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THE JAPANESE SMILE. AN ORIENTAL INVENTION OR A CULTURAL SCRIPT?

100%
Szarota P.
Lud
|
2007
|
vol. 91
137-154
EN
The author tries to answer the question to what extent the 'Japanese smile', which is so often described by Western authors, is an Oriental invention and to what degree it is actually rooted in the traditional Japanese cultural values. A definition was adopted according to which smile is a characteristic and easily recognisable mimic expression, which performs an important communicative function. Individual cultures can be different with respect to how smile is used in social life. The specific 'high context' communication, characteristic of the Far East, where not much has to be expressed by means of words because most information is contained in the context of the utterance, has been described. A hypothesis has been advanced that in such a situation smile will rarely be treated as a social signal, the meaning of which can be independent of the background. The most important part of the text is devoted to the description of hypothetical cultural scripts, which encourage or prevent from the use of smile in specific social situations. A relation between these scripts and the traditional values of Japanese culture, particularly those connected with the ideal of wa, i.e. social harmony, has been discussed. The author also tries to answer the question to what extent the etiquette of the Japanese smile is unique. The author concludes that the Japanese smile fits well into the cultural context of Japanese culture and stands out from other 'smiles of the Far East'.
2
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Wyobraźnia technologiczna i problem tożsamosci we współczesnym filmie japońskim

100%
Loska K.
Przegląd Kulturoznawczy
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2011
|
issue 1(9)
127-142
EN
Popular convictions as to character of Japanese culture are dominated by the orientalist stereotypes that include self-contradicting images of a society that is traditional and at the same time modern and technology-based. The ambiguous portrait of Japan seems to a certain extent justied, if one takes into account the transformation that took place throughout the 20th century and which gave rise to a new model of culture that was shaped thanks to a unique combination of various elements, both native and foreign. I am planning to focus on the impact of the mass media on the awareness and an everyday life of the Japanese people. Besides, I am going to consider the extent as to which the new environment has been transformed by the information revolution. For my research I shall use the contemporary cinema which perfectly reflects cultural issues of the nation in the process of the vehement social change, and which shows the hopes and fears of the future.
3
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„O koniku polnym I mrówkach”. Amae i zapomniane aspekty pytania o wspólnotę

100%
Korusiewicz M.
Świat i Słowo
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2011
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vol. Świat i Słowo 2011, nr 1 (16)
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issue Świat i Słowo 2012 nr 2 (17)
185-197
EN
The essay presents the notion and phenomenon of amae; one of the keyterms of Japanese culture introduced to international language of humanities by Doi Takeo. Amae is usually defined as the basic need to be responded to, taken care of and cherished in the mutually interactive relation which includes seeking and receiving the indulgence of the other party. The ideal model of amae is to be found in the mother/child relation. The term has no equivalents in Indo-European languages, however, the amae-type relations with their multidimensional (positive and negative) influence on social life do exist in every society including the Western ones; they help to maintain an individual’s sense of belonging to a given community, create proper environment for practical application of such ‘unpopular’ notions as responsibility, trust, loyalty and the feeling of safety. However, the positive implications of amae-like social relations still await reconsidering in the Western, deeply individualistic, world.
4
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Wyobraźnia technologiczna i problem tożsamosci we współczesnym filmie japońskim

100%
Loska K.
Przegląd Kulturoznawczy
|
2011
|
issue 1(9)
127-142
EN
Popular convictions as to character of Japanese culture are dominated by the orientalist stereotypes that include self-contradicting images of a society that is traditional and at the same time modern and technology-based. The ambiguous portrait of Japan seems to a certain extent justied, if one takes into account the transformation that took place throughout the 20th century and which gave rise to a new model of culture that was shaped thanks to a unique combination of various elements, both native and foreign. I am planning to focus on the impact of the mass media on the awareness and an everyday life of the Japanese people. Besides, I am going to consider the extent as to which the new environment has been transformed by the information revolution. For my research I shall use the contemporary cinema which perfectly reflects cultural issues of the nation in the process of the vehement social change, and which shows the hopes and fears of the future.
5
Content available remote

NOH THEATRE IN THE WEST - A JAPANESE BRIDGE OVER ONE CENTURY - FROM W. B. YEATS TO JANNETTE CHEONG (No na zapade - japonsky most cez jedno storocie - od W. B. Yeatsa po Jannette Cheong)

63%
Rumanek R. V. I.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 2
150-165
EN
In the 19th century, the period of intensive contacts between the West and Japan was renewed. Two waves can be identified in the process of re-introduction of Japanese culture to the West until the continuous reciprocal cultural exchange as we know it after World War II. Fascination of Europe with the Japanese woodcraft (since 1862) that influenced Impressionism and later Art Nouveau can be identified as the first wave, the second wave is characterised by broader familiarity with Japanese culture and literature due to the fact that more and more Westerners mastered the secrets of the Japanese language and the first translations into the European languages appeared. Noh theatre emerged in the West as part of the second wave. It was during the U.S. and European tour of actor Kawakami Otojiro (1864 - 1911) who owned a private theatre Kawakami, and his wife, a former geisha Sadayakko (1871 - 1946), one of the first female actresses in modern Japan. Europe began to realize the authentic form of Noh. In London, the increase in popularity of Noh can be traced into the crucial moment, when a young American poet Ezra Pound (1885-1972,) came here in 1908 longing to get to know the Irish poet W. B. Yeats (1865-1939). Western authors appreciated how the Japanese Noh combines drama, music and dance into the monolithic unit and they considered mask an excellent means of an 'alienation effect', leading the spectators to feel separated from the events on stage and giving them an opportunity to think about the deeper meaning of events. Analysing the history of Noh in the West, we note two milestones, two points in this development which brings in mind two ends of Monet's Pont Japonais (Japanese Bridge) in his garden in Giverny, stretching over the century of its naturalization in the West. One is the work of William Butler Yeats at the beginning of the 20th century and - a century later, Jannette Cheong's work, the latest piece of the Western Noh. Both were written in English and premiered in London.
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