Dissertations / Theses on the topic 'Otakus'

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Universidade Federal de Minas Gerais
The interest by the outbreak of a group of people that are admirers of the Japanese pop culture - especially by the comic books (mangas) and the cartoons (animes) is what led me to the developing of this research, in which my goal is to understand the logic of the sociability among the consumers of these medias, through the use of some very important anthropological concepts, such as the sociability, the cultural consume and life style. To do so, I started a study that began at the mangas and animes conventions, where the otakus meet to participate in contests and workshops, as well as to watch the animes and musical presentations, and also to discuss their own stories. Beyond the merely social nature, these conventions have eventually became the first step to those who wish to enter the pop culture universe, besides being a way of assertion of a specific juvenile condition to those who are already a part of it.
O interesse pelo surgimento de um grupo aficionado pela cultura pop japonesa especialmente pelas histórias em quadrinhos (mangás) e pelos desenhos animados (animes) , me levou ao desenvolvimento dessa pesquisa na qual busco compreender a lógica da sociabilidade existente entre os consumidores dessas mídias tangenciando alguns conceitos caros à antropologia, tais como a sociabilidade, bem como o consumo cultural e o estilo de vida. Para tanto dei início a uma etnografia que teve como ponto de partida as convenções de mangás e animes, nas quais os otakus se encontram para participar de concursos, oficinas, para assistirem aos animes e apresentações musicais e trocarem experiências. Para além do caráter puramente comercial, essas convenções acabaram se tornando espaços de iniciação para aqueles que desejam ingressar neste universo de cultura pop, além de serem espaço de afirmação de uma dada condição juvenil para aqueles que já fazem parte dele.

Tesis de licenciatura en turismo
Actualmente, se conocen una gran variedad de mezclas culturales entre los cuales se encuentran los procesos de producción en alimentos industrializados, lo que permite percibir el fenómeno de la hibridación en la aceptación y cambios de conducta respecto a los patrones de alimentación en los jóvenes (Vera et al., 2014). También Valenzuela (2012) menciona que, a través de las nuevas tecnologías de la información, en las que ni siquiera los grupos más apartados se salvan por poner un ejemplo, la identidad de grupos étnicos se ve trastocada por el influjo de la cultura de consumo. Como en el caso de “Mare advertencia Lirika”, una mujer oaxaqueña de origen zapoteco que encontró en el género del Hip-Hop, una forma de expresar sus ideas que, por supuesto, son expresiones culturales híbridas. Estos son algunos casos de procesos de hibridación cultural. De este modo, la cultura otaku también es resultado de la apropiación y adaptación por la comunidad consumidora de productos generados en Japón. Como el anime que son producciones de animación japonesa y el manga mejor conocido como el cómic Japón en donde mayormente se han basan las creaciones animadas y que han sido bien recibidas por los fans de todo el mundo, lo que ha generado también movimientos turísticos, impactando en eventos masivos de aficionados. Las convenciones de anime y manga se han realizado en diferentes partes de mundo, de manera específicamente en la Ciudad de México se llevan efectuando desde el año de 1990, convocando a gran número de aficionados que mayoritariamente se denominan otakus. En este presente trabajo se plantea conocer las condiciones necesarias para generar un evento otaku como detonante de visitantes en el municipio de Chimalhuacán. De las cuales, las variantes de estudio para determinar las condiciones de un evento son; los jóvenes otakus, las áreas culturales administrativas y la gestión para la realización de eventos especiales, en este caso dedicados al anime y manga en el municipio de Chimalhuacán. Con el propósito de generar una convivencia para la población que forma parte del interés cultural otaku, en este sentido la propuesta aquí reflejada como una opción viable es la realización de un evento cultural en Chimalhuacán, para la población que esté interesada en asistir. En el caso de la comunidad otaku que ha asistido a convenciones, estos eventos de gran magnitud son del gusto y disfrute. Comprender que los procesos de la gestión cultural se adaptan a todo tipo de interés, como en este caso, intereses propios de una comunidad como el anime y el manga que son elementos también a considerar en el ámbito turístico de eventos culturales.

FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
Esta pesquisa teve como meta analisar questÃes relacionadas a mudanÃas na cultura de consumo contemporÃnea decorrentes da interaÃÃo entre agentes sociais e novas mÃdias eletrÃnicas nos moldes da World Wide Web Tal interaÃÃo resultou na crescente autonomia do agente perante os emissores oficiais de produtos e informaÃÃo Constatou-se que redes de consumidores organizadas em subculturas tÃm criado canais nÃo oficiais de compartilhamento de mensagens burlando barreiras legais e territoriais Este fenÃmeno foi observado na subcultura de consumo conhecida como otaku de origem japonesa O termo designa indivÃduos aficionados em animes e mangÃs animaÃÃes e quadrinhos japoneses respectivamente O otakismo à um movimento inerente a globalizaÃÃo cultural e retrata uma forte ligaÃÃo das novas tecnologias digitais com uma juventude pÃs-dÃcada de 1980 mais individualista e mais independe dos meios de comunicaÃÃes oficiais O crescimento do otakismo pÃde ser observado na cidade de Fortaleza onde ocorre todos os anos uma das maiores convenÃÃes de animes do Brasil a Super Amostra Nacional de Animes (SANA) com um nÃmero cada vez maior de freqÃentadores Os mÃtodos de anÃlise foram qualitativos e quantitativos com enquete exploratÃria na ocasiÃo da SANA entrevistas nÃo-estruturadas e etnografia em ambientes virtuais direcionada para a descoberta da natureza das relaÃÃes sociais nestas novas mÃdias multidirecionais (todos os envolvidos sÃo emissores receptores e produtores ao mesmo tempo) Concluiu-se que a subcultura otaku vem adaptando as novas tecnologias digitais particularmente a Internet para seus propÃsitos de consumo e para a ampliaÃÃo das possibilidades de relacionamento interpessoal
This research aimed to analyze the subjects related to social changes in the contemporary consumption culture due to interaction between social players and new electronic medias according to World Wide Web This interaction comes from the social playerâs growing autonomy against the authorized issuer of product and information Iâve founded that consumer networks structured by subcultures have created unauthorized channels of sharing of messages circumventing the law This phenomenon was observed in a consumption subculture known as otaku whose origin is Japanese This term means an enthusiast of Japanese animes mangas cartoon and comics The otakism is a movement intrinsic to culture globalization and it looks at a powerful connection between new digital technologies and post-1980s youth that is more individualistic and more independent of authorized medias The growth of otakism could be observed in Fortaleza a city that hosts every year one of the biggest anime convention in Brazil called Super Amostra Nacional de Animes (SANA) Its numbers of visitors grows years after years The qualitative and quantitative methods of analyze were used in this research including exploratory poll in SANA event non-structured interviews and ethnography in virtual ambients The last one was designed to understand the quality of social relations in the multidirectional new medias where all players are issuers receptors and creators at the same time The research discovered that otaku subculture has been adapting the new digital technologies particularly the Internet for its consumption purposes and expansion of the possibilities of interpersonal relationships

CAVALCANTE, João Paulo Braga. Conexões entre o mundo on-line e a vida off-line: otakus e cultura de consumo na era da internet. 2008. 153 f. Dissertação (Mestrado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2008.
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This research aimed to analyze the subjects related to social changes in the contemporary consumption culture due to interaction between social players and new electronic medias according to World Wide Web This interaction comes from the social player’s growing autonomy against the authorized issuer of product and information I’ve founded that consumer networks structured by subcultures have created unauthorized channels of sharing of messages circumventing the law This phenomenon was observed in a consumption subculture known as otaku whose origin is Japanese This term means an enthusiast of Japanese animes mangas cartoon and comics The otakism is a movement intrinsic to culture globalization and it looks at a powerful connection between new digital technologies and post-1980s youth that is more individualistic and more independent of authorized medias The growth of otakism could be observed in Fortaleza a city that hosts every year one of the biggest anime convention in Brazil called Super Amostra Nacional de Animes (SANA) Its numbers of visitors grows years after years The qualitative and quantitative methods of analyze were used in this research including exploratory poll in SANA event non-structured interviews and ethnography in virtual ambients The last one was designed to understand the quality of social relations in the multidirectional new medias where all players are issuers receptors and creators at the same time The research discovered that otaku subculture has been adapting the new digital technologies particularly the Internet for its consumption purposes and expansion of the possibilities of interpersonal relationships
Esta pesquisa teve como meta analisar questões relacionadas a mudanças na cultura de consumo contemporânea decorrentes da interação entre agentes sociais e novas mídias eletrônicas nos moldes da World Wide Web Tal interação resultou na crescente autonomia do agente perante os emissores oficiais de produtos e informação Constatou-se que redes de consumidores organizadas em subculturas têm criado canais não oficiais de compartilhamento de mensagens burlando barreiras legais e territoriais Este fenômeno foi observado na subcultura de consumo conhecida como otaku de origem japonesa O termo designa indivíduos aficionados em animes e mangás animações e quadrinhos japoneses respectivamente O otakismo é um movimento inerente a globalização cultural e retrata uma forte ligação das novas tecnologias digitais com uma juventude pós-década de 1980 mais individualista e mais independe dos meios de comunicações oficiais O crescimento do otakismo pôde ser observado na cidade de Fortaleza onde ocorre todos os anos uma das maiores convenções de animes do Brasil a Super Amostra Nacional de Animes (SANA) com um número cada vez maior de freqüentadores Os métodos de análise foram qualitativos e quantitativos com enquete exploratória na ocasião da SANA entrevistas não-estruturadas e etnografia em ambientes virtuais direcionada para a descoberta da natureza das relações sociais nestas novas mídias multidirecionais (todos os envolvidos são emissores receptores e produtores ao mesmo tempo) Concluiu-se que a subcultura otaku vem adaptando as novas tecnologias digitais particularmente a Internet para seus propósitos de consumo e para a ampliação das possibilidades de relacionamento interpessoal

No Japão, o fenômeno otaku se popularizou no final dos anos 1980 por causa do assassino em série Tsutomu Miyazaki. A mídia japonesa rapidamente o identificou como um otaku, uma pessoa obcecada pela indústria do entretenimento, e nos anos 1990 o indivíduo otaku ficou conhecido como um grande problema social. Contudo, nos anos 2000, o governo japonês colocou em prática seu plano político Cool Japan, que promovia a divulgação da cultura pop japonesa ao mundo. O indivíduo otaku, sendo um grande consumidor de cultura pop japonesa, deixou de ser considerado um problema para se tornar parte de uma solução política. O fenômeno otaku foi pesquisado com o objetivo de descobrir como essa transformação ocorreu. Para isso, foi necessário pesquisar: a origem do indivíduo otaku; sua relação com sociedade; e a teoria filosófica de Hiroki Azuma sobre a relação entre os consumidores japoneses e a cultura pop japonesa. Foi possível afirmar que a imagem do indivíduo otaku melhorou porque a sociedade japonesa mudou sua relação de consumo com os produtos culturais. Assim como os indivíduos otaku, a sociedade japonesa passou a consumir não pelo produto em si, mas pelas configurações que possui em suas imagens japonesas. Não houve evidências o suficiente para afirmar, mas no final houve a suposição de que talvez a imagem do indivíduo otaku tenha melhorado porque a sociedade japonesa esteja se tornando otaku.
In Japan, the otaku phenomenon became popular in the late 1980s because of the serial killer Tsutomu Miyazaki. Japanese media identified him quickly as an otaku, a person obsessed with the entertainment industry, and in the 1990s the otaku became known as a major social problem. However, in 2004, the Japanese government started its political plan named Cool Japan, which promoted the dissemination of Japanese pop culture to the world. Being a major consumer of Japanese pop culture, the otaku was no longer considered a problem, but became part of a political solution. The otaku phenomenon has been investigated in order to find out how this transformation occurred. Thereunto, it has been researched: the otakus origin; his relationship with society; and the philosophical theory of Hiroki Azuma on the relationship between Japanese consumers and the Japanese pop culture. It was possible to state that the otakus image improved because Japanese society changed its consumer relationship with cultural products. As well as those considered otaku, Japanese society began to consume not because of the product itself, but because of its settings in Japanese images. There was not enough evidence to affirm, but in the end there was the assumption that perhaps the otakus image has improved because Japanese society itself is becoming otaku.

Bakalauro baigiamajame darbe nagrinėjamas otaku kultūros tapatumo formavimas Šiaulių Japonijos kultūros entuziastų klube „Yorokonde“. Darbą sudaro dvi dalys: teorinė ir praktinė. Teorinėje dalyje analizuojamos įvairių autorių tapatumo teorijos, kalbančios apie savikonstrukciją ar socialiai sukonstruojamą asmenį. Taip pat nagrinėjami skirtingi požiūriai į popkultūrą. Empirinėje dalyje rekonstruojama Japonijos kultūros plitimo chronologija, aiškinamasi otaku sąvokos problematika ir reikšmė. Analizuojamas otaku tapatumas ir jo formavimas per otaku veiklą. Išskiriama anime ir mangos svarba susidomėjimui Japonijos kultūra, iš to kylančios naujos kategorijos. Aiškinamasi kas yra cosplay bei kaip tai siejasi su pankiškosiomis „Do-it-yourself“ idėjomis. Nagrinėjamas homoseksualių mangų žanras yaoi, bei japonų kalbos įterpimas otaku kalboje.
The Bachelor‘s thesis analyses otaku cultural identity formation in Šiauliai Japanese culture enthusiasts club „Yorokonde“. The work consists of two parts, theoretical and practical. The theoretical part analyses the various authors talking about identity theories of self construction or socially constructed person. It also examines different approaches to the pop culture. In the empirical part Japanese culture spreading chronology is reconstructed. The concept of otaku term issues and implications is examined. Otaku identity and its formation through the activities of the otaku is analysed. Anime and manga importance to the interest of Japanese culture is extracted in the work.Examined relation between punk „Do-it-yourself“ ideas and cosplay, and also what cosplay is. Examined homosexual manga genre yaoi, and Japanese language usage in otaku speech.

Os personagens centrais desta pesquisa são os otakus, que podem ser descritos como fãs aficionados por mangás e animes, que passam boa parte de seu tempo entretidos com estes elementos (além de alguns outros) da cultura pop japonesa, vínculo este que exerce influência sobre sua visão de mundo e sobre o modo como agem em seu cotidiano. O foco central da pesquisa será a busca pela compreensão da relação existente entre ficção e realidade. Parto da ideia de que a ficção não é um simples produto do contexto sociocultural no qual é produzida: de fato é fruto deste contexto, porém na medida em que apresenta uma leitura, um modo de ver que extrapola os limites da realidade, ela pode ser vista como um agente ativo, transformador, como um agente que estimula a construção de novas percepções sobre o mundo que nos cerca.
The central characters of this research are the otakus, who can be described as fans of mangá and anime, who spend much of their time entertained with these (and some others) elements of Japanese pop culture, a linkage that influences their worldview and the way they act in their daily lives. The central focus of the research is the quest for understanding the relationship between fiction and reality. My assumption is the idea that fiction is not simply a product of the sociocultural context in which it is produced: in fact it is a product of this context, but as it is a way of reading, a way of seeing, which goes beyond the limits of reality, fiction may be thought of as an active agent, transformer, an agent that stimulates the construction of new insights about the world around us.

Compared to other online communities, relatively little is written academically about 4chan. This is likely because of the widespread use of politically incorrect language and images, the ephemerality of its content and its generally negative reputation. 4chan is a “image-based bulletin board where anyone can post comments and share images” related to a subject (4chan FAQ). When many hear 4chan, what often comes to mind is a dangerous website full of malicious internet trolls and hackers. While its undeniable that malicious internet trolls and hackers do frequent the site, journalists including those from Fox News, The Washington Post, The Guardian, and so on, assume an association between 4chan headline events and the general 4chan population (Dewey 2014; Fox 2009; Smith 2008). This ‘dangerous place’ has created or popularized numerous memes, or cultural genes, that many enjoy, such as Advice Animals, LolCats and RickRolling (Dawkins 1990; Smith 2008). The purpose of this paper is to expand the understanding of 4chan's culture and examine the usefulness of the moe anthropormophizations (a cute personification of a non-human thing) of 4chan’s boards, the Board-tans, to understanding each board’s culture and 4chan’s larger culture. The paper aims to shed light on the often misinterpreted internet cultural juggernaut that is 4chan.org, specifically identifying aspects about its cultural identity, and methods of communication.

Au Japon, le terme otaku désigne toute personne ayant un intérêt prononcé pour les produits de la culture populaire, en particulier les médias de divertissement comme la bande dessinée, le dessin animé, les jeux vidéo et leurs produits dérivés (figurines, modèles, costumes, etc.). Absorbé par son loisir et censément incapable de distinguer la réalité de la fiction, l’otaku est vu comme un sujet improductif et socialement inadapté voire dangereux. Cette étude a pour objectif de cerner les composantes du stéréotype façonné par le discours de presse et de les confronter aux représentations qu’en donne le milieu otaku à partir du film Otaku no Video (1992) explicitement réalisé pour rectifier cette image. Le film est composé de deux volets dialogiquement imbriqués l’un dans l’autre : d’une part, un dessin animé relatant le parcours d’un jeune Japonais qui devient otaku, récit initiatique fondé sur le vécu personnel et professionnel de ses auteurs; d’autre part, une série de dix « portraits » d’otaku sous forme d’entrevues en prises de vues réelles mais fictives. Le premier chapitre de l’étude explore l’origine et les formes de l’« étiquetage » (Becker, Kam) ainsi que les fondements de l’ostracisme qui frappe les otaku à cause de leur attrait pour l’« imaginaire » aux dépens du « fonctionnalisme institutionnel » (Castoriadis), ce par quoi on peut les considérer comme sujets postmodernes, producteurs et consommateurs de « simulacres » (Baudrillard, Azuma). Consacré au volet animé, le deuxième chapitre analyse les procédés narratifs utilisés pour déconstruire les représentations publiques stéréotypées et interroge les enjeux de ce contre-discours : que signifie la confrontation de deux figures masculines dont celle de l’otaku opposée à l’idéal japonais de l’homme productif et dévoué au bien commun? Le troisième chapitre cherche à éclairer le paradoxe des entrevues qui jouent avec humour sur la désinformation propagée dans la presse tout en expliquant les aspects inconnus ou moins connus de l’otakisme, phénomène aujourd’hui transnational et positivement connoté hors de son milieu d’origine.

The theme of the song Lonely Woman by Ornette Coleman and the song It’s Halloween by The Shaggs has something in common when it comes to how the different instruments relate rhythmically to each other. I would call it a musical quality that could be described as a feeling of ungraspability. I had this quality in focus during a process of listening to music, writing music and playing music. To describe the cause of this quality I felt the need to define two concepts I named 1) rubato structures; rhythmic structures that aren’t based on, nor establish a steady pulse, and 2) tempo structures; rhythmic structures that are based on and establishes a steady pulse. Throughout the project I identified the cause of the quality, to be combinations of rubato structures and tempo structures, however my understanding developed during the project to a more specific definition which was layers of rubato structures and tempo structures. In the 6 compositions that this project resulted in, I created a number of musical situations with my group, which all had these elements. When listed, these situations rather systematically go through ways of combining structures in regards to different parameters. When listened to, at least for me, several of them give rise to the feeling of ungraspability I had in focus. My attempts to describe and analyze the many inspiring examples stretching from Charles Ives to Swedish contemporary vocal folk music, helped me to develope tools for making music of my own, rather than resulting in some objective truth, or a system for describing and analyzing music that would work objectively. One thing I would consider objectively true, however, is that there are a lot of different ways of creating rhythmic complexity, where some ways are very tedious and difficult for the musicians. With rhythmic layers of rather simple structures, containing rubato structures, I can create rhythmic complexity beyond the quantifiable, just by putting the human impulses in control. Takt in Swedish could mean many things, such as beat, meter, bar, measure. Otakt is often used as a negative word to describe a failed attempt to play in time, but is also linguistically the negation of takt (thus meaning no beat, no meter, no bar, no measure). Takt och (and) Otakt is therefor a play with words, since otakt relates to things in this study that is embraced rather than avoided.

Bilaga: CD

The topic of this master´s disertation is Otakar Sevcik, violin teacher. The disertation is divided into six chapters. The first chapter is dedicated to life of Otakar Sevcik. This chapter is divided to five smaller subchapters. The second chapter is about Sevcik´s life in Pisek. The third chapter is dedicated to Sevcik´s violin method. There are his famous students in chapter four. The fifth chapter is about his work summary. The sixth chapter is about his opus 3.

This project explores my relationship with elements of Japanese culture. Central to the project will be the Japanese practice of cosplay (dressing in costume), otaku (geek) subculture and their influences in the worlds of Japanese manga comic books and animated films. It will focus on the importance of kawaii (cute) in Japanese culture. The artworks will explore notions of identity and the ‘space between’. I shall do this through the gathering of Japanese objects which will be fused with my own image. I shall use photography, print and digital manipulation finishing in a sculptural installation referencing pop culture and commercial display. This project will constitute 80% practical work to be presented in a final exhibition piece accompanied by 20% written exegesis.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The objective of this thesis is to analyze the behavior of the Brazilian otakus and how they imagine and translate their obsession with the Japanese culture. As an empirical object we chose the manga created by Brazilians and some otaku communities reunited in social networks and pop culture events. The hypothesis is that in the translation of the otaku culture and its media products, rather than a language search that could generate, for example, a "mongrel manga", is the mimesis and the assimilation of a behavior and a way of life which, in the Brazilian version, becomes quite unique and, not rarely, distant from some stereotypes generated by the Japanese themselves. In this regard, we observe that the Brazilian otakus have nothing to do with the image of the introspective otakus that marked the beginning of the movement in Japan. The theoretical fundation was based on foreign (e.g. Azuma and LaMarre) and Brazilian (e.g. Luyten, Nunes and Almeida) bibliographies that analyzed the phenomenon. In methodological terms, the research was also extended to the social networks, which constitute the major means of communication of the otakus, as well as to places of concentration of these groups such as the Liberdade neighborhood in São Paulo. The results indicate that the Brazilian otaku culture was gradually becoming another way of commercializing an imagined Japan (Greiner 2015 and 2017), differing from other experiences by focusing exclusively on Japanese culture, without adopting a generic Asian image
O objetivo desta tese é analisar o comportamento dos otakus brasileiros e o modo como imaginam e traduzem a sua obsessão pela cultura japonesa. Como objeto empírico elegemos o mangá criado por brasileiros e algumas comunidades otaku reunidas em redes sociais e eventos de cultura pop. A hipótese é que na tradução da cultura otaku e de seus produtos midiáticos, mais do que uma pesquisa de linguagem que poderia gerar, por exemplo, um “mangá mestiço”, trata-se da mimese e da assimilação de um comportamento e de um modo de vida que, na versão dos brasileiros, torna-se bastante singular e, não raramente, distante de alguns estereótipos gerados pelos próprios japoneses. Neste sentido, observamos que os otakus brasileiros nada têm a ver com a imagem dos otakus introspectivos que marcaram o início do movimento no Japão. A fundamentação teórica partiu de bibliografias estrangeiras (e.g. Azuma e LaMarre) e brasileiras (e.g. Luyten, Nunes e Almeida) que analisaram o fenômeno. Em termos metodológicos, a pesquisa foi também ampliada para as redes sociais, que se constituem como o principal meio de comunicação dos otakus, assim como para locais de concentração desses grupos, como o bairro da Liberdade em São Paulo. Os resultados indicam que a cultura otaku brasileira foi, aos poucos, se transformando em mais um meio de comercialização de um Japão imaginado (Greiner, 2015 e 2017), diferenciando-se de outras experiências por focar exclusivamente na cultura japonesa, sem adotar uma imagem genérica asiática

The main goals of this study are to identify and describe the psychological and sociological factors present in a media communication process, that influence the behaviour of consumers, advertisers and media organizations. The study focuses on the expectations and predictions of the future of media, in particular of printed local newspapers. The effects of attitudes of media organization members on organizational climate, on changes and innovations, and on the view on the future of media were investigatied. The study has also attempted to compare the innovativity of consumers, advertisers and media organizations as well as their appraisal of the media and their predictions on the future of the media. The study consists of three parts, each focusing on a specific aspect: media consumtion by the public investment decisions by advertisers decisions within media organisations concerning what media channel to be preferred. The results of the investigation of the media consumtion by the public show that different work arrangements appear to contribute to development of different patterns of media use. It has been possible to observe some differences in the ways media is consumed depending on work situation, i.e., flexible or stable patterns of work. However, the consumers were of the opinion that their own use of printed newspapers has been relatively stable during the past five years, and that it would not change noticeably in the near future. The results of the investigation of advertising companies show that the local newspapers are the most commonly used advertising media . However, newspapers are very sensitive to changes in the advertising market. Advertising in the daily press has been relatively unstable during the past years. Furthermore, it is still not clear in what direction newspaper advertising is developing. Some of the advertising companies stated that their advertising investments in the daily newspapers have not changed noticeably during past years, while other companies have decreased or increased their newspaper advertising. The advertisers consider the daily press to have a stable position among th public and they believe that the reading of newspapers will not change significantly in the near future. The representatives of the media organizations consider themselves to be more innovative than their public. Leaders of media organizations appear to be more innovative than other staff. It is noteworthy that the representatives of the media organizations had the most pessimistic view on the position of newspapers in the future media market of all three groups studied. This study was carried out at the Royal Institute of Technology (KTH) in Stockholm, Sweden in cooperation with Mid Sweden University and has been part of the national print research program T2F. The material for the study was collected in cooperation with the research project « News 2020» (Nyheter 2020) within the multidisciplinary research network Media World 2020.
QC 20100901

Memoria para optar al título de Periodista
Los chilenos han presenciado cambios culturales durante las últimas décadas. Entre ellos, la revolución del Internet y la globalización1 que han permitido que diferentes rasgos propios de otros países se inserten en la cotidianeidad del chileno común. Sin embargo, ya no se puede decir que los habitantes de Chile sólo han sido influenciados por la cultura mapuche (y otras similares), la española y los diferentes países de los que provinieron colonos europeos. Los chilenos se han podido acercar a otras nacionalidades – poco comunes en nuestro territorio pero con presencia cada vez más fuerte en lo cultural y económico- gracias a la comida como primer factor: En un ejercicio simple, en el sitio especializado en turismo nacional www.800.cl, se encuentran más de 225 restaurantes de comida japonesa, 80 de comida china y 10 de comida coreana repartidos en toda la ciudad de Santiago2. Considerando que en nuestro país existen más de 1.010 restaurantes vinculados al turismo3, podemos asegurar que al menos el 30% de ellos es de comida asiática. A través de esto se observa un claro ejemplo de sincretismo cultural al corroborar que los ingredientes de estas recetas son adaptados a nuestros recursos: al sushi se le añade palta, ingrediente imposible de encontrar en la comida japonesa, y en los restaurantes de comida coreana existe como opción el comer platos con una cantidad regulada de picante. Siguiendo con el primer ejemplo, hace unos años comer sushi era sinónimo de poseer cierto status, porque en ese tiempo no era un alimento común y los precios eran más altos que los actuales. Ciertos grupos se diferenciaban del resto al poder “comer con palitos”, pero hoy en día este tipo de “comida rápida” ha pasado a ser un snack que se puede encontrar en cualquier mesa chilena y en muchos lugares de comunas como Providencia o Santiago, siendo parte de la dieta habitual de ejecutivos y hasta de estudiantes universitarios. Es así como se presenta también un escenario totalmente diferente en el que los mismos chilenos han aprendido a hacer su propia comida oriental, en base a ingredientes que compran en tiendas cercanas, lo que hace que las preparaciones no sean tan difíciles y que cualquiera pueda llegar a decir “yo sé cocinar mi propio sushi”, lo que llegaría a brindar “cierto plus” frente a los ojos de algunas personas. Junto con esto, en el Barrio Patronato de Santiago existen supermercados en los que se puede comprar ingredientes de origen coreano y chino y cada vez son más las personas que prueban los productos de este tipo de negocios. Además, ha habido una gran apertura en los medios de comunicación hacia estos establecimientos: es común ver algunas notas periodísticas en la televisión chilena referentes al tema.

La globalización afecta en varios aspectos a los diferentes países del mundo y prueba de esta inevitable convergencia de culturas es el anime y el impacto que éste ha tenido y sigue teniendo a nivel mundial. Por ello, en el siguiente trabajo de investigación se tiene como objetivo general, hacer un análisis del proceso de transculturación del anime Naruto en la generación Y y Z de la comunidad otaku en Lima desde el año 2000 hasta la actualidad, y teniendo como objetivos específicos, analizar la influencia del anime en la formación de su identidad y analizar de qué manera la narrativa del anime influye en que este se mantenga como un fenómeno global. Estudiosos como: Luis Vidal y Alessandra Gamarra, han tomado a Naruto para explicar, por un lado, la influencia cultural que ejerce el anime y la formación de una nueva subcultura a partir de ésta. Por otro lado, la representación del odio y la violencia bélica en los caminos del dolor de Pain. En otros países de Latinoamérica también se han venido desarrollando diferentes estudios en relación al anime y su influencia, desde un punto de vista audiovisual como sociológico. Por último, en cuanto a los sujetos de estudio en esta investigación: se tiene al anime de Naruto y personas dentro de los 18-30 años, fanáticos del anime.
Globalization affects in different aspects the different countries of the world and proof of this inevitable convergence of cultures is anime and the impact that it has had and continues to have worldwide. Therefore, in the following research work, the general objective is to make an analysis of the transculturation process of the Naruto anime in generation Y and Z of the otaku community in Lima from 2000 to the present, and having specific objectives , analyze the influence of anime on the formation of their identity and analyze how the anime narrative influences that it remains a global phenomenon. Scholars such as: Luis Vidal and Alessandra Gamarra, have taken Naruto to explain, on the one hand, the cultural influence exerted by anime and the formation of a new subculture from it. On the other hand, the representation of hatred and war violence in Pain's pain paths. In other Latin American countries, different studies have also been carried out in relation to anime and its influence, from an audiovisual and sociological point of view. Finally, as for the study subjects in this research: you have Naruto anime and people within the range of 18-30 years old, anime fans.
Trabajo de investigación

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The theme of research is the virtual idol Hatsune Miku and her collective construction from the practices of her fans, who are responsible for most part of the production of related content (such as songs and images). This research aims to understand how the virtual idol in the Japanese pop scenario highlights the relation of the Japanese otaku to fantasy, having as our main hypothesis that, for the fan, fantasy is a form of reality and the notion of authorship is shared, suggesting an indistinction between creation, production and circulation. The methodology is based on the conceptual analysis of the constructive processes of the virtual idol, based on a literature review that describes otaku culture; on the studies of the fancelebrity relationship in the specific Japanese context and on the documentary research and analysis of the content produced concerning the object of this study. In this sense, the dissertation is structured in two main chapters: the first one analyzes the Japanese otaku culture and the context in which it is constituted, based on authors such as Barral (2000), Azuma (2009), Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) and Robertson (1998); while the second aims to reflect on the constitution of the virtual idol and its forms of relationship with Japanese fans, mainly based on Conner (2016), Black (2012), Sone (2017) and Kinsella (1995). As a result, this research is expected to contribute on discussions concerning otaku culture and its understanding of fantasy, specifically in the Japanese context
O tema desta dissertação de mestrado é a ídolo virtual Hatsune Miku e a sua constituição coletiva a partir das práticas de seus fãs, responsáveis por grande parte da produção de seu conteúdo (como músicas e imagens). A pesquisa busca compreender como o ídolo virtual no cenário pop do Japão evidencia a relação do otaku japonês com a fantasia, tendo como hipótese principal que, para o fã, a fantasia é uma forma de realidade e a noção de autoria é compartilhada, sugerindo uma indistinção entre criação, produção e circulação. A metodologia baseia-se na análise conceitual dos processos construtivos do ídolo virtual, a partir da revisão bibliográfica que descreve a cultura otaku; nos estudos da relação fãcelebridade no âmbito específico japonês e na pesquisa documental e análise dos conteúdos produzidos em torno de nosso objeto de estudo. Nesse sentido, a dissertação estrutura-se em dois capítulos principais: o primeiro analisa a cultura otaku japonesa e o contexto no qual ela se constitui, tendo como fundamentação teórica autores como Barral (2000), Azuma (2009), Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) e Robertson (1998); enquanto o segundo se propõe a refletir sobre a constituição do ídolo virtual e suas formas de relação com os fãs japoneses, a partir de Conner (2016), Black (2012), Sone (2017) e Kinsella (1995). Como resultado, espera-se que a pesquisa contribua nas discussões acerca da cultura otaku e de seu entendimento de fantasia, especificamente no contexto japonês

Memoria para optar al título de Periodista
Las imágenes tienen una presencia constante en la vida moderna. Permanentemente, nos encontramos a merced de una interminable secuencia de estímulos cuya intencionalidad no siempre es clara. Los recursos icónicos de mecanismos tales como la publicidad y la propaganda tienen la capacidad de hablar directamente a nuestro inconsciente, convenciéndonos de que necesitamos uno u otro producto e incluso cambiando nuestro punto de vista sobre un tema específico. Con el desarrollo de nuevas tecnologías, que las dotaron de movimiento, el poderío de las imágenes pareciera haberse superado a sí mismo. Sin embargo, uno de los alcances más enigmáticos se encuentra sin duda en su capacidad de establecer nexos con los propios sujetos. Por ejemplo, no es raro ver cómo el espectador de una serie de televisión especialmente apasionante sufre, se emociona e incluso empatiza con los protagonistas. Dentro del público infantil y juvenil, un personaje particularmente atrayente se transforma sin esfuerzo en un ídolo digno de imitación. Esta conducta, si bien a un nivel bastante más refinado y complejo, se replica de manera constante al interior de la comunidad otaku chilena. Existe una relación latente entre la visualización de imágenes en secuencia y el inconsciente. Dicho vínculo ha sido explorado en diversos estudios, siendo Christian Metz -padre de la semiótica audiovisual- el primero en abordar este tema como problemática. De esta manera, los procesos cognitivos que el sujeto perceptivo lleva a cabo al momento de la visualización son conducentes a distintas formas de identificación que invaden el plano de lo social. El resultado es un choque cultural entre ~ 3 ~ oriente y occidente que ha evolucionado durante los últimos años gracias a la masificación de la cultura y la animación de origen japonés en nuestro país. Lo anterior es llevado a un plano de realidad social a través de la transición que ha ocurrido desde el fanático “old school” y aquel más “joven”. Las razones son muy diversas, pero sin duda el principal factor es la globalización como factor de inmediatez y facilidad para acceder a los contenidos. Ahí donde el otaku mayor de 25 años sólo podía obtener nuevas series y mercancías buceando entre grandes cantidades de objetos y películas en VHS del famoso mercado “Persa”, los nuevos fanáticos pueden descargar decenas de nuevas historias con apenas un click gracias a los archivos torrent y las numerosas comunidades virtuales que las suben a la web. Lo mismo ocurre si desean adquirir merchandise oficial de sus series favoritas. Si bien el popular “Eurocentro”, como comprobaremos más adelante, sigue siendo un gran foco de reunión para esta comunidad, hoy en día cualquier persona con una tarjeta de crédito puede comprar y recibir directamente en su casa objetos de todo tipo traídos directamente de Japón, algo inalcanzable para el fanático promedio de antaño. De ahí, quizás, nace esta rivalidad generacional en la que se enmarcan los relatos que componen el presente texto. Sin embargo, aun con las diferencias propias de la edad y los gustos personales, veremos que se trata de una colectividad donde prevalece un sentido de pertenencia que se rehúsa a la segregación etaria. Más allá de la forma o la facilidad con la que se consumen los productos alusivos a este tipo de animación, persiste una cohesión, anclada a un espacio físico indeterminado, capaz de articular a esta comunidad y ~ 4 ~ mantenerla en el tiempo. Se trata de un punto de encuentro transversal, donde las diferencias generacionales pierden momentáneamente su relevancia. Distintos factores, principalmente económicos, han impedido que la versión chilena de la comunidad otaku se establezca con la misma propiedad que su maestra nipona. Si bien en nuestro país no existe un centro neurálgico que reúna “todos los intereses y a todos los interesados”, la necesidad de convergencia se ha hecho patente en la construcción del “evento” o convención de anime como principal instancia de socialización. Su carácter y conformación básica se ha adaptado y mutado a la par con sus ocupantes, de manera que se ubicará al centro de esta narración como principal eje sobre el que se moverán los protagonistas de esta historia. Un multiverso de contenidos: Adaptaciones y apropiaciones La globalización, ese complejo mecanismo del que parecen emanar tanto los avances en materia comunicativa como las problemáticas en términos de lo social, tiene aquí una incidencia mayúscula. Sus alcances a la cultura han permitido la entrada de un flujo virtualmente interminable de contenidos diversos y disímiles. En el caso de la animación japonesa, su entrada al país estuvo marcada por reacciones tan opuestas como los background culturales de las partes involucradas. La presencia de la japoanimación en la televisión chilena, principalmente en señales abiertas, trajo consigo altísimos ratings que traspasaron segmentos tanto etarios como sociales. Simultáneamente, desde el principio una gran parte de la población nacional miró con cierta desconfianza a estos particulares dibujos animados de ojos exageradamente grandes. Pese a esta relativa desconfianza de sectores más ~ 5 ~ conservadores -alimentada por una seguidilla de desafortunados casos que detallaremos más tarde- la potencia con la que esta nueva tendencia golpeó a un público acostumbrado a contenidos mucho más limitados llegaría a expandirse para crear un complejo escenario multimedial. A diferencia de la animación occidental, que no suele expandirse más allá de la pantalla, la producción de juguetes y algunos videojuegos, su par oriental tiende a la proliferación en una cantidad extremadamente amplia de formatos: “La Japoanimación no agota el formato del video, sino que se interconecta con el Comic, Internet, Compact Disc, CD Rom, Video- Juegos, más una gama variada de objetos de merchandising, como poleras, afiches, cuadernos, autoadhesivos, etc.” (Del Villar, 2001, p.1). Lo que es más, incluso dentro de cada categoría es posible encontrar una multitud de subgéneros. Por ejemplo, el mundo de los juegos de video japoneses tiene una gran cantidad de variaciones entre las que se cuenta la novela visual para PC, los RPG o Role Playing Game -donde los participantes asumen la identidad de los personajes- y los populares Eroge, que se caracterizan por una temática y jugabilidad1 que privilegian el erotismo o directamente la pornografía. De esta manera, la gran diferencia que ostenta el mundo de la animación japonesa respecto de objetos culturales similares es el alto grado de especialización que está presente en su interior. Esto se materializa en la gran cantidad de tiendas exclusivamente dedicadas a uno u otro formato de este complicado multiverso, establecimientos que se han replicado en nuestro país en conjunto con varias otras instancias y mecanismos. Así, la naturaleza de micro-cultura que ostenta este movimiento cultural es un rasgo que queda validado en su capacidad de construirse y extenderse a través de una variedad de formatos. No obstante, su complejidad no se detiene ahí. Más allá de las extensas referencias que configuran el mundo de los otaku en su origen, con su exportación a otras partes de mundo dichas consideraciones deben conjugarse con la identidad local. El producto es un nuevo sistema de significación, en cuyo centro se encuentra la comunidad de fanáticos chilenos como principales actores y reactores de la construcción identitaria que los alberga. En términos prácticos, se pueden apreciar manifestaciones como la organización de convenciones en torno al universo de la japoanimación. El surgimiento de eventos propios como la reconocida Fan Viña, Anime Festival -el que posteriormente agregaría “Latinoamérica” a su nombre- Otaku Usach y muchas otras instancias que intentan emular a las mundialmente reconocidas Jump Fest2 o Comiket3 de Japón son la prueba de que se trata de una micro-cultura que no ha sido simplemente imitada, sino que ha requerido de una constante adaptación. Así, es claro que el fenómeno de la animación japonesa en Chile y la comunidad resultante de su importación dio lugar a una seguidilla de apropiaciones y re-significaciones que le permitieron adaptarse a su nuevo hogar. A partir de esto, se generan una gran cantidad de interrogantes: ¿De qué manera se consigue dicha apropiación, considerando las abismantes diferencias culturales entre oriente y occidente? ¿Cómo es posible que cientos de jóvenes se reúnan en torno a un producto multimedial determinado por códigos tan ajenos a sus propias realidades? ¿De qué manera son capaces de adaptar la gran variedad de formatos a sus propios intereses? El trabajo expuesto a continuación, realizado a partir de relatos, experiencias personales y observaciones en terreno, es un intento por dilucidar cómo opera la identificación cultural al interior de la comunidad otaku chilena: su estructura interna, motivaciones y re-significaciones hechas a partir del molde original. Debido a las distintas transformaciones que este movimiento ha sufrido con el tiempo, es posible detectar tres fases de gran relevancia para su configuración final. Los inicios, la transición y el panorama contemporáneo de la comunidad de fanáticos de la japoanimación y sus múltiples soportes son los tres momentos más distintivos en su trayectoria. Puesto que cada período tuvo como principales actores a una generación específica de aficionados, resulta lógico permitir que sean sus testimonios los que den ritmo a esta historia. A lo largo de tres capítulos principales, aparejados a su vez con tres protagonistas afines, la presente narración tiene como finalidad iniciar un viaje a través de la tradición de esta comunidad cultural. Desde sus fragmentados inicios, plagados de prejuicios y malos entendidos, hasta un presente mucho más cómodo y mejor articulado. Todo esto, sin restarle importancia a aquella etapa de crecimiento, ajustes y enmiendas por la que debió atravesar la actualmente bien aceitada maquinaria otaku. Los personajes que serán introducidos a continuación encarnan dichos procesos: toda ~ 8 ~ la complejidad, la terminología y los desafíos que ha debido enfrentar esta colectividad son llevados a la realidad por medio de sus experiencias y anécdotas. Tal y como comprobaremos dentro de algunas páginas más, el otaku chileno participa activamente en la construcción de su propio entorno micro-cultural. Es a partir de sus vivencias que han podido determinar la dirección del progreso, con el fin de trabajar en pos del mismo. Considerando que se trata de una forma de identidad cultural y social que se encuentra instalada en Chile hace décadas y que además grafica un proceso de carácter semiótico a través de un comportamiento observable socialmente -la identificación de los fanáticos con la cultura y/o los personajes de la japoanimación- es prudente su investigación, a través del relato de sus protagonistas como forma de analizar y comprender un proceso social de carácter actual.

La presente investigación establece cómo es la relación entre el anime y la construcción de la identidad otaku en los jóvenes universitarios, en el caso del grupo “Ukato no Sekai”. Para ello, se desarrolla un estudio descriptivo con una metodología de orden cualitativo y de tipo fenomenológico, en tanto se ocupa de las experiencias de jóvenes respecto a un proceso en común. Se busca entonces, identificar los factores que hacen que el anime sea atractivo para los integrantes del grupo “Ukato no Sekai”, luego se describe el proceso por el cual se construye la identidad otaku de dicho grupo. El levantamiento de información tiene dos etapas. La primera etapa consiste en la observación participante de actividades organizadas por el grupo otaku “Ukato no Sekai” durante los meses de abril y mayo del 2017 y en la segunda etapa se hacen entrevistas a profundidad en etapas a dos fundadores del grupo, lo que permite complementar los resultados de la observación. Como resultado se verifica que la identidad es un proceso que se construye con el paso de los años. En este caso, la identidad otaku de los jóvenes que participaron de esta investigación, comienza a formarse en la infancia, se desarrolla en la adolescencia, se afirma en la juventud y se vive y expresa en comunidad.

This thesis investigates how libraries can build a collection of doujinshi – Japanese fanzines – with a focus on the problematic connection between doujinshi, queer sexualities and pornography. Yonezawa Yoshihiro Memorial Library is one of the few libraries collecting and providing access to doujinshi, including those with extreme pornographic imagery. I conducted qualitative interviews with four library employees to study their views and attitudes towards collection, age regulations, shelving and classification of doujinshi. In addition, I apply queer theory to elucidate how sexual norms are reflected in the library's classification system. Findings show that informants consider the preservation of manga culture as the most important reason to collect doujinshi. Other functions of doujinshi, such as being a way for self-expression without social restrains, are also appreciated. Informants’ attitudes towards collecting and providing access to extreme pornographic doujinshi are not particularly negative, instead resisting censorship, but the fact that the library has extreme pornographic doujinshi is taken up as a reason for the library' s age limit. Moreover, I observe sexual norms surrounding women’s consumption of pornography and that women should link sex and love, and a lack of critical perspectives on such issues. Lastly, informants were open for changes of the library’s classification system for doujinshi, but showed reluctance toward user influence, such as social tagging. This is a two years master’s thesis in library and information science.

Dans un contexte généralisé où les cultures générationnelles otaku et geek multiplient leurs influences autant sur le plan du contenu culturel que sur les nouveaux médias qu’elles génèrent, nous nous sommes intéressés à sa propension à pénétrer les champs des arts dont la pratique contemporaine. La convergence des médias inhérents à ces deux cultures produit de nouveaux moyens d’expression donnant naissance à plusieurs types de pratiques expérimentales. Il s’est agi pour nous d’interroger nos référents autant que notre pratique sous ce nouvel angle. Une émergence de nouveaux systèmes technologiques se démocratise et intervient de plus en plus fréquemment dans le quotidien des usagers. Sur la base de ces nouvelles connaissances se développent de nouveaux rapports aux objets à partir desquels se forment de nouveaux espaces de fiction.La thèse « Expérimentations artistiques des espaces de fiction générés par les nouveaux médias issus des cultures générationnelles otaku et geek » est transdisciplinaire. Elle mêle études étymologiques, anthropologiques et sociologiques à l’étude des arts. En plus de s'appuyer sur des études réalisées par des chercheurs, la méthodologie appliquée se fonde sur l’expérimentation des œuvres présentées qui touchent à la fois à l’art contemporain, aux livres, aux bandes dessinées, aux films, aux jeux vidéo, aux jeux à réalité alternée, etc., mais aussi à la convergence de tous ces médias. L’expérimentation par une pratique nous semble dans le domaine présenté une donnée très importante du bien-fondé de la recherche qui est basée sur l’étude d’un terrain culturel en constante évolution
In a widespread background in which the influences of Otaku and Geek Generational Cultures have increased as regards both their cultural content and the new media created by them, we undertook to study their propensity to penetrate into the art sphere, whether within or outside contemporary art. The convergence of the media inherent to both cultures has produced new means of expression which have given rise to several types of experimental practices. In the light of these new aspects, we strove to review our referents as well as our practice. Emerging new IT systems are becoming more and more popular and they are increasingly affecting their users' daily lives. With such new items of knowledge, new relations to things have developed and they provide a foundation on which new Fantasy Realms are being built."Artistic Testings of Fantasy Realms Created by New Media derived from the Otaku and Geek Generational Cultures" is a transdisciplinary thesis. It blends art research with etymological, anthropological and sociological studies. The methodology applied relies on studies carried out by researchers and is based on the testing of the works presented which are related to contemporary art, books, comics, video games, alternate reality games etc., as well as to the convergence of all such media. As regards the domain referred to herein, we believe that testing through practising is a paramount aspect of the relevance of this thesis which is based on the study of an ever evolving cultural territory

Rights to possess and/or use the foreshore of New Zealand are not clear, and are even cloudier in relation to Maori freehold land that is on the coast. This thesis investigates the law pertaining to rights in the foreshore, and the facts pertaining specifically to the use of the Otakou Maori Reserve foreshore. In particular, the research question is this: what does aboriginal title mean in 1996 for Otago Maori? Examining the legal issues, searching individual titles and gathering oral history are the methods used to answer this question. First, the law. In New Zealand the Crown is prima facie the absolute owner of the foreshore. This can be displaced by proof to the contrary. The doctrine of aboriginal title recognises the legal continuity of tribal property rights upon the Crown�s acquisition of sovereignty over their territory. Aboriginal title can be divided into two categories - territorial and non-territorial. Territorial title represents a tribal claim to full ownership, and non-territorial title to rights that are less than absolute ownership, such as the right to cross land, to fish and to collect flora and fauna. It is this doctrine of aboriginal title as it relates to the foreshore that can displace the Crown�s absolute ownership of the foreshore. Second, the facts. 99% of the coastal land parcels of Otakou Maori Reserve are described in written documentation as to the line of mean high water. This 99% is made up 17% Maori freehold land, 49% general land and 33% vested in the Crown or the Dunedin City Council. The remaining 1% is Maori freehold land that does not have its boundary at mean high water, but has a fixed upland boundary. Oral history facts from the takatawhenua identify that the foreshore continues to be used for access, travel, and the collection of kai moana and sea resources. The findings reveal that Kai Tahu ki Otakou have never extinguised their territorial and non-territorial aboriginal title to the foreshore of Otakou Maori Reserve. Suggested areas for future research include an investigation of other Maori reserves in Otago, and examining the doctrine of aboriginal title as it relates to the beds of watercourses.

This study examines specific cases of irregular trade during the final decades of Swedish Pomerania with help of case material from the city archives in Stralsund and Wismar, as well as contemporary newspaper advertisements from Stralsundische Zeitung, and reflects those in the light of prevalence of overall factors for smuggling, namely the impact of globalization, the grade of organization of a national economy, economic borders and relationship to the Swedish state, as well as modern consump-tion, and the inclination of the individual smuggler. An imbalance both within itself and in comparison with neighboring emerging national states, as a result of weak economic state power in combination with Swedish support for Swedish-Pomeranian sea trade, turned Swedish Pomerania into a smuggler’s haven.

This dissertation traces the circulation and consumption of Japanese anime, or Anime, in Kuwait to examine the changing consciousness of normativity regarding gender and sexuality for audiences and fans. Anime has been distributed and accessible since the 1970s in Kuwait. Nonetheless, with the advent of "New Anime" after the 2000s, the audience has widely accepted characters and protagonists that deviate from the existing representational practices portraying active men and passive women. Drawing from gender and sexualities studies, media and anime studies, Antonio Gramsci's theory of hegemony as well as Raewyn Connell's theory on masculinities, this study critically investigates "hegemonic masculinities" in Kuwaiti society to argue the ways in which the reception and practices of Anime help to erode them.
博士(アメリカ研究)
Doctor of Philosophy in American Studies
同志社大学
Doshisha University

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The aim of this research was to analyze Otakar Ševčík’s methodological approach to the violin initial learning and to demonstrate the auditory reference construction points for the placement of the left hand fingers on its strings, starting with the ‘Semitone System’ finger patterns inserted in his ‘Violin Method for Beginners’ op. 6. The cognitive development process in learning was discussed, as well as the applicability of methodological procedures related to the present muscular and auditory memory in the mentioned pedagogical proposal. The research methodology was ‘Qualitative’ with methodological procedures of ‘Bibliographic Survey’ and ‘Documentary Analysis’, which enables the identification of relevant information and data, so that relations with the Otakar Ševčík teaching methodology could be established. The bibliographical survey organization and the research relevant documents resulted in a ‘Corpus of texts’ firstly with excerpts of specific music authors which highlight the use of auditory references and finger patterns in violin teaching and learning methodologies; and secondly with pedagogical literature authors that according to the researcher could base the pedagogical practice of Ševčík (1901a): Morin (2007), Penna (2011), Harder (2003), Bourdieu, cited by Sandra Pesavento (1995), Folleto (2010), Gerle (2015), Perdomo Guevara (2005), Swanwick (1994) e Póvoas (2006). The research highlighted the publication importance of Ševčík’s pedagogical works as a factor that since 1881 may have led to a complete violin pedagogy transformation and consequently in it’s teaching and learning. The analysis of the ‘Corpus of texts’ made it possible to identify one (1) category to highlight: ‘Teaching / Learning’. It is concluded that there is an inseparable relationship between violin teaching and learning. The analysis of Otakar Ševčík’s methodological approach to initial learning has pointed to interconnection of cognitive processes in simultaneous complex movement execution in initial learning, and it was possible to identify orderly and determinant methodological procedures that can lead to auditory reference construction and gradual development of differentiated technical skills in the course of violin initial teaching and learning process.
O objetivo desta pesquisa foi analisar a abordagem metodológica de Otakar Ševčík para o aprendizado inicial do violino e evidenciar a construção de referenciais auditivos para a colocação dos dedos da mão esquerda nas cordas do instrumento, a partir dos padrões de dedos do ‘Sistema dos Semitons’ inserido em seu ‘Método de Violino para Principiantes’ op. 6. Discutiu-se o processo de desenvolvimento cognitivo na aprendizagem, bem como a aplicabilidade de procedimentos metodológicos relativos à memória muscular e auditiva presentes na referida proposta pedagógica. A metodologia da pesquisa foi ‘Qualitativa’ com procedimentos metodológicos de ‘Levantamento Bibliográfico’ e de ‘Análise Documental’, possibilitando a identificação de informações e dados relevantes para estabelecer relações com a metodologia de ensino de Otakar Ševčík. A organização do levantamento bibliográfico e de documentos relevantes à pesquisa resultou em um ‘Corpus de textos’ primeiramente com excertos de obras de autores específicos da área de música que ressaltaram a utilização de referenciais auditivos e de padrões de dedos em metodologias de ensino e aprendizagem do violino; e num segundo momento com autores da literatura pedagógica que puderam fundamentar, segundo a pesquisadora, a prática pedagógica de Ševčík (1901a): Morin (2007), Penna (2011), Harder (2003), Bourdieu, citado por Sandra Pesavento (1995), Folleto (2010), Gerle (2015), Perdomo Guevara (2005), Swanwick (1994) e Póvoas (2006). A pesquisa destacou a importância da publicação das obras pedagógicas de Sevcik como fator que desde 1881 pode ter ocasionado uma completa transformação na pedagogia do violino e, consequentemente, no ensino e aprendizagem do instrumento. A análise do ‘Corpus de textos’ possibilitou a identificação de 1 (uma) categoria a destacar: ‘Ensino/ Aprendizagem’, concluindo-se que há uma relação indissociável entre ensino e aprendizagem do violino. A análise da abordagem metodológica de Otakar Ševčík para o aprendizado inicial apontou para a interligação de processos cognitivos na execução de movimentos simultâneos complexos na aprendizagem inicial e foi possível identificar procedimentos metodológicos ordenados e determinantes que podem conduzir à construção de referenciais auditivos e ao desenvolvimento gradativo de habilidades técnicas diferenciadas no decorrer do processo de ensino e aprendizagem inicial do violino.

Among music educators and particularly violinists, Otakar Ševčík and his violin method are accepted as important parts of the music education heritage. Starting from the initial stages of teaching and learning the violin, and reaching the most advanced thematic constructs, Ševčík’s educational work is the only one which covers in its content the widest – if not the whole – breadth of violin education, and debates in the most fervent way many variable approaches on musical and technical topics. However, even if its educational value is constantly acknowledged, nowadays it is not widely used in music teaching, as it is characterised by many instrumentalists as boring, complex, or difficult to understand. The surprising fact to all this is that during the end of the nineteenth and till the mid-­‐twentieth century, more than a thousand registered students were effectively taught directly by Ševčík through this method, while many others supported, used and were devoted to it, reaching through its path of knowledge their highest performing or teaching potential. My research, seeking to define a deeper understanding of the Ševčík ‘phenomenon’, offers a conceptual analysis to his entire educational approach, based on correlated to his life and work explicit and implicit links of information. Using three different but equally important sets of data – the context of the method’s existence, the content of the method’s 26 Opuses, and the method’s aspects of teaching and learning – my thesis finally justifies the hypothesis that Ševčík’s work, indeed, comprises a complete teaching and learning method, which provides the opportunity for a solid and holistic study on violin performance. *[N.B.: A DVD was was attached to this thesis at the time of its submission. Please refer to the author for further details: 'A Digital Versatile Disc (DVD) is attached to this thesis for further reference. Please consult it according to the core text. All material included in the DVD is either the author’s mental property, or – in case of other sources – [legally] released to the author by the legal authorities. Please email the author for more information (www.violinist.gr)']*

Regionalisation out of step - the varying growth of regional cooperation councils

Traditionally regionalisation is either seen as a bottom up movement or as state reform politics from above. From that perspective, Sweden contains both parts. The state enables regionalisation through legislation, promote it through policies and encourage it in rhetoric’s. But the formation of new regional institutions can only be done by the municipalities themselves. Without their belief in stronger and more self governed regions or their will to act and together build capacity in their region, the regionalisation is halted.

Sweden is a unitary state and there is no real tradition of strong and self governing regions. In that perspective the regional experiments during the second half of the 1990th can be seen as a rather big step. These experiments inspired other parts of Sweden and in the millennium shift, all counties was interested in forming some kind of selfgoverning regional body. In 2002, when legislation made it possible to build new political regional institutions, these new institutions were formed in seven counties. Since then, yet six counties have formed these new regional bodies. This variation raises several empirical questions. The main purpose of this study is to describe and explain the variation in growth of these new regional institutions.

The analysis follows three different perspectives. The first is a structural one and aims to investigate municipalities need for economic development as a driving force. The second is an institutional perspective where norms are supposed to promote cooperation. The third focus on promoting actors as a force behind the growth of new regional institutions. Through a combination of quantitative and qualitative methods this thesis shows that different kinds of social norms promoting collaboration are the most important factor in explaining the variation in growth of new regional institutions. The analysis also showed that political actors play an important, both in building and maintaining coopera-tive norms, and probably also in bridging the lack of them.

Le convoi 6 juillet 1942 est un transport singulier emportant de compiegne vers auschwitz, plus d'un millier d'otages communistes, cinquante juifs et une vingtaine de prisonniers de droit commun. Cette etude se divise en deux parties qui s'articulent autour de la date de depart de ce transport. Les premiers chapitres retracent la mise en place et l'evolution du systeme des otages institue par le commandant militaire en france, a partir d'aout 1941. En represailles des attentats commis par des groupes armes communistes, hitler exige l'execution massive d'otages qu'il complete en avril 1942 par l'ordre de deporter a l'est des otages communistes, juifs et asociaux. Le convoi du 6 juillet 1942 est destine a emporter les otages communistes et "asociaux", rassembles a compiegne par l'administration militaire allemande. Les autres chapitres de cette premiere partie montrent comment ces deportations de represailles ont ete preparees et, plus particulierement, de quelle maniere le convoi du 6 juillet 1942 a ete forme. Un ordre de la sipo-sd specifie que ces deportes devront etre places a auschwitz sous le regime des prisonniers nn. La seconde partie s'ouvre sur le recit du transport des "45. 000" et sur les conditions particulieres dans lesquelles ceux-ci ont ete integres dans le complexe d'auschwitz. Un second chapitre analyse les raisons pour lesquelles 85% des membres du convoi meurent dans les six mois suivant leur arrivee. Un autre etudie les chances de survie de ces detenus politiques francais dans le principal camp de la solution finale. En decembre 1942, un groupe francais de resistance est cree parmi les survivants. A partir du printemps 1943, la rigueur du regime commence a s'attenuer au camp principal et les "45 000" beneficient d'une serie de mesures qui concourent toutes a augmenter leurs possibilites de survie. En 1944, la mort ne frappe plus les "45 000"
The july 6th 1942 convoy was singular in nature, taking as it did more than one thousand communist hostages, fifty jews and some twenty common law prisoners from compiegne to auschwitz. This study is divided into two parts, with the date of the convoy linking the two. The opening chapters recount the setting up and development of the hostage system established by the german military commander in france, as from august 1941. In retaliation for attacks by communist armed groups, hitler demanded a large-scale execution of hostages, which he supplemented in april 1942 by an order to deport communist, jewish and "antisocial" hostages to the east. The purpose of the july 6th 1942 convoy was to remove the communist and antisocial hostages who had been herded together in compiegne by the german military authorities. The remaining chapters of part 1 show how these retaliatory deportations were prepared, and especially how the july 6th 1942 convoy was formed. A sipo-sd order specified that these deportees were to be put under nn prisoner regime in auschwitz. Part 2 begins with the story of how the "45. 000" were transferred to auschwitz and of the particular conditions of their entry into the camp system. Chapter 2 analyses why 85% of the members of this convoy died within 6 months of arriving, while chapter 3 discusses what the chances of survival were for these french political prisoners held in the main camp used to further the final solution. In december 1942, a french resistance group was set up among the survivors. Fron spring 1943 onwards, the severity of this regime in the main camp began to ease andthe "45. 000" benefited from a series of measures which all helped to improve their chances of survival - so much so that, by 1944, there were no more deaths among the "45. 000"

Dans cet essai, nous avons voulu rendre compte de la complexité de la responsabilité internationale en nous appuyant sur un cas particulier : l'affaire des otages (personnels diplomatique et consulaire) américains en 1979. Dans un premier temps, il ne fait aucun doute que du point de vue conventionnel et coutumier (notamment le droit international islamique), la responsabilité de l’Iran est engagée. L’Iran n'a pu protéger les otages quand les "étudiants islamique" ont attaqué l'ambassade et les consulats américains. Par la suite-fait plus grave- les officiels iraniens n'ont pas hésité, pour des raisons d'ordre politique à reprendre les otages à leur compte: en effet, cette affaire ne peut être étudiée judicieusement qu'en recourant à la science politique. Les relations tumultueuses entre les deux pays depuis le coup d'Etat de 1953, la nécessité de sauvegarde de la révolution khomeyniste amènent l'analyste à mettre en évidence la relation entre le droit international et la science politique. Ce faisant, il est loisible d'évoquer les causes qui pouvaient exonérer, du moins atténuer, la responsabilité de l’Iran-. Elles sont nombreuses. En effet, l’Iran invoque des causes
In this essay, we aimed at highlightening the comlexity of international responsabiliy in relying on a and the consular staff). To begin with, there is no doubt that the responsabilit of Iran is obvious if we consider conventiona and customs (especially the international islamic law). Iran was not able to protect the hostages where the so-called "islamic students" attacked the American embassy and consulates. And a more serious point is that susbsequently the Iranian government did not hesitate, on political grounds, to take the resposibility for the kidnapping of the hostages. Actually, this case cannot be studied judiciously unless we resort to politics. The stormy relationships between both nations since the coup d'Etat of 1953, as well as the necessity of safeguard for the Khomenist revolution lead the analystn to underline the relationships between international law and politics. Consequently we shoud keep in mind the causes -that- might have cancelled ,or at least lightened, the

The thesis is focused on basic understanding of the actor as an acting component of the theatre piece and follows his work and creation during the life theatre performace as well as during the rehearsing process (with description of general acting technics).

In the mid-1990s, Japanese artists Mariko Mori (b. 1962) and Takashi Murakami (b. 1967) began creating works that referenced Japanese popular culture tropes such as sexuality, technology and the idea of kawaii, or cute. These tropes were associated with emerging youth cultures instigating a “soft rebellion” against social conventions. While emancipated female youths, or shōjo, were criticized for lifestyles based on the consumption of kawaii goods, their male contemporaries, the otaku were demonized for a fetishization of kawaii girls and technology through anime and manga, or animation and comic books. Destabilizing the nation’s patriarchal theory of cultural uniqueness, or nihonjinron, the youth triggered fears of a growing infantilized, feminized automaton ‘alien’ society during Japan’s economically tumultuous 1990s. In response to these trends, Mori and Murakami create works and personae that celebrate Japan’s emerging heterogeneity and reveal that Japan’s fear of the ‘alien within’ is a result of a tenuous post-war Japanese-American relationship. But in denoting America’s position in Japan’s psyche, Mori’s and Murakami’s illustration of Japan as both victim and threat encourages Orientalist and Techno-Orientalist readings. The artists’ ambivalence towards Western stereotypes in their works and personae, as well as their distortion of boundaries between commercial and fine art, intimate a collusion between commercialization, art and cultural identity. Such acts suggest that in the global economy of art production, Japanese cultural identity has become as much as a brand, as art a commodity. In this ambivalent perspective, the artists isolate the relatively recent difficulty of enunciating Japanese cultural identity in the international framework. With the downfall of its cultural homogeneity theory, Japan faced a crisis of representation. Self-Orientalization emerged as a cultural imperative for stabilizing a coherent national identity, transposing blame for Japan’s social and economic disrepair onto America. But by relocating Japanese self-Orientalization within the global art market, Mori and Murakami suggest that as non-Western artists, economic viability is based upon their ability to cultivate desirability, not necessarily authenticity. In the international realm, national identity has become a brand based upon the economies of desire, predicated by external consumption, rather than an internalized production of meaning.

Programa de investigación: Comunicación, Prácticas Socioculturales y Subjetividad
Información extraída de: http://perio.unlp.edu.ar/tesis/?q=node/23

碩士
國立臺東大學
區域政策與發展研究所
97
The prosperous culture of OTAKU, is the " personal liberalism and democracy on the internet". The knowing of OTAKU is changing from "small scale and low priority" to "market leader". Otaku can spread high level information, and high purchasing power. The society has become the information and market leading character. The basic definition of OTAKU is " Someone take care on some people or things." and "OTAKU has plentiful knowledge and creative on something, and will spread the information and create". The word "OTAKU" is not only means on the people who loves animation and comic, but also define these people's characteristics and unique communication form. The competition in the society make them to get more knowledge and technique, and the power to gather their collection. It can upgrade the whole society's level and make the society more special. According to Stebbins' serious leisure theory:" someone who join the avocational, volunteer activity systematically and join it like their career, to show off and get special technique, knowledge and experience, make them feel joyful and full of substance." Combine these things, in this research, we try to compare the theory of Serious Leisure and the ACG OTAKU in Taiwan, and find out the knowledge, activity and the curiosity of OTAKUS can be explained by Serious Leisure.

碩士
國立交通大學
應用藝術研究所
98
When the consumer market becomes more and more matures, people have their own values and diversity of taste. Otaku population appears, and they increase, forming a new huge consumer market. “Otaku” is a Japanese term used to refer to people with obsessive interests, particularly anime, comics, or video games. But the products designed for the otaku is still less. This research is intended to do user-centered design. The research is intended to use knowledge, wisdom of otaku, to create new products or find new usages. This research through interviewing with otaku, observing activities of otaku, to obtain real otaku’s features, preferences, and the problems they meet. And one tries to use design approach to create new products and services. This research included four parts. In the first part of this research is defining what otaku is, and collecting the data. Describes the otaku briefly, and finds the design elements and design direction from the reviewing literatures, data, or related products. This research finds there are 7 characteristics of otaku: (1) they frequent exchange of information and form their community, (2) they keep cumulative their interested collections, (3) otaku with good imagination and creativity, (4) they use large of time on the computer and internet, (5) they have good sense of humor with self-mockery, (6) they have a unique sense of aesthetics, (7) they wish they can become the ideal type of perfect by “henshin”. (“henshin” is a Japanese term, it means “transformation” nearly.) In the second part of the research, one through the cases study and get into their fields, and activities. One observes otaku’s behavior and preferences, and through the interviewing the otaku to understand their mentality. Than we create personas and problem scenarios, to make the main design concepts. In the third phase, one gets the basic design concepts of otaku, and than spreads and reduces ideas to develop new products design. Importing otaku really needs and desired features, becomes the practical products of life, and expresses by models and pictures in the exhibition. Finally, the four product design works of “Character HP clock”, “Physiological sensing mouse”, “Motion seat”, “Motion mat” have been developed. And be in the virtual role-playing games to let otaku play with the virtual character, make them exercise. The forth phase is to reviewing and discussing the concept products design. One collects opinions from ordinary audiences, and discusses with the otaku cases, tries to raise the possibility design developments of future. Through this research of the otaku population, one expects to provide industrial designers the reference in the design of products or new services. Keywords: Product design, otaku, persona, scenario, user-centered design

碩士
國立臺北藝術大學
美術學系碩士班創作組
103
Summary Born in 1987, an era of huge transformation, an era in which computers are widely used and popular, an era in which diverse cultures merge, cultural blendings give rise to differences in local culture recognition. Not focusing on the sense of cultural belonging, new cultural aspects bred from differences of culture recognition are applied to serve the starting point. Reforms after the nerd culture introduced to Taiwan, resulting in being closer to the ordinary life, popularity of the Net, and the availability in usage attribute to new confrontations of this sub-culture. Re-pondering the discrepancies of essential Taiwan culture, constructing the new faces of it, the two aspects, the ordinal and the social ones are employed for discussion for further discussion (on Taiwan’s otaku phenomena). Discussions on this distributes in four chapters. ”Nerds” mentioned in each chapter refers to nothing more than depreciative meanings. In Chinese, “宅(Jai)” is defined “derogatory,” an adjective in evaluating a man. When this concept is affix to other words to present diverse situations, malign definitions spring out in most cases. This situation will be further elaborated in this essay. In a hope of differentiating Taiwan’s nerds from otaku definitions, of re-confronting conflicts between the foreign and local cultures, these chapters are in further understanding and exploring for various sparkles.

碩士
國立高雄第一科技大學
應用日語所
96
This study mainly focuses on exploring Japanese comic books - known as manga hereinafter - and otaku culture; based on that, history of the development of Japanese manga and otaku culture, and their growth and impacts on countries other than Japan. Modern Japanese Manga stems from caricatures brought into Japan from the Western during the late Edo period, and it gradually evolved into yonkoma manga and graphic novels. After World War Two, foundation of modern manga was established by several respectful artists like Tezuka Osamu, and through many stages of evolution, Japanese manga today has become highly diversified. Japanese manga attracted a worldwide attention since the 21st century; however, as early as 1970’s and 1980’s, Japanese manga had entered into all over the world. Animations made Japanese manga popular in Europe and the US, and in East Asia, it is pirate manga that made it prevalent. The diversity nature of its themes and contents also draws large adolescent interests of different countries. With this mass fervor of Japanese manga, noticeable impacts on local comics emerged in those countries other than Japan. Moreover, otaku culture that is centered by anime (Japanese animation) and manga sprung up during 1980’s, after that, otaku culture has digitally disseminated all over the world via the Internet together with anime and manga. However, definitions of “otaku” are different between Japan and other countries. For instance, people who are fond of Japanese pop culture could be considered as otaku in Europe or the US, but in East Asia, where people highly recognize Japanese pop culture, those who view themselves as otaku are only limited to fans of Japanese anime and manga. On the other hand, dojinshi does not gain popularity in the West, and became popular only in East Asia. Through this research and analysis of Japanese manga and otaku culture, the author hope to make others abandon the stereotype imposed on manga and otaku culture, and then further understand manga and otaku culture more clearly and correctly.

碩士
國立臺南藝術大學
民族音樂學研究所
98
Abstract The Japanese Anime is famous not only for its diversity of stories and characters but also for its adaptability into people’s lives. The Anime creates so much value of output in the Japanese economy that it has become an important cultural industry in Japan. In this culture of Anime, the large amount of interactions between the anime and its fans triggers the formation of a sub-culture called Otaku. Along with this sub-culture, as well as under the influence of the visual and aural stimuli from the anime, a distinct kind of musical activity is thus developed within the group of anime fans. Generally speaking, the background music is an essential element in the anime, especially in its capabilities of highlighting the themes of stories and of stirring up the audience’s emotions. Therefore, the Japanese anime songs are thus created with strong senses of originality and novelty, which further leads to the emergence of such departments as music composition, stage direction, and other related works in the creation of different Animes. In this way, the Japanese anime is able to give its innovative producers a free space to look for different musical elements and to incorporate them into the anime, thus contributing to the uniqueness of Japanese Anime songs. In Taiwan, the present studies related to Japanese Anime and its relevant topics are mainly approached from as varied perspectives as visual communication, sub-cultural studies, postcolonial studies, psychological identification, or textual analysis of Anime stories and characters. In this thesis, the study of Japanese anime is specifically focused on the music, especially on how the anime songs develop their own peculiar style that is distinctively different from the common film music. Likewise, the anime fans, influenced by the anime songs, also fashion a particular attitude toward the evaluation of these songs and a special categorization of these songs on the basis of a different set of standards. With Maurice Merleau-Ponty’s notion of “phenomenology of perception” in mind, this thesis discusses the relation between the songs and the images of Anime as well as the contrast between the Anime songs in the culture of Otaku and other kinds of background or film music. Keyword：Japanese Anime、Otaku culture、Anime Song、Hearing、 Vision、Phenomenology of perception

碩士
龍華科技大學
電子工程系碩士班
103
This thesis is based on a questionnaire to investigate the definition and the consumer behavior of Otaku in Taiwan. The term “Otaku” was first introduced in Japan during the early 1980s. In the beginning, Otaku is the subculture group with ample interest in comics or games. In 2007, the Japanese television drama of “Train Man” is broadcasted in Taiwan, after that “Otaku” derived from a variety of different meanings in Taiwan. Such as "阿宅", "宅男/宅女" and “anime fans”. This thesis clarifies these concepts and studies of the consumer behaviors on Otaku and non-Otaku in Taiwan. The research results show that Otaku more often shopping online and buying more expensive items than non-Otaku.

碩士
元智大學
企業管理學系
96
The main purpose of this research is to explore the motivations and desires of Otaku. The definition of Otaku in this research is people who are addicted to some specific issues, items, objects, or even people. When it is about the objects they are addicted to, they will be very fascinated, curious, and dying to know everything in details about those certain objects. Besides, Otaku want to gather every peripheral of the objects no matter how expensive they are or how difficult to have them. Moreover, since Otaku get a lot of information and knowledge about the objects at hands, they love to share the information with others. They want others to have the same feelings and fascination about the objects as well and love the objects as they do. The channels they usually use to spread and share their information and experiences nowadays are internet, blogs, and community websites. So this research is curious about this phenomenon and hoping to explore Otaku’s desires behind their behaviors. This methodology of this research is qualitative research and this research conducts ten in-depth interviews with Otaku. The respondents of the interviews are those who fit the definition of Otaku in this research and are willing to be interviewed by this research. After the interviews, this research finds that there are eleven desires in Otaku by this research emphasize. Including desires of “Saving, Owning, Curiosity, Stimulation, and Attribution,” “Independence, Consistency, and Autonomy,” “Acceptance, Social Contact, Affiliation, Showing, and Expression,” “Power, Status, Assertion, and Identification,” “Order and Categorize,” “Modeling,” “Uniqueness,” “Realizing Dreams,” “Conforming to a Habit,” “Imagination,” and “Leaving Evidences”

碩士
淡江大學
建築學系碩士班
95
With the development of computer technologies, living habits of mankind have been transferred by these technologies gradually. In the era of Internet, the relationship between populace is reconstructed, and the individual values are also repositioned. In this condition, here initiates the new urban tribes to follow the new trend of living style. The new tribes own relatively higher ability to accommodate the explosive information. Besides, these people are sensitive to the flat images. In the consequence, they are called ”OTAKU”. Human’s projection for emotion has changed as well. People began to project to the virtual “MOE” rather than real objects. The evolutionary living model of these new tribes evokes the insufficiency of human’s actual contact, and hence the “OTAKU” desires more for the “MOE” than the general population. “MOE” is an important factor for “OTAKU” in their living style. The current study is to discuss the “fetishism” people for the information age, then to analyze the ratio of the “OTAKU” in diverse levels. As well as, their fetish and living tendencies are going to be described and collected. The main purpose is trying to design products, activities, and spaces for these new tribes through the combination of internet glossary and the specific local elements and components of Taiwan, which may be transformed and up-graded for the spaces at different scale according to special criteria. Finally, design a new “OTAKU” space in the real-world to interpret their living style. The first part is to set an “OTAKU” space at the parking lot located on the roof of Carrefour of Tamsui. The second part is to locate different kinds of urban components of “MOE” at Xi-Men-Ting, Taipei where is filled with sub-culture for young generation. Through the inter-connection of these urban components to produce a “MOE” park which could reach the illusions of adventure.

碩士
義守大學
應用日語學系
103
Based on consumer culture, Kawaii has gradually booms in the capitalism and globalization land with economic recovery after Second World War and blossoms two nice flowers, namely Hello Kitty and Pikachu. Led by this two virtual roles, Japan again waved the flag towards the world which was even regarded to be contend against with American modern pop culture. An article named ≪Japan’s Gross National Cool≫written by American journalist Douglas McGray in ≪Foreign Policy≫ magazine in 2002 added a beautiful stroke which was treated as the important turning point for Japan to walk towards Cool Japan policy. Till now, Cool Japan is still very lovely but is declining in policy. Besides, another special Japanese modern consumer culture Otaku subculture is facing a review challenge. It needs to be noticed that Japanese Kawaii pop culture and Otaku subculture have a strong superposition but separate in pop culture and subculture. It means they have common points but also have contradictory and unstable inner structure. Hence, it is amazing why this contradiction is rooted in postwar Japanese consumer culture. This contradiction reflects social reality of postwar Japan. On one hand, it compares postwar Japanese culture once stated this contradiction before and after ≪Japan’s Gross National Cool≫ article was released. On the other hand, it reviews if the difficult situation of review war of Japanese Otaku subculture is related to this contradiction which will be used as reference for new Asian emerging economies to review the internal consumer culture contradiction and external soft power competition subjects.

碩士
南台科技大學
數位內容與動畫設計研究所
98
A new community discovered by mass media called “Otaku” recently. They were active in the internet. But, study of this subject is not yet. The way will refer to the relative bibliography of otaku, and to take on how was otaku in Taiwan. The purpose of this article is to investigate opinion leader of otaku in internet. Furthermore, the purpose of this research intends to compare with Lazarsfeld’s opinion-leader theory, by way of that to describe opinion-leader of otaku in the internet. The way probed into by the questionnaire, that using two-usage phases field survey of collect data. The first questionnaire, refer to the relative bibliography of otaku, design the otaku scale, the subjects of this study derive from CWS(in Kaoshsiung),FF(in NTU) and internet. An opinion leader result from whose opinion supported by more people. In another word, an opinion leader developed that influence factors issue-opinion and sharing information behavior. Therefore, the way probed into by the questionnaire, that using Lazarsfeld’s opinion-leader theory. The based for design the second questionnaire：Otaku- opinion-leader in internet scales. The subjects of this derive from the first questionnaire. The way probed into by the online questionnaire. The way analyzed by Descriptive Statistics. Research Institute summed up the results of scholars with relevant theory and discussions of this study was that the Royal House version of opinion leaders, as well the environmental impact of the Internet media, and therefore the characteristics of opinion leaders are more the same network. Therefore, this study summarized Royal House version of opinion leaders, and early Lazarsfeld the difference between opinion leaders as follows: 1、Due to the network environment brought about by equal opportunities to exchange ideas, disseminator and the recipient will not have to filter through intermediaries and transmission, but the existence of opinion leaders is not much change in nature, but equal in this open network Road environment, opinion leaders to become more easily than ever before. 2、With the early distinction between the views of leaders and non-leaders, opinion leaders in the Internet today is a network of community-level characterization. Royal house only version of opinion leaders, knowledge of their identity and status of the relationship may not be positive. 3、The past is a foreign opinion leaders declared their own professional authority, as well as the status symbol of power. But now Royal House version of opinion leaders in the collection and sharing of information act, the principal is to meet the self-interest for the exchange of information with others at the same time, indirectly, the performance of the self. 4、Compared to earlier in which one-way opinion leaders, restricted the spread of the environment, the advantages of Internet technology to expand the influence of opinion leaders in areas.