Telework in a Land of Overwork: It’s Not That Simple or Is It?

The COVID-19 pandemic has disrupted labor markets around the world. Workers and corporations scrambled to adjust their workstyles to a new normal, by avoiding the commute and working remotely from their homes or elsewhere. Japan is a country that stood out for its inability to adjust to the remote work environment. Comparative statistics show that Japan reported the lowest number of people engaged in remote work among the OECD countries, as well as the lowest percentage of corporations that offered remote work policies. In this article, I investigate why telework in Japan is difficult. The lack of telework in Japan may seem paradoxical, given the country’s reputation for being technologically advanced. I argue that it is not the technological infrastructure that is lacking in the Japanese workplace, but distinct features of work embedded in Japanese culture and its collectivist roots that prevent the effective implementation of telework. I rely on recently published data from various sources, and apply key sociological theories such as implicit contracts, gift exchange, dramaturgy, and impression management to substantiate my main arguments. The paper concludes by drawing on implications for the future of work in Japan.

Genesis of Buddhism in Japan: The Age of Nara – The Tokugawa Period

This article considers the genesis and development of Buddhism in Japan from the age of Nara to the Tokugawa period. Revealing the problems of the first six philosophical and religious schools of academic Buddhism, namely Kusha, Sanron, Jōjitsu, Hosso, Risshu and Kegon, the authors of the article sought to fully explore the basic foundations of the philosophy of each of them, delve into the linguistic nuances of Japanese and Sanskrit terms, touching on such aspects like dharma, dukha, anatmavada, shunyata or emptiness, the "two truths" of the Buddha's teachings, etc. The text focuses on the role of Buddhism in the Nara period, it explores the main purpose of monks and the system of "local" temples which was not only an intellectual support of that era, but also played the role of an important military force. Drawing an analogy with the philosophy of the Rinzai-shu and Soto-shu schools, the authors analyze the expansion of the line of succession in Zen by monitoring the formation of groups of thinkers, their development and emergence of cultural capital through long-term discussions and continuous reflection over several generations. The work pays special attention to significant figures in Japanese Buddhism, it outlines the role of philosophical creativity, examines the social and religious transformations that occur over different eras and periods. The question of redistribution of power and basic economic resources, suppression of Buddhism, emergence of anti-Buddhist positions and formation of new doctrines are touched upon. As a result of the study, the genesis of Buddhism was described through the prism of Japanese culture, the trajectory of its development from inception to transformation processes in new trends as well as social phenomena that sometimes gave rise to a creative or destructive tendency and influenced the course of history. The authors note that Japanese society that tends to a greater extent towards abstraction and aesthetic pleasure managed to assimilate to the new realities of life and new teachings with pinpoint accuracy, transforming Buddhism into its culture and polishing and refining it in the Japanese style.

Epistemic Culture of Japan: General Outlines in the Mirror of the Historical and Philosophical Approach

Ability of knowledge and thinking operations, such as abstraction, comparison syllogisms and so on, are of course common to all peoples. Nevertheless, when referring to this or that specifi c cultural material, the problem of the existence of separate epistemic cultures arises. Contemporary research on epistemological diversity relies primarily on methods of analytic epistemology and focuses on identifying examples of ‘cross-linguistic divergence’ at the semantic level. The concepts of ‘know’ and ‘knowledge’ often become the object of research. However, there are suffi cient grounds for identifying and studying epistemic cultures also in terms of other parameters. This article is focused upon highlighting these parameters by referring to examples of the history of the Japanese spiritual tradition associated with Buddhist and Confucian teachings. In particular, the author examines the Buddhist doctrines of two truths and the identity of absolute being and the phenomenal world, as well as the neo-Confucian principle of the unity of knowledge and action from the point of view of their infl uence on the epistemological attitudes of Japanese culture. The undertaken analytic excursion allows, using the example of Japan, to show that each culture has its own set of assumptions underlying the cognitive strategy, certain preferences, more or less trust in relation to one or another form of acquiring knowledge, e.g., sensoryempirical, rational, intuitive forms, as well as ideas about the goals of cognition, differently perceived in diverse cultural and historical contexts.

A Traveller Who Laughs

Chapter 2 discusses Unbeaten Tracks in Japan (1880) by Isabella Bird, focusing on textual manifestations of intimacy between Bird and Japanese people, particularly her interpreter-guide Ito. Drawing on theoretical discussions in feminist anthropology and affect theory, it reveals the complexity of the politics between the traveller and hosts as well as Bird’s fluid identity and exceptional openness towards the alterity of Japanese culture. It also carries out a textual analysis of Itō no koi (Itō’s Romance) (2005), a retelling of Bird’s journey from Ito’s perspective by the twenty-first-century Japanese writer Nakajima Kyōko. It argues that Nakajima’s rewriting accords Bird and her contemporary Japanese women literary afterlife through their intergenerational female friendship. It also presents a thorough critique of the traditional androcentric paradigm of survival and friendship. It thus indicates the exciting possibility of travel writing in the field of world literature.

How Sushi Became Popular in Italy The Role of Producers and Consumers

The diffusion of sushi in Italy is linked to the globalisation of sushi chefs and to the globalisation of fish markets that allows people to buy every kind of fish they need, without thinking about the damages they could provoke. The consumption of sushi underlines also the diffusion of Japanese cultural elements and the fascination for Japanese culture in Italy. In general, sushi is not only linked to economic strategies adopted by chefs and restaurant managers, but also to the diffusion in Italy of other Japanese cultural elements.

The virtual cultural tourist: Film-induced tourism and Kubo and the Two Strings

Over the past two decades, there has been growing research in film-induced tourism. Much of this research is focused on how film influences tourist destination choices. There has been less emphasis, however, on the nature and types of movies that may induce this attraction to such locations. By examining Kubo and the Two Strings (Knight, 2016), a stop-motion animation produced by Laika Studios, this paper aims to apply film studies to explore current understandings of film-induced tourism. This paper argues that Kubo is itself a form of film-induced tourism by positioning the viewer as a virtual cultural tourist whose cinematic experience may be likened to a veritable media pilgrimage through Japanese culture, history and aesthetics. The movie introduces the viewer into an imagined world that borrows from origami, Nō theatre, shamisen music, obon rituals and Japanese symbolism, philosophy and mythology. The resulting pastiche is a constructed diorama that is as transnational and postmodern as it is authentic and indigenous.

Cute at an older age: A case study of Otona-Kawaii

The word kawaii, meaning ‘cute and sweet’ in English, has been part of the Japanese culture for centuries. While the word and trend were historically associated with young women and children, there has recently been an attempt to expand the definition of kawaii outside of its traditional borders to other age and gender groups by creating uniquely synthesised words and trends. The newly coined term otona-kawaii [‘adult-cute’] refers to mature women who passed their teen years and continue to dress cute and behave innocent and adorable. In this paper, a focus will be taken upon the new concept of otona-kawaii, and how it is defined and evaluated by the Japanese people. Results of a recent survey conducted among 717 male and female respondents between the ages of 18 to 29, showed that many of them were in favour of the idea of behaving cute at an older age. It was also found that women were more familiar with the term otona-kawaii and had a more positive approach towards it than men. The results of the study suggest that kawaii can be extended beyond infants and may apply to other age populations, such as mature women. The aim of this study is to bridge the gap between kawaii and maturity by providing some empirical evidence and information, bringing to a deeper understanding of the concept of kawaii, contributing to the scholarship of the kawaii culture in Japan.

Undermining the gendered genre: Kabuki in manga

According to Jaqueline Berndt, Thomas LaMarre, and other critics, manga is a highly participatory media form. Narratives with vibrant characters and creative inconsistences in the plotline encourage the reader to recontextualise the text, create new contents and unfold activities which go beyond reading (such as fan art and CosPlay). Recent popularity of manga about Japanese traditional arts – for example, Kabuki – further expanded the potential interaction with manga and other popular media to include (re)discovering traditional Japanese culture. Examples, such as Kabukumon by Tanaka Akio and David Miyahara (Morning 2008-2011), or Kunisaki Izumo no jijō by Hirakawa Aya (Weekly Shōnen Sunday 2010-2014) and a variety of other manga, anime and light novels exemplify this tendency. Consequently, influential franchises, such as Naruto and One Piece boast adaptations as Super Kabuki stage-plays. Furthermore, Jessica Bauwens-Sugimoto observes how thematic and stylistic overreaching in contemporary manga further distort the notions of the gendered genre that lays at the foundation of the manga industry. In this case, Kabuki theatre as a theme employs a variety of gender fluid characters and situations. For this purpose, Kabuki manga utilise cross-genre narrative and stylistic tropes, from overtly parodying borrowed tropes, to homage, and covert inclusions. On the example of Kabuki-manga I will explore a larger trend in manga to employ elements of female genres in male narratives, thus expanding the target readership. My paper explores specific mechanism that facilitates reading manga cross-genre, I also inquire what novel critical potential thematic and stylistic exchange between audiences may entail.

Exploring the Irony in Japanese Popular Culture. A Cross-Cultural and Linguistic Analysis.

The present study addresses the status and use of irony in Japanese popular culture by closely examining its’ cultural variations on a corpus consisting of ironic utterances and situations from three popular culture media: Japanese drama, anime, and manga. While it is likely that Western popular culture abounds in ironic aesthetics and standpoints, the concept of “irony” faces cultural reconstruction within Japanese culture and society, a fact easily reflected in national media and cinematographic productions. In such cases, the cultural and linguistic distance between Japanese and English, and the striking difference, which exists between these two geographical and cultural contexts, increase the challenge interposed by the understanding and interpreting of irony. Moreover, on a conversational level, ironizing one’s communication partner is considered socially unacceptable and penalised accordingly. It stands against the much-expected politeness and traditional Japanese concepts such as “honne” and “tatemae,” which, if preserved, can create harmony in communication. In conclusion, the ambiguous definition of irony, together with the negative perception and reluctance of Japanese people towards its usage, has contributed to frequently branding irony strictly as a Western phenomenon. However, as the present research attempts to demonstrate, the usage of irony in Japanese popular culture embraces multifarious approaches, and it extends to reach the borders of semantics.