User:Timothy Perper/SandboxHistManga: Difference between revisions

From Citizendium
Jump to navigation Jump to search
imported>Timothy Perper
(editing text)
imported>Timothy Perper
(adding and editing text)
Line 17: Line 17:


For Murakami and Tatsumi, transnationalism (or globalization) refers specifically to the flow of cultural and subcultural material from one nation to another and to how artistic, aesthetic, and intellectual traditions influence each other across national boundaries.<ref name="Mur1"/><ref name="Mur2"/><ref name="Tatsumi"/> An example of cultural transnationalism is the creation of ''Star Wars'' films in the United States, their transformation into manga by Japanese artists, and the marketing of ''Star Wars'' manga to the United States.<ref>Star Wars manga: http://www.darkhorse.com/Search/Browse/Star+Wars+Manga/PpwNwkt8 (Accessed September 28, 2008).</ref> Another example is the transfer of hip-hop culture from the United States to Japan.<ref name="Condry">Condry, Ian. 2006. "Hip-Hop Japan: Rap and the Path of Cultural Globalization." Durham, NC:Duke University Press. ISBN 0-8223-3892-0.</ref> Wong also sees a major role for transnationalism in the recent history of manga.<ref name="Wong 2006">Wong, Wendy Siuyi. 2006. "Globalizing manga: From Japan to Hong Kong and beyond." ''Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts,'' 1:23-45.</ref>
For Murakami and Tatsumi, transnationalism (or globalization) refers specifically to the flow of cultural and subcultural material from one nation to another and to how artistic, aesthetic, and intellectual traditions influence each other across national boundaries.<ref name="Mur1"/><ref name="Mur2"/><ref name="Tatsumi"/> An example of cultural transnationalism is the creation of ''Star Wars'' films in the United States, their transformation into manga by Japanese artists, and the marketing of ''Star Wars'' manga to the United States.<ref>Star Wars manga: http://www.darkhorse.com/Search/Browse/Star+Wars+Manga/PpwNwkt8 (Accessed September 28, 2008).</ref> Another example is the transfer of hip-hop culture from the United States to Japan.<ref name="Condry">Condry, Ian. 2006. "Hip-Hop Japan: Rap and the Path of Cultural Globalization." Durham, NC:Duke University Press. ISBN 0-8223-3892-0.</ref> Wong also sees a major role for transnationalism in the recent history of manga.<ref name="Wong 2006">Wong, Wendy Siuyi. 2006. "Globalizing manga: From Japan to Hong Kong and beyond." ''Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts,'' 1:23-45.</ref>
Nonetheless, other writers stress continuity of Japanese cultural and aesthetic traditions as central to the history of manga. They include Frederik L. Schodt,<ref name="Schodt 1986" /><ref name="Schodt 1996">Schodt, Frederik L. 1996. ''Dreamland Japan: Writings on Modern Manga.'' Berkeley, CA: Stone Bridge Press. ISBN  978-1880656235.</ref> Kinko Ito,<ref name="Ito 2000">Ito, Kinko. 2004. "Growing up Japanese reading manga." ''International Journal of Comic Art'', 6:392-401.</ref> and Adam L. Kern.<ref name ="Kern 2006">Kern, Adam. 2006. ''Manga from the Floating World: Comicbook Culture and the Kibyoshi of Edo Japan.'' Cambridge: Harvard University Press. ISBN 0674022661.</ref><ref name="Kern 2007">Kern, Adam. 2007. "Symposium: Kibyoshi: The World's First Comicbook?" ''International Journal of Comic Art'', 9:1-486.</ref> Schodt points to the existence in the 1200s of illustrated picture scrolls like the Toba-e scrolls that told stories in sequential images with humor and wit.<ref name="Schodt 1986" /> Schodt also stresses continuities of aesthetic style and vision between ''ukiyo-e'' and ''shunga'' woodblock prints and modern manga (all three fulfill Will's criteria<ref name="Eisner">Eisner, Will. 1985. ''Comics & Sequential Art.'' Tamarac, Fl: Poorhouse Press. ISBN 0-9614728-0-2.}</ref> for sequential art).
Schodt also sees a particularly significant role for ''kamishibai'', a form of street theater where itinerant artists displayed pictures in a light box while narrating the story to audiences in the street.<ref name="Schodt 1986" /> Richard Torrance has pointed to similarities between modern manga and the Osaka popular novel between the 1890s and 1940, and argues that the development of widespread literacy in Meiji and post-Meiji Japan helped create audiences for stories told in words and pictures.<ref name="Torrance">Torrance, Richard. 2005. "Literacy and literature in Osaka, 1890-1940." Journal of Japanese Studies, 31(1):27-60. Web version: http://muse.jhu.edu/login?uri=/journals/journal_of_japanese_studies/v031/31.1torrance.html (Accessed September 16, 2007</ref> Kinko Ito also roots manga historically in aesthetic continuity with pre-Meiji art, but she sees its post-World War II history as driven in part by consumer enthusiasm for the rich imagery and narrative of the newly developing manga tradition. Ito describes how this tradition has steadily produced new genres and markets, e.g., for girls' (''shōjo'') manga in the late 1960s and for Ladies Comics (also called ''redisu,'' ''redikomi,'' and ''josei'' manga) in the 1980s.<ref name="Ito 2000" />


== References and Notes==
== References and Notes==

Revision as of 03:27, 28 September 2008

Sandbox for History of Manga article

Please do not make changes directly on the draft text. It causes chaos -- and I speak from experience. Instead, put comments, criticisms, and suggestions below the text under a separate heading. Thanks. Timothy Perper 10:25, 27 September 2008 (CDT)

History of Manga Article

This is a highly modified version of an article I wrote for Wikipedia. It has new material and has been edited substantially.


Introduction

Manga is a Japanese word meaning "comics" or "cartoon." The word itself dates to the late 18th century [1] but stories told in pictures and sometimes words date back to 12th century Japan.[2] Historians of manga see two broad processes shaping modern manga. Their views differ in how much importance is assigned to events after World War II versus events before the war and in Meiji and pre-Meiji Japanese culture and art.

Debates about the Origins of Manga

Differences of opinion about how and when manga arose are, in part, arguments over the role of non-Japanese influences, e.g., of the United States, as opposed to older and far more purely Japanese influences in shaping the art of Japan. Because these issues deal with Japanese national pride, they can become quite heated. A summary of scholarly views will help establish the discussion.

Japanese writers like Takashi Murakami stress events after WWII, because Murakami sees Japan's staggering defeat and the atomic bombing of Hiroshima and Nagasaki as having created long-lasting scars on the Japanese artistic psyche, which, in his view, lost its previously virile confidence in itself and sought solace in harmless and cute (kawaii) images.[3][4][5] Takayumi Tatsumi also sees a major role for events after World War II, but instead of war, for him a special role exists for a transpacific economic and cultural transnationalism that created a postmodern and shared international youth culture of cartooning, film, television, music, and related popular arts. For Tatsumi, the crucible in which modern manga have developed is post-modernism.[6]

For Murakami and Tatsumi, transnationalism (or globalization) refers specifically to the flow of cultural and subcultural material from one nation to another and to how artistic, aesthetic, and intellectual traditions influence each other across national boundaries.[3][4][6] An example of cultural transnationalism is the creation of Star Wars films in the United States, their transformation into manga by Japanese artists, and the marketing of Star Wars manga to the United States.[7] Another example is the transfer of hip-hop culture from the United States to Japan.[8] Wong also sees a major role for transnationalism in the recent history of manga.[9]

Nonetheless, other writers stress continuity of Japanese cultural and aesthetic traditions as central to the history of manga. They include Frederik L. Schodt,[2][10] Kinko Ito,[11] and Adam L. Kern.[12][13] Schodt points to the existence in the 1200s of illustrated picture scrolls like the Toba-e scrolls that told stories in sequential images with humor and wit.[2] Schodt also stresses continuities of aesthetic style and vision between ukiyo-e and shunga woodblock prints and modern manga (all three fulfill Will's criteria[14] for sequential art).

Schodt also sees a particularly significant role for kamishibai, a form of street theater where itinerant artists displayed pictures in a light box while narrating the story to audiences in the street.[2] Richard Torrance has pointed to similarities between modern manga and the Osaka popular novel between the 1890s and 1940, and argues that the development of widespread literacy in Meiji and post-Meiji Japan helped create audiences for stories told in words and pictures.[15] Kinko Ito also roots manga historically in aesthetic continuity with pre-Meiji art, but she sees its post-World War II history as driven in part by consumer enthusiasm for the rich imagery and narrative of the newly developing manga tradition. Ito describes how this tradition has steadily produced new genres and markets, e.g., for girls' (shōjo) manga in the late 1960s and for Ladies Comics (also called redisu, redikomi, and josei manga) in the 1980s.[11]


References and Notes

--- Please do not change the reference formatting. ---

  1. ↑ Ref to come.
  2. ↑ 2.0 2.1 2.2 2.3 Schodt, Frederik L. 1986. Manga! Manga! The World of Japanese Comics. Tokyo: Kodansha. ISBN 978-0870117527.
  3. ↑ 3.0 3.1 Murakami, Takashi, Curator. 2005. Museum Exhibition: "Little Boy: The Arts of Japan’s Exploding Subculture." Japan Society. New York, New York, April 9 to July 24, 2005.
  4. ↑ 4.0 4.1 Murakami, Takashi, Editor. 2005. "Little Boy: The Arts of Japan’s Exploding Subculture." New Haven: Yale University Press. ISBN 0-300-10285-2 and NY:Japan Society. ISBN 0-913304-57-3.
  5. ↑ Benzon, William. 2007. "Review: Godzilla’s Children: Murakami Takes Manhattan." Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts, 2:283-287.
  6. ↑ 6.0 6.1 Tatsumi, Takayumi. 2006. "Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America." Durham, NC: Duke University Press. ISBN 0-8223-3774-6.
  7. ↑ Star Wars manga: http://www.darkhorse.com/Search/Browse/Star+Wars+Manga/PpwNwkt8 (Accessed September 28, 2008).
  8. ↑ Condry, Ian. 2006. "Hip-Hop Japan: Rap and the Path of Cultural Globalization." Durham, NC:Duke University Press. ISBN 0-8223-3892-0.
  9. ↑ Wong, Wendy Siuyi. 2006. "Globalizing manga: From Japan to Hong Kong and beyond." Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts, 1:23-45.
  10. ↑ Schodt, Frederik L. 1996. Dreamland Japan: Writings on Modern Manga. Berkeley, CA: Stone Bridge Press. ISBN 978-1880656235.
  11. ↑ 11.0 11.1 Ito, Kinko. 2004. "Growing up Japanese reading manga." International Journal of Comic Art, 6:392-401.
  12. ↑ Kern, Adam. 2006. Manga from the Floating World: Comicbook Culture and the Kibyoshi of Edo Japan. Cambridge: Harvard University Press. ISBN 0674022661.
  13. ↑ Kern, Adam. 2007. "Symposium: Kibyoshi: The World's First Comicbook?" International Journal of Comic Art, 9:1-486.
  14. ↑ Eisner, Will. 1985. Comics & Sequential Art. Tamarac, Fl: Poorhouse Press. ISBN 0-9614728-0-2.}
  15. ↑ Torrance, Richard. 2005. "Literacy and literature in Osaka, 1890-1940." Journal of Japanese Studies, 31(1):27-60. Web version: http://muse.jhu.edu/login?uri=/journals/journal_of_japanese_studies/v031/31.1torrance.html (Accessed September 16, 2007


Comments and Suggestions

This page is for writing the history manga article starting from the Wikipedia article most of which I wrote and referenced. It needs some major work, including the addition of an entirely new section on manga before WW2 (Meiji and Tokugawa periods, including kibyōshi). The text is my own, stripped-down, de-Wikified, and rewritten version of the original article. Timothy Perper 10:25, 27 September 2008 (CDT)

From John Stephenson, Talk:Manga:

if you are the sole author of all the material you import from Wikipedia, then the fact that it originally appeared over there is irrelevant - it can appear on Citizendium with no credit to Wikipedia and under the CZ creative commons licence rather than the Wikipedia one. The only thing you have to do, apart from perhaps writing more to cover gaps left by removing Wikipedians' contributions, is put the {{WPauthor}} tag at the top of the Talk page, below {{subpages}}, including a declaration that the material is yours. Something like: {{WPauthor|WP credit does not apply - material on WP written by me|[[User:Timothy Perper|Timothy Perper]] 04:03, 28 September 2008 (CDT)}}In cases of articles written on WP by other people, you can import them as well, but there must always be a credit to Wikipedia (by checking the 'Content is from Wikipedia?' box) and you have to commit to substantively improving the article, as otherwise it would be a candidate for deletion. John Stephenson 23:29, 27 September 2008 (CDT)

Retrieved from "https://citizendium.org/wiki/index.php?title=User:Timothy_Perper/SandboxHistManga&oldid=535640"