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Sunday, November 24, 2019

Breast

From Wikipedia, the free encyclopedia
 
Breast
Weibliche brust en.jpg
Morphology of human breasts with the areola, nipple, and inframammary fold
Details
Arteryinternal thoracic artery
Veininternal thoracic vein
Identifiers
Latinmamma (mammalis "of the breast")
MeSHD001940
TAA16.0.02.001
FMA9601

The breast is one of two prominences located on the upper ventral region of the torso of primates. In females, it serves as the mammary gland, which produces and secretes milk to feed infants. Both females and males develop breasts from the same embryological tissues. At puberty, estrogens, in conjunction with growth hormone, cause breast development in female humans and to a much lesser extent in other primates. Breast development in other primate females generally only occurs with pregnancy.

Subcutaneous fat covers and envelops a network of ducts that converge on the nipple, and these tissues give the breast its size and shape. At the ends of the ducts are lobules, or clusters of alveoli, where milk is produced and stored in response to hormonal signals. During pregnancy, the breast responds to a complex interaction of hormones, including estrogens, progesterone, and prolactin, that mediate the completion of its development, namely lobuloalveolar maturation, in preparation of lactation and breastfeeding.

Along with their major function in providing nutrition for infants, female breasts have social and sexual characteristics. Breasts have been featured in notable ancient and modern sculpture, art, and photography. They can figure prominently in the perception of a woman's body and sexual attractiveness. A number of cultures associate breasts with sexuality and tend to regard bare breasts in public as immodest or indecent. Breasts, especially the nipples, are an erogenous zone.

Etymology and terminology

The English word breast derives from the Old English word brēost (breast, bosom) from Proto-Germanic breustam (breast), from the Proto-Indo-European base bhreus– (to swell, to sprout). The breast spelling conforms to the Scottish and North English dialectal pronunciations. The Merriam-Webster Dictionary states that "Middle English brest, [comes] from Old English brēost; akin to Old High German brust..., Old Irish brú [belly], [and] Russian bryukho"; the first known usage of the term was before the 12th century.

A large number of colloquial terms for breasts are used in English, ranging from fairly polite terms to vulgar or slang. Some vulgar slang expressions may be considered to be derogatory or sexist to women.

Anatomy

In women, the breasts overlie the pectoralis major muscles and usually extend from the level of the second rib to the level of the sixth rib in the front of the human rib cage; thus, the breasts cover much of the chest area and the chest walls. At the front of the chest, the breast tissue can extend from the clavicle (collarbone) to the middle of the sternum (breastbone). At the sides of the chest, the breast tissue can extend into the axilla (armpit), and can reach as far to the back as the latissimus dorsi muscle, extending from the lower back to the humerus bone (the bone of the upper arm). As a mammary gland, the breast is composed of differing layers of tissue, predominantly two types: adipose tissue; and glandular tissue, which affects the lactation functions of the breasts.

Morphologically the breast is tear-shaped. The superficial tissue layer (superficial fascia) is separated from the skin by 0.5–2.5 cm of subcutaneous fat (adipose tissue). The suspensory Cooper's ligaments are fibrous-tissue prolongations that radiate from the superficial fascia to the skin envelope. The female adult breast contains 14–18 irregular lactiferous lobes that converge at the nipple. The 2.0–4.5 mm milk ducts are immediately surrounded with dense connective tissue that support the glands. Milk exits the breast through the nipple, which is surrounded by a pigmented area of skin called the areola. The size of the areola can vary widely among women. The areola contains modified sweat glands known as Montgomery's glands. These glands secrete oily fluid that lubricate and protect the nipple during breastfeeding. Volatile compounds in these secretions may also serve as an olfactory stimulus for the newborn's appetite.

The dimensions and weight of the breast vary widely among women. A small-to-medium-sized breast weighs 500 grams (1.1 pounds) or less, and a large breast can weigh approximately 750 to 1,000 grams (1.7 to 2.2 pounds) or more. The tissue composition ratios of the breast also vary among women. Some women's breasts have varying proportions of glandular tissue than of adipose or connective tissues. The fat-to-connective-tissue ratio determines the density or firmness of the breast. During a woman's life, her breasts change size, shape, and weight due to hormonal changes during puberty, the menstrual cycle, pregnancy, breastfeeding, and menopause.

Glandular structure

The breast is an apocrine gland that produces the milk used to feed an infant. The nipple of the breast is surrounded by the areola (nipple-areola complex). The areola has many sebaceous glands, and the skin color varies from pink to dark brown. The basic units of the breast are the terminal duct lobular units (TDLUs), which produce the fatty breast milk. They give the breast its offspring-feeding functions as a mammary gland. They are distributed throughout the body of the breast. Approximately two-thirds of the lactiferous tissue is within 30 mm of the base of the nipple. The terminal lactiferous ducts drain the milk from TDLUs into 4–18 lactiferous ducts, which drain to the nipple. The milk-glands-to-fat ratio is 2:1 in a lactating woman, and 1:1 in a non-lactating woman. In addition to the milk glands, the breast is also composed of connective tissues (collagen, elastin), white fat, and the suspensory Cooper's ligaments. Sensation in the breast is provided by the peripheral nervous system innervation by means of the front (anterior) and side (lateral) cutaneous branches of the fourth-, fifth-, and sixth intercostal nerves. The T-4 nerve (Thoracic spinal nerve 4), which innervates the dermatomic area, supplies sensation to the nipple-areola complex.

Lymphatic drainage

Approximately 75% of the lymph from the breast travels to the axillary lymph nodes on the same side of the body, whilst 25% of the lymph travels to the parasternal nodes (beside the sternum bone). A small amount of remaining lymph travels to the other breast and to the abdominal lymph nodes. The axillary lymph nodes include the pectoral (chest), subscapular (under the scapula), and humeral (humerus-bone area) lymph-node groups, which drain to the central axillary lymph nodes and to the apical axillary lymph nodes. The lymphatic drainage of the breasts is especially relevant to oncology because breast cancer is common to the mammary gland, and cancer cells can metastasize (break away) from a tumour and be dispersed to other parts of the body by means of the lymphatic system.

Shape, texture, and support

The morphologic variations in the size, shape, volume, tissue density, pectoral locale, and spacing of the breasts determine their natural shape, appearance, and position on a woman's chest. Breast size and other characteristics do not predict the fat-to-milk-gland ratio or the potential for the woman to nurse an infant. The size and the shape of the breasts are influenced by normal-life hormonal changes (thelarche, menstruation, pregnancy, menopause) and medical conditions (e.g. virginal breast hypertrophy). The shape of the breasts is naturally determined by the support of the suspensory Cooper's ligaments, the underlying muscle and bone structures of the chest, and by the skin envelope. The suspensory ligaments sustain the breast from the clavicle (collarbone) and the clavico-pectoral fascia (collarbone and chest) by traversing and encompassing the fat and milk-gland tissues. The breast is positioned, affixed to, and supported upon the chest wall, while its shape is established and maintained by the skin envelope. In most women, one breast is slightly larger than the other. More obvious and persistent asymmetry in breast size occurs in up to 25% of women.

While it has been a common belief that breastfeeding causes breasts to sag, researchers have found that a woman's breasts sag due to four key factors: cigarette smoking, number of pregnancies, gravity, and weight loss or gain.

The base of each breast is attached to the chest by the deep fascia over the pectoralis major muscles. The space between the breast and the pectoralis major muscle, called retromammary space, gives mobility to the breast. The chest (thoracic cavity) progressively slopes outwards from the thoracic inlet (atop the breastbone) and above to the lowest ribs that support the breasts. The inframammary fold, where the lower portion of the breast meets the chest, is an anatomic feature created by the adherence of the breast skin and the underlying connective tissues of the chest; the IMF is the lower-most extent of the anatomic breast. Normal breast tissue typically has a texture that feels nodular or granular, to an extent that varies considerably from woman to woman.

The study The Evolution of the Human Breast (2001) proposed that the rounded shape of a woman's breast evolved to prevent the sucking infant offspring from suffocating while feeding at the teat; that is, because of the human infant's small jaw, which did not project from the face to reach the nipple, he or she might block the nostrils against the mother's breast if it were of a flatter form (cf. common chimpanzee). Theoretically, as the human jaw receded into the face, the woman's body compensated with round breasts.

Development

The breasts are principally composed of adipose, glandular, and connective tissues. Because these tissues have hormone receptors, their sizes and volumes fluctuate according to the hormonal changes particular to thelarche (sprouting of breasts), menstruation (egg production), pregnancy (reproduction), lactation (feeding of offspring), and menopause (end of menstruation).

Puberty

Five-stage Tanner Scale
 
The morphological structure of the human breast is identical in males and females until puberty. For pubescent girls in thelarche (the breast-development stage), the female sex hormones (principally estrogens) in conjunction with growth hormone promote the sprouting, growth, and development of the breasts. During this time, the mammary glands grow in size and volume and begin resting on the chest. These development stages of secondary sex characteristics (breasts, pubic hair, etc.) are illustrated in the five-stage Tanner Scale.

During thelarche the developing breasts are sometimes of unequal size, and usually the left breast is slightly larger. This condition of asymmetry is transitory and statistically normal in female physical and sexual development. Medical conditions can cause overdevelopment (e.g., virginal breast hypertrophy, macromastia) or underdevelopment (e.g., tuberous breast deformity, micromastia) in girls and women. 

Approximately two years after the onset of puberty (a girl's first menstrual cycle), estrogen and growth hormone stimulate the development and growth of the glandular fat and suspensory tissues that compose the breast. This continues for approximately four years until the final shape of the breast (size, volume, density) is established at about the age of 21. Mammoplasia (breast enlargement) in girls begins at puberty, unlike all other primates in which breasts enlarge only during lactation.

Breast with visible stretch marks

Changes during the menstrual cycle

During the menstrual cycle, the breasts are enlarged by premenstrual water retention and temporary growth.

Pregnancy and breastfeeding

The breasts reach full maturity only when a woman's first pregnancy occurs. Changes to the breasts are among the very first signs of pregnancy. The breasts become larger, the nipple-areola complex becomes larger and darker, the Montgomery's glands enlarge, and veins sometimes become more visible. Breast tenderness during pregnancy is common, especially during the first trimester. By mid-pregnancy, the breast is physiologically capable of lactation and some women can express colostrum, a form of breast milk.

Pregnancy causes elevated levels of the hormone prolactin, which has a key role in the production of milk. However, milk production is blocked by the hormones progesterone and estrogen until after delivery, when progesterone and estrogen levels plummet.

Menopause

At menopause, breast atrophy occurs. The breasts can decrease in size when the levels of circulating estrogen decline. The adipose tissue and milk glands also begin to wither. The breasts can also become enlarged from adverse side effects of combined oral contraceptive pills. The size of the breasts can also increase and decrease in response to weight fluctuations. Physical changes to the breasts are often recorded in the stretch marks of the skin envelope; they can serve as historical indicators of the increments and the decrements of the size and volume of a woman's breasts throughout the course of her life.

Breastfeeding

The primary function of the breasts, as mammary glands, is the nourishing of an infant with breast milk. Milk is produced in milk-secreting cells in the alveoli. When the breasts are stimulated by the suckling of her baby, the mother's brain secretes oxytocin. High levels of oxytocin trigger the contraction of muscle cells surrounding the alveoli, causing milk to flow along the ducts that connect the alveoli to the nipple.

Full-term newborns have an instinct and a need to suck on a nipple, and breastfed babies nurse for both nutrition and for comfort. Breast milk provides all necessary nutrients for the first six months of life, and then remains an important source of nutrition, alongside solid foods, until at least one or two years of age.

Clinical significance

The breast is susceptible to numerous benign and malignant conditions. The most frequent benign conditions are puerperal mastitis, fibrocystic breast changes and mastalgia

Lactation unrelated to pregnancy is known as galactorrhea. It can be caused by certain drugs (such as antipsychotic medications), extreme physical stress, or endocrine disorders. Lactation in newborns is caused by hormones from the mother that crossed into the baby's bloodstream during pregnancy.

Breast cancer

Breast cancer is the most common cause of cancer death among women and it is one of the leading causes of death among women. Factors that appear to be implicated in decreasing the risk of breast cancer are regular breast examinations by health care professionals, regular mammograms, self-examination of breasts, healthy diet, and exercise to decrease excess body fat, and breastfeeding.

Male breasts

Both females and males develop breasts from the same embryological tissues. Normally, males produce lower levels of estrogens and higher levels of androgens, namely testosterone, which suppress the effects of estrogens in developing excessive breast tissue. In boys and men, abnormal breast development is manifested as gynecomastia, the consequence of a biochemical imbalance between the normal levels of estrogen and testosterone in the male body. Around 70% of boys temporarily develop breast tissue during adolescence. The condition usually resolves by itself within two years. When male lactation occurs, it is considered a symptom of a disorder of the pituitary gland.

Plastic surgery

Conventional mastectomy (top); skin sparing mastectomy and latissimus dorsi myocutaneous flap reconstruction, prior to nipple reconstruction and tattooing (bottom).
 
Plastic surgery can be performed to augment or reduce the size of breasts, or reconstruct the breast in cases of deformative disease, such as breast cancer. Breast augmentation and breast lift (mastopexy) procedures are done only for cosmetic reasons, whereas breast reduction is sometimes medically indicated. In cases where a woman's breasts are severely asymmetrical, surgery can be performed to either enlarge the smaller breast, reduce the size of the larger breast, or both.

Breast augmentation surgery generally does not interfere with future ability to breastfeed. Breast reduction surgery more frequently leads to decreased sensation in the nipple-areola complex, and to low milk supply in women who choose to breastfeed. Implants can interfere with mammography (breast x-rays images).

Society and culture

General

In Christian iconography, some works of art depict women with their breasts in their hands or on a platter, signifying that they died as a martyr by having their breasts severed; one example of this is Saint Agatha of Sicily.

Femen member participating in a protest

Femen is a feminist activist group which uses topless protests as part of their campaigns against sex 
tourism religious institutions, sexism, homophobia and to "defend [women's] right to abortion". Femen activists have been regularly detained by police in response to their protests.

There is a long history of female breasts being used by comedians as a subject for comedy fodder (e.g., British comic Benny Hill's burlesque/slapstick routines).

Art history

In European pre-historic societies, sculptures of female figures with pronounced or highly exaggerated breasts were common. A typical example is the so-called Venus of Willendorf, one of many Paleolithic Venus figurines with ample hips and bosom. Artifacts such as bowls, rock carvings and sacred statues with breasts have been recorded from 15,000 BC up to late antiquity all across Europe, North Africa and the Middle East. 

Many female deities representing love and fertility were associated with breasts and breast milk. Figures of the Phoenician goddess Astarte were represented as pillars studded with breasts. Isis, an Egyptian goddess who represented, among many other things, ideal motherhood, was often portrayed as suckling pharaohs, thereby confirming their divine status as rulers. Even certain male deities representing regeneration and fertility were occasionally depicted with breast-like appendices, such as the river god Hapy who was considered to be responsible for the annual overflowing of the Nile

Female breasts were also prominent in the Minoan civilization in the form of the famous Snake Goddess statuettes. In Ancient Greece there were several cults worshipping the "Kourotrophos", the suckling mother, represented by goddesses such as Gaia, Hera and Artemis. The worship of deities symbolized by the female breast in Greece became less common during the first millennium. The popular adoration of female goddesses decreased significantly during the rise of the Greek city states, a legacy which was passed on to the later Roman Empire.

During the middle of the first millennium BC, Greek culture experienced a gradual change in the perception of female breasts. Women in art were covered in clothing from the neck down, including female goddesses like Athena, the patron of Athens who represented heroic endeavor. There were exceptions: Aphrodite, the goddess of love, was more frequently portrayed fully nude, though in postures that were intended to portray shyness or modesty, a portrayal that has been compared to modern pin ups by historian Marilyn Yalom. Although nude men were depicted standing upright, most depictions of female nudity in Greek art occurred "usually with drapery near at hand and with a forward-bending, self-protecting posture". A popular legend at the time was of the Amazons, a tribe of fierce female warriors who socialized with men only for procreation and even removed one breast to become better warriors (the idea being that the right breast would interfere with the operation of a bow and arrow). The legend was a popular motif in art during Greek and Roman antiquity and served as an antithetical cautionary tale.

Body image

Many women regard their breasts as important to their sexual attractiveness, as a sign of femininity that is important to their sense of self.

Clothing

As is customary in her culture, a bare-breasted Himba woman of northern Namibia wears a traditional headdress and skirt
 
Because breasts are mostly fatty tissue, their shape can -within limits- be molded by clothing, such as foundation garments. Bras are commonly worn by about 90% of Western women, and are often worn for support. The social norm in most Western cultures is to cover breasts in public, though the extent of coverage varies depending on the social context. Some religions ascribe a special status to the female breast, either in formal teachings or through symbolism. Islam forbids women from exposing their breasts in public. 

Many cultures, including Western cultures in North America, associate breasts with sexuality and tend to regard bare breasts as immodest or indecent. In some cultures, like the Himba in northern Namibia, bare-breasted women are normal. In some African cultures, for example, the thigh is regarded as highly sexualised and never exposed in public, but breast exposure is not taboo. In a few Western countries and regions female toplessness at a beach is acceptable, although it may not be acceptable in the town center.

Social attitudes and laws regarding breastfeeding in public vary widely. In many countries, breastfeeding in public is common, legally protected, and generally not regarded as an issue. However, even though the practice may be legal or socially accepted, some mothers may nevertheless be reluctant to expose a breast in public to breastfeed due to actual or potential objections by other people, negative comments, or harassment. It is estimated that around 63% of mothers across the world have publicly breast-fed. Bare-breasted women are legal and culturally acceptable at public beaches in Australia and much of Europe. Filmmaker Lina Esco made a film entitled Free the Nipple, which is about "...laws against female toplessness or restrictions on images of female, but not male, nipples", which Esco states is an example of sexism in society.

Sexual characteristic

In some cultures, breasts play a role in human sexual activity. In Western culture, breasts have a "...hallowed sexual status, arguably more fetishized than either sex’s genitalia". Breasts and especially the nipples are among the various human erogenous zones. They are sensitive to the touch as they have many nerve endings; and it is common to press or massage them with hands or orally before or during sexual activity. During sexual arousal, breast size increases, venous patterns across the breasts become more visible, and nipples harden. Compared to other primates, human breasts are proportionately large throughout adult females' lives. Some writers have suggested that they may have evolved as a visual signal of sexual maturity and fertility.

Many people regard bare female breasts to be aesthetically pleasing or erotic, and they can elicit heightened sexual desires in men in many cultures. In the ancient Indian work the Kama Sutra, light scratching of the breasts with nails and biting with teeth are considered erotic. Some people show a sexual interest in female breasts distinct from that of the person, which may be regarded as a breast fetish. A number of Western fashions include clothing which accentuate the breasts, such as the use of push-up bras and decollete (plunging neckline) gowns and blouses which show cleavage. While U.S. culture prefers breasts that are youthful and upright, some cultures venerate women with drooping breasts, indicating mothering and the wisdom of experience.

Research conducted at the Victoria University of Wellington showed that breasts are often the first thing men look at, and for a longer time than other body parts. The writers of the study had initially speculated that the reason for this is due to endocrinology with larger breasts indicating higher levels of estrogen and a sign of greater fertility, but the researchers said that "Men may be looking more often at the breasts because they are simply aesthetically pleasing, regardless of the size."

Some women report achieving an orgasm from nipple stimulation, but this is rare. Research suggests that the orgasms are genital orgasms, and may also be directly linked to "the genital area of the brain". In these cases, it seems that sensation from the nipples travels to the same part of the brain as sensations from the vagina, clitoris and cervix. Nipple stimulation may trigger uterine contractions, which then produce a sensation in the genital area of the brain.

Anthropomorphic geography

There are many mountains named after the breast because they resemble it in appearance and so are objects of religious and ancestral veneration as a fertility symbol and of well-being. In Asia, there was "Breast Mountain", which had a cave where the Buddhist monk Bodhidharma (Da Mo) spent much time in meditation. Other such breast mountains are Mount Elgon on the Uganda-Kenya border, Beinn Chìochan and the Maiden Paps in Scotland, the "Bundok ng Susong Dalaga" (Maiden's breast mountains) in Talim Island, Philippines, the twin hills known as the Paps of Anu (Dá Chích Anann or "the breasts of Anu"), near Killarney in Ireland, the 2,086 m high Tetica de Bacares or "La Tetica" in the Sierra de Los Filabres, Spain, and Khao Nom Sao in Thailand, Cerro Las Tetas in Puerto Rico and the Breasts of Aphrodite in Mykonos, among many others. In the United States, the Teton Range is named after the French word for "breast".

Cool Japan

From Wikipedia, the free encyclopedia
 
Cool Japan (クールジャパン Kūru Japan), along with "Gross National Cool" is a concept as an expression of Japan's emergent status as a cultural superpower. Gaining broad exposure in the media and academia, the brand of "Cool Japan" has been adopted by the government of Japan as well as trade bodies seeking to exploit the commercial capital of the country's culture industry. It has been described as a form of soft power, "the ability to indirectly influence behaviour or interests through cultural or ideological means".

Origins

Following the destruction of World War II after American bombings, Japan hoped they could improve their economy and national image by distributing their pop culture throughout the world, specifically through Eastern Asia in order to increase their reputation and alliances with the neighboring countries. As opposed to their history of being a fierce military power, they were taking the route of establishing themselves as being a soft power, which they believed would change the perception of their nation. Starting in 1980, after the emergence of the Japanese Ministry of Foreign Affairs (MOFA), Japan started ramping up their nation branding efforts through releasing a new television series titled Oshin, which was a Japanese soap opera. The show was well perceived, and this sent an immediate boost in the image Japan was trying to improve. Through the success of Oshin and multiple other television shows, the country introduced the idea of “Cool Japan”, which attempted to harness the success of their pop culture and distribute that pleasure toward the country’s cultural perception.

In a 2002 article in Foreign Policy titled "Japan's Gross National Cool", Douglas McGray wrote of Japan "reinventing superpower" as its cultural influence expanded internationally despite the economic and political problems of the "lost decade". Surveying youth culture and the role of J-pop, manga, anime, video games, fashion, film, consumer electronics, architecture, cuisine, and phenomena of cuteness such as Hello Kitty, McGray highlighted Japan's considerable soft power, posing the question of what message the country might project. He also argued that Japan's recession may even have boosted its national cool, due to the partial discrediting of erstwhile rigid social hierarchies and big-business career paths.

Adoption

Taken up in the international media, with The New York Times running a retrospect "Year in Ideas: Pokémon Hegemon", an increasing number of more reform-minded government officials and business leaders in Japan began to refer to the country's "gross national cool" and to adopt the unofficial slogan "Cool Japan". In a 2005 press conference, the Ministry of Foreign Affairs linked the idea to Bhutan's concept of Gross National Happiness.

The phrase gained greater exposure in the mid-noughties as NHK began a series Cool Japan Hakkutsu: Kakkoii Nippon! which by the end of 2009 had reached over a hundred episodes. Academic initiatives include the establishment of a "Cool Japan" research project at the Massachusetts Institute of Technology, while some western universities have reported an increase in the number of applicants for Japanese Studies courses due to the "cool" effect.

The adoption of Cool Japan has also spurred changes in culture studies. As a result of the fascination of Cool Japan with Japanese youth culture and schoolgirls, a new wave of studies called 'girl studies' focuses specifically on the experience of girls and the girls-at-heart. Previously a subject of adolescent psychology or feminism, girl studies emerged from Cool Japan to include an interdisciplinary analysis of girl culture.

Creative Industries Promotion Office

The Japanese government has identified the culture industry as one of five potential areas of growth. In June 2010, the Ministry of Economy, Trade and Industry established a new Creative Industries Promotion Office to promote cultural and creative industries as a strategic sector "under the single, long term concept of "Cool Japan", to coordinate different government functions, and to cooperate with the private sector". The Ministry of Economy, Trade and Industry announced that Japanese pop culture is one of the key elements for Cool Japan and that pop culture includes idol, anime, and B class gourmet (B級グルメ).

The deputy director described its mission as to "brand Japanese products with the uniqueness of Japanese culture". For 2011, it has a budget of ¥19 billion. In fiscal 2008, public spending on cultural activities was ¥116.9 billion in South Korea, ¥477.5 billion in China, and ¥101.8 billion in Japan, respectively 0.79%, 0.51%, and 0.12% of total government spending. The fund was launched in 2013, and the Japanese government committed to the Cool Japan Fund ¥50 billion ($500 million) over 20 years, with a target of ¥60 billion ($600 million) via private investor partnerships. However, Nikkei Asian Review reported that within five years the fund "suffered pretax losses totaling 10 billion yen ($88.9 million)" and many projects failed to deliver earnings, and since June 2018 the management is led by former Sony Music Entertainment (Japan) CEO Naoki Kitagawa.

Timeline of notable endeavors

  • 2013
  • 2014
    • Traditional Japanese crafts showcased at Maison & Objet, the world's largest trade fair for interior goods and designs, to promote Japan's monodzukuri (manufacturing) culture.
    • WakuWaku Japan, Japanese satellite television channel that broadcasts Japanese programs to overseas viewers in Asia. It was a joint venture with broadcaster Sky Perfect JSAT who contributed ¥6.6 billion out of ¥11 billion, but it failed to expand in multiple markets and generate viewership, with nearly ¥4 billion losses until 2017.
  • 2015
    • METI starts Nippon Quest, a website to showcase and disseminate unknown Japanese regional specialties to the world.
    • U.S. cafes focused on Japanese tea, on which was spent ¥250 million for nearly 50% stake.
    • Funding of the development of content creators for anime and manga outside Japan by KADOKAWA Contents Academy Co., Ltd..
  • 2016
    • Isetan the Japan Store, a joint venture with Isetan to make a five-floor department store in Kuala Lumpur, Malaysia, to promote Japanese goods and services. However, lack of demand resulted with a loss of circa $4.5 million, and all Cool Japan Fund shares sold to Isetan Mitsukoshi Holdings.
  • 2018
    • The first investment with new management was $12.5 million in Tastemade, becoming a minority shareholder, to support making of content promoting Japanese food and destinations.
  • 2019
    • Cool Japan Fund invests US$30 million in American anime licensing company Sentai Holdings, aiming to provide support at the copyright level, and increasing the presence of anime in North America.

Criticism

A 2010 editorial in the Yomiuri Shimbun argued that the government was not doing enough to advance the country's business interests in this sphere, allowing South Korea to emerge as a competitor. The editorial highlighted structural inefficiencies, with the Ministry of Economy, Trade and Industry promoting "Cool Japan", the Ministry of Foreign Affairs responsible for cultural exchange, and the Ministry of Agriculture, Forestry and Fisheries in charge of Japanese foods. Lecturer Roland Kelts has also suggested that a failure to fully distinguish, brand and engage the overseas audience and market may mean that "Cool Japan" is "over". In 2011, Laura Miller has critiqued Cool Japan campaign as exploiting and misrepresenting youth subcultural fashion and language. In 2013, Nancy Snow referred to Cool Japan as a form of state-sponsored cultural retreading she calls Gross National Propaganda. Japanese singer-songwriter Gackt criticized the government in 2015 for having set up a huge budget, yet "have no idea where that money should go. It’s no exaggeration to say it has fallen into a downward spiral of wasted tax money flowing into little known companies", and that such lack of support is causing Japan to "fall behind its Asian neighbors in terms of cultural exports". In 2016, Benjamin Boas pointed out that Cool Japan-branded efforts are often promoted without participation of foreigners, leaving out the perspectives of the very foreigners that they are trying to target.

In 2017, a senior executive and several other senior male employees of Cool Japan Fund Inc. were accused of sexual harassment targeting female employees of the fund. The employees formed a labor union in order to fight against sexual harassment. In the same year, Nikkei Asian Review journalist Yuta Saito criticized fund's ambitions because their "lack of strategy, discipline gives rise to unprofitable projects", and there's possible conflict of interest by the executives. In 2018, Japan Today reported too soon to consider it "grossly incompetent or corrupt", but it's at least "under-performing" for now.

Shunga

From Wikipedia, the free encyclopedia
 
Two Lovers, Hokusai
From The Adonis Plant (Fukujusō) Woodblock print, from a set of 12, ōban ca. 1815
 
Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. While rare, there are extant erotic painted handscrolls which predate ukiyo-e. Translated literally, the Japanese word shunga means picture of spring; "spring" is a common euphemism for sex. 

The ukiyo-e movement as a whole sought to express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo-period shunga varied widely in its depictions of sexuality. As a subset of ukiyo-e it was enjoyed by all social groups in the Edo period, despite being out of favour with the shogunate. Almost all ukiyo-e artists made shunga at some point in their careers.

History

Shigenobu - Man and woman making love by Yanagawa Shigenobu
 
Shunga was heavily influenced by illustrations in Chinese medicine manuals beginning in the Muromachi era (1336 to 1573). Zhou Fang, a notable Tang-dynasty Chinese painter, is also thought to have been influential. He, like many artists of his time, tended to draw genital organs in an oversized manner, similar to a common shunga topos. While the literal meaning of the word "shunga" is significant, it is in fact a contraction of shunkyū-higi-ga (春宮秘戯画), the Japanese pronunciation for Chinese sets of twelve scrolls depicting the twelve sexual acts that the crown prince had to carry out as an expression of yin yang.

The Japanese influences of shunga date back to the Heian period (794 to 1185). At this point, it was found among the courtier class. Through the medium of narrative handscrolls, sexual scandals from the imperial court or the monasteries were depicted, and the characters tended to be limited to courtiers and monks.

The style reached its height in the Edo period (1603 to 1867). Thanks to woodblock printing techniques, the quantity and quality increased dramatically. There were repeated governmental attempts to suppress shunga, the first of which was an edict issued by the Tokugawa shogunate in 1661 banning, among other things, erotic books known as kōshokubon (好色本) (literally "lewdness books"). While other genres covered by the edict, such as works criticising daimyōs or samurai, were driven underground by this edict, shunga continued to be produced with little difficulty.

The Kyōhō Reforms, a 1722 edict, was much more strict, banning the production of all new books unless the city commissioner gave permission. After this edict, shunga went underground. However, since for several decades following this edict, publishing guilds saw fit to send their members repeated reminders not to sell erotica, it seems probable that production and sales continued to flourish. Further attempts to prevent the production of shunga were made with the Kansei Reforms under Emperor Kōkaku in the 1790s.

According to Monta Hayakawa and C. Andrew Gerstle, westerners during the nineteenth century were less appreciative of shunga because of its erotic nature. In the journal of Francis Hall, an American businessperson who arrived in Yokohama in 1859, he described shunga as "vile pictures executed in the best style Japanese art." Hayakawa stated that Hall was shocked and disgusted when on two separate occasions his Japanese acquaintances and their wives showed him shunga at their homes. Shunga also faced problems in Western museums in the twentieth century; Peter Webb reported that while engaged in research for a 1975 publication, he was initially informed that no relevant material existed in the British Museum, and when finally allowed access to it, he was told that it "could not possibly be exhibited to the public" and had not been catalogued. In 2014 he revisited the museum, which had an exhibition entirely of shunga "proudly displayed".

The introduction of Western culture and technologies at the beginning of the Meiji era (1868–1912), particularly the importation of photo-reproduction techniques, had serious consequences for shunga. For a time, woodblock printing continued to be used, but figures began to appear in prints wearing Western clothing and hairstyles. Eventually, shunga could no longer compete with erotic photography, leading to its decline. 

The art of shunga provided an inspiration for the Shōwa (1926–1989) and Heisei (1989–2019) art in Japanese video games, anime and manga known in the Western world as hentai and known formally in Japan as jū hachi kin (adult-only, literally "18-restricted"). Like shunga, hentai is sexually explicit in its imagery.

Uses

Shunga by Keisai Eisen
 
Shunga was probably enjoyed by both men and women of all classes. Superstitions and customs surrounding shunga suggest as much; in the same way that it was considered a lucky charm against death for a samurai to carry shunga, it was considered a protection against fire in merchant warehouses and the home. From this we can deduce that samurai, chonin, and housewives all owned shunga. All three of these groups would suffer separation from the opposite sex; the samurai lived in barracks for months at a time, and conjugal separation resulted from the sankin-kōtai system and the merchants' need to travel to obtain and sell goods. It is therefore argued that this ownership of shunga was not superstitious, but libidinous.

Records of women obtaining shunga themselves from booklenders show that they were consumers of it. Though not shunga, it was traditional to present a bride with ukiyo-e depicting scenes from the Tale of Genji. Shunga may have served as sexual guidance for the sons and daughters of wealthy families. The instructional purpose has been questioned since the instructional value of shunga is limited by the impossible positions and lack of description of technique, and there were sexual manuals in circulation that offered clearer guidance, including advice on hygiene.

Shunga varied greatly in quality and price. Some were highly elaborate, commissioned by wealthy merchants and daimyōs, while some were limited in colour, widely available, and cheap. Empon were available through the lending libraries, or kashi-honya, that travelled in rural areas. This tells us that shunga reached all classes of society—peasant, chōnin, samurai and daimyōs.

Production

A man with a Western-style haircut makes love to a woman in traditional Japanese dress in this Meiji-period shunga print
 
Shunga were produced between the sixteenth century and the nineteenth century by ukiyo-e artists, since they sold more easily and at a higher price than their ordinary work. Shunga prints were produced and sold either as single sheets or—more frequently—in book form, called enpon. These customarily contained twelve images, a tradition with its roots in Chinese shunkyu higa. Shunga was also produced in hand scroll format, called kakemono-e (掛け物絵). This format was also popular, though more expensive as the scrolls had to be individually painted. 

The quality of shunga art varies, and few ukiyo-e painters remained aloof from the genre. Experienced artists found it to their advantage to concentrate on their production. This led to the appearance of shunga by renowned artists, such as the ukiyo-e painter perhaps best known in the Western world, Hokusai (see The Dream of the Fisherman's Wife). Ukiyo-e artists owed a stable livelihood to such customs, and producing a piece of shunga for a high-ranking client could bring them sufficient funds to live on for about six months. Among others, the world-famous Japanese artist Hajime Sorayama uses his special hand brush painting technique and hanko stamp signature method in the late 20th and early 21st centuries to create modern day shunga art in the same tradition of the past artists like Hokusai.

Full-colour printing, or nishiki-e, developed around 1765, but many shunga prints predate this. Prior to this, colour was added to monochrome prints by hand, and from 1744 benizuri-e allowed the production of prints of limited colours. Even after 1765 many shunga prints were produced using older methods. In some cases this was to keep the cost low, but in many cases this was a matter of taste.

Shunga produced in Edo tended to be more richly coloured than those produced in Kyoto and Osaka, mainly owing to a difference in aesthetic taste between these regions—Edo has a taste for novelty and luxury, while the kamigata region preferred a more muted, understated style. This also translates into a greater amount of background detail in Edo Shunga.

After 1722 most artists refrained from signing shunga works. However, between 1761 and 1786 the implementation of printing regulations became more relaxed, and many artists took to concealing their name as a feature of the picture (such as calligraphy on a fan held by a courtesan) or allusions in the work itself (such as Utamaro's empon entitled Utamakura).

Content

In the Edo period in Japan, people were used to seeing the opposite sex naked in communal baths, such as the male sansuke in the upper left corner of this woodcut. Torii Kiyonaga.
 
Edo period shunga sought to express a varied world of contemporary sexual possibilities. Some writers on the subject refer to this as the creation of a world parallel to contemporary urban life, but idealised, eroticised and fantastical.

Characters

By far the majority of shunga depict the sexual relations of the ordinary people, the chōnin, the townsmen, women, merchant class, artisans and farmers. Occasionally there also appear Dutch or Portuguese foreigners.

Courtesans also form the subject of many shunga. Utamaro was particularly revered for his depictions of courtesans, which offered an unmatched level of sensitivity and psychological nuance. Tokugawa courtesans could be described as the celebrities of their day, and Edo's pleasure district, Yoshiwara, is often compared to Hollywood. Men saw them as highly eroticised due to their profession, but at the same time unattainable, since only the wealthiest, most cultured men would have any chance of sexual relations with one. Women saw them as distant, glamorous idols, and the fashions for the whole of Japan were inspired by the fashions of the courtesan. For these reasons the fetish of the courtesan appealed to many.

Works depicting courtesans have since been criticised for painting an idealised picture of life in the pleasure quarters. It has been argued that they masked the situation of virtual slavery that sex workers lived under. However, Utamaro is just one example of an artist who was sensitive to the inner life of the courtesan, for example, showing them wistfully dreaming of escape from Yoshiwara through marriage.

Similarly, kabuki actors are often depicted, many of whom worked as gigolos. These carried the same fetish of the sex worker, with the added quality of them often being quite young. They are often shown with samurai.

Stories

Lesbian shunga by Hokusai
 
Spring Pastimes
A tryst between a young man and a boy. See Nanshoku.
Miyagawa Isshō, ca. 1750; Shunga hand scroll (kakemono-e); sumi, color and gofun on silk. Private collection.
 
Both painted handscrolls and illustrated erotic books (empon) often presented an unrelated sequence of sexual tableaux, rather than a structured narrative. A whole variety of possibilities are shown—men seduce women, women seduce men; men and women cheat on each other; all ages from virginal teenagers to old married couples; even octopuses were occasionally featured.

While most shunga were heterosexual, many depicted male-on-male trysts. Woman-on-woman images were less common but there are extant works depicting this.[citation needed] Masturbation was also depicted. The perception of sexuality differed in Tokugawa Japan from that in the modern Western world, and people were less likely to associate with one particular sexual preference. For this reason the many sexual pairings depicted were a matter of providing as much variety as possible.

The backstory to shunga prints can be found in accompanying text or dialogue in the picture itself, and in props in the background. Symbolism also featured widely, such as the use of plum blossoms to represent virginity or tissues to symbolise impending ejaculation.

Clothing

In many of the shunga the characters are fully clothed. This is primarily because nudity was not inherently erotic in Tokugawa Japan – people were used to seeing the opposite sex naked in communal baths. It also served an artistic purpose; it helped the reader identify courtesans and foreigners, the prints often contained symbolic meaning, and it drew attention to the parts of the body that were revealed, i.e., the genitalia.

Non-realism

Shunga couples are often shown in nonrealistic positions with exaggerated genitalia. Explanations for this include increased visibility of the sexually explicit content, artistic interest and psychological impact: that is, the genitalia is interpreted as a "second face", expressing the primal passions that the everyday face is obligated by giri to conceal, and is therefore the same size as the head and placed unnaturally close to it by the awkward position.

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