Japanese Journal of Sociology最新文献

This study aims to illustrate the nuanced efficacy of Islamic-writing activism by Indonesian domestic workers in Hong Kong, who vigorously utilize online spheres. We regard this group as a part of transnational migrant domestic workers' cultural activism, which is currently flourishing in the region. In particular, we pay a special attention to this group's intersectional themes in Islam and writing, to ask how an intersectional activist group utilizes online terrains and multiple themes, to nurture affective ties with others and simultaneously build activist networks. By combining questionnaires, socio-metric surveys, interviews and web content analysis, we argue that the participation in this activism allows the members collective and personal empowerment online. From the data analyses, we uncover three key features of the members' Facebook usage: maintaining weak ties by balancing multiple group memberships, using tools for interactive self-identification, and being driven by networking. Additionally, the members re-contextualized their gender and class identities in positive ways, using Islam and writing. We argue that the members utilized Islam chiefly as moral yardstick and image-making, while writing as a multitasking tool and an alternative class marker for them.Through these acts of re-contextualization, the members recreate their alternative self-identifications incorporating class, religion, gender and nationality seamlessly. These features partly resonate with their offline behaviors, to assist and synthesize their attempt at self-actualization in-between their cultural spaces, by integrating the host society, native society, and the activist society.

The Olympics is not a space where the global and local are shown in two separate layers. It is where various sociopolitical conflicts of the hosting country bubble and surface from both levels. When the Olympic events were launched in East Asia they developed further in interaction with different cultural, political, and social backgrounds. This study pays attention to the diverse ways in which Olympic values are accepted and practiced. At the same time, it analyzes the perversion and limitations of Olympism ideals as displayed in the 2018 PyeongChang Winter Olympics. This article focuses on specific changes that occurred in and around Korea along and after the PyeongChang Olympics and how the values of the global and local met without clashing with each other.

This is the Introduction to the special issue entitled "The Olympic Games in Japan and East Asia: Images and Legacies.”

This is an analysis of the historical continuity of the military-cultural spatial formation of the Tokyo Olympic Games throughout the prewar and postwar era. The sites that eventually became the basis for hosting the 1964 and 2020 Olympics had already materialized in the plan for the 1940 Olympics. Tokyo's modernization process entailed a shift of the city's core from the rich cultural heritage accumulated since the Edo in the city's northeast towards an area extending from the southwest of the city center into the suburbs. The northeast area of central Tokyo had been home to commoner districts since the Edo period, and with land that was highly subdivided, did not lend itself to large-scale development. But the southwest of the city center was originally the site of feudal estates, and these large sites were generally amenable to large-scale development. These areas were home to numerous Imperial Japanese Army bases before the surrender, which after seizure during the US occupation eventually became the footprint for large parks and urban developments. The 1964 Olympics played a determinative role in the developments of the southwest of the city center. This continuity from prewar to postwar planning is reflected in the similar placement of venues, and the their conversion from former military uses. So the Olympics came to postwar Japan as a postwar event, in the strict sense of the word. The term postwar here refers foremost to the strategy of converting the social consciousness from war that accompanied reconstruction and economic growth.

Olympic stadia are often regarded as political showcases stemming from a range of influences: the host nation's international politics, the interests of transnational capitalism, site-specific meanings, and the power of iconic architecture. By examining the 2020 Tokyo Olympic main stadium as a case study, this article analyzes the controversial Zaha Hadid Tokyo stadium design in relation to the Japanese national branding initiative. The article argues that branding should be seen as part of an economic and cultural system that seems to enhance the global value of iconic architects and their buildings. Yet the power of brands can be understood as contingent. Their ambivalent nature entails a tension between exclusiveness and banality; additionally, branded architects may find it difficult to work across the different regimes of global and local politics, and they are of course also constrained by the logic of neoliberal transnational capitalism. By investigating a major global branded architect, Zaha Hadid, the article considers why a new image of Japan could not be adequately created by Hadid's aesthetics and narratives of the Olympic stadium, which could have been regarded as a national cultural legacy. The article then discusses the contested processes of image-making and narrative creation in relation to the representation of Japan in contemporary Olympic culture. The article concludes with an examination of Kengo Kuma's architecture language in his 2020 Tokyo Olympics stadium design.

This article considers the way in which a new nationalism is being created in the age of the Internet and social media by looking at the 2020 Tokyo Olympic Games and other Games in the past. The development of media technology from film, radio, and television to the Internet and social media has changed the character of the Olympic Games as media event. It has been argued that these developments have created a shared consciousness, a sense of belonging and enthusiastic nationalism in the age of modern nation-state. While the spread of the Internet and social media was originally expected to contribute to globalization or to the emergence of global citizens in a global village, as McLuhan once predicted, it seems that the world is more divided, fragmented, and fluid than ever. At the same time, the digital media organize various layers of community not only by ideology but also by affect: affective communities. This often leads to the rise of chauvinistic nationalism in developed countries. With reference to McLuhan's famous argument on hot and cool media, the article tries to examine the character of contemporary lukewarm nationalism in the age of digital media.

This article critically examines the vision of Japanese society expressed in the idea of a legacy for the 2020 Tokyo Olympic Games primarily for an internal, domestic audience. This legacy is consistent with the national reconstruction policy adopted after the Great East Japan earthquake of 11 March 2011. The specific issue I focus on here is the centrality of the term “creative reconstruction” to the legacy discourse on the Tokyo 2020 Olympic Games. By interweaving discussions about three places—the Tohoku disaster area, the Tokyo Olympic venue, and Japanese society—this discourse creates an apparently mutual interdependence between the three. Here I assess the idea of this ideological Olympic legacy where these relationships of interdependence are represented as a blueprint for restructuring the system of capital accumulation in Japan. The structure of the article is as follows. First, I provide an overview of creative reconstruction in Japan in comparison with other terms recently used to assess sports mega-events such as the Olympics. Next, I briefly outline the political transformation of the social integration system from the mid-1990s, when the phrase creative reconstruction was first used to the present. In the following three sections I discuss the way that each of the key terms in the discourse—Tohoku, Tokyo, and Japan—has been deployed. This article concludes with reflections on the social and political implications of this discourse for Japanese society in the build up to the 2020 Tokyo Olympic Games.