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Journal articles on the topic 'Japanese americans, fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Bhattacharyya, Nitusmita. "Existential Crisis of the Japanese American Woman: A Study of Post War Japanese American Fiction." ENSEMBLE 2, no. 2 (2021): 51–56. http://dx.doi.org/10.37948/ensemble-2020-0202-a006.

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The Japanese American women, during the Second World War, suffered from subjugation at different levels of their existence. They had been subjected to marginalization based on their sexual identity within their native community. They were further made to experience discrimination on the basis of their racial status while living as a member of the Japanese diaspora in the United States during the War. The objectification and marginalization of the women had led them to the realization of their existence as a non -entity within and outside their community. However, the internment of Japanese Ame

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Roces, Mina. "Filipino Identity in Fiction, 1945–1972." Modern Asian Studies 28, no. 2 (1994): 279–315. http://dx.doi.org/10.1017/s0026749x00012415.

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The Philippines in the immediate post-war years may be described as a nation in search of an identity. This preoccupation with what one journalist has dubbed ‘the question of identity’ spurred a sudden interest in the research and discussion of things Filipino: Filipino dance, theater, literature, language, music, art and cultural traditions. After four hundred and fifty years of colonial rule the Filipino intelligentsia began to wonder if indeed the western legacy of colonial rule was the annihilation of the very essence of Filipino culture. Under the aegis of American rule Filipinos were ada

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Moorehead, Sanae Kawaguchi, and Greg Robinson. "On the Brink of Evacuation: The Diary of an Issei Woman, by Fuki Endow Kawaguchi." Prospects 28 (October 2004): 359–82. http://dx.doi.org/10.1017/s036123330000154x.

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One of the most significant gaps in our historical understanding of the expulsion and incarceration of West Coast Japanese Americans during World War II is a knowledge of how Japanese Americans themselves perceived events as they occurred. Former camp inmates have produced an enormous corpus of literature, particularly in the last thirty years, dealing with their wartime experience, including oral histories, memoirs, essays, plays, poetry, and fiction. These have provided valuable insight as to how the government's policy played out in the lives of its victims, and have included a store of inf

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Prylipko, Iryna. "Image of the Other in O. Honchar’s Fictional and Journalistic Discourse." Академічний журнал "Слово і Час", no. 1 (January 20, 2019): 38–51. http://dx.doi.org/10.33608/0236-1477.2019.01.38-51.

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The paper deals with the representation of other nations in fiction and journalism by O. Honchar. The specificity of reception and representation of the ethnic characters and other-culture realities is considered in the context of the paradigms “Me – Other”, “Own – Alien”. The paper surveys creative transformation of O. Honchar’s impressions from his trips in different countries, resulted in literary embodiment of perceptive peculiarities noticed by the writer in Hungarians, Slovaks, Czechs, Japanese, Chinese, Indians, Portuguese, Americans, Germans, Gypsies and others. The representation of t

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Khronopulo, L. Yu. "The influence of Fredric W. Brown’s micro fiction on Hoshi Shin’ichi’s and Akagawa Jirō’s short-short stories." Japanese Studies in Russia, no. 2 (July 4, 2022): 95–107. http://dx.doi.org/10.55105/2500-2872-2022-2-95-107.

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The short-short story was first introduced by Japanese writer Tsuzuki Michio, who in the late 1950s – the early 1960s familiarized the Japanese reader with extra-short stories of American author Fredric W. Brown (1906–1972); his traditions were followed by Japanese writer Hoshi Shin’ichi (1926–1997), Akagawa Jirō (b. 1948), and other authors experimenting in the new genre of social and psychological science fiction, as well as in the genre of fantasy and detective stories. In American literature, three major specific features of a short-short story were formulated: 1) a fresh idea, 2) an unexp

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Schneider, Michael A. "Mr. Moto: Improbable International Man of Mystery." Journal of American-East Asian Relations 22, no. 1 (2015): 7–16. http://dx.doi.org/10.1163/18765610-02201002.

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Mr. Moto, a fictional Japanese detective, achieved mass popularity through a series of 1930s films starring Peter Lorre. Moto was the creation of successful writer John P. Marquand (1893–1960), whose novels depicted a Japanese international spy quite different from the genial Mr. Moto of film. Revisiting the original Mr. Moto novels illuminates a Japanese character who rationalized Japan’s 1930s continental expansionism in ways that might have been acceptable to many Americans. Although Marquand intended to present Mr. Moto as a “moderate” and reasonable Japanese agent and generally present Ea

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Rodriguez-Cunill, Inmaculada, Joseph Cabeza-Lainez, and Maria del Mar Lopez-Cabrales. "Art and the City Fiction in Japanese American Internment Camps: Sequels for Resiliency." Arts 12, no. 5 (2023): 195. http://dx.doi.org/10.3390/arts12050195.

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This article delves into the creation a fictional city solely for the development of Japanese American internment camps and the way in which sustainable arts and crafts played a significant role in ensuring survival in such a hostile environment. To this aim, we searched the literature and reviewed archives, primarily from the American West Coast. We demonstrate that beyond adaptation to the circumstances, the visual representation of the new city’s settlement, founding, and daily activities, instead of adding to the typical panoptic or sombre prison imagery, remains inscribed in the images se

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Wang, Jijia. "Analysis of Historical Views in The Man Who Ended History: A Documentary." Frontiers in Humanities and Social Sciences 3, no. 11 (2023): 110–16. http://dx.doi.org/10.54691/fhss.v3i11.5752.

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As a highly regarded Chinese-American science fiction writer, Liu Yukun’s science fiction The Man Who Ended History: A Documentary published in 2012 combines science fiction elements with historical event against the background of Unit 731 of the Japanese Imperial Army’s violent behavior in Harbin, showcasing the views of the East and West on Chinese traumatic history. This article combines new historicism to examine the relationship between history and individuals within the text, as well as the historical views upheld by all parties.

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Milner, Andrew, and James Burgann Milner. "Anthropocene Fiction and World-Systems Analysis." Journal of World-Systems Research 26, no. 2 (2020): 350–71. http://dx.doi.org/10.5195/jwsr.2020.988.

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As developed by Immanuel Wallerstein and various co-thinkers, world-systems analysis is essentially an approach to economic history and historical sociology that has been largely indifferent to literary studies. This indifference is perhaps surprising given that the Annales school, which clearly influenced Wallerstein’s work, produced a foundational account of the emergence of modern western literature in Lucien Febvre and Henri-Jean Martin’s L’apparition du livre (1958). More recently, literary scholars have attempted to apply this kind of analysis directly to their own field. The best-known

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Okuhata, Yutaka. "Angela Carter and Modern Japanese Fiction: Her Reencounter with Western Literary Legacies." Contemporary Women's Writing 16, no. 2 (2022): 208–26. http://dx.doi.org/10.1093/cww/vpac019.

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Abstract This paper discusses the echo of modern Japanese literature in Angela Carter’s The Infernal Desire Machines of Doctor Hoffman (1972), which was written in Tokyo and Chiba, paying particular attention to four of the most influential authors in this intertextual novel: Junichiro Tanizaki, Ryunosuke Akutagawa, Yasunari Kawabata, and Yukio Mishima. Significantly, as well as being innovators of Japanese fiction, these writers were also great reinterpreters of Western literary legacies, who constructed their own original styles by absorbing both Japanese and non-Japanese literary traditions

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Puga, Ana Elena. "Gentle Transnational Spirits." TDR: The Drama Review 68, no. 2 (2024): 160–68. http://dx.doi.org/10.1017/s1054204324000030.

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Kamisato Yudai’s Immigrant Ghost Stories (2022) evokes past generations that suffered violence yet nevertheless haunt the present as gentle spirits, whether as reincarnated animals, reincarnated people, or repeated patterns of physical gesture and movement. Blurring the borders between fiction and documentary, storytelling and physical theatre, the work stages transnationality as both an economic practice and a sociocultural necessity, encouraging us to acknowledge the heterogeneity of Japanese–Latin American and other Japanese transnational identities.

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White, Brian. "Anxious Apocalypse: Transmedia Science Fiction in Japan’s 1960s." Humanities 12, no. 1 (2023): 15. http://dx.doi.org/10.3390/h12010015.

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Science fiction (SF) developed as a self-identified genre in Japan in the 1950s and quickly underwent a boom in the 1960s. Throughout this period, SF literature, film, and television were tightly intertwined industries, sharing production personnel, textual tropes, and audiences. As these industries entered global circulation with the hope of finding recognition and success in the international SF community, however, they encountered the contradictions of the Cold War liberal cultural system under the US nuclear umbrella. Awareness of the discursive marginalization of Japanese SF in the Euro-A

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Mulhern, Chieko Irie. "Japanese Harlequin Romances as Transcultural Woman's Fiction." Journal of Asian Studies 48, no. 1 (1989): 50–70. http://dx.doi.org/10.2307/2057664.

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My country “is now wholly given over to a d—d mob of scribbling women,” goes one of the most frequently quoted gender-related adages. Japanologists might be tempted to attribute this uncourtly utterance to a learned nobleman of Heian Japan (794–1185) embittered by the outpouring of vernacular narratives from women's writing brushes that were eclipsing male endeavors to emulate Chinese classics, or to an exasperated modern Japanese novelist in reference to the neo-Heian phenomenon, namely, the renaissance of women's literature in postwar Japan. Actually it was Nathaniel Hawthorne (1855:141) who

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Lee, Steven S. "Minor Transpacific: Triangulating American, Japanese, and Korean Fictions." Comparative Literature Studies 61, no. 1 (2024): 194–97. http://dx.doi.org/10.5325/complitstudies.61.1.0194.

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Taillandier, Denis. "New Spaces for Old Motifs? The Virtual Worlds of Japanese Cyberpunk." Arts 7, no. 4 (2018): 60. http://dx.doi.org/10.3390/arts7040060.

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North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Gorō’s Venus City (Vīnasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on th

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Portilho, Carla. "A Japanese-American Sam Spade: The Metaphysical Detective in Death in Little Tokyo, by Dale Furutani." American, British and Canadian Studies Journal 28, no. 1 (2017): 39–51. http://dx.doi.org/10.1515/abcsj-2017-0003.

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AbstractThe aim of this essay is to discuss the legacy of the roman noir in contemporary detective fiction produced outside the hegemonic center of power, here represented by the novel Death in Little Tokyo (1996), written by Japanese-American author Dale Furutani. Starting from the concept of the metaphysical detective (Haycraft 76; Holquist 153-156), characterized by deep questioning about narrative, interpretation, subjectivity, the nature of reality and the limits of knowledge, this article proposes a discussion about how these literary works, which at first sight represent a traditionally

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Seethaler, Ina Christiane. "Dressed to Cross: Narratives of Resistance and Integration in Sei Shônagon's The Pillow Book and Yone Noguchi's The American Diary of a Japanese Girl." Ethnic Studies Review 34, no. 1 (2011): 185–98. http://dx.doi.org/10.1525/esr.2011.34.1.185.

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The Pillow Book by Sei Shônagon, Empress Sadako's lady in waiting from about 993-1000, offers rich detail about the meaning and power of dress during the Heian period [794-1185]. Throughout Yone Noguchi's novel The American Diary of a Japanese Girl (1902), Morning Glory, a newly arrived Japanese immigrant to the U.S., experiments with a multitude of different identities through clothes. Both narratives appropriate (cross-) dressing as a means of overcoming gender, cultural, and class borders. Shônagon and Noguchi engage in “authorial crossdressing” to inhabit a social, cultural, and national s

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18

Milner, Andrew, and JR Burgmann. "Climate Fiction: A World-Systems Approach." Cultural Sociology 12, no. 1 (2017): 22–36. http://dx.doi.org/10.1177/1749975517725670.

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Since the death of Pierre Bourdieu, the leading contemporary sociologist of literature has arguably been Franco Moretti. Moretti’s distinctive contribution to the field has been his attempt to apply Immanuel Wallerstein’s world-systems theory to literary studies. Although Wallerstein traces the origins of the modern world-system back to the 16th century, Moretti focuses on the much shorter period since the late 18th century. This is also the historical occasion for the initial emergence of modern science fiction (SF). Andrew Milner has previously sketched out an ambitious model of the ‘global

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Childs, Margaret H. "The Value of Vulnerability: Sexual Coercion and the Nature of Love in Japanese Court Literature." Journal of Asian Studies 58, no. 4 (1999): 1059–79. http://dx.doi.org/10.2307/2658495.

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While modern readers willingly acknowledge the virtues of informing themselves about the ways the cultural contexts of fiction of various times and places differ from their own and the ramifications this may have for interpretation, we tend to assume that the emotions depicted in the fiction of other cultures are essentially the same as those we find in our own hearts. Scholars of literature exert considerable effort to help readers understand such things as contemporary political systems, kinship structures, marriage practices, and norms of etiquette, but we have not wondered whether the smil

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MACKINTOSH, JONATHAN D. "Bruce Lee: A visual poetics of postwar Japanese manliness." Modern Asian Studies 48, no. 6 (2013): 1477–518. http://dx.doi.org/10.1017/s0026749x13000437.

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AbstractFist of Fury, starring Bruce Lee, debuted in Japan in 1974. Whilst its critical reception reflected its box-office success, a complex emotional reaction is nevertheless detectable towards the film's unsympathetic portrayal of the Japanese. This paper will explore this reaction and suggest that a post-colonial angst was piqued, one that betrayed fundamental shifts in current racial, erotic, cultural, moral, and historical understandings of Japanese manliness. At one level, the response to Lee is a hermeneutic cue into the manifold ways that this angst was constructed through contesting

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Yao, Xine. "Desire and Asian Diasporic Fiction: Democracy and the Representative Status of Onoto Watanna’s Miss Numè of Japan (1899)." American Literary History 35, no. 1 (2023): 97–112. http://dx.doi.org/10.1093/alh/ajac154.

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Abstract “Onoto Watanna,” the pseudo-Japanese penname of the mixed-race Chinese Winnifred Eaton, acts as a “Bad Grandma” of the Asian North American literary tradition. Building upon Susan Koshy’s and Lisa Lowe’s accounts of the Asian American novel, I approach Watanna’s Miss Numè of Japan (1899) as the “first Asian American novel” representative of an accommodationist, rather than resistant, tendency “Asian American” representation that anticipates the aggregate and disaggregate problems and possibilities of that political formation in US liberal democracy. The novel, a tale of interracial ro

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Trowell, Haydn, and Satoshi Nambu. "“Pseudo-dialect” or “role language”? Speech varieties in three Japanese translations of Gone with the Wind." Journal of Japanese Linguistics 39, no. 2 (2023): 237–60. http://dx.doi.org/10.1515/jjl-2023-2014.

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Abstract This study considers the use of dialectal and distinctive language features in three Japanese translations of the 1936 novel Gone with the Wind by Margaret Mitchell, published in 1938, 2015, and 2015–2016. Previous studies have noted that these translations adopt various linguistic features originating in dialects from Japan’s Tōhoku region when rendering the African American Vernacular English–influenced eye dialect spoken by Black enslaved characters, and suggest that this translation strategy draws on and reinforces negative social perceptions of real-life Tōhoku-dialect speakers.

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Yi, Christina. "Minor Transpacific: Triangulating American, Japanese, and Korean Fictions by David S. Roh." Journal of Japanese Studies 49, no. 1 (2023): 242–46. http://dx.doi.org/10.1353/jjs.2023.0030.

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Irina Pelea, Crînguța. "Exploring the Iconicity of Godzilla in Popular Culture. A Comparative Intercultural Perspective: Japan-America." Postmodernism Problems 10, no. 1 (2020): 18–40. http://dx.doi.org/10.46324/pmp2001018.

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The present study aims to compare the representation of Godzilla or Gojira, considered one of the most representative cultural icons of Japanese cinematography within the intertwinement of the fluid, versatile and dynamic context of contemporary Japanese and North American film industry. The undying popularity of Godzilla is puzzling, and one can ask himself where the appeal of this irradiated dinosaur-like fictional monster lies in. The author adopts a comparative intercultural perspective, one that integrates research into a much broader sociohistorical context, with particular attention to

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Kim, Jinah. "David S. Roh, Minor Transpacific: Triangulating American, Japanese, and Korean Fictions." American Literary History 35, no. 1 (2023): 651–54. http://dx.doi.org/10.1093/alh/ajac294.

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Potočnik, Nataša. "Wendy Jones Nakanishi : an American resident in Japan, her life and work through the English language and literary creativity." Acta Neophilologica 45, no. 1-2 (2012): 63–85. http://dx.doi.org/10.4312/an.45.1-2.63-85.

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Wendy Jones Nakanishi is a professor of English Language and Comparative Cultures at a small private college located in the south of Japan: Shikoku Gakuin University in Kagawa prefecture. It is a life far removed from her roots. She grew up in a tiny town in the northwestern corner of Indiana and spent her childhood holidays at her grandparentsʼ farm in the central part of the state. She received graduate degrees in Indiana, in England and in Scotland and she also spent a year in France and half a year in Holland. Nakanishi has published widely in America, Japan and Europe. Her academic resear

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Skvortsova, Elena L. "Existential Motives in the Works of the Japanese Writer Dazai Osamu." Oriental Courier, no. 1 (2024): 161. http://dx.doi.org/10.18254/s268684310030135-6.

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A characteristic feature of the existential philosophy is its closeness to fiction the ideas of existentialism were most vividly embodied in the works of several European and American writers and turned out to be consonant with the worldview of several Japanese prose writers, such as Dazai Osamu. His work is still one of the widely popular among Japanese readers. In Dazai’s last completed work, the story “Confession of the Interior Man” existential motives are clearly felt. The spiritual disintegration of the personality thrown into the cruel and senseless world of modern postindustrial societ

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Morris, Narrelle. "Paradigm Paranoia: Images of Japan and the Japanese in American Popular Fiction of the Early 1990s." Japanese Studies 21, no. 1 (2001): 45–59. http://dx.doi.org/10.1080/10371390120048740.

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Flenninacia Basil Raj, B., and K. B. Shalini. "Diving into the Enigma: The Magic Realism of Haruki Murakami’s “Kafka on the Shore”." Shanlax International Journal of Arts, Science and Humanities 11, S2-March (2024): 69–72. http://dx.doi.org/10.34293/sijash.v11is2-march.7513.

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In literature, magic realism presents real-world occurrences that combine elements of fantasy, magic, and dreams. Magic realism makes it difficult to distinguish between fact and fiction and infuses regular events and ordinary life with a dreamlike quality. Most frequently, the term “magic realism” refers to the literary subgenre made popular by Latin American authors like Ruben Dario and Jose Marti in the 1950s. Japanese author Haruki Murakami was born in Kyoto in 1949, during Japan’s post-World War II era. His writings are influenced by many different cultures and traditions and frequently c

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Артеменко, М. П., та І. С. Агаджанян. "ХУДОЖНЬО-ОБРАЗНІ ОСОБЛИВОСТІ ГЕРОЇВ КОСПЛЕЮ В КОНТЕКСТІ ДОСЯГНЕННЯ ТУРИСТИЧНОЇ АТРАКЦІЇ". Art and Design, № 3 (11 грудня 2018): 41–53. http://dx.doi.org/10.30857/2617-0272.2018.3.4.

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The study seeks to systematize artistic-figurative features of cosplay heroes in the context of achieving tourist attraction taking into account the cultural traditions of the eastern (Japanese) and western (American-European) directions of this subculture.The research includes a critical analysis of publications on selected topics, analytical processing and systematization of the collected information base of the study with photo-illustrative material, in which examples of costumes for cosplay are recorded. Also, the visual-graphic methods of data processing were used in the work, which allow

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HARRIS, MARLA. "Passing and Posing: The Japanese American Body in the Detective Fiction of Sujata Massey and Dale Furutani." Journal of Popular Culture 40, no. 3 (2007): 433–53. http://dx.doi.org/10.1111/j.1540-5931.2007.00402.x.

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Singh, Richa. "Book Review: Pachinko by Min Jin Lee." SMART MOVES JOURNAL IJELLH 8, no. 10 (2020): 82–90. http://dx.doi.org/10.24113/ijellh.v8i10.10804.

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Pachinko by Min Jin Lee is a saga of the trials and tribulations, joys and sorrows of a Korean family spanning from 1910 to 1989. Lee is a Korean-American author whose work engages with themes of the diasporic Korean identity. Pachinko was published in 2017 to critical acclaim and it was in the running for the National Book Award for Fiction. Pachinko is a historical novel and its panoramic gaze encompasses twentieth century Korea giving us a terrifyingly real account of Korean society from the Japanese colonization of Korea to the Second World War. The Financial Times wrote in their rev

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Hurley, Brian. "Murakami Haruki’s America: Talk, Taste, and The Specter of the Untranslatable." Japanese Language and Literature 58, no. 1 (2024): 1–27. http://dx.doi.org/10.5195/jll.2024.344.

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The world-famous Japanese novelist Murakami Haruki (1949-) has been said to write universally-legible, made-to-be-translated fiction that is designed to circulate through the channels of global cultural commerce unimpeded by the thorny particularities of local specificity. But this article explores a different side of Murakami—a side that attuned to the untranslatable particularity of socially contextualized language as he heard it spoken around him during his time living in the United States in the early 1990s. Drawing on the scholar of comparative literature Michael Lucey’s approach to readi

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Apol, Laura, Aki Sakuma, Tracy M. Reynolds, and Sheri K. Rop. "“When Can We Make Paper Cranes?”: Examining Pre-Service Teachers' Resistance to Critical Readings of Historical Fiction." Journal of Literacy Research 34, no. 4 (2002): 429–64. http://dx.doi.org/10.1207/s15548430jlr3404_3.

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There has been much recent scholarship on the importance of engaging students of all ages in the critical readings of texts. This study explores a group of pre-service teachers' responses to a set of experiences designed to encourage them to respond critically to several picture book versions of the American-Japanese conflict in World War II, focusing particular attention on Sadako by Eleanor Coerr (1993). Although a presentation by a visiting scholar from Japan highlighted the “constructedness” of the Sadako myth and outlined the historical and cultural inaccuracies of Coerr's telling of the

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Michiels, Laura. "A more perfect dissolution." English Text Construction 15, no. 2 (2022): 156–74. http://dx.doi.org/10.1075/etc.00055.mic.

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Abstract Samuel D. Hunter’s 2019 play Greater Clements is named after a fictional former mining town in Northern Idaho, which straddles the space between presence and absence. The locals have decided to put an end to a dispute with the Californian second-homers that have flocked to town in recent years, by voting to unincorporate. Hunter has indicated that the play relies heavily on the “toxicity of nostalgia”, on which the present essay concentrates. This article explores nostalgia as connected to two marginalised communities in Greater Clements: the miners, now out of work due to the effects

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Hassler, Donald M. "Japanese Science Fiction: A View of a Changing Society, and: Rationalizing Genius: Ideological Strategies in the Classic American Science Fiction Short Story (review)." MFS Modern Fiction Studies 36, no. 2 (1990): 313–14. http://dx.doi.org/10.1353/mfs.0.0928.

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Williams, Peter W. "“Does American Religious History Have a Center?” Reflections." Church History 71, no. 2 (2002): 386–90. http://dx.doi.org/10.1017/s0009640700095767.

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The three essays presented in this session raise issues that remind me of two classic representations of the problem of interpretation. In the Japanese film Rashomon, four differing and incompatible accounts of the same event are presented by the central characters, leaving the viewer to wonder which, if any, is the “true” version. Similarly, in the “Doubloon” chapter of Melville's Moby Dick, Captain Ahab nails a Spanish gold coin to the mast as a potential reward for the first man to spot the white whale; subsequently, each member of the crew gazes at the doubloon and falls into his own uniqu

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May, John J. "Japanese and American Horror: A Comparative Study of Film, Fiction, Graphic Novels and Video Games. By KatarzynaMarak. McFarland & Company, 2015." Popular Culture Review 26, no. 1 (2015): 123–24. http://dx.doi.org/10.1002/j.2831-865x.2015.tb00664.x.

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Luiz, Fernando Teixeira. "A CONSTRUÇÃO DO HERÓI NO DESENHO ANIMADO: O PERÍODO DAS NARRATIVAS HÍBRIDAS (1980 – 2000)." Revista Graphos 21, no. 1 (2019): 239–60. http://dx.doi.org/10.22478/ufpb.1516-1536.2019v21n1.46557.

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Revela-se, nas últimas décadas do século XX, a incidência de séries animadas protagonizadas por heróis primordiais, afinados à mitologia pagã e às Novelas de Cavalaria. Nessa direção, o presente estudo ocupa-se em rastrear, a partir de uma perspectiva crítica, descritiva e historicista, as propostas veiculadas pelo cinema gráfico entre 1980 e 2000 e suas articulações com a literatura, o cinema e os quadrinhos. Não está em cogitação, assim, a análise minuciosa de uma obra, mas o delineamento de um panorama histórico que permita visualizar as perspectivas de representação de heróis tradicionais

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Zanotti, Pierantonio. "Playing the (International) Movie: Intermediality and the Appropriation of Symbolic Capital in Final Fight and the Beat ’em up Genre." Eludamos: Journal for Computer Game Culture 9, no. 1 (2018): 47–74. http://dx.doi.org/10.7557/23.6165.

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Final Fight (Capcom 1989) is a famous example of a video game genre generally known as “beat ’em up” or “brawler,” a type of action game where the player character must fight a large number of enemies in unarmed combat or with melee weapons. The side-scrolling beat ’em up genre reached the peak of its global popularity in the late 1980s and early 1990s, a period sometimes referred to as the genre’s “golden age.” Set in a contemporary, urban setting, Final Fight has a storyline that revolves around three playable heroes who attempt to rescue a young woman from the clutches of a criminal gang. A

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Leontovich, Olga Arkad'evna. "“A Sensible Image of the Infinite”: Intersemiotic Translation of Russian Classics for Foreign Audiences." Russian Journal of Linguistics 23, no. 2 (2019): 399–414. http://dx.doi.org/10.22363/2312-9182-2019-23-2-399-414.

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The article is a continuation of the author’s cycle of works devoted to foreign cinematographic and stage adaptations of Russian classical literature for foreign audiences. The research material includes 17 American, European, Chinese, Indian, Japanese fiction films and TV series, one Broadway musical and 9 Russian films and TV series used for comparison. The paper analyses different theoretical approaches to intersemiotic translation, ‘de-centering of language’ as a modern tendency and intersemiotic translation of literary works in the context of intercultural communication. Key decisions abo

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Becce, Nicolangelo. "Reassessing Japanese American Collective Memory Through Gene Oishi’s Internment Narratives." Annali di Ca’ Foscari. Serie occidentale, no. 55 (July 29, 2021). http://dx.doi.org/10.30687/annoc/2499-1562/2021/09/003.

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Seven decades after Japanese Americans were interned during the Second World War, former journalist and internment survivor Gene Oishi published Fox Drum Bebop (2014). The protagonist, Hiroshi, had been introduced in Oishi’s previous memoir, In Search of Hiroshi (1988), as “quasi-fictional” and “neither American nor Japanese, but simply me”. Yet, in the same memoir, Oishi had also described his inability to write about ‘Hiroshi’, thus settling on ‘Gene’ as a main character and waiting 28 more years before publishing a book about his true self. A comparison between the two books highlights that

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Wakabayashi, Judy. "Representations of translators and translation in Japanese fiction." Linguistica Antverpiensia, New Series – Themes in Translation Studies 4 (October 25, 2021). http://dx.doi.org/10.52034/lanstts.v4i.133.

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This paper examines some 40 Japanese fictional works containing portray-als of translators or translation (here understood as including interpreting). It explores Japanese writers’use of translation as a metafictional device, the extent to which these works (mis)represent reality, whether they are positive or negative depictions, and the insights they provide into how translators and translation are regarded by Japanese authors and, by extension, the Japanese public. Recurring themes are analyzed, such as marginality and identity issues, power and fidelity, author/translator relations, attitud

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Levine, Michael, and William Taylor. "The Upside of Down: Disaster and the Imagination 50 Years On." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.586.

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IntroductionIt has been nearly half a century since the appearance of Susan Sontag’s landmark essay “The Imagination of Disaster.” The critic wrote of the public fascination with science fiction disaster films, claiming that, on the one hand “from a psychological point of view, the imagination of disaster does not greatly differ from one period in history to another [but, on the other hand] from a political and moral point of view, it does” (224). Even if Sontag is right about aspects of the imagination of disaster not changing, the types, frequency, and magnitude of disasters and their repres

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-, Kasturi Sinha, and Gurudev Meher -. "Shamanic Healing and Altered States of Subconscious in Murakami’s Fictions." International Journal For Multidisciplinary Research 5, no. 6 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.11285.

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Shamanism, a universal phenomenon, originated in Inner Asia and has evolved over time. Haruki Murakami, a renowned Japanese author, has crossed cultural divides and gained attention with his works of fiction. His belief in protecting the individual for society's benefit is what appeals to and offends people about him. Murakami's works often convey a sense of loneliness and dislocation through characters that are often lonesome and alone. He uses magical realism to explore the subconscious, a metaphysical part of the mind that is unavailable to the conscious self. Murakami's daily writing routi

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Abe, Kodai. "Minor Transpacific: Triangulating American, Japanese, and Korean Fictions. David S. Roh." MELUS, May 12, 2022. http://dx.doi.org/10.1093/melus/mlac025.

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Indriyanto, Kristiawan, Esra Perangin-angin, and Tan Michael Chandra. "Narrative Perspective and Imagined Space: Understanding Japanese-American Experience in Hawaii through Murayama’s Fiction." Rupkatha Journal on Interdisciplinary Studies in Humanities 15, no. 2 (2023). http://dx.doi.org/10.21659/rupkatha.v15n2.25.

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This paper contextualizes the intricate relationship between language, culture, and place in Milton Murayama’s All I am Asking for is My Body, underlining the dynamic of the Japanese-American diasporic experience in Hawaii. The econarratological analysis delves into the spatial representation and homodiegetic narration employed by Murayama to immerse readers in the plantation labor experience and the linguistic landscapes of Hawaii. The study examines the complex dynamics between Standard English and Hawaiian Creole English (HCE) in Murayama’s work, highlighting their role in shaping the cultu

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Chin, Gabriel. "Mining for Reality in Late-Stage Capitalism: Reading Murakami Haruki and Don DeLillo Towards a New Literary Realism." Brief Encounters 3, no. 1 (2019). http://dx.doi.org/10.24134/be.v3i1.144.

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This paper articulates an unexplored convergence between authors Murakami Haruki and Don DeLillo. I contend that these authors share similarities in style, content, and context, particularly in their responses to the epoch Murakami calls late-stage capitalism. Focusing on Murakami’s short story ‘A Folklore for my Generation: a Prehistory of Late Stage Capitalism’ (2007) and DeLillo’s Mao II (1991), I examine each author’s profound concern with the status of literature and representation within this age, arguing that the task of fiction for these two writers is to represent reality in a mode no

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"Frontiers of influence: language and technology in the Japanese American fictions of Etsu I. Sugimoto and Karen Tei Yamashita." Creativity 1, no. 1 (2018): 81. http://dx.doi.org/10.22381/c1120182.

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Dahlberg-Dodd, Hannah E. "The author in the postinternet age." Transformative Works and Cultures 30 (September 15, 2019). http://dx.doi.org/10.3983/twc.2019.1408.

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Fifty years since Roland Barthes proclaimed the death of the author, there still exists difficulty in framing the nature of interaction between commercial (professional) creators and fan (transformative) authors. In the postinternet age, the visibility of unsanctioned (or tacitly sanctioned) derivative fictional works has only increased, as have the number of commercial creators with experience in creating derivative works for a fan audience. It has therefore become necessary to interrogate whether the author has truly died in the Barthian sense, and if not, what role the construct of the auth

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