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BA Thesis an Overview of Stereotyped Portrayals of LGBT+ People In
BA thesis in Japanese Language and Culture An Overview of Stereotyped Portrayals of LGBT+ People in Japanese Fiction and Literature Analysis of the historical evolution and commercialization of BL and yuri genres, and social practice of its consumer culture Bára B.S. Jóhannesdóttir Supervisor Kristín Ingvarsdóttir May 2021 FACULTY OF LANGUAGES AND CULTURES Háskóli Íslands Hugvísindasvið Japanskt Mál og Menning An Overview of Stereotyped Portrayals of LGBT+ People in Japanese Fiction and Literature Analysis of the historical evolution and commercialization of BL and yuri genres, and social practice of its consumer culture Ritgerð til BA-prófs 10 ECTS Bára B.S. Jóhannesdóttir Kt.: 210496-2039 Leiðbeinandi: Kristín Ingvarsdóttir Maí 2021 1 Abstract This essay will explore the history of the portrayal of LGBT+ people in Japanese fiction, starting from The Tale of Genji, a novel from the early 11th century that is widely considered to be the first classic in history, and to the proper establishment of what is known as the BL (boys’ love) and yuri genres. BL, as the name suggests, is a genre that features the relationship between two male characters, usually in a romantic and/or sexual nature, while yuri is between two female characters. There will be a short examination of LGBT+ portrayal in historical literary works and art before moving onto a more detailed recounting of modern fiction and television. Some ancient literature will be reviewed, comparing real-life societal norms to their fictional counterparts. The focus will mainly be on the introduction of the BL genre, the historical evolution of it, the commercial start of it, the main components that make up the genre, and why it is as popular as it is, a well as an examination of the culture surrounding the fans of the genre. -
Script Variation in Japanese Comics
Language in Society 49, 357–378. doi:10.1017/S0047404519000794 Script variation as audience design: Imagining readership and community in Japanese yuri comics HANNAH E. DAHLBERG-DODD The Ohio State University, USA ABSTRACT Building on recent work supporting a sociolinguistic approach to orthograph- ic choice, this study engages with paratextual language use in yuri, a subgenre of Japanese shōjo manga ‘girls’ comics’ that centers on same-sex romantic and/or erotic relationships between female characters. The comic magazine Comic Yuri Hime has been the dominant, if not only, yuri-oriented published magazine in Japan since its inception in 2005. Though both written and consumed by a primarily female audience, the magazine has undergone nu- merous attempts to rebrand and refocus the target audience as a means to broaden the magazine’s readership. This change in target demographic is reflected in the stylistic representation of paratextual occurrences of the second-person pronoun anata, indicating the role of the textual landscape in reflecting, and reifying, an imagined target audience. (Script variation, manga, popular media, Japan, yuri manga) INTRODUCTION Building on recent work supporting a sociolinguistic approach to orthographic choice (e.g. Miyake 2007; Bender 2008; Sebba 2009, 2012; Jaffe 2012; Robertson 2017), this study analyzes the indexical potentialities of script variation in Japanese mass media discourse. The stylistic and visual resources that construct the speaking ‘voice’ are many, ranging from aural features such as voice quality (e.g. Teshigawara 2007; Redmond 2016) and structural ones like syntax and semantics (e.g. Sadanobu 2011) to more content-oriented ones like lexical variation (e.g. -
Protoculture Addicts
PA #88 // CONTENTS PA A N I M E N E W S N E T W O R K ' S ANIME VOICES 4 Letter From The Publisher PROTOCULTURE¯:paKu]-PROTOCULTURE ADDICTS 5 Page 5 Editorial Issue #88 (Summer 2006) 6 Contributors Spotlight SPOTLIGHTS 98 Letters 25 BASILISK NEWS Overview Character Profiles 8 Anime Releases (R1 DVDs) Story Primer 10 Related Products Releases Shinobi: The live-action movie 12 Manga Releases By Miyako Matsuda & C.J. Pelletier 17 Anime & Manga News 32 URUSEI YATSURA An interview with Robert Woodhead MANGA PREVIEW An Introduction By Zac Bertschy & Therron Martin 53 ES: Eternal Sabbath 35 VIZ MEDIA ANIME WORLD An interview with Alvin Lu By Zac Bertschy 73 Convention Guide 78 Interview ANIME STORIES Hitoshi Ariga 80 Making The Band 55 BEWITCHED AGNES 10 Tips from Full Moon on Becoming a Popstar Okusama Wa Maho Shoujo 82 Fantasia Genre Film Festival By Miyako Matsuda & C.J. Pelletier Sample fileKamikaze Girls 58 BLOOD + The Taste Of Tea By Miyako Matsuda & C. Macdonald 84 The Modern Japanese Music Database Part 35: Home Page 19: Triceratops 60 ELEMENTAL GELADE By Miyako Matsuda REVIEWS 63 GALLERY FAKE 86 Books Howl’s Moving Castle Novel By Miyako Matsuda & C.J. Pelletier Le Guide Phénix Du Manga 65 GUN SWORD Love Hina, Novel Vol. 1 By Miyako Matsuda & C.J. Pelletier 87 Live-Action Lorelei 67 KAMICHU! 88 Manga Kamisama Wa Chugakusei 90 Related Products By Miyako Matsuda CD Soundtracks 69 TIDELINE BLUE Otaku Unite! By Miyako Matsuda & C.J. Pelletier 91 Anime More on: www.protoculture-mag.com & www.animenewsnetwork.com 3 ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ LETTER FROM THE PUBLISHER A N I M E N E W S N E T W O R K ' S PROTOCULTUREPROTOCULTURE¯:paKu]- ADDICTS Over seven years of writing and editing anime reviews, I’ve put a lot of thought into what a Issue #88 (Summer 2006) review should be and should do, as well as what is shouldn’t be and shouldn’t do. -
“Down the Rabbit Hole: an Exploration of Japanese Lolita Fashion”
“Down the Rabbit Hole: An Exploration of Japanese Lolita Fashion” Leia Atkinson A thesis presented to the Faculty of Graduate and Post-Doctoral Studies in the Program of Anthropology with the intention of obtaining a Master’s Degree School of Sociology and Anthropology Faculty of Social Sciences University of Ottawa © Leia Atkinson, Ottawa, Canada, 2015 Abstract An ethnographic work about Japanese women who wear Lolita fashion, based primarily upon anthropological field research that was conducted in Tokyo between May and August 2014. The main purpose of this study is to investigate how and why women wear Lolita fashion despite the contradictions surrounding it. An additional purpose is to provide a new perspective about Lolita fashion through using interview data. Fieldwork was conducted through participant observation, surveying, and multiple semi-structured interviews with eleven women over a three-month period. It was concluded that women wear Lolita fashion for a sense of freedom from the constraints that they encounter, such as expectations placed upon them as housewives, students or mothers. The thesis provides a historical chapter, a chapter about fantasy with ethnographic data, and a chapter about how Lolita fashion relates to other fashions as well as the Cool Japan campaign. ii Acknowledgements Throughout the carrying out of my thesis, I have received an immense amount of support, for which I am truly thankful, and without which this thesis would have been impossible. I would particularly like to thank my supervisor, Vincent Mirza, as well as my committee members Ari Gandsman and Julie LaPlante. I would also like to thank Arai Yusuke, Isaac Gagné and Alexis Truong for their support and advice during the completion of my thesis. -
The Pillow Book and Flower Tales, Past and Future
Reading Girls’ Agency: The Pillow Book and Flower Tales, Past and Future Yu Umehara, University of Tsukuba, Japan The Asian Conference on Cultural Studies 2018 Official Conference Proceedings Abstract The topic of this paper emerged from a deceptively simple question: when and why did the linkage between girlhood and same-sex love emerge in Japanese culture? Ostensibly, the answer is clear. Flower Tales (Hana Monogatari) (1916–1924) was a serialized girls’ magazine by the popular Japanese writer Yoshiya Nobuko; the novel featured flowers and romantic same-sex friendships coupled with Nobuko’s depictions of a mutual crush. Dubbed as “S” (meaning sisterhood), such relationships captured the imagination of Japanese schoolgirls. Yoshiya claims, rather anachronistically, that it is often overlooked that that the tradition of girlish sentiments that unfold in Flower Tales originates in The Pillow Book by Sei Shonagon during the 10th century. In fact, at the time of her writing during the 1910s and 1920s, Sei Shonagon was reevaluated—or devaluated—as a “new woman” in literary circles, whereas Lady Murasaki was universally celebrated as a good female writer. This paper reconsiders the cultural work of Flower Tales by situating it across space and time. I argue that the linkage between flowers and lesbianism in Flower Tales emerged not simply as a reaction to patriarchal heterosexism or the new science of sexology but was informed by a female rereading of The Pillow Book. Thus, Flower Tales reshapes the past in a way that it reshapes the future. Moreover, I will discuss the crucial role that horticultural education and science education played in the lives of Japanese schoolgirls, to explore the function of flowers in Flower Tales. -
The Vitality and Resilience of Inherited Japanese Houses -100 Years of Shimizu-Gumi Houses-
The Vitality and Resilience of Inherited Japanese Houses -100 Years of Shimizu-gumi Houses- Preface Since its foundation in 1804, residential architecture had been one of the primary business focuses for Shimizu-gumi, the present Shimizu Corporation. Many books have been published to showcase its works, such as Sekkei zushū, jūtaku no maki, ji 1907 nen shi 1923 nen (Drawing collection: house, from 1907 to 1923) and Sekkei zushū, shitsunai narabini kagu dentō no maki, ji 1909 nen shi 1913 nen (Drawing collection: interior, furniture and lighting, from 1909 to 1913). These books feature painted drawings of large houses, which could be considered mansions in the Western sense, designed and built by Shimizu-gumi, and include plans, elevations, development plans, and illustrations of furniture. The books enable the reader to visualize many aspects of mansions in the Meiji era (1868-1912) and Taisho era (1912-1926,) and to understand how these mansions were significant as elements of urban culture. Additionally, an academic work based on these earlier texts was published to commemorate the 60th anniversary of the Housing Research Foundation JUSOKEN: Meiji/Taisho no teitaku, Shimizu-gumi sakusei saishiki-zu no sekai (Mansions in Meiji and Taisho, the world of colored drawings created by Shimizu-gumi, Kashiwashobo, 2009, currently unavailable). This book is the product of joint research by “Shimizu Kensetsu Teitaku Shiryō Kenkyūkai” (Shimizu Corporation Mansion Document Study Group, 2004 to 2009) in the “Jūtaku Shiryō Iinkai” (Committee for historical materials about houses) of Jusoken. For the next phase of study, surveys and research on Jūtaku kenchiku zushū (Residential architecture catalog, 1st volume: 1935, 2nd volume: 1939) should be conducted. -
Samuel Filipe Gomes Pascoal
Samuel Filipe Gomes Pascoal A Espada e o Crisântemo: para uma aproximação ao Nō Moderno em Yukio Mishima Dissertação realizada no âmbito do Mestrado em Estudos de Teatro, orientada pela Professora Doutora Isabel Morujão Faculdade de Letras da Universidade do Porto Setembro de 2015 A Espada e o Crisântemo: para uma aproximação ao Nō Moderno em Yukio Mishima Samuel Filipe Gomes Pascoal Dissertação realizada no âmbito do Mestrado em Estudos de Teatro, orientada pela Professora Doutora Isabel Morujão Membros do Júri Professor Doutor Jorge Deserto Faculdade de Letras - Universidade do Porto Professora Doutora Alexandra Moreira da Silva Université Sorbonne Nouvelle – Paris III Dra. Reiko Kikuchi (na qualidade de especialista em língua japonesa) Faculdade de Letras - Universidade do Porto Professora Doutora Isabel Morujão Faculdade de Letras – Universidade do Porto Classificação obtida: 19 (dezanove) valores À minha avó materna, Maria da Glória de Jesus, que, à semelhança da própria avó materna de Mishima, me legou a sua paixão e inclinação para o teatro, bem como outros tantos valores humanos. E, ainda, à memória de Manuela Guerra, um crisântemo de espada em riste. Índice Agradecimentos…………………………………………………………………….........9 Resumo………………………………………………………………………………....12 Abstract………………………………………………….…………………………..… 13 Introdução: razões para uma abordagem a Yukio Mishima e ao seu Nō Moderno I. A origem do fascínio………………………………………………………….14 II. Renovar repertórios dramatúrgicos: o Oriente………………………………. 15 III. Aproximação a Mishima: do texto à cena……………………………………16 A ESPADA 1. Yukio Mishima: uma vida em mise-en-scène .............................................................. 19 2. Shingeki: um novo e complexo capítulo na história do teatro japonês ........................ 28 3. Um teatro que se escreve ao ser vivido 3.1 O teatro vivido: a personificação da máscara……………………………….34 3.2 O teatro escrito: o eremita e o antídoto da imortalidade…………………….40 4. -
Giappone E Il Panico Morale Analisi Di Subculture Giovanili Ritenute Problematiche E L’Evoluzione Dell’Immagine Pubblica Attraverso I Media
Corso di laurea magistrale in Relazioni Internazionali Comparate (International Relations) Tesi di Laurea Giappone e il panico morale analisi di subculture giovanili ritenute problematiche e l’evoluzione dell’immagine pubblica attraverso i media Relatore Ch. Prof. Roberta Novielli Correlatore Ch. Prof. Davide Giurlando Laureanda Alice Malacarne Matricola 83387 Anno Accademico 2017/2018 Ringraziamenti Nonostante sia una persona che, molto spesso, pensa a quanto è fortunata di essere circondata da persone meravigliose, non amo in maniera particolare i ringraziamenti. Ma in merito a questa tesi, ritengo doveroso ringraziare alcune persone. Naturalmente la prima persona che ci tengo a ringraziare dal profondo del cuore è la professoressa Novielli, sia per avermi accolto con grande entusiasmo, ma anche per essere riuscita a guidarmi in questa prova finale. All'inizio non ero molto sicura su come impostare il lavoro, ma i suoi preziosi consigli hanno saputo spingermi nella direzione giusta. In secondo luogo un ringraziamento dovuto va alla mia famiglia, ossia i miei genitori e mio fratello maggiore. Non siamo una famiglia dal carattere facile, spesso ci scontriamo e abbiamo forti divergenze di opinioni. Nonostante ciò, mia madre e mio padre hanno sempre fatto il possibile e non pur di permettermi di realizzare i miei sogni. Grazie, perché di fronte a una ragazzina che sognava di volare lontano, avete dato anima e corpo per fare in modo che ci riuscisse. Anche mio fratello, con piccoli gesti, mi è stato di grande sostegno in questo difficile periodo. Vi è poi una speciale categoria di persone che devo ringraziare. A cominciare da Federica, che ha avuto la grande pazienza di sopportare ogni dubbio, anche il più sciocco. -
L'eccesso Come Strategia Di Evoluzione
Corso di Laurea magistrale in Lingue e Culture dell’Asia Orientale Tesi di Laurea L’eccesso come strategia di evoluzione Donne giapponesi attraverso il Novecento Relatore Prof.ssa Paola Scrolavezza Correlatore: Prof.ssa Luisa Bienati Laureando Elena Giuliana Matricola 810308 Anno Accademico 2011 / 2012 私は、自分にぴったり合う服をさがしている それはどこに行っても、見つけることができない 私の内面をみんな、外に表現できる形、布、色 今ここに確かに生きていることを表わす服 知っているイメージを全て組み合わせても違う 今この国では、私の両親ですらそれを見つけることはできない こけしのように、 むいたゆで卵のように、 産まれ落ちるのを待つ胎児のように、 私は何かを待っている まだ産まれたばかりの濡れているひよこのように、 これから起きる楽しいことや悲しいことをじっと予感している それを言葉にすることもまだできない でも脈うち、生きている ばなな吉本、「朝日新聞」、1999年2月18日 io cerco dei vestiti che siano perfetti per me, ma non li trovo da nessuna parte forme, tessuti e colori capaci di esprimere tutto quello che ho dentro vestiti che dicano che sono viva qui, in questo momento provo a mettere insieme tutte le immagini che conosco, ma non funziona in questo paese, oggi, nemmeno i miei genitori riescono a trovarli come una bambola kokeshi, come un uovo sodo senza il guscio, come un feto in attesa di venire alla luce, aspetto qualcosa come un pulcino appena nato ancora bagnato, ho il presentimento delle cose lieti e delle cose tristi che stanno per accadere neanche questo riesco a esprimere in parole, non ancora ma mi batte il cuore, sono viva Yoshimoto Banana, Asahi shinbun, 18 febbraio 1999 要旨 近代以前に、中流階級の日本の女性の意見は誰にも聞いてもらえなかった。1868 年 の明治維新の後で日本は西洋文化を吸収し、急速に近代化した。日本の知識人のおかげで、 教育や文学や哲学などが西洋から取り入れられて人々の考え方は変わった。近代化には人 のライフスタイルの大変な変化も含まれている。東京の住民は洋服やカフェや喫茶店や映 画館やデパートなどを好むようになり、そういう都市生活の習慣が急に広まっていった。 日本国民の変化とともに、女性に注意を向けるようになり、女性の教育や社会の中の役割 -
FINDING the POWER of the EROTIC in JAPANESE YURI MANGA by Sarah Thea Arruda Wellington B.A., Portland State University, 2013
FINDING THE POWER OF THE EROTIC IN JAPANESE YURI MANGA by Sarah Thea Arruda Wellington B.A., Portland State University, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Sarah Thea Arruda Wellington, 2015 Abstract Yuri is the genre of Japanese manga and anime that focuses on romantic and sexual relationships between girls and women. Although what is perceived to be its counterpart, yaoi or BL, has received a great amount of scholarly attention in the past years, yuri, however, is still a nascent topic in academic discourse. Upon briefly delineating Japanese prewar girls’ culture and its influence on the romantic and erotic spaces found in female-authored manga made for a female audience, several female-authored narratives from the erotic yuri manga anthology Yuri hime wildrose are analyzed in regards to their depiction of relationship dynamics, the female body, and the space in which both are explored. These yuri narratives are considered in relation to Audre Lorde’s ideas of the erotic to show that despite their lack of explicit lesbian identity and social realism, they manage to carve out a positive erotic space that is ultimately empowering for female readers. ii Preface This thesis is original, unpublished, independent work by the author, Sarah Wellington. iii Table of Contents Abstract ......................................................................................................................................... -
On the Depiction of Love Between Girls Across Cultures: Comparing the U.S. American Webcomic YU+ME: Dream and the Yuri Manga “Maria-Sama Ga Miteru”
5 On the depiction of love between girls across cultures: Comparing the U.S. American webcomic YU+ME: dream and the yuri manga “Maria-sama ga miteru” Verena MASER In recent years, the portrayal of sexuality in manga1 has attracted much academic research (e.g. Hori 2009, Levi, McHarry and Pagliassotti 2008). Attention was especially given to the depiction of love between boys in manga, a genre mostly referred to as boys’ love. On the contrary, love between girls, the so called yuri [lily] genre, did not arouse much scholarly interest. This genre has hitherto been almost exclusively explained in terms of lesbian sexuality (e.g. Welker 2006) despite the fact that most works of 1 In this paper, the term “manga” is used to denote comics created by Japanese artists in Japanese, published in Japan for a Japanese audience. © International Manga Research Center, Kyoto Seika University. http://imrc.jp/ 61 Verena MASER this genre do not feature homosexual2 characters. The underlying expectation or maybe even intercultural misunderstanding is that fictional works about love between female characters always include a discussion about sexuality. This might be true in a U.S.American or European context, but as my analysis will show it is not always true in a Japanese context. The aim of my paper is to examine if and how issues of female sexual identity are depicted in the products of U.S. American and Japanese popular culture, namely webcomics3 and manga. Due to restrictions of space, I will limit my intercultural comparison to one manga and one U.S. -
A Presentation by the Comic Market Committee
www.comiket.co.jp A presentation by the Comic Market Committee January, 2008 Updated January, 2014 Copyright 2007ー2015 COMIKET www.comiket.co.jp Table of Contents Chapter 1: What is Comic Market? What are doujinshis? Chapter 2: Comic Market Today Chapter 3: History of Comic Market Chapter 4: The Ideals of Comic Market and its Present Status 2 Copyright 2007-2015 COMIKET www.comiket.co.jp Chapter One What is Comic Market? What are Doujinshis? Copyright 2007ー2015 COMIKET www.comiket.co.jp What are Doujinshis? What are Doujinshi Marketplaces? What are Doujinshis? - Doujinshis are defined in Japanese dictionaries as "magazines published as a cooperative effort by a group of individuals who share a common ideology or goals with the aim of establishing a medium through which their works can be presented." Originating from the world of literature, fine arts, and academia, doujinshis experienced unprecedented growth in Japan as a medium of self-expression for various subcultures centered around manga. - At present, books edited and published by individuals with the aim of presenting their own material are also considered doujinshis. - As a norm, doujinshis are not included in the commercial publishing distribution system. > The primary goal of doujinshi publishing is that of self-expression of one's own works--Ordinarily commercial gain is not the primary rationale behind engaging in the production of doujinshis. > Their distribution is limited in scope. What are Doujinshi Marketplaces? - Social functions centered around the display and distribution of doujinshis. - Their scale and function can vary from anywhere between small gatherings taking place in regular conference spaces where only a few dozen circles (doujinshi publishing groups) attend but can be big as the Comic Market where over 35,000 circles congregate.