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Search Results: 1 - 10 of 53 matches for " Manga "
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Réflexions sur le manga éducatif
Julien Bouvard
Image and Narrative : Online Magazine of the Visual Narrative , 2011,
Abstract: Educational manga account for a considerable amount of the Japanese comic book production. And yet, they are mostly ignored by academic studies. The moral virtues as they are portrayed by artists like Tezuka Osamu have played a crucial role in the legitimization of manga. Contrary to popular belief, children are not the sole readers of manga that aim to convey some form of knowledge. Through a brief history of the educational manga and the study of the evolution of its social status we aim to analyze the relation between manga and pedagogy. We believe that the “pedagogical” genre contributed to the legitimization of manga as a valid medium and cultural product. We will also explain the “dehierachization” of knowledge, which is an important aspect of manga.
Learning from Monsters: Mizuki Shigeru's Yōkai and War Manga
CJ (Shige) Suzuki
Image and Narrative : Online Magazine of the Visual Narrative , 2011,
Abstract: This paper first attempts to identify and explore the thematic and formalistic continuity of his manga by illustrating his lived life and career as a cartoonist. Mizuki has an experience of drawing paintings and comics in various mediums in the course of the development of postwar Japanese comics, which stylistically distinguishes him from other postwar story manga creators. By situating his life in wartime and post-war periods of Japanese history, I will bring his aesthetics, philosophy, and nuanced critique of society to the surface. Featuring anti-heroic and grotesque human and non-human characters as main protagonists, Mizuki's manga demonstrates a critique of wartime imperialism and postwar Japanese society, both of which seemed to him to be suppressive and dehumanizing. As a whole, I argue that the preferred use of premodern cultural traditions and unique aesthetic components epitomize not merely a nostalgic longing for a disappearing Japanese tradition in the progress of rapid modernization, but also his utopian cosmology, which critically addresses the alienated condition of modern human life.
Cream Soda. The rhythm of everyday life
Eleonora Benecchi
Image and Narrative : Online Magazine of the Visual Narrative , 2011,
Abstract: In this work I will focus my attention on a specific manga, Cream Soda by Adachi Mitsuru (1996). As suggested by Eco (1999), I will analyze this single work keeping in mind that it belongs to a medium and some genre practiced through this medium, but focusing my attention on the specific syntax of the speech of Adachi. This means that in this work I won’t talk about manga in general or in itself, at least, not in the foreground and in the first instance, but I will consider Adachi’s specific execution of the art of manga. This work will start from the analysis of single panels, and their relationship with each other inside the page layout, following the critical path indicated by Thierry Groensteen (1999), and will be then accompanied by the analysis of images and texts contained inside those panels, with special regard to their relationship with each other and with images and texts contained in other panels, following the lead of Barbieri (1995) and Pellitteri (1998). The analysis of the elements that this text brings together to create a coherent narrative, and those elements it will not, will show that to properly understand Adachi’s manga the reader must recognize the fictional nature of what he is reading and his function as co-author of the story. Obviously this reflection is based on a first level or narrative interpretation of the text because it is starting from this basic layer that all the other layers can be explored. This is also the reason why this work provides a punctual examination of the single panels. The analysis here proposed will also demonstrate that, despite many panels open up to different levels of readings, the activation of the second or third level of reading is not a given. It will also become evident, though, that if one stops at a first level reading, the most obvious one, the text in question isn’t really fulfilled according to its author’s expectations: the reader’s high engagement with the text and how, as a result, he is able to better understand it, forms the heart of Adachi’s style and language. Disseminating his work with clues, spoilers, symbolic objects and inside jokes, Adachi invites, in fact, his reader not only to re-read the text but also to read between the lines. As it will be demonstrated through this work, with his stylistic solutions and meta-narrative approach, Adachi often brings into question the art of manga and its specific language, and therefore I believe that the analysis of his peculiar execution of this art and language can represent a good starting off point for a more general discourse on th
The Phenomenology of Contemporary Mainstream Manga
Valérie Cools
Image and Narrative : Online Magazine of the Visual Narrative , 2011,
Abstract: Although manga constitute a massive transcultural flow, they are extremely diverse as far as genre and content are concerned. This article attempts to bridge these differences by highlighting phenomenological patterns within popular manga: by bracketing content, the author focuses on the experience of reading manga, thereby considering the medial aspect of these works. By examining a diverse corpus of contemporary popular series (Bleach, Death Note, Fruits Basket, and Kitchen Princess), the article pays attention to elements such as reading rhythm, contrast, fragmentation, and page tabularity, in order to pave the way for future study of manga’s place in the contemporary medial ethos.
On The Iconic Difference between Couple Characters in Boys Love Manga
Febriani Sihombing
Image and Narrative : Online Magazine of the Visual Narrative , 2011,
Abstract: Boys Love offers the romantic narratives between two male characters, which read by mostly women. Despite the foundation of relationship between the characters is based on that of heterosexual, the physiques of the characters do not represent those of individually man or women. This paper relates and explores the iconic difference between the two characters and relates it the capability of difference to represent BL text.
La double-page chez Hirohiko Araki : l’ubris faite norme
Aurélien Pigeat
Image and Narrative : Online Magazine of the Visual Narrative , 2011,
Abstract: Le style d’Araki se caractérise par un usage massif de la double-page, loin de l’usage ponctuel que l’on trouve habituellement dans les shonen. Elle témoigne d’une forme d’ubris qui se fait norme de composition c’est-à-dire qu’elle érige le principe de débordement en règle de structuration de l’action et des planches Elle est ainsi la marque de la démesure d’un auteur qui, sous l’apparence du manga populaire, et à travers les codes de ce dernier, élabore une uvre d’une puissance et d’une sophistication rares.. Pour appréhender ce phénomène, il nous faut d’abord observer concrètement l’usage que fait Hirohiko Araki de la double-page, les lieux du récit que celle-ci investit, la fréquence de ses manifestations, et la manière dont elle caractérise les différentes parties de la saga Jojo’s bizarre Adventure. L’ubris de la double-page met alors particulièrement en relief deux éléments centraux de la poétique d’Hirohiko Araki : le corps et le temps. La double-page appara t comme la réponse matérielle à ces corps qui débordent de la page classique, qui éclatent ou se dispersent de telle sorte que l’auteur doit étendre les limites de ce cadre pour les représenter. Le temps entre lui en scène à travers le détail : la double-page devient le règne d’un détail sur lequel le lecteur passe trop vite et auquel le héros accorde toute son attention. Enfin, la double-page possède chez Hirohiko Araki une dimension proprement esthétique que révèle clairement l’usage presque absolu qui en est fait dans la septième partie de Jojo’s bizarre Adventure, Steel Ball Run, et dans le volume Rohan au Louvre, même si l’on peut la deviner déjà auparavant. La double-page est un moment où l’énigme se présente au héros, se met en mouvement ou se trouve élucidée. Le règne de l’ubris s’affirme là, dans ces doubles-pages qui n’en sont finalement plus, dans cette composition totalement affranchie qui para t avoir pris comme norme les deux planches en vis-à-vis, choisissant de les découper comme bon lui semblait, autour ou en travers de la démarcation centrale.
Neon Genesis Evangelion e la Kabbalah
Fabio Bartoli
Antrocom : Online Journal of Anthropology , 2008,
Abstract:
Técnicas de pós-colheita e expans o da cultura da manga no Estado de S o Paulo
PEROSA JOSé MATHEUS YALENTI,PIERRE FERNANDA CRISTINA
Revista Brasileira de Fruticultura , 2002,
Abstract: A demanda por manga tem apresentado crescimento significativo no mercado internacional. No Brasil, a produ o de manga apresenta grande potencial de crescimento para exporta o. A utiliza o de técnicas de indu o floral e póscolheita tem permitido explorar brechas de mercado, no momento em que se reduz a oferta dos países concorrentes. O Estado de S o Paulo tem aumentado a produ o e a exporta o de manga na última década. O objetivo desse trabalho foi analisar a rela o entre a ado o de técnicas de melhoria da qualidade da manga produzida, exigidas na exporta o, e a expans o da cultura no Estado de S o Paulo. Para a análise da qualidade da manga produzida, utilizou-se como parametro o grau de adequa o do produtor às normas exigidas nos mercados consumidores, em duas cidades do Estado. A pesquisa de campo mostrou que a adequa o aos requisitos exigidos de qualidade tem conformado regi es no Estado de S o Paulo, onde o aumento de produ o está diretamente relacionado com as exporta es. Adicionalmente, verificou-se que essa atividade tem apresentado um retorno econ mico atraente aos produtores.
MANGUEIRA: INFLUêNCIA DO PORTA-ENXERTO E DA COPA NA PRODU O DE FRUTAS
Sim?o S.,Barbin D.,Nylander O.,Ohashi B.
Scientia Agricola , 1997,
Abstract: O objetivo deste trabalho foi o de estudar o comportamento de diferentes variedades pelos diversos porta-enxertos. Os dados foram tomados das produ es de 1981, 1982 e 1983 quando 210 plantas tinham de 15 a 17 anos de idade. As variedades copas estudadas foram as seguintes: Extrema, Oliveira Neto, Carlota, Imperial, Pahiri e Bourbon. Os porta-enxertos usados foram Espada, Extrema, Oliveira Neto, Carlota, Coco, Pahiri e Bourbon.
Comportamento reológico da polpa de manga (Mangífera indica L) - efeito dos sólidos insolúveis
VIDAL J.R.M.B.,GASPARETTO C.A.
Ciência e Tecnologia de Alimentos , 2000,
Abstract: Foi avaliado o estudo reológico do suco de manga - efeito dos sólidos insolúveis a peneiramento com diferentes malhas e no suco centrifugado. Os resultados foram analisados em fun o do ajuste dos modelos reológicos de Casson e de Mizrahi-Berk. Três conjuntos bem diferenciados foram identificados pelo produto passado em (a) `finisher' de 1,6mm e peneira de 1,8mm; (b) peneira de 0,84mm e 0,59mm e (c) peneira de 0,149mm e material centrifugado.
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