Embracing Differences: Transnational Cultural Flows Between by Iris Laemmerhirt

By Iris Laemmerhirt

The omnipresence and recognition of yankee client items in Japan have brought on an avalanche of writing laying off gentle on various elements of this cross-cultural courting. Cultural interactions are frequently observed by means of the time period cultural imperialism, an idea that on shut scrutiny seems to be a hasty oversimplification given the modern cultural interplay among the U.S. and Japan. »Embracing transformations« indicates that this assumption of a one-sided move isn't any longer legitimate. heavily investigating Disney subject parks, sushi, in addition to video clips, Iris-Aya Laemmerhirt finds a dialogical alternate among those international locations that has replaced similar to Japan within the United States.

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By Ruth Benedict, an anthropologist who was commissioned by the American government to study the character of “the Japanese” in order to understand them and help to deal with them after the 8 The idea of Japanese uniqueness is expressed in the concept of nihonjinron, according to which Japan constructed itself in a binary opposition to the West. This notion was visible in its most aggressive form during World War II (see Jarman; Gluck; and Befu). ). ” Yet, as enemies, the Japanese seemed to be significantly different from other opponents in the war.

From the very beginning of JapaneseAmerican relations, the United States had a predominantly decorative image of Japan (Johnson 94ff; Nakashima 246ff; Lee 134). ) Japanese craftsmanship, which was introduced to the United States by the Japanese at the Philadelphia World Exhibition in 1876, was generally admired by many Americans. Yet while they concluded that a nation which produced such beautiful artistic work could not be entirely uncivilized, Japan remained a strange and mythical place to them.

Clay Lancester has elaborated in The Japanese Influence in America that an increasing number of American artists, architects, and decorators started to include Japanese elements in their work. As for many passionate collectors of Japanese art, the fascination for Japanese architectural styles started for the American architect Frank Lloyd Wright with the World Columbian Exposition in Chicago, where he encountered Japanese architecture for the first time. He became a collector of Japanese art and visited Japan in 1905, where he gained considerable knowledge about the nation (Bognar 53; Napier, From Impressionism 74).

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