Manga Research Papers - Academia.edu (original) (raw)

- by
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- Visual Studies, Japanese Language And Culture, Manga and Anime Studies, Manga

Shounen manga is a type of narrative via images that accurately follows the canonical narrative schema. Shounen is an adventure tale in which the protagonist must face a sequence of antagonists, often more powerful as the story carries on, in order to reach a purpose that intersects with his personal development and doesn't concern only plot-related objectives.
Every single author ends up arranging and managing differently the four moments of a story modal structure: manipulation, competence, performance and sanction can be put in different orders to recreate different plots. This thesis intends to comparate three sucessful shounen manga, One Piece, Naruto and Bleach, to show the results these different methods can lead to.

MARTIN, Fran. “Japanese homoerotic manga in Taiwan: Same-sex love and utopian imagination,” in Women’s Manga in Asia and Beyond: Uniting Different Cultures and Identities, edited by Fusami Ogi, Rebecca Suter, Kazumi Nagaike and John A.... more

- by Fran Martin
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- Asian Studies, Gender Studies, Queer Studies, Sex and Gender

Resumo: O presente artigo tem como objetivo tratar da produção de mangá no Brasil enquan-to uma mídia voltada para um público jovem e culturalmente híbrida entre a lin-guagem oriental e a linguagem ocidental. Para tanto, observamos algumas das ca-racterísticas mais marcantes da arte sequencial japonesa e tomamos como corpus de análise as histórias em quadrinhos da Turma da Mônica Jovem. Observamos que apesar de manter algumas características da linguagem do mangá japonês, há uma reconfiguração e apropriação de conteúdos e mesmo de estereótipos e temas relacio-nadas ao contexto brasileiro, dotando a revista de um "estilo mangá" próprio, mas que não mantém as convenções do gênero oriental como um todo. Palavras-chave: mangá; hibridismo cultural; Turma da Mônica Jovem. Abstract: This present paper aims to analyze the production of manga (japanese comics) in Brazil as a kind of media focused on young audiences and cultural hybrid between eastern and western language. We discus...

- by Adriana Amaral
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- Art, Manga and Anime Studies, Manga, Turma da Mônica
- by Shara Rambarran and +1
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- History, Cultural Studies, Japanese Studies, Music

In ninth art, hikikomori and NEET turned into a storytelling inspiration for many works: manga such as Welcome to the NHK, Mēteru no kimochi and Asano Inio’s works; in the Italian production, some examples are Zerocalcare’s works or Habitat by Raffaele Sorrentino. In this paper, we analyse these social phenomena and how the private space is represented in comics, reflecting changes in social context. (Text in Italian) http://ojs.unica.it/index.php/between/article/view/3254/3038

- by Simone Marchisano
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- Japanese Studies, Manga and Anime Studies, Japanese Popular Culture, Manga

Sailor Moon is one of the most iconic classic anime for Indonesian audiences, especially the generation whose childhood was in the 90s. After more than two decades since its premiere, Sailor Moon still has loyal fans today. Although it has not been broadcast on Indonesian national television since the late 90s, the distribution of Sailor Moon products, both original and fake, still happen, such as clothes, bags, makeup, and knick-knacks. The question is, how does the Sailor Moon influence Indonesian girls in the 90s, so its popularity still lasts today? Based on observation and several in-depth interviews, this paper finds several arguments. First, Sailor Moon appears amid many male superheroes, giving an insight that female can be the hero of the world. Second, the audience finds the alter ego in the Sailor Moon character. Three, the values of Sailor Moon that provide understanding in shaping one's character, such as friendship, the importance of teamwork, and pursue a dream. In addition, Sailor Moon also introduced several issues such as sexual orientation, gender identity, and portrayal of body image. Nevertheless, Sailor Moon is considered a "childhood friend," which shapes a girl's childhood dreams; believed that everyone can be anything and found "the moon power" in themselves.

- by Ranny Rastati and +1
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- Japanese Anime, Japanese Popular Culture, Manga, Sailor Moon
- by J. Holder Bennett
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- Manga and Anime Studies, World War II, Japan, Comics and Graphic Novels

Sailor Moon is one of the most iconic classic anime for Indonesian audiences, especially the generation whose childhood was in the 90s. After more than two decades since its premiere, Sailor Moon still has loyal fans today. Although it has not been broadcast on Indonesian national television since the late 90s, the distribution of Sailor Moon products, both original and fake, still happen, such as clothes, bags, makeup, and knick-knacks. The question is, how does the Sailor Moon influence Indonesian girls in the 90s, so its popularity still lasts today? Based on observation and several in-depth interviews, this paper finds several arguments. First, Sailor Moon appears amid many male superheroes, giving an insight that female can be the hero of the world. Second, the audience finds the alter ego in the Sailor Moon character. Three, the values of Sailor Moon that provide understanding in shaping one’s character, such as friendship, the importance of teamwork, and pursue a dream. In ad...

- by Ranny Rastati
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- Japanese Anime, Japanese Popular Culture, Indonesian, Manga

En la sociedad actual, el manga se ha convertido en una importante industria cultural japonesa que se ha exportado a todo el globo. A causa de esto, sus principales valores sociales han migrado a un grupo de consumidores a los que, originalmente, no estaba destinado. Dentro de este traspaso de información, destaca la presencia de una serie de títulos, inscritos en la ciencia ficción, cuya narración presenta un mundo de carácter distópico y apocalíptico. Este artículo busca indagar en la significación y temas presentes en aquellos mangas que se adentran en una temática de ciencia ficción distópico.

- by Juan Luis Lorenzo-Otero
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- Estética, Narrativa, Manga, Ciencia ficción
- by daniel P
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- Manga

online-Veröffentlichung mit freundlicher Genehmigung des Verlages

- by Wittkamp, Robert F.
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- Japanese Studies, Media and Cultural Studies, Narratology, Landscape
- by YIQIAN HU
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- Manga

Anime and manga have become major entertainment exports of Japan since the last decades. As of 2006, Japanese anime comprise almost sixty percent of all animation broadcast worldwide. It generates four billion dollars a year in the United States alone, and foreign revenue account for almost twenty-five per cent of the income of leading Japanese animation companies such as Toei. Particularly in the Philippines, a substantial segment of young people are exposed to Japanese popular culture through these avenues. During the 90s, several anime series were shown in the two major television channels of the country usually dubbed in Tagalog. A few examples are Sailor Moon, Voltes V, Daimos, Doraemon, Mojacko, Thunder Jet and Ghost Fighter. A specific genre in this huge industry is science fiction. A most interesting and specific sub-genre within science fiction in general and Japanese animation and manga in particular, is cyberpunk.

- by rufus montecalvo
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- Cyberpunk, Pop Culture, Science Fiction, Philippines

Four Immigrants Manga traces the adventures and misadventures of this foursome of friends from their landing at Angel Island forward. They encounter a range of racism, from the casual patronizations to legislative racism, which framed the... more

- by Joe Lockard
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- American History, Japanese Studies, Popular Culture, Immigration

The worldwide distribution of Neon Genesis Evangelion (1995-96) had a significant impact on the audiences for anime markets. However, unlike previous TV anime megahits, such as Dragon Ball (1985), EVA distribution in Western countries started in domestic and young adult markets. The series gained its reputation in a period of transition between VHS and DVD formats and even managed to be successful on a new route for anime: from niche video markets to thematic TV channels through small broadcasters and cable stations. That was the case of EVA distribution across the United States, at that time already one of the main markets for anime overseas. The series began to be distributed in June 1998 for the VHS market (A.D. Video), although it wouldn't be broadcasted on TV until 2002 (KQEH), being later offered by other theme-specialized channels such as Cartoon Network (through the special event 'Toonami's Giant's Robot week' broadcasted in February 2003) and Adult Swim (October 2005). EVA distribution in France (1996), Italy (1997) and Spain (1997) followed a similar strategy, as it was distributed first as a video product rather than being broadcast to general audiences. Most of the time, the series was dubbed to the domestic language, except for France, where it was distributed in Japanese with subtitles. This was due, perhaps, to its early release (1996). The distribution in Australia (1998) and Southeast Asian markets such as the Philippines was different as ADVision didn't manage the copyrights for these markets. The main agent of distribution was the main national broadcasters instead. The franchise would arrive How to cite this book chapter: Hernández-Pérez, M. 2021. Discussing 'Genre' in Anime through Neon Genesis Evangelion.

- by Manuel Hernández-Pérez
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- Japanese Anime, Manga, Anime, Anime Studies

Ciężko mówić o kulturze jako o zamkniętej całości. Jest ona procesualna i stwarza się ciągle na nowo. Nie jest bytem idealnym i skończonym, ale nieustannie dookreślającą się metanarracją stwarzającą się w kontakcie na wielu płaszczyznach. W ten sposób powstaje w końcu nowy twór: hybrydyczna metanarracja o pogmatwanym synkretycznym rdzeniu. (...) Co jednak te skomplikowane zawiłości kulturowe, a dzisiaj i polityczne, mają wspólnego z komiksem japońskim?
Analiza krytyczna komiksu Ghost in the Shell, Appleseed oraz Fullmetal Alchemist
Tekst pierwotnie opublikowany na łamach "Zeszytów Komiksowych" nr. 13/2012

- by Tomasz Bazylewicz
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- Popular Culture, Critical Thinking, Manga and Anime Studies, Japan

The boys love (BL) genre was first introduced to Italy by the 1990s. The BL scene in Italy has greatly changed since then: to begin with, words such as “shōnen’ai” and “yaoi” do not sound alien anymore, especially among younger fans.
Recently, some yuri titles such as Citrus and Yagate kimi ni naru (released in Italy with the English title Bloom into You) have also been positively received, a clear sign of the shift in mentality of both publishers and fans.
To get a sense of this scene today, including original works, I interviewed
five individuals in the Italian manga publishing industry to attempt a description of the current BL and yuri market and how these genres influence Italian comic artists. The impressions of these professionalsl shed light on some of the dynamics at work in the Italian queer media sphere.

- by Marta Fanasca
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- Japanese Studies, Gender Studies, Italian Studies, Comics Studies
- by Alexander Zahlten
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- Media Studies, Media and Cultural Studies, Film Studies, Film Theory

[**Feel free to message me for a copy! I'm happy to share it with those without library access.**]

- by James Welker
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- Cultural History, Queer Studies, Translation Studies, Lesbian Studies

Традиция иллюстрированных книг эхон, пришедшая в Японию из Китая, нашла благодатную почву во времена правления сёгунов клана Токугава. Техника печати на деревянных досках позволяла выпускать книги тысячными тиражами, которые затем распространялись среди городского населения. Иллюстрировали книги известные мастера японской гравюры (Торияма Сэкиэн, Кацусика Хокусай, Такэхара Сюнсэн), которые в своем творчестве обращались также к теме потустороннего мира. Созданные средневековыми художниками образы монстров ёкаев глубоко укоренились в японской визуальной культуре и в дальнейшем оказали большое влия-ние на современных авторов манги, таких как Мидзуки Сигэру, Кумакура Такатоси, Сато Сацуки и др. Ключевые слова: ёкай, манга, Мидзуки Сигэру, Торияма Сэкиэн, хякки ягё, эхон. С древнейших времен японцы поклоняются силам природы и верят, что мир населяют божества ками, которые сокрыты в живых и неживых объектах. Слово «ками» означает не столь-ко «бога» в европейском понимании этого слова, сколько «дух» или «душу» [9]. Так, уже в древности японский император счи-тался живым воплощением божества ками на земле. Поэтому при дворе служили астрологи и маги оммёдзи, которые помогали защитить императора и аристократические семьи от недоброго влияния других божеств. Учение оммёдзи основывалось на ки-тайском представлении о пути темного и светлого начал Инь и Ян (онъёдо или оммёдо), а также гороскопе 12-ти животных, пяти первоэлементах и геомантии-определении благопри-ятных мест и направлений для свершения различных действий.

- by Magera Yulia
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- Japanese Studies, Comics Studies, Japanese folklore, Comics and Graphic Novels

book about manga around the world

- by Caleb Simmons
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- Japanese Anime, Manga and Anime Studies, Japanese Art History, Manga
- by Sara Pourhassani
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- Manga and Anime Studies, Science Fiction, Horror Literature, Manga

Isayama Hajime’s Shingeki no Kyojin (Attack on Titan 2009–present, hereafter SnK) has gained huge resonance since its first release, a popularity by no means limited to Japan, and enhanced by the high-quality animation series by the same name (2013–present), directed by Araki Tetsurô (first season) and Koizuka Masashi, which has followed from the manga storyline. Without doubt, this success is due to a gripping narrative, focusing on fierce fights between the apparently invincible titans and the numerous characters that aim to save humanity, whose different aesthetic and behavioural characteristics unfailingly appeal to very mixed audiences. In this sense, there are three very notable features of SnK. First, the female characters subvert, redraw or re-interpret stereotypes about femininity both aesthetically and behaviourally, and they can be read as queer. Second, the text presents a lesbian subtext that enriches the narrative in queer terms. Ultimately, the ability of some main ch...

- by Marta Fanasca
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- Gender Studies, Queer Studies, Queer Theory, Lesbian Studies
- by Kuiyi Shen
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- Art History, Comics Studies, History of Art, Manga

Draw manga the basics of character

- by BibliotecaVirtual DiseñoGráfico
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- Character Design, Drawing, Manga

The proposed presentation focuses on Anglophone fandom dedicated to a Japanese transmedia franchise Weiß Kreuz. Over a span of ten years (1997-2007), manga series, anime series, OVA, a light novel and audio dramas were produced within the franchise, telling a story of four assassins working in a flower shop as a cover-up. Notable peculiarities of the series include a plentitude of internal inconsistencies and major continuity errors, including unaccounted gaps in the timeline and "plot holes so big you could drive a truck through". These flaws, however, do not seem to prevent the determined fans from appropriating the story and remaking it through fanfiction, often along the lines of BL (Boys' Love, or yaoi, featuring romantic/sexual relationship between male characters). On the contrary, the shortcomings of the canon in this case provide a sort of invitation for fan creativity. While dedicated fans enjoy engaging with the canon, they, nevertheless, are not blind to its flaws. They are willing to acknowledge and laugh at its inconsistencies and other failings, in both discussions and fanfiction, proving once again that fan appropriating and transforming of media productions is chiefly done for the fun of it.

- by Evgenia Amey
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- Manga and Anime Studies, Fandom, Yaoi and Shojo Manga/Anime, Manga
- by Analia Lorena Meo
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- Japanese Studies, Animation, Japanese Language And Culture, Japanese Anime

L'"Inferno" di Dante è coinvolto recentemente in un processo di riscrittura transmediale dal ritmo accelerato. Colpisce come nell’universo multimodale (cinema, romanzi, arte grafica, videogiochi e altre franchises transmediali, persino twitteratura), spicchi il fumetto – e il graphic novel –, l’uno e l’altro finendo col rappresentare gli esiti più suggestivi del «dantismo creativo di terzo millennio».
Questo contributo interroga le scelte estetiche, i modelli culturali, riferimenti storico-sociali – e politici – attraverso i quali tre fumetti "europei" evocano l’opera di Dante e l’attualizzano in chiave parodica presso un pubblico “pop” mediamente sprovvisto del background fondamentale di cui è – o dovrebbe essere – fornito il lettore italiano. La Francia,
in cui alcuni di questi fumetti hanno riscontrato un buon successo di pubblico in un contesto in cui il mercato dei fumetti è particolarmente prospero, rappresenta un terreno di studio ideale. Si tratta di "Inferno", graphic novel di Marcel Ruijters pubblicato nei Paesi Bassi nel 2008 e in Francia nel 2013, del manga di Gō Nagai, "Dante Shinkyoku" (La Divine Comédie) nell’edizione francese del 2015 in tre volumi e infine del graphic novel del tedesco Michael Meier, "Das enfer" nell’edizione belga "En Enfer avec Dante" sempre del 2015.

- by Alessandro Benucci
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- Dante Studies, Manga and Anime Studies, Comics, Parody

This paper focuses on analyzing the incidence of Manga in English language reading comprehension in the third level students of the Language Center at Escuela Politécnica de Chimborazo in the academic period September 2018 - February 2019. The independent variable was Manga, while the dependent variable was English language reading comprehension. The research had a quantitative approach, quasi-experimental design, hypothetical deductive, descriptive and correlational field, and bibliography. An intervention plan was used and it served as a strategy with a set of Japanese comic strips such as: Harem, Magical Girlfriend, Josei, Seinen, and Mecha. Moreover, evaluations based on the international examination Preliminary English Test (PET) of Cambridge were carried out. This was done in order to assess the dependent variable. The evaluations were made in two groups: control (20 students – without Mangas) and the experimental (18 students - applying Mangas with an intervention plan). The evaluations were developed in two moments (pre and posttest) and the results obtained were tabulated, analyzed, interpreted, and subjected to the Z statistical test. Here, the most significant finding shows that Manga had a positive impact on the English reading comprehension of the experimental group.

- by European Scientific Journal ESJ
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- English, Comics, Reading Comprehension, Manga
- by J. Holder Bennett
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- American History, Japanese Anime, Manga and Anime Studies, Manga
- by Tomoko Aoyama
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- Manga, Food and Gender, Yoshinaga Fumi

As multimodal works, comics are characterized as much by their use of language as by the style of their images. Sound effects in particular are exemplary of comics’ language-use, and we explored this facet of comics by analyzing a corpus of books from genres in the United States (mainstream and independent) and Japan (shonen/boys’ and shojo/girls’). We found variation between genres and between cultures across several properties of the content and presentation of sound effects. Foremost, significant differences arose between the lexical categories of sound effects (ex. onomatopoetic:

- by Anna Madill
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- Japanese Studies, Law, Criminal Law, Comparative Law
- by Anna Madill
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- Japanese Studies, Visual Studies, Japanese Literature, Japanese Language And Culture
- by Paloma Santos
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- Chemistry Education, Comics, Manga

A narrativa visual dos quadrinhos engendra os mais diversos efeitos na recepção, entre eles, o horror. Desde a última década, a ficção de horror japonesa inspirou filmes de grande bilheteria e engatilhou a chegada, no Brasil, de diversos mangás associados ao gênero. Neste cenário, um dos títulos de maior relevância é o mangá Uzumaki (2006), de Junji Ito, onde uma pequena cidade é assolada por uma maldição de espirais. No campo brasileiro de investigações sobre as histórias em quadrinhos é sensível a carência de estudos sobre a narrativa gráfica de horror. Este artigo tem por objetivo a definição do horror em Uzumaki. Para isto, conduz uma descrição da configuração do horror no corpus empírico, definindo, a partir de sua estrutura narrativa, os principais elementos responsáveis pelo horror na esfera da recepção. Conduzida através de pesquisa bibliográfica e da análise de viés qualitativo, esta investigação faz uso dos sistemas conceituais de Thierry Groensteen (1999) acerca da estrutura das histórias em quadrinhos e principalmente da análise de Noël Carroll (1999) sobre o gênero horror. Entre as principais marcas a serviço do horror, encontradas no mangá Uzumaki, podemos elencar a presença de um monstro ameaçador e impuro, que provoca o pânico nas personagens e constrói um cenário imerso em uma atmosfera apocalíptica. Os resultados obtidos neste artigo devem servir de subsidio para análises posteriores e mais abrangentes acerca do fenômeno do mangá de horror.

- by Danilo Bittencourt
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- Aesthetics, Manga, Horror

Interest in Japanese manga (comics) has increasingly become an important reason for studying Japanese as a second language. As a result, there has also been a trend toward trying to use manga as an educational resource, with claims that it is “realistic” and “easier”. However, with a lack of comprehensive research on language in manga, still much is unknown—a major problem given that understanding how manga function as a medium is essential to utilizing them effectively. By introducing a corpus of eight manga series compiled for linguistic research, this paper considers some of the claimed advantages and disadvantages. To that end, this paper focuses on two points: One, manga’s particular orthographic styles and their effect on ease of reading, and two, realism and stereotypes in gendered speech patterns. While supporting the use of manga as a learning resource, this paper will argue that manga’s linguistic characteristics necessitate more consideration.