User:Timothy Perper/SandboxManga: Difference between revisions

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imported>Timothy Perper
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== Revised Manga Article ==
== Revised Manga Article ==


Text to come.
'''Text is from SandboxHistManga,''' moved here.


== Comments and Suggestions ==
== Tradition and Innovation, Continuity and Change ==
Are manga a recent invention? The answer is ''Yes'' and ''No.''


This page is for revising the current manga article. I hope we can expand all of it, adding good references (I tend to use references for as much as possible). [[User:Timothy Perper|Timothy Perper]] 10:18, 27 September 2008 (CDT)
The word "manga" itself dates to the late 18th century<ref name="Kern2006">Kern, Adam. 2006. ''Manga from the Floating World: Comicbook Culture and the Kibyoshi of Edo Japan.'' Cambridge: Harvard University Press. ISBN 0674022661.</ref> and was used by the great 18-19th century Japanese artist Katsushika Hokusai for some of his drawings and sketches<ref name="Hokusai">Bouquillard, Jocelyn and Christophe Marquet. 2007. ''Hokusai: First Manga Master.'' New York: Abrams.</ref>
 
Earlier use Rakuten Kitazawa
 
Kibyoshi -- Kern
 
History of Japan is the history of its art -- from Jp art book
 
and stories told in pictures and sometimes words date back to 13th century Japan.<ref>Schodt, 1986, ''op. cit.,'' Chapter 2, pp. 28-67.</ref> By contrast, post-World War II manga are thoroughly modern in design, manufacture, and distribution within Japan and, in translation, to the world.<ref>Kinsella, 2000, ''op. cit.''</ref><ref>Bullough, Vern 2006. "The influence of manga on Japan." Review of Kinsella 2000. ''Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts,'' 1:173-174.</ref>
 
 
 
Japanese and non-Japanese scholars have been interested in the complex interactions between traditional Japanese art and modernity, especially Japan-U.S. transpacific transnationalism.
 
 
 
'''rewrite the following material'''
 
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. These differences of opinion are, in part, arguments over the role of non-Japanese influences, e.g., of the United States, compared 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.
 
Japanese writers like Takashi Murakami stress events after World War II as crucial for shaping modern manga. 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.<ref name="Mur1">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.</ref><ref name="Mur2">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.</ref><ref name="BBrev">Benzon, William. 2007. "Review: Godzilla’s Children: Murakami Takes Manhattan." ''Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts,'' 2:283-287.</ref> 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, not bitter memories of war, immense destruction, and ultimate defeat.<ref name="Tatsumi">Tatsumi, Takayumi. 2006. ''Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America.'' Durham, NC: Duke University Press. ISBN 0-8223-3774-6.</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="Schodt1986">Schodt 1986</ref><ref name="Schodt1996">Schodt, Frederik L. 1996. ''Dreamland Japan: Writings on Modern Manga.'' Berkeley, CA: Stone Bridge Press. ISBN 1-880656-23-X.</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 ="Kern2006"/><ref name="Kern2007">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="Schodt1986" /> Schodt also stresses continuities of aesthetic style and vision between ''ukiyo-e'' and ''shunga'' woodblock prints and modern manga (all three fulfill Will Eisner's criteria for sequential art.<ref name="Eisner">Eisner, Will. 1985. ''Comics & Sequential Art.'' Tamarac, Fl: Poorhouse Press. ISBN 0-9614728-0-2.}</ref>
 
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="Schodt1986" /> 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 in the 1980s (in Japanese, also called ''redisu'' レディース, ''redikomi'' レヂィーコミ, and ''josei'' 女性 じょせい manga).<ref name="Ito 2000" />
 
Kern has suggested that ''kibyōshi'', illustrated picture books from the late 1700s, may have been the world's first comic books.<ref name ="Kern2006" /> These graphical narratives share with modern manga humorous, satirical, and romantic themes.<ref name ="Kern2006" /> Although Kern does not believe that ''kibyōshi'' were a direct forerunner of manga, for Kern the existence of ''kibyōshi'' nonetheless points to a Japanese willingness to mix words and pictures in a popular story-telling medium.<ref name="Kern2007" /> The first recorded use of the term "manga" to mean "whimsical or impromptu pictures" comes from this tradition in 1798, which, Kern points out, predates Katsushika Hokusai's better known usage by several decades.<ref name="Hokusai"/>
 
Similarly, Charles Shirō Inoue sees manga as being a mixture of image- and word-centered elements, each pre-dating the U.S. occupation of Japan. In his view, Japanese image-centered or "pictocentric" art ultimately derives from Japan's long history of engagement with Chinese graphic art, whereas word-centered or "logocentric" art, like the novel, was stimulated by social and economic needs of Meiji and pre-War Japanese nationalism to create a populace unified by a common written language. Both fuse in what Inoue sees as a symbiosis in manga.<ref name="Inoue">Inoue, Charles Shirō. 1996. "Pictocentrism—China as a source of Japanese modernity." In Sumie Jones, editor. 1996. ''Imaging/Reading Eros.'' Bloomington, IN: East Asian Studies Center, Indiana University. pp. 148-152. ISBN 0965328104.</ref>
 
'''References'''
{{reflist}}

Revision as of 05:02, 6 October 2008

Sandbox for revising 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 10:18, 27 September 2008 (CDT)

Revised Manga Article

Text is from SandboxHistManga, moved here.

Tradition and Innovation, Continuity and Change

Are manga a recent invention? The answer is Yes and No.

The word "manga" itself dates to the late 18th century[1] and was used by the great 18-19th century Japanese artist Katsushika Hokusai for some of his drawings and sketches[2]

Earlier use Rakuten Kitazawa

Kibyoshi -- Kern

History of Japan is the history of its art -- from Jp art book

and stories told in pictures and sometimes words date back to 13th century Japan.[3] By contrast, post-World War II manga are thoroughly modern in design, manufacture, and distribution within Japan and, in translation, to the world.[4][5]


Japanese and non-Japanese scholars have been interested in the complex interactions between traditional Japanese art and modernity, especially Japan-U.S. transpacific transnationalism.


rewrite the following material

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. These differences of opinion are, in part, arguments over the role of non-Japanese influences, e.g., of the United States, compared 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.

Japanese writers like Takashi Murakami stress events after World War II as crucial for shaping modern manga. 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.[6][7][8] 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, not bitter memories of war, immense destruction, and ultimate defeat.[9]

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.[6][7][9] 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.[10] Another example is the transfer of hip-hop culture from the United States to Japan.[11] Wong also sees a major role for transnationalism in the recent history of manga.[12]

Nonetheless, other writers stress continuity of Japanese cultural and aesthetic traditions as central to the history of manga. They include Frederik L. Schodt,[13][14] Kinko Ito,[15] and Adam L. Kern.[1][16] 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.[13] Schodt also stresses continuities of aesthetic style and vision between ukiyo-e and shunga woodblock prints and modern manga (all three fulfill Will Eisner's criteria for sequential art.[17]

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.[13] 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.[18] 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 in the 1980s (in Japanese, also called redisu レディース, redikomi レヂィーコミ, and josei 女性 じょせい manga).[15]

Kern has suggested that kibyōshi, illustrated picture books from the late 1700s, may have been the world's first comic books.[1] These graphical narratives share with modern manga humorous, satirical, and romantic themes.[1] Although Kern does not believe that kibyōshi were a direct forerunner of manga, for Kern the existence of kibyōshi nonetheless points to a Japanese willingness to mix words and pictures in a popular story-telling medium.[16] The first recorded use of the term "manga" to mean "whimsical or impromptu pictures" comes from this tradition in 1798, which, Kern points out, predates Katsushika Hokusai's better known usage by several decades.[2]

Similarly, Charles Shirō Inoue sees manga as being a mixture of image- and word-centered elements, each pre-dating the U.S. occupation of Japan. In his view, Japanese image-centered or "pictocentric" art ultimately derives from Japan's long history of engagement with Chinese graphic art, whereas word-centered or "logocentric" art, like the novel, was stimulated by social and economic needs of Meiji and pre-War Japanese nationalism to create a populace unified by a common written language. Both fuse in what Inoue sees as a symbiosis in manga.[19]

References

  1. ↑ 1.0 1.1 1.2 1.3 Kern, Adam. 2006. Manga from the Floating World: Comicbook Culture and the Kibyoshi of Edo Japan. Cambridge: Harvard University Press. ISBN 0674022661.
  2. ↑ 2.0 2.1 Bouquillard, Jocelyn and Christophe Marquet. 2007. Hokusai: First Manga Master. New York: Abrams.
  3. ↑ Schodt, 1986, op. cit., Chapter 2, pp. 28-67.
  4. ↑ Kinsella, 2000, op. cit.
  5. ↑ Bullough, Vern 2006. "The influence of manga on Japan." Review of Kinsella 2000. Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts, 1:173-174.
  6. ↑ 6.0 6.1 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.
  7. ↑ 7.0 7.1 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.
  8. ↑ Benzon, William. 2007. "Review: Godzilla’s Children: Murakami Takes Manhattan." Mechademia: An Academic Forum for Anime, Manga, and the Fan Arts, 2:283-287.
  9. ↑ 9.0 9.1 Tatsumi, Takayumi. 2006. Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America. Durham, NC: Duke University Press. ISBN 0-8223-3774-6.
  10. ↑ Star Wars manga: http://www.darkhorse.com/Search/Browse/Star+Wars+Manga/PpwNwkt8 (Accessed September 28, 2008).
  11. ↑ Condry, Ian. 2006. Hip-Hop Japan: Rap and the Path of Cultural Globalization. Durham, NC:Duke University Press. ISBN 0-8223-3892-0.
  12. ↑ 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.
  13. ↑ 13.0 13.1 13.2 Schodt 1986
  14. ↑ Schodt, Frederik L. 1996. Dreamland Japan: Writings on Modern Manga. Berkeley, CA: Stone Bridge Press. ISBN 1-880656-23-X.
  15. ↑ 15.0 15.1 Ito, Kinko. 2004. "Growing up Japanese reading manga." International Journal of Comic Art, 6:392-401.
  16. ↑ 16.0 16.1 Kern, Adam. 2007. "Symposium: Kibyoshi: The World's First Comicbook?" International Journal of Comic Art, 9:1-486.
  17. ↑ Eisner, Will. 1985. Comics & Sequential Art. Tamarac, Fl: Poorhouse Press. ISBN 0-9614728-0-2.}
  18. ↑ 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
  19. ↑ Inoue, Charles Shirō. 1996. "Pictocentrism—China as a source of Japanese modernity." In Sumie Jones, editor. 1996. Imaging/Reading Eros. Bloomington, IN: East Asian Studies Center, Indiana University. pp. 148-152. ISBN 0965328104.
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