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Journal articles on the topic 'Shōjun'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Simonini, Emanuel. "Sakoku. Ökonomische Anpassungen des Tokugawa-Shōgunats von 1639–1853." historia.scribere, no. 8 (June 14, 2016): 323. http://dx.doi.org/10.15203/historia.scribere.8.457.

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During the period of Edo (1603–1868), Japan was dominated and ruled by the Tokugawa Dynasty. In fact this family ruled the country on its own and provided every Shōgun in the modern age. In the era of the third Shōguns reign – Tokugawa Iemitsu – Japan got into a term of forclosure which at least took 200 years, today known as ‚Sakoku‘ (1639–1853). The purpose of this paper is to examine the economic and social conditions in order to consist as a souvereign country during this period of isolation. The focus to answer this question thereby lies on food supply, foreign commerce and the external relations of the Shōgunat.

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2

Whaley, Ben. "When Anne Frank Met Astro Boy." positions: asia critique 28, no. 4 (2020): 729–55. http://dx.doi.org/10.1215/10679847-8606417.

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This article examines the evolution and impact of Anne Frank’s The Diary of a Young Girl on postwar manga (print comics) and Japanese visual culture. The author argues that Anne’s enduring legacy in Japan, dating back to 1952, owes much to the ways in which the content of her Diary capitalizes on certain hallmarks of shōjo (girls’) manga culture, such as affective storytelling and character interiority. Moreover, as shown through a primary analysis of two emonogatari (illustrated story) versions of the Diary from 1964 and two manga versions from 1967, among others referenced, Anne Frank’s life and legacy inspires a hybridized narrative and visual style in manga that blends the emotionality and interiority of shōjo with the more graphic depictions of violence common to shōnen manga for young boys. In so doing, it encourages a reevaluation of the shōjo mode and its ability to bear witness to the physical violence and psychological trauma of the Holocaust.

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3

Unser-Schutz, Giancarla. "What text can tell us about male and female characters in shōjo- and shōnen-manga." East Asian Journal of Popular Culture 1, no. 1 (2015): 133–53. http://dx.doi.org/10.1386/eapc.1.1.133_1.

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4

Gueydan-Turek, Alexandra. "Cute Girls, Tough Boys." European Comic Art 7, no. 1 (2014): 85–111. http://dx.doi.org/10.3167/eca.2014.070105.

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This article explores the way in which masculinity and femininity are constructed in Algerian manga, an emerging, understudied sub-genre within the field of Algerian graphic art. Through the exploration of youth-oriented publications of shōjo and shōnen manga, I will demonstrate how these new local works offer a privileged form of expression for and platform to address disaffected Algerian youths. The primary focus of this investigation will be the differences (or lack thereof) between ideals of gender performances as expressed in Algerian manga and ideals of gender identity in society at large. This article will demonstrate that, while some differences manifest a desire for change on the part of both artists and readers, they certainly do not constitute radical revisions of the popular Algerian notions of masculinity and femininity. Ultimately, this study will demonstrate the limits of manga as an imported genre within an Arab-Islamic context, oscillating between the promulgation of alternative social ideals and the reinforcement of social norms.

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5

Holcombe, Charles. "Chinese Shōgun: Gao Huan (496–547)." Historian 76, no. 2 (2014): 217–36. http://dx.doi.org/10.1111/hisn.12032.

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6

Bonillo Fernández, Claudia. "Guerra, magia y romance durante “los estados combatientes”." Mirai. Estudios Japoneses 5 (June 10, 2021): 223–33. http://dx.doi.org/10.5209/mira.72870.

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La adaptación animada del manga InuYasha, escrito e ilustrado por Takahashi Rumiko, se sitúa de manera habitual entre las más queridas por los aficionados al anime en los rankings de series estrenadas desde el año 2000. Su mezcla de elementos shōjo y shōnen, su dinámica animación y la innegable química entre sus protagonistas son algunos de los elementos que más siguen atrayendo a fans de todo el mundo. Sin embargo, hay un factor clave que actúa como base para el buen desarrollo de toda la serie y que, en la mayor parte de ocasiones, pasa desapercibido: su detallista ambientación en la que se combinan los elementos fantásticos con una representación realista del periodo de las guerras civiles japonesas del siglo XVI conocido como Sengoku. En este artículo se va a realizar un análisis comparativo entre lo que se conoce sobre el estilo de vida durante “la era de los estados combatientes” y el mundo en el que se desarrollan las aventuras de Inuyasha y su grupo con el objetivo de determinar si el pozo mágico del santuario Higurashi es capaz de transportar no sólo a la protagonista Kagome a este tiempo pasado, sino también al propio espectador.

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7

Kućma, Natalia. "SHŌJO. GIRLS, CULTURE AND COMICS." Kultura Popularna 60, no. 2 (2020): 126–35. http://dx.doi.org/10.5604/01.3001.0013.7339.

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This article analyzes shōjo culture and shōjo girls as a participants and creators of this culture. The first part of the article presents the history of girls&#39; schools from the beginning of the 20th century and the ideal of a good wife and wise mother (ryōsai kenbo). The second part focuses on the issue of the &quot;privileged body&quot; of shōjo (girl), which is on the edge between the body of a child and a woman, a boy and a girl. Shōjo manga, as comics addressed to girls, have evolved since the 70s, when women began to create them. At the end I examine aesthetic traits and „the aesthetics of sameness” as tools to create emotional involvement of readers. Shōjo culture is the Japanese version of girl power.

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8

Inose, Hiroko. "Shōjo Manga Elements Imported to Contemporary Japanese Literature - A Case Study of Miura Shion." Estudios de Traducción 11 (June 4, 2021): 55–63. http://dx.doi.org/10.5209/estr.71388.

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The present paper discusses how various elements in shōjo manga (Japanese comics for girls) have been incorporated in works of Japanese contemporary literature. The connection between shōjo manga and literature was pointed out for the first time when the novel Kitchen by Yoshimoto Banana was published in 1987. This paper argues that this connection has developed further since then, focusing on one of the most active writers in contemporary Japanese literature, Miura Shion[1]. The paper briefly introduces the genre shōjo manga and describes its connection with the novel Kitchen before analysing a short story and an essay by Miura Shion, focusing both on their motifs and styles, to identify elements influenced by shōjo manga.

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9

Sakamoto, Rumi. "Confucianising Science: Sakuma Shōzan andwakon yōsaiIdeology." Japanese Studies 28, no. 2 (2008): 213–26. http://dx.doi.org/10.1080/10371390802249180.

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10

MOCHIZUKI, Shinchō. "The Nichijō shōnin nikki." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 65, no. 1 (2016): 129–36. http://dx.doi.org/10.4259/ibk.65.1_129.

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11

Idema, Wilt L. "Bo Shaojun and Her One Hundred Poems Lamenting My Husband." Nan Nü 15, no. 2 (2013): 317–32. http://dx.doi.org/10.1163/15685268-0152p0004.

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In the year following the death of her husband, the late Ming woman poet Bo Shaojun (d. 1626) wrote a set of one hundred quatrains lamenting him. Eighty-one poems of this sequence have been preserved. In his study Mindai josei no junshi to bungaku. Haku Shōkun no Kofushi hakushu (2003) the modern Japanese scholar Kobayashi Tetsuyuki argues that Bo Shaojun’s poems should be read as a report of her determination to follow her husband in death, and of the actions undertaken in preparation for that act. This review article questions his analysis by a close reading of some selected poems and Kobayashi’s interpretations, and concludes that the poems do not show evidence of a deliberate program of preparation for such a chaste and loyal suicide.

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12

SUEMORI, Akio. "Words Meaning Gesture/Sign Language in “Jikei Shōdan”." Japanese Journal of Sign Language Studies 28, no. 2 (2019): 28–30. http://dx.doi.org/10.7877/jasl.28.2_28.

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13

Holmberg, Ryan. "Manga Shōnen: Katō Ken'ichi and the Manga Boys." Mechademia 8, no. 1 (2013): 173–93. http://dx.doi.org/10.1353/mec.2013.0010.

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14

Hori Hikari. "Tezuka, Shōjo Manga, and Hagio Moto." Mechademia 8 (2013): 299. http://dx.doi.org/10.5749/mech.8.2013.0299.

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15

Hori, Hikari. "Tezuka, Shōjo Manga, and Hagio Moto." Mechademia 8, no. 1 (2013): 299–311. http://dx.doi.org/10.1353/mec.2013.0012.

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16

Ogi, Fusami, Lucy Fraser, Isabelle Bettridge, and Liisa Kuru. "Beyond Borders: Shōjo Manga and Gender." U.S.-Japan Women's Journal 54, no. 1 (2018): 75–97. http://dx.doi.org/10.1353/jwj.2018.0011.

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17

Ng, Wai-ming. "The Uses of Chinese Political Terminology In Tokugawa Japan: A Study of Bakufu and Shōgun." Jiuzhou Xuelin 2013, no. 32 (2013): 115–27. http://dx.doi.org/10.5404/jiuzhou.2013.32.06.

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18

Tarcov, Marianne. "Fragrant Spaces between Words: Prolonging Shōjo Liminality into Adulthood in the Poetry of Yonezawa Nobuko." Japanese Language and Literature 53, no. 2 (2019): 183–201. http://dx.doi.org/10.5195/jll.2019.77.

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This essay argues that, in 1920s Japanese Symbolist poetry and perfume advertising, women inhabit a space of ambiguity, where bodily experience is elevated as the highest form of creativity and knowledge. Yonezawa’s poems prolong the liminality of the shōjo, or girl, archetype into adult womanhood, thereby transgressing the border between womanhood and girlhood. In her poetry, Yonezawa uses fragrance to portray the inherent sexuality of poetic creation, creating a feminine, sexual creative voice. Yonezawa uses the idealized homosocial relationships found in shōjo culture to imagine a world determined by the creativity and community of women. The relationships between women feature ecstatic sensory pleasure and shared poetic inspiration, brokered by the sense of smell.

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19

Zúñiga-Reyes, Danghelly Giovanna. "Conjunción de géneros narrativos en Naruto." Neuróptica, no. 1 (March 24, 2020): 173–88. http://dx.doi.org/10.26754/ojs_neuroptica/neuroptica.201914326.

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Resumen: Esta investigación se centró en identificar la estructura narrativa del anime Naruto. El modelo de investigación cualitativa de la estructura narrativa se basó en el análisis de cuarenta y siete capítulos de los doscientos veinte que componen la primera temporada de la serie de anime Naruto. La hipótesis de esta investigación es que Naruto es la cristalización de la mezcla de diferentes tipos de narraciones, propone exitosamente una historia construida desde el ámbito local hacia lo global, en la cual se incluyen elementos de estructuras narrativas clásicas, modernas y postmodernas. Toma la narración de Naruto elementos de la picaresca, la epopeya, la gesta, los videojuegos y el shōnen. Abstract: This research focuses on identifying the narrative structure of Naruto. The qualitative research model of the narrative structure focusing on the analysis of forty-seven chapters of the two hundred twenty that make up the first season of the anime series Naruto. This investigation hypothesizes that Naruto is the crystallization of the mixture of different types of narrations, a history constructed from the local to the global is successfully proposed, in which elements of classic, modern and postmodern narrative structures are included. The narration of Naruto, the elements of the picaresque, the epic, the deed, the video games, and the shōnen.

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20

Ryan Holmberg. "Manga Shōnen: Katō Ken'ichi and the Manga Boys." Mechademia 8 (2013): 173. http://dx.doi.org/10.5749/mech.8.2013.0173.

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21

Fanasca, Marta. "When girls draw the sword: Dansō, cross-dressing and gender subversion in Japanese shōjo manga." Queer Studies in Media & Popular Culture 6, no. 1 (2021): 3–18. http://dx.doi.org/10.1386/qsmpc_00041_1.

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This article focuses on the representation of FtM cross-dresser characters in Japanese shōjo manga and their gender performances. The first cross-dresser heroine in manga is Sapphire, the main character from 1953s Ribon no kishi. Following this first example, similar characters have continued to appear in shōjo manga, obtaining very positive responses from the audience. While they are seen as rebellious characters challenging stereotypical views on gender in the Japanese society, the narratives where they appear do not always fully explore this aspect. The aim of this article is to investigate the role of cross-dresser heroines in manga as a tool to reinforce the sociocultural patriarchal status quo and as a different gender embodiment outside stereotyped femininity. It argues that the possibility for those characters to occupy powerful positions and succeed is related to masculinity, symbolized by the sword, stressing how ultimately their revolutionary potential is weakened and limited.

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22

MINAMI, Hironobu. "The Creation of Hōnen’s senchaku shōjō:." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 65, no. 1 (2016): 40–44. http://dx.doi.org/10.4259/ibk.65.1_40.

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23

Yukari, Fujimoto, and Matt Thorn. "Takahashi Macoto: The Origin of Shōjo Manga Style." Mechademia 7, no. 1 (2012): 24–55. http://dx.doi.org/10.1353/mec.2012.0000.

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24

Gao, T., Z. Wang, and J. M. Vanden-Broeck. "Investigation of symmetry breaking in periodic gravity–capillary waves." Journal of Fluid Mechanics 811 (December 15, 2016): 622–41. http://dx.doi.org/10.1017/jfm.2016.751.

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In this paper, fully nonlinear non-symmetric periodic gravity–capillary waves propagating at the surface of an inviscid and incompressible fluid are investigated. This problem was pioneered analytically by Zufiria (J. Fluid Mech., vol. 184, 1987c, pp. 183–206) and numerically by Shimizu & Shōji (Japan J. Ind. Appl. Maths, vol. 29 (2), 2012, pp. 331–353). We use a numerical method based on conformal mapping and series truncation to search for new solutions other than those shown in Zufiria (1987c) and Shimizu & Shōji (2012). It is found that, in the case of infinite-depth, non-symmetric waves with two to seven peaks within one wavelength exist and they all appear via symmetry-breaking bifurcations. Fully exploring these waves by changing the parameters yields the discovery of new types of non-symmetric solutions which form isolated branches without symmetry-breaking points. The existence of non-symmetric waves in water of finite depth is also confirmed, by using the value of the streamfunction at the bottom as the continuation parameter.

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25

Lunning, Frenchy. "Under the Ruffles: Shōjo and the Morphology of Power." Mechademia 6, no. 1 (2011): 3–19. http://dx.doi.org/10.1353/mec.2011.0021.

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26

Galán Sanz, Ana. "Una lectura feminista de La Llama de Uemura Shoen." Mirai. Estudios Japoneses 4 (June 3, 2020): 129–42. http://dx.doi.org/10.5209/mira.67401.

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Uemura Shōen (1875-1949) fue una reconocida artista japonesa especialista en bijinga.[1] Su dedicación al arte se refleja en sus pinturas y en sus memorias. Aquí se presenta a esta artista por medio de un análisis completo de La llama, pintura de 1918 que encarna el espíritu vengativo de la dama Rokujō. El objetivo que persigo es aportar una re-lectura de esta obra, y pretendo demostrar que ha sido malentendida por numerosos críticos como una simple representación de los celos. Sin embargo, escuchando a la artista, se entiende cómo verdaderamente su obra dista del imaginario artístico patriarcal que define esta feminidad desviada. Así, se demostrará cómo Shōen emplea esta pintura como un lenguaje reivindicativo donde expresa su propia mirada, con la que desarticula los estereotipos impuestos por el imaginario androcéntrico y muestra su compromiso feminista a través de su arte.  [1] VV.AA. (1990): 534; bijinga (美人画) o representación de mujeres bellas (bijin) constituye un género dentro de la tradición del nihonga o pintura japonesa. Tiene su origen en las estampas ukiyo-e. Sin embargo, el problema de la belleza externa o interna es a menudo un tema de discusión.

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27

Miyajima, Keiko. "Queering the palate: The erotics and politics of food in Japanese gourmet manga." Studies in Comics 11, no. 2 (2020): 271–83. http://dx.doi.org/10.1386/stic_00029_1.

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As demonstrated by a widely circulated Japanese proverb ‘men should never enter the kitchen’, kitchens, as well as food and the act of cooking, have been deeply suffused with heteronormative gender ideology. While domestic cooking has traditionally been associated with women and femininity in Japanese society and popular media, ‘gourmet manga’, emerging in shōnen manga in the 1970s, foregrounded male chefs as figures of authenticity and authority, and ever since, have successfully constructed the site of food and cooking as a professional, masculine domain. While shōnen manga tropes of battle, competition and victory have contributed to the construction of hegemonic masculinity in gourmet manga, some popular gourmet manga also employ female bodies to conflate food and sex, by repeatedly showcasing graphically explicit representations of orgasm in the scenes of women eating. These texts promulgate painstakingly prepared food as a catalyst not only for masculine maturity but also for ‘healthy’ heteronormative desire and, by extension, procreation. However, in more recent gourmet manga, non-competitive, pleasure-based cooking and eating have become salient, along with the gradual diversification of the representations of gender and sexuality. This article examines the queer interrelationship among food, gender and sexuality, in Yoshinaga Fumi’s Kinō Nani Tabeta? (What Did You Eat Yesterday?) and Hiiragi Yutaka’s Shinmai Shimai no Futari Gohan (‘Let’s have a meal together’). In these texts, the site of ‘gourmet’ is relocated from the public/professional to the private/domestic, wherein the pleasures of cooking and eating create new, non-heteronormative forms of intimacy and eroticism. Food is thus redefined as a catalyst for a queer kinship, which enables both the cooks and the eaters to create their own space and time outside the logics of domesticity and reproduction.

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28

Antononoka, Olga. "Blonde is the new Japanese: Transcending race in shōjo manga." Between Texts and Images: Mutual Images of Japan and Europe, no. 1 (2016): 22–46. http://dx.doi.org/10.32926/2016.1.ant.blonde.

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29

Tai, Eika. "Rethinking Multiculturalism from a Colonial Perspective: Shōji Sōichi’s Chin-fujin." Japanese Cultural Studies ll, no. 47 (2013): 157–72. http://dx.doi.org/10.18075/jcs..47.201307.157.

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30

Terao, Eichi. "The Style of the Various Copies of the Nichiren shōnin chūgasan." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 69, no. 2 (2021): 500–507. http://dx.doi.org/10.4259/ibk.69.2_500.

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31

Rhéault, Sylvain. "Les choix des créatrices de bande dessinée." Voix Plurielles 9, no. 2 (2012): 91–104. http://dx.doi.org/10.26522/vp.v9i2.670.

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Quels choix s’offrent aux femmes qui optent pour une carrière de bédéiste ? Il y a d’abord le modèle de la BD traditionnelle, établi par des pionniers comme Hergé dans la première moitié du XXe siècle et qui s’adresse à un lectorat essentiellement masculin. Le modèle de la BD alternative, quant à lui, favorise la recherche esthétique au détriment des ventes. Enfin, avec le modèle du shōjō manga, venu du Japon, des femmes créent des BD pour des femmes à propos de femmes.

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32

Bouchy, Anne-Marie. "The Cult of Mount Atago and the Atago Confraternities." Journal of Asian Studies 46, no. 2 (1987): 255–77. http://dx.doi.org/10.2307/2056014.

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AbstractsMount Atago lies northwest of the ancient capital of Kyoto. Because of its long history and the cult that has been associated with it from early times, the mountain provides a typical example of Japanese religion. Like all sacred mountains in Japan, a cult of ancestors was originally attached to Mount Atago. During successive centuries this cult served as a base for other cults: of fire, the tengu, the Bodhisattva Jizō, and Shōgun Jizō. It also served as the base for a large popular cult with branches all over the country, which still exists. The complex structure of the popular cult contains a harmonious blend of elements of archaic religion, Shinto, and Buddhism. From early times until the Meiji period, its organization was directed by a group of the mountain ascetics known as yamabushi, who lived on the mountain itself. A sad consequence of the Meiji Restoration was the dispersion and disappearance of this group as well as most of the documents concerning Mount Atago. In an effort to reconstruct the history of the cult, the writer has consulted the few documents that still remain, which are found among local chronicles and classical texts. The study also discusses the religious and social characteristics of the Atago confraternities (kō), which are found in towns and villages even today, and their position in relation to the general phenomenon of confraternities in Japan.

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33

Lee, Yen-Han, and William DeJong. "Depictions of Tobacco and Alcohol Use in Contemporary Japanese Shōnen Manga: A Content Analysis." Journal of Health Communication 24, no. 11 (2019): 848–55. http://dx.doi.org/10.1080/10810730.2019.1678704.

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34

Wakeling, Emily Jane. ""Girls are dancin": shōjo culture and feminism in contemporary Japanese art." New Voices 5 (December 2011): 130–46. http://dx.doi.org/10.21159/nv.05.06.

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35

Ting, Grace En-Yi. "The Desire and Disgust of Sweets: Consuming Femininities through Shōjo Manga." U.S.-Japan Women's Journal 54, no. 1 (2018): 52–74. http://dx.doi.org/10.1353/jwj.2018.0010.

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36

Tai, Eika. "Intermarriage and imperial subject formation in colonial Taiwan: Shōji Sōichi'sChin-fujin." Inter-Asia Cultural Studies 15, no. 4 (2014): 513–31. http://dx.doi.org/10.1080/14649373.2014.972632.

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37

Kloutvorová, Hana. "First Person Expressions Used by Teenage Girl Characters in Shōjo Manga." Silva Iaponicarum, no. 64-65 (August 1, 2021): 23. http://dx.doi.org/10.12775/sijp.2021.64-65.2.

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38

Oshiyama, Michiko, and Kohki Watabe. "Interpretative negotiation with gender norms in shōjo manga adaptations of The Changelings." Journal of Adaptation in Film & Performance 12, no. 3 (2019): 179–93. http://dx.doi.org/10.1386/jafp_00005_1.

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Abstract The Changelings is a classic work of traditional Japanese literature. In the modern era, it has been adapted into Japanese comics repeatedly. This article examines three shōjo manga, or girls' comics, adaptations of The Changelings published between 1984 and 2018. Taken together, the three manga evidence the different situations in which women were embedded in the 1980s and the 2010s and provide different interpretative alternatives to female readers. Manga adaptations of The Changelings crystallized gender norms in Japanese society and women's responses to and struggles with those norms by taking advantage of the gender-switching plot that originated in the twelfth century.

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39

지영임. "The Shōkon-ideology of the Yasukuni Shrine and the Funeral Urns of the War Dead." 일본연구 ll, no. 28 (2017): 177–205. http://dx.doi.org/10.32624/stofja.2017..28.177.

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40

Mostow, Joshua S. "The Ise-e Tradition and Ise Manga." Japanese Language and Literature 55, no. 1 (2021): 215–42. http://dx.doi.org/10.5195/jll.2021.154.

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The Ise monogatari (The Ise Stories, aka Tales of Ise, tenth cen.) is the oldest continuously illustrated secular narrative in Japanese history. The present article explores to what extent, and how, contemporary manga artists engage with or use this rich visual tradition, examining three examples, in the seinen (young male-oriented), shōjo (young female-oriented), and gyagu (gag) genres, yet all arguably categorizable as gakushū, or educational, manga. Perhaps surprisingly, only the gag manga artist, Kurogane Hiroshi, takes advantage of the Ise’s long visual history, and the author of the article concludes by drawing parallels with the early modern artistic practice of mitate-e, or visual parody.

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41

Dahlberg-Dodd, Hannah E. "Voices of the hero: dominant masculine ideologies through the speech of Japanese shōnen protagonists." Gender and Language 12, no. 3 (2017): 346–71. http://dx.doi.org/10.1558/genl.32536.

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42

Maselli, Vincenzo. "Paisajes animados como remediación y premediación: ciudades cíborgs y mundos virtuales en los anime japoneses." Con A de animación, no. 13 (September 27, 2021): 78. http://dx.doi.org/10.4995/caa.2021.15927.

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<p>Los anime del género ciberpunk muestran un futuro post-apocalíptico e hipertecnológico. Reconociendo el poder narrativo de los paisajes animados, el artículo describe los escenarios de algunos de esos anime, en los que el espacio y la tecnología se hibridan en un único dispositivo narrativo y estético. Las escenografías examinadas están tomadas de Conan, el niño del futuro (Mirai shōnen Konan, 1978), Akira (1988), Metrópolis (Metoroporisu, 2001), Neon Genesis Evangelion (Shin seiki Evangerion, 1995), Digimon (1999) y Sword Art Online (2012). El análisis es diegético, estilístico y sintomático, y se divide en dos grandes apartados: en el primero, las ciudades tecnológicas se describen como remediación (Grusin, 2017) de las arquitecturas de los “metabolistas” japoneses de los Sesenta; en el segundo, los escenarios de la fantasía cibernética se exploran como premediación (ibídem) de mundos virtuales inmersivos. En conclusión, el artículo reconoce al anime como un medio narrativo para revelar y discutir temas sociales relacionados con la tecnología.</p>

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Yukari, Fujimoto, and Lucy Fraser. "Where Is My Place in the World?: Early Shōjo Manga Portrayals of Lesbianism." Mechademia 9, no. 1 (2014): 25–42. http://dx.doi.org/10.1353/mec.2014.0007.

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Noriko, Mizuta, and James Garza. "The Girl Double: On the Shōjo as Archetype in Modern Women's Self-Expression." Review of Japanese Culture and Society 30, no. 1 (2018): 204–20. http://dx.doi.org/10.1353/roj.2018.0013.

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Oxenboell, Morton. "The Vicissitudes of a Medieval Japanese Warrior." Journal of the Royal Asiatic Society of Great Britain & Ireland 17, no. 1 (2007): 43–54. http://dx.doi.org/10.1017/s1356186306006778.

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In standard accounts of medieval Japanese society, enormous stress is put on the conflicts between local landholders (zaichi ryōshu) and absentee proprietors. Fuelled by the debate on feudalism that divided scholars up until the early 1990s, these conflicts have widely been recognised as proof of the diminishing powers of the central elite in, or near, Kyoto and of the increasing absorption of power by warriors in both the countryside and in the administration of the military government, the bakufu. The conflicts were, in other words, seen in the structural context of a system of huge landed estates (shōen) owned by court nobles or large religious institutions, which were gradually replaced by much smaller proprietary units controlled personally by individual warrior families.

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Ishizaki, Ami. "Early-modern shōyu transactions and shirushi: Examining the case of the Takanashi Hyōzaemon family." Japanese Research in Business History 34 (2017): 107–28. http://dx.doi.org/10.5029/jrbh.34.107.

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Dollase, Hiromi Tsuchiya. "Early Twentieth Century Japanese Girls' Magazine Stories: Examining Shōjo Voice in Hanamonogatari (Flower Tales)." Journal of Popular Culture 36, no. 4 (2003): 724–55. http://dx.doi.org/10.1111/1540-5931.00043.

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Suleski, Ronald. "Chūgoku shichiya gyōshi (History of Chinese Pawn Shops). By Asada Taizō. Tokyo: Tōhō shōten, 1997. 230 pp. ¥ 2,400." Journal of Asian Studies 57, no. 2 (1998): 480–81. http://dx.doi.org/10.2307/2658848.

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Scherer, Elisabeth. "Der weinende Mann in der Momotarō-Fabula. Männliche Tränenausbrüche in ausgewählten shōnen-Werken der Milleniumsdekade, by Weisgerber, Christian." Japan Forum 27, no. 2 (2015): 286–87. http://dx.doi.org/10.1080/09555803.2015.1025816.

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Park, Si Eon. "Representation of Home Front of Empress Shōken in the Sino-Japanese War -The Birth of Another War Image-." Journal of Humanities 80 (February 28, 2021): 141–71. http://dx.doi.org/10.31310/hum.080.05.

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