has seemingly outgrown the concerns of Pausewang's novel. Subsequently, in the Tokyopop publication of her manga adaptation of Die Wolke , Anike Hage's Germany is necessarily dissimilar to Pausewang's. 3 Though the fears of offensive nuclear
The Political Climate in Pausewang's Novel Die Wolke (1987) and Anike Hage's Manga Adaptation (2013)
Sean A. McPhail
Performing Gender in Algerian Manga
This article explores the way in which masculinity and femininity are constructed in Algerian manga, an emerging, understudied sub-genre within the field of Algerian graphic art. Through the exploration of youth-oriented publications of shōjo and shōnen manga, I will demonstrate how these new local works offer a privileged form of expression for and platform to address disaffected Algerian youths. The primary focus of this investigation will be the differences (or lack thereof) between ideals of gender performances as expressed in Algerian manga and ideals of gender identity in society at large. This article will demonstrate that, while some differences manifest a desire for change on the part of both artists and readers, they certainly do not constitute radical revisions of the popular Algerian notions of masculinity and femininity. Ultimately, this study will demonstrate the limits of manga as an imported genre within an Arab-Islamic context, oscillating between the promulgation of alternative social ideals and the reinforcement of social norms.
Koto as an ‘Ontology’ of Living
This article explores how matsutake, with its elusive characteristics that evade human senses, guides humans to cultivate a sensitivity to multispecies entanglements. It analyzes the concept of koto, developed by psychiatrist Bin Kimura, to describe how people learn to notice the events and happenings that a variety of beings are engaging in at every moment, even though these practices often elude human consciousness. Drawing examples from a manga series and two ethnographic cases in Japan—a grassroots satoyama forest revitalization movement and a forest biomass study—the article discusses koto as an ‘ontology’ of entangled life. At the same time, koto raises questions about ‘ontology’, as it indicates the traces of struggle in translating the term itself.
The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang’s Uterus Man
In this article, I consider posthumanist and techno-scientific aesthetics in Lu Yang’s short film Uterus Man (2013), a film in which a male superhero is interrogating the capacities of a body to mutate, affect, and to be affected. Profoundly influenced by Japanese popular cultural forms such as manga and anime, the artist also draws on sources ranging from Buddhism to developments in neuroscience and biology. I will use the work of post-Deleuzian thinkers Luciana Parisi and David Lapoujade to investigate how the different transformations of the body shown in Uterus Man chart the unpredictable capacity for bodies and matter to mutate in contemporary techno-aesthetic landscapes. In its ambiguity, can Uterus Man contribute to the emergence of a queer Sinofuturism? And what kind of future does the perverse superhero of Uterus Man represent?
Nick Nguyen, Philippe Kaenel, Michael Kelly, Charles Forsdick, Rikke Platz Cortsen, Sylvain Rheault, Hugo Frey, and Mark Nixon
age groups of different kinds of graphic art (traditional Franco-Belgian or European albums, humorous magazines, American comics, manga and similar Asian products, graphic novels and alternative BD). It asks how these works are perceived in terms of
Comics and Transnational Exchanges
Lawrence Grove, Anne Magnussen, and Ann Miller
incarnations. Of course, not only character types cross national borders: such transfers also operate at the stylistic and thematic levels: Frank Miller has taken inspiration from manga, while Lewis Trondheim, perhaps the most important artist to emerge from
Sheila K. Hoffman, Sarita Sundar, Masaaki Morishita, Fabien Van Geert, and Sharon Ann Holt
://www.thehindu.com/features/metroplus/chris-dercon-roots-in-the-past-shoots-to-the-future/article6708674.ece . Shetty , Sudarshan . 2016 . “ Curator’s Note: ‘Forming in the Pupil of an Eye .” Kochi-Muziris Biennale website . http://www.kochimuzirisbiennale.org/kmb_2016_curatornote . Louvre No. 9: Manga, the 9th Art Mori Arts Centre Gallery, Tokyo
Maggie Gray, Kees Ribbens, Sebastian Domsch, and Dyfrig Jones
a mainly Franco-Belgian focus towards a more ‘international’ scope, but this principally comprises Europe and the United States. Manga is deliberately excluded as a separate tradition. 7 Unlike earlier assemblies of comics ‘masters’ that have
publishers who trade in comics, bandes dessinées, manga, fumetti, tebeos and cartoon-strips. 33 From the outset, then, Gravett and Stanbury’s philosophy was far more accommodating than Gifford’s. Indeed, their sensitivity to the mobility of labour would be
of comics. 1 Very few examples exist, but notable among them are the four film and TV adaptations of Keiji Nakazawa’s manga Barefoot Gen , 2 American Splendor (2003), Persepolis (2007) or the recent We Are the Best! (2013); original animated