Jeanne Wakatsuki was a seven year old girl who survived The Bombing of Pearl Harbor. She was a normal young girl. She liked to watch the boats dock and go to school. However, one thing was missing in her life: her identity. She was a Japanese girl who didn’t embrace her culture. After 7 years of a normal life, Jeanne was forced to move to a Japanese ghetto on Terminal Island in Hawaii. She felt so out of place from what I could tell, and didn’t fit in because, again, she didn’t understand who she was. In this essay I will be explaining her journey to finding who she was.…
‘Lost in Translation’ is a film that explores the decisions made by two characters when they are stranded in a foreign country. It also shows how their circumstances ultimately shape the decisions that they make. The characters already exist in a highly globalised world, and furthermore, in one of the most technologically advanced cities on the planet – Japan. Although the film is set in this city, there is also an element of the local throughout the film. Japan’s juxtaposition of the new age and deep-rooted tradition becomes a focus throughout the film as the protagonists ultimately end up giving favor towards that global utopia they found with each other. The protagonists, Charlotte and Bob represent opposing sides of this; Charlotte the traditional, Bob the new age.…
Finding one’s identity can be a strenuous task, seemingly impossible at times in a world where many people live dependently on others. Joy Kogawa, a proud Japanese Canadian and the author of the award winning novel Obasan and its bestselling sequel Emily Kato (formerly Itsuka), is no stranger to the constant search for identity and individuality that so many people across the globe find themselves struggling to obtain. The reader witnesses her constant strain to develop confidence and to find the courage to voice her opinions to others throughout her two semi-autobiographical novels. Using writing as a gateway to her memories, Kogawa paints vivid illustrations of the ruthless prejudices she…
In Giles Milton’s novel, Samurai William, the reader is taken to the other side of the globe to experience the history of old world Japan. Though out the book, Milton provides reason for complex historical events and actions, while still communicating the subtleties and mysterious customs of the Japanese. The novel also closely examines the wide range of relationships between different groups of Europeans and Asians, predominantly revolving around the protagonist, William Adams. The book documents the successes and failures that occur between the two civilizations, then links them back to either the positive or negative relationship they have. As the book goes on, the correlation is obvious. Milton shows us the extreme role that religion, etiquette and trade played in establishing positive relations between visiting Europeans and the Asian civilizations.…
Tan’s word choice [diction] exposes her insecurity in her heritage and desire to be an average American teenager, in her opening. The author described traditional American food in an appealing way, “…roasted turkey and sweet potatoes…” but omitted any detail about “…Chinese food.” She labeled American manners as “proper”, but dubbed her relatives and their Chinese customs as “noisy”. The significance of this strategy lies in its ability to make the text relatable. The entire narrative relies on the author’s shared experience with the audience, being ashamed of their incongruity and their pursuit of normality.…
Jeanne is now reaching the developmental stage of her youth where she is learning the harsh truths of the world and formulating her own views and opinions of the world surrounding her. It is not until she encounters her differences in the form of subtle racism that she realizes that being Japanese is not something she can solely push away. She must accept her identity because that is what the society at the time forces her to do: “…I would be seen as someone foreign, or as someone other than American,” (158). She will always be an outsider looking in: unable to truly be one with the culture she so strongly identifies with. She may not even be acknowledged: “…I would…perhaps not be seen at all” (158). She cannot be seen at all representing how alone and invisible she feels in an environment beyond reproach at the time. It is interesting to see how desperate Jeanne is to join the environment that reproaches her for existing. Her acceptance of her Japanese ancestry is a very important transformation that will lead to a more complete fulfillment and understanding of her own…
N/A. Nakasendoway: A Journey to the Heart of Japan. 17 July 2011. October 2011 .…
On an ordinary Saturday afternoon, my sister and I made our way to 1st St. and Central Ave. from a failed attempt at another left-to-be-unnamed cultural epicenter, which was a very disappointing trip. Little Tokyo proved to be quite the opposite, as I was able to ascertain a much deeper understanding of the Japanese culture because of it, and at the same time was able to reflect on the differences and similarities of my Filipino heritage. From what I was able to gather, the Japanese and Filipino cultures have quite a few significant differences, but have more similarities than I originally anticipated.…
The story begins with Dina, a girl from a hardscrabble section of Baltimore with “boarded-up row houses the city had promised to renovate,” (210) relating to her reasons for moving to Japan. Aside from high yield economic opportunities that don’t exist in her neighborhood, she pines for a “loveliness” that Japan will offer through its ceremonious bowing, sashimi delicacies, calligraphy, and architecture. (211) Really what she is seeking is a respite from her former environment, where the creed is “Never advertise your poverty. Dress immaculately. Always smell good, not just clean.” (224) Once in Japan Dina soon finds herself in a community of people, also…
Likewise, Edward Zwick’s 2004 movie “The Last Samurai” portrays these same ideas about fulfillment within different societies and the consequences of “not fitting in”.…
"Even with all the mental anguish and struggle, an elemental instinct bound us to this soil. Here we were born; here we wanted to live. We had tasted of its freedom and learned of its brave hopes for democracy. It was too late, much too late for us to turn back." (Sone 124). This statement is key to understanding much of the novel, Nisei Daughter, written by Monica Sone. From one perspective, this novel is an autobiographical account of a Japanese American girl and the ways in which she constructed her own self-identity. On the other hand, the novel depicts the distinct differences and tension that formed between the Issei and Nisei generations. Moreover, it can be seen as an attempt to describe the confusion experienced by Japanese Americans torn between two cultures.…
The majority of Japanese immigrants began arriving in the United States toward the middle part of the 19th Century. These first Japanese immigrants passed down many characteristics of historic Japanese culture to subsequent generations, and these characteristics still abide in the Japanese American psyche (Easton & Ellington, 2010). Today, Japanese culture is prevalent in many areas of the Western U.S., most notably in the cities of Los Angeles, San Francisco, Portland, and Seattle. It is important for providers to understand that features of the historic Japanese culture remain within the mindset of Japanese Americans, and that these cultural characteristics influence the values, the communication practices, and the health care…
Gender is a particularly relevant subject in today’s culture, and Japan is undoubtedly part of the conversation. During the 1980s, Japan had a wave of economic boom and developments that still continue now. With it came the shifting mindsets and societal beliefs. Kitchen is a novella that brings great focus onto this progression in history through the lens of gender fluidity. Yoshimoto uses her characters as a way to express the emotions of the people who lived through the postmodern era.…
In the article “A Simple “Hai” Won’t Do” published in New York Times, April 15, 1992, Reiko Hatsumi begins by identifying herself as a person who has been absorbed both Asian and American cultures as well as expressing her sympathy to those who are confused by the usage of a Japanese word “hai”, which means “yes” in English. She is motivated by a story of her friend, who was suffered by a cultural shock and misjudged Japanese businessmen as “liars”. By using effective rhetorical strategies, Hatsumi successfully clarifies the variable meanings of “hai” in each context, and thus helps bridge the gap between different cultures and languages.…
As long as a language is produced from a human being, it inevitably reflects its speaker’s background (e.g., their birth, their generation, or their social class). Even if they use the same language such as English, Asians may hardly speak or write in the way British do. That being so, given the exceptional roots of Ishiguro as an English-language writer, it seems fairly understandable for many critics to assume that this idiosyncrasy (i.e., some remnants of Japan), more or less, affects his style of writing. For instance, when Ishigu-ro’s second novel, An Artist of the Floating World, won the Whitbread Book of the Year in 1986, Edward Behr, a British journalist, remarked in Newsweek that, “He is certainly a unique Whitbread…