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1

Gender (in)equality in Japan

100%

Ksieniewicz M.

Res Rhetorica

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2016

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vol. 3

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issue 2

52-58

EN

This essay opens with the rhetorical analysis of the article which appeared in April 2016 in the Japan Times entitled “An Open Letter to the Japanese Womanhood. Advice on How to Take the Best Parts of the Stereotypes without Becoming One Yourself” in the context of gender inequality in Japan. Japan is one of the three largest economies in the world and a member of G7 group, yet the level of discrimination of women in Japan is without equal in the developed world. Widely criticized by international institutions such as the United Nations or the World Economic Forum, Japan fi nally introduced a new government policy in order to balance the status of women with men. The article examines the recent changes and argues that it is difficult to introduce them because of the gender biased rhetoric and a long history of patriarchal patterns in the society.

PL

Artykuł na wstępie analizuje strategie retoryczne zawarte w „Liście Otwartym do Japońskich Kobiet”, który ukazał się w gazecie Japan Times w kwietniu 2016 roku, a który dotyczył kwestii nierówności płci w Japonii. Japonia jest jedną z trzech największych gospodarek świata i członkiem grupy G7, ale poziom dyskryminacji kobiet w tym kraju jest wyjątkowo wysoki jak na kraj rozwinięty. W obliczu krytyki ze strony instytucji międzynarodowych, takich jak ONZ czy World Economic Forum, rząd Japonii wprowadził niedawno nowy kurs polityki w celu wyrównania statusu kobiet z mężczyznami. Esej analizuje ostatnie zmiany i twierdzi, że trudno jest rozwiązywać problemy dotyczące dyskryminacji z powodu tendencyjnej retoryki odnoszącej się do płci i długiej historii patriarchalnych wzorców w japońskim społeczeństwie.

2

Kawaii as Represented in Scientific Research: The Possibilities of Kawaii Cultural Studies

99%

Koma K.

Hemispheres. Studies on Cultures and Societies

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2013

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issue 28

103-117

EN

In this paper, I will analyse and classify the scientific discussion of kawaii (which means cute in English), one of the most important components of contemporary Japanese popular culture; which has been diffused throughout the world and become a transnational culture. I will identify three main discussions in kawaii studies: (1) kawaii as a Japanese proper aesthetic and its origin; (2) kawaii as making a Japanese social feature out of immaturity; and (3) kawaii as a form of globalised culture from the points of view of politics/diplomacy, globalisation, and orientalism. I will delineate further research possibilities to be carried out in Japanese popular contemporary culture, particularly kawaii culture and its relevance in the global and transnational communication age.

3

Kawaii Friend or Mythical Beast. Dragons and Other Animals in the Art of Takano Aya

57%

Furmanik-Kowalska M.

Analecta Nipponica

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2018

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issue 8

123-134

JA

タカノ綾の芸術作品における龍とその他の動物」本論の目的は、日本のアーティストであるタカノ綾（1976年埼玉生まれ）の作品における、ある種の動物達と彼らの象徴的な役割を指摘することである。彼女の作品は、日本現代社会の中でも特にポップカルチャーに深く浸透している動物に対する姿勢を映し出していると解釈できる。そして彼女の芸術作品は、「カワイイ」少女的美学と同時にスーパーフラット・ムーブメントに合致する。タカノの絵画には、犬、魚、猫、そして兎など多くの可愛いペットのイメージが、女性のキャラクターと共に、日常的な活動や非日常的な瞬間の中に描かれる（Doggy Drive, 2005; The Buildings Shone, 2007; Crane Island, 2009）。彼女の絵画の中には、日本の古くから伝わる芸術に頻繁に見られる神話的な動物もまた現れる。鶴、虎、龍（Rising Dragon (Rainbow) with Lucky Omens, 2015）といった動物達はタカノによって、ペットと同様のスタイルで表現されているのである。

EN

The aim of this article is to indicate the kinds of animals and their symbolic function in the works of the Japanese artist Takano Aya (b. 1976, Saitama). Her works may be interpreted as illustrative of the current attitude towards animals prevailing in contemporary Japanese society, especially its part that is deeply permeated by local pop culture. After all, her art fits into the Superflat movement and the girly aesthetics of kawaii at the same time. Takano’s paintings are full of images of cute household pets: dogs, fish, cats and rabbits, which accompany the female characters in both everyday activities and extraordinary moments (Doggy Drive, 2005; Summoning Her Owls, She Looked Yonder. The Buildings Shone, 2007; Crane Island, 2009). In her paintings there are also mythological animals, which were so commonly represented in the ancient artwork of Japan. Takano depicts cranes, tigers and dragons (Rising Dragon (Rainbow) with Lucky Omens, 2015) in the same style as household pets.

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1 Analecta Nipponica

1 Hemispheres. Studies on Cultures and Societies

1 Res Rhetorica

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1 Furmanik-Kowalska M.

1 Koma K.

1 Ksieniewicz M.

Gender (in)equality in Japan

Kawaii as Represented in Scientific Research: The Possibilities of Kawaii Cultural Studies

Kawaii Friend or Mythical Beast. Dragons and Other Animals in the Art of Takano Aya