Pub Date : 2022-09-02DOI: 10.1080/10371397.2022.2139230
A. Rix
{"title":"Bridging Australia and Japan Volume 2: The Writings of David Sissons, Historian and Political Scientist","authors":"A. Rix","doi":"10.1080/10371397.2022.2139230","DOIUrl":"https://doi.org/10.1080/10371397.2022.2139230","url":null,"abstract":"","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"355 - 357"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41993605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/10371397.2022.2143334
Yoriko Kume, Helen Kilpatrick
Abstract As World War II ended and a new democratic society was beginning in Japan, significant changes were made to the patriarchal system, changes such as the recognition of women’s rights and the dismantling of the Japanese family system which in turn affected youth culture. Against this backdrop, particularly within the genre of shōjo shōsetsu (girls’ fiction), new representations of the father, mother and shōjo (girl) emerged. Portrayals reflected not only the loss of power experienced by patriarchal figures after the defeat, but also the rise of new patriarchal mothers and resistant daughters. This article traces how changes in depictions of patriarchal authority in the genre reflect not only masculine humiliation around the war defeat, but also a contemporaneous rise in mothers whose intervention in their daughters’ life decisions saw an increase in less compliant daughters. It demonstrates how, although post-war shōjo fiction was founded on the loss of the autocratic patriarch and has since struggled to depict a more co-operative family man, as reflected through the genre, the loss of the father figure also helped sow the seeds of new forms of womanhood, and of girlish resistance and independence. These elements reveal a continued fight for democratic freedoms in post-war Japan.
{"title":"Patriarchal Traces in Japanese Girls’ Fiction: Beyond the Loss of the Father to Patriarchal Mothers and Resistant Daughters","authors":"Yoriko Kume, Helen Kilpatrick","doi":"10.1080/10371397.2022.2143334","DOIUrl":"https://doi.org/10.1080/10371397.2022.2143334","url":null,"abstract":"Abstract As World War II ended and a new democratic society was beginning in Japan, significant changes were made to the patriarchal system, changes such as the recognition of women’s rights and the dismantling of the Japanese family system which in turn affected youth culture. Against this backdrop, particularly within the genre of shōjo shōsetsu (girls’ fiction), new representations of the father, mother and shōjo (girl) emerged. Portrayals reflected not only the loss of power experienced by patriarchal figures after the defeat, but also the rise of new patriarchal mothers and resistant daughters. This article traces how changes in depictions of patriarchal authority in the genre reflect not only masculine humiliation around the war defeat, but also a contemporaneous rise in mothers whose intervention in their daughters’ life decisions saw an increase in less compliant daughters. It demonstrates how, although post-war shōjo fiction was founded on the loss of the autocratic patriarch and has since struggled to depict a more co-operative family man, as reflected through the genre, the loss of the father figure also helped sow the seeds of new forms of womanhood, and of girlish resistance and independence. These elements reveal a continued fight for democratic freedoms in post-war Japan.","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"227 - 242"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42855029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/10371397.2022.2138298
Chizuko T. Allen
fundraising campaign to establish the company. The launch of the project coincided with a sabbatical year Shimodate spent in England at the University of Cambridge, where he studied how to produce and direct Shakespearean plays. A principal feature of Shimodate’s translations and adaptations (including The new Romeo and Juliet) is his use of the local Tohoku (northeast Japan) dialect – and a feature of his productions is ‘actors who [can] speak both standardized Japanese and the Tohoku dialect’ (31). For Shimodate, using Tohoku speech is necessary ‘to express a deeper and broader interpretation of Shakespeare’s world’ and ‘to create a new slant on Shakespeare’s plays both in Japan and abroad’ (32). The new Romeo and Juliet was staged for the first time beginning in November 2012 at various locations in northeast Japan that had yet to recover from the March 2011 triple disasters. The play was part of Shimodate’s newly conceived ‘Hot Spring Trilogy’, three adaptations of Shakespeare ‘whose main purpose’, as translator Fumiaki Konno writes, ‘was to bolster through entertainment the spirits of people in the areas devastated by the Great East Japan Earthquake . . . [T]he three adaptations share three features: they are comedies, depict no death and are located in a hot spring setting’ (223). The two other plays in the trilogy were based on King Lear and The merchant of Venice. The translated adaptations and supporting material that make up Re-imagining Shakespeare in contemporary Japan amply fulfill the book’s aim ‘to introduce, contextualize and also reconsider the history and current practice of translating and adapting Shakespeare in Japan’ (1). As the example of The Shakespeare Company Japan’s The new Romeo and Juliet vividly illustrates, innovative approaches to the presentation of Shakespearean dramas are neither limited to artists working in major urban centers nor to artists working in circumstances that are ideal for cultural production. When asked about the future of his northeastJapan-based theatre company, Shimodate has movingly said: ‘I would like to build a theatre in Tohoku and . . . I would like to give children the chance to learn about the lingua franca that is Shakespeare and about dialects. Theatres in Tokyo have an urban character; I would like [my] theatre in Tohoku to be down-to-earth and filled with human warmth’ (234).
成立公司的筹款活动。该项目的启动恰逢Shimotate在英国剑桥大学度过的一年休假，他在那里学习如何制作和导演莎士比亚戏剧。下馆翻译和改编作品（包括《新罗密欧与朱丽叶》）的一个主要特点是他使用了当地的东北方言，而他的作品的一个特点是“能说标准日语和东北方言的演员”（31）。对于下馆来说，使用东北话是必要的，“以表达对莎士比亚世界更深入、更广泛的解释”，并“为日本和国外的莎士比亚戏剧创造一种新的倾向”（32）。新的《罗密欧与朱丽叶》于2012年11月首次在日本东北部的各个地方上演，这些地方尚未从2011年3月的三重灾难中恢复过来。该剧是下馆新构思的“温泉三部曲”的一部分，这是莎士比亚的三部改编作品，正如翻译家近野文明所写，“其主要目的”是通过娱乐来振奋东日本大地震灾区人民的精神。[T] 这三部改编作品共有三个特点：它们都是喜剧，没有死亡，而且都是以温泉为背景的。三部曲中的另外两部剧是根据《李尔王》和《威尼斯商人》改编的。翻译后的改编作品和支持材料构成了《重新想象当代日本的莎士比亚》，充分实现了该书“介绍、语境化并重新考虑日本翻译和改编莎士比亚的历史和当前实践”的目标（1）。正如日本莎士比亚剧团（the Shakespeare Company Japan）的《新罗密欧与朱丽叶》（the new Romeo and Juliet）生动地说明的那样，莎士比亚戏剧呈现的创新方法既不限于在主要城市中心工作的艺术家，也不限于在文化生产理想环境中工作的艺术家。当被问及他位于日本东北部的剧团的未来时，下馆感人地说：“我想在东北建一家剧院。我想让孩子们有机会学习莎士比亚的通用语言和方言。东京的剧院具有城市特色；我希望我在东北的剧院能脚踏实地，充满人性的温暖”（234）。
{"title":"Seeds of Control: Japan’s Empire of Forestry in Colonial Korea","authors":"Chizuko T. Allen","doi":"10.1080/10371397.2022.2138298","DOIUrl":"https://doi.org/10.1080/10371397.2022.2138298","url":null,"abstract":"fundraising campaign to establish the company. The launch of the project coincided with a sabbatical year Shimodate spent in England at the University of Cambridge, where he studied how to produce and direct Shakespearean plays. A principal feature of Shimodate’s translations and adaptations (including The new Romeo and Juliet) is his use of the local Tohoku (northeast Japan) dialect – and a feature of his productions is ‘actors who [can] speak both standardized Japanese and the Tohoku dialect’ (31). For Shimodate, using Tohoku speech is necessary ‘to express a deeper and broader interpretation of Shakespeare’s world’ and ‘to create a new slant on Shakespeare’s plays both in Japan and abroad’ (32). The new Romeo and Juliet was staged for the first time beginning in November 2012 at various locations in northeast Japan that had yet to recover from the March 2011 triple disasters. The play was part of Shimodate’s newly conceived ‘Hot Spring Trilogy’, three adaptations of Shakespeare ‘whose main purpose’, as translator Fumiaki Konno writes, ‘was to bolster through entertainment the spirits of people in the areas devastated by the Great East Japan Earthquake . . . [T]he three adaptations share three features: they are comedies, depict no death and are located in a hot spring setting’ (223). The two other plays in the trilogy were based on King Lear and The merchant of Venice. The translated adaptations and supporting material that make up Re-imagining Shakespeare in contemporary Japan amply fulfill the book’s aim ‘to introduce, contextualize and also reconsider the history and current practice of translating and adapting Shakespeare in Japan’ (1). As the example of The Shakespeare Company Japan’s The new Romeo and Juliet vividly illustrates, innovative approaches to the presentation of Shakespearean dramas are neither limited to artists working in major urban centers nor to artists working in circumstances that are ideal for cultural production. When asked about the future of his northeastJapan-based theatre company, Shimodate has movingly said: ‘I would like to build a theatre in Tohoku and . . . I would like to give children the chance to learn about the lingua franca that is Shakespeare and about dialects. Theatres in Tokyo have an urban character; I would like [my] theatre in Tohoku to be down-to-earth and filled with human warmth’ (234).","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"363 - 366"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49276107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/10371397.2022.2136632
Helen Kilpatrick
Abstract Awa Naoko’s (1943–1993) folkloric fantasy for young people arose during a time of rapid post-war industrial and economic development in Japan. The pollution arising from this development generated an awareness of environmental degradation at the same time as there was a growing consciousness of the failed promises of gender equality. While Awa’s fantasies represent an instinctively eco-conscious rejection of the urban material world, their girl protagonists imaginatively subvert the systems which implicitly operate to marginalise them (and nature). As Awa’s animistic stories on nature and death mostly involve girls, my investigation combines ecofeminist and shōjo (girl) studies’ perspectives to explore these elements in two particular narratives, Shiroi ōmu no mori (The forest of white cockatoos) and Nagai haiiro no sukāto (The long grey skirt). Taking the narratives as a prescient denunciation of anthropocentric dualisms whose concepts and structures oppress both nature and women, it indicates how the behaviour of girl protagonists exposes both the tragedy of humanity’s separation from the natural world and constraints upon feminised concepts. It also reads the narratives as a shōjo-esque resistance to real-world restrictions, and demonstrates this resistance as an eco-conscious ethic of care against a more socially-inscribed (masculinist) utilitarian ethic.
阿泽直子(Awa Naoko, 1943-1993)是在战后日本工业和经济快速发展的时期兴起的。这种发展所产生的污染使人们认识到环境退化，同时也日益意识到性别平等的承诺未能实现。虽然阿瓦的幻想代表了对城市物质世界本能的生态意识的拒绝，但她们的女孩主人公却富有想象力地颠覆了那些隐性地将她们(和自然)边缘化的系统。由于Awa关于自然和死亡的万物有灵论故事大多涉及女孩，我的调查结合了生态女权主义和shōjo(女孩)研究的视角，在两个特定的叙述中探索这些元素，Shiroi ōmu no mori(白凤头鹦鹉的森林)和Nagai haiiro no sukāto(灰色长裙)。将叙事视为对人类中心主义二元论的先见之明的谴责，这种二元论的观念和结构既压迫自然又压迫妇女，它表明了女孩主人公的行为如何暴露了人类与自然世界分离的悲剧以及对女性化观念的约束。它还将叙事解读为shōjo-esque对现实世界限制的抵抗，并将这种抵抗表现为一种生态意识的关怀伦理，以反对更社会铭刻的(男性主义)功利主义伦理。
{"title":"Death, Dreams and Democracy: A Shōjo-Ecofeminist Lens on Awa Naoko’s Post-War Fiction","authors":"Helen Kilpatrick","doi":"10.1080/10371397.2022.2136632","DOIUrl":"https://doi.org/10.1080/10371397.2022.2136632","url":null,"abstract":"Abstract Awa Naoko’s (1943–1993) folkloric fantasy for young people arose during a time of rapid post-war industrial and economic development in Japan. The pollution arising from this development generated an awareness of environmental degradation at the same time as there was a growing consciousness of the failed promises of gender equality. While Awa’s fantasies represent an instinctively eco-conscious rejection of the urban material world, their girl protagonists imaginatively subvert the systems which implicitly operate to marginalise them (and nature). As Awa’s animistic stories on nature and death mostly involve girls, my investigation combines ecofeminist and shōjo (girl) studies’ perspectives to explore these elements in two particular narratives, Shiroi ōmu no mori (The forest of white cockatoos) and Nagai haiiro no sukāto (The long grey skirt). Taking the narratives as a prescient denunciation of anthropocentric dualisms whose concepts and structures oppress both nature and women, it indicates how the behaviour of girl protagonists exposes both the tragedy of humanity’s separation from the natural world and constraints upon feminised concepts. It also reads the narratives as a shōjo-esque resistance to real-world restrictions, and demonstrates this resistance as an eco-conscious ethic of care against a more socially-inscribed (masculinist) utilitarian ethic.","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"277 - 293"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44539383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/10371397.2022.2134098
Letizia Guarini
Abstract Love, sex and marriage are recurrent themes in Kurahashi Yumiko’s literature, especially in her early works. In the novel Divine maiden (1965) she approached those topics from a different perspective, through the form of shōjo shōsetsu (girl’s fiction): she even went so far as to define Divine maiden as ‘the last shōjo shōsetsu’. The protagonist of this novel is a young girl, Miki: the story revolves around Miki’s incestuous relationship with her father, as it is depicted in her three diaries, read by a male narrator. Even though incest is a recurrent theme in Kurahashi’s work, it has been pointed out that the incestuous relationship between father and daughter could be considered shōjo shōsetsu’s grand finale. However, not much attention has been paid to the relationship between Divine maiden and shōjo shōsetsu as a literary genre; moreover, the meaning of love, sex and marriage in the novel has been left unexplored. This paper aims to analyse the girl’s sexuality depicted in Divine maiden in the context of post-war Japan’s junketsu kyōiku (‘purity education’); through an analysis of Miki’s diaries, I will explore the way Kurahashi has parodied the concept of ‘democracy’ in relation to the ideal of ‘pure love’.
{"title":"Shōjo Sexuality in Post-War Japan: Parody and Subversion in Kurahashi Yumiko’s Divine Maiden","authors":"Letizia Guarini","doi":"10.1080/10371397.2022.2134098","DOIUrl":"https://doi.org/10.1080/10371397.2022.2134098","url":null,"abstract":"Abstract Love, sex and marriage are recurrent themes in Kurahashi Yumiko’s literature, especially in her early works. In the novel Divine maiden (1965) she approached those topics from a different perspective, through the form of shōjo shōsetsu (girl’s fiction): she even went so far as to define Divine maiden as ‘the last shōjo shōsetsu’. The protagonist of this novel is a young girl, Miki: the story revolves around Miki’s incestuous relationship with her father, as it is depicted in her three diaries, read by a male narrator. Even though incest is a recurrent theme in Kurahashi’s work, it has been pointed out that the incestuous relationship between father and daughter could be considered shōjo shōsetsu’s grand finale. However, not much attention has been paid to the relationship between Divine maiden and shōjo shōsetsu as a literary genre; moreover, the meaning of love, sex and marriage in the novel has been left unexplored. This paper aims to analyse the girl’s sexuality depicted in Divine maiden in the context of post-war Japan’s junketsu kyōiku (‘purity education’); through an analysis of Miki’s diaries, I will explore the way Kurahashi has parodied the concept of ‘democracy’ in relation to the ideal of ‘pure love’.","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"339 - 353"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43282019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/10371397.2022.2117689
T. Shimamura
Abstract In 1950, Cominform (the Information Bureau of the Communist and Workers’ Parties) criticised the Japanese Communist Party (JCP) for promoting ‘peaceful revolution’ under the Allied Occupation. The critique led to the so-called ‘1950 issue’, a period beset by ideological divisions, in which the JCP split, with one faction continuing to support ‘peaceful revolution’ and the other siding with Cominform’s views. Nuyama Hiroshi founded the magazine Gurafu wakamono (Graph Youth) in 1958 after a temporary respite to the 1950 issue. The magazine was aimed at the young people of Japan, and ran until 1971. Nuyama was regarded as an authority on cultural issues within the JCP and, in addition to being the first editor-in-chief of Gurafu wakamono, he led the ‘Dance for Dance’s Sake’ movement, sometimes referred to as the ‘Singing and Dancing Communist Party’. In 1966, during the lifetime of the magazine, Nuyama’s ideological differences regarding the Cultural Revolution in China led to his excommunication from the Communist Party. Drawing on material from the magazine itself, this article examines the democratic ideology promulgated by Gurafu wakamono and its successor magazine, also edited by Nuyama, with particular emphasis on editions published in the late 1950s and early 1960s.
{"title":"Graph Youth and the Japanese Communist Party Youth Movement circa 1960: The Image of ‘Democracy’","authors":"T. Shimamura","doi":"10.1080/10371397.2022.2117689","DOIUrl":"https://doi.org/10.1080/10371397.2022.2117689","url":null,"abstract":"Abstract In 1950, Cominform (the Information Bureau of the Communist and Workers’ Parties) criticised the Japanese Communist Party (JCP) for promoting ‘peaceful revolution’ under the Allied Occupation. The critique led to the so-called ‘1950 issue’, a period beset by ideological divisions, in which the JCP split, with one faction continuing to support ‘peaceful revolution’ and the other siding with Cominform’s views. Nuyama Hiroshi founded the magazine Gurafu wakamono (Graph Youth) in 1958 after a temporary respite to the 1950 issue. The magazine was aimed at the young people of Japan, and ran until 1971. Nuyama was regarded as an authority on cultural issues within the JCP and, in addition to being the first editor-in-chief of Gurafu wakamono, he led the ‘Dance for Dance’s Sake’ movement, sometimes referred to as the ‘Singing and Dancing Communist Party’. In 1966, during the lifetime of the magazine, Nuyama’s ideological differences regarding the Cultural Revolution in China led to his excommunication from the Communist Party. Drawing on material from the magazine itself, this article examines the democratic ideology promulgated by Gurafu wakamono and its successor magazine, also edited by Nuyama, with particular emphasis on editions published in the late 1950s and early 1960s.","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"323 - 337"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44895185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-12DOI: 10.1080/10371397.2022.2110048
Takayuki Ōhashi
Abstract This article analyses the popular post-war boys’ baseball manga Kyojin no Hoshi, to highlight how pre-war militaristic values were carried over into post-war Japanese sports. Militarism in pre-war Japan was underpinned by bushidō, a set of beliefs that idealised the values upheld by samurai, and which greatly influenced Japan’s pre-war physical education system. While post-war Japan achieved democratisation in many ways, the democratic transformation in sports after the war was much slower. For this reason, elements of military training that were included in sports training prior to the war continued to be emphasised in the post-war era. This article uses examples taken from Star of the Giants to highlight this phenomenon, as well as the broader connection between manga and cultural context. It also touches upon cultural representations of fathers and the male gender in post-war Japanese boys’ fiction.
{"title":"The Relationship between Yakyū (Baseball) and Militarism: Baseball Discourse in Japanese Shōnen (Boys’) Culture","authors":"Takayuki Ōhashi","doi":"10.1080/10371397.2022.2110048","DOIUrl":"https://doi.org/10.1080/10371397.2022.2110048","url":null,"abstract":"Abstract This article analyses the popular post-war boys’ baseball manga Kyojin no Hoshi, to highlight how pre-war militaristic values were carried over into post-war Japanese sports. Militarism in pre-war Japan was underpinned by bushidō, a set of beliefs that idealised the values upheld by samurai, and which greatly influenced Japan’s pre-war physical education system. While post-war Japan achieved democratisation in many ways, the democratic transformation in sports after the war was much slower. For this reason, elements of military training that were included in sports training prior to the war continued to be emphasised in the post-war era. This article uses examples taken from Star of the Giants to highlight this phenomenon, as well as the broader connection between manga and cultural context. It also touches upon cultural representations of fathers and the male gender in post-war Japanese boys’ fiction.","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"243 - 257"},"PeriodicalIF":0.5,"publicationDate":"2022-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41709365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-10DOI: 10.1080/10371397.2022.2072821
Levi Durbidge, Gwyn McClelland
{"title":"Japanese Language Learning and Teaching During COVID-19: Challenges and Opportunities","authors":"Levi Durbidge, Gwyn McClelland","doi":"10.1080/10371397.2022.2072821","DOIUrl":"https://doi.org/10.1080/10371397.2022.2072821","url":null,"abstract":"","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47015680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-06DOI: 10.1080/10371397.2022.2072820
Erika R. Alpert
{"title":"Dis/Embodying Fieldwork in Japan","authors":"Erika R. Alpert","doi":"10.1080/10371397.2022.2072820","DOIUrl":"https://doi.org/10.1080/10371397.2022.2072820","url":null,"abstract":"","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42253541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/10371397.2022.2096581
Alexander. R. Best, Ian Austin
Abstract As exercised by the recent Tokyo 2020 Olympics and 2020 Paralympics, both delayed until 2021 due to COVID-19 conditions, sports diplomacy is shifting, from emergence as a concept, toward empirical legitimacy. Extant literature has allowed scholars to clearly establish the factors constituting sports diplomacy, which has culminated in the sports diplomacy model proposed by Abdi and colleagues. This study examines the sports diplomacy model through a qualitative investigation of an operational Australian sports diplomacy campaign, AUS+RALLY, within the context of Japan. The evident conformity of the extant sports diplomacy model with the AUS+RALLY campaign represents an important step for sports diplomacy scholarship, and the case utilised provides critical insights into the conduct of sports diplomacy activities and suggests enhancements to the extant sports diplomacy model.
{"title":"International Sports Diplomacy in Action – An Investigation of AUS+RALLY: An Australian Sports Diplomacy Campaign in Japan","authors":"Alexander. R. Best, Ian Austin","doi":"10.1080/10371397.2022.2096581","DOIUrl":"https://doi.org/10.1080/10371397.2022.2096581","url":null,"abstract":"Abstract As exercised by the recent Tokyo 2020 Olympics and 2020 Paralympics, both delayed until 2021 due to COVID-19 conditions, sports diplomacy is shifting, from emergence as a concept, toward empirical legitimacy. Extant literature has allowed scholars to clearly establish the factors constituting sports diplomacy, which has culminated in the sports diplomacy model proposed by Abdi and colleagues. This study examines the sports diplomacy model through a qualitative investigation of an operational Australian sports diplomacy campaign, AUS+RALLY, within the context of Japan. The evident conformity of the extant sports diplomacy model with the AUS+RALLY campaign represents an important step for sports diplomacy scholarship, and the case utilised provides critical insights into the conduct of sports diplomacy activities and suggests enhancements to the extant sports diplomacy model.","PeriodicalId":44839,"journal":{"name":"Japanese Studies","volume":"42 1","pages":"111 - 135"},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41805175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：