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Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papeles del CEIC is the property of Centro de Estudios sobra la Identidad Colectiva, Facultas de Ciencias Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mirai. Estudios Japoneses is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay applies discourse theory and geocriticism to Shakespeare's The Tempest in order to show the ways in which the island space is inscribed in the play's theatrical spatial imagination as an enclosed area engendering multi-discursive meanings. The space of the stage is the site of encounter for multiple dramatic voices and identities, each of them with their own discursive structure and motivational parameters. This multivocal encounter among cultures and allusions to other spaces has contributed to the play's success in production throughout the centuries, as it has been translated in several languages, produced in many directorial interpretations, and adapted in novels, poetry, movies, manga, videogames, etc. I argue that the play's multivocal aspect--as manifested in the island space of the theatre--is the result of the sedimentary process that has allowed each character to speak with his/her own voice throughout the ages, while at the same time borrowing various voices and languages from the surrounding culture and the time in which it has been produced or adapted. [ABSTRACT FROM AUTHOR]

The article provides guide to understand Manga tests. Topics include manga is a Japanese word which means whimsical pictures and it refers especially to Japanese comics; manga is commonly a fictional take in comic format covering genre from action. science fiction, comedy, mystery and others; and manga includes array of visual symbols.

This study documents onomatopoeia of laughter in Chinese comics and their Japanese translations, by comparing the translation of Chinese laughter onomatopoeia into Japanese laughter onomatopoeia and then by observing and analyzing the sentence-ending particle. The study ultimately seeks to examine the similarities and differences between two languages as their laughter onomatopoeia discourse markers. The results indicate that the onomatopoeia of laughter appears in both languages to describe social and aggressive laughter through discourse markers that advance the flow of conversation. In Chinese face threatening contexts, speakers generally use the onomatopoeia of laughter, where in the Japanese context, speakers largely resort to using a sentence-ending particle, and in the process to alleviate embarrassment. [ABSTRACT FROM AUTHOR]

Copyright of Mirai. Estudios Japoneses is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on detective fiction tourism, specifically the mystery tour associated with the Japanese comics and animated series "Detective Conan." The author discusses the connection between real space and fictional space, analyses how the tour was constructed, and examines the link between tourists and destinations.

Automatic line art colorization plays an important role in anime and comic industry. While existing methods for line art colorization are able to generate plausible colorized results, they tend to suffer from the color bleeding issue. We introduce an explicit segmentation fusion mechanism to aid colorization frameworks in avoiding color bleeding artifacts. This mechanism is able to provide region segmentation information for the colorization process explicitly so that the colorization model can learn to avoid assigning the same color across regions with different semantics or inconsistent colors inside an individual region. The proposed mechanism is designed in a plug‐and‐play manner, so it can be applied to a diversity of line art colorization frameworks with various kinds of user guidances. We evaluate this mechanism in tag‐based and reference‐based line art colorization tasks by incorporating it into the state‐of‐the‐art models. Comparisons with these existing models corroborate the effectiveness of our method which largely alleviates the color bleeding artifacts. The code is available at https://github.com/Ricardo-L-C/ColorizationWithRegion. [ABSTRACT FROM AUTHOR]

This paper analyses images and texts from Fullmetal Alchemist, a 27-volume Japanese comicbook series, and aims to illustrate and discuss how comicbook characters' facial features and active movements are used to visualise humour. As the ways that readers perceive humour while reading comics are influenced by many factors, both graphic and textual components are examined. The results show that various drawing skills and strategies are used to construct characters' facial features and movements as two sources of humour. Our qualitative analysis further shows that halftone effects, suppletion, and micropanels can all be used to construct characters' facial features in a funny manner. Furthermore, reduplication, macropanels, neo-amorphic panels, and mimetic words are used to humorously present characters' actions and movements. This paper suggests that as comicbook humour is multimodally constructed, its perception requires a reader to parse both graphic and textual components. [ABSTRACT FROM AUTHOR]

Internet piracy threatens Japan's most popular cultural exports: manga and anime. Fans have taken to translating and distributing the works online for other fans to enjoy because official translated versions of manga and anime are released overseas later than the original in Japan, or they are never released at all. In order to combat the illegal downloading and distributing of manga, the National Diet, Japan's legislature, passed an amendment to the Japanese Copyright Act that increases punishments for leech sites and illegal downloading of manga. This Note discusses the manga and anime industries and their struggles with piracy before reviewing the copyright regimes in the United States and Japan. In critiquing the Japanese Copyright Amendment, this Note considers the hardships of enforcement and the manga and anime industries' resistance to change with new technologies. This Note concludes that a comprehensive licensing regime is needed to stop manga and anime piracy. Such a regime would facilitate timely distribution to satisfy overseas demand, and copyright owners would profit from the expanded market rather than lose out to piracy. [ABSTRACT FROM AUTHOR]

The article explains the importance of the study of erotic comics for manga studies in Japan and beyond in an bid to make the legal and institutional barriers to expressing certain manga/anime images and content less of an obstacle. It discusses the diversity, social and cultural complexity of eromanga as an extension of manga expression for boys, girls, young men and women. Examples of the consequences of eromanga as a hyper-sensitized word and content for making informed judgment are cited.

An introduction to a series of articles on the shift of moral codes against sexual expression in contemporary Japanese manga is presented with topics including censorship of sexual expression in artworks, regulation of sexual expression and distribution in public and social construction of moral panic debates.

The article explores the limits of expression of female subjectivity in women's manga and discusses how they deal with censorship and double standards for male and female created art and art works depicting male and female sex organs and bodies. It cites the case of manga artist Rokudebashiko, who used reproduction part of her own body in her artistic expression, as representation of the vagueness of Japan's obscenity law. It discusses the subversion of gender roles in girls and women's manga.

The article considers essay manga by women on contemporary social networking services (SNS) as places for women's self-expression and independence. It discusses the importance of eromanga as a place for female manga creators, creating diverse representations and freedom of expression. It identifies underlying media circumstances behind the emergence of amateur manga creators including lower threshold for manga production and publication and expansion of the culture of individual transmission.

The article considers the novelty of shojo manga or Japanese comics for girls, their difficulties and challenges for freedom and expression, as well as the globalization of shojo manga as a genre. It offers a look into the post-war culture in which manga established a market and its transformation in the 1970s from compulsory heterosexual suppression under the male dominant society to women's expression of sexuality and love. It examines the effect of shojo manga on children and young adults.

The article focuses on the representations of erotic images in Japanese comics or manga. It provides a view of Pawel Jaszczuk's photographic images and memes of the changing representation of girls and a brief history of representations of sexual expression and eroticism pioneered by cartoonist Tezuka Osamu. It offers a look into the current state of Japanese erotic comics and explores its ambiguity and diversity from adult comics for men, boys love for women and male homosexuality.

A personal narrative is presented which explores the author's experience of his academic and career journey and activities related to comics from the 1960s to 200s.

The article discusses the representation of Quetzalcoatl and the pre-Hispanic images of the dragon, feathered serpent and Shenlong in the Mexican comic book "Aztectopia," published by Mexican artist Pedro Larez in 20107. It analyzes the graphic and compositional characteristics of the images of the dragon and serpent and examines the book's format and structure. It explores the iconographic convergences and divergences in the representations of the serpent and the Chinese Oriental dragon.

The article explores the comic strip "Fuichin-san" as a parallel dramatization of the life of Japanese manga artist Ueda Toshiko who lived in Harbin, Manchuria, China, as well as the graphic style of Toshiko in comparison with other Japanese girls' comics from 1957 to 1962. It provides a historical background of the characters and cultural climate of Harbin landscape and the importance of Manchuria as a stage of Japanese manga works. It examines the humor and laughter in Toshiko's comics.

The article explores the influence of Japanese manga in Spain, considering the works of Spanish authors and artists. It highlights the generations of manga artists in Spain classified into groups, including those born between 1970 and the beginning of 1980 classified as precursors of the first manga and anime and pioneers in drawing short comics, those born after the 1980s who consumed fanzines and gained popularity via Internet and those born after 1990 who specialized outreach publications.

The article focuses on South Korea as a cartoon powerhouse in East Asia. It discusses reasons for acknowledging South Korea as a cartoon powerhouse including its rivalry with Japan, role of government in facilitating comic art, offshore production of animation for North American and European studios, women participation in comic art as creators and readers, independence from colonialism and media/comics imperialism and innovative forms and genres of Korean manhwa to curb manga.

The article presents the reprint of the article, "The Purehearted Major: On Innocence." Topics discussed include cyberpunk science fiction; division between East and West which shows political survival game to negotiate the caste system produced within globalization from variable factors: nationality, ethnicity, and gender; and Shirow Masamune's manga Ghost in the Shell.

Copyright of Revista Ibero-Americana de Estudos em Educação is the property of Jose Luis Bizelli, editor of Revista Ibero-Americana de Estudos em Educacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The chapter "No Future: Punk and the Underground Graphic Novel" by Benjamin Noys retraces the significance of the underground graphic novel as well as the characteristic features of it in a much broader spectrum. The chapter "Superhero graphic novel" is a detailed and fruitful discussion on Marvel and DC comics as well as I Batman: The Dark Knight Returns i (1986) by Frank Miller, and I Watchmen i by Alan Moore (serialized 1986-1987). One chapter from this section points out the differential nature of graphic novels and literary novels which is also another specific dimension the anthology considers to present. [Extracted from the article]

Copyright of Journal of Oriental Studies (Al-Farabi Kazakh National University) / Kazahskij Nacional'nyj Universitet Imeni Al'-Farabi Vestnik Seriâ Vostokovedeniâ is the property of Al-Farabi Kazakh National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the article, the author discusses the social functions and effects of popular manga in contemporary Japan by examining the serialized manga "Golden Kamuy" by Satoru Noda. The manga was published in the weekly comic magazine "Shukan Young Jump" since August 2014. Also cited are the various awards received by Noda for his manga like the Japan Expo Award, and how manga can promote empathy, friendship, and solidarity among its readers.

The Japanese people's understanding of the Fifteen Years War (1931–1945) is still problematic. The problem of the war was commonly solved by transferring responsibility for the war to an obscure subject called the State, and by offering financial compensation to those who were directly affected. However, there has been no in-depth discussion of how the Japanese public's understanding of the war in the period before defeat was modified in the post-war period. This article is a study of the children's magazine Shonen Kurabu, which gained wide popularity by featuring articles related to war during the early modern era of Japan, including the wartime period, and continued to be published until 1962. By focusing on Shonen Kurabu, this paper explores the close relationship between the mass media and the public attitude toward war, and the handling of the theme of war by both the media and the public. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de Humanidades is the property of Common Ground Research Networks and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)