Postmodern, Feminist and Postcolonial Currents in Contemporary Japanese Culture: A Reading of Murakami Haruki, Yoshimoto Banana, Yoshimoto Takaaki and Karatani Kōjin (review)

2007 ◽  
Vol 33 (1) ◽  
pp. 251-255 ◽  
Author(s):  
Atsuko. Ueda
Keyword(s):  
Japanese Culture ◽  
Yoshimoto Banana

The Involvement of Native Speakers in Teaching and Learning Japanese Language at UiTM

2020 ◽  
Vol 4 (3) ◽  
pp. 14
Author(s):  
Choong Pow Yean ◽  
Sarinah Bt Sharif ◽  
Normah Bt Ahmad
Keyword(s):  
Language Learning ◽  
Language Learners ◽  
Language Proficiency ◽  
Teaching And Learning ◽  
Native Speakers ◽  
Native Speaker ◽  
Japanese Culture ◽  
Japanese Language ◽  
Foreign Language Learners ◽  
Lexical Density

The Nihongo Partner Program or “Japanese Language Partner” is a program that sends native speakers to support the teaching and learning of Japanese overseas. The program is fully sponsored by The Japan Foundation. The aim of this program is to create an environment that motivates the students to learn Japanese. This study is based on a survey of the Nihongo Partner Program conducted on students and language lecturers at UiTM, Shah Alam. This study aims to investigate if there is a necessity for native speakers to be involved in the teaching and learning of Japanese among foreign language learners. Analysis of the results showed that both students and lecturers are in dire need of the Nihongo Partner Program to navigate the learning of the Japanese language through a variety of language learning activities. The involvement of native speaker increases students’ confidence and motivation to converse in Japanese. The program also provides opportunities for students to increase their Japanese language proficiency and lexical density. In addition, with the opportunity to interact with the native speakers, students and lecturers will have a better understanding of Japanese culture as they are able to observe and ask the native speakers. Involvement of native speakers is essential in teaching and learning of Japanese in UiTM.

Color semantics in traditional japanese culture

2016 ◽  
Vol 79 (4) ◽  
pp. 78-83
Author(s):  
Yugay M. ◽  
Keyword(s):  
Japanese Culture

Prinsip Estetika Pakaian Cosplay Yogyakarta: Fantasi dan Ekspresi Desain Masa Kini

Panggung ◽  
2014 ◽  
Vol 24 (1) ◽  
Author(s):  
Deni Setiawan ◽  
Timbul Haryono ◽  
M. Agus Burhan
Keyword(s):  
Design Principle ◽  
Point Of View ◽  
Japanese Culture ◽  
Dress Code ◽  
Design Elements ◽  
Social Communities ◽  
Organic Unity ◽  
Clothing Design ◽  
Digital World ◽  
Balance Principle

ABSTRACTCostume, dress code, animation, comics, legends, and manga, are inseparable parts of the cosplay costume. Those parts give fantasy and digital world discourse through costume style. Its spiritual domain stands on Japanese culture by being cultured through clothing. One of them, cosplay ideo- logy, reflects the self-imaging through social communities, as an e?ort for group and self-existence. Cosplay entity bridges fantasy and real world, presents designers’ expressions through the costume designs to show. This writing will be analyzed by using the main theories based on Dewitt H. Parker point of view, in The Principles of Aesthetics, which divides principles of aesthetics into three, they are: Principle of Organic Unity, Principle of Dominant Element, and Principle of Balance. Principle of organic unity indicates that cosplay clothing is an accumulation of design elements, to refer and mark a figure. Principle of dominant element, is accentuation, or the center of interest of a cosplay clothing design. Principle of balance, see placement and setting ornamentation applied to cosplay clothing.Keywords: cosplay clothing, principles of aesthetics, costume style, YogyakartaABSTRAKPakaian, dress code, animasi, dan manga, merupakan unsur yang tidak terpisahkan dalam pakaian cosplay. Unsur-unsur tersebut merupakan wacana dunia digital dan fantasi pada dunia pakaian. Ranah spiritualnya berp?ak pada kebudayaan Jepang yang dibudayakan melalui pakaian. Ideologi cosplay salah satunya menggambarkan pencitraan diri komuni- tas sosial, sebagai usaha untuk aktualisasi diri. Entitas cosplay mampu menjembatani du- nia fantasi dan realita, yang membelenggu keinginan manusia untuk bergaya. Tulisan ini akan dianalisis dengan teori pokok berdasarkan pandangan Dewitt H. Parker, dalam The Principles of Aesthetics, yang membagi prinsip estetika menjadi tiga, yaitu: prinsip kesatu- an organik, prinsip unsur dominan, dan prinsip keseimbangan. Prinsip kesatuan organik menunjukkan, bahwa pakaian cosplay merupakan akumulasi dari unsur-unsur desain, un- tuk merujuk dan menandai tokoh. Prinsip unsur dominan, merupakan aksentuasi, atau pusat perhatian dari sebuah desain pakaian cosplay. Prinsip keseimbangan, melihat penem- patan dan pengaturan ornamentasi yang diaplikasikan pada pakaian cosplay.Kata kunci: pakaian cosplay, prinsip estetika, gaya pakaian, Yogyakarta

The Power of Art to Cope With Trauma: Psychosocial Intervention After the Tsunami in Japan

2020 ◽  
pp. 002216782098214
Author(s):  
Tami Gavron
Keyword(s):  
Natural Disasters ◽  
Psychosocial Intervention ◽  
Cultural Context ◽  
Psychosocial Interventions ◽  
Kindergarten Teachers ◽  
Japanese Culture ◽  
Art Making ◽  
Cultural Expression ◽  
The Arts

This article describes the significance of an art-based psychosocial intervention with a group of 9 head kindergarten teachers in Japan after the 2011 tsunami, as co-constructed by Japanese therapists and an Israeli arts therapist. Six core themes emerged from the analysis of a group case study: (1) mutual playfulness and joy, (2) rejuvenation and regaining control, (3) containment of a multiplicity of feelings, (4) encouragement of verbal sharing, (5) mutual closeness and support, and (6) the need to support cultural expression. These findings suggest that art making can enable coping with the aftermath of natural disasters. The co-construction underscores the value of integrating the local Japanese culture when implementing Western arts therapy approaches. It is suggested that art-based psychosocial interventions can elicit and nurture coping and resilience in a specific cultural context and that the arts and creativity can serve as a powerful humanistic form of posttraumatic care.

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