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The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney Jennifer M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2009 The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney Jennifer M. Stockins University of Wollongong Recommended Citation Stockins, Jennifer M., The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney, Master of Arts - Research thesis, University of Wollongong. School of Art and Design, University of Wollongong, 2009. http://ro.uow.edu.au/ theses/3164 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney A thesis submitted in partial fulfillment of the requirements for the award of the degree Master of Arts - Research (MA-Res) UNIVERSITY OF WOLLONGONG Jennifer M. Stockins, BCA (Hons) Faculty of Creative Arts, School of Art and Design 2009 ii Stockins Statement of Declaration I certify that this thesis has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Jennifer M. Stockins iii Stockins Abstract Manga (Japanese comic books), Anime (Japanese animation) and Superflat (the contemporary art by movement created Takashi Murakami) all share a common ancestry in the woodblock prints of the Edo period, which were once mass-produced as a form of entertainment.
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Analyzing the Outrageous: Takehara Shunchōsai’S Shunga Book Makura Dōji Nukisashi Manben Tamaguki (Pillow Book for the Young, 1776)
Japan Review 26 Special Issue Shunga (2013): 169–93 Analyzing the Outrageous: Takehara Shunchōsai’s Shunga Book Makura dōji nukisashi manben tamaguki (Pillow Book for the Young, 1776) C. Andrew GERSTLE This article examines the book Makura dōji nukisashi manben tamaguki (1776) with illustrations by Takehara Shunchōsai in the context of a sub-genre of shunga books—erotic parodies of educational textbooks (ōrai- mono)—produced in Kyoto and Osaka in the second half of the eighteenth century. A key question is whether we should read this irreverent parody as subversive to the political/social order, and if so in what way. Different from the erotic parodies by Tsukioka Settei, which focused mostly on women’s conduct books, this work is a burlesque parody of a popular educational anthology textbook used more for boys. It depicts iconic historical figures, men and women, courtiers, samurai and clerics all as ob- sessed with lust, from Shōtoku Taishi, through Empresses and Kōbō Daishi to Minamoto no Yoshitsune. The article considers whether recent research on Western parody as polemic is relevant to an analysis of this and other Edo period parodies. The article also considers the view, within Japanese scholarship, on the significance of parody (mojiri, yatsushi, mitate) in Edo period arts. The generation of scholars during and immediately after World War II, such as Asō Isoji (1896–1979) and Teruoka Yasutaka (1908–2001) tended to view parody and humor as a means to attack the Tokugawa sys- tem, but more recent research has tended to eschew such interpretations. The article concludes by placing this work among other irreverent writing/art of the 1760s–1780s, in both Edo and Kyoto/Osaka, which was provocative and challenged the Tokugawa system.
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スペイン書房図書目録340号日本関係 CD Audio Novela Grafica Manga
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Issue 04 12-2019 The 25 Most Important Classical Shunga Artists (Vol. 2) Issue 04 12-2019 The 25 Most The Important Classical Shunga 25 Most Artists (Vol. 2) Important Classical Shunga Artists (Vol. 2) On our forum (will be launched later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! Issue 04 12-2019 Contents The 25 Most The 25 Most Important Classical Shunga Artists (Vol. 2) 7 Important Chōbunsai Eishi (1756-1829) 9 Classical Shunga Chōkyōsai Eiri (act. c. 1789-1801) 11 Artists Kikugawa Eizan (1787-1867) 13 (Vol. 2) Keisai Eisen ((1790-1848) 15 Yanagawa Shigenobu (1787-1832) 17 Utagawa Toyokuni (1769-1825 19 Utagawa Kunisada (1786-1865) 21 Utagawa Kuniyoshi (1797-1861) 23 Kawanebe Kyosai (1831-1889) 25 Tomioka Eisen (1864-1905) 27 Ikeda Terukata (1883-1921) 29 Mission 31 Copyright © 2019 On our forum (will be launched later this year!) and Design and lay out: Haags Bureau blog you can find First print: december 2019 much more exciting info about Hokusai. You can also No part of this publication may be reproduced and/or check out other published by means of printing, photocopying, microfilm, free eBooks in the scan, electronic copy or in any other way, without prior following section! permission from the author and publisher. Issue 04 12-2019 The 25 Most Important Classical Shunga Artists (Vol. 2) The 25 Most In our previous volume (both can be downloaded in our eBooks section) Important we examined the first 15 of the 25 most important shunga artists Classical Shunga ending with Kitao Masanobu.
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El Subgénero De Animación Nipón Hentai. Aspectos Socioculturales, Narrativa Visual Y Popularización Y Distribución a Través De Internet
La pantalla insomne – 2ª edición (ampliada) Universidad de La Laguna – abril de 2016 El subgénero de animación nipón hentai. Aspectos socioculturales, narrativa visual y popularización y distribución a través de internet Roberto C. Álvarez Delgado - Universidad Complutense de Madrid – [email protected] Resumen Desde que a mediados del s.XX comenzaran a distribuirse en occidente las primeras creaciones de animación japonesa o anime, hasta la actualidad, donde millones de personas consumen y se han convertido en fervientes seguidores de este producto audiovisual, especialmente a través de internet. Se pueden describir una considerable sucesión de circunstancias que han contribuido a conformar lo que actualmente entendemos como cultura anime. Sucesos históricos, creencias populares, situaciones económicas, y en definitiva un conjunto de particularidades que tras ser cuidadosamente descritas y analizadas han permitido establecer una mejor comprensión del actual acontecimiento sociocultural que se extiende de manera global sobre el mercado del entretenimiento. El anime se muestra como una inagotable fuente de creación de productos audiovisuales y en su búsqueda por convertirse en un producto ampliamente consumible le lleva a explorar diversos caminos dentro de los géneros visuales. Uno de estos caminos corresponde al denominado hentai, (pervertido - obsceno) subgénero anime donde las secuencias sexuales son explicitas y pueden ir acompañadas de violencia. Se habla de hentai cuando la temática del dibujo animado se centra en el erotismo
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Japanese Prints of the Floating World
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Sense & Shibari
Sense & Shibari: A Sociological Re-evaluation of the Knowledge of Rope bondage By Hedwig Undergraduate Dissertation Please Note: Feel free to spread this document, but do not alter its content. And please credit/refer to Hedwig if you use anything from it. If you have any questions please contact the author. Acknowledgements Alex Rhys-Taylor; you made me believe this was possible, your enthusiasm, creativity and advice has been invaluable. Nirmal Puwar; your knowledge and guidance challenged me to think outside of the box and in the same time not losing the box itself, in the bottom of my gigantic backpack. Jim; thank you for being everything you are. This came together thanks to your love and support To friends and family; thank you for being understanding, supportive and inspiring. Table of Contents GLOSSARY ............................................................................................................................................ 1 INTRODUCTION ................................................................................................................................. 2 LITERATURE REVIEW ...................................................................................................................... 6 METHODOLOGY .............................................................................................................................. 13 ANALYSIS .......................................................................................................................................... 19 CONCLUSION ...................................................................................................................................
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Early Modern Japan Fall, 2002
EARLY MODERN JAPAN FALL, 2002 foreign contact wiped clean from the deck (al- vincing narrative of Japan's early modern experi- though, as the case of Kaempfer shows, certain ence. To date, in the collective scholarship of important issues clearly have yet to be swept Japan specialists, two political countries coincide away), Japan specialists have started to navigate and sometimes collide in one temporal and spatial entirely new waters. For this reason, some of frame. One aim of future research should be to the most interesting work in early modern Japa- reconcile some of these differences. nese studies relates to the subfield of foreign af- Third, the new writings on early modern for- fairs and frontiers. At the same time, however, eign affairs and frontiers have failed to convince so much still could be done: multiethnic commu- historians of the modern period of the complexity nities in Nagasaki, Japanese-trading stations in of Japan's pre-Meiji relations with the outside Korea, foreign trade and environmental degrada- world. Many modernists still slavishly use the tion in Japan, early-seventeenth-century Japanese "closed country" (sakoku) and "open country" trading communities in Southeast Asia and their (kaikoku) dichotomy to explain Japan's plunge environmental impact, and many other topics cry into the modern age. It is still common to talk out for investigation by talented scholars. of the "opening of the country" with Matthew C. Second, an interpretative gulf exists among Perry, and how in the 1850s Japan was forced to scholars of early modern Japan. Those who confront for the first time the practice of interna- study domestic-centered topics, ranging from tional diplomacy.
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Erotism in the History of Japanese Film Art - Anime
Georgios Lazaridis 01.2019 Erotism in the history of Japanese film art - Anime. Table of contents: 1. Abstract 2. Anime - definition of the term. 3. Origins of anime art. 4. Erotism in Japanese arts - shunga and ukiyo-e . 5. Erotism in anime: origins, aspects, kinds. 6. Erotism as romance, a love story. 7. Erotism as pornography - the phenomenon of Hentai. 8. Conclusion and the summary of erotism in anime - ending words. 9. Bibliography and the sources of images. 1.Abstract The below text’s main aim is to present to the reader an analysis of the erotic aspect of Japanese film and animation arts - anime. It contains a brief review of the subject including informations about the film art as itself, as well as the way it represents erotic content on different tiers of explicitly. It will point out the origins and history of anime, the evolution through time and it’s expansion to different forms of media arts and social events. As erotism is deeply rooted in traditional Japanese art forms, the possibilities of the moving image let it expand through the media taking different paths and shapes, often crossing the boundaries of social ethics. !1 2. Anime - the definition , etymology , main features and occurrence. The term anime (アニメ) is used to describe the animation style that was developed in Japan in the late 1910s and through time expanded as an individual art form into the mainstream culture. The etymological origins of the word date back to 1980s pointing out a borrowing from English - animation or French - animé1, absorbed into the Japanese language under the word animēshon and simplified into the final form - anime.
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