Joseph Nye coined
the notion of “soft power” in an attempt to draw our attention
as Americans to ways in which the United States might be better able
to induce others to follow our example through attraction rather than
military coercion or economic inducement.
Ironically Japan
appears to be in a better position to profit from her accumulation of
“soft power” assets (in the form of anime animated
film, manga illustrated novels, Yu-Gi-Oh card games and television
series, Nintendo video gaming systems, Sony television sets and NEC
computers) than even the United States.
In his discussiosn
of SOFT POWER (the power to get others to want what one wants them to
want via attraction, influence and persuasion, so that they will do
something they might not otherwise undertake) Nye asserts that the ability
to get someone to do what they might not otherwise want to do is enhanced
when coupled with a perceived sense of moral integrity with respect
to the stated aspirations and ideals the pursuading party is attempting
to implement. Likewise he recognizes that such uses of "soft power"
must be balanced against the use of coercive “hard power”
to obtain national objectives. Soft power, furthermore, can be significantly
diminished when hypocritically imposed or imperiously overlooked.
Nye also points
out that, since SOFT POWER is in many ways a reflection of cultural
values, quality of life issues, education / communication / information
resources, cultural exports and willing involvement / investment in
international organizations, it is not a "weapon" confined
to the United States: “As other countries set attractive examples,
educate foreign students, export attractive cultural products, or use
international institutions to attract others to their agenda, they are
also investing in soft power.” (Joseph Nye, “Soft Power
in the Information Age”, IPI World Congress 2000, Boston, May
2, 2000)
Then, with specific
reference to Japan, there is the concurrent influence of postmodernism
to contend with. As we have seen and heard in class, the notion of the
POSTMODERN defined, at least initially, a decidedly “western”
construct which stood a full range of assumptions on their heads, denying
the existence of meaningful tradition or relevant history.
Claiming “no
unitary truth resides anywhere", the postmoderist contends there
is only local knowledge, contingent and provisional: “Postmodernism
celebrates this time, this place; and it celebrates adaptability, contingency,
diversity, flexibility, sophistication and relationships – with
the self and with the community fostering the precedence of surface
over depth, of simulation over the real, of play over seriousness …
nothing is true in or of itself; truth is only an artifact of social
negotiation.”
The role one arbitrarily assumes in such a world recognizes the incongruity
of daily life rather than the existence of innate realities defined
by tradition, cultural expectation and history. The core determinants
themselves, it seems, are circumstantial and temporary.
The responsibility
of each individual becomes to transform “information” into
“knowledge” by placing the data derived from the various
sources consulted into a meaningful contextual whole depending on the
defined needs of the moment. The context provided by a value system,
a given set of assumptions and beliefs, however, is supplied by the
auditor, the viewer, the listener; it is not inherent in the materials
themselves.
In such circumstances,
what place exists for "soft power"? Is its influences expanded
or contracted as a result? Can a culture (like Japan's), one very much
dependent on the exercise of "soft power", still manage to
exert an international impact in a globalized world freed from issues
of national cultural identity?