{"content":[{"text":"Jaqueline Berndt","bbox":{"left":0.360249,"top":0.107553,"width":0.24780600000000003,"height":0.02647100000000001}},{"text":"Manga, Comics and Japan: An \n Introduction","bbox":{"left":0.185114,"top":0.158227,"width":0.597524,"height":0.07446999999999998}},{"text":"This issue of Orientaliska Studier collects 15 papers which were initially \n presented during the conference Manga, Comics and Japan: Area Studies \n as Media Studies held in September 2018. Hosted by Stockholm Univer- \n sity’s Department of Asian, Middle Eastern and Turkish Studies, the pri- \n mary objective was to critically interrelate the study of Japan and the \n study of manga, i.e., graphic narratives, or comics, associated with Japan. \n Manga has attracted attention from the institution of Japanese studies \n since the beginning of the 21st century, when Japanese comics and related \n fan cultural practices went global and, a little later, Japanese authorities \n advanced nation-branding campaigns using manga as a vague umbrella \n term. But whereas Japanese studies is, by its institutional nature, inclined \n to foreground national aspects of a transnational media like manga, the \n majority of contributions to this issue approaches manga as a transcultur- \n al phenomenon, whether explicitly or implicitly. \n This is not to say that references to Japan get left out. Admittedly, \n historiographic investigations, especially with regard to manga’s evolution \n in 20th century Japan, are lacking. Yet, almost all papers address manga \n discourse, or to rephrase, the use of the word manga as a label, which \n according to the most often cited article falls into two main positions: on \n the one hand, manga as “style” (or as contributor Fusami Ogi puts it, \n “pure content”), creatively, and often ambiguously, adopted beyond \n Japan; and on the other hand, manga as “Made in Japan,” a media that is \n shaped by the historically formed Japanese system of production, distri- \n bution and consumption (see Kacsuk, 2018) which warrants recognition \n and authenticity now, as contributor Ylva Lindberg demonstrates. To \n these two (often complementary) counterparts, contributor José Andrés \n Santiago Iglesias adds a third variant: movements or taste communities \n which promote certain notions of the mangaesque. \n Many papers employ the term mangaesque (although not necessarily \n in relation to the Japanese counterparts manga-teki, manga-rashii, \n manga-chikku). Inside and outside of the Japanese language realm, the","bbox":{"left":0.117755,"top":0.27429,"width":0.733107,"height":0.6084700000000001}},{"text":"6","bbox":{"left":0.479002,"top":0.939937,"width":0.01283899999999999,"height":0.01764699999999997}}],"images_bbox":[],"images_bbox_not_text_overlap":[]}