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Mariko Mori and the Globalization of Japanese “Cute”Culture
《藝術學研究》 2015 年 6 月，第十六期，頁 131-168 Mariko Mori and the Globalization of Japanese “Cute” Culture: Art and Pop Culture in the 1990s SooJin Lee Abstract This essay offers a cultural-historical exploration of the significance of the Japanese artist Mariko Mori (b. 1967) and her emergence as an international art star in the 1990s. After her New York gallery debut show in 1995, in which she exhibited what would later become known as her Made in Japan series— billboard-sized color photographs of herself striking poses in various “cute,” video-game avatar-like futuristic costumes—Mori quickly rose to stardom and became the poster child for a globalizing Japan at the end of the twentieth century. I argue that her Made in Japan series was created (in Japan) and received (in the Western-dominated art world) at a very specific moment in history, when contemporary Japanese art and popular culture had just begun to rise to international attention as emblematic and constitutive of Japan’s soft power. While most of the major writings on the series were published in the late 1990s, problematically the Western part of this criticism reveals a nascent and quite uneven understanding of the contemporary Japanese cultural references that Mori was making and using. I will examine this reception, and offer a counter-interpretation, analyzing the relationship between Mori’s Made in Japan photographs and Japanese pop culture, particularly by discussing the Japanese mass cultural aesthetic of kawaii (“cute”) in Mori’s art and persona. In so doing, I proffer an analogy between Mori and popular Japanimation characters, SooJin Lee received her PhD in Art History from the University of Illinois-Chicago and was a lecturer at the School of Art Institute of Chicago. -
Kawaii Feeling in Tactile Material Perception
Kawaii Feeling in Tactile Material Perception Michiko Ohkura*, Shunta Osawa*, Tsuyoshi Komatsu** * College of Engineering, Shibaura Institute of Technology, {ohkura, l08021}@shibaura-it.ac.jp, ** Graduate School of Engineering, Shibaura Institute of Technology, [email protected] Abstract: In the 21st century, the importance of kansei (affective) values has been recognized. How- ever, since few studies have focused on kawaii as a kansei value, we are researching its physical at- tributes of artificial products. We previously performed experiments on kawaii shapes, colors, and sizes. We also performed experiments on kawaii feelings in material perception using virtual ob- jects with various visual textures and actual materials with various tactile textures. This article de- scribes the results of our new experiment on kawaii feeling in material perception using materials with various tactile textures corresponding with onomatopoeia, clarifying the phonic features of onomatopoeia with materials evaluated as kawaii. The obtained results are useful to make more at- tractive industrial products with material perception of kawaii feeling. Key words: kansei value, kawaii, tactile sensation, material perception, onomatopoeia 1. Introduction Recently, the kansei (affective) value has become crucial in industrials in Japan. The Japanese Ministry of Economy, Trade and Industry (METI) determined that it is the fourth most important characteristic of industrial products after function, reliability, and cost [1]. According to METI, it is important not only to offer new functions and competitive prices but also to create a new value to strengthen Japan’s industrial competitiveness. Focusing on kansei as a new value axis, METI launched the “Kansei Value Creation Initiative” in 2007 [1,2] and held a kansei value creation fair called the “Kansei-Japan Design Exhibition” at Les Arts Decoratifs (Museum of Decora- tive Arts) at the Palais du Louvre in Paris in December 2008. -
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:KHQ6H[7KUHDWHQHGWKH6WDWH,OOLFLW6H[XDOLW\1DWLRQDOLVPDQG3ROLWLFV LQ&RORQLDO1LJHULD²E\6DKHHG$GHULQWR UHYLHZ -XGLWK$%\ILHOG &DQDGLDQ-RXUQDORI+LVWRU\9ROXPH1XPEHUVSULQJVXPPHUSULQWHPSVpWp SS 5HYLHZ 3XEOLVKHGE\8QLYHUVLW\RI7RURQWR3UHVV '2,FQK )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by Fondren Library, Rice University (17 May 2016 17:11 GMT) 206 reviews family structure. It adds to the comparative analysis of Puerto Rican com- munities in the Midwest with other historical groups, such as Mexican Americans (Lilia Ferna´ndez’s Brown in the Windy City, Chicago, 2012). We Are Left without a Father Here exposes the complexities derived from a colonial apparatus that is carving its own formula of modernization. In the process, concepts of class, gender, and race intersect in very subtle ways throughout the migration process. This book can be used as a reference or complementary text for a college and graduate level course. It is a valuable source for any course on American, Caribbean, Latino, and Latin American studies, and any other related fields. Milagros Denis-Rosario, Hunter College, City University of New York Middle East, Central Asia, and Africa Le Moyen-Orient, l’Asie centrale, et l’Afrique When Sex Threatened the State: Illicit Sexuality, Nationalism, and Politics in Colonial Nigeria, 1900–1958, by Saheed Aderinto. Urbana, University of Illinois Press, 2015. xviii, 241 pp. $95.00 US (cloth), $32.00 US (paper). In seven engaging chapters and an epilogue, Saheed Aderinto has pro- duced a very important contribution to African social history and Nigerian historiography specifically. His intellectual journey, as revealed in his introduction, is a ‘‘must read’’ for graduate students for this book is the outcome of a scholar who listened closely to his sources and grappled with the complex realities they revealed. -
The Latticed Bars of Gender and Sexuality in Japan's Fifteen Year War
The Latticed Bars of Gender and Sexuality in Japan's Fifteen Year War Kathy J. Phillips University of Hawai'i Abstract After giving background on my theoretical approach, I will illustrate attitudes toward manhood and the body during Japan’s Fifteen Year War from Tatsuzo Ishikawa’s novel Solders Alive (1938) and Osamu Dazai’s short stories of the 1930s and '40s and his novel The Setting Sun (1947). While supporting the Empire, Ishikawa seriously criticizes many of its practices. Even more blatantly than Ishikawa, Dazai satirizes wartime definitions of manhood, after donning some cam- ouflage to get past censorship. I also look back at Ryunosuke Akutagawa’s short story “Hell Screen” (1918), teetering ambivalently on the cusp of change between the nineteenth-century and the militarization of the 1930s because this tale illumi- nates some of the sources (European and Japanese) for the “manly” detachment and sacrifice that weigh so heavily on Ishikawa’s and Dazai’s characters. Key words Japan’s Fifteen Year War (1931-1945), constructions of masculinity, ideas about sexuality In a collection of war paintings called WWII (1975), the American veteran and novelist James Jones remarks cryptically that U.S. servicemen should have understood Japanese soldiers’ focus on “blood and violence and manhood,” all tied in with “sexuality and sexual taboos and myths,” because Americans have similar traditions (p. 110). Although he does not elaborate this provocative insight in his brief commentary on the art works, Jones’s war novel The Thin Red Line (1962) does explore, with rare frankness, this trained linking of suffering and sexual response for American soldiers. -
Overview: Japanese Archaeological Research Trends 20141 Takakura Hiroaki2
Overview: Japanese Archaeological Research Trends 20141 Takakura Hiroaki2 The Japanese Archaeological Association, established in April 1948 on the occasion of the excavation of the Toro3 site in Shizuoka prefecture, while being an academic organization representing Japanese archaeology and having a large membership, for a long time remained a private (unincorporated) organization. Within the Association there was demand for conversion to an incorporated association,4 but it was not possible to clear the necessary conditions, and this goal went unachieved. Subsequently, with the establishment of the Intermediate Corporation Act 5 the Association became a limited liability intermediary corporation6 in March 2004, and transitioned to its current identity7 as a general incorporated association in June 2009. Over this interval, conditions attending Japanese archaeology have changed. Among specialists in archaeology who work as researchers there are faculty members at academic institutions such as universities, personnel in charge of buried cultural properties at regional governments and private investigative organizations, curators at museums, and others. There are also those who do not hold jobs in archaeology but nevertheless produce outstanding research in the field. Among these researchers, persons at least 25 years of age who wish to join may become members of the Association if approved as qualified. At the peak time in the year 2002 there were 7,081 researchers holding jobs in archaeology. By contrast the Association had 3,651 members, or approximately 52 percent of these 1[Trends in Japanese Archaeological Research, 2014, is a partial translation of “Nihon kōkogaku kenkyū no dōkō” 日本考古学研究の動向, in Nihon kōkogaku nenpō 67 (2014 nendoban) 日本考古学年報 67（2014 年度版) (Archaeologia Japonica 67 [2014 Fiscal Year Issue]) (Nihon Kōkogaku Kyōkai, 2016), pp. -
“Girls Are Dancin'”: Shōjo Culture And
New Voices Volume 5 To link to this article: http://dx.doi.org/10.21159/nv.05.06 “Girls are dancin’”: shōjo culture and feminism in contemporary Japanese art1 Emily Jane Wakeling University of Queensland Abstract This article explores the gender-transgressive expressions found in shōjo culture in order to highlight the potential for feminist analysis in the prevalence of the shōjo motif in contemporary Japanese art. Shōjo culture is a fascinating cultural space, within contemporary Japanese culture, which fosters creative expressions of gender that negate or make complex hegemonic categories. Departing from stereotypes of Japanese girls, this article will pay particular interest to an emerging wave of figurative contemporary art practices in which the figure of the shōjo is utilised for a new generation of feminist critique. Aoshima Chiho, Kunikata Mahomi, Takano Aya, Sawada Tomoko and Yanagi Miwa are among the current artists who feature the shōjo motif in contexts that foreground female subjectivities found paralleled in shōjo culture. These works will then be contextualised in the greater picture of current trends and themes in global contemporary feminist art. Keywords shōjo, feminism, gender, contemporary art Introduction This article will examine the prevalence of the shōjo (girl) motif as an emerging trend in contemporary Japanese art and analyse its significance to new discourses in feminist art. In the closed, girl-only space of shōjo culture, girls negate and make complex the dominant gender stereotypes that exist in contemporary Japanese society through creations of gender that transgress hegemony. In the past two decades of contemporary art, transnational (especially Asian) perspectives have become more conspicuous. -
Cuteness": the Aesthetics of Social Relations in a New Postwar Japanese Order
CAPITALIZING ON "CUTENESS": THE AESTHETICS OF SOCIAL RELATIONS IN A NEW POSTWAR JAPANESE ORDER Leila MADGE In the fall of 1988, Yoshida Kenji, the president of the San'yo Sago Bank in Okayama, made headline news in the economics section of leading Japa nese newspapers. Unlike most bank presidents appearing in the news at that time, Yoshida was not defending himself or his bank from accusations of wrongdoings. He had made the national news because of the new name he had chosen for his bank: Tomato Bank. The occasion for the new name was the bank's planned change in status from a savings and loan associa tion to a commercial bank following a recent reform in Japanese banking law. The hoopla that arose around the name "Tomato," along with the bank's bright red logo, was related to the associations that it conjured up in many Japanese minds, associations that somehow seemed incongruent with the image that banking institutions have traditionally held in Japan. Although there was some initial opposition among bank employees, who felt that the name Tomato sounded more appropriate for an agricul tural cooperative than for a bank, the public response seemed only posi tive. Although the conversion was not to take place for six months, Sanyo Sago was inundated with inquiries from people all over the country wish ing to open accounts at the new Tomato Bank. In interviews about the un expected popularity of the previously little-known prefectural bank, Yoshida explained that he thought it important to send the message that he was "breaking the status quo." A crucial element in the delivery of this message was the use of a name that would be perceived by the public as kawaii (cute, as translated in the Japan Times, 21 October 1988: 11). -
ASIAN REPRESENTATIONS of AUSTRALIA Alison Elizabeth Broinowski 12 December 2001 a Thesis Submitted for the Degree Of
ABOUT FACE: ASIAN REPRESENTATIONS OF AUSTRALIA Alison Elizabeth Broinowski 12 December 2001 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University ii Statement This thesis is my own work. Preliminary research was undertaken collaboratively with a team of Asian Australians under my co-direction with Dr Russell Trood and Deborah McNamara. They were asked in 1995-96 to collect relevant material, in English and vernacular languages, from the public sphere in their countries of origin. Three monographs based on this work were published in 1998 by the Centre for the Study of Australia Asia Relations at Griffith University and these, together with one unpublished paper, are extensively cited in Part 2. The researchers were Kwak Ki-Sung, Anne T. Nguyen, Ouyang Yu, and Heidi Powson and Lou Miles. Further research was conducted from 2000 at the National Library with a team of Chinese and Japanese linguists from the Australian National University, under an ARC project, ‘Asian Accounts of Australia’, of which Shun Ikeda and I are Chief Investigators. Its preliminary findings are cited in Part 2. Alison Broinowski iii Abstract This thesis considers the ways in which Australia has been publicly represented in ten Asian societies in the twentieth century. It shows how these representations are at odds with Australian opinion leaders’ assertions about being a multicultural society, with their claims about engagement with Asia, and with their understanding of what is ‘typically’ Australian. It reviews the emergence and development of Asian regionalism in the twentieth century, and considers how Occidentalist strategies have come to be used to exclude and marginalise Australia. -
No Time and No Place in Japan's Queer Popular Culture
NO TIME AND NO PLACE IN JAPAN’S QUEER POPULAR CULTURE BY JULIAN GABRIEL PAHRE THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in East Asian Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Adviser: Professor Robert Tierney ABSTRACT With interest in genres like BL (Boys’ Love) and the presence of LGBT characters in popular series continuing to soar to new heights in Japan and abroad, the question of the presence, or lack thereof, of queer narratives in these texts and their responses has remained potent in studies on contemporary Japanese visual culture. In hopes of addressing this issue, my thesis queries these queer narratives in popular Japanese culture through examining works which, although lying distinctly outside of the genre of BL, nonetheless exhibit queer themes. Through examining a pair of popular series which have received numerous adaptations, One Punch Man and No. 6, I examine the works both in terms of their content, place and response in order to provide a larger portrait or mapping of their queer potentiality. I argue that the out of time and out of place-ness present in these texts, both of which have post-apocalyptic settings, acts as a vehicle for queer narratives in Japanese popular culture. Additionally, I argue that queerness present in fanworks similarly benefits from this out of place and time-ness, both within the work as post-apocalyptic and outside of it as having multiple adaptations or canons. I conclude by offering a cautious tethering towards the future potentiality for queer works in Japanese popular culture by examining recent trends among queer anime and manga towards moving towards an international stage. -
Fr Ü Hst Ü Ck an Dw Alt H Al Lch Il D
FRÜHSTÜCK AND WALTHALL | CHILD’S PLAY Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Child’s Play Child’s Play Multi-Sensory Histories of Children and Childhood in Japan Edited by Sabine Frühstück and Anne Walthall UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2017 by Sabine Frühstück and Anne Walthall Suggested citation: Frühstück, Sabine and Walthall, Anne. Child’s Play: Multi-Sensory Histories of Children and Childhood in Japan. Oakland: University of California Press, 2017. doi: https://doi.org/10.1525/luminos.40 This work is licensed under a Creative Commons CC-BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Library of Congress Cataloging-in-Publication Data Names: Frühstück, Sabine, editor. | Walthall, Anne, editor. Title: Child’s play : multi-sensory histories of children and childhood in Japan / edited by Sabine Frühstück and Anne Walthall. Description: Oakland, California : University of California Press, [2018] | Includes bibliographical references and index. -
Hier Gezeigte Ausstellung Wurde Von Der Japanischen IHK Zu Düsseldorf E.V
WAN IM D E L SPARTN FT ER A D H C E S R T ZEIT R I W W R N D N JAPAN U 160 JAHRE www.jihk.de 160 Jahre Wirtschaftspartner Wirtschaftsbeziehungen zwischen Japan und Nordrhein-Westfalen im Wandel der Zeit Japanische IHK zu Düsseldorf Service für japanische Unternehmen in Deutschland www.jihk.de Die Gründung der Japanischen Industrie- und Handelskammer hatte einen ganz wichtigen Grund: Man wollte vermeiden, dass japanische Firmen doppelt besteuert werden. Heute, 55 Jahre nach ihrer Gründung, ist sie die Ansprechpartnerin für alle Belange der japanischen Unternehmen in Deutschland und größte ihrer Art in Europa. Eigeninitiative lohnt sich 1966 schlossen sich 66 japanische Unternehmen, die sich in Düsseldorf und Umgebung niedergelassen hatten, zur Japanischen Industrie- und Handelskammer zu Düsseldorf e.V., kurz JIHK, zusammen 1967 wurde das Abkommen zur Vermeidung der Doppelbesteuerung von beiden Staaten ratifiziert 1971 reifte auch die Idee, einen japanischen Garten im Nordpark anzulegen, der vollständig von japanischen Firmen finanziert und 1975 feierlich eröffnet wurde 1978 folgte der Umzug ins Deutsch-Japanische Center. Von damals 265 stiegen die Mit- Erster dt.-jap. Mittagstisch im Restaurant gliedszahlen der JIHK stetig an. Nippon-Kan, 1960er Jahre ©Stadtarchiv Düsseldorf Heute ist die Japanische IHK zu Düsseldorf e.V. mit deutschlandweit 537 Mitgliedern der mitgliederstärkste japanische Unternehmerverband in Europa. 160 Jahre Wirtschaftspartner Wirtschaftsbeziehungen zwischen Japan und Nordrhein-Westfalen im Wandel der Zeit 2 Japanische IHK zu Düsseldorf Ein bleibender Mehrwert Die JIHK setzt sich seit ihrer Gründung für die Überwindung von Handelsbarrieren ein. Ge- meinsam mit weiteren Akteuren engagierte sie sich beispielsweise für den Abschluss des Freihandelsabkommens zwischen der EU und Japan, das am 01.02.2019 in Kraft trat. -
Cool Japan Strategy
Cool Japan Strategy January 2012 Creative Industries Division Ministry of Economy, Trade and Industry The Japanese economy—status and issues: Population decline and decreased growth potential Japan’s nominal GDP decreased by 55 trillion yen over the three years from 2008 to 2011. Japan's real economic growth rate fell to 1% and below during the 2000s. In the future, the declining population of productive age is expected to lower growth potential. 55 trillion yen decrease ○ Nominal GDP (annualized), January–March 2008: 517 trillion yen in nominal GDP in ○ Nominal GDP (annualized) April–June 2011: 462 trillion yen three years Past and projected change in Japan's population of Past and projected economic growth rates productive age (10,000 persons) 00～–1414 population歳人口 1515–～6464 population歳人口 6565 歳以上人口and older population (Change（年度平均変化率：％） in average annual rate: %) Impact就業者数の変化の影響 on number of persons employed 14,000 Productivity生産性（就業者一人当たり実質 (real GDP per employed person)GDP ）成長率growth rate 13,000 4.5 Real実質 GDPGDP growth成長率 rate 12,000 2,941 4.0 1.2 11,000 10,000 3.0 9,000 8,000 2.0 3,764 1.5 7,000 3.3 0.7 0.4 0.3 0.5 1.0 6,000 8,128 1.0 1.0 1.0 1.0 5,000 0.0 4,000 4,930 -0.3 -0.6 -0.7 3,000 -1.0 2,000 19801980s年代 19901990s年代 20002000s年代 20102010s年代 20202020s年代 (fiscal（年度） years) 1,000 1,648 821 0 Note: Labor force participation rates by sex and age are assumed to remain level from 2009.