imperative. No matter how sincerely inquiring or impressive the scale, the the East/West polarity. milieu could fail to yield a lessening of the perceived distance between these two antipodes? While a decoding of messages of nationality in the works themselves suggests not, the rhetoric accompanying their production and reception includes many passages which indicate otherwise. Edward Said and Peter Dale demon-strated respectively the capacity of Orientalism to produce Orientalness as Other and the~ to produce Japanese uniqueness according to a nationalist transmission of culture could hardly be innocent of the ideological constraints of Orientalism and the~'both of which confirmed rather that diffused The encounter of Isamu Noguchi with Japan in the early 1950s as related in the this dissertation supports the following reduction nuanced to these two ideologi-cal discourses : Noguchi arrived in occupied Japan in 1950 bearing a spirit of Japanophilism which invites comparison with Edward Said's description insofar as it was derived from an intellectual basis in the West (modern art and design), focused on the Japanese past, averted attention from the social reality of the Japanese present and was augmented by the sense of authority he commanded in Japan as an esteemed representative of the culture of the powered metropole America. At a low ebb of confidence under the heteronomy of American occupation, individuals in the Japanese art community were groping for national self-esteem by regenerating and revamping the ~-In their search for a new position for Japanese culture in the world community and means of countering the offensiveness of J aponica (the commodification and trivialization of Japanese culture to satisfy foreign consumers), they found N oguchi's Japanism to be a welcome boost. Enticed by their enthusiastic encouragement, Noguchi himself rapidly shifted to a posture closer to the ~ and embarked on an energetic enterprise to create new sculpture and design in Japan marked by the conspicuous thematization of Japanese culture. But, for many reasons most significant among which was the fact that Noguchi's nationality was not perceived as being authentically Japanese, his sculpture and design was -60
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