J a p a n e s e    C u l t u r e

Modern and Traditional Japanese Culture: The Psychology of Buddhism, Power Rangers, Masked Rider, Manga, Anime and Shinto. 在日イギリス人男性による日本文化論.

Wednesday, July 09, 2014


Visual Conscience Displayed Visually

Visual Conscience Displayed Visually
In this all too Japanese ukiyoe - picture of the floating world - admonishing "kogaeshi" (lit. "returning ones child) or the practice of infanticide, a Japanese mother is shown in the act of killing her unwanted child even as she thinks, pictorially, of her judgement by Enma, the Japanese St. Peter, at the gates of hell (rather than heaven), who will look in his book (enmachou) as St. Peter also does, and then show her deed in his mirror-come-DVD or her whole life, which St. Peter does not do.

In the DVD come mirror of her conscience the woman's face is transformed into that of an ogre.

The Japanese have a visual, rather than linguistic conscience, and their self esteem is stored and cognised largely in their self-appraisal (generalised other's/impartial spectator's/ superego's appraisal) of their own face.

Labels: , , , , , , , , , , , , ,


Gaze Synchrony even during Sex

Shared Gaze even during Sex
Osamu Kitayama points out that there are many Japanese woodblock prints - Ukiyoe or Pictures from the Floating World - which feature the shared gaze of children and mothers. These images of mothers and children often feature mothers drawing their child's attention to some fleeting "floating" phenomenon such as cherry blossom, bubbles, or a kite. In this pornographic image - Shunga - both parents are watching their son's paper plane as they engage in mutual masturbation.

Professor Kitayama almost but does not quite reach the conclusion that I would like him to reach that, Japanese here pictured and viewing, are always still gazing with mother because they have simulated the gaze of their mother in their minds.

北山先生は、共に見ることが日本人の成長過程や 精神構造について何かを表していると、母親たちが風船やシャボン玉などの浮いているはかない物を子供に見せながら子供と共に見ていることが浮世絵で表されていると、子供たちがオヤジ顔で、浮世絵を眺めているオヤジを表していると、共に見ることが小津の映画などの現代の芸術表現でも繰り返されているとしかし、何を表しているかについては語っていません。それは優しいです。共視論ご発表の3年ぐらい前に、北山先生に拙い逆ラカン理論を口頭で北山先生が久留米の石橋文化センターで講演会を行う直前(直後)に説明させていただきました。


しかし、日本文化について評論する森有正や、日本人についての実証的研究(Kanagawa, Cross, & Markus, 2001)では、日本人は社会から離脱している「第三者」を形成していないと思われる。


このお化けのような内面的な他者の仕組みや自己の二重性に気付いてしまうと、自己の存在を支えている偽りが見えて、自己の死を意味することですので、ほんとうに恐ろしいです。欧米のホラーでは言語的な呪文などの中から、死神やゾンビーが登場するが、日本のホラーではお化けの女性(サダコなどなど)がイメージから出て、日本人をイメージに化しています。バルタン聖人も。JU-ON(The grudge)ではKayakoが現像液の中から現れて、男を現像液に連れ込むシーンが好き。

Bakhtin, M. M. (1986). Speech Genres and Other Late Essays. (V. W. McGee, Trans., C. Emerson & M. Holquist, Eds.) (Second Printing.). University of Texas Press.
Freud, S. (1913). Totem and taboo. (A. A. Brill, Trans.). New York: Moffat, Yard and Company. Retrieved from http://en.wikisource.org/wiki/Totem_and_Taboo
Kanagawa, C., Cross, S. E., & Markus, H. R. (2001). ‘Who am I?’ The cultural psychology of the conceptual self. Personality and Social Psychology Bulletin, 27(1), 90–103.
Mead, G. H. (1967). Mind, self, and society: From the standpoint of a social behaviorist (Vol. 1). The University of Chicago Press.
Smith, A. (1812). The theory of moral sentiments. Retrieved from http://books.google.co.jp/books?hl=en&lr=&id=d-UUAAAAQAAJ&oi=fnd&pg=PP18&dq=%22The+Theory+of+moral+sentiments%22&ots=mjeEAFSIge&sig=LNXhHkNjKAWc2r9r_KiRDFxn_Pg
北山修. (2005). 共視論. 講談社.
森有正. (1999). 森有正エッセー集成〈5〉. 筑摩書房.

Labels: , , ,

This blog represents the opinions of the author, Timothy Takemoto, and not the opinions of his employer.