In the process of reading and interpreting the images part of manga - Japanese sequential art - a... more In the process of reading and interpreting the images part of manga - Japanese sequential art - as well as in verbal texts, we assume that specific language of this media is tied to a context to which is given a sense in visual and ideological context. Transposition and representation, more specifically Japanese cultural aspects to this imagetic narrative, there is a semiotic exchange between two conditioned systems of meaning. On one hand there is some dominant historical-cultural impositions part of the subjective context from which it operates and, on the other hand, there are specific characteristics of each of their aesthetic languages. In this paradigm transpositions and representations of aspects that form the Japanese Society for manga, this article aims to make a brief analysis of Japanese popular culture through the presentation, analysis and interpretation of these changes represented aspects and engendered through the words and images of manga according to its subjective nature and objective interpretations of ideas and cultures.
The present article is a brief analysis of manga Futari H transposition to its four anime/OVA
epi... more The present article is a brief analysis of manga Futari H transposition to its four anime/OVA episodes. Initially it is presented a briefly contextualization of manga and anime about their origins, their arrival in Brazil, and their transformation in a reading phenomenon, besides their differences and similarities. It is displayed the sexuality representation through the reading of hentai. Closing the study it is ascertained the existent shadings between manga and Futrai H anime analyzing the representation of the aspects that compose Japanese society. Key-words: Manga. Anime. Japanese society. Representation.
Reading support in a rise, the Japanese imagetic narrative, mangá, is composed by a singular verb... more Reading support in a rise, the Japanese imagetic narrative, mangá, is composed by a singular verbal e non-verbal language, as its lines and specific themes and its cultural, social, historical, ideological and compartmental aspects representation. So that suchlike aspects permeate the image’s reading an interpretation, as well as in the verbal texts, it is presumed that those are harnessed to a social, historical and cultural context, to which are ascribed a meaning in the visual and ideological ambit. In the transposition, more specifically, of the historical aspects to the imagetic narrative a semiotic exchange occurs between the two conditioned meaning systems. However there are historical impositions and subjective dominants that belong to the context of who operates it and in the other hand there are the specificities of each of the respective aesthetic languages. In this transposition paradigm, the present paper tries to draft an analyses of Barefoot Gen, Adolf and 1945 in as regards to the re-readings and to the representations of some events occurred during the Second World War, such as the decimate of the Hiroshima and Nagasaki cities and the people who lived there, the massacre befallen to in the majority to the Jewish people and the organization of pacifist groups; and to ascertain briefly the representation of some of the cultural, social, ideological, historical and compartmental Japanese aspects that permeate this narratives. Key-words: Mangá. Re-reading. Representation. Second World War.
Materializing as one of the most important cultural manifestation and reading
support in its orig... more Materializing as one of the most important cultural manifestation and reading support in its origin country, the manga, since its emergence, started to exert some fascination in the Occident and Orient. This way, mangá’s characteristic line and its immediate connection started to be seen as a contemporary reading and a cultural phenomenon, for this, it is in constant transformation. Giving this contextualization, this article aims to outline briefly mangas history, besides to reflect about its a) function in the readers formation transcending the image reading; b) definition as a secondary textual gender and c) own “personality”.
In the process of reading and interpreting the images part of manga - Japanese sequential art - a... more In the process of reading and interpreting the images part of manga - Japanese sequential art - as well as in verbal texts, we assume that specific language of this media is tied to a context to which is given a sense in visual and ideological context. Transposition and representation, more specifically Japanese cultural aspects to this imagetic narrative, there is a semiotic exchange between two conditioned systems of meaning. On one hand there is some dominant historical-cultural impositions part of the subjective context from which it operates and, on the other hand, there are specific characteristics of each of their aesthetic languages. In this paradigm transpositions and representations of aspects that form the Japanese Society for manga, this article aims to make a brief analysis of Japanese popular culture through the presentation, analysis and interpretation of these changes represented aspects and engendered through the words and images of manga according to its subjective nature and objective interpretations of ideas and cultures.
The present article is a brief analysis of manga Futari H transposition to its four anime/OVA
epi... more The present article is a brief analysis of manga Futari H transposition to its four anime/OVA episodes. Initially it is presented a briefly contextualization of manga and anime about their origins, their arrival in Brazil, and their transformation in a reading phenomenon, besides their differences and similarities. It is displayed the sexuality representation through the reading of hentai. Closing the study it is ascertained the existent shadings between manga and Futrai H anime analyzing the representation of the aspects that compose Japanese society. Key-words: Manga. Anime. Japanese society. Representation.
Reading support in a rise, the Japanese imagetic narrative, mangá, is composed by a singular verb... more Reading support in a rise, the Japanese imagetic narrative, mangá, is composed by a singular verbal e non-verbal language, as its lines and specific themes and its cultural, social, historical, ideological and compartmental aspects representation. So that suchlike aspects permeate the image’s reading an interpretation, as well as in the verbal texts, it is presumed that those are harnessed to a social, historical and cultural context, to which are ascribed a meaning in the visual and ideological ambit. In the transposition, more specifically, of the historical aspects to the imagetic narrative a semiotic exchange occurs between the two conditioned meaning systems. However there are historical impositions and subjective dominants that belong to the context of who operates it and in the other hand there are the specificities of each of the respective aesthetic languages. In this transposition paradigm, the present paper tries to draft an analyses of Barefoot Gen, Adolf and 1945 in as regards to the re-readings and to the representations of some events occurred during the Second World War, such as the decimate of the Hiroshima and Nagasaki cities and the people who lived there, the massacre befallen to in the majority to the Jewish people and the organization of pacifist groups; and to ascertain briefly the representation of some of the cultural, social, ideological, historical and compartmental Japanese aspects that permeate this narratives. Key-words: Mangá. Re-reading. Representation. Second World War.
Materializing as one of the most important cultural manifestation and reading
support in its orig... more Materializing as one of the most important cultural manifestation and reading support in its origin country, the manga, since its emergence, started to exert some fascination in the Occident and Orient. This way, mangá’s characteristic line and its immediate connection started to be seen as a contemporary reading and a cultural phenomenon, for this, it is in constant transformation. Giving this contextualization, this article aims to outline briefly mangas history, besides to reflect about its a) function in the readers formation transcending the image reading; b) definition as a secondary textual gender and c) own “personality”.
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episodes. Initially it is presented a briefly contextualization of manga and anime about their
origins, their arrival in Brazil, and their transformation in a reading phenomenon, besides their
differences and similarities. It is displayed the sexuality representation through the reading of
hentai. Closing the study it is ascertained the existent shadings between manga and Futrai H
anime analyzing the representation of the aspects that compose Japanese society.
Key-words: Manga. Anime. Japanese society. Representation.
non-verbal language, as its lines and specific themes and its cultural, social, historical, ideological and
compartmental aspects representation. So that suchlike aspects permeate the image’s reading an interpretation, as
well as in the verbal texts, it is presumed that those are harnessed to a social, historical and cultural context, to
which are ascribed a meaning in the visual and ideological ambit. In the transposition, more specifically, of the
historical aspects to the imagetic narrative a semiotic exchange occurs between the two conditioned meaning
systems. However there are historical impositions and subjective dominants that belong to the context of who
operates it and in the other hand there are the specificities of each of the respective aesthetic languages. In this
transposition paradigm, the present paper tries to draft an analyses of Barefoot Gen, Adolf and 1945 in as regards
to the re-readings and to the representations of some events occurred during the Second World War, such as the
decimate of the Hiroshima and Nagasaki cities and the people who lived there, the massacre befallen to in the
majority to the Jewish people and the organization of pacifist groups; and to ascertain briefly the representation
of some of the cultural, social, ideological, historical and compartmental Japanese aspects that permeate this
narratives.
Key-words: Mangá. Re-reading. Representation. Second World War.
support in its origin country, the manga, since its emergence, started to exert some fascination in
the Occident and Orient. This way, mangá’s characteristic line and its immediate connection
started to be seen as a contemporary reading and a cultural phenomenon, for this, it is in
constant transformation. Giving this contextualization, this article aims to outline briefly
mangas history, besides to reflect about its a) function in the readers formation transcending the
image reading; b) definition as a secondary textual gender and c) own “personality”.
episodes. Initially it is presented a briefly contextualization of manga and anime about their
origins, their arrival in Brazil, and their transformation in a reading phenomenon, besides their
differences and similarities. It is displayed the sexuality representation through the reading of
hentai. Closing the study it is ascertained the existent shadings between manga and Futrai H
anime analyzing the representation of the aspects that compose Japanese society.
Key-words: Manga. Anime. Japanese society. Representation.
non-verbal language, as its lines and specific themes and its cultural, social, historical, ideological and
compartmental aspects representation. So that suchlike aspects permeate the image’s reading an interpretation, as
well as in the verbal texts, it is presumed that those are harnessed to a social, historical and cultural context, to
which are ascribed a meaning in the visual and ideological ambit. In the transposition, more specifically, of the
historical aspects to the imagetic narrative a semiotic exchange occurs between the two conditioned meaning
systems. However there are historical impositions and subjective dominants that belong to the context of who
operates it and in the other hand there are the specificities of each of the respective aesthetic languages. In this
transposition paradigm, the present paper tries to draft an analyses of Barefoot Gen, Adolf and 1945 in as regards
to the re-readings and to the representations of some events occurred during the Second World War, such as the
decimate of the Hiroshima and Nagasaki cities and the people who lived there, the massacre befallen to in the
majority to the Jewish people and the organization of pacifist groups; and to ascertain briefly the representation
of some of the cultural, social, ideological, historical and compartmental Japanese aspects that permeate this
narratives.
Key-words: Mangá. Re-reading. Representation. Second World War.
support in its origin country, the manga, since its emergence, started to exert some fascination in
the Occident and Orient. This way, mangá’s characteristic line and its immediate connection
started to be seen as a contemporary reading and a cultural phenomenon, for this, it is in
constant transformation. Giving this contextualization, this article aims to outline briefly
mangas history, besides to reflect about its a) function in the readers formation transcending the
image reading; b) definition as a secondary textual gender and c) own “personality”.