Why Is Japan So Different? A Language Without a Subject
Takahiro Mitsui's thesis: the single greatest difference is that Japanese has neither a subject nor a copula. Within the Japanese language, culture is not objectified; bunka is action in everyday life, and Japan is a place of its own, outside even "the East."
Neither a subject nor a copula
Though one cannot generalize too sweepingly, most would agree that in linguistic spheres whose grammar sets up a grammatical subject, a culture of the head comes to the fore. Even in English, whose structure changed markedly in the modern era, the "subject–copula–predicate" sentence must be governed by the subject.
In the structure of the Japanese language, however, there is neither a subject nor a copula. This is the single greatest difference.
A "culture" born from a language that possesses a subject moves naturally toward objectifying its various cultural forms, a tendency deeply rooted in the fact that its linguistic structure holds a subject. Japanese, by contrast, lacks a subject altogether, and so the impulse to set culture up as an object rarely arises of its own accord. There is, for instance, no Japanese word equivalent to "counterculture." This shows that within the space of the Japanese language, culture is not objectified.
Bunka is not culture
What, then, is this bunka born not from the head but from the belly? I take it to be "action in actual, everyday life." What demands care here is that the agent of action in a language of the subject is subject-centered, whereas the agent of action in Japanese is predicate-centered.
It therefore needs to be discussed across a wide field, and I take it up as one role that those living in the realm of the predicate can fulfill toward the world. As a first step in thinking through the concepts of bunka and culture, I propose this: Japanese bunka is Japanese bunka, not "Japanese culture."
For those who have visited Japan, I think this sense touches the heart of that hard-to-name "Japaneseness."
Bunka and culture are not equal.
A place of its own
This difference—this fundamental rift—still stretches today between places whose languages are built on different structures. Occupying the middle ground that compromises in the gap, a position that can truly be called between East and West, are China and India, while Japan stands somewhere else altogether. Japan is a place of its own that does not fit even within the category of "the East."
Today great numbers of Western tourists visit Japan, and while the weak yen plays a part, my own reading is that many people from lands that spent the modern era heightening languages of the subject are drawn to Japan by a predicate-centered sensibility.
English in particular, now the world's standard language, belongs to the subject-based realm of language, a realm different from Japanese, a predicate-based one, and so the way of understanding is turned around.
Society as the purpose of everything
Seen in this light, contemporary Japan is neither statism, nor ethnic nationalism, nor emperor-ism, nor civic nationalism, nor socialism.
Society-ism is the only reality. In a sense, all the political ideologies that ran through Japan's modern trajectory from the prewar into the postwar era were ultimately absorbed into making society itself the end, and served merely as preparation for it.
Essays to read
- Culture is something you do, not something you have — Why is Japan so different? Culture is not an idea made by a subject but something done each day, Takahiro Mitsui holds: Japanese has neither a subject nor a copula, and no word for counterculture.
- When order needs no enforcer — Why is Japan so orderly with no one enforcing it? Order with no enforcer is possible, Takahiro Mitsui shows, once society becomes the purpose of everything and people internalize its rules: the philosopher Tetsuji Yamamoto's society-ism.
- Subject culture, predicate culture (I) — In China the brush serves a culture of the subject, in Japan ink serves a culture of the predicate, Takahiro Mitsui argues of the two traditions.
- A story that makes a regime look new — Was Japan ever closed? Takahiro Mitsui argues a new regime needs a story that makes it look new, so Edo became seclusion and Meiji opening: national branding by the Meiji government, while old sea routes were never cut.
- Project 2049 Vol.3: Why Is Japan So Orderly? — NO ONE DECIDED: Why Japan Is So Orderly, and Where Amaterasu Was Moved (2026-10-23)
Takahiro Mitsui's books
- NO ONE DECIDED: Wa and the World's Most Orderly Society (Kindle, in English)