<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2448-654X</journal-id>
<journal-title><![CDATA[Estudios de Asia y África]]></journal-title>
<abbrev-journal-title><![CDATA[Estud. Asia Áfr.]]></abbrev-journal-title>
<issn>2448-654X</issn>
<publisher>
<publisher-name><![CDATA[El Colegio de México A.C.]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2448-654X2016000100077</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[El camino hacia una política de promoción cultural en el Japón contemporáneo y los inicios de una campaña de fortalecimiento de la identidad nacional]]></article-title>
<article-title xml:lang="en"><![CDATA[The Road towards a Cultural Promotion Policy in Contemporary Japan and the Beginning of a Campaign for the Strengthening of the National Identity]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Mandujano Salazar]]></surname>
<given-names><![CDATA[Yunuen Ysela]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Guadalajara Centro Universitario de Ciencias Sociales y Humanidades ]]></institution>
<addr-line><![CDATA[Guadalajara Jal.]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>04</month>
<year>2016</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>04</month>
<year>2016</year>
</pub-date>
<volume>51</volume>
<numero>1</numero>
<fpage>77</fpage>
<lpage>104</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2448-654X2016000100077&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2448-654X2016000100077&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2448-654X2016000100077&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen En el último par de décadas, la cultura japonesa ha adquirido una creciente importancia en los ámbitos económico, cultural y académico. En un inicio, la presencia de productos culturales nipones en mercados alrededor del mundo derivaba de las propias fuerzas de mercado, y el gobierno japonés no hacía mayor intento por potencializar los beneficios del creciente interés que la cultura estaba despertando. Sin embargo, analistas académicos y económicos de Japón y del extranjero comenzaron a notar la progresiva influencia que los productos culturales de origen japonés, como el anime, el manga, los videojuegos, la música y otros contenidos estaban ganando en todo el mundo, en competencia contra la hegemonía cultural estadounidense. Fue luego de varias llamadas de atención de especialistas, de varios años de planes y proyectos, así como de los avances económicos y de promoción cultural de otras potencias asiáticas, que el gobierno japonés lanzó oficialmente un plan de políticas para la promoción cultural del país. Este artículo contextualiza y discute acerca de dichas políticas, conocidas como &#8220;Cool Japan&#8221;. En primer lugar se examinan la situación interna y las influencias externas que llevaron al gobierno a reconocer en la cultura popular nacional una llave para el crecimiento económico por medio de la atracción de capitales y consumidores extranjeros. Se argumenta que ante la competencia económica y las agresivas políticas culturales de la República de Corea, las cuales amenazaron el mercado nacional de contenidos, las élites culturales y económicas japonesas llamaron al gobierno a tomar medidas que desembocaron en el establecimiento de la Oficina de Promoción de las Industrias Culturales Cool Japan. A continuación, se analiza la importancia que tiene para Japón la generación de soft power para la mejora de sus relaciones internacionales y de su situación económica. En este sentido, se estudia una de las tácticas multifacéticas que el gobierno ha utilizado desde el año 2010 en el marco del Cool Japan y que, en ese momento, estaba enfocada tanto a restablecer el interés de los japoneses en su propia cultura a fin de promover el turismo nacional e impulsar las economías rurales, como a promover los productos y servicios nipones en el exterior a través de la representación de imágenes convencionales del país. Finalmente, se examina el efecto que tuvo el desastre natural y nuclear de 2011 en las prioridades del gobierno y el enfoque de las políticas culturales. Se encuentra un cambio en el interés por el exterior y el desarrollo de un doble discurso mediático que, por un lado, busca atraer a los extranjeros a las tradiciones y las cualidades culturales japonesas, como la amabilidad, el respeto y la creatividad, y por otro, está dedicado al fortalecimiento de la identidad nacional invocando ideas del discurso de nacionalismo cultural Nihonjinron que defiende cualidades &#8220;únicas&#8221; de los japoneses, e implícitamente rechaza influjos foráneos.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract During the last pair of decades, Japanese culture has acquired a progressively greater importance among economic, cultural and academic spheres. At the beginning, the presence of Japanese popular culture products in markets around the world was produced by market forces and the Japanese government had not made any major moves to benefit from the growing interest that culture had been attracting towards the country at more general levels. Nevertheless, academic and economic analysts from Japan and the world began to notice the increasing global influence that cultural products of Japanese origin -such as anime, manga, video games, music and other contents- were gaining against the hegemony of American culture. It was after many calls for attention from specialists, several years of planning and projecting, as well as the economic and cultural promotion advances from other Asian powers, that the Japanese government released an official plan of policies for the promotion of the country&#8217;s cultural productivity. This article presents a contextualization and discussion of the establishment of these policies called &#8216;Cool Japan&#8217;. First, we examine the internal situation and external influences that prompted the recognition by the government of nationally produced popular culture as a key field for the support of the economy by means of the attraction of foreign capital and tourists. It is argued that economic competition and the aggressive cultural policies of South Korea, which threated the national content market, caused the cultural and economic Japanese elites to call for government action; these demands in turn gave birth to the Office for the Promotion of the Cultural Industries &#8216;Cool Japan&#8217;. The need Japan had to expand its soft power in order to improve its international relations and its economic situation is then analyzed. In this sense, one multifaceted tactic used by the government since the year 2010 is studied. Through this analysis, it is found that the initial goal of the policies was to promote national tourism, improve rural economies, and stimulate the consumption of national products and services by means of regenerating the interest of Japanese people in their own culture and by representing conventional images of the country outside its borders. Finally, the paper examines the impact that the natural and nuclear disaster of 2011 had on the national government&#8217;s priorities and their focus on the cultural policies. A change is to be found in the interest on the exterior and the development of a double media discourse that, on the one hand, seeks to attract foreigners to Japanese traditions and culture, such as kindness, respect and creativity, and on the other, is focused on the strengthening of the national identity evoking ideas from the cultural nationalism discourse of the Nihonjinron, which defends putatively &#8216;unique&#8217; qualities of the Japanese people and implicitly rejects the insertion of foreign influences.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Japón]]></kwd>
<kwd lng="es"><![CDATA[soft power]]></kwd>
<kwd lng="es"><![CDATA[política cultural]]></kwd>
<kwd lng="es"><![CDATA[cultura popular]]></kwd>
<kwd lng="es"><![CDATA[identidad nacional]]></kwd>
</kwd-group>
</article-meta>
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