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Envisioning the Shôjo Aesthetic in Illustrations of Miyazawa Kenji’s Literature.

机译:在宫泽贤治的文学插图中设想小庄美学。

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摘要

Despite an ever-growing body of scholarship on the shôjo (girl) in manga and anime, little has been written about representations of the ‘girl’ in Japanese picture books. Shôjo literature and culture have grown exponentially in Japan since about the 1980s, but there has been a tendency in popular media to overemphasise the 'cute', disempowering aspects of the ‘girl’. By using Takahara Eiri's (1999) concept of “girl consciousness” and Honda Masuko's (1992) envisioning of the girl’s imagined freedom through a hirahira (fluttering) aesthetic, notions of the powerless or mindlessly consuming shôjo can be dispelled. Such concepts help demonstrate that the girl ‘has her own creative, critical and cultural, if not social or political, power’ (Aoyama 2008: 286). This paper examines the shôjo tropes in contemporary illustrations that were produced to accompany two tales by the renowned author Miyazawa Kenji (1896-1933), Futago no Hoshi (Twin Stars) and Ginga Tetsudô no Yoru (Night of the Milky Way Railway). Although Kenji (as he is known) is not generally considered a shôjo author, some of his works incorporate gently transgressive shôjo themes reminiscent of, for example, Yoshiya Nobuko’s Hana Monogatari (Flower Tales) from the 1920s. I argue that the current artwork of two award-winning artists, Makino Suzuko and Azuma Itsuko, reflects and enhances Kenji’s ‘girlish’ verbal images, bringing them to the fore in their accompanying imagery for Futago and Ginga by drawing on shôjo art, manga and literature. The artists thus bring into play intertextual references that occur not only across different historical temporalities but also through relations between the author, the artist, the text(s), the protagonists and the reading/viewing audience. The analysis of their striking artwork shows how they bring Kenji’s 1920s’ works firmly into the arena of the contemporary ‘girl’, expanding the abstract consciousness of the shôjo to emerging audiences in Japan.+ + +This essay won the 2013 Inoue Yasushi Award for the best article or book chapter on Japanese literature published in Australia or New Zealand.
机译:尽管有关漫画和动漫的shôjo(女孩)的奖学金越来越多,但有关日本图画书中“ girl”的表示的文献很少。自1980年代以来,Shôjo的文学和文化在日本迅猛增长,但大众媒体一直倾向于过分强调“可爱”,而无视“女孩”的某些方面。通过使用Takahara Eiri(1999)的“女孩意识”概念和Honda Masuko(1992)对女孩想象中的自由的想象,通过平淡的(飘飘的)美学,可以消除无能为力或无心消费的shôjo的观念。这些概念有助于证明女孩“具有她自己的创造力,批判性和文化性,甚至不是社会或政治的力量”(青山2008:286)。本文考察了当代插图中的shôjo比喻,这些插图是由著名作家宫泽贤二(1896-1933),双子星(Futago no Hoshi)和银河铁道之夜(GingaTetsudôno Yoru)(银河之夜)产生的两个故事。尽管Kenji(众所周知)不是一般的“神社”作家,但他的一些作品却融合了柔和的“神社”主题,令人回想起例如1920年代Yoshiya Nobuko的《花物语》(Hana Monogatari)。我认为,两位获奖艺术家牧野铃子和Azuma Itsuko的当前艺术作品反映并增强了Kenji的“少女”口头图像,并通过运用shôjo艺术,漫画和漫画将它们带到了Futago和Ginga的伴随图像中。文献。因此,艺术家发挥了互文性的作用,不仅发生在不同的历史时空,而且还通过作者,艺术家,文本,主角和阅读/观看观众之间的关系出现。对他们引人注目的艺术品的分析表明,他们如何将Kenji 1920年代的作品牢固地带入当代``女孩''的舞台,从而将shôjo的抽象意识扩展到了日本的新兴受众。+ + +这篇论文获得了2013年井上靖一郎奖在澳大利亚或新西兰出版的有关日本文学的最佳文章或书籍章节。

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    Kilpatrick, Helen Claire;

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  • 年度 2013
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