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This paper aims to demonstrate deep gaze using a Japanese Shinto wedding ceremony as an example. Some long-term tourists develop an intimate understanding of the host country’s culture by gaining access to authentic experiences typically limited to the locals. These native visitors experience a deep gaze.

Combing subjective personal introspection (SPI) and confirmatory personal introspection (CPI), the author’s 76 wedding photographs are examined critically.

Results demonstrate how a native visitor uses SPI and CPI analyses of native gaze. While the Shinto wedding ceremony’s authenticity mixes traditional and evolutionary elements, the ceremony is best viewed as a Gestalt experience. The evidence suggests authenticity need not have deep roots in the culture.

The findings serve as only one configuration of many possible gazes. Tourist Gaze 4.0 is a set of complex antecedent conditions and multiple configurations.

Using photographs taken by native family members, this paper demonstrates how SPI and CPI identify deep gaze through a different lens.

Although ICI Paints Aquabase waterborne basecoat for the automotive industry has received the Queen's Award for Technological Achievement (see page 6 in July issue), it is not surprising that it is not yet being used by any company in Britain, to our knowledge. It is used on a full scale production line at General Motors truck plant in Ontario and is also used by Volvo in Sweden. We now hear that in Japan — always ready to use new technology — NOF and Shinto have signed licence agreements with ICI Paints to use Aquabase.

The Japanese spirit, as an integration of gods indigenous to Japan (“Shinto”), Confucianism and Buddhism, seems to have formed today's economy and society in Japan, for good or bad, just as modern societies in Europe and America were once created by the spirit of Puritanism.

Management practices in Japan differ from those prevalent in the West partly because of different cultural assumptions regarding the basic character of humanity itself. Whereas opinion in Western tradition tends to favour the pessimistic assumption, Japanese tradition (as represented, particularly, by Confucianism) has always held man′s nature to be intrinsically good. Confucian ideology has been gradually absorbed into business management, and various well‐known features of Japanese management such as emphasis on personal relations, informal superior‐subordinate ties, consensus oriented decision making, and life‐time employment derive from the notion of the individual′s intrinsic virtuousness.

Warns against expecting the Japanese and Chinese to behave similarly, despite common features of their national cultures and geographical proximity. Points out that China follows Confucian‐based business ethics based on connections, mutual trust and under the table dealings, whereas Japan subscribes to Shinto‐based business ethics, depending on perfection, product superiority, obligation, personal honesty and self‐sacrifice. Provides a brief historical overview of each country’s cultural and political dynamics, then draws attention to some of the important differences between China and Japan – China preferring a command culture, pragmatism, centred on the family and using punishment as a means of ensuring conformity, whereas Japan prefers a consensus culture, sentimentality, has a strong sense of nationhood and relies on praise to achieve required performance. Suggests that western businesses keep this in mind if they are to conduct business successfully in either or both of these two countries.

Once while on business in Japan, I took some time off to study the local culture. At a famous Shinto shrine, I saw a gardener trimming a pine tree. He was using a pair of small garden scissors to cut the needles one at a time, referring to a small book before each cut. Coming from a part of the world where a chain saw is the tool of choice for tree trimming, I was intrigued.

The purpose of this paper is to investigate educational functions of the World Heritage Site by examining the case of cultural tourism in a Japanese Buddhist temple.

Japan accepted the World Heritage Convention in 1992. “Historic Monuments of Ancient Nara” were decided to be listed on the World Cultural Heritage in 1998. It was composed of buildings, monuments and related cultural landscape, including five Buddhist temples and one Shinto shrine. Among them, the Gango-ji, focused in this paper, is one of the oldest Buddhist temples in Japan.

It has been keeping many cultural properties related to the folk religious practice and providing many activities for the local community. The material culture of folk-belief is now preserved in a building in the temple yard. And there is an exhibition room. The main hall and the exhibition room are the important facilities for social education, where the visitors can watch and touch the real materials. According to the staffs of the temple, the tourists had better stay in the main hall after 1 h study at the exhibition room.

Heritage is a process of the contemporary people engaging in the usage of past as resources. The buildings as the tangible heritage used by the present community are combined with the actions as the intangible heritage of the people who preserve the heritage. The temporal tourists are also permitted to enjoy the process as participants. They can learn many things through their experiences at the heritage site.

A new range of self‐seal polythene, box‐type, stable stacking sacks for the machine filling of powder and granular materials, from Palagan Limited, carry a price tag which reflects a cost saving innovative design.

This study contributes to the construction of a theory on humanistic leadership in the context of Japanese culture. Although the Japanese management system has been described as human-oriented, there has been limited research on this subject, especially regarding top leaders. This case study focuses on Konosuke Matsushita, the founder of Matsushita Electric (now Panasonic), who devoted his life as a businessperson to investigating human nature. The authors examined how the humanistic approach influenced his beliefs and behaviors, as well as his company's performance. The authors then show how current employees at Panasonic have implemented and interpreted his philosophy.

This research is a qualitative case study. Data were gathered from transcriptions of archived recordings, interviews and Internet documents. They were then coded for analyses.

The findings show how humanistic leadership can succeed via seven behaviors: building a company philosophy aimed at the prosperity of society and the well-being of people, being aware of one's own weaknesses, listening to others, improving oneself, developing people, respecting people and making a profit for society.

The study identifies the behavioral aspects of humanistic leadership for building a leadership theory and provides insight into how Matsushita's leadership characteristics and behaviors are connected to Japanese cultural values.

The purpose of this paper is to define and characterise the precise nature of these cultural systems and their resulting impact on the respective art and artists of each territory, by ascertaining the impact on those systems of their respective government and governance.

This paper is based on three approaches to art market modelling. All three are based on political ideologies. The first, which typifies the art markets of Western Europe and the USA, is predicated on a Pluralist and Neo-Liberal ideology. The others correspond to the systems of government in China, Taiwan, South Korea and Japan.

It has been shown in this paper that political systems and their accompanying ideology, born of cultural preferences, have impacted on the art markets of China, Taiwan, South Korea and Japan. It has been demonstrated that all four markets are employing variants of the international norm.

The art that is exported from East Asia will only be accepted by East Asian national markets when East Asian art markets exercise a majority influence on emerging and transitional markets. It is not the intention of this paper to pursue this thought beyond the possibility that it may occur.

The ineluctable conclusion is, therefore, that the global art market is moving towards a bipolar affair.

This paper also suggests the disengagement of East Asian and Chinese “culture” and art from a global (western) norm and production and consumption of national culture in East Asia by East Asians.

The paper looks (for the first time) at the direct (and subliminal) influence of political systems on art markets and the consequential effects of political ideology on the art markets of East Asia and China. The paper arrives at a series of precise definitions for the way that these art markets operate.