Wyniki wyszukiwania - Biblioteka Nauki

1

Problemy rynku mangi w Polsce

100%

Ostrowska M.

Toruńskie Studia Bibliologiczne

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2013

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tom 6

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nr 1(10)

69-88

PL

Manga w Polsce jest obecna od 1997 r. i przybyła na fali popularności anime w telewizji. Jest jednym z najbardziej rozpoznawalnych produktów japońskiej pop-kultury na świecie. Pierwszym wydawnictwem jakie zajęło się publikacją tego gatunku w naszym kraju jest J.P.Fantastica i do dziś jest największą i najważniejszą oficyną, wśród pięciu funkcjonujących na rynku. Natomiast pierwszym czasopismem było "Kawaii", którego redaktorem naczelnym był Paweł Musiałowski. W Polsce manga budzi wiele kontrowersji przez co spotyka się ze specyficznymi problemami na rynku do których należy dystrybucja, postęp technologiczny, powszechnie panujące stereotypy i kłopoty w zdobyciu licencji.

EN

Manga graphic novels have been present on Polish publishing market since 1997. The first publisher in Poland to start printing manga comic books was J. P. Fantastica. Today it is the largest and most important Polish publishing house printing manga, with four others in the market. The first manga magazine was "Kawaii" edited by Paweł Musiałowski. Manga is still controversial in Poland which causes problems for the publishing market such as distribution and technological issues, common stereotypes and difficulties in obtaining a license.

2

Reinscribing Sexuality: Manga Versions of Romeo and Juliet

71%

Şerban A.

Romanian Journal of English Studies

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2012

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tom 9

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nr 1

335-350

EN

Designed to familiarize the younger audience with the Bard’s work, while at the same time catering to their tastes and interests, not only have Shakespearean adaptations moved the original plots to unusual milieus and exotic cultures, but have also ‘translated’ them to new media. This paper analyzes the portrayal of sexuality in two transmediations of Shakespeare’s Romeo and Juliet. The paper compares and contrasts two manga versions of the play (a British and a Japanese one), aiming to highlight the ways in which the “star crossed lovers’” relationship has been adapted and appropriated by the two cultures in the twentyfirst century.

3

Potencjał dynamicznej platformy webtoons.com/fr w nauczaniu/uczeniu się języka francuskiego w opinii studentów filologii romańskiej

63%

Chmiel-Bożek H.

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2024

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nr 62/2

396-408

EN

Reading is an important element of independent work on the language, but offering students additional reading to improve their linguistic and cultural competences is an extremely difficult task, due to the evolving tastes of young people and the variability of the media they use. Given the popularity of manga and digital comics in France, Romance philology students were asked to read a series selected from the webtoons.com/fr platform in French. A survey was then carried out to find out their views on how this tool could be used in French language learning. The results of the survey clearly indicate that the webtoons.com/fr platform can be used as an effective tool for learning French. According to the respondents, reading the selected series allowed them, above all, to develop lexical resources and was also an enjoyable pastime that increased motivation to learn the language. Students also paid attention to the combination of word and image, appreciating both the aesthetic and practical side of reading digital comics. Finally, the practicality of using the platform, its ease of use and accessibility was emphasised.

4

Wierzenia z perspektywy estetyki japońskiej. Mushishi Yuki Urushibary

63%

Dmitruk N.

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tom 23

93-107

EN

The Japanese culture is often portrayed as unique, in particular when compared to broadly-understood Western culture. It is important to notice, however, that the main trait of the Japanese culture is its openness towards outside influences and the ability to modify them to fit better with the Japanese system of values. The same could be applied to the Japanese aesthetics, which concernsm various aspects of life, not only the ones that would be described as art in Western culture. The contemporary Japanese culture (and the aesthetics along with it) is occasionally a combination of tradition and modern ideas; the works of popular culture, which includes comics and animation, may hold the most interesting cases in that regard. This article describes the issues of the Japanese aesthetics in Mushishi, a comic book by Yuki Urushibara. The author, while inspired by the classical works of Japanese literature and legendary tales, presents her own stories, in which the primary aesthetic value is the harmony between human and nature, sometimes represented by the supernatural beings known as mushi.

5

Historia łódzkiego fandomu mangi i anime w latach 1995–2010

62%

Reczulski Ł. , Gamus P. , Łódzki I. A. U. , Katedra Bibliotekoznawstwa i Informacji Naukowej U. Ł. , mscislaw@gmail.com , paula.gamus@gmail.com

Acta Universitatis Lodziensis. Folia Librorum

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2015

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tom 21

EN

The last twenty five years in the history of Poland was not only a period of turbulent political changes, but also a time of profound social metamorphosis. As a result of the opening on western culture influence, in a relatively uniform society new movements and cultural phenomena began to form. One of them, founded around 1995, was the subculture of manga and anime fans (lovers of Japanese comics and animated films). This article pre-sents the history of the Lodz faction of this subculture, from its origins to the period of greatest prosperity. Most focus is placed on activities of local groups of East Asian popculture enthusiasts with full list of their meetings that took place in Lodz region. The text also describes the controversy surrounding the popularization of Japanese comics and animated films.

PL

Ostatnie dwudziestopięciolecie zapisało się w historii naszego kraju nie tylko jako okres burzliwych przemian politycznych, lecz także jako czas głębokiej metamorfozy społecznej. W efekcie otwarcia się Polski na kulturę zachodnią, w dotychczas względnie jednolitym społeczeństwie na skutek oddziaływania impulsów zewnętrznych zaczęły rodzić się nowe ruchy i zjawiska kulturowe. Jednym z nich była powstała około 1995 r. subkultura fanów mangi i anime, czyli społeczność miłośników japońskich komiksów i filmów animowanych. W niniejszym artykule omówiono historię łódzkiego odłamu tej subkultury, począwszy od jej początków po okres największego rozkwitu. Szczególną uwagę zwrócono na działalność łódzkich klubów zrzeszających lokalnych entuzjastów popkultury wschodnioazjatyckiej oraz zaprezentowaniu pełnego wykazu regionalnych zjazdów fanów. W tekście poruszono także zagadnienie kontrowersji towarzyszących popularyzacji japońskich komiksów i filmów animowanych.

6

Spór o mangę – rzut oka z perspektywy badacza komiksu

62%

Birek W.

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nr 44

23-31

EN

The article is an attempt to analyse the methods and critical arguments against the manga and anime expressed by the people who, in the polemical discourse of their opponents, are treated as experts. The analysis focuses mostly on articles by Małgorzata Więczkowska, highlighting the constant crypto-self-quotations and the repeating of factual errors and steoreotypical biases. In these texts, one can notice i.e. the generalisation of accusations based on opinions on particular titles, describing the entire phenomenon through the characteristics of selected types and genres, the lack of any distinction being made between manga and anime, and lastly, a superficial understanding of the works in question, whose content and message the author often extrapolates from an overview, without taking the specifics of each work into account.

7

When Power Seduces Women: Shakespeare’S Tragic (Mother) Queens in Manga

54%

Şerban A.

Romanian Journal of English Studies

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2014

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tom 11

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nr 1

126-136

EN

Power is seductive, and fantasies of power affect both men and women, who are sometimes willing to do anything in order to achieve or retain it. The paper looks at how such a modern transmediation as manga renders powerful femininity in two of Shakespeare’s great tragedies, namely Hamlet and Macbeth. The paper aims to discuss the ways in which the emotive behaviour of both female protagonists eventually makes them inappropriate for the power roles they assume as wives, queens and mothers.

8

Hentai – erotyka z mangi i anime

54%

Burdzik T.

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nr 3(103)

340-353

EN

The aim of this paper is to present Japanese comics (manga) and cartoons (anime) with sexual content called hentai. I briefly review some history of Japanese art and culture, in which sexuality has always been a legitimate subject for art and which forms the cultural underpinnings of manga. I summarize the erotic themes and visions of manga with sexual content, including female and male homosexuality (yuri, yaoi), heterosexuality (ecchi, bakunyū/kyonyuu), BDSM (kinbari), transvestitism (futanari), children (lolicon, shotakon). In conclusion, I pose the question of the need to adopt the right perspective to understand the often surprising manifestations of Japanese sexuality.

9

Oblicza II wojny światowej w komiksie amerykańskim i japońskim - wybrane przykłady

51%

Gajownik I.

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2022

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tom 5

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nr 1

91-118

EN

Most often, the comic book offers us two types of images of World War II: war as a western and war as a cataclysm. The article illustrates this topic based on two American comics and two mangas. The comic book "Captain America" was created in 1941 by Joe Simon and Jack Kirby. Captain America was the most popular figure during World War II, often depicted fighting the Nazi coalition. The second comic book is "Maus" by Art Spiegelman. In it, the author tells the story of his father – Vladek, how he survived the ghetto, Auschwitz and the "death march" to Dachau. The Japanese comic book represents – "Message to Adolf" by Osamu Tezuka and "Hiroshima 1945. Barefoot Gen.” Keiji Nakazawa. Both manga represent the view on World War II from the perspective of the inhabitant of the Land of the Blossoming Cherry. In the article, the author presents two different views on the war and the main historical threads they touch in the comic.

PL

Najczęściej komiks oferuje nam dwa rodzaje obrazów II wojny światowej: wojnę jako western i wojnę jako kataklizm. Artykuł ilustruje ten temat na podstawie dwóch amerykańskich komiksów oraz dwóch mang. Komiks „Kapitan Ameryka” został stworzony w 1941 roku przez Joe Simona i Jacka Kirby. Kapitan Ameryka był najpopularniejszą postacią podczas II wojny światowej, często przedstawianą walczącą z koalicją nazistowską. Drugi komiks to „Maus” Arta Spiegelmana. Autor opowiada w nim historię swojego ojca – Władka. Przedstawia jak przeżył getto, Auschwitz i „marsz śmierci” do Dachau. Komiks japoński reprezentuje – ,,Do Adolfów” Osamu Tezuki oraz ,,Hiroszima 1945. Bosonogi Gen.” Keiji Nakazawy. Obie mangi przedstawiają spojrzenie na II wojnę światową z perspektywy mieszkańca Kraju Kwitnącej Wiśni. W artykule autor przedstawia w komiksie dwa różne spojrzenia na wojnę oraz główne wątki historyczne, których dotykają.

10

Surviving Hiroshima: An Hermeneutical Phenomenology of Barefoot Gen by Keiji Nakazawa

45%

dela Cruz N. L.

Estetyka i Krytyka

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2016

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nr 4(43)

9-44

EN

In this paper, I present a philosophical analysis of the famous manga series, Barefoot Gen (Hadashi no Gen) by Keiji Nakazawa, which is the author’s quasi‑fictional memoir of his childhood as an atom bomb survivor in Hiroshima, Japan. Against the backdrop of larger issues of war and peace, Gen’s family struggles with his father’s ideological rebellion against the nation’s militaristic rule, leading to the family’s persecution. The story then chronicles the cataclysmic effects of the bomb, and the fates of Gen and other survivors as they live through the aftermath of the detonation and the hardships of the American occupation. My framework for critique follows Paul Ricoeur’s hermeneutical phenomenology, which applies the descriptive method of phenomenology to cultural texts.

11

Elementy japońskich wierzeń i obrzędów w mandze Mieruko-chan. Dziewczyna, która widzi więcej Tomoki Izumiego

45%

Ścibor Ratajczyk J.

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nr 44

135-147

EN

The aim of the article is to reflect on religious themes in contemporary Japanese comics. The manga Mieruko-chan by Tomoki Izumi is analyzed. The themes include the Japanese tradition of horror, derived from folk beliefs, as well as Shintō and Buddhist rituals. The author draws attention to religion as an important element of creating cultural reality and its function that makes it more attractive.

12

Kawaii Friend or Mythical Beast. Dragons and Other Animals in the Art of Takano Aya

36%

Furmanik-Kowalska M.

Analecta Nipponica

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2018

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nr 8

123-134

JA

タカノ綾の芸術作品における龍とその他の動物」本論の目的は、日本のアーティストであるタカノ綾（1976年埼玉生まれ）の作品における、ある種の動物達と彼らの象徴的な役割を指摘することである。彼女の作品は、日本現代社会の中でも特にポップカルチャーに深く浸透している動物に対する姿勢を映し出していると解釈できる。そして彼女の芸術作品は、「カワイイ」少女的美学と同時にスーパーフラット・ムーブメントに合致する。タカノの絵画には、犬、魚、猫、そして兎など多くの可愛いペットのイメージが、女性のキャラクターと共に、日常的な活動や非日常的な瞬間の中に描かれる（Doggy Drive, 2005; The Buildings Shone, 2007; Crane Island, 2009）。彼女の絵画の中には、日本の古くから伝わる芸術に頻繁に見られる神話的な動物もまた現れる。鶴、虎、龍（Rising Dragon (Rainbow) with Lucky Omens, 2015）といった動物達はタカノによって、ペットと同様のスタイルで表現されているのである。

EN

The aim of this article is to indicate the kinds of animals and their symbolic function in the works of the Japanese artist Takano Aya (b. 1976, Saitama). Her works may be interpreted as illustrative of the current attitude towards animals prevailing in contemporary Japanese society, especially its part that is deeply permeated by local pop culture. After all, her art fits into the Superflat movement and the girly aesthetics of kawaii at the same time. Takano’s paintings are full of images of cute household pets: dogs, fish, cats and rabbits, which accompany the female characters in both everyday activities and extraordinary moments (Doggy Drive, 2005; Summoning Her Owls, She Looked Yonder. The Buildings Shone, 2007; Crane Island, 2009). In her paintings there are also mythological animals, which were so commonly represented in the ancient artwork of Japan. Takano depicts cranes, tigers and dragons (Rising Dragon (Rainbow) with Lucky Omens, 2015) in the same style as household pets.