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The Manga Boom: The Recent Fairy-Tale Transculturation Between Germany and East Asia Item Type text; Electronic Dissertation Authors Gagum, Kyung Lee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 00:56:10 Link to Item http://hdl.handle.net/10150/624539 THE MANGA BOOM: THE RECENT FAIRY-TALE TRANSCULTURATION BETWEEN GERMANY AND EAST ASIA by Kyung Lee Gagum __________________________ Copyright © Kyung Lee Gagum 2017 A Dissertation Submitted to the Faculty of the DEPARTMENT OF GERMAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN TRANSCULTURAL GERMAN STUDIES In the Graduate College THE UNIVERSITY OF ARIZONA 2017 1 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Kyung Lee Gagum, titled The Manga Boom: The Recent Fairy-Tale Transculturation between Germany and East Asia and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: (April 26, 2017) David Gramling _______________________________________________________________________ Date: (April 26, 2017) Barbara Kosta _______________________________________________________________________ Date: (April 26, 2017) Chantelle Reynwar Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: (April 26, 2017) Dissertation Director: David Gramling 2 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Kyung Lee Gagum 3 ACKNOWLEDGEMENT First and foremost, I would like to thank my committee members, Professor David Gramling, Professor Barbara Kosta, and Professor Chantelle Warner. To my chair, my Doktorvater, Professor David Gramling, who always guided me to a new direction and encouraged me to go beyond my horizon. And always knew, when I needed words of encouragement to continue. To Professor Barbara Kosta, who made me the offer to continue my research, and this I simply could not refuse. And the one who made me realize that my research is not just interesting but also matters in the realm of Transcultural German Studies. To Professor Chantelle Warner, who made me realize that I can in fact do and be both, a researcher and a teacher. Who gave me the confidence to apply my research in teaching and directed me to the pedagogical application that is not only relevant and applicable to my research but also to me as a teacher. My gratitude also extends to the faculty of Department of German Studies at the University of Arizona, who were always a fountain of information, resources, and insights. And last, many thanks to my future research colleagues, encounters, and endeavors. Who and what may inspire me to continue my research and I hope to inspire to do the same. 4 DEDICATION I like to dedicate my dissertation to my husband, Alford Gagum, my two daughters, Yvette and Audrey Gagum, and my son, Alphonse Gagum. And to my unni, Hyang-Lee Perron/Moon, who gave motivation only a dear sister, could give. 5 TABLE OF CONTENTS ABSTRACT…………………………….……….…………………………….………..…8 INTRODUCTION …………………………….…………………………….………..…10 1. Transculturation revisited …………………………….…………………………....11 2. Transculturation applied ……….………….…………………………….………....17 3. A Note on Terminology ……………………………………………..…….………18 4. Description of Chapters …………………………………….………………...……20 5. Literature Review…………………………………………….……………………..24 CHAPTER ONE Grimms’ Fairy Tales and Manga ………………………………………………………. 29 The Reception of Grimms’ Fairy Tales in Japan ...................................................... ... 29 Grimms’ Boom in Japan and Manga Boom in Germany ......................................... …35 Manga as a Global Transcultural Product in the Context of Comics ....................... …42 Analysis of Grimms Manga ...................................................................................... …50 1. The Transcultural Beginning of Grimms Manga………………………….………..51 2. Ishiyama’s Little Red Riding Hood…………………………………….…………..56 3. The Narrative Component of Rotkäppchen …………………………….…….……59 4. Reflections of Moral Education in Ishiyama’s Little Red Riding Hood …………..68 5. The Challenge of Assigned Gender Roles in Isyhama’s Retellings ………………70 CHAPTER TWO Yoko Tawada’s engagement with the Early German Romanticism……………………..76 1. Yoko Tawada……………………………………………………………………….78 2. Friedrich Schlegel: “Fragments and Progressive Universal Poetry”.……………....78 3. Friedrich Schlegel and Yoko Tawada’s Works…………………………………….80 4. Novalis and His Concept of Romanticism ………………………………...……….87 5. Novalis and Yoko Tawada’s Works………………………………………………..88 6. Kunstmärchen and Yoko Tawada…………………………………………………..91 7. E.T.A. Hoffmann and Yoko Tawada’s Works ………………………….…………91 8. Till Eulenspiegel and Yoko Tawada’s Works…………………………………...…96 CHAPTER THREE Wagnerian Ideology in Kouhei Kadono’s Boogiepop………………………………….104 6 1. Richard Wagner in Meiji Japan…………………………………………………...105 2. The Boogiepop Series …………………………………………………………….109 3. Boogiepop and Others…………………………………………………………….110 4. The Intertextuality between Kadono and Wagner ………………………………..118 5. Boogiepop’s Relationship with Keiji …………... ………………………………..121 6. Farewell between Boogiepop and Keiji …………………………………………..123 7. Relationship between Boogiepop and Niitoki…………………………………….125 CHAPTER FOUR The Goethe’s Faust transculturation in a South Korean Manhwa The Tarot Café ..... ..133 1. The Reception of Goethe’s Faust in South Korea………………………………...136 2. Park’s Critique of a Neo-Confucian View of Women…………………………….140 3. Park’s Critical Feminist Project through Goethe’s Faust…………………………142 4. Gustav Klimt’s Paintings reimagined in The Tarot Café…………………...……..147 5. Kkonminam and Modern Korean Masculinity ………………………………...…148 6. Transculturation in The Tarot Café ……………………………………………….151 CHAPTER FIVE Manga in a German Language Curriculum……………………………………..……...155 1. Brief Overview of Multiliteracies Pedagogy ........................................................ ..156 2. Multiliteracies within the Foreign Language Curriculum ..................................... ..158 3. Manga in a German Classroom …………………….…………………………….161 4. Manga in Action ………………………………………………………………….166 4. Conclusion .……………………………………………………………………….173 WORKS CITED ........................................................................................................... ..175 7 ABSTRACT: This dissertation critically investigates how German culture is transculturated in Japan and in South Korea and then reproduced in a new form of manga/manhwa. These visual representations are evidence of a long history of German literary transculturation amid Japanese and Korean reading culture. Beginning with moral education materials in the 1880s, I trace the widespread reception of Grimms’ fairy tales in East Asia and argue that the success of the translations of the tales was due to the particularly successful fusion of Confucian values with the Western story form. German literature first entered the Japanese reading culture through the Grimms’ fairytales as a moral education tool. The reading reception shifted from educational space to private space and Japanese reader began to enjoy the Grimms’ fairytales outside of the classroom, which contributed to the spread of German literature. This led to a veritable Grimm boom at the end of the twentieth century, including a corpus of critical analysis by Asian scholars and fairy tale retellings from feminist perspectives that creatively fuse ideas of East and West. The globalization of manga, in turn, contributed to the scholarly discourse in the West, which nourished a rethinking and redeployment of complex borrowing practices between Asian and German literatures. From the impact of Grimms’ fairy tales, I trace the reception of the German literature in the Japanese pop literature medium manga and analyze Grimms Manga by the Japanese manga artist Kei Isiyama. Grimms’ fairy tales paved the way for the entry of German literature and I investigate Yoko Tawada’s works, who writes in Japanese and in German and incorporates fairy tale tropes and the legacy of German romanticism in the age of transnational globalization through her