‘Nihonjinron’(日本人論, theories/discussions about the Japanese), which emerged in the late 1960s and became popular, enabled a new meaning for the Japanese thanks to Japan's economic power. This Nihonjinron helped to make the Japanese people aware of the Japanese lineage as a homogeneous nation as if it were an immutable “truth”. The symbol of “single Japanese” naturally alienated all those who were classified as “non-Japanese”, not Japanese, as foreigners. It is not difficult to point out that the Japanese image of the time was a discourse of genderization, stratification, and racialization. But where have the “non-Japanese” beings hidden in Nihonjinron, which is wrapped up like a ethnically homogeneous society? Interestingly, the envy and longing for white people formed by actively accepting American culture at that time proceeded with the mixed-blood boom and half boom. Ironically, Nihonjinron, which has even assimilated racial prejudice due to the spread of a single-ethnic society, was paired with a “harp” discourse formed through a “biracial boom”. The harp discourse, which appeared like both sides of a coin, can be said to be a “another Nihonjinron” that complements and reinforces the image of Japanese people becoming racialized as a single people. In this presentation, I will look at the formation of the harp discourse, which served as another Nihonjinron. In addition, I will reconsider the racial theory of modern Japanese society by confirming the representations of mixed-race children who are called as images of positivity and negativity according to their convenience.
동북아시아문화학회 [The Association of North-east Asian Cultures]
설립연도
2000
분야
복합학>학제간연구
소개
동북아시아 문화의 다양성과 정체성을 연구 토론하고, 지역내 문화 교류의 다양한 모습을 연구하고 문화변동의 큰 틀을 집적함으로써 우리 민족 문화 및 상대 민족의 문화적 터전을 이해하여 문화공동체적 특성을 계발하고 상호 관련성의 강화를 유도하는 학술활동을 통해 동북아시아의 문화발전에 이바지함.