Hikigaya Komachi Cunningly Plots Her Scheme
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The Origins of the Magical Girl Genre Note: This First Chapter Is an Almost
The origins of the magical girl genre Note: this first chapter is an almost verbatim copy of the excellent introduction from the BESM: Sailor Moon Role-Playing Game and Resource Book by Mark C. MacKinnon et al. I took the liberty of changing a few names according to official translations and contemporary transliterations. It focuses on the traditional magical girls “for girls”, and ignores very very early works like Go Nagai's Cutie Honey, which essentially created a market more oriented towards the male audience; we shall deal with such things in the next chapter. Once upon a time, an American live-action sitcom called Bewitched, came to the Land of the Rising Sun... The magical girl genre has a rather long and important history in Japan. The magical girls of manga and Japanese animation (or anime) are a rather unique group of characters. They defy easy classification, and yet contain elements from many of the best loved fairy tales and children's stories throughout the world. Many countries have imported these stories for their children to enjoy (most notably France, Italy and Spain) but the traditional format of this particular genre of manga and anime still remains mostly unknown to much of the English-speaking world. The very first magical girl seen on television was created about fifty years ago. Mahoutsukai Sally (or “Sally the Witch”) began airing on Japanese television in 1966, in black and white. The first season of the show proved to be so popular that it was renewed for a second year, moving into the era of color television in 1967. -
Naoko Takeuchi
Naoko Takeuchi After going to the post-recording parties, I realized that Sailor Moon has come to life! I mean they really exist - Bunny and her friends!! I felt like a goddess who created mankind. It was so exciting. “ — Sailor Moon, Volume 3 Biography Naoko Takeuchi is best known as the creator of Sailor Moon, and her forte is in writing girls’ romance manga. Manga is the Japanese” word for Quick Facts “comic,” but in English it means “Japanese comics.” Naoko Takeuchi was born to Ikuko and Kenji Takeuchi on March 15, 1967 in the city * Born in 1967 of Kofu, Yamanashi Prefecture, Japan. She has one sibling: a younger brother named Shingo. Takeuchi loved drawing from a very young age, * Japanese so drawing comics came naturally to her. She was in the Astronomy manga (comic and Drawing clubs at her high school. At the age of eighteen, Takeuchi book) author debuted in the manga world while still in high school with the short story and song writer “Yume ja Nai no ne.” It received the 2nd Nakayoshi Comic Prize for * Creator of Newcomers. After high school, she attended Kyoritsu Yakka University. Sailor Moon While in the university, she published “Love Call.” “Love Call” received the Nakayoshi New Mangaka Award for new manga artists and was published in the September 1986 issue of the manga magazine Nakayo- shi Deluxe. Takeuchi graduated from Kyoritsu Yakka University with a degree in Chemistry specializing in ultrasound and medical electronics. Her senior thesis was entitled “Heightened Effects of Thrombolytic Ac- This page was researched by Em- tions Due to Ultrasound.” Takeuchi worked as a licensed pharmacist at ily Fox, Nadia Makousky, Amanda Polvi, and Taylor Sorensen for Keio Hospital after graduating. -
Fr Ü Hst Ü Ck an Dw Alt H Al Lch Il D
FRÜHSTÜCK AND WALTHALL | CHILD’S PLAY Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Child’s Play Child’s Play Multi-Sensory Histories of Children and Childhood in Japan Edited by Sabine Frühstück and Anne Walthall UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2017 by Sabine Frühstück and Anne Walthall Suggested citation: Frühstück, Sabine and Walthall, Anne. Child’s Play: Multi-Sensory Histories of Children and Childhood in Japan. Oakland: University of California Press, 2017. doi: https://doi.org/10.1525/luminos.40 This work is licensed under a Creative Commons CC-BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Library of Congress Cataloging-in-Publication Data Names: Frühstück, Sabine, editor. | Walthall, Anne, editor. Title: Child’s play : multi-sensory histories of children and childhood in Japan / edited by Sabine Frühstück and Anne Walthall. Description: Oakland, California : University of California Press, [2018] | Includes bibliographical references and index. -
2016-10-12-324553.Pdf
CONVIDATS Alondra Ponce Alondra Ponce, també coneguda com Merethiel, és una cosplayer originària de Mèxic amb una trajectòria de 12 anys. Ha participat com a jutgessa i com a concursant a esdeveniments en diferents estats de Mèxic i ha assistit a diferents esdeveniments a l'estranger. Com a concursant va quedar en cinquè lloc en el WCS Mèxic el 2009 i finalista al WCS Mèxic 2015. Va ser segona a la Copa Cosplay Pacífic (Concurs d’àmbit nacional) el 2012 i el 2014. A Lucca Comics & Games 2013 d'Itàlia obtingué el Premi Speciale Flash Gordon, i en el Kiken-SeiFest 2014 de Panamà quedà en primer lloc. Florent Maudoux (Caen, França. 1979) Ha realitzat estudis de dibuixos animats a l'Escola Gobelins de París, escola de referència de la creació i la imatge. És aficionat a les pel·lícules de Hong Kong i les seves influències vénen del manga, l'art clàssic italià i dels il·lustradors anglesos del segle XIX. Té experiència com a animador i autor de storyboards en l'àmbit dels videojocs (Eden Games), i també com a il·lustrador i creador de figures en miniatura (Rackham), el que li permet desenvolupar les seves habilitats en perfectes posades en escena, amb un alt sentit del detall i ampliant la seva paleta de colors de manera magistral. Avui en dia posa tot el seu art al servei del còmic en el col·lectiu DoggyBags o les sèries Freaks' Squeele, o els seus spin-off Rougei Funeral, tots editats a Espanya per Dibbuks. Aquest autor ve gràcies a la col·laboració de l'editorial Dibbuks. -
Contradicciones: Un Estudio De La Construcción De La Identidad Femenina En Shugo Chara! De PEACH-PIT
FACULTAT DE TRADUCCIÓ I D'INTERPRETACIÓ GRAU D'ESTUDIS DE L'ÀSIA ORIENTAL TREBALL DE FI DE GRAU Curs 2015-2016 Contradicciones: Un estudio de la construcción de la identidad femenina en Shugo Chara! de PEACH-PIT Carmen Nadal Cervera 1306249 TUTORA MONTSERRAT CRESPÍN PERALES Barcelona, Juny de 2016 Dades del TFG Títol: Contradiccions: un estudi de la construcció de la identitat femenina a Shugo Chara! de PEACH-PIT. Contradicciones: un estudio de la construcción de la identidad femenina en Shugo Chara! de PEACH-PIT. Contradictions: a study on feminine identity construction in PEACH-PIT's Shugo Chara! Autora: Carmen Nadal Cervera Tutora: Montserrat Crespín Perales Centre: Facultat de Traducció i d'Interpretació Estudis: Grau en Estudis de l'Àsia Oriental Curs Acadèmic: 2015-2016 Paraules clau Shugo Chara!, PEACH-PIT, manga, mahō shōjo, feminitat, identitat Shugo Chara!, PEACH-PIT, manga, mahō shōjo, feminidad, identidad Shugo Chara!, PEACH-PIT, manga, mahō shōjo, femininity, identity Resum del TFG El shōjo manga Shugo Chara!, de PEACH-PIT, ens presenta una protagonista que pot projectar els seus desitjos de futur en quatre projeccions de la seva pròpia identitat anomenades shugo chara. Aquesta obra, com a part d'un gènere de còmic japonès destinat a noies de 9 a 13 anys i un subgènere que treballa la consecució de poders màgics, representa la formació de la identitat de la protagonista com a jove. Les seves múltiples transformacions, tant màgiques com naturals, qüestionen la dualitat del gènere i la naturalitat de les seves conceptualitzacions i categoritzacions, insistint en les múltiples possibilitats inherents a l'adolescència. -
(Mahō Shōjo) Anime
Make-Up!: The Mythic Narrative and Transformation as a Mechanism for Personal and Spiritual Growth in Magical Girl (Mahō Shōjo) Anime by N’Donna Rashi Russell B.A. (Hons.), University of Victoria, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies ©N’Donna Russell, 2017 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii SUPERVISORY COMMITTEE Make-Up!: The Mythic Narrative and Transformation as a Mechanism for Personal and Spiritual Growth in Magical Girl (Mahō Shōjo) Anime by N’Donna Rashi Russell B.A (Hons)., University of Victoria, 2015 Supervisory Committee Dr. M. Cody Poulton, Supervisor (Department of Pacific and Asian Studies) Dr. Michael Bodden, Committee Member (Department of Pacific and Asian Studies) iii ABSTRACT Supervisory Committee Dr. M. Cody Poulton (Department of Pacific and Asian Studies) Dr. Michael Bodden (Department of Pacific and Asian Studies) The mahō shōjo or “magical girl”, genre of Japanese animation and manga has maintained a steady, prolific presence for nearly fifty years. Magical Girl series for the most part feature a female protagonist who is between the ages of nine and fourteen - not a little girl but not yet a woman. She is either born with or bestowed upon the ability to transform into a magical alter-ego and must save the world from a clear and present enemy. The magical girl must to work to balance her “normal life” – domestic obligations, educational obligations, and interpersonal relationships – with her duty to protect the world. -
Listado De Roms De Los Packs De NDS De ::. Nota
.:: Listado de Roms de los Packs de NDS de www.zonads.net ::. Nota: Los nombres de los juegos pueden variar ligeramente del nombre real del juego con el que fueron subidos a la web y el orden de los juegos puede variar ligeramente (los teams, que no se aclaran...) Pack Roms 01 [0001-0100] 0001 Electroplankton (JP) 0002 Need for Speed - Underground 2 (US) 0003 Yoshi Touch & Go (US) 0004 Feel the Magic - XY XX (US)(M2) 0005 WarioWare - Touched! (US) 0006 Polarium (US) 0007 Puyo Pop Fever (JP)(M2) 0008 Pac-Pix (US) 0009 Space Invaders DS (JP) 0010 Cool 104 Joker & Setline (JP) 0011 Guru Guru Nagetto (JP) 0012 Asphalt - Urban GT (US) 0013 Yoshi Touch & Go (EU)(M5) 0014 Pac-Pix (EU)(M5) 0015 Catch! Touch! Yoshi! (JP) 0016 Meteos (JP) 0017 Ridge Racer DS (US) 0018 WarioWare - Touched! (EU)(M5) 0019 Mr. Driller - Drill Spirits (US) 0020 Chokkan Hitofude (JP) 0021 Project Rub (EU)(M6) 0022 Super Mario 64 DS (EU)(M5) 0023 Star Wars Episode III - Revenge of the Sith (EU)(M5) 0024 Robots (EU)(M5) 0025 Super Mario 64 DS (JP) 0026 Pokemon Dash (US) 0027 Mr. Driller - Drill Spirits (JP) 0028 Kirby - Canvas Curse (US) 0029 GoldenEye - Rogue Agent (US) 0030 Sprung - The Dating Game (US) 0031 Polarium (EU)(M5) 0032 Bomberman (JP) 0033 Kenshuui Tendo Dokuta (JP) 0034 Zoo Keeper (US) 0035 Touch! Kirby's Magic Paintbrush (JP) 0036 Daigasso! Band Brothers (JP) 0037 Super Mario 64 DS (US) 0038 Ping Pals (US) 0039 Another Code - 2tsu no Kioku (JP) 0040 Hanjuku Eiyuu DS - Egg Monster Hero (JP) 0041 Need for Speed - Underground 2 (EU)(M5) 0042 Nintendogs - Chihuahua & Friends (JP) 0043 Spider-Man 2 (US) 0044 Tennis no Ouji-Sama 2005 - Crystal Drive (JP) 0045 Urbz - Sims in the City, The (US) 0046 Yakuman DS (JP) 0047 Rayman DS (US)(M3) 0048 Mr. -
The Female Gaze in Contemporary Japanese Literature
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 The Female Gaze in Contemporary Japanese Literature Kathryn Hemmann University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, Comparative Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Hemmann, Kathryn, "The Female Gaze in Contemporary Japanese Literature" (2013). Publicly Accessible Penn Dissertations. 762. https://repository.upenn.edu/edissertations/762 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/762 For more information, please contact [email protected]. The Female Gaze in Contemporary Japanese Literature Abstract The female gaze can be used by writers and readers to look at narratives from a perspective that sees women as subjects instead of objects. Applying a female gaze to discourses that have traditionally been male-dominated opens new avenues of interpretation that are empowering from a feminist perspective. In this dissertation, I use the murder mystery novels of the bestselling female author Kirino Natsuo and the graphic novels of a prolific four-woman artistic collective called CLAMP to demonstrate how writers are capable of applying a female gaze to the themes of their work and how readers can and have read their work from the perspectives allowed by a female gaze. Kirino Natsuo presents a female perspective on such issues as prostitution, marriage, and equal employment laws in her novels, which are often based on sensationalist news stories. Meanwhile, CLAMP challenges the discourses surrounding the production and consumption of fictional women, especially the young female characters, or shojo, that have become iconic in Japanese popular culture. -
Report on Japanese-Language Manga Magazine Survey 2020
Journal of East Asian Libraries Volume 2021 Number 172 Article 4 2-28-2021 Report on Japanese-Language Manga Magazine Survey 2020 Victoria Rahbar Stanford University Follow this and additional works at: https://scholarsarchive.byu.edu/jeal Part of the Collection Development and Management Commons, and the Japanese Studies Commons BYU ScholarsArchive Citation Rahbar, Victoria (2021) "Report on Japanese-Language Manga Magazine Survey 2020," Journal of East Asian Libraries: Vol. 2021 : No. 172 , Article 4. Available at: https://scholarsarchive.byu.edu/jeal/vol2021/iss172/4 This Report is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Journal of East Asian Libraries by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Report on Japanese-Language Manga Magazine Survey 2020 Victoria Rahbar Stanford University Introduction The North American manga boom began in the early 2000s,1 and so now an anime and manga studies boom is occurring now as fans grow up and design their research based on childhoods complete with idols, magical girls, ninjas, and superheroes. As such, we are witnessing a disciplinary change in how research on Japan is performed in North America, often with manga over other materials. Both English-language and Japanese-language manga are increasingly accessible to both fans and researchers in North America thanks to the work of both booksellers and librarians. Manga is available in two major print formats, volumes and magazines. Volumes, called tankōbon, focus on one series while manga magazines, referred to as zasshi, are “weekly, fortnightly, monthly, or bi-monthly anthology magazines containing episodes of multiple manga series.”2 While volumes are widely available in both English and Japanese, manga magazines are usually only published in their original language – Japanese. -
Collective Creation in Contemporary Manga and Anime A
UNIVERSITY OF CALIFORNIA Los Angeles Inside the Media Mix: Collective Creation in Contemporary Manga and Anime A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Bryan Hikari Hartzheim 2015 © Copyright by Bryan Hikari Hartzheim 2015 ABSTRACT OF THE DISSERTATION Inside the Media Mix: Collective Creation in Contemporary Manga and Anime by Bryan Hikari Hartzheim Doctor of Philosophy in Film and Television University of California, Los Angeles, 2015 Professor John T. Caldwell, Chair Japanese creative media – particularly, its comics, animation, and video games – has found success globally, but it is primarily a product made for and by a domestic audience. What characterizes the success of its various creative industries on the domestic level, before they reach out to global spheres? This dissertation attempts to provide an answer to this question by examining the logics of franchise media production in Japan. I conduct ethnographic fieldwork into Japan’s manga and anime industries, as well as close analyses of concomitant transmedia texts, in order to demonstrate the collective authorship that surrounds the production of contemporary media in these industries today. By focusing on the production of texts in commercial outlets such as Shueisha’s Weekly Shōnen Jump and Toei Animation Studies, I show how large-scale, franchise media in Japanese production is organized, managed, and distributed through small networks of mangaka, ii assistants, editors, and readers, -
+2019/1/11 Shiho Yamamoto Diss. Revising.Pages
Japanese Female Aidoru Identities Item Type text; Electronic Dissertation Authors Yamamoto, Shiho 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 05:56:52 Link to Item http://hdl.handle.net/10150/631935 JAPANESE FEMALE AIDORU IDENTITIES by Shiho Yamamoto __________________________ Copyright © Shiho Yamamoto 2019 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2019 !3 ACKNOWLEDGEMENTS I have dreamt about writing the acknowledgements for a long time during my dissertation process. I am extremely happy that I am writing it, because it means that I am in the very last phase as a PhD candidate and able to finally express my gratitude to everyone who has supported me. First of all, I would like to acknowledge my wonderful committee members. I remember the very first day that I visited Dr. Jones, my advisor and committee chair. It was right before my first semester at the University of Arizona. She was the first professor that I visited and she has always been willing to meet with me and guide me since then. I could not have come this far without having weekly meetings with her. I would also like to thank my committee members.