursive use of the myth. Keywords: National anthem, nationalism, Japan, language, myth 1.
    [Show full text]