Carolyn Stevens – författare

Japanese popular culture has been steadily increasing in visibility both in Asia and beyond in recent years. This book examines Japanese popular music, exploring its historical development, technology, business and production aspects, audiences, and language and culture. Based both on extensive textual and aural analysis, and on anthropological fieldwork, it provides a wealth of detail, finding differences as well as similarities between the Japanese and Western pop music scenes. Carolyn Stevens shows how Japanese popular music has responded over time to Japan's relationship to the West in the post-war era, gradually growing in independence from the political and cultural hegemonic presence of America. Similarly, the volume explores the ways in which the Japanese artist has grown in independence vis-à-vis his/her role in the production process, and examines in detail the increasingly important role of the jimusho, or the entertainment management agency, where many individual artists and music industry professionals make decisions about how the product is delivered to the public. It also discusses the connections to Japanese television, film, print and internet, thereby providing through pop music a key to understanding much of Japanese popular culture more widely.

Japanese popular culture has been steadily increasing in visibility both in Asia and beyond in recent years. This book examines Japanese popular music, exploring its historical development, technology, business and production aspects, audiences, and language and culture. Based both on extensive textual and aural analysis, and on anthropological fieldwork, it provides a wealth of detail, finding differences as well as similarities between the Japanese and Western pop music scenes. Carolyn Stevens shows how Japanese popular music has responded over time to Japan's relationship to the West in the post-war era, gradually growing in independence from the political and cultural hegemonic presence of America. Similarly, the volume explores the ways in which the Japanese artist has grown in independence vis-à-vis his/her role in the production process, and examines in detail the increasingly important role of the jimusho, or the entertainment management agency, where many individual artists and music industry professionals make decisions about how the product is delivered to the public. It also discusses the connections to Japanese television, film, print and internet, thereby providing through pop music a key to understanding much of Japanese popular culture more widely.

Disability and chronic illness represents a special kind of cultural diversity, the "other" to "normal" able-bodiedness. Most studies of disability consider disability in North American or European contexts; and studies of diversity in Japan consider ethnic and cultural diversity, but not the differences arising from disability. This book therefore breaks new ground, both for scholars of disability studies and for Japanese studies scholars. It charts the history and nature of disability in Japan, discusses policy and law relating to disability, examines caregiving and accessibility, and explores how disability is viewed in Japan. Throughout the book highlights the tension between individual responsibility and state intervention, the issues concerning how care for disability is paid for, and the special problem of how Japan is providing care for its large and increasing population of elderly people.

This book argues that sound – as it is created, transmitted, and perceived – plays a key role in the constitution of space and community in contemporary Japan. The book examines how sonic practices reflect politics, aesthetics, and ethics, with transformative effects on human relations. From right-wing sound trucks to left-wing protests, from early 20th century jazz cafes to contemporary avant-garde art forms, from the sounds of U.S. military presence to exuberant performances organized in opposition, the book, rich in ethnographic detail, contributes to sensory anthropology and the anthropology of contemporary Japan.

In the twenty-first century, the concept of internationalisation remains a crucial tool for understanding the dynamics of globalising processes. It draws attention to the dimensions of conscious action in inter- and trans-national phenomena, connecting globalisation with individuals’ experience of everyday life. This book explores how internationalisation is imagined, discussed and operationalised in Japan and surrounding countries. The chapters focus on educational, leisure and cultural activities, fields which are often overlooked in favour of economic and political developments in the literature. The conclusion reflects on the concept of internationalisation and assesses how it is likely to develop in Japan in future, taking into account the impact of the Great East Japan Earthquake of 2011.

In the twenty-first century, the concept of internationalisation remains a crucial tool for understanding the dynamics of globalising processes. It draws attention to the dimensions of conscious action in inter- and trans-national phenomena, connecting globalisation with individuals’ experience of everyday life. This book explores how internationalisation is imagined, discussed and operationalised in Japan and surrounding countries. The chapters focus on educational, leisure and cultural activities, fields which are often overlooked in favour of economic and political developments in the literature. The conclusion reflects on the concept of internationalisation and assesses how it is likely to develop in Japan in future, taking into account the impact of the Great East Japan Earthquake of 2011.

This book argues that sound – as it is created, transmitted, and perceived – plays a key role in the constitution of space and community in contemporary Japan. The book examines how sonic practices reflect politics, aesthetics, and ethics, with transformative effects on human relations. From right-wing sound trucks to left-wing protests, from early 20th century jazz cafes to contemporary avant-garde art forms, from the sounds of U.S. military presence to exuberant performances organized in opposition, the book, rich in ethnographic detail, contributes to sensory anthropology and the anthropology of contemporary Japan.