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Dissertations / Theses on the topic 'Manga (Comics)'
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Marcusson, Sophia. "Manliga hjälteideal : En jämförande studie av amerikanska Comics och japansk Manga." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-31862.
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Brienza, Casey Elizabeth. "Domesticating Manga : Japanese comics, American publishing, and the transnational production of culture." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648154.
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Ossmann, Andrea. "Phänomen Manga die Entstehungsgeschichte japanischer Comics und ihre Bedeutung für deutsche Verlage und Bibliotheken /." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675770.
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Anderson, Terpstra Kristin. "Spreading the word : fan translations of manga in a global context." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3423.
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Manga, or Japanese comic books, are one of the newest popular media imports from Japan to garner a sizable following in the U.S. Shortly before the establishment of an American manga publishing industry and the investment in resources to publish manga legally, fans calling themselves scanslators or scanlators (scan + translators) began translating Japanese manga themselves and distributing it to other fans through the Internet. This dissertation focuses on the manga importation process from several different angles, comparing within each the struggles and similarities between the actions and motives of scanslators and publishers. Comparing and contrasting the practices and norms of scanslators with those of the American manga publishing industry, this case study will provide insight into the ways that fans of transnational texts are involved in a system of global media flows whose paths are determined by legal, cultural, economic, and political forces.
This work focuses on three stages in the manga importation process: selection, translation, and distribution. This study is based on the textual analysis of trade journal articles and web sites, informed by interviews with scanslators and manga industry workers. I conducted interviews over a six-month period in 2008, focusing on two groups, the publishing company Tokyopop and the scanslation group "Paradise." I carried out follow-up interviews a year later. I supplemented these interviews with interviews from freelance manga translators. I demonstrate principles influencing the flow of other kinds of media across borders. Manga serves as a prime example of the rise and transformation of a genre in the book market, and more broadly as a form of media. This case also serves as a snapshot of a moment of change within the publishing industries as they move towards increased digitization.
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Lau, Cheung-cheung. "A study of Manga and adolescent popular fiction in Hong Kong /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.
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Tsai, Yi-Shan. "Young British readers' engagement with manga." Thesis, University of Cambridge, 2015. https://www.repository.cam.ac.uk/handle/1810/252712.
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This thesis presents young British readers? engagement with manga regarding literary, aesthetic, social, and cultural dimensions. The study explores young readers? points of views of their reading preference ? manga. I investigated how children interpreted manga, with respect to the artistic techniques, the embedded ideologies, and the cultural elements therein. I also looked into children?s participation in manga fandom and its social meanings. This allowed me to explore what attracted British readers to this exotic text. This study involved 16 participants from two schools, aged between 10 and 15, with genders represented equally. The participants were grouped by gender in each school. Each group of students received three group interviews based on three manga that they were required to read in advance. Individual interviews with each student followed the group interviews, and all the students were asked to keep reading reflections. The findings show that the attraction of participants to manga includes at least five dimensions. First, manga is a visually rich text, which not only had great power in rendering vicarious experiences to the students, but also allowed the struggling students to grasp the meanings of the text better. Second, both the verbal and the visual storytelling were characterised as fragmentary, which inspired the students? imagination to join the creation of the story. Third, manga provided a temporary shelter where the participants could forget a stressful and frustrating reality. In addition, they felt that they gained renewed hope, refreshed energy, and insights to face potential challenges and difficulties in their lives. Fourth, the elements of Japaneseness and otherness made manga reading a rich experience of an exotic culture. Fifth, manga afforded collective pleasures in fan communities where the students could express their passion and gained a sense of identity.
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Torquato, Adriane Carvalho. "Quatro retratos de Rokujõ: releituras das narrativas de Genji no Shõjo mangá." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-03032015-122551/.
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Durante a época clássica japonesa, eram produzidos vários textos de ficção em prosa direcionados às mulheres da nobreza. Estas obras eram chamadas monogatari e, inicialmente, eram consideradas parte de um gênero literário menor justamente por serem vistas como um mero passatempo para as damas ociosas. Os primeiros monogatari foram produzidos por homens, mas a obra mais emblemática do gênero, Narrativas de Genji, foi criada pela dama da corte Murasaki Shikibu e teve influência de textos anteriores do mesmo gênero, poesia, literatura clássica chinesa e mitologia japonesa. Já no século XII, com a produção dos rolos de pinturas Genji Monogatari Emaki iniciou-se uma longa tradição de recepção cultural da obra da autora, que continuaria nos séculos seguintes e, a partir dos anos 1970 foi herdada por um novo meio de expressão cultural, o shõjo mangá. Em 1979 começou a ser publicada a série Asaki Yumemishi de Waki Yamato, que é considerada uma das principais adaptações em quadrinhos da obra e influenciou muitas das versões que a sucederam. A obra recria, utilizando elementos estéticos e narrativos do gênero shõjo de mangá, a maior parte do enredo da obra original, algo que ocorre em poucas adaptações em quadrinhos das Narrativas de Genji. Outras versões analisadas neste trabalho são Genji Monogatari Sennen no Nazo, de Tõko Miyagi, que adapta uma light novel onde são recriados alguns episódios do texto base que se combinam a eventos originais, Genji Monogatari de Serina Miõ, que é dividida em episódios focados em algumas das damas presentes na obra original e Onna Hikaru Genji no Ikemen Nikki, que traz episódios curtos onde as personagens são recriadas com o gênero invertido. Para mostrar algumas das características da transposição do texto original para o shõjo mangá nos focamos na personagem Rokujõ no Miyasudokoro, verificando as diferenças e semelhanças do modo de representação da personagem em cada uma das versões e como a sua trajetória narrativa é retrabalhada para se adequar às convenções do shõjo mangáVarious fictional works in prose aimed at noblewomen have been created during Classical Japanese Era. These works are part of a literary genre called monogatari, which was, in the beginning, considered lower, a pastime for ladies. Most early monogatari were written by men, but the most emblematic of them, The Tale of Genji, is a creation of a court lady known as Murasaki Shikibu and was influenced by literary works in the same genre, poetry, classical Chinese literature and Japanese mythology. The Tale of Genji reception is a long tradition which began in the twelfth century, with the production of the picture scrolls Genji Monogatari Emaki. This tradition continued through centuries and, since the 1970s, was inherited by shõjo manga, a new medium of expression. In 1979 the series Asaki Yumemishi written by Waki Yamato started being published. It is considered one of the most important manga adaptations of the Tale of Genji and influenced several versions published after it. In this version, most of the plot of the original work is recreated using aesthetic and narrative elements of the shõjo manga genre, which occurs only in a few adaptations. This dissertation will also deal with other shõjo versions of the work, which are Genji Monogatari Sennen no Nazo, by Tõko Miyagi, an adaptation of a light novel that recreates some episodes of the original interspersed with new events; Genji Monogatari by Serina Miõ, an episodic series focused on some female characters and Onna Hikaru Genji no Ikemen Nikki, a series of short chapters where the characters are portrayed with reversed genders. Aiming to show some aspects of the transposition of the original text to shõjo manga, we will be focusing on the character Rokujõ no Miyasudokoro, verifying differences and similarities on her modes of representation in each version and how its narrative trajectory is reworked to fit the conventions of shõjo manga
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Chen, Hsiao-ping. "The Significance of Manga in the Identity-Construction of Young American Adults: A Lacanian Approach." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1292280906.
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Linusson, Sixten. "Age-graded Variation in Japanese Visual Language : The different morphology of adults’ and children’s manga." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37460.
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Previous studies have shown that not only is there something called visual language through which we understand graphical expressions, but also that each culture has its own visual language. Furthermore, there are variances within these visual languages, denoted by genre, which can be interpreted to be dialects. In a similar fashion to a study by Neil Cohn and Sean Ehly in 2016, which uncovered the dialectical differences, this study has utilized 67 graphical schemas, known as visual morphemes, and a corpus of 20 volumes of Japanese comics, to investigate age-grading in the Japanese visual language. The corpus, consisting of 10 volumes aimed towards adults and 10 volumes aimed towards children, was searched for graphical schemas, and their relative frequencies were analyzed with independent samples t-tests. The results show great similarities between the populations, supporting the findings of previous studies indicating that there is a shared visual language between genres. However, there were also great differences in how the visual morphemes were used, with many morphemes being used in statistically different proportions between the populations. Further age-grading was also found in the absolute frequency and the meanings of the morphemes which were used, with children’s visual language appearing to be much more expressive. These results imply that there is significant age-grading in the Japanese visual language and that it can be characterized in several ways, including absolute frequency, content, and proportional use.
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Wong-Lifton, Anyi. "Multinational Manga Memories: Osamu Tezuka’s Postwar Japanese Critique of Nationalism in Message to Adolf." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1196.
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Manga masterpiece Message to Adolf’s fictional narrative intertwines the Holocaust, romance, espionage, and friendship in its international World War II-focused narrative. Using theory on nationalism and Japanese memories of WWII, this thesis argues the violence the characters initiate and suffer blurs lines between perpetrator, hero, and victim to critique the power of nationalism. Its message concerning the danger of nationalism is as applicable for global audiences now as when it was published in 1985.
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Clopton, Kay Krystal. "Now Hear This: Onomatopoeia, Emanata, Gitaigo, Giongo – Sound Effects in North American Comics and Japanese Manga and How They Impact the Reading Experience." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525744652209227.
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Delaborde, Blanche. "Poétique des impressifs graphiques dans les mangas 1986-1996." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0003.
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Communément appelés « onomatopées », les impressifs graphiques sont des mots mimétiques sonores (onomatopées ou giongo) ou non sonores (impressifs ou gitaigo) qui sont employés dans les mangas. Le plus souvent tracés à la main et intégrés aux dessins, ils tirent leur pouvoir expressif de procédés linguistiques comme l’emploi de nombreuses variantes et néologismes, et de procédés graphiques comme la stylisation ou le traitement métonymique des tracés, ou encore l’exploitation des particularités du système scriptural japonais. Notre étude s’appuie sur un corpus de mangas publiés entre 1986 et 1996, en se concentrant particulièrement sur JoJo’s Bizarre Adventure, d’Araki Hirohiko, Bonobono, d’Igarashi Mikio, et Réincarnations : Please Save My Earth, de Hiwatari Saki. Après avoir examiné en détails ces caractéristiques morphologiques, nous analysons la place et le rôle des impressifs graphiques dans la syntaxe des mangas, en traitant notamment les questions de leur relation d’ancrage aux dessins iconiques, de leur inscription dans l’espace diégétique et de leur appartenance à un réseau textuel complexe. Enfin, nous examinons la façon dont les impressifs graphiques prennent part à la narration et à l’esthétique des mangas à travers leur contribution à l’expression du temps et à l’expression de l’intériorité des personnagesThe subject of this dissertation is mimetic words that express sounds (onomatopoeia or giongo) or other types of sensations (gitaigo) that are used in manga. Most often traced by hand and integrated into the drawings, they derive their expressive power from linguistic devices such as the use of numerous variants and neologisms, and graphic devices such as the stylization or the metonymic treatment of the written characters, or the exploitation of peculiarities of the Japanese scriptural system. After having examined in detail these morphological characteristics, we analyze the role of mimetic words in the syntax of manga, by treating in particular the questions of their relation of anchoring to the iconic drawings, of their inscription in the diegetic space and of their belonging to a complex textual network. Finally, we examine the way in which the mimetic words take part in the narration and the aesthetics of manga through their contribution to the expression of time and to the expression of the interiority of the characters. Our study draws on a body of manga of various genres published between 1986 and 1996, with a particular focus on Araki Hirohiko’s JoJo's Bizarre Adventure, Igarashi Mikio’s Bonobono, and Hiwatari Saki’s Please Save My Earth
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Combette, Charles. "Héros de bande dessinée : entre présence et absence." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30053.
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Qu’est-ce qu’un héros de bande dessinée ? Comment fonctionne-t-il ? Pourquoi est-il ainsi ? Ce sont là les trois questions principales que nous entendons traiter dans les pages de cette thèse. C’est principalement l’étude de la relation entre le lecteur et le héros qui va nous permettre de répondre. Cette relation, nous la nommons identification, elle est à la fois reconnaissance et projection. C’est dans ce double mouvement – du héros vers le lecteur, du lecteur vers le héros – que nous trouverons notre objet. Notre cheminement nous amènera à définir le héros tant de façon diachronique, en nous attardant sur son origine et son évolution historique (avec une attention particulière pour les productions et les réflexions de Rodolphe Töpffer), que de façon synchronique en le comparant aux héros d’autres médiums. Définissant le héros par son fonctionnement identificatoire, nous étudierons celui-ci en analysant les stratégies graphiques mises en œuvre par les auteurs de bandes dessinées pour que celui-ci se produise. Cela nous permettra enfin de tirer des conclusions esthétiques et éthiques de ce fonctionnement, et de préciser la nature de l’expérience de la bande dessinée. Ce travail de recherche fera donc appel, pour être mené à bien, à des outils provenant des domaines variés que sont l’analyse plastique, la sémiologie, l’esthétique, la philosophie, les études littéraires, etcWhat is a comic book hero? How does it work? Why is it so? These are the three main issues that we intend to cover in the pages of this thesis. This is mainly the study of the relationship between the reader and the hero that will allow us to respond. This relationship, we call identification, it is both recognition and projection. It is in this double movement - the hero to the reader, the reader to the hero - that we find our purpose. Our journey will take us to define the hero so diachronically, but to focus on its origin and historical development (with particular attention to the production and reflections Rodolphe Töpffer) as synchronically by comparing the heroes of other mediums. Defining the hero by identificatory function, we will study it by analyzing the graphic strategies implemented by the authors of comics for it to happen. This will allow us finally to draw aesthetic and ethical conclusions of this operation, and to specify the nature of the experience of the comic. This research will therefore appeal to be completed, tools from various fields such as plastic analysis, semiotics, aesthetics, philosophy, literary studies, etc
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Ericsson, Duffy Mikael. "DRAWN TO LIFE: Exploring real-time manipulation of the digitally represented surface in comics on smartphones and tablets." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23439.
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This research thesis is an exploration into what possibilities lie beyond the representation of analog material when it transcends into the digital realm. Specifically, how printed comics can be altered in realtime by creator- allowed user interaction, when adapted for presentation within the digital sphere of mobile smartphones and computer tablets. Using legacy computer-game techniques like parallax scrolling with modern digital layer filters, device sensors and applying them in realtime to the comic creators digitally layered content, alternative forms of presentation arise.This is an investigation into the comic creator’s will of allowing possibilities of added depth perception, interactivity and alternative visual narratives in their comic, manga or graphic novels when employing new techniques based on sensor data input from a reader, like accelerometer-, gyroscope- or eye-tracking sensors. Several different techniques are evaluated. The focus is mainly on the context of creators of comics or manga who use digital tools and layer compositions when producing their work. Several aspects of the user-centered experience are also explored.Although mainly an interaction design project, most of the design methods are used from a service design approach, emphasizing co-design techniques like interviews, observations and user tests. The results are digital prototypes and proof-of-concepts featuring technology tests that support final design conclusions.The results will show both enthusiasm and reluctance from test subjects towards the new technologies presented. The professional craft of comic, manga and graphic novel creation has a deeply rooted aesthetic and production cycle in its history of the printed form. It could be difficult to alter its standard, reverence and nostalgia in the eyes of its readers and creators, when pursuing the digital format and narrative possibilities of the future. A video explaining the project’s “Drawn To Life” technology is available online.
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Niehusmann, Silke. "Manga - lost in translation? : a study of American and German manga localisation." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/28767/.
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While it has been argued in the past that organisational (re-)production of (foreign) media texts leads to a loss of creative value and that the translation robs the originals of their artistic status, this thesis argues that media are socially constructed entities that carry a multitude of voices encoded in their content and format. It thus does not focus on translation of a media text, in which a translator, re-writer and editors are involved, in terms of a textual comparison but as a practice carried out as integral part of the process of production. So are a multitude of other internal (marketing, public relations and sales) and external (laws, audiences, business environment) factors and voices. The thesis thus employes notions of polysemy to reflect on the different aspects encoded within the medium due the different approaches and interest the various areas of localisation are bound by. It thus breaks down the workflow into three different localisation stages: divided stages, during which specialists focus on singular aspects of production; the recreation of context, both in terms of the physical medium itself and the placement of it in a larger meta text; and finally the active framing and placing of the product in the local marketplace. At the end this internal focus is juxtaposed with those of external stakeholders. This approach will be framed by using organisational localisation of manga in Germany and the USA as an examplar. Following a print medium through production allows the steps to become visible since every step is accompanied by a tangible object reflecting said stage.
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LaPlante, Thomas. "From manga to comic visual language in translation /." Connect to resource, 2008. http://hdl.handle.net/1811/32074.
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VASCONCELLOS, PEDRO VICENTE F. "MANGA-DO: THE WAYS OF JAPANESE COMIC BOOKS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8973@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORNos últimos anos o mangá, nome dado aos quadrinhos japoneses, tem se consolidado como fenômeno da cultura popular a nível global, inclusive no Brasil. Após mais de um século de fusão entre influências ocidentais e tradições artísticas japonesas, o mangá tornou-se um tipo de narrativa visual impressa bastante peculiar, tendo um lugar de destaque não apenas na sociedade japonesa contemporânea, mas recentemente, tem-se visto suas influências alcançando o cenário cinematográfico norte-americano. Esta dissertação destina-se a esquadrinhar os caminhos pelos quais o mangá se desenvolveu visualmente até sua forma atual e suas atuais influências sobre outros meios de comunicação.
In recent years manga, as the Japanese comic books are called, has been consolidated as a pop culture phenomenon in a global scale, including Brazil. After over a century of fusions between Western influences and Japanese artistic traditions, manga has become a rather peculiar form of printed visual story-telling, achieving a distinctive place not only in modern Japanese society, but also, its influences have been felt in the North American cinema scene as well. This thesis objective is to examine the ways through which manga has developed visually up to its actual state and its present influences over other media.
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Brown, Jennifer L. "Female protagonists in shōjo manga from the rescuers to the rescued /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/137/.
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Sina, Véronique. "Comic." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72982.
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Mit dem Begriff Comic wird eine kontingente und veränderbare künstlerisch-mediale Form bezeichnet, in der u. a. die Kombination von Bild und Text sowie eine sequentielle Bildfolge als zentrale formal-ästhetische Charakteristika gelten können. Die Kategorie Gender besitzt in Comics eine grundlegende strukturierende Funktion, die sich sowohl in der Produktion und Rezeption als auch in den Inhalten von und der wissenschaftlichen Auseinandersetzung mit Comics niederschlägt.
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Ricard, Jennifer. "Ugly ducklings: the construction and deconstruction of gender in Shôjo Manga." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83838.
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This thesis examines shojo manga (Japanese comics for girls) as a site of the subversion of gender. The focus will be on stories about cross-dressing, as the crossdressed heroine poses from the outset questions about the nature of girls within shojo manga and the girls who are supposedly reading the texts. The analysis takes place at two levels: visual language and narrative. Over the course of five chapters, focusing on a couple of series in each, this thesis will show the various ways categories of gender and sex are undermined in five different subgenres. Yet gender norms are recuperated in the end. The manga always return to the figure of the shojo , the ambiguously gendered "not-quite-female" female that must expire at adulthood and the regulatory function heterosexuality plays in this inevitable demise. Nevertheless shojo manga readers need not necessarily share this end. The various ways that the reader is positioned both visually and narratively suggests that her gender and sexuality remains ambiguous and indefinable.
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Li, Yannan. "Japanese Boy-Love Manga and the Global Fandom: A Case Study of Chinese Female Readers." Thesis, Connect to resource online, 2009. http://hdl.handle.net/1805/1936.
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Thesis (M.A.)--Indiana University, 2009.Title from screen (viewed on September 3, 2009). Department of Communication Studies, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): John Parrish-Sprowl. Includes vita. Includes bibliographical references (leaves 80-83).
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Furuyama, Gustavo. "Mangá e a transmissão de cultura: o exemplo de Rurouni Kenshin." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-26012009-144033/.
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Este trabalho tem como objeto de estudo o mangá (história em quadrinhos japonesa) e sua utilização como instrumento de transmissão de cultura. Partindo da análise histórica e a posterior expansão mundial, procurouse entender como o mangá foi criado e como ele é entendido pelos japoneses e pelos ocidentais, especificamente os brasileiros. Um dos pontos apontados foi que os japoneses entendem o mangá como apenas quadrinhos; já os ocidentais, como um estilo. Como base de análise foi utilizado um mangá muito famoso, tanto no Japão quanto no Brasil, Rurouni Kenshin. Este mangá conta a história de um samurai errante no início da era Meiji que, arrependido de ter sido um assassino, passa a defender a vida de todos. Procurou-se identificar elementos que fazem referência à realidade e que podem ser usados como fonte de transmissão de conhecimento. Foram analisados aspectos como arquitetura, história, língua, entre outros, para comparar com os elementos reais. Ao fim da análise foi possível comprovar que existia uma relação do quadrinho com os elementos e fatos verdadeiros. Conclui-se que, o mangá pode ser visto como mera diversão, ou, se o leitor souber entender melhor seu conteúdo, pode ser utilizado como meio de transmissão de conhecimento.This work´s subject is the Mangá (Japanese cartoon) and its use as a cultural transmission tool. Starting from the historical analysis and the subsequent world expansion, this work tried to understand how the mangá was created and how it is understood by the Japanese and the ocidental people, specifically Brazilians. One relevant point was that Japanese people see the mangá just as cartoons while ocidental people understand it as a style. The title chosen to be the studied is Rurouni Kenshin, a very famous mangá in Brazil as well as in Japan. This mangá tells the story of a wandering samurai in the beginning of the Meiji era, who, regretted of being an assassin, started to protect everyone´s life. We tried to identify elements in the story that were related to the reality and could be used as a source of knowledge transmission. Many aspects were used in this comparison, such as architectural, historical, linguistic, among others. In the end of the analysis it was possible to prove that there is a connection between the cartoon and the real facts. Therefore, mangá can be understood just like fun, but if the reader could understand its content in depth, it can be used as a knowledge transmission tool.
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Benavente, Gutiérrez Alejandro Esteban. "Plan de negocios para expansión de Pizzería dentro de la Provincia de Marga Marga, Región de Valparaíso." Tesis, Universidad de Chile, 2019. http://repositorio.uchile.cl/handle/2250/172685.
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Tesis para optar al grado de Magíster en Gestión y Dirección de EmpresasPizzaPasta, empresa familiar ubicada en Quilpué, región de Valparaíso, en los últimos 4 años ha mantenido ventas anuales por cerca de 190 millones de pesos, no logrando aumentar sus ventas de una clientela ya fidelizada que valora principalmente la calidad de los ingredientes ofrecidos y la masa fresca y a la piedra que es entregada en todas sus pizzas. Si bien este nivel de ventas ha permitido el correcto el funcionamiento de la pizzería por 16 años, se buscará aumentar los niveles de venta dentro de un mercado donde la comida de este tipo ha aumentado en un 211,9% entre los años 2012 y 2017 y con un crecimiento proyectado en el mercado nacional de las pizzas de un 16,32% en los próximos 3 años. Dada la transversalidad en el consumo de este tipo de producto, donde un 89,69% declara haber consumido pizza en los últimos 3 meses y de ese porcentaje un 80,01% declara consumir al menos una vez por semana, se propone el crecimiento mediante la apertura de dos pizzerías dentro de la Provincia de Marga Marga. El primer local propuesto se ubicaría en la comuna de Villa Alemana, comuna aledaña a Quilpué y que representa un 37% del total de habitantes de la provincia, siendo la segunda comuna más grande de Marga Marga después de Quilpué (con un 44,4% de los habitantes de la provincia). Este local debiese estar ubicado en un polo comercial de la comuna a fin de que su funcionamiento se base principalmente al flujo de personas que circulan en el sector y con un modelo de negocio de las mismas características del local ubicado en Quilpué, es decir, bajo la modalidad para servir y llevar (sin delivery propio). El segundo local se propone bajo el formato de sólo para llevar y delivery (mediante personal propio), ubicado en una zona que permita la captura de la mayor cantidad de hogares dentro de un rango no mayor de 10 minutos en vehículo motorizado. Adicionalmente, se propone un canal de promoción y distribución externo que permita llegar a nuevos clientes mediante una aplicación de una empresa de delivery tercerizada y con una promoción dirigida tanto a los sectores de cobertura delivery a menos de 10 minutos como a clientes de los locales con servicio a la mesa para comunicar el formato de delivery implementado. Para evaluar el proyecto, se consideró financiamiento externo y se calculó de forma independiente y en su conjunto las alternativas propuestas, calculando sus respectivos Valores Actuales Neto (VAN) y sus Tasas Interna de Retorno. El proyecto se evalúo a 48 meses, calculándose las tasas de descuento bajo en modelo WACC, donde VAN para el local de Villa Alemana es de unos 8,6 millones con una TIR de 1,4% mensual, para el local de delivery el VAN es de -2,2 millones con una TIR de 0,26% mensual y el VAN al evaluar ambos locales es conjunto es mayor a la suma de las evaluaciones individuales (principalmente por una disminución del costo de la deuda y sinergias generadas), siendo éste de 18,4 millones con una TIR de 1,66% mensual, convirtiendo a la alternativa de implementar ambos locales como un proyecto económicamente viable.
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Oi, Sheila Kiemi. "Shôjo mangá : de Gengi Monogarati a Miou Takaya /." São Paulo : [s.n.], 2009. http://hdl.handle.net/11449/86946.
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Orientador: Geralda Mendes Ferreira Silva DalglishBanca: Omar Khouri
Banca: Madalena Hashimoto Cordaro
Resumo: A comunicação acessível estabelecida pelas imagens, fez com que as histórias em quadrinhos, obtivessem rápida aceitação por parte do público, pois trazem narrativas contadas por imagens. Tendo em sua maioria leitores masculinos, o termo HQ (histórias em quadrinhos) por muito tempo esteve vinculado a temas de super-heróis, violência e sexo, temáticas ligadas exclusivamente ao universo masculino. Visão esta intensificada quando analisamos a trajetória das histórias em quadrinho no mundo, pois foram poucos os mercados editoriais que destinaram uma pequena porcentagem de suas publicações ao mercado feminino. O Japão por outro lado, possui um segmento editorial forte, estável e especializado na publicação de histórias em quadrinhos direcionadas tanto ao público feminino juvenil (shôjo mangá) como ao adulto (josei mangá). A grande questão, no entanto, não seria a existência ou a falta de publicações direcionadas ao público feminino, mas sim, o que levaria as mulheres a comprarem histórias em quadrinhos, já que em muitos países, histórias em quadrinhos é sinônimo de homens. As histórias em quadrinhos femininas, portanto, passaram a enfatizar o lado psicológico e emocional dos personagens, aliando ficção e realidade, estratégia que passou cada vez mais a atrair e a cativar o público feminino. Além da reflexão sobre a inserção das histórias em quaderinhos no universo da Arte, esta pesquisa analisa e estuda a contribuição feminina na produção das histórias em quadrinhos japonesas, já que grande parte das características singulares dos mangás vem da contribuição desta pequena parcela de publicações e desenhistas femininas. A pesquisa se encerra com a produção e a apresentação de trabalhos plásticos de minha autoria, que representam uma síntese gráfica e estética de toda a dissertação. Narrativas como as de Genji Monogatari,... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The communication established by the available images, has meant that the stories in comics, achieve rapid acceptance by the public because it brought stories told by pictures. Having mostrly male readers, the term HQ (comics) for a long time been linked to issues of super-heroes, violence and sex, issues related exclusively to the male universe. Intensified this view when analyzing the trajectory of the comics in the world, because few markets tageted editorial that a small percentage of their publications to the women public. Japan on the other hand, has an editorial segment strong, stable and specialized in the publication of stories in comics targeted to noth the public juvenile female (shôjo manga) and the adult (josei manga). The big question, however, is not the existence or lack of publications targeted to the female public, but which lead women to buy comics, as in many stories in comics is synonymous of men. The stories in comic's female, therefore, began to emphasize the psychological and emotional side of character, combining stories and real conflicts, strategy now increasingly to attract and capture the female audience. Besides the discussion on the integration of mangfa in the world of Art, this research analyzes and examines the contribution women in the production of Japanese comics, as most of the unique features in manga, comes from the contribution of this small portion of women's publication. The research concludes with the production and presentation of work from my own plastic, representing a summary graphic and aesthetics of the whole dissertation. Narratives such as Genji Monogatari, female stereotypes, the gothic, the androgyny of Takarazuka Kagekidan and the minimalism of Takaya Miou, are some of the influences of shôjo and josei Manga in this plastic sleeves.
Mestre
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Oi, Sheila Kiemi [UNESP]. "Shôjo mangá: de Gengi Monogarati a Miou Takaya." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/86946.
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oi_sk_me_ia.pdf: 6963676 bytes, checksum: 7b5bc366569f8605bbe3097bfab59f64 (MD5)Universidade Estadual Paulista (UNESP)
A comunicação acessível estabelecida pelas imagens, fez com que as histórias em quadrinhos, obtivessem rápida aceitação por parte do público, pois trazem narrativas contadas por imagens. Tendo em sua maioria leitores masculinos, o termo HQ (histórias em quadrinhos) por muito tempo esteve vinculado a temas de super-heróis, violência e sexo, temáticas ligadas exclusivamente ao universo masculino. Visão esta intensificada quando analisamos a trajetória das histórias em quadrinho no mundo, pois foram poucos os mercados editoriais que destinaram uma pequena porcentagem de suas publicações ao mercado feminino. O Japão por outro lado, possui um segmento editorial forte, estável e especializado na publicação de histórias em quadrinhos direcionadas tanto ao público feminino juvenil (shôjo mangá) como ao adulto (josei mangá). A grande questão, no entanto, não seria a existência ou a falta de publicações direcionadas ao público feminino, mas sim, o que levaria as mulheres a comprarem histórias em quadrinhos, já que em muitos países, histórias em quadrinhos é sinônimo de homens. As histórias em quadrinhos femininas, portanto, passaram a enfatizar o lado psicológico e emocional dos personagens, aliando ficção e realidade, estratégia que passou cada vez mais a atrair e a cativar o público feminino. Além da reflexão sobre a inserção das histórias em quaderinhos no universo da Arte, esta pesquisa analisa e estuda a contribuição feminina na produção das histórias em quadrinhos japonesas, já que grande parte das características singulares dos mangás vem da contribuição desta pequena parcela de publicações e desenhistas femininas. A pesquisa se encerra com a produção e a apresentação de trabalhos plásticos de minha autoria, que representam uma síntese gráfica e estética de toda a dissertação. Narrativas como as de Genji Monogatari,...
The communication established by the available images, has meant that the stories in comics, achieve rapid acceptance by the public because it brought stories told by pictures. Having mostrly male readers, the term HQ (comics) for a long time been linked to issues of super-heroes, violence and sex, issues related exclusively to the male universe. Intensified this view when analyzing the trajectory of the comics in the world, because few markets tageted editorial that a small percentage of their publications to the women public. Japan on the other hand, has an editorial segment strong, stable and specialized in the publication of stories in comics targeted to noth the public juvenile female (shôjo manga) and the adult (josei manga). The big question, however, is not the existence or lack of publications targeted to the female public, but which lead women to buy comics, as in many stories in comics is synonymous of men. The stories in comic´s female, therefore, began to emphasize the psychological and emotional side of character, combining stories and real conflicts, strategy now increasingly to attract and capture the female audience. Besides the discussion on the integration of mangfa in the world of Art, this research analyzes and examines the contribution women in the production of Japanese comics, as most of the unique features in manga, comes from the contribution of this small portion of women´s publication. The research concludes with the production and presentation of work from my own plastic, representing a summary graphic and aesthetics of the whole dissertation. Narratives such as Genji Monogatari, female stereotypes, the gothic, the androgyny of Takarazuka Kagekidan and the minimalism of Takaya Miou, are some of the influences of shôjo and josei Manga in this plastic sleeves.
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Lau, Cheung-cheung, and 劉章璋. "A study of Manga and adolescent popular fiction in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221142.
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Kanno, Maurício de Paula. "Ética abolicionista animalista nos \"mangas\" de Mauricio de Sousa: Estética e História da Arte revisitadas." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-14122018-143051/.
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Este trabalho analisou questões de Ética Animal nos quadrinhos de Turma da Mônica Jovem e Chico Bento Moço, revistas em estilo mangás retratando personagens de Mauricio de Sousa como adolescentes. Para isso, foi realizado um panorama sobre a relação entre Estética, Ética e cultura popular, com destaque para estudos de Jean-Marie Guyau e foi verificado o histórico do pensamento ético sobre os animais na História do Mundo, desembocando em Tom Regan, Gary Francione, Sônia Felipe e Carlos Naconecy. Também se realizou um histórico da representação dos animais na História das Artes Visuais, com destaque para Franz Marc; e o mesmo com os quadrinhos infantis de Mauricio de Sousa, com destaque para o porco Chovinista; uma história em que Chico Bento tentava degolar um peru, mas se arrependeu; o tiranossauro vegetariano Horácio; e as tentativas do personagem mudo Humberto de libertar um canário e um peixe-dourado do negro Jeremias. Entre os autores estudados para as análises, destacam-se Umberto Eco, pela metodologia de interpretação de texto; Antonio Candido, pelos estudos do personagem de ficção; e Mikhail Bakhtin, pela estética do Grotesco. Nas revistas em estilo mangá de Mauricio de Sousa, foram analisados o seu discurso extra-ficcional e princípios gerais enunciados pelos protagonistas sobre os animais; a relação entre humanos e animais selvagens perigosos, silvestres inofensivos e animais de estimação. Verificou-se elevada valorização do critério ambiental, exceto quando está em jogo o consumo de animais. Os casos anteriores foram comparados com a representação do tratamento dos animais mortos e explorados na indústria alimentícia: porcos, vacas, galinhas, peixes e abelhas. Verificou-se que discursos dos protagonistas e o extra-ficcional do autor de amor, paz e proteção generalizados pelos animais são frequentemente incoerentes com atitudes observadas nos personagens e em relação às mensagens identificadas nas histórias, com destaque para a pesca recreativa de Chico Bento. Foi verificado o fenômeno do \"afetismo letal ou coisificador\", termo cunhado nesta pesquisa para designar que, diferentemente do que ocorre na realidade, há certos animais tratados pelo mesmo protagonista com afeto e outros da mesma espécie mortos ou escravizados por seus hábitos de consumo ou atitudes diretas. Cenários idílicos no campo comunicam mensagens enganosas em relação ao que ocorre via de regra no meio rural com os animais; assim como não se valorizou e informou adequadamente sobre os alimentos mais saudáveis na dieta vegetariana. Personagens vegetarianas foram identificadas e análises sobre sua representação e associações decorrentes foram deduzidas. Elas são novidade nestes quadrinhos, porém são exclusivamente mulheres e bruxas com poderes sobrenaturais, com particular e coincidente exposição de seus corpos. Positivamente quanto aos direitos animais, destaca-se história em que a protagonista Mônica e a vegetariana Denise resgatam porcos lembrando uma ação direta de ativismo da Frente de Libertação Animal (ALF); e outra em que Mônica demonstrou aversão ao trabalho na pecuária, apesar de não ser vegetariana. Magali, a personagem de Mauricio de Sousa tradicionalmente mais associada à alimentação, demonstrou forte tendência ao vegetarianismo, além de ocorrerem muitos episódios em que expressou sua compaixão pelos animais e sensibilidade.This work analyzed issues on Animal Ethics in the comics Turma da Mônica Jovem and Chico Bento Moço, publications in manga style picturing characters by Mauricio de Sousa as teenagers. First, we made a panorama about the relationship among Aesthetics, Ethics, and popular culture, with highlights to studies by Jean-Marie Guyau; we traced the ethical thinking on animals in the World History, arriving to Tom Regan, Gary Francione, Sônia Felipe and Carlos Naconecy. We researched the representation of animals in the History of Visual Arts, with highlights to Franz Marc. The same with the childish comics of Mauricio de Sousa, emphasizing the pig Chovinista; a story where Chico Bento tried to behead a turkey, but regretted it; the vegetarian Tyrannossaurus Horácio; and attempts of the mute Humberto of releasing a canary and a golden-fish from the black Jeremias. Among the characters studied for the analysis, there are: Umberto Eco, for the methodology of text interpretation; Antonio Candido, for studies on the character of fiction; and Mikhail Bakhtin, for the aesthetic of the Grotesc. In manga comics of Mauricio de Sousa, we analyzed his extra-fictional discourse and general principles enunciated by the main characters about the animals; the relationship between humans and savage dangerous animals, innofensive wild animals and pets. We noticed how high valued was the environmental criterium, except when the consumption of animals is at stake. The former cases were compared to the representation of the animals killed and exploited in the food industry: pigs, cows, chickens, fish and bees. We noticed that discourses of the characters and the extra-fictional discourse of generalized love, peace and protection for animals are often incoherent with attitudes observed in the characters and in relation to the messages identified in the stories, mainly noticing the recreative fishing by Chico Bento. We verified the phenomenum of \"letal or slavering affectism\", concept created in this research to designate that, differently from reality, there are certain animals treated by the same character with affection and others of the same species killed or slavered by his or her habits of consumption or direct attitudes. Idyllic scenaries in the rural area communicate deceiving messages in relation to what happens usually in the rural zone with animals; also, the healthiest vegetarian food were not valued and adequately informed. Vegetarian characters, novelties in these comics, are exclusively women and witches with supernatural powers, and with coincidental exhibition of their bodies. Positively for animal rights, there\'s importance in a story where the character Mônica and the vegetarian Denise rescue pigs, which remind us a direct action of activism by Animal Liberation Front (ALF); and other story where Mônica revealed aversion to working with cattle exploitation, although shes not vegetarian. Magali, the Mauricio de Sousa\'s character traditionally most associated to food, expressed a strong tendency to vegetarianism, and we can see also many episodes in which she showed compassion to animals and sensitivity.
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Adamson, Jennifer L. "Genji in Graphic Form: The Tale of Genji in Manga, and the bond between Japan’s Past and Present in Popular Art." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212071173.
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Burton, Benjamin Robert. "The Revolution Will Not Be Politicized: Political Expression in the Manga Adaptations of Kanikōsen." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/4157.
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Kobayashi Takiji's (1903-1933) Kanikōsen (The Crab Cannery Ship, 1929), the outstanding work from the proletarian literary movement, experienced an influx of new adaptations into various mediums during the years that preceded and followed the "Kanikōsen boom" of 2008. This thesis focuses on two manga adaptations that provide readers with starkly different takes on the original story. Using theories by Scott McCloud and Azuma Hiroki, I first attempt to draw parallels between the form of manga and that of the novel. Then, I examine the manner in which the most explicitly political content of the novel is adapted into the manga versions. Through this examination of form and content, it becomes apparent that, despite their differences, both adaptations reinforce a vague, individualist-humanist ideology that undermines the notions of class consciousness and class struggle that are central to the narrative of Kanikōsen. This diminishing of the explicitly "Red" aspects of the original reflects the Japanese public's general aversion to politics that has persisted since the early 1970's until this day.
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Cavalheiro, Renato de Faria. "Propaganda ideológica em mídia impressa: uma busca pela verdade acerca da possível influência do mangá japonês sobre a juventude brasileira." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-30112009-103605/.
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As revistas de históriias em quadrinhos mangá oriundas do Japão, publicadas e popularizadas no Brasil , são um meio de comunicação de massa que expressam um sistema de valores e um modo de vida que são considerados como típicos e ideais dentro do arcabouço sócio-cul tural japonês, e tem atraído um número cada vez maior de leitores e admiradores, unindo em torno de si indivíduos com as mais diversas origens culturais que o Brasil oferece. Como todo meio de comunicação de massa, as revistas mangá também são ferramentas de propaganda ideológica capazes de influenciar seus leitores em âmbitos que vão desde os processos de formação de suas identidades, passam pela configuração de seus sistemas de valores, afetam seus entendimentos acerca da realidade, chegando até a influenciar o estabelecimento dos modos de vida que esses indivíduos apresentam e ambicionam. Tendo isso em mente, este estudo se dedicou a responder , primeiramente, se a leitura dessas revistas efetivamente exerce influência sobre seus leitores, verificando em seguida o resultado dessa influência. Para tal, realizou-se um levantamento empírico quantitativo que utilizou elementos das teorias da Espiral Dinâmica e da Emergência Cíclica para comparar leitores e não-leitores dessas revistas em relação aos estágios de consciência e aos sistemas de valores e modos de vida ideal que esses grupos apresentam. Os resultados demonstram que realmente esses grupos diferem e que embora essas diferenças se apresentem de um modo divergente em relação ao que se esperava, elas se devem em grande parte à leitura das revistas mangá.The manga magazines from Japan, published and popularized in Brazil, are a mass communication media that express in its pages a system of values and a way of life that are considered by scholars of Japanese culture as typical and ideals within their social and cultural framework, and are attracting an increasing number of readers and admirers, uniting people from the most diverse cultural backgrounds that Brazil offers. As a mass communication media, the manga magazines are also tools of propaganda capable of an influence that ranges from the processes of formation of the individuals identities, passes through the configuration of their values systems, affects their perceptions and understanding about the reality of the world in which they live, and comes up to influence the establishment of the ways of life that these individuals have as reals and ideals. Considering this, the present research, at first, gives some answers about the reading of these magazines, showing if they actually exerts some influence on its readers, for after this, check the result of that influence. To this end, this study made use of a quantitative empirical survey that used elements of the Spiral Dynamics Theory and of the Emergent Cyclical Levels of Existence Theory for compare non- readers and reader s of these magazines by the value systems and ideals ways of life that these groups have. The results showed that, as expected, these two groups are different, and that these differences, although they are presented in a manner divergent on what was expected, occurs as a result of the reading of manga magazines.
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Hurford, Emily M. "Gender and Sexuality in Shoujo Manga: Undoing Heteronormative Expectations in Utena, Pet Shop of Horrors, and Angel Sanctuary." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1250882984.
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Huff, Melissa Lee. "Coming of age in spite of the contract of vagueness : Native Speaker and The House on Mango Street as Erziehungsroman /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2445.pdf.
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Huff, Melissa Lee. "Coming of Age in Spite of the Contrast of Vagueness: Native Speaker and The House on Mango Street as Erziehungsroman." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1489.
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Treating Sandra Cisneros' The House on Mango Street and Chang-rae Lee's Native Speaker as Erziehungsroman—that is, stories whose coming-of-age process depends on the characters' education—reveals the similar process that both Esperanza Cordero and Henry Park experience as they navigate the 1960s and 1970s American school system. The most important obstacle in Esperanza's and Henry's ability to achieve academically is the contract of vagueness, the tacit agreement between federal education policy and English language learning (ELL) students to misunderstand one another. Differing cultural conceptions of education perpetuate this mutually detrimental relationship between education policy and ELL students, forcing Henry and Esperanza to choose between satisfying the cultural expectations of their ethnic communities and fulfilling the cultural expectations of their schools, a decision which initially appears mutually exclusive. Exacerbated by their school experiences, both Henry and Esperanza go through a process of rejecting and reclaiming their ethnicity as they come to terms with their ethnic identity. That both characters eventually turn to social advocacy as a solution not only to their own educational struggles but also to the ghettoization of their ethnic communities suggests cosmopolitanism as a solution to the constraints of the contract of vagueness, both for Henry and Esperanza and for their ethnic communities.
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Lindstedt, Önneskog Theréz. "Tecknade serier i klassrummet : Elevers attityd till serier i årskurs 6." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-81731.
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Tecknade serier är en del av litteraturen som funnits under många år men som haft en svår och komplicerad resa genom årens gång. Redan på 1950-talet fick tecknade serier en negativ stämpel som det lever kvar spår av än idag. Syftet med denna studie är att hitta ett fungerande sätt att ta in serier i klassrummet och undersöka elevers attityd gentemot serier. Jag avser undersöka vilka arbetssätt som kan skapa en positiv, trygg och social läromiljö där serier förvandlas till ett hjälpmedel som elever kan använda och utveckla i sin läs-och språkutveckling. Comics literacy är ett centralt begrepp genom hela uppsatsen, där fokus ligger på samspelet mellan bild och text, istället för att fokusera på ett perspektiv i taget. Den definition av comics literacy som används i uppsatsen är tagen från Lars Wallners (2017) avhandling. Det insamlade materialet består av elevintervjuer, elevarbete och anteckningar från några lektionstillfällen. Den tecknade serie som ligger till grund för lektionsplaneringen är Sword Princess Amaltea 1 av Natalia Batista (2017). Resultatet av elevintervjuerna och elevernas slutarbete visar att flertalet elever fick en positiv bild av serier som arbetsmetod. Eleverna fick möjlighet under intervjutillfället att utrycka för- och nackdelar med att arbeta med serier varav fördelarna var fler än nackdelarna.
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Karlsson, Anna. "Dark Side of Wonderland : en kort 2D-animation med syfte att väcka intresse för en online serietidning." Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1403.
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My objective for this project was to create a short but thrilling 2D-animation intended as promotion for an online comic book. The purpose of the project was to learn more about animation and graphics, to further my artistic skills and to learn how to work in Adobe After Effects. I also wanted to learn more about scheduling, project methods and how to handle stress. During the ten weeks of the project I have created the story, the storyboard, the character design, the backgrounds and the animation. The voice over was recorded with the help of a fellow student who also made the music and the sound effects. In all else I have worked on my own. During the work I have principally learned more about graphics and animation, both classic animation made on paper and digital animation. I have also gained more knowledge concerning technology as it is used in artistic processes, criticism and self criticism, personal development and learning, working alone as an opposite to working in a group, how to handle problems, setbacks and conflicts, time and planning, various ways of analyzing working processes and methods, the creative process and the balance between work and relaxation. I discuss and reflect on these and more phenomena in the end of this study. It has been a demanding but exciting journey.Detta är en reflektionsdel till en digital medieproduktion. You can mail me at: kippokippo@yahoo.se
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Hsu, chia-shin, and 徐佳馨. "Strolling in Manga World : A Cultural Discourse in Japanese Comics." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/90818085634413795034.
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Lundy, Katherine A. "Stop! This is the Back of the Book!: Issues in Manga Translation." 2013. https://scholarworks.umass.edu/theses/1064.
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This paper addresses the issues inherent in comics translation, with specific regard to the translation of Japanese manga into English. In North America, the norms of manga translation have undergone several radical shifts in the past few decades, with strong preference being shown alternately for domesticating and foreignizing translations. Such paradigm shifts suggest differences between readerships, which have a strong influence on translators’ and publishers’ decisions. This understanding of the current translation situation then provides the backdrop for a novel method of translation that is centered around an initial textual analysis, which is itself rooted in a form-focused understanding of the comics medium. This understanding of the medium also sheds light on some of the translation issues specific to the Japanese context, particularly those of flopping and treatment of onomatopoeia. At all points in the translation process, the translator must keep in mind that comics is a medium that utilizes multiple overlapping, intertwining sign-systems, which can only be translated effectively when considered in relation to one another. The paper concludes with two short manga translations, which represent the culmination of these ideas.
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Jane-dai-ling and 簡岱鈴. "Can Manga Shape Readers' Attitudes Toward Public Affairs? A Case Study Of Lix-xing-qin Comics?" Thesis, 2013. http://ndltd.ncl.edu.tw/handle/60495516763928298568.
Full textAbstract:
碩士東海大學
公共事務碩士在職專班
101
Manga is not only for entertainment, but there are some effects to our society. Many people spend time on read manga, because people are able to learn knowledge and culture movement in an easy way. Readers are attracted by those ingredients and untalkable stories so that they stick in the charming comics world and can’t help themselves. This research is showing about if manga can remodel public attitudes. Take Liu-xing-qin’s early works for example , “Happy Childhood”, “Story of A-Chieng (Ⅰ&Ⅱ)”, and “Teacher Tin (Ⅰ&Ⅱ)”, through the text analysis , we can find manga emphasize those important values such as respecting the others, accepting different behaviors, joining the public affairs initiatively, or supporting democratic way of life. The second research method is analysis of qualitative interviews. After the interview , the researcher can use the analysis tool named “MAXQDA” to classify the informations are provided from respondents. The respondents agree that they shaped the public attitudes by Liu-xing-qin’s early works-- “Happy Childhood”, “Story of A-Chieng (Ⅰ&Ⅱ)”, and “Teacher Tin (Ⅰ&Ⅱ). This research is providing a fresh way to consider of manga. People are easy to accept public attitudes from manga.
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郭力瑋. "A Consumer Behavior Study of Northern University Animation and Comics Club Member's Access to Japanese Anime and Manga." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/64067553779057610770.
Full textAbstract:
碩士國立臺灣師範大學
圖文傳播學系
101
Japanese anime and manga shared in common memory with many people’s childhood. In recent years, there are more and more anime and manga related activities held regularly, like Taipei International Book Exhibition, Comic Exhibition, and Comic World in Taiwan, etc, as well as some related issues, like National Central Library establish Manga House, etc, we can notice anime gradually being attention, and appear many related researches. This study based on Reception Analysis, Fan, Symbolic Consumption, and use In-depth interview, this study’s object of interview are northen university animation and comics club members. This study aims to know which interpretation strategies they use when they view anime creations, and what kinds of fan meanings they produced in viewing and consuming progress. It is found that animation and comics club members certainly have many fan characteristics, and their personal values, they will not receive other’s recommendations about anime, they use negotiated position to receive information, they use their preference to make decisions. They will took initiative in finding information of anime and manga creations, when they use anime and manga creations, not only feel the simple cheer but also take reference from anime character’s personality and behavior. But there are some members point out the difference between fiction and reality, they use negotiated interpretation strategies. As regard as japan’s culture essentials, they use oppositional code to interpretation and point out anime creations are created fiction and can not reflect real japan society. In consumption factor, they pay much attention to creation’s story performance, story’s quality will influence their desire to consume, and they consume anime products for practical reasons. In their consuming progress, they will convert their love of anime creations or characters into simple cheer. And when they buy and use this anime productions, they not only show their identification but also become their regular consume habit. Japan anime and manga let animation and comics club members a easily acquirable channel to smooth their stress due to the variety theme of japan anime and penetration of web usage. They glad to spend time on anime and manga, and discuss anime story with people who have same habits in club. We still need to learn more success experience from other countries about How to create distinctive anime works to attract this increasingly anime and manga fans.
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Chen, Ming-Hung, and 陳明鴻. "The Role of Facial Features in the Identity and the Personality of Comics Characters: A Case Study of Shonen Manga." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/fmr8nz.
Full textAbstract:
博士國立交通大學
應用藝術研究所
103
This study explored how readers are psychologically affected by the pictorial representation of human faces in comic books, as compared to the real faces. We studied how readers form impressions of comics characters and to what extent personality data can be conveyed through facial features. Our findings provide comics creators with specific, practical reference data in developing the appearances and personalities of their characters. The study is divided into two parts: We first discuss how readers identify characters based on their facial features and then explore the personality implications of these features. We researched how readers identify the faces of comics characters and compared our findings with previous studies on human facial recognition. We found that difficulty in identifying character roles has an enormous impact on the ability of participants to understand the plot and become absorbed in the story. Participants experiencing such difficulties complained that the book was tedious and in some cases even refused to read it. When attempting to identify characters, participants compared differences in facial features among different comics characters, rather than seeking consistency of facial features in the same character appearing in different frames. The eyes and mouth were key indicators when participants used only internal facial features to identify the characters. The greater the differences between the eyes and mouth, the more easily participants were able to make an accurate identification. Eyebrows played a particularly unique role. According to subjective reports from participants, eyebrows are the second-most important facial feature, surpassed only by the eyes. However, experimental findings showed that eyebrows did not affect role identification. Previous studies on human facial recognition have found that the nose is the third-most important physical feature, outranked by the eyes and mouth. When identifying comics characters however, participants did not consider the nose to be a significant feature. This was echoed by experimental findings which showed that the nose did not affect the accuracy of role identification. When the nose was eliminated from illustrations, however, the reaction time required to identify characters was significantly reduced. Even more surprisingly, participants referred to several nose-related parameters when making judgments of personality based on first impressions. Before reading the story, participants often made judgments about the personalities of characters based on their facial features, and considered themselves capable of physiognomic interpretation. This indicates that at the start of reading a new comic book, most readers mentally build personality models for characters and interpret their dialogue and actions based on these models. We also found that, based on their first impressions, participants tended to classify characters as either type ISTJ or type ENFP (two of the 16 MBTI types). These appearance-based judgments were generally determined by eye and nose parameters: the height of the eyes, iris area, the distance from the nasal corner of the eye to the lower edge of the nose (N-L distance), and the length and area of the nose were all important elements in the judgment of personality based on first impressions. These features were all significantly correlated with the four MBTI dimensions. Characters with smaller height of the eyes, smaller eye and iris areas, greater N-L distance, longer noses and larger nose areas tended to be classified as ISTJ personality types. Characters with features on the opposite end of the scale, however, were more commonly classed as ENFP types. These two personality types were also shown to be highly differentiable, as both participants and experts produced highly consistent results when evaluating these personalities.
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Russell, N'Donna Rashi. "Make-up!: the mythic narrative and transformation as a mechanism for personal and spiritual growth in magical girl (mahō shōjo) anime." Thesis, 2017. https://dspace.library.uvic.ca//handle/1828/8496.
Full textAbstract:
The mahō shōjo or “magical girl”, genre of Japanese animation and manga has maintained a steady, prolific presence for nearly fifty years. Magical Girl series for the most part feature a female protagonist who is between the ages of nine and fourteen - not a little girl but not yet a woman. She is either born with or bestowed upon the ability to transform into a magical alter-ego and must save the world from a clear and present enemy. The magical girl must to work to balance her “normal life” – domestic obligations, educational obligations, and interpersonal relationships – with her duty to protect the world. I will argue that the "transformation" of an ordinary girl into a magical girl heroine is a mechanism of personal and spiritual growth within a liminal space that provides the heroine and the female fans who read these series with the tools needed to grow in a supportive community. I will build a framework using Joseph Campbell’s mythic narrative and Vladimir Propp’s folktale morphology to illustrate how the narrative pushes the heroine to grow and mature in a way that honors her individual self. Furthermore, I will illustrate how female fans disseminate these works as consumers, creators, and producers. Magical girl series, particularly ones marketed to school girl audiences, are published in manga magazines that encourage engagement between the readers and artists while initiating young readers into the world of manga.Graduate
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Godinho, Ana Raquel Saraiva. "Criação de um Gabinete de Tradução de Banda Desenhada Japonesa." Master's thesis, 2019. http://hdl.handle.net/10362/86713.
Full textAbstract:
Este trabalho de projecto teve como objectivo criar uma pequena estrutura que
me permitisse realizar, de forma autónoma, a tradução de obras de mangá para
português, de maneira a oferecer aos leitores portugueses um modo de usufruir deste
género na sua própria língua.
A mangá é um género de banda desenhada de origem japonesa que desperta o
interesse de milhões de pessoas em todo o mundo. A tradução de obras de mangá
obedece a regras próprias e implica conhecimentos aprofundados de cultura japonesa,
das particularidades do género e de técnicas de tradução de banda desenhada.
Numa primeira fase, planeei e concretizei um website dedicado ao género.
O website recebeu a visita de muitos leitores de mangá e foi a base para a segunda fase
do projecto, que implicou um inquérito para saber os gostos e interesses dos leitores,
para melhor adaptar a escolha das traduções a realizar ao mercado português.
A terceira fase consistiu na recolha de informações sobre como adquirir licenças
para tradução e publicação de mangá e como recriar graficamente a banda desenhada
em português. Investiguei ainda os problemas comuns da tradução deste género.
Por fim, apliquei os conhecimentos adquiridos para realizar a tradução de uma
obra de mangá de inglês para português: Magical Mirage, de António Lopes.
Este trabalho de projecto pôs-me em contacto com editoras japonesas e portuguesas,
com autores de várias nacionalidades e com muitos leitores, para lá de ter implicado a
criação de um website dedicado à mangá e à cultura japonesa que será útil e
interessante para todos os leitores portugueses interessados no tema. Desta forma,
obtive não só os conhecimentos necessários, como tenho uma importante ligação aos
futuros leitores das traduções que irei realizar. Este trabalho de projecto deixa-me,
assim, preparada para trabalhar de forma autónoma e produtiva na tradução de mangá
para português.The objective of this project was to create a small framework that would allow me to carry out, autonomously, the translation of manga works into Portuguese, in order to offer Portuguese readers the opportunity to enjoy this genre in their own language. Manga is a type of comic strip of Japanese origin that is popular with millions of people all over the world. The translation of manga works follows its own set of rules and involves an in-depth understanding of Japanese culture, of the specific characteristics of the genre, and of techniques for the translation of comic strips. In the first phase of the project, I planned and created a website dedicated to the genre. The website was visited by many manga readers and was the basis of the second phase of the project, which involved a questionnaire to find out the tastes and interests of the readers, to better adapt my translation choices to the Portuguese market. The third phase involved gathering information on how to obtain authorisation for the translation and publication of manga, and how to recreate the comic strip graphically in Portuguese. I also researched the common problems encountered in the translation of this genre. Finally, I applied the knowledge I had gained, in order to carry out the translation of a manga work from English to Portuguese: Magical Mirage, by António Lopes. This project put me in touch with Japanese and Portuguese editors, with authors of various nationalities and with many readers, besides having led to the creation of a website dedicated to manga and Japanese culture, which will be useful and interesting for all the Portuguese readers interested in this topic. Consequently, not only have I obtained the required knowledge, but I have also gained an important connection with the future readers of the translations that I will create. This project, therefore, has prepared me to work autonomously and productively in the translation of manga into Portuguese.
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Tran, Viet. "Komparativní analýza konceptu "superhrdinů" v japonské manze a americké komiksové tvorbě." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435518.
Full textAbstract:
This master's thesis aims to answer the question of how "Japanese superheroes" in manga differ from their western superhero counterparts in terms of storytelling, design, or motifs. The hypothesis works with the assumption that although Japanese manga follows the superhero genre's basic rules, many differences can be traced between these two comics worlds. These differences stem from the cultural environment in which analyzed comics originated. The theoretical part is divided into several chapters, which deal mainly with the basic definitions and history of researched areas. It begins with the definition of comics as a medium and focused on its technical characteristics and modern predecessors. The next chapter focuses on the essential aspects of the superhero genre, its conventions, and its typology. This thesis wouldn't be complete without defining the term "manga", the history of Japanese comics, and its specific genres and subgenres. Finally, it is also necessary to explain terms such as culture, cultural values , and cultural environment. The work then uses narrative, semiotic, and comparative analysis to examine the properties of six comic titles - three from American and three from Japanese production. Subjects of the research are narrative structures, appearance, and motives of superheroes...
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Křivánková, Anna. "Obraz ženy v japonské populární kultuře." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-353531.
Full textAbstract:
This thesis follows my previous studies of modern Japanese society and popular culture. I will especially focus on gender stereotypes, particularly negative stereotypes concerning women who refuse to bow to a substantial pressure from society endowed with a strong Confucian tradition. It was this very tradition - together with a foreign concept akin to the Western domesticity cult - what gave rise to the ideal of "good wife, wise mother" (rjósai kenbo), which at least in some form remains quite tangible even in contemporary Japanese society. One of the tasks this thesis wants to undertake is to describe how the negative stereotyping of women who stood in either conscious or natural opposition towards this ideal affected portrayal of women in Japanese popular culture (especially comics), which can be a very good perpetuator of all kinds of stereotypes. At the same time, I would like to find out whether it managed to partially subvert at least some of the negative images of women who refused to be good wives and wise mothers. Key words: gender stereotypes, Japan, popular culture, comics, rjósai kenbo, manga
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Valentová, Simona. "Komiks jako médium uměleckého sdělení." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336654.
Full textAbstract:
The dissertation (diploma thesis) with the topic "Comics as the medium of the artistic expression" consists of theoretical and practical parts. The theoretical part represents a definition of the comics, its short history and some important terms of the comics terminology. Next this part concerns with specific narrative constructions of the comics medium and also describes functions and cooperation of the visual and verbal components. In the individual charter is shortly described Japanese comics (manga), its characteristic and different aspects against the classic European and American comics. The end of the theoretical part is dedicated to the theory of the artistic expression and its particular elements, which are used in the comics. The practical part comprising the analysis of two classic comics works and one Japanese manga. Namely it is The Crow, The Crow: Skinnig the Wolves and The City of Light. These works were chosen intentionally because of their technical, thematic and cultural aspects, so the analysis can work with the wider scale of the artistic elements. The dissertation tries to defend the opinion, that the comics medium is multifunctional, it can contain full-blown artistic expression and it is able to work with any content. For better specification there are contained some...
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Mehta, Shubham. "Adapting Manga to live action." Thesis, 2016. http://hdl.handle.net/10539/22637.
Full textAbstract:
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television.For this research project, I search for an approach to adaptation theory that may be better suited to adapting Manga (Japanese comics) to film. The American comic book adaptations in the last eight years have met with resounding success, and their increased number has also prompted a shift in what audiences and producers qualify as a successful adaptation. For example, 19 films that have been made by Marvel, Sony and Fox since 2008, were adapted from Marvel comics, but followed plot lines that varied greatly from that of the comics (IMDB.com, n.d). However, Manga adaptations have not met with the same level of success, and as such, I propose that a different approach might be necessary when it comes to adapting them. To do so, I discuss how Japanese Manga has been adapted by Hollywood in the past, and why those attempts have been considered a failure, the key example being that of ‘Dragonball Evolution’ (James Wong, 2008), which was based on the famous series, ‘Dragon Ball’, created by Akira Toriyama in 1984. To conclude, I propose my approach to adapting Manga and support it with a short film adaptation.
MT2017
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Frank, Jacqueline Eileen. "Shakespeare, Youth, and Comic Books." Thesis, 2014. http://hdl.handle.net/10012/8372.
Full textAbstract:
This thesis examines how Shakespearean play-texts are adapted into comic books in order to appeal to young readers. By analyzing four different adaptations including two comic book series and two manga series, it seeks to answer these research questions: what is the relationship between entertainment and education in comic book adaptations of Shakespeare? Are there problems that adaptations create at the same time as they try to solve issues of interest or understanding, as perceived by youth? This paper argues that the tension between entertainment and education in comic book adaptations of Shakespeare is usually imbalanced depending on an adaptation’s goals. Substantial changes to the narrative, setting, or characters can create strong dissonances while reading although these feelings can be countered by balancing them with other changes. Adapting Shakespeare’s work into comic books engages youth with an author that they often perceive as difficult and indicates his continued relevance in both education and entertainment.
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Liao, Chia Yu, and 廖家妤. "The Research and Creation of Shojuo Manga with Taiwan Culture - A Case Study of Golden Comic Awards' Winners Works." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/64m789.
Full textAbstract:
碩士國立臺中教育大學
數位內容科技學系碩士班
103
The Executive Yuan of Taiwan held regularly Golden Comic Awards every year for popularizing comic. And also set up the best of Shojuo Manga Awards, it can clearly be seen shojuo manga in Taiwan have lengthily scale and history. History of Taiwan Shojuo Manga started from 1960, but Japan Manga had long time affecting to Taiwan, so Taiwan can't got rid of Japan to grow up own style. In that case, the study uses Golden Comic Awards' winner works 2010-2013 and trade publication of comics to treat as samples. Besides using Content Analysis and Multidimensional Scaling to help it more complete. Generalizing and analyzing what the popular shojuo manga have, in particular stories and characters. Then put Taiwan culture in to researcher's comic creation. Through the experimental results, we can know what the popular story must have: protagonist's incandescent personality, interesting story, impressive supporting role; in people style need have "girlish", "interesting", "dream", "cute", "sweet" five features. In conclusion, using those experimental results are standard to create. The results of this study hope to contribute Taiwan Shojuo Manga's developing creation in future, and provide the reference of research.
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Fujii, Michele. "Strangers in a Strange Land: Foreign-born Mangaka and the Future of the ‘Japanese’ Comic Industry." 2018. https://scholarworks.umass.edu/masters_theses_2/642.
Full textAbstract:
This thesis addresses the phenomenon of the recent success of foreign-born mangaka in the Japanese comic industry. One in a long line of foreigners who have written about Japan, Swedish mangaka Åsa Ekström is a representative example whose success has been facilitated by a set of circumstances brought on by the influence of the international manga market, socio-economic policies stemming from the unique challenges presented by Japan’s declining birthrate and rapidly aging population, and changes in the landscape of the Japanese publishing industry. Drawing upon themes and excerpts from Ekström’s popular comic essay series, Nordic Girl Åsa discovers the Mysteries of Japan (Hokuō joshi Ōsa ga mitsuketa Nihon no fushigi 北欧女子オーサが見つけた日本の不思議), this thesis explores those facets of her skilled background in conjunction with the aforementioned circumstances that have contributed to her success, including the influence of internationalization, effects of an increasingly digitized publishing industry, and proliferation of vocational manga schools encouraging overseas student enrollment. By doing so, this thesis attempts to answer the question of whether foreign participation in what has been traditionally considered a closed market is reflective of a globalizing Japan, and determine the future of the market for comic essays by foreign-born mangaka.