Japanmania în spaţiul cultural românesc:
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Romanian |
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Bucureşti
Editura Universităţii din Bucureşti
2019
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| Schriftenreihe: | Ştiinţele comunicării. Cultură şi comunicare
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| Online-Zugang: | Inhaltsverzeichnis Literaturverzeichnis |
| Beschreibung: | 253 Seiten Diagramme |
| ISBN: | 9786061610884 |
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Datensatz im Suchindex
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| adam_text | Cuprins 1. Argument.................................................................................. 9 2. Introducere............................................................................... 11 TEORII ȘI INTERSECȚII ÎN POPULAR CULTURE JAPONEZĂ ...................................................................................................... 19 3. Arii disciplinare....................................................................... 19 Popular culture japoneză - perspective contemporane........... 19 3.1. Popular culture japoneză - o producție culturală globală? 20 3.2. între animație și anime - o definiție de producție a obiectului de studiu................................................................................... 32 3.3. Studiile culturale și studiile de receptare - ce înseamnă să fii fan?...........................’.............................................................. 41 3.4. Fandom și cultura otaku.................................................... 50 4. Concepte de lucru.................................................................... 57 4.1. Fanul între local, global și transcultural - definiții de lucru 57 4.2. Comunități ale imaginației și heterotopii de ordin afectiv în fandom..................................................................................... 63 4.3. Identitatea de fan anime și dimensiunile sale................... 68 4.4. Produsele fanilor anime (texte derivate) și fanteziile identificatorii............................................................................ 75 4.5. Shõjo ca gen și formațiune
discursivă............................... 81 4.6. Animația japoneză shõjo ca gen și subgenurile sale........ 81 4.7 Shõjo ca formațiune discursivă și caracteristicile sale........... 90 5. Obiective și întrebări de cercetare............................................ 94 6. Selecția corpusului................................................................... 99 SECȚIUNE APLICATIVĂ.......................................................... 105 7. Metode..................................................................................... 105 8. Studiu preliminar - decupaj critic............................................ 111 8.1. Anime ca omologie transculturală și comunitatea imaginației românești.................................................................................. 113 8.2. Consumator, fan sau otakui Autolegitimări și noi omologii transculturale............................................................................ 120
8.3. Shõjo, fangirls și viața de zi cu zi - de la gen la formațiune discursivă.......................................................................................... 132 8.4. Tu la ce te uiți când te uiți la shõjo? ֊ convenții ale genului 139 8.5. Concluzii preliminare............................................................. 158 9. Facebook, textele derivate shõjo și identitatea de fan anime ֊ la granița dintre real și fictional............................................................. 159 9.1. Paginile de Facebook transculturale ca texte derivate shõjo.... 160 9.2. Pagini locale de Facebook ca texte derivate shõjo............ 169 9.3. Identitatea de fan anime ca performanță online cotidiană și textul derivat Facebook.................................................................. 173 9.3. Identitatea de fan anime ca joc afectiv și textul derivat Facebook.................................................................................. 178 9.4. Identitatea de fan anime, creativitatea vernaculară și textul derivat Facebook............................................................................. 185 9.5. Jocurile otome, formațiunea discursivă shõjo și textele derivate Facebook.......................................................................................... 198 10. Identitatea de fan anime și heterotopiile de ordin afectiv - între real și digital......................................................................................... 203 10.1. Identitatea de fan anime și Facebook ca heterotopie de ordin
afectiv................................................................................................ 203 10.2. Japonia reală inventată ֊ un alt fel de mediu heterotopie de ordin afectiv...................................................................................... 217 11. Concluzii........................................................................................ 222
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contemporary popular culture. Turku: International Institute for Popular Culture, 20-25.
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Cuprins 1. Argument. 9 2. Introducere. 11 TEORII ȘI INTERSECȚII ÎN POPULAR CULTURE JAPONEZĂ . 19 3. Arii disciplinare. 19 Popular culture japoneză - perspective contemporane. 19 3.1. Popular culture japoneză - o producție culturală globală? 20 3.2. între animație și anime - o definiție de producție a obiectului de studiu. 32 3.3. Studiile culturale și studiile de receptare - ce înseamnă să fii fan?.’. 41 3.4. Fandom și cultura otaku. 50 4. Concepte de lucru. 57 4.1. Fanul între local, global și transcultural - definiții de lucru 57 4.2. Comunități ale imaginației și heterotopii de ordin afectiv în fandom. 63 4.3. Identitatea de fan anime și dimensiunile sale. 68 4.4. Produsele fanilor anime (texte derivate) și fanteziile identificatorii. 75 4.5. Shõjo ca gen și formațiune
discursivă. 81 4.6. Animația japoneză shõjo ca gen și subgenurile sale. 81 4.7 Shõjo ca formațiune discursivă și caracteristicile sale. 90 5. Obiective și întrebări de cercetare. 94 6. Selecția corpusului. 99 SECȚIUNE APLICATIVĂ. 105 7. Metode. 105 8. Studiu preliminar - decupaj critic. 111 8.1. Anime ca omologie transculturală și comunitatea imaginației românești. 113 8.2. Consumator, fan sau otakui Autolegitimări și noi omologii transculturale. 120
8.3. Shõjo, fangirls și viața de zi cu zi - de la gen la formațiune discursivă. 132 8.4. Tu la ce te uiți când te uiți la shõjo? ֊ convenții ale genului 139 8.5. Concluzii preliminare. 158 9. Facebook, textele derivate shõjo și identitatea de fan anime ֊ la granița dintre real și fictional. 159 9.1. Paginile de Facebook transculturale ca texte derivate shõjo. 160 9.2. Pagini locale de Facebook ca texte derivate shõjo. 169 9.3. Identitatea de fan anime ca performanță online cotidiană și textul derivat Facebook. 173 9.3. Identitatea de fan anime ca joc afectiv și textul derivat Facebook. 178 9.4. Identitatea de fan anime, creativitatea vernaculară și textul derivat Facebook. 185 9.5. Jocurile otome, formațiunea discursivă shõjo și textele derivate Facebook. 198 10. Identitatea de fan anime și heterotopiile de ordin afectiv - între real și digital. 203 10.1. Identitatea de fan anime și Facebook ca heterotopie de ordin
afectiv. 203 10.2. Japonia reală inventată ֊ un alt fel de mediu heterotopie de ordin afectiv. 217 11. Concluzii. 222
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248 Alice Teodorescu Manovich, L. (2009). ”The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production?” Critical Inquiry(35), 319-331. Mazzarella, S. (2005). girls wide web: Girls, the Internet, and the Negotiation of identity. New York: Peter Lang. McCloud, Scott (1993). Understanding comics: The invisible art. Northampton: Tundra Publishing. McKenzie, J. (1988). ”Virtual Reality: Performance, Immersion, and the Thaw”. TDR, 38(4), 83-106. Milstein, D. (2007). ”Case Study: Anime Music Videos”. J. Sexton, Music, Sound and Multimedia: From the Live to the Virtual. Edinburgh: Edinburgh University Press, 29-50. Monden, Μ. (2015, Martie 10). Manga Studies #7. Octombrie 1, 2016, Comicsforum.org: https://comicsforum.org/2015/03/10/shojomanga-research-the-legacy-of-women-critics-and-theirgender-based-approach-by-masafumi-monden/ Morimoto, L. (2013). ”Trans-cult-ural fandom: Desire, technology and the transformation of fan subjectivities in the Japanese female fandom of Hong Kong stars”. Transformative Works and Culture, 14, octombrie 2016, http://journal.transformativeworks.Org/index.php/twc/article/v iew/494/399 Morley, D., Robins, K. (1995). Spaces of Identity. Global media, electronic landscapes and cultural boundaries. Londra și New York: Routledge. Morrissey, K. E. (2013). ”Fan/dom: People, practices, and networks”. Transformative Works and Cultures, 14, octombrie 2016, http://journal.transformativeworks.Org/index.php/twc/article/v iew/532 Mouer, R., Norris, C. (2009). ”Exporting Japan's Culture: From management style to manga". Y. Sugimoto,
Cambridge Companion to Modern Japanese Culture. Melbourne: Cambridge University Press, 352-368.
Japanmania în spațiul cultural românesc 249 Napier, S. (2005). Anime from Akira to Howl's Moving Castle. Experiencing contemporary Japanese animation. New York: Palgrave Macmillan. Napier, S. (2007). From Impressionism to anime. Japan as Fantasy and Fan Cult in the Mind of the West. New York: Palgrave Macmillan. Nelson, C., Treichler, P. A., Grossberg, L. (1992). Cultural studies. New York: Routledge. Niță, D., Ciubotariu, A. (2010) Istoria benzii desenate românești. București:Vellant. Norris, C. (2003). The cross-cultural appropriation of manga and anime in Australia. University of Western Sidney unpublished PhD thesis. Otsuka, E. (2010). ”World and Variation: The Reproduction and Consumption of Narrative”. Mechademia, 99-116. Pagliassotti, D. (2008). ”Better than romance? Japanese BL manga and the subgenre of male/male romantic fiction”. A. Levi, Μ. McHarry, D. Pagliassotti, Boys' love manga: Essays on the sexual ambiguity and cross-cultural fandom of the genre. Jefferson: McFarland, 59-83. Poitras, Gilles. (2008). ”Contemporary Anime in Japanese Pop Culture”. Μ. MacWilliams, Japanese Visual Culture: Explorations in the world of Manga and Anime. New York: M.E.Sharpe, 48-67. Pop, D. (2009). ”Adapting Shakespeare's adaptations. Image, content and narrative problems (and solutions) in Shakespeare's adaptations”. Dramatica, 2, 43-53. Prough, J. S. (2011). Straightfrom the Heart: Gender, Intimacy, and the Cultural Production ofShõjo Manga. Honolulu: University of Hawai'i Press. Radway, J. (1991). Reading the Romance: Women, Patriarchy and Popular Culture. Chapel Hill:
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250 Alice Teodorescu Ramasubramanian, S., Kornfield, S. (2012). ”Japanese Anime Heroines as Role Models for U.S. Youth: Wishful identification, parasocial interaction, and intercultural entertainment effects”. Journal of International and Intercultural communication, 5(3), 189-207. Regis, P. (2013). A natural history of the romance novel. Philadelphia: University of Pennsylvania Press. Ruh, B. (2014). ”Conceptualizing anime and the Database Fantasyscape”. Mechademia, 9, 164-175. Russo, J. L., Coppa, F. (2012). Fan/remix video (a remix). Transformative works and cultures, 9, octombrie 2016, http ://j ournal. transformativeworks. org/index. php/twc/article/v iew/431/304 Rymarczuk, R., Derksen, Μ. (2014). ”Different spaces: Exploring Facebook as heterotopia”. First Monday. Peer-reviewed journal on the internet, 19(6), octombrie 2016, http ://fir stmonday. org/oj s/index.php/fm/article/view/5006/409 1 Sandvoss, C. (2005). Fans: The Mirror of Consumption. Cambridge: Polity. Santilli, N. (2010). ”Online publishing: (Anime) Fan fiction and identity”. Journal of Digital Research and Publishing, 3(1), 40-47. Schechner, R. (1988). Performance Theory. Londra și New York: Routledge. Schechner, R. (2002). ”Foreword. Fundamentals of Performance Studies”. N. Stucky, C. Wimmer, Teaching Performance Studies. Illinois: Southern Illinois University, IX-XII. Schneider, A. (2009). ”Theme Park Europe. Transmission and transcultural images in popular Hindi cinema”. B. Mersmann, A. Schneider, Transmission Image. Visual translation and cultural agency. Newcastle: Cambridge Scholars Publishing,
86-104.
Japanmania în spațiul cultural românesc 251 Schodt, F. (2008). ”Foreword: Japan's New Visual Culture”. M. MacWilliams, Japanese Visual Culture: explorations in the world of manga and anime. New York: M.E.Sharpe, VII-X. Scodari, C. (2005). ”You're Sixteen, You're Dutiful, You're Online. 'Fangirls' and the negotiation of age and/or gender subjectivities in Tv newsgroups”. S. Mazzarella, girl wide web. Girls, the Internet, and the Negotiation of Identity. New York: Peter Lang, 105-120. Shamoon, D. (2008). ”Situating the shojo in shojo manga: teenage girls, romance comics, and Contemporary Japanese culture”. Μ. MacWilliams, Japanese visual culture: explorations in the world of manga and anime. New York și Londra: M.E.Sharpe, 137-154. Shamoon, D. (2013). ”The yokai in the database: supernatural creatures and folklore in manga and anime”. Marvels and Tales, 27(2), 276-289. Shen, L. F. (2007). ”Anime pleasures as as a playground of sexuality, power, and resistance”. МІТ5 Media in Transition: Creativity, Ownership, and Collaboration in the digital Age, 1-39. Shen, L. F. (2007). The pleasure and politics of viewing Japanese anime. Ohio State University - Unpublished PhD thesis. Short, S. (2011). Cult Telefantasy Series: A Critical Analysis. Jefferson: McFarland. Sorensen, L.-M. (2010). ”The bestseller recipe: a natural explanation for the global success of anime”. E. Niskanen, Imaginary Japan: Japanese fantasy in contemporary popular culture. Turku: International Institute for Popular Culture, 13-15 Spiridon, Μ. (2013). Popular culture. Modele, repere și practici contemporane.
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252 Alice Teodorescu ejournal.org/2009/07/30/the-rise-of-the-global-imaginary-andthe-persistence-of-ideology/ Stein, L. E. (2008). ”"Emotions-Only" versus "Special People": Genre in fan discourse”. Transformative Works and Cultures, I, octombrie 2016, http://journal.transformativeworks.Org/index.php/twc/article/v iew/43/65 Stein, L. E. (2015). Millenial Fandom. Television Audiences in the Transmedia Age. Iowa: University of Iowa Press. Steinberg, Μ. (2012). Anime's media mix: franchising toys and characters in Japan. Minneapolis și Londra: University of Minnesota Press. Storey, J. (2009). Cultural theory and popular culture. An introduction. Fifth edition. Londra: Pearson Longman. Storey, J. (2015). Cultural theory and popular culture. An introduction. Seventh edition. Londra: Pearson Longman. Straubhaar, J. (1991). Beyond media imperialism: Assymetrical interdependence and cultural proximity. Critical studies in media communication^), 35-59. Takahashi, Μ. (2008). ”Opening the closed world of shoujo manga”. Μ. MacWilliams, Japanese visual culture: Explorations in the world of manga and anime. New York: M.E.Sharpe, 114-136. Taylor, E. (2007). ”Dating-Simulation Games: Leisure and gaming of Japanese youth culture”. Southeast review of Asian Studies, 29, 192-208. Teo, S. (2013). ”The abstract transnational style of anime”. S. Teo, The Asian Cinema Experience: Style, spaces, theory. Londra și New York: Routledge, 72-91. The magazine, (n.d.). Otakumag.com, octombrie 2016, https ://issuu. com/otakumag Theberge, P. (2005). ”Everyday Fandom: Fan Clubs, Blogging, and the Quotidian
Rhythms of the Internet”. Canadian Journal of Communication, 30(4), 485-502. Thomas, A. (2006). ”Fan fiction online: engagement, critical response and affective play through writing”. Australian journal of language and literacy, 29(3), 226-239.
Japanmania în spațiul cultural românesc 253 Timmerman, J. (1983). Other Worlds: The fantasy genre. Bowling Green: Bowling Green University Popular Press. Tirón, Ș. (2012). ”Unlocking the otaku commons”. Otaku Magazine, p. 1. Todorov, T. (1990). ”Genres in Discourse”. In T. Todorov, The origin of genres. New York: Cambridge University Press, 13-26. Todorov, T., Berrong, R. (1976). ”The Origin of Genres”. New Literary History, 5(1), 159-170. Toku, Μ. (2007). ”Shojo manga! Girls comics! A mirror of girls' dreams”. Mechademia, 2, 18-32. Treat, J. (1993). ”Yoshimoto Banana writes home: Shojo culture and the nostalgic subject”. The Journal of Japanese Studies, 19(2), 353-387. Treat, J. (1996). Contemporary Japan and Popular Culture. Honolulu: University of Hawai4 i Press Turner, V. (1988). The anthropology ofperformance. New York: PAJ Publications. Wakeling, E. J. (2011). ”'Girls are dancing': shojo culture and feminism in contemporary Japan”. New Voices, 5, 130-146. Welker, J. (2006). ”Beautiful, Borrowed, and Bent: “Boys’ Love” as Girls’ Love in Shôjo Manga”. Signs, 31(3), 841-870. Wells, P. (1998). Understanding animation. Londra și New York: Routledge. Williams, R. (2011). ”'Wandering off into soap land': Fandom, genre and 'shipping' The West Wing”. Participations, 5(1), 270-295. Yoshihara, Y. (2013). ”Tacky “Shakespeares” in Japan”. Multicultural Shakespeare: Translation, Appropriation and Performance, 10(25), 83-97. Zahlten, A. (2010). ”Meta-, Hyper-, Inter-, Super-, Anime, World Creation, and the role of film festivals”.E. Niskanen, Imaginary Japan: Japanese fantasy in
contemporary popular culture. Turku: International Institute for Popular Culture, 20-25. |
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| topic | Social Media (DE-588)4639271-3 gnd Einfluss (DE-588)4151276-5 gnd Animation (DE-588)4135878-8 gnd Volkskultur (DE-588)4063849-2 gnd Animationsfilm (DE-588)4142484-0 gnd |
| topic_facet | Social Media Einfluss Animation Volkskultur Animationsfilm Rumänien Japan |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033014058&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033014058&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT teodorescualice japanmaniainspatiulculturalromanesc |