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The Japanese are not the world's greatest marketers. Japanese companies approach and perform marketing within Japan differently than Western firms do within their domestic markets. In fact, marketing to the average Japanese firm is not a priority item. To succeed in Japan, they concentrate instead on production quality and low prices. This fascinating look at the cultural differences, reflected in their marketing practices, reveals the advantages and disadvantages of Japanese marketing practices. The author argues that as the advantages of a protected market and superior production and technology disappear, the Japanese must develop a new marketing process. Examples of both Japanese and foreign firms operating in Japan highlight each section. Marketing Japanese Style examines how Japanese firms actually market to their Japanese customers. Each of the four Ps of marketing-product, promotion, place, and price-are explored. Japanese cultural, strategic, and negotiation practices are described in detail. An interesting facet of the book is the analysis of keiretsu and sogo shosha, and their place in the marketing structure.
This account of the Japanese Shipping Industry treats both the shipping lines and the shipbuilding industry, focusing principally upon the economic developments, following the growth and boom of the 1950s and 60s. The perspective is wide-ranging and the authors relate Japanese shipping not only to the national economy and that of SE Asia but to the world shipping industry as a whole.
First published in 1990, this title is part of the Bloomsbury Academic Collections series.
Japanese folk performing arts incorporate a body of entertainments that range from the ritual to the secular. They may be the ritual dances at Shinto shrines performed to summon and entertain deities; group dances to drive away disease-bearing spirits, or theatrical mime to portray the tenets of Buddhist teachings. These ritual entertainments can have histories of a thousand years or more and, with such histories, some have served as the inspiration for the urban entertainments of no, kabuki and bunraku puppetry. The flow of that inspiration, however, has not always been one way. Elements taken from these urban forms could also be used to enhance the appeal of ritual dance and drama. And, in time, these urban entertainments too came to be performed in rural or regional settings and today are similarly considered folk performing arts. Professor Terence Lancashire provides a valuable introductory guide to the major performance types as understood by Japanese scholars.
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