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In Japan, however, if you go against someone and create a bad atmosphere, your relations may break off completely. People tend to react emotionally, and most are afraid of being excluded from the group.

For the Japanese, silence indicates deep thinking or consideration, but too much silence often makes non-Japanese uncomfortable. Whereas the Japanese consider silence as rather good and people generally feel sympathetic toward it, non-Japanese sometimes feel that it is an indication of indifference or apathy.

The concept of amae greatly affects all aspects of Japanese life because it is related to other characteristics of the Japanese way of thinking, such as enryo (restraint), giri (social obligation), tsumi (sin), haji (shame) (Doi, 1973, pp. 33–48).

In other words, in the inner circle, amae is at work and there is no enryo, in the middle zone enryo is present, and in the outer circle, which is the world of strangers, there is neither amae nor enryo.

they feel giri (obligation) when others, toward whom they have enryo (restraint), show kindness to them. However, they do not express their appreciation as much to people they are close to and with whom they can amaeru

Japanese have difficulty saying no, in contrast to Westerners, who are able to do so more easily. The reason for this is that Japanese relationships, which are based on amae, are unstable (Doi; cited in Sahashi, 1980, p. 79); that is, people hesitate to refuse others for fear of breaking this bond. Doi insists that Westerners can refuse easily because amae is not at work in their relationships

Hirayama and Takashina (1994, pp. 22–23) state, for example, that the Japanese sense of beauty is based on a concept known as mono no aware, a kind of aesthetic value that comes from feelings, while in Western art, people try to construct something of beauty with a logic of what is beautiful. In contrast, Japanese art focuses not on what is logically considered beautiful, but on what people feel is beautiful. The Japanese aesthetic is very subjective, and there are no absolute criteria as to what this should be.

Aware is thus connected to feelings of regret for things losing their beauty, and paradoxically finding beauty in their opposite. Moreover, anything can ultimately be appreciated as beautiful in Japan, and what is beautiful depends upon people’s subjective point of view.

ma is an empty space full of meaning, which is fundamental to the Japanese arts and is present in many fields, including painting, architecture, music, and literature.

The Japanese have long treated silence as a kind of virtue similar to “truthfulness.” The words haragei and ishin denshin symbolize Japanese attitudes toward human interactions in this regard. The former means implicit mutual understanding; the latter suggests that people can communicate with each other through telepathy. In short, what is important and what is true in Japan will often exist in silence, not in verbal expression.

uchi-soto, or inner and outer duality. Lebra (1987, p. 345) provides an explanation: [The Japanese] believe that the truth lies only in the inner realm as symbolically located in the heart or belly. Components of the outer self, such as face, mouth, spoken words, are in contrast, associated with cognitive and moral falsity. Truthfulness, sincerity, straightforwardness, or reliability are allied to reticence. Thus a man of few words is trusted more than a man of many words.

Zen training is designed to teach that truth cannot be described verbally, but can exist only in silence. Traditional Japanese arts and the spirit of dō (the “way” or “path”) reflect this characteristic silence.

Otoko-masari means a woman who is superior to men physically, spiritually, and intellectually. However, despite this literal meaning of “a woman who exceeds men,” it often sounds negative in Japanese because it carries a connotation of lacking femininity, and such women are usually disliked.

Zen emphasizes that all human beings originally possess the Buddha-nature within themselves and need only the actual experience of it to achieve enlightenment (satori). This is a state that is seen as a liberation from man’s intellectual nature, from the burden of fixed ideas and feelings about reality: “Zen always aims at grasping the central fact of life, which can never be brought to the dissecting table of the intellect” (Suzuki, 1964,

For the Zen master, the best way to express one’s deepest experiences is by the use of paradoxes that transcend opposites (e.g., “Where there is nothing, there is all” or “To die the great death is to gain the great life”). These sayings illustrate two irreducible Zen dilemmas—the inexpressibility of truth in words, and that “opposites are relational and so fundamentally harmonious” (Watts, 1957, p. 175).

In all forms of activity, Zen emphasizes the importance of acting naturally, gracefully, and spontaneously in whatever task one is performing, an attitude that has greatly influenced all forms of cultural expression in Japan.

All practice takes place in an atmosphere of quietude, obedience, and respect, mirroring the absolute obedience and respect of the master-student relationship.

Common expressions in Japanese reflect these steps: kata ni hairu (follow the form), kata ni jukutatsu suru (perfect the form), and kata kara nukeru (go beyond the form).

moves must be repeated thousands of times and perfected before new techniques may be learned. The purpose of such discipline is “not only to learn new skills but also to build good character and a sense of harmony in the disciple” (Niki et al., 1993, p.

Japanese mothers, who “apparently do not make explicit demands on their children and do not enforce rules when children resist. Yet, diverse accounts suggest that Japanese children strongly internalize parental, group, and institutional values”

Sen no Rikyu transformed the tea ceremony in the sixteenth century with an aesthetic principle known as wabi, or the contrast of refinement, simplicity, and rusticity. He advocated the use of plain, everyday Japanese utensils rather than those imported from China in the tea ceremony. Proportions and sizes were carefully chosen to harmonize perfectly with the small tearooms. Not only the utensils but the styles of the buildings and tea gardens, the order and etiquette of the ceremony were designed to be in accord with an atmosphere in which the goal was to perfect one’s existence without self-indulgence. Thus, the ideas of simplicity, perfection, discipline, and harmony with nature, which are central to the Zen way of life, are also reflected in sadō.

Reischauer (1988, p. 200) concurs: The Japanese have always seemed to lean more toward intuition than reason, to subtlety and sensitivity in expression rather than to clarity of analysis, to pragmatism rather than to theory, and to organizational skills rather than to great intellectual concepts. They have never set much store by clarity of verbal analysis and originality of thought. They put great trust in nonverbal understanding and look on oral or written skills and on sharp and clever reasoning as essentially shallow and possibly misleading. They value in their literature not clear analysis, but artistic suggestiveness and emotional feeling. The French ideal of simplicity and absolute clarity in writing leaves them unsatisfied. They prefer complexity and indirection as coming closer to the truth.

Gambaru is a frequently used word in Japan, with the meaning of doing one’s best and hanging on.

a discussion on the subject, scholars, journalists, and graduate students from other countries who know the Japanese and Japanese culture well provided expressions that are close to gambaru in their mother tongues, such as a ushalten, beharren, and beharrung in German; tiens bon in French; a guante in Spanish; and chā yo in Chinese.

Both Chinese and Korean have the characters that make up gambaru, but they do not have expressions that possess the same nuances. This suggests that gambaru is an expression that is unique to Japan and expresses certain qualities of the Japanese character.

There are some expressions that are often used in America but seldom in Japan, such as “take it easy.” Americans say to a person who is busy working, “take it easy” or “don’t work too hard”; in contrast, the Japanese say “gambatte ” (or work hard) as a sign of encouragement. Americans, of course, also think that it necessary to be diligent, but as the proverb says, “all work and no play makes Jack a dull boy,” suggesting that working too hard is not good for you.

giri involves caring for others from whom one has received a debt of gratitude and a determination to realize their happiness, sometimes even by self-sacrificing. (Gillespie & Sugiura, 1996, p. 150)

Giri can perhaps best be understood as a constellation of related meanings, the most important of which are as follows: (1) moral principles or duty, (2) rules one has to obey in social relationships, and (3) behavior one is obliged to follow or that must be done against one’s will (Matsumura, 1988, p.

the cost of ochūgen and oseibo gifts is almost equivalent to the cost of justice in the USA, meaning that the cost of keeping harmony in human relations and that of mediating legal disputes is almost the same.

A Japanese dictionary (cited in Matsumoto, 1988, p. 20) describes haragei as follows: (1) the verbal or physical action one employs to influence others by the potency of rich experience and boldness, and (2) the act of dealing with people or situations through ritual formalities and accumulated experience. In other words, haragei is a way of exchanging feelings and thoughts in an implicit way among the Japanese.

Honne and tatemae are another related set of concepts that are linked to haragei. “These terms are often used as contrasting yet complementary parts of a whole, honne being related to the private, true self, and tatemae typifying the public persona and behavior. Honne then has to do with real intentions and sincere feelings, while tatemae conveys the face the world sees” (Matsumoto, 1988, p. 18). People in Japan are implicitly taught from a young age how to use honne and tatemae properly, and these concepts are important in maintaining face and not hurting the feelings of others; therefore, what a speaker says is not always what he or she really means. intentions and sincere feelings, while tatemae conveys the face the world sees” (Matsumoto, 1988, p. 18). People in Japan are implicitly taught from a young age how to use honne and tatemae properly,

those who cannot use these concepts effectively are not considered to be good communicators, because they may hurt others or make a conversation unpleasant by revealing honne at the wrong moment.

In high-context cultures most of the information lies either in the setting or people who are part of the interaction. Very little information is actually contained in a verbal message. In low-context cultures, however, the verbal message contains most of the information and very little is embedded in the context or the participants. (Samovar & Porter, 1995,

Personal space in Japanese human relationships can be symbolized by two words that describe both physical and psychological distance between individuals: hedataru and najimu. Hedataru means “to separate one thing from another, to set them apart,” and it is also used in human relationships with such nuances as “to estrange, alienate, come between, or cause a rupture between friends.” A relationship between two persons without hedatari means they are close. On the other hand, najimu means “to become attached to, become familiar with, or used to.” For instance, if one says that students “najimu ” their teacher, it means that they become attached to and have close feelings for the teacher.

Relationships are established through hedataru and then deepened by najimu, and in this process, three stages are considered important: maintaining hedatari (the noun form of the verb hedataru), moving through hedatari, and deepening friendship by najimu.

Underlying these movements are the Japanese values of restraint and self-control. In Japan, relationships are not built by insisting strongly on one’s own point of view but require time, a reserved attitude, and patience.

In the seventh century, Prince Shotoku, who was a nephew of Emperor Suiko, occupied the regency and discovered a way of permitting Buddhism and the emperor system to coexist, along with another belief system adopted from China, Confucianism. He stated that “Shinto is the trunk, Buddhism is the branches, and Confucianism is the leaves” (Sakaiya, 1991, p. 140). By following this approach, the Japanese were able to accept these new religions and philosophies, and the cultural values and advanced techniques that came with them, in such a way that they were able to reconcile their theoretical contradictions.

Iitoko-dori, then, refers specifically to this process of accepting convenient parts of different, and sometimes contradictory, religious value systems, and this practice has long been widespread in Japan. In modern times, Sakaiya (ibid., p. 144) notes that the number of Japanese people who do not admit to following some form of iitoko-dori is only about 0.5 percent of the population.

However, the process of iitoko-dori, which has given rise to relative rather than absolute ethical value systems, has also resulted in serious negative consequences. For example, many Japanese students will not oppose bullies and stop them from hurting weaker students.

In other words, in Japan, even if people know that something is wrong, it is sometimes difficult for them to defend their principles, because rather than being absolute, these principles are relative and are easily modified, depending on the situation and the demands of the larger group to which people belong.

The characteristics most often associated with the traditional Japanese arts are keishikika (formalization), kanzen shugi (the beauty of complete perfection), seishin shūyō (mental discipline), and tōitsu (integration and rapport with the skill). The steps that are followed are as follows: The establishment and formalization of the pattern or form (kata): every action becomes rule-bound (keishikika) The constant repetition of the pattern or form (hampuku) Mastering the pattern or form, as well as the classification of ability en route to mastery, resulting in licensing and grades (kyū and dan) Perfecting the pattern or form (kanzen shugi): the beauty of perfection Going beyond the pattern or form, becoming one with it (tōitsu)

It is also interesting to note the differences in this concept of “good-child identity” between Japan and America. As far as expectations for children’s mental development are concerned, Japanese mothers tend to place emphasis on manners, while with American mothers the stress is on linguistic self-expression.

In other words, the ideal of the “good child” in Japan is that he or she should not be self-assertive in terms of rules for living together in society, while American “good children” should have their own opinions and be able to stand by themselves.

In other words, Japanese mothers tend to refer to people’s feelings, or even to those of inanimate objects, to modify their child’s behavior, and this establishes the basis for making judgments for the child: Children who are taught that the reason for poor behavior has something to do with other people’s feelings tend to place their basis for judgments, or for their behavior, on the possibility of hurting others.

As a result, there is a constant emphasis on other people’s feelings in Japan, and parents try to teach their children from a very early age to be sensitive to this information. In Japan, people are expected to consider others first and foremost, and this is a prerequisite for proper behavior in society. It

A senior or an elder is called a sempai; one who is younger or subordinate is a kōhai. This sempai-kōhai dichotomy exists in virtually all Japanese corporate, educational, and governmental organizations.

The Japanese language has one of the most complicated honorific (keigo) systems in the world. There are basically three types of keigo: teineigo (polite speech), sonkeigo (honorific speech), and kenjōgo (humble speech). Teineigo is used in both

Although keigo is used to address superiors or those whom one deeply respects, it is also widely employed in talking to people one does not know well, or who are simply older than oneself. Moreover, it is common for company employees to use keigo in addressing their bosses, whether or not they feel any respect for the other on a personal level. As

Recently, it has been said that the younger generation cannot use keigo properly. In fact, children do not use it in addressing their parents at home, nor do students in addressing their teachers in modern Japan. Furthermore, humble forms seem to be disappearing in colloquial language and can be found today only in formal speeches, greetings, and letters.

Dictionaries usually suggest kenkyo as the equivalent of modesty. One Japanese dictionary states that kenkyo means sunao to hikaeme. Hikaeme gives the impression of being reserved, and sunao has a variety of meanings, including “gentle, mild, meek, obedient, submissive, docile, compliant, yielding,” and so on. Many of these adjectives in English connote a weak character, but in Japanese sunao is always seen as a compliment. Teachers often describe good students as sunaona iiko. This means that they are quiet, listen to what the teacher says, and ask no questions in class.

The Japanese ideal of the perfect human being is illustrated in these folktales, and this is generally a person who has a very strong will.

Dentsu Institute reported that only 8 percent of Japanese people surveyed said that they would maintain their own opinion even if it meant falling out with others, which was the lowest percentage in all Asian countries (“Dour and dark outlook,” 2001, p. 19).