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posted from Hong Kong. “R u ok kumamon?”

“Are Kumamon and his friends safe?” wondered Eric Tang, a college student.

“Pray for Kumamoto & Kumamon,” wrote Ming Jang Lee from Thailand, a phrase that would be repeated thousands of times.

Kumamoto is a city of 700,000 in a largely agricultural province in south-western Japan.

But what, or more precisely who, is Kumamon? And why in the wake of an immense natural disaster did concern for earthquake victims focus on him, specifically?

That’s a bit more complicated.

It is 12 March 2016, one month before the earthquake. Kumamon bounds onto an outdoor stage at the opening event of his birthday party in Kumamoto. About 150 guests – mostly women – cheer, clap and whistle.

Kumamon waves and bows. He is about 1.5 metres tall, with black glossy fur, circular red cheeks and wide, staring eyes. He’s dressed for the occasion in a white satin dinner jacket trimmed in silver and a red bow tie.

One woman in the crowd holds a Kumamon doll swaddled in a baby blanket. Another has dressed her doll in a grey outfit matching her own. She says it took her a month to sew. A number of fans have pasted red paper circles on their cheeks to mimic his. Those in the first row arrived at 3am to snag their prime spots to greet the object of their intense though difficult-to-explain affection.

“Actually, I have no idea why I love him so much,” says Milkinikio Mew, who flew from Hong Kong with friends Lina Tong and Alsace Choi to attend the three-day-long festival, even though Hong Kong is holding its own birthday party for Kumamon. She slept in, showing up at 6am for the 10am kick-off, so had to settle for a seat in the last row.

Kumamon is… well, he’s not exactly a cartoon character, though he does appear in a daily newspaper comic strip. He’s not a brand icon either, like Hello Kitty, though like her, he does not speak and, also like her, his image certainly moves merchandise.

He’s not sexy, but when the Empress Michiko met Kumamon – at her request – during the imperial couple’s visit to Kumamoto in 2013, she asked him, “Are you single?”

But what is Kumamon? Well, he’s sort of a…

But first, the big moment is here. A birthday cake is rolled out, and the crowd sings ‘Happy Birthday’. Then presents. A representative from Honda, which has a motorbike factory nearby, gives him its Kumamon-themed scooter. An Italian bicycle maker unveils a custom Kumamon racing cycle. Plus a new exercise DVD, on which Kumamon leads the workout.

The Italian bicycle is not for sale, yet. But the other two items are, joining the more than 100,000 products that feature Kumamon’s image, from stickers and notebooks to cars and aeroplanes (a budget Japanese airline flies a Kumamon 737). When Steiff offered 1,500 special edition Kumamon plush toys at $300 each, they sold out online in five seconds according to the German toymaker. Last year Leica created a $3,300 Kumamon camera, a bargain compared to the solid gold statue of Kumamon crafted by a Tokyo jeweller, which retails for $1 million.

So what is he then? Kumamon is a yuru-kyara, or ‘loose character’, one of the cuddly creatures in Japan that represent everything from towns and cities to airports and prisons. The word is sometimes translated as ‘mascot’, but yuru-kyara are significantly different from mascots in the West, such as those associated with professional sports teams, which tend to be benign, prankish one-dimensional court jesters that operate in the narrow realm of the sidelines during game time.

Kumamon has a far wider field of operation as the yuru-kyara for Kumamoto Prefecture (a prefecture is like a state in the USA or a county in England). He has become more than a symbol for that region, more than merely a strategy to push its tourism and farm products. He is almost regarded as a living entity, a kind of funky ursine household god (it is perhaps significant that the very first licensed Kumamon product was a full-sized Buddhist shrine emblazoned with his face). He hovers in a realm of fantasy like a character from children’s literature, a cross between the Cat in the Hat and a teddy bear.

Kumamon has personality. “Cute and naughty,” Tam explains, later, when I ask what about Kumamon made her care about him enough to be concerned immediately after the earthquake.

She wasn’t alone. After the April quake, Kumamon’s Twitter feed, which has nearly half a million followers and is typically updated at least three times a day, stopped issuing communications. With a thousand buildings damaged, water to the city cut, a hospital jarred off its foundations, and 44,000 people out of their homes, the prefectural government, which handles Kumamon’s business dealings and appearances, had more important things to do than stage-manage its fictive bear.

But Kumamon was missed.

“People are asking why Kumamon’s Twitter account has gone silent when the prefecture needs its mascot bear more than ever,” the Japan Times noted on its Facebook page on 19 April.

Into the vacuum came hundreds, then thousands of drawings, posted by everyone from children to professional manga artists, not only from Japan, but from Thailand, Hong Kong, China. They waged an impromptu campaign of drumming up support for earthquake relief using the bear, which stood in for the city itself and its people. Kumamon was depicted leading the rescue efforts, his head bandaged, lifting stones to rebuild the tumbled walls of Kumamoto Castle, propping up tottering foundations, enfolding children in his arms.

Ganbatte Kumamon!” many wrote, using a term that means something between ‘don’t give up’ and ‘do your best’.

What is happening here? Kumamon is kawaii – the word is translated as ‘cute’, but it has broad, multi-layered meanings, covering a range of sweetly alluring images and behaviours. Not only does kawaii encompass the army of Japanese mascots, but a world of fashion that has adult women dressing as schoolgirls and schoolgirls dressing as goth heroines or Lolita seductresses, giving rise to ero-kawaii, or erotic kawaii, a mash-up of cute and sexy.

We eagerly spend fortunes on cute avatars – Kumamon earned $1 billion in 2015, Hello Kitty four or five times that – without ever wondering: What is cute? What about it causes us to open our wallets and our hearts? Is appreciation for cuteness hardwired in human beings? What does it say about our society? Is what it says good or, possibly, could cuteness harbour darker facets as well? These are questions being mulled over by a potential new academic field, ‘cute studies’.

And where do our concepts of cuteness originate? That one is easy. The primal source of all things cute is found in every country, in every city and town, every neighbourhood and close to every block in the world. You may have the template for all the cuteness in the world right in the next room and not even realise it.

Soma Fugaki’s dark eyes sparkle as he scans the opening night crowd at Blossom Blast, a feminist art show at the UltraSuperNew Gallery in Tokyo’s hip Harajuku district. Drinks are poured, music pulses. But Soma doesn’t dance or even stand. He’s a baby. Just five months old, Soma squirms in the arms of his father, Keigo, who gazes lovingly into his son’s face.

“Everything about him is a reflection of myself,” Keigo says, “a cartoon version… That has to do with how much I think he’s cute. I stare at him all the time. He looks like me. It’s my features, but exaggerated: bigger cheeks, bigger eyes.”

Babies are our model for cuteness. Those last two details – big cheeks, big eyes – are straight out of Konrad Lorenz’s Kindchenschema, or ‘baby schema’, as defined in the Nobel Prize-winning scientist’s 1943 paper on the ‘innate releasing mechanisms’ that prompt affection and nurture in human beings: fat cheeks, large eyes set low on the face, a high forehead, a small nose and jaw, and stubby arms and legs that move in a clumsy fashion. And it doesn’t just apply to humans: puppies, baby ducks and other young animals are covered by Lorenz’s theory.

Lorenz’s paper is the ur-document of cute studies, but did not produce an immediate reaction among the scientific community. He was a Nazi psychologist writing during wartime, exploring their loathsome eugenic theories – a reminder that the shiny face of cuteness invariably conceals a thornier side.

For decades, scientists focused on what babies perceive, what they think. But in the 21st century, attention turned to how babies themselves are perceived, as cuteness started taking its first wobbly steps toward becoming a cohesive realm of research.

Seeing cute creatures stimulates the brain’s pleasure centre

Experiments have demonstrated that viewing cute faces improves concentration and hones fine motor skills – useful modifications for handling an infant. A pair of Yale studies suggest that when people say they want to ‘eat up’ babies, it’s prompted by overwhelming emotions – caused, one researcher has speculated, by frustration at not being able to care for the cute thing, channelled into aggressiveness.

These emotions are triggered chemically, deep within the brain. Experiments hooking up volunteers to magnetic resonance imaging (MRI) scanners have shown how seeing cute creatures stimulates the brain’s pleasure centre, the nucleus accumbens, causing a release of dopamine, in a way similar to what happens when eating chocolate or having sex.

Women appear to feel this reaction more strongly than men. While biologically this is explained by the need to care for infants, society’s larger embrace of cuteness has led academics in gender studies to wonder whether cute culture is the sugar pill that sexism comes in – training women to be childlike – or whether it could instead be a form of empowerment in which young women take control of their own sexuality.

More recent experiments have tried to separate cuteness from its biological roots to see if there are general aesthetic standards that can make an inanimate object ‘cute’.

In a study at the University of Michigan in 2012, visual information expert Sookyung Cho asked subjects “to design a cute rectangle by adjusting the size, proportion, roundness, rotation, and color of the figure”.

What she found supported the idea that “smallness, roundness, tiltedness, and lightness of color can serve as determinants of perceived cuteness in artifact design”. It mattered, she found, whether the person designing the rectangle was in the USA or South Korea. Cuteness is nothing if not culturally specific, and that itself has become a rich focus of inquiry.

Cuteness is so associated with Japan that the actual country – mile after mile of unadorned concrete buildings alternating with rolling green fields and periodic densely packed cities – can come as something of a surprise. The Tokyo subway is jammed with hurrying businessmen in dark suits, rushing women in paper masks, racing kids in plain school uniforms. Cute characters such as Kumamon can be hard to spot, and to expect otherwise is like going to America and expecting everyone to be a cowboy.

Still, there are pockets of cuteness to be found: tiny yuru-kyara charms dangling off backpacks or peeking from posters or construction barriers in the form of baby ducks.

But not everywhere – not even in most places.

Even in Kumamoto during Kumamon’s birthday weekend. Exit from the Shinkansen bullet train at Kumamoto station and there is nothing special on the platform, not so much as a banner – not until you take the escalator down and catch a glimpse of the enormous head of Kumamon set up downstairs, along with a mock stationmaster’s office built for him. The train station shop is filled with Kumamon items, from bottles of sake to stuffed animals including, somewhat disturbingly, a plush set that pairs him with Hello Kitty, the wide-eyed bear directly behind the kneeling kitty in such a way as to suggest… well, you wonder if it’s deliberate.

In the city, his face is spread across the sides of an office building, with birthday banners hanging from the semi-enclosed shopping arcades that are a feature of every Japanese city.

Six years ago, Kumamoto wasn’t known for much. There is an active volcano, Mt Aso, nearby, and a 1960s reproduction of a dramatic 1600s-era castle that burned down in 1877. Kumamoto residents believed there was nothing in their city that anyone would want to visit. The region is largely agricultural, growing melons and strawberries.

But in 2010, Japan Railways was working to extend the Shinkansen bullet train to Kumamoto, and the city fathers were eager for tourists to use it. So they commissioned a logo to promote the area, hiring a designer who offered a stylised exclamation point (their official slogan, ‘Kumamoto Surprise’, was a bright spin on the fact that many Japanese would be surprised to find anything in Kumamoto worth seeing).

The exclamation point logo was a red blotch, resembling the sole of a shoe. The designer, seeking to embellish it, and knowing the popularity of yuru-kyara, added a surprised black bear. Kuma is Japanese for bear. Mon is local slang for ‘man’.

Paired with a mischievous personality – Mew calls him “very naughty” – Kumamon made headlines after Kumamoto held a press conference to report that he was missing from his post, having run off to Osaka to urge residents there to take the train. The stunt worked. Kumamon was voted the most popular yuru-kyara in 2011. (Japan has a national contest, the Yuru-kyara Grand Prix, held in November. The most recent one was attended by 1,727 different mascots and nearly 77,000 spectators. Millions of votes were cast.)

A few Kumamoto officials resisted Kumamon – their concern was he would scare off potential tourists, who’d worry about encountering wild bears, of which there are none in the prefecture. But the Kumamoto governor was a fan and cannily waived licensing fees for Kumamon, encouraging manufacturers to use him royalty-free.

Rather than pay up front, in order to get approval to use the bear’s image, companies are required to support Kumamoto, either by using locally manufactured parts or ingredients or by promoting the area on their packaging. It’s as if Mickey Mouse were continually hawking California oranges.

The side of the box of the Tamiya radio-controlled ‘Kumamon Version Buggy’, for instance, has photos of the region’s top tourist destinations. In one of the songs on the exercise DVD released on Kumamon’s birthday, as he leads his fans through their exertions, they grunt, “Toh-MAY-toes… straw-BEAR-ies… wah-TER-melons” – all agricultural products that are specialties of Kumamoto. Go into a grocery store and Kumamon smiles from every punnet of strawberries and honeydew wrapper.

There is a tacit agreement to never allude to anything as crass as him being a man in a bear suit

The bullet train began service to Kumamoto on 12 March, so that date is now used as Kumamon’s official birthday. He was there to greet the first scheduled train, a moment recreated during his birthday fest.

Fans line up to hug him, often reaching back for a lingering last touch as they’re led off to make way for the next waiting fan. There is a tacit agreement to never allude to anything as crass as him being a man in a bear suit, to, if not accept Kumamon’s reality, pretend that he exists.

In 2014, Kumamon gave a news conference at the Foreign Correspondents’ Club of Japan, where his title was given as ‘Director of PR’. The journalists posed respectful questions. “How many staff do you have to help you out with your activities?” one asked. The answer – “We have about 20 staff members in our section” – was delivered by one of those subordinates, Masataka Naruo, who enjoys telling people that Kumamon is his boss.

Shopping in Kumamoto the day before the start of the celebration, Mew and her friends wear Kumamon T-shirts and carry Kumamon backpacks. The three women show their discoveries to each other. They own a lot of Kumamon products already. Why buy more? What makes Kumamon so special? “Because he’s very cute,” says Tong, in English.

Being cute isn’t always enough, however.

For every Kumamon, for every popular yuru-kyara, there are a hundred Harajuku Miccolos. A five-foot-tall yellow-and-brown bee, Harajuku Miccolo stands on the pavement, celebrating Honey Bee Day by finishing up three hours of loitering in front of the Colombin Bakery and Café, greeting passers-by – or trying to. Most barely glance in his direction and do not break stride, though some do come over and happily pose for the inevitable picture. There is no line.

Harajuku Miccolo is cute yet obscure, the common fate for most yuru-kyara. The city of Osaka has 45 different characters promoting its various aspects, who must fend off periodic calls for them to be culled in the name of efficiency; one administrator piteously argued that the government officials who create these characters work hard on them and so would feel bad if they were discontinued.

Harajuku Miccolo is trying to avoid that fate.

“He is not a success yet,” admits one of his handlers, distributing cubes of the café’s trademark honey cake. “Many are not as successful…”

“…as Kumamon?”

“We’re trying…”

Nobody is cute in Shakespeare. The word did not exist until the early 1700s, when the ‘a’ in ‘acute’ was replaced by an apostrophe – ’cute – and then dropped altogether, the sort of truncation for which frenetic Americans in their restive colonies were already notorious.

‘Acute’ came from acus, Latin for needle, later denoting pointed things. So ‘cute’ at first meant “acute, clever, keen-witted, sharp, shrewd” according to the 1933 edition of the Oxford English Dictionary, which doesn’t suggest the term could describe visual appearance. This older, ‘clever’ meaning lingers in expressions like “don’t be cute”.

The newer usage was still being resisted in Britain in the mid-1930s, when a correspondent at the Daily Telegraph included ‘cute’ on his list of “bastard American expressions”, along with ‘OK’ and ‘radio’. Not only is ‘cute’ unknown before 1700, but Lorenz’s Kindchenschema is largely absent from visual arts before the 20th century. Even babies in medieval artworks are depicted as wizened miniature adults.

Cute images of the kind we’ve become accustomed to began showing up around 1900. While purists fussed, popular culture was discovering the bottomless marketability of cute things. In 1909, Rose O’Neill drew a comic strip about ‘kewpies’ (taken from ‘cupid’) – preening babylike creatures with tiny wings and huge heads, which were soon being handed out as carnival prizes and capering around Jell-O ads (to this day, Kewpie Mayonnaise, introduced in 1925, is the top-selling brand in Japan). Cuteness and modern commercialisation are intricately linked.

Still, kewpies followed the lines of actual human anatomy more or less, the way that Mickey Mouse resembled a real mouse when he first appeared on film in 1928. A half a century of fine-tuning made him much more infantile, a process naturalist Stephen Jay Gould famously described in his ‘biological homage’ to Mickey. Gould observed that the mischievous and sometimes violent mouse of the late 1920s morphed into the benign, bland overseer of a vast corporate empire.

Today, about $5 billion worth of Hello Kitty merchandise is sold annually

“He has assumed an ever more childlike appearance as the ratty character of Steamboat Willie became the cute and inoffensive host to a magic kingdom,” Gould writes.

In Japan, the national fascination with cuteness is traced to girls’ handwriting. Around 1970 schoolgirls in Japan began to imitate the caption text in manga comics – what was called koneko-ji, or ‘kitten writing’. By 1985, half of the girls in Japan had adopted the style, and companies marketing pencils, notebooks and other inexpensive gift items, like Sanrio, learned that these items sold better when festooned with a variety of characters, the queen of whom is Hello Kitty.

Her full name is Kitty White, and she has a family and lives in London (a fad for all things British hit Japan in the mid-1970s).

The first Hello Kitty product, a vinyl coin purse, went on sale in 1974. Today, about $5 billion worth of Hello Kitty merchandise is sold annually. In Asia, there are Hello Kitty amusement parks, restaurants and hotel suites. EVA Air, the Taiwanese airline, flies seven Hello Kitty-themed jets, which carry images of Hello Kitty and her friends not only on their hulls, but throughout their cabins, from the pillows and antimacassars to, in the bathroom, toilet paper emblazoned with Hello Kitty’s face, a detail which an observer does not need to hold a doctorate in psychology to wonder about.

“If your target is young women, it’s saturated,” says Hiroshi Nittono, Director of the Cognitive Psychophysiology Laboratory at Osaka University, talking about the market for cute products in Japan. That is certainly true. In an effort to stand out, some yuru-kyara are now made intentionally crude or semi-frightening. There is the whole realm of kimo-kawaii, or ‘gross-cute’, epitomised by Gloomy, a cuddly bear whose claws are red with the blood of his owner, whom he habitually mauls. Even Kumamon, beloved as he is, is still subject to a popular internet meme where his works are revealed to be done “For the Glory of Satan”.

Because the practice of putting characters on products is so prevalent, and subject to resistance, Nittono, a placid, smiling man who wears an ascot, has been working with the government on developing products that are intrinsically cute. He asks to meet, not at his apartment or at an academic office, but at the Ministry of Economy, Trade and Industry in Hiroshima, where he is finishing up an academic post.

For the past few years, Nittono and the government have been collaborating to develop cute items, a few of which are laid out on a table: a squat make-up brush, a bowl, a brazier, a few medallions and tiles. Given the mind-boggling array of cute merchandise available at shops in every mall around the world, it is not an overwhelming display of the ingenious synthesis of academe and government.

Nittono’s group is exploring how cuteness can be used as a device to draw people toward products without blatant branding.

“We use kawaii for such sentiment, feeling – kawaii things are not threatening, that is the most important part, small and not harmful,” says Nittono. “A high-quality product is somewhat distant from the customers; it looks expensive. But if you put kawaii nuance on such products, maybe such items can be more approachable.”

“If you have something cute, then you want to touch it, and then you see the quality of it,” adds Youji Yamashita, a ministry official.

Objects can also be unintentionally kawaii. With her husband Makoto, Date Tomito owns Bar Pretty, a tiny side-street tavern in Hiroshima. Six people would be crowded sitting at the bar. Makoto comes in from the market bearing a small plant in a yellow pot, a present for his wife.

“This is kawaii,” Date says, holding the plant up, elaborating. “There are lots of different meanings for kawaii: ‘cute’, ‘small’, ‘clumsy’. Some things just have a cute shape.”

She stresses something about kawaii: “It’s never bad,” she says. “I never use kawaii in an ironic way. Kawaii is kind of the best compliment around Japanese people, especially girls and women. They really like kawaii stuff and things.”

Single women in their 30s are sometimes referred to as ‘leftover Christmas cake’

Perhaps not all women. Just as Barbie’s measurements have drawn critique from feminists and scholars, so Hello Kitty has caught the interest of academics, especially in Japan, where the progress of women has lagged far behind other industrial nations. With girlishness a national obsession – Japan did not ban possession of child pornography until 2014 – and its most popular female icon lacking a mouth, if cuteness does become a separate academic field, then much credit has to be given to the feminist pushback against what Hiroto Murasawa of Osaka Shoin Women’s University calls “a mentality that breeds non-assertion”.

At the UltraSuperNew Gallery opening attended by Soma and his father, guests watch a woman in a frilly white miniskirt draped in white feathers with fuzzy leggings and an enormous yarn bow atop her head, her face painted white with a red flower on each cheek and blue dots running down her nose. She kneels in the gallery window, dabbing at a teal and yellow painting that closely resembles finger-painting writ large.

Her professional name is Gerutama, and she insists that, despite appearances, she is definitely not kawaii. She is a ‘live painter’. Some Japanese of both sexes reject kawaii – ‘fake’ is a word often used. But they are in the minority. Japanese women still live in a culture where single women in their 30s are sometimes referred to as ‘leftover Christmas cake’, meaning that after the 25th – of December for cake, birthday for women – they are past their expiration date and hard to get rid of. Nobody wants either.

Those surgical masks worn in public? Yes, to avoid colds, pollution and allergies. But ask Japanese women, and many will say that they wear them date masuku – ‘just for show’. Because they didn’t have time t آرایش خود را انجام دهید ، یا به دلیل اینکه آنها خود را به اندازه کافی ناز نمی دانند ، و آنها می خواهند سپر در برابر چشمان مزاحم دنیای شلوغ خود باشند. در یک مطالعه آلمانی با 270،000 نفر در 22 کشور جهان ، ژاپنی ها آخرین بار از این که چگونه ظاهر می شوند خوشحال شدند. بیش از یک سوم کشور ، 38 درصد ، گفتند که آنها از ظاهر شخصی خود “کاملاً راضی نبودند” یا “خیلی راضی نیستند.” گالری گو کاوایی بیمار است”. > استفن برایان ، نویسنده جامائیکی که به مدت یک دهه در ژاپن زندگی می کرد و با یک زن ژاپنی ازدواج کرد. “ کاوایی em> به خصوص بابلی است. اگر یک زن مانند یک بزرگسال در ژاپن عمل کند ، این جرم است. عزت نفس آنها چیزی در این کشور نیست. همه اینها زیر نظر فرهنگ است. این اعتماد به نفس کم است. »

جوشوا پل دیل مکث می کند تا کفشهای خود را در ورودی آپارتمان بزرگ – خوب ، بزرگ توکیو – پر از نور در بخش Sendagaya شهر. دیل ، 50 ساله ، محقق مطالعات فرهنگی در دانشکده دانشگاه توکیو گاکوگی ، محرک اصلی ایجاد مطالعات زیبا است. p>

علوم رفتاری بخشی ، مطالعات فرهنگی بخشی ، زیست شناسی بخشی ، این حوزه چنان جدید است که تاکنون کنفرانسی نداشته است. p>

دیل اولین کسی بود که مقالات آکادمیک را به صورت آنلاین کتاب شناسی مطالعات زیبا ، لیستی که هم اکنون حاوی بیش از 100 انتشارات است ، به ترتیب حروف الفبا از “ناز عامل دار” C Abidin (^. ^): چسباندن ناز آسیای شرقی در تجارت اینفلوئنسر “در مجله فرهنگ عامه شرق آسیا em> به” گفتگوی بچه با کودک “در لزلی زبرویتز و همكاران در مجله رفتار غیر كلامی em>.

آخرین مرحله دیل برای ویرایش مجله فرهنگ عامه شرق آسیا ، چاپ شده در آوریل 2016. “مقالات جمع آوری شده در این شماره ، انعطاف پذیری برازش را به عنوان یک مقوله تحلیلی و دامنه وسیع نشان می دهد. از بینش های ایجاد شده ، “او در مقدمه اظهار می دارد.”

یک الهام بخش “مطالعات پورنو” است ، اکنون با فصلنامه خود p>


کوتاه بودن هنوز به عنوان یک حوزه علمی مستقل پدید نیامده است – دیل تخمین می زند که فقط چند ده دانشگاهی در سراسر جهان بر روی موضوع تمرکز می کنند – اما او امیدوار است که در حال انجام باشد. دیل می گوید که یکی از الهام بخش ها “مطالعات پورن” است ، اکنون با سه ماهه خود ، پس از آنکه دانشگاهیان متحد شدند تا روی موضوعی تمرکز کنند که احساس می کردند محققان فرهنگی از بی اعتنایی به جایی نرسیده اند. یک زمینه مشخص کاوش را تشویق می کند.

هیروشی نیتتون در شماره ویژه مجله آسیای شرقی em> همکاری داشته است. Nittono ، که اولین مقاله علمی همکار را با عنوان kawaii در تالیف خود تألیف کرده است ، “الگوی دو لایه” از کوتاه بودن را مطرح می کند: اولاً نه تنها مراقبت والدین را از نوزادان ترغیب می کند ، بلکه اول هنگامی که کودک به کودک نو پا می رود و تعامل با جهان را آغاز می کند ، کوتاه شدن و سپس جامعه پذیری را ارتقا می بخشد ، الگویی که دیل می بیند در زمینه سقوط منعکس می شود. p>

دیل می گوید: “این جالب است زیرا ذات خود مفهوم است.” “چیزهای ناز به راحتی با چیزهای دیگر ارتباط دارند. این نوع موانع اندکی موانع را بین خود و دیگری یا موضوع و موضوع می شکند. این بدان معناست که از زمینه های مختلف دعوت به کار می کند. جالب است که افراد را از زمینه های مختلف دور هم جمع کنید و در مورد همان موضوع صحبت کنند. “

نه اینکه شما برای انجام این کار به یک کنفرانس دانشگاهی نیاز دارید. ژاپن کاملاً منحصر به فرد به عنوان بازتابی از شخصیت ملی آن ، پذیرایی از چگونگی برگزاری مراسم چای یا شکوفه های گیلاس را به عنوان نمادی از ملیت ژاپن پذیرفته است. در سال 2009 ، دولت سه گانه “cute را منصوب کرد سفیران ، سه زن با روبان و لباس babydoll که وظیفه آنها نمایندگی کشور در خارج از کشور بود.

بشریت همیشه خدایان خانگی را در آغوش گرفته است: نه خدای جهان آفرین جهانی ، بلکه متحدان شخصی جزئی ، شخصی تر برای نرم کردن آنچه می تواند زندگی سخت و تنهایی باشد. هر کس دوستانی را که شایسته آنها باشد یا بچه ای که از آنها گرامی داشته باشد ندارد. غالباً افراد هر دو جنس در جهان تنها هستند.

خرسهای تدی به دلیل اینکه شب تاریک و طولانی است وجود دارد و در بعضی مواقع والدین شما مجبورند به رختخواب بروند و شما را ترک کنند. راحتی واقعی در برش وجود دارد. p>

“پر کردن یک نیاز عاطفی دقیقاً همان جایی است که کاوایی em> نقش مهمی ایفا می کند ،” می نویسد کریستین آر یانو ، استاد مردم شناسی در دانشگاه هاوایی در مانوا و نویسنده جهانی سازی صورتی: مسیر سلام بچه گربه در سراسر اقیانوس آرام em>.

یانو می گوید: “حتی در آمریکا ، نیکلاس کریستوف روزنامه نگار از” شکاف همدلی “در جامعه امروز نوشت.” “او به مکان اشیاء که ممکن است به عنوان ترویج” خوشبختی “،” آرامش “،” آسایش “در نظر گرفته شوند ، اشاره می کند. هنگامی که یک جامعه نیاز به بهبودی دارد ، در آشنایان به راحتی می خواهد. و اغلب ممکن است افراد آشنا در “زیبا” زندگی کنند. شاهد استفاده از خرسهای عروسکی به عنوان منبع آسایش آتش نشانان در پی 9-11 NYC باشید. بنابراین من می kawaii چیزهایی را مشاهده می کنم که پتانسیل تولیدکننده همدلی را دارند. ”

Kumamon یک نیروگاه تولید همدلی است. در هفته های بعد از زلزله کوماموتو ، کومامون به قدری لازم بود که در غیاب هوادارانش ، او را به طور مستقل ، به عنوان یک موضوع همدردی ، یک ناجی خستگی ناپذیر ، یک قهرمان آشکار ، او را مجاب کردند.

سه هفته پس از وقوع زلزله 14 آوریل ، کومامون از سالن همایش شهر سخت شهر ماشیکی بازدید کرد ، جایی که ساکنان هنوز برای محافظت در اتومبیل های خود می خوابیدند ، زیرا 1200 لرزه همچنان در سرتاسر منطقه می گشت. این دیدار از طریق تلویزیون و در روزنامه ها به عنوان خبر منتشر شده بود ، گویا یک بازمانده طولانی مدت زنده از زباله هایش جدا شده بود. p>

بچه ها ، که بسیاری از آنها خانه های خود را در زلزله از دست داده بودند ، دور او گله می کردند ، فشرده می کردند ، بغل می کردند ، عکس می گرفتند. دوستشان برگشته بودند

نسخه ای از این پست قبلاً منتشر شده در Mosaicscience.com و تحت مجوز مجوز Creative Commons منتشر می شود. p>

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