The author would like to add, that the literature review above does not include the whole range of sources used in the research. There will be more sources observed in further study below.

Moving to the expected outcome of the research, it is important to remember that the question of study is generated over the specifics of Japanese cultural diplomacy evolution in historical economic and political context. And one of the main specifics is its' adaptation ability, which should be demonstrated in current period context as well. Using the methodology described above, the largest share of which is occupied by content analysis of the existing sources of literature and practical experience of author (it is going to be described and analyzed in chapters below), such gaps of existing study, as, for example, the lack of literature sources describing Russian-Japanese cultural relations in particular, the limits of methodology (the author works with the existing sources of data, without generation of new ones, by the conduction of questioners, for example), etc., are going to be covered. In the result of the research the author assumes it possible to explain and prove, that for Japan (which seems to has acquired all the success it experiences in economic terms, with the help of successful cooperation in world trade) -- Cultural Diplomacy reveals to be one of the greatest factors of success and a reliable, historically-proved choice of peaceful interest projection strategy. Furthermore, it is very important for the current situation in Russian - Japanese relations, during the activity of Abe's administration and its official concept «Cool Japan», which is widely supported and implied by Japanese business, the author of the research, with the help of a great number of practical examples, would like to make a conclusion and show the cooperation growth in cultural sphere and its positive influence on economic cooperation. It seems to provide a hope for the rise of productivity of attempts to to reach the progress in the sphere of political questions, which are still unsolved, as well. Moreover, cultural cooperation, being enormously beneficial for Japanese side, is also considered to be quite beneficial for Russian side, especially in terms of commerce. The authors' theory also includes the assumption, that such an efficiency has been reached by the specifics of Japanese cultural diplomacy, which seems to be able to easily adjust to the cultural and political system (and the system of values) of the target (partner) country. However, due to the fact that in this research author concentrates only on relations with Russia the clear comparison with the specifics of Japanese cultural diplomatic policies towards other countries is not under study. But, from the other hand, it ones again underlines the possibility to conduct further research in this direction. Probably, in the future works, the author herself will conduct a comparative analysis of case studies of Japanese relations with a number of countries, and will continue with attempts to generate a theory of efficiency rising of cultural diplomatic policies as a tool of soft power for states, which is based on peaceful mutually beneficial integration of stated and societies. Thus, this research can appear to be a necessary intermediate stage for the further study.

1.The explanation of Reasons, History, Logic and Directions of development of Japanese Cultural Diplomacy

1.1 Historical preconditions

Trying to find the truth and to understand properly what is going on today, and how the evolvement of cultural policies looks, it is necessary to come to the initial point, and analyze in more depth, why Japan decided to change the perception of its image internationally, and why it decided to do it in such a sophisticated way through cultural means of soft power, not hard one. What were the intentions, actions, and ideas, which led the country to the point of development in this particular area of Cultural Diplomacy policy implementation it now has managed to achieve? To answer this question it is necessary to understand the way of Japanese historical experience.

First of all, a great start of historical context description would be the reminding of constitutional change of Japan (it can be found on the official cite of the Prime minister of Japan). The fact of losing the war was quite painful for Japanese, and it was complemented with a considerable pressure from the side of victorious states. Japanese government was forced to change its constitution. The Japanese Instrument of Surrender was signed by Japanese side and Allied forces, and after that the new draft constitution was prepared. It was based on Meiji Constitution -- the Constitution of the Empire of Japan, which had been in force since 1889, but with a number of minor amendments. However, it was not in the interests of victorious powers to enforce such constitution. American military administration used to conduct a number of important institutional reforms, including the proclamation of fundamental democratic rights and freedoms, domestic economic reforms and so on and so forth. But at the times of constitution elaboration, the special attention was paid to the guarantors of preventing Japan from gaining its military power back and its rebirth as a competitor of the USA (and the USSR, respectively). That is why the famous Article 9 was included into the new Constitution of Japan, which came into force in the year 1947. According to the Article 9, Chapter 2, that can be found on the official website of Japanese prime minister and his cabinet in official English translation, the people of Japan officially renounce from any war and military aggression (as a sovereign right of nation) and as a way of international disputes setting. Furthermore, sea, land and air forces, or any other war potential, is promised to be never maintained again. Also, it significantly limits the rights of the Japan Self-Defense Forces. The Article 9 is also considered to be the reason of Japanese Constitution to be known as «Pacifist Constitution» as well. It also underlines another important side of Japanese pacifism, such rejection of any possession and implementation of any sort of nuclear weapon. Since then, the idea of pacifism also became one of the main ideas in Japanese ideology, but it has never been aggressively promoted. The article is widely discussed in the work of Panton (2010), in which he also questions it from the perspective of international law and its' ambiguity, as well as Chen and Wada (2017) does, as far as this article can seem, from one perspective, to violate the sovereignty of Japanese state and legal ability of it to have a right for military power possession. Inspire of the fact, that agreement to adopt such a constitution was made under strong pressure from the side of American military occupation forces (mostly), it is widely believed that such a abandonment of military potential appeared to be the main historical condition for Japanese economic growth. Also, according to Inoue (1991), literally, a number of the misunderstandings between the languages (and terms used), English and Japanese, during the process of new constitution formation, can be considered to lead to a better historical outcome for Japan, that it could be expected. In fact, being «forced» to become complete pacifists, Japanese pacifistic values spread started due to the change of constitution, and became a greatest reason for the government to decide to turn to the road of Cultural Diplomacy. It needed to gain power back, and the power had to be soft, such as economic prosperity, then dominance (first regionally, and then competing globally).

1.2 Development of Cultural Diplomacy as driving element of Economic Prosperity

Before the discussion of historical development of the Cultural Diplomacy and the institutions which were arranged for its efficient implementation, the author would like to remind ones again, that this idea of new international image creation was considered to become a supplementary tool to start and then to support the economic growth, which should have lead Japan to a high position among the other international players. It was made to chose Soft Power instead of the hard one, as it appeared to be, more luckily than unfortunately, and thus Japan has chosen economic and technological development. And the choice can be claimed to become one of the most successful. One of the firs targets for Cultural Diplomacy was Asia, (which is the main topic of Otmazgin (2012), where he comments Japanese success generally positively), and one of the main purposes of Japan was to increase its foreign investments in Asia and to become accepted in a «friendly» way by the Asian states again. Successful assuring them in non-aggression from Japanese side became a way to Japanese regional, and then global economic domination. It started to develop significantly its industrial production of high technological and high quality manufactured products, such as automobiles (also, computer hardware and software emerged later as an object of Japanese specialization) and also it managed to conduct quite successful monetary policies during the periods of economic crisis in the second half of twentieth century. During that period Japanese GDP growth rate used to reach almost 10% annually. The discussion of the period of the highest growth of Japan, called «economic miracle», starting in middle 1950s and lasting until the oil crises of 1973, is widely provided in the work of Katz (1998). After 1973 the world economy was not experiencing its best times, and it reflected also on Japanese economy, which already started to face challenges such as, for example, Korean growing companies, competing Japanese giants Sony and Toyota (etc.), or the slightly growing and annually increasing rate of unemployment and so on. Anyway, Japanese economy was still gaining its size and power. It still continued to perform successfully in balancing between the regulations in domestic situation and conduct foreign economic policy, increasing foreign investment, «buying» its regional influence. To the beginning of 1991 Japanese economy had already allowed it to become the greatest foreign direct investor of the world, according to Froot (1991). The president of the Asian Development Bank is also a Japanese citizen Masatsugu Asakawa, as far as Japan was highly interested in creation of this Bank and wanted to provide aids and investments for Asia. In capital subscription, Japan has contributed $23.04 billion as of 2018. Since joining in the year 1966 it has committed and contributed $14.83 billion to Special Funds, according to the official website of the organization. Japan was seeking economic development and economic soft power from the beginning, and a great number of scholars were discussing, such as, for example, Brouthers and Werner (1990), to what extent Japan could compete with America in its economic growth. Japan was growing really fast during the 1980s, but unfortunately the economic bobble has developed due to financial speculation, which led to catastrophic crises in 1990s, the consequences of which Japan is experiencing till the present time of 2020. Economists also acknowledge, that it had to happen, because Japanese domestic economy could not, as any economy, grow eternally, and there are some factors (territory, population, etc.) which played its roll. But in the end of 1990s it was, probably, one of the reasons for the rebirth of cultural and economic cooperation between Russia and Japan at a higher pace than before.

Both Japan and Russia, during 1990s, experiencing deep crises and stagnation, were in search for new markets new economic cooperation, also potentially considering the fact that Japan had a great production industry, whereas Russia owns quite a lot of raw materials and energy resources. It can be referred from Borowy (2011) that Russia of 1990s can be claimed to be in position of state, looking for the new directions of development and having more economic interests in relations with Japan, considering potential gains from it. The systematic of the developing relations underpinned by mutually growing economic interest, the possibility of promotion of which was provided by Russian economic growth led to the appearance of more systemized Cultural diplomacy policies from the Japanese side. Talking about the evidences of rising of Japanese interest correlation with Russian economic growth in brief, there can be a number of statistical examples be driven. First, the GDP of Russia since 1990 till the year 2017 has grown from the point of 8,015 to the point of 25,763 (according to the statistics provided by the World Bank). It was falling during the 1990s till the year 1998 (5,465) and then started to experience its growth. The similar trend can be noticed generally in Russian Purchasing Power Parity which has grown from 7.301 USD in 2000 to 26.060 USD in 2018 (according to OECD). The trade turnover, as it provided by Russian Federal Customs Service, between Japan and Russia, increased significantly from 2181,6 (2007 (the earliest available statistics)) to the point of 6695,6 (2019), and Japanese share was 3,3 and 3,1 (which is almost stable) correspondingly to the mentioned years. Mentioning some more important information about Japanese economic activity, it can be seen from statistics, that Japan is occupies 4th place in list on global importers 6th place in the list of global exporters as of 2019. Its share in world production equals to 12%. Today Japan's mane orientation is high-technology industry, IT etc. According to Marukawa (2013), Japan manages to successfully combine services and production, whereas its visit card can be considered to me automobile industry, since the rise of prices on petrol after the oil crises of 1973, when people preferred minimalistic and economical cars. Also Japanese specialize on atomic energy and ecology, as far as Japan consumes around 5% of world energy (on electricity). Russia provides Japan with precious metals, aluminum and lead strategic trade. According to Russian Customs Service, Japan as of February 2020, occupies 11th place in overall Russian international trade. (11th in export and 7-8th (with Korea) in import) Such facts and statistics are considered to demonstrate the strengthening of Japanese-Russian economic relations and explain the following rise of Japanese Cultural policies development increase as a result of it. Thus, the more developed Russian economy is, the more it is of interest for Japan. It is very important to remember that Japanese business, in the course of development of economy, acquired quiet tight and close relations with the government of Japan. The economic performance of business, which is to a considerable extent controlled by Japanese government and smartly supported and protected by it (as far as Japan model capitalism is not complete and considered to be a unique one), is also significantly dependant on the search for new markets. Also, cooperation with Russia could become also a step of Japanese sovereign decision making capability demonstration, as far as it is still largely influenced by the United States. For Russia, Japan appeared to be a new potential partner, which was crucial for Russia to find after the collapse of the Soviet Union.

So, following the thought, the economic development and the conduction and evolvement of Cultural Diplomatic policies are mutually dependant and highly interconnected, but the decision of Japan to start a new economic rise and, this time, Soft power gaining with implementation and development of its cultural export was a right decision. Despite the fact it was in GDP Top-2 countries, taking the second place after the USA, in 2020 it is still occupies the third position with the 2018 GDP level of 4,971 billion US dollars, taking into consideration that it was completely humiliated and destroyed during the war, and was literally reborn from the ashes after all the physical and moral bombing. Nye (1992) underlines as well, that in 1950 the economy of Japan was around 1/20th of the economy of the USA, whereas, 40 years after, it turned into 60% of American one. Cooperation with Russia for Japan can also be considered as a great regional strategy of significant importance, as far as it has become a third country in the list of the best, being challenged by China since the beginning of 21st century. Yang (2010) is also seems to agree with relative Japanese decline, as far as China acquired the position of the second biggest economy in the world, leaving Japan behind, becoming a first economic challenge, which Japan is seeking to overcome, including the way of economic cooperation building strategies. And it is still important to remember, that Cultural Diplomacy tools are not going to be ever left aside by both Japanese government and business, and the evolvement and improvement of cultural policies is continuing. So, the author of the research suggests to come back to its development and to cover the process of Japanese international image changing, which became the one of the greatest supporting mechanisms for Japanese economic development.

1.3 Elaboration of the new image and Japanese mass culture transformation

Coming back to the development of Japanese Cultural Diplomacy after the failure in the World War II, the author would like to remind about the previous discussion: having experienced the crush of almost all the foundations of society, which were formed during the period after the Meiji Restoration, post-war Japan, in late 1940s and 1950s, having its constitution changed, appeared in the conditions of inability to use any military power, when it faced the necessity to reconstruct the image of the state and create the brand-new one, both for usage domestically and on international arena. The experience of Cultural policies' conduction during the Meiji period 1868-1889 of Japanese history can be fairly considered to be quite successful and that was the moment, in the beginning of the Cold War, to remind this experience to the society inside and outside the country. According to Shively (1976), Meiji Restoration, which turned Japan from a weak agrarian country to a powerful and internationally competitive state through a range of economic and political reforms, became a great historical event and period for Japan in many perspectives, including the fact, that it became a foundation of Japanese cultural modernization, when it was decided to borrow some features from the West, to become more open for the world and to start the development of Cultural Diplomacy of that time as a political instrument. Thus, again, a new transformation of image, right after the liberation from American occupation and after Korean war, of course, significantly influenced the perception of Japanese people about their state and the perception of the country by the outer world. Moreover, it was the first time since the American occupation, when the whole nation of Japan was driven by, to such an extent, high and strong sense of motivation to move the country to the next level and new way of social changing and of mobilization of relative political, economic (what is also specifically important for the research), cultural and psychological resources. It is important to notice, that economic factor is considered by the author of the research, to play a great role, due to the fact, that economics appeared to be one of the decisive elements in the building of cultural political strategies in establishing of relations, as well as the factor which appeared to be highly influential for Japan in defining its purposes.

Coming back to the question of a new image creation, some uncertainty left for those, who conducted and managed the process: What the new image should be? Should it be based mostly on traditional Japanese values or on adjustment to the values of Western World cultures? At first, at the time of the beginning of Japanese path as a Cultural exporting country after 1945, the decisions were taken and strategies elaborated on governmental level, as far as the change of image in international society was made first to be able to defend national political and economic interests (Of course, the commercial interests for certain economic benefit can be seen to come only with time as a consequence of successful governmental cultural strategies). Such an idea can also be followed from the work of Otmazgin (2014), who, in spite of the main concentration on Asia solely, generally underlines the geopolitical interests of Japan as a reason to implement the tools of Soft Power and Cultural Diplomacy, especially in the beginning. Thus, mainly, government, being a starting point and initiator, was deciding on the choice of the new image elaboration. Of course, there was immediately arranged a discussion on a great number of advantages and drawbacks of some possible ways of development before the solution were found in a quite unanimous way, and this solution was a mixture of many ways proposed. The leaders of that time came up with an assumption, that it is impossible to choose only one way and follow it. New image should become a representation of both ways of development, inside and outside the country, at the same time. So that, Japanese government took a decision to aim on the active international cooperation in the sphere of culture under a quite strict condition of preserving Japanese traditions as a basis of national personal identification. At the same time, during the post-war period it was necessary to make it sure, that resurgent fundamental elements of national culture were able to accept the understanding and approval from the side of the United States of America (the powers of which used to occupy Japan until 1952, and then, after the San-Francisco treaty coming into power in 1952, it also crucially influenced on the creation of Liberal-Democratic Party of Japan in 1955, according to Lee (2004)), the decisions of which remained at highest determining position, even despite the fact its troops had already left the territory of Japan. It was completely obligatory to do, especially regarding the sphere of cultural policy inside Japan. It can be claimed, that in the period of the second half of the twentieth century and the beginning of twenty-first century, Japanese culture, in which such kinds of art as cinematography, literature, music, arts and animation etc., were developing equally in distinctive way. These all kept numerous and various directions - from realism till avant-garde - which normally used to have a tendency to be born in Western society, but almost immediately got adopted on local grounds, in Eastern part of social world (particularly, in Japan), and almost always came in harmony in combination with national traditions or in the new, original understanding or adoption. So that, there is a belief among scholars, such as Iwabuchi (1998), who also shares the idea, that as a result of such combination and amazing synthesis, there appeared a brand-new, unique cultural product, which revealed to be demanded in equal terms both by inner and outer audience, and was able to make a considerable impact in the World Culture as whole, especially in the period after 1960s. Already in 1950s, when in 1956 Japan became a member of the United Nations, it started to move from the name «Nihon» or «Nippon» («Japan» in Japanese) towards «Japan», which can be understood as further steps towards export-oriented program of cultural internationalization and modernization. No doubt, that such a product can be considered quite possible to become adoptive to other cultures, to high extent, in case if there will be reached a high point of performance in the sphere of Cultural Diplomacy.

It is considered quite useful by the author of the research to speaking about the formation of Japanese cultural image in more detailed way before coming to the point of successful technic of its export. Furthermore, it is interesting that the development of culture was happening simultaneously and in strong connection with economic and technological progress, and till the contemporary period, it can be fairly considered, was tightly bounded with the development of the sphere of telecommunication. Japan was keen on both using TV-communication domestically and producing and exporting it. Looking ahead slightly, According to Pharr and Krauss (1996) Japan is one of the greatest media-saturated society all over the world, and the circulation of daily newspapers there is even higher than in the United States, and already in the beginning of 1990s there were instilled around 60 million TV sets and 90% of householders paid subscriber fees. The appearance and spread of television, the creation of computers and, the last, but far not the least factor -- the creation of the Internet during these years, with no doubt, launched the cultural revolution in Japan itself and around the globe as well. Particularly through these tools of mass communication, starting with the material feed forms and finishing with the speed of delivering it to the consumer, the consumer managed to become more democratic and more available in Japan (where mass transformation to the consumerist society can be claimed to happen) and among the numerous audience of Japan-lovers all over the world. In this part it is important to distinguish the role of Japanese Anime as a tool of cultural policies, which is one of the most successfully promoted Japanese cultural products abroad. Anime as a part of Japanese image promotion policies is widely used by both business and government, and it is one of the most recognizable associations with Japan. That is why it deserves attention in a slightly more detailed way, as a promoter of all sorts of Japanese values and special sort of art, which evolves and spread every day, especially in the current decade of internet. Napier (2005) also reminds that the Japanese Anime as both «Japanese image advertiser» and a piece of art (especially a number of famous full-- length movies) reveals to be a mixture of values borrowed from the west and a detailed reflection of Japanese tradition.

The role of Anime as a specific and, probably, the most useful tool of soft power and, thus, Cultural Diplomacy policies of Japan seems to be reasonable to be explained starting with identifying briefly some facts about the history of emergence and development of Anime itself as a specific cultural product and a unique Japanese type of animation. There will be no deep analysis of history of Japanese animation, but it is necessary to say, that for a long period of almost one century history, the Anime has risen into modern iconic product of Japan, becoming a powerful instrument of cultural policy. It started since the first works of Osamu Tazuka, who was called “the King of Manga and Anime”, passed through a long process of cultural development. After the Second World War, in 1960s-70s the tendency to use Anime as a tool of Cultural Diplomacy was born. There started to be demonstrated such images and scenarios, which assumed future without war, technologic development and later, kawaii (cuteness and beauty) images, which influenced the perception of Japan internationally in positive and highly attractive way. Such Anime series as “Space Battleship Yamato” became the face of new formalizing image of Japan of that time. Later, the topics of seeking for a good future started to appear in scenarios. New Cultural Diplomacy goals and strategies targeted on western and other regions of the international society of the world favored the development of Anime till nowadays - quite open for everybody, attractive, comprehensive and available due to the process of globalization and development of channels by which it is provided. Today there can be identified a lot of directions and styles of this unique cultural product, which is accepted with pleasure almost everywhere.

Moving further, Following Iwabuchi (1998), Japanese mass culture almost always was experiencing the process of formation under a strong influence of inner and outer conditions and factors, which defined its main tendencies and which gave birth to a numerous variety of new subcultures, which constitute, in fact, the mainstream of contemporary national Japanese way of life today. It is quite interesting, actually, how Japanese culture with its complicated process of formation can be efficiently spread outside the country with the usage of wide range of different evolving diplomatic cultural policies. It's a great question of cultural adoption which remains open for the further research.

Speaking about the origins of development of Japanese Soft Power policies, which, as it mentioned and highlighted above, were also under a quite considerable influence of the United States (due to its occupation authority status first, and then the status of significant influencer), which limited the decisions of the Japanese government, it is important to remind, that paradoxically, but historically true, the one of the first elements of resurgent traditional culture, which started to gain power again was martial arts, the accent on which, as an exporting cultural product, is made by Chan (2000). This is one of the first examples of reconstruction of image of a concrete cultural element which later managed to become a tool of Cultural Diplomatic policy because of possibility of adaptation to other cultures was found as well. The revival of these traditional martial arts was reached through the assurance of occupation powers in the similarity of Judo and Kyudo with western martial arts. There were made a lot of attempts, which appeared successful in the result, in bringing back the traditional martial arts such as Kendo and Judo to the schools and universities, because the teaching of it was put under the restrict under the pressure from the side of occupation authorities after Japanese defeat in the World War II. During the period since 1945 till 1951, the most authoritative representatives of the sphere of martial arts were going under the process of convincing the occupation power's command (even including them literally into the process of physical trainings), that Japanese traditional martial arts have not much difference in comparison to European ones. (Here it may be interesting to notice the approval of constructivist approach to the change of idea and convincing others in its change. Idea is able to influence on the structure, and the reemergence of cultural influence of martial arts due to its allowance by occupation authorities, all can be seen here as fact, which underpins quite important theoretical approach and background in its terms. The constructivist approach was widely developed by Wendt (1992)). Right after restrict was abolished and the teaching of martial arts was finally permitted, they (the martial arts) became the on of the basis of cultural persona identification of people in Japan. No one ever remembered, it can be claimed so, about their “collectivist spirit” or existence of many features in common with European sports, which were to high extent important to permit them to be taught again. Traditional martial arts, ten years later, after the Olympic Games in Tokyo in 1964^th, revealed to be a very important instrument of Cultural Diplomacy, which visually demonstrated the uniqueness of Japanese culture, but what is also can be considered important for the particular research - Japanese traditional martial arts can be claimed to become quite successfully adopted in the other target countries of Cultural Diplomatic policies. Moreover, Olympics of 1964 became underpinning of the Japanese image as a dynamic, economically developed state. It led to another wave of spread of ubiquitous tea-ceremony conduction, propaganda of Japanese language, literature, art, increasing fame of Japanese technological achievements and high-technology industrial growth and so on, which lead to the rising scales of cultural and intellectual exchange. An interesting note can be added to the spread of fashion on Japanese martial arts by saying that the President of Russia - Vladimir Putin also has a black belt on Judo, and it was already discussed in the context of masculinity of Russian pop culture in the work «Photographing Vladimir Putin: Masculinity, nationalism and visuality in Russian political culture» by Foxall (2013), which distinguish the fact of successful Japanese exported cultural product specific adoption feature.

The same process also touched upon the other types (as well, mentioned above) of national culture, such as music, arts, unique subcultures, such as Ikebana and Haiku, and all the great complex of complicated issues of personal identification and formation of new socio-cultural mentality of Japanese people, based on the foundations of mixture of “traditional uniqueness” and international approaches to the incorporation to the international political society -- the idea, again, supported by Iwabuchi (1998). In the process of further development, Japan has never left such principles of formation of the image, but only improved it all the time. So that, the approach to the implementation of the Cultural Diplomacy policies was more less clear in its orientation and strategy, and next step to success was creation of instrumental part. Government faced the question of who will be responsible for executive part of policy. A number of special institutes became the executors and managers, who took the responsibility for implementation and putting in practice new cultural policies and the results which were expected to be achieved. The majority of institutions became to some extent subjects to change and survived till nowadays in developed and developing form and ways of performance.

As far as this paragraph is about general approaches to image formation and values, which form it, before moving forward to the discussion of the historical development and performance of special institutions and organizations, created by Japanese government as an instrumental part of Cultural Diplomacy policies implementation, the work of which is going to be highlighted in the next chapter, the author would like to refer to an official source, which was introduced by the ruling party of Japan -- the election «manifesto» (program) of Liberal Democratic Party of Japan of 2009, which would one more time demonstrate in-depth Japanese approach to the formation of values, first of all, inside Japan, in its domestic society, which are also going to continue to be significant part of Japanese evolving international image. A large part of discussion is dedicated to the solutions to ecological problems and improvement of environmental protection mechanisms. Japan is referred as an origin of ecological revolution and the leading ecological nation in the world, which has an opportunity to set a trend for ecological policies conduction all over the world, and should try to do it. Also, the «manifesto» underlines the Japanese worldview, which attaches great importance to quality, sense of being proud for the work done, care about children and so on, which led Japan to the creation of the one of the greatest technological potential in the world. The «manifesto» states, that that is Japanese «ability to solidarity», which is based on traditional commitment to the atmosphere of mutual trust and understanding, is another magnificent feature of Japanese nation. It concludes this idea by stating that, for sure, these are the strong features of Japan, which led the country with almost no access to natural resources to become a second economy in the world (still in 2009) with a longest life expectancy. Japanese should never lose these features and be proud of being Japanese citizens. Moreover, the special attention is paid on importance of lobbying of Tokyo Olympic and Paralympic Games, which were, at first, planned to be conducted in 2016 (and the government managed to lobby it, but for 2020, and finally had to postpone it till 2021 due to the COVID-19 pandemics). As for development of Cultural Diplomacy, the whole paragraph of the «manifesto» is going to be discussed in the next chapter, covering the practical involvement of governmental initiatives to the implementation of the cultural policies.

The Manifesto pushes the discussion straight forward to the current time, and already reveals to be a premises to the deeper implication of «Cool Japan» (the concept first appeared in 2002), which is developed today by both prime minister Abe's cabinet and Japanese business in a quite close cooperation and mutual interest support. Moreover, the presence of cultural values and the significance of their export (discussed in the next chapter) in the official Manifesto of the ruling party (which have been ruling already for around 70 years) depicts the high importance of those on the level of national interest. Furthermore, as it was already mentioned above, the economic and cultural power, which Japan has managed to acquire is highly dependent on the successful development of international trade by Japan, and a large part of this trade is conducted by quite Japanese business. That is why it is quite hard to divide the cultural diplomatic performance of business and government in research purposes. Thus, the author decided to divide it by the first initiative and main purpose of implementation. So that, the next, second chapter is going to be dedicated to the main encourager of the whole Japanese Cultural Diplomacy -- Japanese government, and the third chapter will be an attempt to accumulate business initiatives, which all work in harmonious tandem in achieving both commercial (for business) and national (economic and political) interests.

2.Cultural Diplomacy Conduction by Governmental Sector

2.1 The Government as an encourager of Cultural Diplomacy: Introduction

The importance of cultural export for efficient economic growth and gaining international influence with the help of new international image formation was the object of the previous chapter, so this chapter is going to be dedicated to the work of government on the development of official conduction of Japanese Cultural Diplomacy. As it was already discussed above -- the idea of serious introduction of Cultural Diplomacy was initially inspired by the government of Japan. Now the field of cultural policies has evolved significantly, and the government also has been performing the role of encourager for the Japanese business, which works on the promotion of Japanese cultural values and products (TV, software, hardware, technologies, cinema, art, tourism, food, fashion, merchandising etc.) along with public organizations. Currently, the larger share of spread of culture can be considered to be taken by Japanese business, especially taking into account all the commercial cultural products, services and goods, but the role of government -- its support and partnership, official decision making ability, legality and legitimacy does also have much weight. The author would also like to admit, that it is unlike in Russia, where the greatest share of implemented cultural policies are conducted by the government. Although, Japanese business seems to still follow the cultural course, which was developed by the government, the impact of which is also hard to overestimate nowadays. However, the impact of Japanese Business and its cultural initiatives are going to be covered in third chapter of the research.

Before the analysis of the work of official organization the author would like to once again demonstrate the origins of the role of government as of significant encourager of the idea of Cultural Diplomacy implementation, especially during its period of formation. The author would like to draw attention to the works of widely known Japanese film director Kurosawa Akira, who paved the way to the creation of new image of Japan after the end of the Second World War and became one of the first promoters of Japanese unique pop-culture worldwide. In 1991 he made a film adaptation of Russian classic Dostoyevsky's novel «Idiot», which could not be done without governmental support in that time. A year before, in 1950, also managed to acquire international recognition with the film «Rashomon». Akira Kurosawa managed to make an impact in both national Japanese and world cinematography. Prince (1999) even calls him «a giant of cinematography». Also, according to Prince (1990), Kurosawa was one of the first among those, who has brought the pop-cultural product Japanese cultural uniqueness mixed with western values and worldview. He was working in context of the global understanding, which can be considered as promotion of the image of Japan as a reborn part of global society, which is able to understand global challenges and questions, and reflect of the, alongside its unique traditional views and approaches to them. He was among the first, and the author would like to put the emphasis on governmental encouragement and support in the very beginning of the road.

2.2 History of development and evolution of responsibilities of the official public organizations till present time

Moving further to the impact of official organizations, it can be said, that in Japan the specific, sophisticated way of performance of the Ministry of Foreign Affairs in the sphere of information and advocacy is provides the initial basis to the Cultural Diplomacy. It is aimed on the underpinning of the understanding and trust of citizens of the other states towards Japan, on the creation of peaceful international conditions for Tokyo to lead foreign policies in its own interests, and on the creation of positive image of Japan for the whole international society. That is the reason, saying it in simple words, why it requires being formally institutionalized and formalized, as far as the high effectiveness is aimed to be reached. Mostly, the role to develop and promote Cultural Diplomacy policies is being played by the Ministry of Foreign Affairs of Japan, its special Department of public diplomacy (Koho Bunka Koryu Bun), Japanese embassies, and Japanese Cultural Found (which was divided from the Ministry in 2002), among which the last was created later in purpose to achieve these special needs of execution of cultural policies. There can be found lots of detailed descriptions of activities and aims on the official websites of the organizations. On the shoulders of these organizational unites such important responsibilities lay down as rising of cultural awareness, promotion of cultural values, rising of popularity of the culture, and others. It also provides information on the events and programs, conducted by partners from business sphere.

On the basis of the explanation, the author of the research would like to put some additional emphasis on the history of development of Japanese formal institutions in brief and, more particularly, to the Japan Foundation. In purpose to achieve the efficiency in solution of the problem with the image creation, there was a Department of Information and Culture created in Japan in 1951, and in 1953 the activity of various societies (existing before the World War II) which were dealing with the propaganda of Japanese cultural values, customs and traditions abroad was attempted successfully to be renewed. There were included such societies as the International Culture Promotion Association (kokusai Bunka Sinko Kyokai), of International Society of Students (Kokusai Gakuyu kai). In 1960-s, under the ruling liberal party, these societies were reorganized, their financial basis was strengthened and the control from the side of the Ministry of the Foreign Affairs, ruling party and parliament became strengthened as well. The approach became more formal. In 1964 the Cultural Activities Department was created. Later, in 1972, basing on the basis of a number of societies dealing with propaganda, the International Exchange Foundation was created. It became the main provider of Japanese Cultural Diplomacy all over the world. The work of the Japan Foundation is also described in the historical works, and in encyclopedia of Japanese popular culture edited by Gabriel (1998).

In the structure of the Ministry of International Affairs of Japan in the contemporary period, there is a special department of public diplomacy (koho bunka koryu bun) which is a consisting part of the Ministry Secretariat and is performing the governance of wide range of information and advocacy activity as well as modeling a positive image of Japan internationally. However, Japan Foundation still keeps its traditionally leading position in the promotion of Japanese cultural Diplomacy in the world. Its efforts are aimed on the development of cooperation in the sphere of culture in purpose to make and present Japan as a “nation, making a considerable impute into the creation of international peace”. Thus, despite the structural rearrangement (the possession had been changed in 2002, when it went divided from the Ministry of the Foreign Affairs), the aims of the Japan Foundation have not changed in its practical implementation. Referring the website, today its activity is spread on 190 states, and it provides quite good and efficient work, which is, in fact, adaptive and the effectively of which does not depend on the system of government in these countries. The organization has its special institutions and Japanese cultural centers, open and free language learning centers (from the «beginner» to the «upper-intermediate» level) , departments and representations in 26 countries today, including Russia, where, it can be inferred from the official web-site of the organization again, the foundation's work is conducted in three main directions: art and culture, Japanese studies, Japanese language (the critical analysis of the spheres of activities of Japan Foundation in the framework of the “Cool Japan” brand can be found in the work of Daliot-Bul(2009)). In fact, a considerable impact to the increasing number of language learners could be fairly called a result of successful work of the Japan Foundation, because the spread of Japanese language learning became one of the key tasks for the found. Since 1979 till 2006 the number of learners increased in 23 times and continues growing. In 2006 the overall number of learners reached 3 million people in 133 countries of the world. The example of Russia, where due to a huge interest in sushi, Takashi Murakami, and Anime produced a considerable number of people who want to learn Japanese, can be considered as a good demonstration. But the analysis of statistic data has shown that people give up studying very fast, mostly, because of complexity of the language. However, it does not reflect on the success of achieving of aims of Cultural Policies, which still, it can be claimed, work almost perfect. As it is shown in the Bluebook of the Ministry of Foreign Affairs of Japan of 2016, the number of learners in 2018, anyway, increased to the point of 3,985,669 people, and the distribution among 3 major providers of learners was 26,3% of learners in China, 21,9% in Indonesia and 21,1% in ROC. Furthermore, the foundation is conducting the work with students and creating vacant places for internships, successfully raising the interest among Russian public. In its department in Moscow it owns a quite large library in the centre of the city. In Japan itself, it has created two universities of Japanese language and the representation of the Foundation in Kyoto. Japan Foundation has created a several number of blocks of programs, including its own arrangements, as well as cultural exchange activities, in which the Japan Foundation takes financial part indirectly, as a rule. There is also a possibility to apply for sponsorship for your initiatives. The Foundation conducts a sponsoring and investment activities and initiatives of people, who want to take part in public spread of Japanese culture. It also usually becomes a partner of such organizations as Manabo and Gaku -- the organizations, which provide assistance for those, who want to study in Japan.

It can be said, that the formally institutionalized approach to the cultural policies' promotion, which is based on a quite successful and complimentary work of institutions, is also supported by the notion of adaptation of Japanese Culture to the cultures, forms of governments and systems, existing in the other countries as fields of work. Here, the comparison with American culture can be led. In contrast to American Culture, which can be claimed to be quite aggressive to the domestic conditions of countries, which is also distinguished by Hunt (2009) revealing itself mostly as a factor of change, Japanese culture, in spite of the fact, that it is a highly authentic and unique product, does seem to reveal itself as more flexible, a product, which makes it become a softening tool rather than threatening, which matters a lot especially in the economic questions of market expansion, which is one of the distinctive targets of Japanese government as a non-military tool of gaining power and influence, which can be referred to Most (2001) and many other scholars. Such flexibility can be fairly considered to be a result of sophisticated work of formal institutions, with no doubt, and it is being the one of the best cultural tools for achieving economic centrism in orientation of policies of Japan. Japanese seeking for economic centrism oriented policies implementation seems to become one of the main objectives for Japan, in purpose to achieve considerable but soft influence on the foreign markets, where its image, the successful formation of which is underpinned by sophisticated work of Cultural policy tools, does create a positive impression on the possessors of these markets and draw their desire to cooperate more with Japan in economic, social and cultural spheres.