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Journal articles on the topic 'Manga (Japanese comics)'
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Leung, May May, Melanie C. Green, Jianwen Cai, Ann Gaba, Deborah Tate, and Alice Ammerman. "Fight for Your Right to Fruit: Development of a Manga Comic Promoting Fruit Consumption in Youth." Open Nutrition Journal 9, no. 1 (February 27, 2015): 82–90. http://dx.doi.org/10.2174/1876396001509010082.
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Innovative interventions addressing childhood obesity are needed to capture the attention of youth living in a multi-media environment. The purpose of this paper is to describe the qualitative study that was conducted to inform the development of an appealing manga comic (Japanese comic art) to promote fruit consumption in youth and the process of creating the comic. Seven focus groups and two interviews (N=28) were conducted with middle-school students to better understand such topics as enjoyable components of manga comics and important health concepts. Two researchers independently analyzed each transcript using ATLAS.ti. Inductive and deductive processes were used to identify codes (ideas emerging from text); similar codes were grouped into themes. Most frequently mentioned themes related to enjoyable components of manga comics were detailed graphics and artistic style of text used to convey sound effects. The majority said eating fruits and vegetables was the most important nutrition behavior for proper health. When asked about story ideas for a manga comic to encourage youth to be healthy, many responded with ideas involving comic characters who would consume fruit, then gain beneficial attributes. Others suggested highlighting more practical benefits, such as increased focus and energy. These findings informed the development of a 30-page manga comic promoting fruit consumption, with the aim of developing an appealing storyline and relatable characters for youth. Manga comics may be able to create an entertaining learning environment that has potential to promote positive dietary behaviors in youth.
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Sabin, R. "Manga: Sixty Years of Japanese Comics." Journal of Design History 18, no. 2 (June 1, 2005): 222–24. http://dx.doi.org/10.1093/jdh/epi030.
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Oshiyama, Michiko, and Kohki Watabe. "Interpretative negotiation with gender norms in shōjo manga adaptations of The Changelings." Journal of Adaptation in Film & Performance 12, no. 3 (December 1, 2019): 179–93. http://dx.doi.org/10.1386/jafp_00005_1.
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Abstract The Changelings is a classic work of traditional Japanese literature. In the modern era, it has been adapted into Japanese comics repeatedly. This article examines three shōjo manga, or girls' comics, adaptations of The Changelings published between 1984 and 2018. Taken together, the three manga evidence the different situations in which women were embedded in the 1980s and the 2010s and provide different interpretative alternatives to female readers. Manga adaptations of The Changelings crystallized gender norms in Japanese society and women's responses to and struggles with those norms by taking advantage of the gender-switching plot that originated in the twelfth century.
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Idrus, Idrus. "The Translation of Japanese Manga Meitantei Conan to Indonesian: The Similarities and Differences between The Original Japanese Version and the Indonesian Translated Version." IZUMI 10, no. 1 (May 2, 2021): 98–108. http://dx.doi.org/10.14710/izumi.10.1.98-108.
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Japanese comics or manga have caught the world’s attention in recent years. It conveys stories through words and images in a specific order resulting in beautiful works. Now, manga is translated into various languages in the world, including Indonesian. The following study entailed a comparative analysis of the manga Meitantei Conan into Indonesia, primarily concentrating on: the format, for example, the arrangement of pages, lettering, and typography, what was translated what was not. In translating Japanese manga into Indonesian, it was found that there were similarities (retained elements) and differences (adjusted elements). We can found similarities between the original Japanese version and the Indonesian translated version of manga in the writing composition on the chapter title and onomatopoeia. Besides, there are also similarities in cultural terms because the translator maintains terms in Japanese as a translation strategy. The main difference between Original Japanese comics and the Indonesian translated version is the binding system of using, the type of font, and the use of Indonesian cultural elements so that the dialogue of the story characters is more communicative and easy to understand.
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Kim, Yang-Sun. "Characteristics of Japanese Idioms in Japanese “Manga” Comics." Japanese Language Association Of Korea 55 (March 31, 2018): 19–38. http://dx.doi.org/10.14817/jlak.2018.55.19.
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Lubis, Fenny Rahmawati, and Dwi Budiwiwaramulja. "KARAKTERISTIK DESAIN HIBRIDA PADA KOMIK 7 WONDERS KARYA METALU." Gorga : Jurnal Seni Rupa 9, no. 2 (October 5, 2020): 309. http://dx.doi.org/10.24114/gr.v9i2.20161.
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AbstrakKomik Jepang menjadi salah satu kiblat untuk referensi dalam membuat komik khususnya komik manga. Tidak sedikit komik Indonesia yang sangat kental dengan unsur manga hingga sulit membedakan komikus Jepang dengan komikus Indonesia bila hanya di lihat dari bentuk visualnya. Selain menggarap style gambar manga jepang, tak sedikit komikus-komikus Indonesia yang menghibridakan karakteristik pada desain karakter visual Indonesia. Sepeti pada salah satu komik Indonesia yaitu komik 7 Wonders. Penelitian ini bertujuan untuk mengetahui identitas dari desain karakter visual yang di hibrida pada salah satu komik Indonesia yaitu komik 7 Wonders. Penelitian ini menggunakan pendekatan metode deskriptif kualitatif yaitu dengan menguraikan masing-masing objek yang akan diteliti. Hasil temuan penelitian ini menunjukkan bahwa karakter yang memiliki unsur hibrida paling menonjol adalah pada karakter bidadari 7 Wonders. Desain karakter visual pada karakter tujuh bidadari 7 Wonders telah mengalami deformasi dan pengabungan dua atau lebih identitas visual, baik pada busana maupun pada karakter figurnya. Identitas hibrida pada desain karakter visual yang digunakan di busana tujuh bidadari 7 Wonders yaitu berasal dari Indonesia, Jepang, Arab, Turki, India, Inggris era Victoria dan Romawi Kuno.Kata Kunci: desain karakter, hibrida, komik, busana.AbstractJapanese comics become one of the mecca for reference in making comics, especially manga comics. Not a few Indonesian comics are so thick with manga elements that it is difficult to distinguish Japanese comics from Indonesian comics if only viewed from their visual form. In addition to working on the style of Japanese manga drawings, not a few Indonesian comic artists have displayed characteristics on Indonesian visual character designs. A case in one of the Indonesian comics that is 7 Wonders comics. This study aims to determine the identity of a hybrid visual character design in one of the Indonesian comics, namely the 7 Wonders comics. This study uses a qualitative descriptive method approach that is by describing each object to be studied. The findings of this study indicate that the characters that have the most prominent hybrid elements are the 7 Wonders angel characters. The visual character design of the seven Wonders 7 nymphs has been deformed and the combination of two or more visual identities, both in fashion and in the character figure. The hybrid identity in the visual character design used in the fashion of the seven Wonders 7 nymphs is originating from Indonesia, Japan, Arabia, Turkey, India, the Victorian era and Ancient Rome. Keywords: character design, hybrids, comics, clothing
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brau, lorie. "Oishinbo's Adventures in Eating: Food, Communication, and Culture in Japanese Comics." Gastronomica 4, no. 4 (2004): 34–45. http://dx.doi.org/10.1525/gfc.2004.4.4.34.
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Culture in Japanese Comics Millions of Japanese, including adults, read manga--comic books. Reproducing every popular genre from humor to horror, manga both entertain and educate their readers on subjects as varied as sports, corporate life, the literary classics, and sex. Japanese also learn about food and cooking from gurume (gourmet) or ryori (cooking) manga. One of the most popular is Oishinbo, serialized since 1983. Oishinbo's hero Yamaoka is a newspaper journalist with an unparalleled knowledge of food and a developed palate. Along with his female sidekick Kurita, who shares his culinary sensitivities, Yamaoka seeks dishes for an "ultimate menu" to bequeath to the future. In the process, the pair turns to food to solve a host of interpersonal and social problems, sometimes on an international political level. Oishinbo not only provides information about foreign and local cuisines and recipes, it also propounds an ideology regarding the relationship between food and human relations that contributes toward the construction of Japanese cultural identity.
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Dahlberg-Dodd, Hannah E. "Script variation as audience design: Imagining readership and community in Japanese yuri comics." Language in Society 49, no. 3 (November 26, 2019): 357–78. http://dx.doi.org/10.1017/s0047404519000794.
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AbstractBuilding on recent work supporting a sociolinguistic approach to orthographic choice, this study engages with paratextual language use in yuri, a subgenre of Japanese shōjo manga ‘girls’ comics’ that centers on same-sex romantic and/or erotic relationships between female characters. The comic magazine Comic Yuri Hime has been the dominant, if not only, yuri-oriented published magazine in Japan since its inception in 2005. Though both written and consumed by a primarily female audience, the magazine has undergone numerous attempts to rebrand and refocus the target audience as a means to broaden the magazine's readership. This change in target demographic is reflected in the stylistic representation of paratextual occurrences of the second-person pronoun anata, indicating the role of the textual landscape in reflecting, and reifying, an imagined target audience. (Script variation, manga, popular media, Japan, yuri manga)
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de Sousa, Ana Matilde. "‘Gaijin Mangaka’: The boundary-violating impulse of Japanized “art comics”." Mutual Images Journal, no. 7 (December 20, 2019): 3–26. http://dx.doi.org/10.32926/2019.7.sou.gaiji.
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This paper investigates the artistic strategies of Japanised visual artists by examining the emerging movement of manga-influenced international “art comics”—an umbrella term for avant-garde/experimental graphic narratives. As a case study, I take the special issue of the anthology š! #25 ‘Gaijin Mangaka’ (July 2016), published by Latvian comics publisher kuš! and co-edited by Berliac, an Argentinian neo-gekiga comics artist. I begin by analysing four contributions in ‘Gaijin Mangaka’ to exemplify the diversity of approaches in the book, influenced by a variety of manga genres like gekiga, shōjo, and josei manga. This analysis serves as a primer for a more general discussion regarding the Japanisation of twenty-first-century art, resulting from the coming of age of millennials who grew up consuming pop culture “made in Japan”. I address the issue of cultural appropriation regarding Japanised art, which comes up even on the margins of hegemonic culture industries, as well as Berliac’s view of ‘Gaijin Mangaka’ as a transcultural phenomenon. I also insert ‘Gaijin Mangaka’ within a broader contemporary tendency for using “mangaesque” elements in Western “high art”, starting with Pierre Huyghe and Philippe Parreno’s No Ghost Just a Shell. The fact that the link to Japanese pop culture in ‘Gaijin Mangaka’ and other Japanised “art comics” is often more residual, cryptic, and less programmatic than some other cases of global manga articulates a sense of internalised foreignness, embedding their stylistic struggles in an arena of clashing definitions of “high” and “low,” “modern,” “postmodern”, and “non-modern”, subcultures and negative identity.
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Inose, Hiroko. "Shōjo Manga Elements Imported to Contemporary Japanese Literature - A Case Study of Miura Shion." Estudios de Traducción 11 (June 4, 2021): 55–63. http://dx.doi.org/10.5209/estr.71388.
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The present paper discusses how various elements in shōjo manga (Japanese comics for girls) have been incorporated in works of Japanese contemporary literature. The connection between shōjo manga and literature was pointed out for the first time when the novel Kitchen by Yoshimoto Banana was published in 1987. This paper argues that this connection has developed further since then, focusing on one of the most active writers in contemporary Japanese literature, Miura Shion[1]. The paper briefly introduces the genre shōjo manga and describes its connection with the novel Kitchen before analysing a short story and an essay by Miura Shion, focusing both on their motifs and styles, to identify elements influenced by shōjo manga.
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Nguyen, Hien Thi. "Korean’s Manhwa and the adoption of Vietnamese Youth - focusing on Sunjeong Manhwa (Girls’comic)." Science and Technology Development Journal 17, no. 4 (December 31, 2014): 74–87. http://dx.doi.org/10.32508/stdj.v17i4.1576.
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Korean comics (K-manhwa), the next wave “quietly” following the wave of Korean popular culture of K-Movie, K-pop, K-fashion, K-cuisine that are so-called Hallyu, is widely adopted by Vietnamese youth. This paper focuses on the current situation of Korean comics, especially Sunjeongmanhwa (Girls' comic) that is being introduced into Vietnam, enjoying the adoption of Vietnamese youth. In comparison with the case of Japanese manga, Chinese manhua and Chinese love stories, this paper analyzes the impact of this wave on the youth of Vietnam. Simultaneously, this paper introduces some experiences of Korean comics industry in the expectation that it will provide an objective view on K-manhwa and Korean culture in general, as well as coming up with some suggestions for Vietnam comics development.
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Unser-Schutz, Giancarla. "Personal Pronouns and Gendered Speech in Popular Manga (Japanese Comics)." LSA Annual Meeting Extended Abstracts 1 (May 2, 2010): 35. http://dx.doi.org/10.3765/exabs.v0i0.514.
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Manga—Japanese comics—are often said to be influential in young women's using more masculine first person pronouns. However, research hitherto has not focused on the actual distribution of personal pronouns in manga, leaving that relationship unclear. To assess this question, I examined the different forms found in the lines from a corpus of six popular series. Against popular expectations, I found that no female characters used masculine first-person pronouns, with few examples of them using masculine second-person pronoun. With this gap between popular thought and actual usage patterns in mind, I then reexamine manga's possible role in influencing language change.
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Adi, Danendro. "Looking at the Japanese Automotive Industry through Indonesian Published Manga." Humaniora 8, no. 3 (October 19, 2017): 265. http://dx.doi.org/10.21512/humaniora.v8i3.3680.
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This article discussed manga and visual language that had been used on the Japanese fiction graphic narrative as a case study and graphic biography as a comparison. It implemented literature study approach on illustration, specifically, sequential art literature to obtain data as well as finding a theoretical framework to strengthen research results. The article began with a brief history of Japanese comics, then would be discussed the definition and common form of manga and how-to extent the media to convey the information and to identify the visual approach to narrating the information. It finds that modern manga has a potential to become an effective medium to narrate the Japanese culture, growth, and its technological advances that have gained global recognition.
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Ogi, Fusami. "Female Subjectivity and Shoujo (Girls) Manga (Japanese Comics): Shoujo in Ladies' Comics and Young Ladies' Comics." Journal of Popular Culture 36, no. 4 (April 29, 2003): 780–803. http://dx.doi.org/10.1111/1540-5931.00045.
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Abbott, Michael, and Charles Forceville. "Visual representation of emotion in manga: Loss of control is Loss of hands in Azumanga Daioh Volume 4." Language and Literature: International Journal of Stylistics 20, no. 2 (May 2011): 91–112. http://dx.doi.org/10.1177/0963947011402182.
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Comics and manga have many ways to convey the expression of emotion, ranging from exaggerated facial expressions and hand/arm positions to the squiggles around body parts that Kennedy (1982) calls ‘pictorial runes’. According to Ekman at least some emotions — happiness, surprise, fear, sadness, anger, disgust — are universal, but this is not necessarily the case for their expression in comics and manga. While many of the iconic markers and pictorial runes that Forceville (2005) charted in an Asterix album to indicate that a character is angry occur also in Japanese manga, Shinohara and Matsunaka also found markers and runes that appear to be typical for manga. In this article we examine an unusual signal conveying that a character is emotionally affected in Volume 4 of Kiyohiko Azuma’s Azumanga Daioh: the ‘loss of hands’. Our findings (1) show how non-facial information helps express emotion in manga; (2) demonstrate how hand loss contributes to the characterization of Azuma’s heroines; (3) support the theorization of emotion in Conceptual Metaphor Theory.
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Masuchika, Glenn. "Japanese Cartoons, Virtual Child Pornography, Academic Libraries, and the Law." Reference & User Services Quarterly 54, no. 4 (June 19, 2015): 54. http://dx.doi.org/10.5860/rusq.54n4.54.
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Many academic libraries are adding comics and cartoon in print form to their collections. Japanese comics, called "manga," are a large part of this collecting. However, in some of these items, there are drawn images of people seemingly under eighteen years of age engaged in highly graphic, uncensored, sex acts. The purpose of this paper is to discuss whether collecting such materials may violate anti-obscenity laws of the United States and expose the collection developer and the library to criminal liabilities. It also suggests that these concerns can lead librarians to self-censorship in their collection development duties.
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Barokahhuda, Ummul, Ramadhan Sumarmin, Helendra Helendra, and Relsas Yogica. "Analisis Kebutuhan untuk Pengembangan Bahan Ajar Berbentuk Komik Manga pada Materi Jaringan Hewan Kelas XI SMA." Bioedusiana: Jurnal Pendidikan Biologi 6, no. 1 (June 30, 2021): 88–103. http://dx.doi.org/10.37058/bioed.v6i1.2968.
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Students' understanding of the material and students' interest in learning can be improved in various ways, one of which is using teaching materials in the form of comics. Students tend to like things that match their preferences, including the teaching materials used in learning. This study aims to determine students' preferences for the types of comics developed as teaching materials for animal tissue material for 11th grade Senior High School. The descriptive quantitative approach is the method used in this study with all students of class 11th grade MIPA SMAN 1 Padang Panjang. The sample was randomly selected as much as 10% of the students in each class using the probability sampling-random sampling technique. The instruments used to collect research data are interview sheets by teachers and needs analysis questionnaires by students. The needs analysis questionnaire, curriculum analysis, analysis of teaching materials and analysis of students are carried out. This study indicates that students need alternative teaching materials in the form of comics and are familiar and tend to like Japanese-style comics or manga comics. Based on the results of this study, it is necessary to develop teaching materials in the form of manga comics on animal tissue material for 11th grade SMA.
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Yang, Xiran, and Jonathan Webster. "To be continued: meaning-making in serialized manga as functional-multimodal narrative." Semiotica 2015, no. 207 (October 1, 2015): 583–606. http://dx.doi.org/10.1515/sem-2015-0066.
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AbstractThis paper discusses meaning-making in serialized adventure manga (Japanese comics) by examining its metafunctional organization. Manga, whose components cover a multimodal cline from graphics to verbals, is seen as a multimodal narrative whose features are mapped onto the different metafunctions: time – experiential, with diegetic time lapse defining the start point to construe experience; cause-effect – logical, with relative positioning of components reflecting logical relations diegetically; space – compositional, with diegetic and extradiegetic spaces contributing to the coherence and cohesion of the story. The overarching interpersonal aspect of manga makes it a medium of exchange between the author and the reader and encourages the reader to actively decode idiosyncratic meanings.
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Adjie Rangkuti, Muhammad Choir Affandi, and Onggal Sihite. "Tinjuan Prinsip-Prinsip Visual Pada Komik “Guild” Karya Irfan Rianto." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 3 (March 3, 2021): 1273–84. http://dx.doi.org/10.34007/jehss.v3i3.541.
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Comic "Guild" is a comic that has a Japanese drawing style, namely Manga and applies visual principles that should be used as study material to study visual principles about comics. This study aims to identify and review the visual comics of "Guild" in terms of these principles. the principle of visual emphasis according to MS Gumelar. The population in this study is 15 pages in chapter 1 of the comic "Guild". This type of research uses qualitative research methods with documentation data collection techniques and literature study. Primary data is in the form of visual comic “Guild” chapter 1 by Irfan Rianto, data collection in this research is through literature study, observation, data processing, data analysis techniques, generalizations and instruments. Then the data that has been collected is triangulated to strengthen the credibility of the research results. From the results of the study it was concluded that the comic "Guild" had applied the principles of visual emphasis according to the MS Gumelar guidelines, although in its application there were still five pages that still had shortcomings so that it looked not optimal and consistent.
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Afifah, Muthi. "YAKUWARIGO DALAM WEBSITE PEMBELAJARAN ONLINE “ANIME/MANGA NO NIHONGO”." Chi'e: Journal of Japanese Learning and Teaching 7, no. 1 (April 1, 2019): 109–16. http://dx.doi.org/10.15294/chie.v7i1.29602.
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On this research, we analyse yakuwrigo on online learning that focus on one of the online learning called `anime/manga no Nihongo` or `Japanese in anime & manga`. This Japanese online learning is made by The Japan Foudnation as a support to the Japanese language education as a second language. Yakuwarigo or we called as language role is a language use in a virtual world for example in anime, drama, comics and others. This time we analyse yakuwarigo focused on online learning material with anime and manga. As a research method, we analyse the use of yakuwarigo and it`s relation between `character expression` and `expression by scene`. The result shows that the expression used in the introduction of character before was not match with the expression occurs in `expression by scene` in manga
Penelitian ini membahas tentang yakuwarigo dalam pembelajaran online yang berfokus kepada salah satu website pembelajaran online yang bernama “anime/manga no nihongo” atau “Japanese in Anime & Manga”. Website pembelajaran ini adalah website yang dibuat oleh The Japan Foundation sebagai support dalam pendidikan bahasa Jepang untuk pembelajar bahasa kedua. Yakuwarigo atau bisa dikatakan sebagai bahasa peran adalah bahasa yang terdapat dalam dunia virtual seperti anime, drama, komik dan lainnya. Kali ini penulis membahas tentang yakuwarigo di dalam pembelajaran online yang berfokus pada anime dan manga. Adapun metode penelitiannya adalah menganalisa bagaimana penggunaan yakuwarigo (ungkapan, kosakata, karakteristik karakter dll), dan bagaimana keterkaitan antara `character expression` dan `expression by scene. Hasil penelitianny adalah terdapat ketidak sesuaian antara `character expressions` yang diperkenalkan sebelumnya dengan karakter yang muncul dalam manga di `expressions by scene`. Ungkapan-ungkapan yang digunakan pada bagian perkenalan dengan ungkapan yang digunakan para karakter di dalam manga tidak sesuai.
© 2019 Universitas Negeri Semarang
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Kućma, Natalia. "SHŌJO. GIRLS, CULTURE AND COMICS." Kultura Popularna 60, no. 2 (January 31, 2020): 126–35. http://dx.doi.org/10.5604/01.3001.0013.7339.
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This article analyzes shōjo culture and shōjo girls as a participants and creators of this culture. The first part of the article presents the history of girls' schools from the beginning of the 20th century and the ideal of a good wife and wise mother (ryōsai kenbo). The second part focuses on the issue of the "privileged body" of shōjo (girl), which is on the edge between the body of a child and a woman, a boy and a girl. Shōjo manga, as comics addressed to girls, have evolved since the 70s, when women began to create them. At the end I examine aesthetic traits and „the aesthetics of sameness” as tools to create emotional involvement of readers. Shōjo culture is the Japanese version of girl power.
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Whaley, Ben. "When Anne Frank Met Astro Boy." positions: asia critique 28, no. 4 (November 1, 2020): 729–55. http://dx.doi.org/10.1215/10679847-8606417.
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This article examines the evolution and impact of Anne Frank’s The Diary of a Young Girl on postwar manga (print comics) and Japanese visual culture. The author argues that Anne’s enduring legacy in Japan, dating back to 1952, owes much to the ways in which the content of her Diary capitalizes on certain hallmarks of shōjo (girls’) manga culture, such as affective storytelling and character interiority. Moreover, as shown through a primary analysis of two emonogatari (illustrated story) versions of the Diary from 1964 and two manga versions from 1967, among others referenced, Anne Frank’s life and legacy inspires a hybridized narrative and visual style in manga that blends the emotionality and interiority of shōjo with the more graphic depictions of violence common to shōnen manga for young boys. In so doing, it encourages a reevaluation of the shōjo mode and its ability to bear witness to the physical violence and psychological trauma of the Holocaust.
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Abdurrahman, Dida Ibrahim. "Transcultural Appropriation on the Son Goku Character Configuration from Dragon Ball Manga." Idealogy Journal 3, no. 2 (September 7, 2018): 3–10. http://dx.doi.org/10.24191/idealogy.v3i2.52.
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Configuration of characters in a story is a representative manifestation that is able to communicate the order and value of cultural distinctiveness inherent in him. Along with the phenomenon of globalization, through the practice of appropriation, the various exclusive elements and knowledge of certain groups of society are reconstructed into new cultural entities, even if they do not originate in the space and time in which they created. The configurations Son Goku in manga (typical Japanese comic) Dragon Ball is a transcultural myth of elements in the classic Chinese novel Journey to The West mixed with the popular modern serial story of Superman from the American DC Comics and King Kong, as well as the mythology of lycanthropy from Europe. Through further investigation, the source taken in the Son Goku configuration is suspected of having a relationship with elements and knowledge of different spaces and past times (archaic), so that he is not just a popular myth, he is a collection of texts from various cultural civilizations that are scattered all over the earth.
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Zanettin, Federico. "Manga in America. Transnational book publishing and the domestication of Japanese comics." Translator 24, no. 3 (July 18, 2017): 279–83. http://dx.doi.org/10.1080/13556509.2017.1352124.
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Krevel, Mojca. "Cyberpunk literature and Slovenes : too mainstream, too marginal, or simply too soon?" Acta Neophilologica 33, no. 1-2 (December 1, 2000): 69–77. http://dx.doi.org/10.4312/an.33.1-2.69-77.
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One of the most popular coinages of 'eighties America seems to be the notorious term "cyberpunk". The term covered everything from popular movies such as Robocop and Terminator, comics, video production and increasingly popular Japanese manga cartoons, to music from such diverse authors as Laurie Anderson and Billy Idol. But the phenomenon did not stop there: cyberpunk became a specific way of life, demanding certain behaviour, a dress code and so on.
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Rohan, Olivia, Ryoko Sasamoto, and Rebecca Jackson. "Argumentation, Relevance Theory and persuasion." International Review of Pragmatics 10, no. 2 (June 11, 2018): 219–42. http://dx.doi.org/10.1163/18773109-01002005.
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Abstract This paper presents an application of Relevance Theory (Sperber and Wilson, 1995) to pictures by studying the role that weak implicatures may play in the persuasiveness of multimodal argumentative discourse. We take a relevance-theoretic approach to the discussion of visual and multimodal argumentation with a particular focus on the role of onomatopoeia. To examine the possible mechanism by which persuasion operates through onomatopoeia, we analyse a corpus of Japanese-style comics (manga), where visuals and verbal text interact to convey onomatopoeia. We argue that the use of onomatopoeia in manga contributes to the recovery of weak implicatures which, in turn, helps to reinforce the persuasiveness of the communicated messages in the examples analysed.
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LeVan, Michael. "Threshold/Medium." Departures in Critical Qualitative Research 3, no. 2 (2013): 170–75. http://dx.doi.org/10.1525/dcqr.2014.3.2.170.
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This essay considers threshold phenomena as mediums—that is, as technical support—for expression. For illustration, I discuss Shelley Hirsch’s live vocal interpretation of Christian Marclay’s Manga Scroll, a landscape-like musical score composed of onomatopoeias taken from Japanese comics. Hirsch’s performance of threshold enacts expression as a new milieu of experience. Attending to threshold phenomena can show points of contact among mediums and forms of technical support to see how modes of expression fold, unfold, merge, and emerge.
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Intan, Tania. "Redefinisi Fungsi Desa dalam Manga Naruto dan Bande Dessinée Astérix: Sebuah Kajian Komparasi Budaya Populer." Metahumaniora 7, no. 3 (December 3, 2017): 293. http://dx.doi.org/10.24198/metahumaniora.v7i3.18847.
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AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu manga Jepang, dan Astérix, bande dessinée dari Prancis, akan ditelitisebagai representasi dunia Timur dan Barat. Latar sebagai unsur struktural dalam karyakaryafiksi ini ternyata juga menunjukkan kesamaan mendasar, yaitu keberadaan desasebagai tempat hidup para tokohnya. Dalam tulisan ini, akan dibahas pemaknaan lainterhadap lingkungan rural tersebut, yang memiliki andil dalam pembentukan karakterpara tokoh dari kedua komik. Metode kajian komparasi budaya akan digunakan denganpenerapan teori-teori yang relevan. Penelitian singkat ini bertujuan untuk melengkapistudi mengenai komik yang belum banyak dilakukan di Indonesia.Kata kunci: Desa, komik, Naruto, Astérix, Komparasi BudayaAbstractNaturally, humans need a way to fill their spare time after working hard. Acheap, accessible and popular medium by all circles around the world is a picture or comicstory, which is part of popular culture. McCloud (1993:7) defines comics as drawings andembossed symbols in a particular order, aimed at providing information or achievingaesthetic responses from the reader. In general, this visual-paraliterature work isindeed fictitious and merely an imitation of grotesque reality. However, in the comics, itis often found that values of life that are universal and eternal so comics are consideredappropriate as a material of cultural studies. Naruto, one of the Japanese manga, andAstérix, the bande dessinée of France, are examined as a representation of the East andWest. The background as a structural element in these works of fiction also shows the basicsimilarity of the existence of the village as the place of life of the characters. According toKartohadikoesoemo (1984:16), the village is a legal entity, in which a ruling society livesits own government. In this paper, other meanings of the rural environment, which hascontributed in the character formation of the characters from both comics are discussed.The method of cultural comparative is used with the application of relevant theories. Thisbrief study aims to complete the study of comics which is still very limited in Indonesia.Keywords: Village, Comic, Naruto, Astérix, Cultural Comparison
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Intan, Tania. "Redefinisi Fungsi Desa dalam Manga Naruto dan Bande Dessinée Astérix: Sebuah Kajian Komparasi Budaya Populer." Metahumaniora 7, no. 3 (December 3, 2017): 293. http://dx.doi.org/10.24198/mh.v7i3.18847.
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AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu manga Jepang, dan Astérix, bande dessinée dari Prancis, akan ditelitisebagai representasi dunia Timur dan Barat. Latar sebagai unsur struktural dalam karyakaryafiksi ini ternyata juga menunjukkan kesamaan mendasar, yaitu keberadaan desasebagai tempat hidup para tokohnya. Dalam tulisan ini, akan dibahas pemaknaan lainterhadap lingkungan rural tersebut, yang memiliki andil dalam pembentukan karakterpara tokoh dari kedua komik. Metode kajian komparasi budaya akan digunakan denganpenerapan teori-teori yang relevan. Penelitian singkat ini bertujuan untuk melengkapistudi mengenai komik yang belum banyak dilakukan di Indonesia.Kata kunci: Desa, komik, Naruto, Astérix, Komparasi BudayaAbstractNaturally, humans need a way to fill their spare time after working hard. Acheap, accessible and popular medium by all circles around the world is a picture or comicstory, which is part of popular culture. McCloud (1993:7) defines comics as drawings andembossed symbols in a particular order, aimed at providing information or achievingaesthetic responses from the reader. In general, this visual-paraliterature work isindeed fictitious and merely an imitation of grotesque reality. However, in the comics, itis often found that values of life that are universal and eternal so comics are consideredappropriate as a material of cultural studies. Naruto, one of the Japanese manga, andAstérix, the bande dessinée of France, are examined as a representation of the East andWest. The background as a structural element in these works of fiction also shows the basicsimilarity of the existence of the village as the place of life of the characters. According toKartohadikoesoemo (1984:16), the village is a legal entity, in which a ruling society livesits own government. In this paper, other meanings of the rural environment, which hascontributed in the character formation of the characters from both comics are discussed.The method of cultural comparative is used with the application of relevant theories. Thisbrief study aims to complete the study of comics which is still very limited in Indonesia.Keywords: Village, Comic, Naruto, Astérix, Cultural Comparison
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Brienza, Casey E. "Books, Not Comics: Publishing Fields, Globalization, and Japanese Manga in the United States." Publishing Research Quarterly 25, no. 2 (April 14, 2009): 101–17. http://dx.doi.org/10.1007/s12109-009-9114-2.
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Dybała, Paweł. "Translator is Wrong!: Readers’ Attitudes towards Official Manga Translations Biased by Fan-Made Scanlations." Intercultural Relations 4, no. 2(8) (February 16, 2021): 53–68. http://dx.doi.org/10.12797/rm.02.2020.08.03.
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The purpose of this paper is to investigate how the knowledge of fan-made translations (scanlations) of Japanese comics (manga) influence the perception of official translations of volumes published in Poland. An analysis is performed on readers’ comments regarding the Polish translation of the Dragon Ball Super series and can be seen as a multiple-case study, showing how readers’ attitudes can be biased by their knowledge of scanlations (in both English and Polish). Criticism is analyzed using existing translation theories and explained accordingly.
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Pantumsinchai, Penn. "Casey Brienza: Manga in America: Transnational Book Publishing and the Domestication of Japanese Comics." Publishing Research Quarterly 32, no. 4 (November 1, 2016): 331–32. http://dx.doi.org/10.1007/s12109-016-9482-3.
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Chereshneva, Larisa A. "Influence of external factors on japanese national traditionalism (on the example of ameri-can comics and japanese manga)." Asia and Africa today, no. 5 (2020): 76. http://dx.doi.org/10.31857/s032150750009557-4.
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Fitriani, Indah, Lina Meilinawati, and N. Rinaju Purnomowulan. "Otaku Subculture Character in Japanese Poetry Anthology Otaku Senryu." Jurnal Humaniora 28, no. 2 (November 12, 2016): 176. http://dx.doi.org/10.22146/jh.v28i2.16400.
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This paper focuses on one the subcultures existing in Japan, known as otaku. Subculture is a forum for youth community media and technology enthusiasts, like manga (Japanese comics), anime (Japanese cartoons), video games, computers, and the Internet. In the process, otaku who initially labeled negatively has contributed significantly to Japan as the most advanced industrialized country in Asia, not only in the field of culture, but also in the fields of science and economics. Using data from Japanese poem anthology (senryu) in Otaku Senryu(OS), this paper focuses on 1) distinctiveness of otaku character and; 2) factors supporting construction of otaku’s character. The method applies Riffaterre’s semiotic approach. The result obtained is that the otaku distinctiveness lies in their tendency to not be able to escape media and technology. Media and technology have transformed them into a difficult person in interacting and communicating directly with others as they have become introverted, obsessive, and also consumptive.
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Pusztai, Beáta. "Adapting the Medium: Dynamics of Intermedial Adaptation in Contemporary Japanese Popular Visual Culture." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 141–52. http://dx.doi.org/10.1515/ausfm-2015-0031.
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Abstract With respect to adaptation studies, contemporary Japanese popular culture signifies a unique case, as different types of media (be those textual, auditive, visual or audio-visual) are tightly intertwined through the “recycling” of successful characters and stories. As a result, a neatly woven net of intermedial adaptations has been formed - the core of this complex system being the manga-anime-live-action film “adaptational triangle.” On the one hand, the paper addresses the interplay of the various factors by which the very existence of this network is made possible, such as the distinctive cultural attitude to “originality,” the structure of the comics, animation and film industries, and finally, the role of fictitious genealogies of both traditional and contemporary media in the negotiation of national identity. On the other hand, the essay also considers some of the most significant thematic, narrative, and stylistic effects this close interconnectedness has on the individual medium. Special attention is being paid to the nascent trend of merging the adaptive medium with that of the original story (viewing adaptation as integration), apparent in contemporary manga-based live- action comedies, as the extreme case of intermedial adaptation. That is, when the aim of the adaptational process is no longer the transposition of the story but the adaptation (i.e. the incorporation) of the medium itself- elevating certain medium-specific devices into transmedial phenomena.
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Kunin, Alexander I. "Popularization of Graphic Novels in Russia and the Role of the Russian State Library for Young Adults in Formation of Loyal Library Environment." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 6 (February 8, 2021): 610–19. http://dx.doi.org/10.25281/0869-608x-2020-69-6-610-619.
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The article presents the attempt to generalize the experience of working with graphic novels (comics, manga, etc.) available in the domestic book sector. The author considers the main stages of development in the historical perspective of forms and methods of popularization and distribution of graphic novels in Russia. At the first stage, formation of the segment of graphic novels in Russia was associated with the development of the festival movement. At the second stage — with the publishing boom and distribution of publications. Later — with work with a reader of graphic novels in libraries. Development of the festival movement was carried out due to the interest, first, in Japanese cartoons (anime) and Japnese graphic novels (manga), and secondly, in American comics and European graphic novels.The author presents the festival movement in the context of the main directions: anime festivals and comics festivals (with special emphasis on the work of the ‘KomMissia’ [ComMission] festival). The article gives general characteristics of these types of festivals and reveals the degree of their involvement in the processes of forming the readership and professional environment at a certain evolutionary stage.Bookstores and public libraries are the traditional operators of book dissemination and popularization of knowledge. The author explains why the integration of graphic novels into these spaces was delayed. The article notes the importance of reader communities in social networks in creating alternative channels for selling the products of publishers of graphic novels. In 2010, the Russian State Library for Young Adults (RSLYA) established the Centre for comics and visual culture, collecting graphic novels and providing methodological assistance to libraries that use graphic novels in their work. At present, it is the Centre for graphic novels and images that provides comprehensive support to libraries. The author highlights the role of the RSLYA as a methodological centre for library services to young people in the formation of loyalty to the new phenomenon among Russian library professionals. Based on the studied processes, the article gives characteristics of graphic novels as a new segment of the Russian book market with its inherent features of positioning in the reader’s environment.
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Robertson, Wesley C. "He's more katakana than kanji: Indexing identity and self‐presentation through script selection in Japanese manga (comics)." Journal of Sociolinguistics 21, no. 4 (September 2017): 497–520. http://dx.doi.org/10.1111/josl.12246.
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García Aranda, Oscar. "Representations of Europe in Japanese anime: An overview of case studies and theoretical frameworks." Mutual Images Journal, no. 8 (June 20, 2020): 47–84. http://dx.doi.org/10.32926/2020.8.ara.europ.
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Europe, as a cluster of cultural elements related to nations, cities, and historical periods, has experienced different representations and recreations in Japanese animated series and films (anime) in the form of European (or European-like) settings. The following article discusses the creation, aesthetic appeal, and uses of these contents. First, tracing a theoretical retrospective that displays the different concepts and conceptions used to understand these contents, to then focus our study in reviewing the European settings of some of the main anime productions that contain this kind of contents: the 1970s shōjo manga and anime series (comics and tv anime series addressed to girls), the Nippon Animation-originated so-called “Meisaku” group of series, and more “singular” cases, such as Miyazaki Hayao’s films. The review carried out shows the use of different sources and intense fieldwork by Japanese creators to recreate particular visions of European (or European-like) settings and the narrative and communicative strategies or even commercial implications of these settings according to the genre, demographics, and media specificity of each project.
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Spiker, Christina. "Indigenous Shôjo." Journal of Anime and Manga Studies 1 (October 11, 2020): 138–68. http://dx.doi.org/10.21900/j.jams.v1.502.
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Little scholarly attention has been given to the visual representations of the Ainu people in popular culture, even though media images have a significant role in forging stereotypes of indigeneity. This article investigates the role of representation in creating an accessible version of indigenous culture repackaged for Japanese audiences. Before the recent mainstream success of manga/anime Golden Kamuy (2014–), two female heroines from the arcade fighting game Samurai Spirits (Samurai supirittsu)—Nakoruru and her sister Rimururu—formed a dominant expression of Ainu identity in visual culture beginning in the mid-1990s. Working through the in-game representation of Nakoruru in addition to her larger mediation in the anime media mix, this article explores the tensions embodied in her character. While Nakoruru is framed as indigenous, her body is simultaneously represented in the visual language of the Japanese shôjo, or “young girl.” This duality to her fetishized image cannot be reconciled and is critical to creating a version of indigenous femininity that Japanese audiences could easily consume. This paper historicizes various representations of indigenous Otherness against the backdrop of Japanese racism and indigenous activism in the late 1990s and early 2000s by analyzing Nakoruru’s official representation in the game franchise, including her appearance in a 2001 OVA, alongside fan interpretations of these characters in self-published comics (dôjinshi) criticized by Ainu scholar Chupuchisekor.
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Kornilova, Lyudmila Evgen'evna, and Anastasiya Evgen'evna Kosyakova. "Specificity of Translating the Japanese Forms of Address and Name Suffixes into German (by the Material of Manga Comics)." Filologičeskie nauki. Voprosy teorii i praktiki, no. 4 (April 2020): 59–63. http://dx.doi.org/10.30853/filnauki.2020.4.12.
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Kim, Hyeshin. "Women's Games in Japan." Theory, Culture & Society 26, no. 2-3 (March 2009): 165–88. http://dx.doi.org/10.1177/0263276409103132.
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Women's games refers to a category of games developed and marketed exclusively for the consumption of women and girls in the Japanese gaming industry. Essentially gender-specific games comparable to the `games for girls' proposed by the girls' game movement in the USA, Japanese women's games are significant for their history, influence and function as a site for female gamers to play out various female identities and romantic fantasies within diverse generic structures. This article will first review previous research and literature on women and gaming, analyze the key issues raised in the discourse concerning femininity and electronic games, outline the history and development of women's games, explain how multiple factors contributed to the appeal of women's games by analyzing the games Angelique and Harukanaru Tokino Nakade3 and, lastly, discuss the meaning and significance of women's games in the larger context of women and gaming. The 1994 game Angelique succeeded in establishing a loyal and close-knit fan base by actively utilizing popular female culture such as shoujo manga (girls' comics) and the fan base for voice actors. Angelique also set up the specifics and conventions of women's games: a focus on romance, easy controls and utilizing other multimedia. In 2004, Harukanaru Tokino Nakade3 deconstructed the genre and gender conventions of women's games and shoujo manga, while developing a new type of feminine identity and narrative. Women's games indicate that genderspecific games can be more than educational tools to familiarize girls with technology or perpetuate stereotypes; they can be a significant extension of female culture into the realm of gaming, and contribute to the development of women's culture and the diversification of the gaming industry.
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Dennis, Mark. "Serious Texts in Funny Places." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 7, no. 1 (January 13, 2014): 59–85. http://dx.doi.org/10.1558/post.v7i1.59.
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This article examines three canonical Buddhist texts attributed to Japan’s Prince Shōtoku (574–622 CE) through the lens of a non-traditional medium: the Japanese manga, or comic book. It does so as a way to expand the range of serious academic inquiry beyond the many highly technical studies that have understood these texts mainly as vehicles for transmitting the original meaning of the prince. While the manga, as a quintessentially consumerist genre, may seem an unusual subject for the study of serious religious texts, Tessa Morris-Suzuki argues that this medium has, in fact, “reached a huge audience and had a profound effect on the historical imagination of Japan’s postwar generations,” shaping, she believes, the Japanese public’s understanding of its history to the same degree as historical textbooks. This article takes the manga seriously as a medium for transmitting important “non-exegetical” meaning about these texts that are part of a living textual tradition.
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Nurlatifah, Yeni, and Kankan Kasmana. "Expression Analysis of Big Mom Characters in One Piece Comic 89 (Badend Musical)." ARTic 3, no. 1 (December 15, 2020): 231–38. http://dx.doi.org/10.34010/artic.v3i1.4378.
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One Piece comics are about the world of pirates, and are the best-selling comics in history. Like most comics, One Piece comics consist of protagonist and antagonist. The depiction of One Piece comics is the same as the usual depiction of Japanese comics, namely using Mango style with narrative content and the use of black and white. Depictions of moments, image details and character expressions become important in black and white comics to bring the narrative to life. For character portrayals, comics look for alternatives to emphasize expression in their comic images. This research focuses on the analysis of one of the most antagonists in the one piece comic is Big Mom. This study aims to find out the characteristics of visualizing the expression of Big Mom characters in One Piece comics using visual language by means of wimba 4 (depiction). The research method used is Bahasa Rupa by classifying images of Big Mom's expression through a form language method. The results of the analysis showed a depiction of expression, using a detailed draw of lines on the eyes, eyebrows, nose and mouth. The way it is portrayed in Big Mom's expressions uses expressive depictions, distortions and lines. Expressive depictions use thick lines that give a wrinkle effect on the forehead, eyes, nose and around the mouth. Depiction of enlarged distortion, used on parts of the eyes, nose, mouth and teeth. The depiction of the line is used as a shadow and effect so that the antagonistic expression of Big Mom feels sharp.
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Canário, Tiago. "On the problem of defining manga: A study about the influence of Taoism and Zen Buddhism on manga aesthetics." ALTERNATIVE FRANCOPHONE 1, no. 10 (September 22, 2016): 81–99. http://dx.doi.org/10.29173/af28220.
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Since the expansion of Japanese comic books throughout western countries, the so-called “manga style” has get attention from audiences and theorists. But how can we identify such Japaneseness? Trying to fulfill readers` interests, books have been published under the how-to-draw-manga label, usually highlighting the visual composition of characters, from clothes to facial expressions to hairstyle. From the academic perspective, particularities of page layout have been also considered since Pierre Fresnault-Deruelle`s idea of tabularity. Such structuralist perspective is also echoed by contemporary scholars such as Benoît Peeters and Thierry Groensteen. Investigations on what is called the “grammar of mangas” were also proposed by Neil Cohn or Scott McCloud (or at least based on his contributions). But what are they referring to by “manga”? Artists from all around the world translate mangas into transnational experiences. This study proposes a wider understanding of the manga narrative style and its particular aesthetic influence on readers. The study focuses on the Asian philosophies of Tao and Buddhism, identifying how their ideals are articulated to promote reader’s immersion in the narrative. The article investigates the visual representations of the Taoist idea of vacuum and the Zen idea of trivia, which characterize the visual and narrative fluidity of manga – especially those whose stories are based on everyday life.
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Steiner, Evgeny S. "Hokusai Manga: Contextualisation of Its Title and Genre." Observatory of Culture, no. 2 (April 28, 2014): 68–77. http://dx.doi.org/10.25281/2072-3156-2014-0-2-68-77.
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Is devoted to Manga as the biggest and the bestknown work of Hokusai (北斎, 1760-1849). The paper discusses the phenomenon of Hokusai Manga and its place in the context of Japanese picture books. Was it a drawing manual or comic cartoons or perhaps a pictorial encyclopedia? What are the historical meanings and etymology of the word manga and its littleunderstood supraheading “Denshin Kaishu”?
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Kariko, Abdul Aziz Turhan. "Eyeshield 21: Manga, Identitas, dan Perkembangan Olah Raga di Jepang." Humaniora 1, no. 1 (April 30, 2010): 150. http://dx.doi.org/10.21512/humaniora.v1i1.2158.
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Article presents manga and its development related to sport in Japan. This effort brings financial advantages because the society likes and makes it into national identity. Presentation begins with manga history, manga sport, dan Eyeshield 21. It is concluded that Eyeshield 21 has a positive impact for Japanese society because that comic teaches the importance of teamwork, overcoming obstacles, and achieving life goals; Japan has succeeded to develop manga into their own cultural contact that implies in their national identity, that is Manga Eyeshield 21.
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Chow, Yean Fun, Haslina Haroon, and Hasuria Che Omar. "Reaching out to the readers: The translation of Japanese manga in Malaysia." Indonesian Journal of Applied Linguistics 10, no. 2 (October 18, 2020): 538–50. http://dx.doi.org/10.17509/ijal.v10i2.28605.
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One of the most recognisable aspects of Japanese pop culture which has invaded Malaysia is the Japanese comic or manga. It appears in translation in both Malay and English in Malaysia. Taking into account its foreign origin and the fact that translated manga is targeted at a local readership, translators often resort to the use of notes in the translations in order to assist the readers. This study, thus, intends to examine the type of notes used in the Malay and English translations of Japanese manga, and to determine items in the Japanese manga which required clarification and for which notes are provided. To analyse the use of notes by the translator in the translated manga, this study adopts a qualitative content analysis approach. The analysis involves six Japanese manga and their corresponding translations in Malay and English. The findings show that the translators employ the use of three different types of notes in the translation: notes on the image, notes in the gutter and notes at the end of the text. The analysis also shows that the elements in the Japanese manga which require clarification in translation are giongo/gitaigo, inscriptions, culture-specific elements, wordplay, technical terms and honorifics. There is also a minor difference between the Malay and English translations where the use of notes is concerned. Based on the findings, it is concluded that notes are important in translated versions of the manga in Malaysia in that they provide assistance to readers in understanding certain aspects of the manga.
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Saifudin, Akhmad. "Penggunaan Manga Humor dalam Pembelajaran Bahasa dan Penelitian Bahasa Jepang." JAPANEDU: Jurnal Pendidikan dan Pengajaran Bahasa Jepang 2, no. 2 (December 2, 2017): 99. http://dx.doi.org/10.17509/japanedu.v2i2.8711.
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Tujuan penelitian ini adalah untuk mengeksplorasi berbagai cara dan manfaat penggunaan manga humor dalam pembelajaran dan penelitian bahasa Jepang. Manga yang digunakan dalam studi ini adalah manga humor komik strip. Studi dilakukan dengan cara memberikan tugas kepada mahasiswa untuk membaca dan mengamati satu cerita manga. Mahasiswa diminta untuk menjelaskan karakter manga dan fenomena bahasa apa yang terdapat cerita manga. Hasil observasi terhadap manga kemudian didiskusikan di kelas untuk menentukan apa fenomena bahasa yang dapat dipelajari dari manga dan bagaimana cara mempelajarinya. Hasil studi ini menemukan bahwa di dalam manga humor terdapat banyak hal menarik yang dapat dipelajari. Manga juga dapat dijadikan media pembelajaran efektif dan membangkitkan minat serta motivasi pemelajar, baik dalam pembelajaran bahasa Jepang maupun penelitian bahasa Jepang. Dalam hal pembelajaran bahasa, media manga humor dapat dijadikan media interaktif yang dapat meningkatkan empat keterampilan berbahasa dan dalam pembelajaran penelitian bahasa Jepang, media manga humor berperan dalam memunculkan ide serta memberikan gambaran bagaimana penelitian tentang bahasa Jepang dilakukan dengan melihat fenomena linguistik yang ada pada manga. The purpose of this study is to explore various ways and benefits of using the manga humor in Japanese language learning and research. The manga used in this study is comic strip manga humor. The study was conducted by giving the task to the students to read and observe one manga story. The students were asked to explain the characters of manga and to explain the language phenomena contained in the manga story. The results of the observations on the manga were then discussed in the classroom to determine what language phenomena can be learned from the manga and how to learn them. The results of this study found that in the manga humor there are many interesting things that can be learned. Manga can also be used as effective learning media and to generate interest and motivation of learners, both in Japanese learning and Japanese language research. In terms of language learning, manga humor can be an interactive medium that can improve the four language skills and in learning Japanese language research, manga humor play an important role in bringing the idea and provide an overview of how research on Japanese language is done by looking at the linguistic phenomena that exist in the manga.
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Krebs, Stefan. "On the Anticipation of Ethical Conflicts between Humans and Robots in Japanese Mangas." International Review of Information Ethics 6 (December 1, 2006): 63–68. http://dx.doi.org/10.29173/irie141.
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The following contribution examines the influence of mangas and animes on the social perception and cultural understanding of robots in Japan. Part of it is the narrow interaction between pop culture and Japanese robotics: Some examples shall serve to illustrate spill-over effects between popular robot stories and the recent development of robot technologies in Japan. The example of the famous Astro boy comics will be used to help investigate the ethical conflicts between humans and robots thematised in Japanese mangas. With a view to ethical problems the stories shall be subsumed under different categorical aspects.
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Dewi, Putri Andam. "Komunitas Fujoshi Di Kalangan Perempuan Indonesia." Lingua Cultura 6, no. 2 (November 30, 2012): 173. http://dx.doi.org/10.21512/lc.v6i2.404.
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This article discusses fan community of the Boys Love (BL) manga among young women in Indonesia. BL manga tells a romance between fellow men. BL manga is a sub genre of shojo manga, the manga for girls and women readers in Japan. BL manga belongs to the genre for female readers because the comic artist is a woman. Both in Japan and outside Japan, the development of BL manga receives much attention from many researchers and observers of Japanese study. Using cultural-study perspective, they examine the phenomenon of BL manga and fujoshi community formed by BL fandom. This study discusses the formation of BL manga fandom community by linking the construction of gender identity using a cultural-study perspective and gender performativity concept by Judith Butler. By using Judith Butler's concept of gender performativity we can see why and how the Indonesian female teens construct their gender identity through fandom of BL manga.