Search

Traditionally, factions and seniority determined who became President of the Liberal Democratic Party (LDP) and, thus, Japan's Prime Minister. Since the electoral reform of 1994, however, some scholars have argued that the role of factions has declined, and this has led to ongoing debates over the extent to which factions and other factors have helped determine who will become the leader of Japan's LDP. Using data from the 2021 LDP Presidential election, we find that it is not policy but factional affiliations that matter for LDP members in selecting their leader. In addition to this finding, we disaggregate faction and show that the influence of this political institution in LDP Presidential elections varies across different factions. We also find that electorally weaker LDP incumbents are more likely to support a candidate who is more popular among Japanese voters in general. [ABSTRACT FROM AUTHOR]

For decades, the Japanese Ministry of Agriculture has implemented various measures to ensure a stable food supply, considering food security a top priority due to the increasing uncertainty of the global economy. However, the ministry's food security policy has evolved substantially with a disproportionate focus on the domestic production of specific food products. This policy change occurred without being widely recognized by the public, media, or intellectuals. Why has the Agricultural Ministry's policy changed even though its goal has remained the same? By applying both qualitative and quantitative research methods, we investigated the context behind this obscure policy transition. Our findings reveal that, contrary to conventional understanding, this policy shift occurred not so much due to political pressure from the agricultural sector, but mainly because of a change in the definition of a key policy concept (i.e., the food self‐sufficiency rate) in the late 1980s. [ABSTRACT FROM AUTHOR]

Copyright of Relaciones Internacionales (1699-3950) is the property of Autonomous University of Madrid, Spain, International Relations Studies Group (GERI) Law Faculty and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Relaciones Internacionales (1699-3950) is the property of Autonomous University of Madrid, Spain, International Relations Studies Group (GERI) Law Faculty and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Relaciones Internacionales (1699-3950) is the property of Autonomous University of Madrid, Spain, International Relations Studies Group (GERI) Law Faculty and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Despite the pervasive social constructivist turn, regardless of some exceptions, discussions of race, racialization and racism continue to focus on the relatively essentialist White/non-White binary. In this article, I move from the White/non-White binary to consider the dynamics and practices of racialization, racism and racial conflicts in Japan where there are no phenotypical distinctions between the dominant and the main racialized minority groups – the Burakumin, the Ainu, the Okinawans, the Zainichi Koreans and the Chinese. The main argument made in this article is that in Japan, class and power inequalities generated by colonialism, the division of labour, adoption and the deployment of the dominant Western 19th-century discourse of 'scientific racism' contributed to 'racial formations', 'racial projects' and the construction of the racialized boundaries that fuelled and continue to compete over material and non-material resources. A historical sociology of the permanent dialectic between class and race in Japan is offered in this article. [ABSTRACT FROM AUTHOR]

Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Interventions Économiques is the property of Association d'Economie Politique and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La presente investigación ofrece un estudio comparado entre España y Japón sobre la reducción del riesgo de desastres desde dos conceptos que consideramos fundamentales: la cultura preventiva y la gestión del riesgo de desastres, para lo que se valora la educación en todos sus ámbitos (formal, no formal e informal) como nexo fundamental entre dichos conceptos. La selección de Japón para la comparación con España responde a la estimación como referente internacional de su sistema de gestión de riesgos de desastres, en el que se incluye la educación para la reducción del riesgo de desastres y un mayor desarrollo de la cultura preventiva en relación con la de España.

Prensas de la Universidad de Zaragoza edita el primer manual de grabado en madera japonés en castellano, escrito por la artista y docente Fabiola Gil Alares. Esta obra se articula en varias secciones, partiendo de una introducción histórico-artística sobre la estampa japonesa, efectuada por el profesor David Almazán, seguida de varios bloques que describen los procesos, desde la preparación del diseño y la talla de la madera hasta la estampación de la matriz, e introducen nuevos consejos y recursos nunca antes descritos. El libro se complementa con ilustraciones creadas por la autora, que ayudan a la comprensión de las explicaciones, así como materiales audiovisuales complementarios.

Japón: el cansancio de una nación, escrito por Carlos Maya-Ambía, aplica el marco teórico propuesto por el filósofo coreano Byung-Chul Han para las sociedades modernas a la sociedad japonesa. De esta forma, la obra identifica una serie de fenómenos que considera como síntomas del cansancio al que alude Han. Una identificación que se fundamenta en las particularidades propias del caso de estudio (Japón) y en los elementos que son comunes a las sociedades modernas.

O culto do chá, obra escrita por Wenceslau de Moraes y publicada en 1905, nos introduce en los rituales relacionados con el cultivo y preparación del té en Japón; durante la narración, con un profundo sentimiento lírico, el autor nos va «pintando» cuadros bucólicos de paisajes y estancias y nos ofrece un retrato psicológico de los personajes que pueblan sus relatos y de la sociedad japonesa en general.

El objetivo de este estudio es presentar los orígenes y el desarrollo del hispanismo en Japón desde la aparición de la primera clase de español en la enseñanza superior, a finales del siglo xix, hasta la publicación de las primeras traducciones directas de literatura española, en la década de 1920. Este trabajo permitirá visualizar la importancia de las Filipinas e Hispanoamérica –México y Perú especialmente– como catalizadores de la demanda inicial de cursos de español, así como el papel inestimable del escritor Vicente Blasco Ibáñez como impulsor de las traducciones directas.

El presente artículo de investigación tiene por objeto el análisis de los fondos de arte japonés de la Colección SOLO, uno de los conjuntos de arte contemporáneo más importantes en Europa. Esta colección fue creada en España la segunda década del siglo XXI y, a día de hoy, posee obras de artistas de todo el mundo; una particularidad, puesto que la mayoría de las colecciones en este país, bien sean de carácter público o privado, suelen contar principalmente con fondos de artistas nacionales, europeos u occidentales. En el caso de la Colección SOLO, destacan especialmente los artistas asiáticos y, entre ellos, los japoneses con 112 piezas de 22 autores, muchos de ellos de primera fila. Además de resaltar este conjunto, los artistas y sus obras presentes en él, este estudio pretende poner en valor la práctica del coleccionismo de arte contemporáneo nipón, ya que ofrece una ventana a la historia y la cultura contemporánea japonesa. A través de las colecciones de arte japonés podemos conocer la evolución de los vínculos o relaciones que Japón y España han establecido a lo largo del tiempo y, por otra parte, mediante las piezas, la particular visión que se tiene de una misma historia, en la mayoría de los casos contadas bajo el prisma occidental.

Permeada por memorias traumáticas y recla­mos de reconocimiento y compensación del pasado colonial, la relación bilateral entre Corea del Sur y Japón experimentó tensio­nes intensas durante las administraciones de Park Geun-hye (2013-2017) y Moon Jae-in (2017-2022). Park estipuló que el reconoci­miento del pasado colonial sería un requi­sito para mejorar las relaciones con Tokio, y el Acuerdo de las Mujeres de Confort, firmado inesperadamente, tuvo su legiti­midad cuestionada. Durante su mandato, Moon invalidó el Acuerdo de las Mujeres de Confort y exigió una resolución centrada en las demandas de las víctimas, además de abogar para que las empresas japonesas compensaran a los surcoreanos obligados a trabajar en sus instalaciones durante la colonización. En un panorama diferente, el gobierno conservador de Yoon Suk-yeol (2022-presente) adoptó una postura de rees­tructurar las relaciones entre Corea del Sur y Japón sin criticar los efectos de la colo­nización o buscar el reconocimiento de la responsabilidad de este país. Esta investiga­ción analiza cómo las administraciones de Park, Moon y Yoon han manejado la agenda colonial en la política exterior surcoreana, resultando en fricciones o acercamientos con Japón. Se argumenta que Park intensi­ficó los agravios históricos, incluso después del Acuerdo de las Mujeres de Confort, debido a su enfoque insatisfactorio. Moon, centrado en sanar las heridas coloniales, enfrentó fricciones diplomáticas, económi­cas y de seguridad ante la negativa de Japón a revisitar el pasado. Por último, Yoon, al buscar la reconciliación con Japón, logró un acercamiento en un tono de sumisión, socavando las reclamaciones de justicia de las víctimas.

El objetivo del presente artículo es realizar un estudio comparativo de las políticas de Japón y China hacia América Latina, con el fin de identificar estrategias y acciones para fortalecer los vínculos entre las regiones. Se llevó a cabo un exhaustivo análisis documental de las políticas y estrategias de ambos países hacia América Latina, utilizando fuentes primarias y secundarias como discursos oficiales, documentos gubernamentales, informes de think tanks y medios de comunicación. Los resultados de la investigación revelaron que tanto Japón como China buscan fortalecer sus relaciones con América Latina a través de la expansión del comercio, la inversión y la cooperación en áreas como la infraestructura y la energía, aunque con enfoques diferentes. Japón se centra en programas de asistencia y cooperación técnica, estableciendo alianzas estratégicas con países claves de la región como México y Brasil, mientras que China adopta un enfoque más pragmático, priorizando las negociaciones comerciales y la inversión directa, buscando diversificar sus relaciones a través de acuerdos con un mayor número de países latinoamericanos. En conclusión, a pesar de que Japón y China persiguen objetivos similares de expansión en América Latina, sus enfoques difieren significativamente, lo que podría tener impactos importantes en esta área geográfica en términos de desarrollo económico e influencia geopolítica.

En pleno siglo XXI, la correcta aplicación de la Diplomacia Económica representa una prioridad en la proyección de la política exterior de los Estados. A la par, simboliza un objetivo común para los países en desarrollo reforzar sus relaciones económicas y comerciales. La República de Angola, posterior a la llegada a la presidencia de João Lourenço en 2017, se ha centrado en implementar políticas que permitan incrementar su desarrollo económico. De tal forma, impulsa la Diplomacia Económica en las relaciones bilaterales con varios países, entre ellos Japón. A 48 años de establecidas sus relaciones bilaterales, ambos países tienen un alto intercambio comercial, que supera los 500 millones de dólares, destacando la realización de proyectos en áreas como la remoción de minas, infraestructuras, energía, agricultura, educación y salud.

Desde los primeros contactos entre España y Japón, una de las facetas que más ha llamado la atención del país del sol naciente es todo lo relacionado con la nobleza guerrera o clase samurái, buscando en sus armas la máxima expresión de este ideal. Cuando los coleccionistas españoles se percataron que, además del valor histórico-antropológico que tenían las armas japonesas, existía un valor artístico de una factura exquisita, todos los ojos se volvieron hacia Japón. Con el inicio de relaciones diplomáticas entre España y Japón a mediados del siglo XIX, empezaron a llegar a nuestro país varios sables japoneses, muchas veces de manos de militares destinados en la zona. En este artículo analizaremos estas armas presentes en los museos del ejército (de tierra) español, estableceremos unas pautas de catalogación y presentaremos su actual estado de conservación y ofreceremos una serie de consejos para su correcta preservación.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Japan has been a country of interest and curiosity in our country since ancient times, and various articles have been written about it, both in literary works and in media. While the first information about Japan appeared in the 11th century, the first news was made in the 19th century. In the first news published in the newspaper Ceride-i Havadis, general information about Japan was given. After this news, articles on Japan started to be written not only in newspapers but also in magazines. During the Republican Era, news about Japan continued to be conveyed to the readers. News about the political situation of Japan, which was the superior power in the Far East, was heavily written in the newspapers. This study is focused on Japan in the context of Hakimiyet-i Milliye, one of the most important newspapers of the Republican Era. The years from 1929 to 1934 were chosen as the time period. It was tried to examine which news items on Japan were covered in the specified date range. As a result of the study, it has been seen that even the smallest detail about Japan was conveyed to the readers in the newspaper. It has been concluded that the newspaper's pages titled "Latest News", "Latest News from Outside" and "Curious Pages" have a high concentration of short news on Japan. [ABSTRACT FROM AUTHOR]

Dany Laferrière has demonstrated a continuous engagement with Japan, beginning with the novel Éroshima in 1987 and continuing to his most recent publication in 2021, Sur la route avec Bashō. The aim of this article is to understand what role Japan plays within Laferrière's writing and how it helps us understand the complex network of sex, power, and race in his work. Between the cosmopolitanism of the network of nation-states and the despair of identity politics, I situate Laferrière's use of Japan as a fantasy that empowers the writer beyond the impasse of a white-black racial imaginary. Reading Laferrière this way allows us to understand how his writing uses the fantasy of the Orient, often to the detriment of Asian women. As such it contributes to comparative work between Asian and French literatures, debates in Francophonie, and critical understandings of race in the Francophone sphere of the Americas. [ABSTRACT FROM AUTHOR]

This article explains the role of political parties in influencing a democratic state's international security cooperation policy. It focuses on Japan's expanded security cooperation with Southeast Asian countries pushed by the Liberal Democratic Party (LDP) under Prime Minister Shinzo Abe. The LDP as the ruling party saw Japan's expanded security cooperation with Southeast Asian countries as an effort to success Abe's "Take Back Japan" campaign and to overperform the previous Democratic Party of Japan (DPJ) administration. Moreover, Japan was able to expand its security cooperation with Southeast Asian countries because LDP and its junior coalition partner New Komeito, using its preliminary review system in foreign and security policy making, and its stable power in parliament, were able to pass security legislations allowing Japan's to have more security cooperation with Southeast Asian countries. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Montes is the property of Colegio y Asociación de Ingenieros de Montes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ayer: Revista de Historia Contemporánea is the property of Asociacion de Historia Contemporanea and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El presente artículo tiene como objetivo introducir al lector en la presentación y análisis del “calikanjigrama”. Un término inventado por Noni Lazaga para designar sus poemas visuales, creados a partir de la deconstrucción de los kanji o ideogramas japoneses, y que la artista define como “caligrama de kanji”. A través un análisis sintáctico, semántico y filológico, con imágenes de las obras, se define el concepto de “calikanjigrama”, se explican las técnicas y el proceso creativo llevado a cabo. Se muestran modelos, tipologías y líneas de investigación desarrolladas por Lazaga desde su origen, en 2017, hasta la actualidad. Asimismo, se introducen los libros y otros formatos de publicaciones en los que aparecen citados, así como las exposiciones realizadas con los dibujos originales y el análisis filológico de autor Y. Como conclusión se extrae que en los “calikanjigramas”, Lazaga realiza un trabajo en el que relaciona dibujo, poesía visual y escritura japonesa. En su investigación interdisciplinar X e Y coinciden, a través de un análisis que entrelaza la estética oriental y occidental, en destacar resultados estéticos y conceptuales innovadores.

El presente artículo se inscribe dentro de la reflexión sobre la serie de animación japonesa Hakuoki Shinsegumi Kitan (Idea Factory, 2010), una adaptación de una saga de videojuegos otome con el nombre Hakouki. La narrativa se sitúa en la era Edo donde la protagonista, Chizuru, se ve obligada a vestirse de hombre y vivir bajo las reglas de los miembros del Shinsengumi, una de las últimas fuerzas policiales del período del Shogunato Tokuwaga. A partir de un enfoque interdisciplinar, analizaremos cómo la animación de esta serie japonesa traduce y modeliza la cultura otaku a partir de tres componentes fundamentales: emoción, historia y estética.

À partir d'un entretien avec François Laplantine, anthropologue, professeur émérite de l'université Lumière Lyon 2, il s'agit d'explorer les principaux jalons de son parcours, de la philosophie du mal à l'anthropologie de la maladie et à l'ethnopsychiatrie, en particulier l'ethnopsychiatrie psychanalytique, puis des travaux sur le Brésil et le Japon à une centration sur la thématique de la création artistique. La méthode consiste en un entretien réalisé avec François Laplantine. Les questions concernent d'abord sa formation personnelle, puis les raisons de l'évolution des thèmes sur lesquels portent ses ouvrages et enfin sur son exploration de divers champs de la création, littérature, cinéma, théâtre et danse contemporaine. François Laplantine évoque son passage de la philosophie du mal, avec sa première thèse en philosophie sous la direction de Paul Ricœur, à l'anthropologie de la maladie, avec la rencontre de Devereux. Il décrit ses travaux sur la question des métissages, puis son passage de la psychanalyse à une initiation au Candomblé au Brésil, pratique du multiple qu'il rapproche de différentes formes du théâtre en France. Il parcourt alors l'évolution de ses écrits, à partir de ses explorations au Brésil et au Japon, vers la création artistique, notamment la littérature, la musique, la danse, le cinéma. Il évoque l'œuvre de nombreux artistes et aussi différents types de mises en scène des catastrophes, notamment des mises en scène minimalistes dans le théâtre japonais, avec le Nō, le butô. La question du langage, de l'indicible et de l'invisible, apparaît au cœur de son travail par rapport à la création. Il évoque aussi ses travaux sur l'imaginaire, le hors-champ, ainsi que sur le temps et l'espace, en lien avec la problématique de la création. François Laplantine défend l'idée qu'une mission des arts contemporains est de tenter de dire la catastrophe ; il explore les limites du langage et avance que l'une des fonctions du théâtre et plus encore de la danse contemporaine consiste dans la mise en scène du drame de l'insuffisance du langage. Le recours à la création artistique s'impose comme une nécessité, dans la tension entre dire et montrer. L'exploration de la création artistique apparaît comme une voie royale pour un anthropologue comme François Laplantine. Based on an interview with François Laplantine, anthropologist and professor emeritus at the University Lumière Lyon 2, the aim is to explore the main milestones in his career, from the philosophy of evil to the anthropology of illness and ethnopsychiatry, in particular psychoanalytic ethnopsychiatry, then from work on Brazil and Japan to a focus on the theme of artistic creation. The method consists of an interview with François Laplantine. The questions deal first with his personal background, then with the reasons for the evolution of the themes on which his works are based, and finally with his exploration of various fields of creation: literature, cinema, theatre and contemporary dance. François Laplantine describes his transition from the philosophy of evil, with his first thesis in philosophy under the supervision of Paul Ricœur, to the anthropology of illness, with his encounter with Devereux. He describes his work on the question of métissages, then his transition from psychoanalysis to an initiation into Candomblé in Brazil, a practice of the multiple that he likens to different forms of theatre in France. He then traces the evolution of his writings from his explorations in Brazil and Japan to artistic creation, particularly literature, music, dance, and film. He discusses the work of many artists, as well as different types of staging of disasters, particularly minimalist stagings in Japanese theatre, with nō and butô. The question of language, of the unspeakable and the invisible, appears central to his work in relation to creation. He also discusses his work on the imaginary and the off-screen, as well as on time and space, in relation to the issue of creation. François Laplantine defends the idea that one of the missions of contemporary arts is to attempt to express catastrophe; he explores the limits of language and argues that one of the functions of theatre, and even more so of contemporary dance, is to stage the drama of the inadequacy of language. Recourse to artistic creation is a necessity, in the tension between telling and showing. Exploring artistic creation appears to be a royal road for an anthropologist like François Laplantine. [ABSTRACT FROM AUTHOR]

This article is part of the reflection on the Japanese animated series Hakuoki Shinsegumi Kitan (Idea Factory, 2010), an adaptation of an otome video game saga with the name of Hakouki. The narrative places us in the Edo era where the protagonist, Chizuru, is forced to dress as a man and live under the rules of the members of the Shinsengumi, one of the last police forces of the Tokuwaga Shogunate period. From an interdisciplinary approach, we will analyze how the animation of this Japanese series translates and models otaku culture based on three fundamental components: emotion, history, and esthetics. [ABSTRACT FROM AUTHOR]

Associated with Japan, anime is an artistic-communicational language based on animation. While its definition is widely discussed, some authors agree that “anime may not necessarily denote animation from a specific country but rather indicates a way of positioning images and information onscreen and how viewers interact with them” (Brian Ruh). Particularly in Japan, after World War II, with the U.S. occupation and the bombing of Nagasaki and Hiroshima, a literary tendency is gestated on this traumatic scenario that relates adult failure, the destruction of the world and the survival of a group of young people impregnated with imported ideals linked to freedom and democracy, in a context in which tradition failed but did not disappear. Kill la Kill is an animated production that can be labeled in this trend: it introduces an extraterrestrial creature called Life Fiber, which has contributed to the development of humanity and now threatens to destroy it; a group of young people must fight it from different ideological fronts, except that the invader will also be an ally. This paper will analyze the thematic relations that occur in the encounter between humans and ‘life fibers’, starting from epistemological coordinates coming from posthumanist and transhumanist philosophy – Monica Cragnolini, Donna Haraway, Giorgio Agamben – and the representations constructed from the category of ‘monster’ – Julia Kristeva, Robin Wood, Jefrey Cohen –, that plurisignificant figure related to ‘the other’, characterized as different and that must be annihilated or assimilated. Who is the monster and in what way should it be confronted? [ABSTRACT FROM AUTHOR]

If it can be said for certain that dramatization is intimately part of Araki Nobuyoshi's works, then how the use of this detachment from objectivity - believed to be inextricably bound up with the photography as a media - becomes a component of an aesthetic language in itself? The sprawling work Tokyo Lucky Hole shows, with a bold brightness that recalls Walker Evans' "documentary style", much more than a mere immersion in Tokyo Kabukichō's clubs and peepshows. Accordingly, the nude body - feminine, even masculine - seizes the main place of Araki's work through his models' acting. By means of three different analysis lines, we will discuss in this essay the importance of bodies position (clothed, then naked) in this unusual work, whether this position is internal or external to the image. Bodies positioning seems to convey a major meaning through their juxtaposition or repetitions, which could ultimately be understood firstly as the medium of the language of pseudo-objectivity, and secondly as the indicator of some social criticism. [ABSTRACT FROM AUTHOR]

Using the relational identity perspective of critical constructivism, it is proposed that Japan's national identity (i.e., the state narrative) has been a political construction made by decision-making leaders, and has been established on selectively replicating foreign entities, with the aim of providing order and legitimation to the authorities while pursuing a distinctive nationalist narrative. In the Edo period with China, in the imperial era with the West, and in the post-war phase with the United States; It is observed that there continually exists a teacher o "civilized center" (Hua) who exerts great influence over the country, and that Japanese leaders seek to selectively replicate, while maintaining a particular notion of national identity. The great temporal extension of the research is defended, arguing the nature of the objective as well as the importance of a broad and different view other than modern State-centrism in International Relations. [ABSTRACT FROM AUTHOR]

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Foreign Languages / Revista Internacional de Lenguas Extranjeras is the property of Universitat Rovira I Virgili and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humania del Sur: Revista de Estudios Latinoamericanos, Africanos y Asiáticos is the property of Humania del Sur. Estudios Latinoamericanos Africanos y Asiaticos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humania del Sur: Revista de Estudios Latinoamericanos, Africanos y Asiáticos is the property of Humania del Sur. Estudios Latinoamericanos Africanos y Asiaticos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humania del Sur: Revista de Estudios Latinoamericanos, Africanos y Asiáticos is the property of Humania del Sur. Estudios Latinoamericanos Africanos y Asiaticos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Humania del Sur: Revista de Estudios Latinoamericanos, Africanos y Asiáticos is the property of Humania del Sur. Estudios Latinoamericanos Africanos y Asiaticos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El análisis de diversos casos de representación de la arquitectura de vivienda japonesa contemporánea y la utilización del dibujo como herramienta de conocimiento etnográfico permiten razonar sobre mejor modo de presentar la compleja realidad de una casa, en relación con el contexto en el que se sitúa. De esta forma se establece una reflexión en torno al método de representación adecuado para exponer la relación entre la vivienda ensamblada ligera, la ciudad densa y el espacio intersticial.

Abstract In 1986, the Japanese architect Osamu Ishiyama published the book Warau Jūtaku (Laughing House), where he humorously aimed to demonstrate that the houses he designed could be built for less than the average price of a typical house at that time. A decade prior, following the advice of his teacher Kenji Kawai, he embarked on a series of trips to the United States, which eventually led to the production of a series of houses through his company Dam Dan. Ishiyama capitalized on the price difference in building materials by industrializing an assembly process through the importation of containers from North America. These experiences in the realm of assembly laid the foundation for what Ishiyama called Akihabara kankaku (Akihabara Sensibility). Inspired by the Akihabara market, the architect envisioned the home as a self-constructed artifact made from readily available components. Resumen En 1986 el arquitecto japonés Osamu Ishiyama publicó el libro Warau Jūtaku (Casa de la risa), en el que de una forma jocosa pretendía demostrar que las viviendas que diseñaba podían construirse por debajo del precio medio de una casa típica de la época. Una década antes, aconsejado por su maestro Kenji Kawai, comenzaba un ciclo de viajes a Estados Unidos que desembocarían en la producción de una serie de viviendas con su compañía Dam Dan. Ishiyama aprovechó la diferencia de precio de los materiales de construcción para industrializar un proceso de ensamblaje a través de la importación de contenedores desde Norte América. Estas incursiones en el mundo del ensamblaje cimentaron la idea de Ishiyama en torno a lo que llamó Akihabara kankaku (Sensibilidad Akihabara). El mercado de Akihabara inspiró la idea del arquitecto, de que la vivienda debía ser un artefacto autoconstruido a partir de componentes de fácil adquisición.

A partir de una investigación documental, este artículo tiene por objetivo ofrecer una reflexión sobre las dificultades que han tenido algunos proyectos latinoamericanos de política industrial para tener éxito en el contexto de la cuarta revolución industrial, contrastando con el caso de Japón. Se parte de una breve caracterización general de lo que han sido las revoluciones industriales y las características de la llamada Cuarta Revolución Industrial. Posteriormente, se presentan de forma puntual dos intentos latinoamericanos de generación de ecosistemas de innovación e implementación de políticas industriales de amplio alcance, uno mexicano y uno ecuatoriano, y sus fallos. Esto se contrasta con el proyecto japonés Sociedad 5.0 y se reflexiona sobre la importancia de reconocer los problemas estructurales de cada sociedad y de una colaboración estrecha entre actores socioeconómicos para plantear una política industrial que se inserte en el contexto y tendencias mundiales, pero que atienda a las problemáticas nacionales.

The Japanese Ministry of Foreign Affairs officially claims that Japan had discovered Takeshima (Dokdo) since the seventeenth century, but this article argues that quite to the contrary, Isotakeshima Oboegaki, a primary source that confirms Japan's recognition of Dokdo as Korean territory, clearly corrects this claim. Isotakeshima Oboegaki's importance can be explained in three ways. First, Japan's official position regarding Dokdo wrongly conflates different uses of "Takeshima" depending on historical context and ignores that it was because of a paucity of Japanese sources confirming Japanese ownership over Takeshima (Ulleungdo) and a comparative certainty from the Korean government, forcing a reluctant Bakufu to admit the deficit in historical evidence and order that Japanese fishermen cannot trespass into Ulleungdo. Second, Isotakeshima Oboegaki was not just a document of its time but a key primary source that the Meiji government invoked as undeniable evidence to officially declare in the Dajokan Directive that neither Dokdo nor Ulleungdo were under Japanese sovereignty due to a paucity of evidence. Finally, Isotakeshima Oboegaki terminates Japan's logic regarding Dokdo because it contradicts the Japanese Ministry of Foreign Affairs' claim of "original discovery" regarding Dokdo and Ulleungdo and corrects the mistaken notion of terra nullius. [ABSTRACT FROM AUTHOR]