[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-134471-en":3,"doc-seo-134471-105":30,"detail-sidebar-cat-0-en-105":92},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},134471,687207412472,"Angel","https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d",8,"Research & Report","Manga, Comics and Japan: An Introduction","This issue of Orientaliska Studier presents 15 papers originally delivered at the September 2018 conference Manga, Comics and Japan: Area Studies as Media Studies. The volume aims to critically connect Japanese studies with manga as graphic narratives tied to Japan, while treating manga largely as a transcultural media shaped by fan cultures and cross-cultural creations. It examines manga discourse, the concept of the mangaesque, and how serial magazine formats, user communities, and representation of violence, sexuality, and gender queering shape postwar Japanese experience and wider global formats.","Jaqueline Berndt  \nManga, Comics and Japan: An Introduction  \nThis issue of Orientaliska Studier collects 15 papers which were initially presented during the conference Manga, Comics and Japan: Area Studies as Media Studies held in September 2018. Hosted by Stockholm University’s Department of Asian, Middle Eastern and Turkish Studies, the primary objective was to critically interrelate the study of Japan and the study of manga, i. e., graphic narratives, or comics, associated with Japan. Manga has attracted attention from the institution of Japanese studies since the beginning of the 21st century, when Japanese comics and related fan cultural practices went global and, a little later, Japanese authorities advanced nation-branding campaigns using manga as a vague umbrella term. But whereas Japanese studies is, by its institutional nature, inclined to foreground national aspects of a transnational media like manga, the majority of contributions to this issue approaches manga as a transcultural phenomenon, whether explicitly or implicitly.  \nThis is not to say that references to Japan get left out. Admittedly, historiographic investigations, especially with regard to manga’s evolution in 20th century Japan, are lacking. Yet, almost all papers address manga discourse, or to rephrase, the use of the word manga as a label, which according to the most often cited article falls into two main positions: on the one hand, manga as “style” (or as contributor Fusami Ogi puts it,“pure content”), creatively, and often ambiguously, adopted beyond Japan; and on the other hand, manga as “Made in Japan,” a media that is shaped by the historically formed Japanese system of production, distribution and consumption (see Kacsuk, 2018) which warrants recognition and authenticity now, as contributor Ylva Lindberg demonstrates. To these two (often complementary) counterparts, contributor José Andrés Santiago Iglesias adds a third variant: movements or taste communities which promote certain notions of the mangaesque.  \nMany papers employ the term mangaesque (although not necessarily in relation to the Japanese counterparts manga-teki, manga-rashii, manga-chikku). Inside and outside of the Japanese language realm, the  \nnotion of the mangaesque has been used mainly in two ways: on the one hand, to demarcate prototypical manga, be it motivated by denigration, advocacy, or fan-cultural gatekeepers’ policing; on the other hand, to mark not just comics but a whole culture, often called sabukaruchā (subculture) in Japanese, and Japanese popular culture abroad.  \nIn this issue, manga is, by and large, regarded less as Japanese culture, or Japanese popular culture, than as a popular media1 which works above and beneath the national — a media of fan cultures and cross-cultural creations interrelating local needs with global formats; a tool of education and self-determined learning; a media that has promoted a bottom view and through it marginal social experiences in postwar Japan; a controversial media due to representations of violence and sexuality; a media of queering binary notions of gender, sex and sexuality and – in extension – cultural as well as ethnic identities; a genre-prone media which foregrounds aesthetic conventions, characterized by open rather than bounded structures ranging from narrative seriality to networked environments. The general image of the manga media, at least in Japan, has been dominated by magazine-based serialized narratives which target age-and genderspecific reader demographics, not rarely with stories that appear“escapist” to literary critics because these stories themselves recommend not so much interpreting as sharing among like-minded users. Due to its resting on such user communities (and also its fundamentally private mode of consumption), manga has been less connected to the public sphere of society at large than TV-based media. Consequently, its workings are often more of a micro-political kind, unless bigger forces i","cbCaikHwVRGhd0Zs","https://ap.wps.com/l/cbCaikHwVRGhd0Zs","pdf",111993,1,9,"English","en",105,"# Overview\n## Conference background and aims\n## Manga discourse and the label “manga”\n## The mangaesque and subcultural taste communities\n## Manga as popular media beyond the national\n## Academic approaches to manga as media","[{\"question\":\"What is the purpose of the issue Manga, Comics and Japan: An Introduction?\",\"answer\":\"The issue seeks to critically relate the study of Japan to the study of manga as graphic narratives associated with Japan.\"},{\"question\":\"How do the papers distinguish manga as a discourse label?\",\"answer\":\"Most contributions address manga discourse through how the word “manga” is used, often framing it as “style” adopted beyond Japan, as “Made in Japan,” or as movements and taste communities promoting notions of the mangaesque.\"},{\"question\":\"In what way does the issue conceptualize manga as a media?\",\"answer\":\"Manga is treated less as strictly Japanese culture and more as a popular media operating above and beneath the national, linked to fan cultures, education and learning, and contested representations such as violence and sexuality.\"}]","Manga, Comics and Japan: An Introduction | 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