This quantity acknowledges the transforming into understanding of the significance of pictures in diplomacy, exploring the phenomenon over 3 centuries because it pertains to Russia and Japan. the overall conception of 1 state by way of one other - the 'stereotypical collective mentality' - is an historical phenomenon that is still a primary part in diplomacy in any respect degrees, yet specifically within the political and enterprise arenas, and continues to be an ongoing problem for destiny generations. Bringing jointly overseas students from a number of disciplines, this leading edge learn focuses particularly on modes of seeing and at the enigma of visible adventure. It attracts on various visible representations from propaganda posters and cartoons to works of art and movies and to more moderen media, corresponding to tv, the net, pop-culture icons, in addition to direct visible encounters. the amount increases questions of the way diverse cultures notice, comprehend and characterize one another, how and why mutual representations have replaced or remained unchanged through the lengthy heritage of Japanese-Russian interactions, what psychological frameworks exist on each side of the come upon; and the way visions of otherness impression the development of nationwide, cultural and social identities.
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Additional info for Japan and Russia: Three Centuries of Mutual Images
Sample text
2 (Summer 1995) pp. 189–234. Maruko Poro, Toho kenbunroku (Accounts on Eastern Countries), Tokyo: Heibonsha, 1970. Ostensibly the book was written in 1298 and first published in French. Ivan Uzhevich, Grammatika slovianska (Slavic Grammar) 1, (Kiev, 1970). Kosmografiia 1670. Balasheva, 1878–81). 30 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Japan and Russia: Three Centuries of Mutual Images Gerardus Mercator, Atlas sive cosmographicae meditationes de fabricat figura, (Daisburg, Clevorum, 1595).
This chapter concentrates on the ‘Silver Age’ of Russian culture, or the period between the 1880s and the end of the 1920s and looks particularly at the influx of artistic motifs from Japan. This period follows the initial years of encounter with Japan as described in Michiko Ikuta’s chapter, but predates academic studies of Japan and Japanese culture. During this time images of Japan gradually entered and became ingrained in Russian art and literature. In the late nineteenth and early twentieth centuries, Russians came to understand Japan on different levels (high culture/low culture) and in different genres, forming a bright and expressive, albeit somewhat blurry, picture.
3). To some extent, views on Russia held by ordinary people can be grasped from the commentaries that Kodayu’s relatives attached to the exhibits. 25 In comparison with Japanese practices of seppuku and decapitation, punishment Changing Japanese-Russian Images in the Edo Period 19 in Russia seemed more rational and less cruel. However, Kodayu did not mention the fact that whipping often resulted in death, nor that such a method of punishment did not apply to the nobility. Nevertheless, by muting those facts Russia was presented to the Japanese as a country much to be admired.
