原子力の「過去」・「現在」・「未来」 -占領期児童文化における原子力表象-

Sugimoto Shogo 한국일어일문학회 2019 日語日文學硏究 Vol.108 No.-

The purpose of this paper is to examine how the discourse and image of “atoms” were generated in Japan during occupation period, focusing on children’s magazine and comics. As is well known, Supreme Commander for the Allied Powers (SCAP) censored mass media and various publications during occupied period, which CCD(Civil Censorship Detachment)was mainly in charge of. Especially, the information about atomic disaster in Hiroshima and Nagasaki was strictly censored. Therefore, the most Japanese didn’t know how atomic bombs gave serious damage to the people in Hiroshima and Nagasaki in occupied period. But, the discourse of “atoms”, especially “atoms for peace” was widely spread, not only in mass media and science magazine but even in children’s magazine from the beginning of occupied period, prior to Eisenhower's famous “atoms for peace” speech. This played an important role for children to consider “atoms” as the front-line scientific technology that would make civilized society more progress. On the other hand, we can see different images of “atoms” in popular culture for children. In most of them, “atom” connoted and symbolized an incredible power of protagonists who were named literally “atom the superman” and “atomic boy”. Thus the power of atom was completely justified in these works even though protagonist sometimes uses atomic bomb to defeat evil people. Considering many atomic bomb victims in Hiroshima and Nagasaki, these works seem a little bit ridiculous and not ethical. This paper will clarify how these representations of atoms, disconnected with atomic disaster, flourished in children’s culture during occupied period in the context of SCAP’s occupation and censorship, and the belief of science in the education of children. .

戦後初期日本の児童文化におけるアフリカ表象

Sugimoto Shogo 한국일본언어문화학회 2019 일본언어문화 Vol.48 No.-

During the early postwar period, one of the most popular narrative genres in Japanese children culture is an adventurous story in which protagonists have to survive at an unexplored frontier and fight off the invasion of villains with bad intentions such as world domination. In a lot of these works, the stories were often set in locations on the African continent, in a lush jungle, where several wild beasts and “brutal” native inhabitants live. Notably, these representations of “Africa” are clearly based on prewar adventure novels and comics, which means children culture in the postwar era had clearly been influenced by the colonial imagination that flourished in prewar Japan. The purpose of this paper is to consider how these stories represent “Africa” and how they are deeply influenced by various popular culture in imperial era. Moreover, this paper also examines the biographical stories and essays related to “Africa” and comprehensively clarifies the characteristics of the representation of “Africa” in early postwar Japan. .

「3.11」をめぐるエッセイマンガの両義性

Sugimoto Shogo 한국일본언어문화학회 2022 일본언어문화 Vol.61 No.-

This paper focuses on essay comics created by those who were affected by the Great East Japan Earthquake, known as “3/11”, and aims to clarify how the comic artists represented their experiences of “3/11”. First, the artists actively described their experiences in the form of essay comics, which played a journalistic role and represented a reality of an affected area and a victim’s individual experience that mass media did not report on. The essay comics have a tendency to depict the disaster victims in a cartoon style. This mode of description makes readers feel a sense of intimacy with them, but at the same time, it also has the possibility of reducing the uniqueness of a victim’s experience. Furthermore, for the authors who experienced “3/11”, the disaster not only destroyed their daily life, but likewise became a comic subject that attracted an great deal of social attention, giving them an opportunity for self-realization as an artist. Considering this finding, this paper insists that essay comics on “3/11” can be regarded as a site where ambivalent elements intertwine, such as cartoon and documentation, individuality and generality, citizen media and culture industry, and transmission to and recognition from others.

多元的なアイデンティティと感情の交錯― 「鬼滅の刃」と韓国のマンガ・アニメ受容 ―

Sugimoto Shogo 한국일본학회 2022 日本學報 Vol.- No.131

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記録とフィクション「3.11」以降の震災マンガにおける「災害」の表象

Sugimoto Shogo 동아시아일본학회 2018 일본문화연구 Vol.0 No.68

2011年3月11日に東北地方を襲った大地震と津波、それと連鎖した福島第一原子力発電所事故の複合災害、すなわち「3.11」以降、多様な文化メディアにおいてそれに応答する作品が生み出されていった。本論文ではそのなかでも「3.11」に最も積極的に応答していった文化メディアのひとつであるマンガに着目し、そのなかでも、震災の非当事者が作者となるノンフィクション形式の震災マンガ=「記録マンガ」が「3.11」における被災者の「個人的な経験」をいかなる位相に定位していったのか分析した。分析を通じて明らかになったのは、まず「記録マンガ」が、当事者たちの個別的な証言をもとに、その「個人的な経験」を媒介し、東北での惨禍や悲劇を集合的な記憶として読者と分有しようとする力学によって貫かれていた点である。他方、そうした分有への志向は、伝達不可能な次元を曖昧化することで、被災者と非-被災者との認識論的な断絶を中和し、体験に潜む個別的な位相を周縁化するようにも作用していた。同時に、それはマンガという大衆メディアが孕む「分かりやすさ」への志向や文化的記憶と結びつくことで、読者の感情を動員し、「3.11」の記憶を「フィクション」として消費する回路をも開くものでもあり、「3.11」を題材とする「記録マンガ」が、「記録」と「フィクション」という、マンガを枠づける両極的な志向が強固に結びついたジャンルであるであることを明らかにした。

秘境と原子力 ―占領期文化としてのターザン漫画

Sugimoto Shogo 한국일어일문학회 2018 日語日文學硏究 Vol.104 No.2

During the occupation period when Japanese people were rapidly accepting American culture, one of the most popular heroes in children’s comics was Tarzan. The purpose of this paper is to examine how this American hero was adapted in Japan, and clarify the representations and discourses related to these comics. First, most Tarzan comics are set in an unexplored region of Africa where wild beasts and uncivilized people live. This depiction of Africa is based on prewar comics and adventure novels for children, meaning Tarzan comics during the occupation period had a clear connection with the colonial imaginary that flourished in imperial Japan. Second, in Tarzan comics, like a Tarzan movie, Tarzan often protects a hidden treasure in Africa from villains. Notably, some Tarzan comics feature uranium, a primary material used in atomic bombs, as the hidden treasure. Tarzan cooperates with an American boy and a scientist and fights against the enemy to protect the uranium and prevent a nuclear war, implying that only the United States can control atomic energy properly. It signifies that Tarzan comics were deeply connected with imperial Japan’s colonial imaginary in the prewar era, cultural representations of atomic energy in the occupation period, and legitimizes the US’s proper use of atomic energy, similar to typical discourse on atomic energy during the occupation of Japan. 본 논문은 점령기의 대표적인 영웅이었던 타잔에 주목하여 이것이 어떻게 아동만화에 수용되고, 어떠한 대중적 상상력이 절합(節合)되었는지 그 내실을 검토하는 것을 목적으로 한다. 타잔 만화의 특징은, 전전(戦前)의 식민지적인 상상력에 기반한 환상공간으로서의 아프리카를 표상하는 것과 정글에 숨겨진 보물인 우라늄이 종종 도입되며 원자력을 둘러싼 선악의 2차원론적인 이야기를 전개하는 것이다. 이와 같은 전전, 전중(戦中) 시기에 연속되는 식민지적인 상상력과 점령기의 원자력을 둘러싼 대중적 상상력이 결합됨으로서 타잔 만화에서는 문명과 야만의 변증법적 이야기가 전개되는 동시에 이따금 원자력을 적절하게 제어할 수 있는 선한 과학 국가로서 미국이 표상되어있다는 점을 밝히고자 한다.

少女マンガにおける「コギャル」の表象誌

Sugimoto Shogo 한국일본언어문화학회 2016 일본언어문화 Vol.34 No.-

This paper examines how “kogal,” which means “small gal” or “high school gal,” was represented in shojo manga (comics for young girls) in Japan from the mid-1990s to the early 2000s. In the 1990s, when the bubble economy had collapsed and the postwar social system began to vacillate, young girls were divided into various cultural groups. Kogal was one of the most influential female cultural groups in that age. Even though the media accused them of sexual and hedonistic behavior, kogal became popular among young females, especially high school girls, and became a huge cultural trend throughout the 1990s. This new cultural trend was clearly different from the traditional girls’ culture called “shojo bunka” because “shojo” connotes sexual purity in contrast to “kogal”. This paper discusses how, as a result of cultural changes, kogal was received and transformed in shojo manga, which had played a central role in the idea of “shojo” during the postwar era. First, this study examines kogal in magazines that are geared toward elementary-school girls. Next, the study examines kogal in magazines that are mainly for teenage girls. The study also comprehensively identifies the characteristics of kogal representation in shojo manga. Finally, the differences between representations of kogal in magazines for elementary-aged girls and magazines for teen girls are clarified. .

写実と記号の狭間で -昭和40年代のマンガ入門書における 「デッサンとデフォルメ」言説の位相-

Sugimoto Shogo 한국일본언어문화학회 2017 일본언어문화 Vol.40 No.-

The purpose of this paper is to examine how the idea of dessin and déformation in introductory manga books changed during the 40s of Showa era (1965-1975). Dessin and déformation, which is a basic concept of modern art, has influenced many manga artists since the pre-war era. Therefore, many introductory manga books have stressed the importance of manga artists learning these methods. In the the 40s of Showa era, many introductory books to manga were published, and they can be divided into three categories. The first category comprises introductions to traditional cartoons, which were intended as political satire and were influenced by modern fine arts since the pre-war era. The second category comprises introductions to story manga, or comics narrating stories, which became hugely popular among children following World War II. The third and final category comprises introductions to gekiga, an offspring of story manga that incorporated more realistic expressions and was mainly targeted at young adults. This paper discusses how each kind of introductory book explained the idea of dessin and déformation, focusing particularly on introductions to story manga and gekiga because both genres gained more popularity than cartoons during the 40s of Showa era. First, each genre’s explanations of dessin and déformation will be compared. Next, the ways in which each genre received influence from the traditional idea of dessin and deformation, which was strongly connected with cartoons, will be examined. Finally, the reasons for such differences will be clarified, taking into account the sociocultural context surrounding manga, such as the decline of fine art’s influence, advancement of information society, and the rise of new visual media like TV. .

現代日本におけるキャラクター表現の位相 — 参加・拡散・未成熟 —

Sugimoto Shogo 한국일본사상사학회 2019 일본사상 Vol.0 No.37

マンガ・アニメ・ゲームを筆頭とするキャラクター表現は、現代日本の大衆文化のなかで重要な地位を占める一方、ときに日本が「未成熟」であることの証左であるようにも語られてきた。本論文は、こうした「未成熟」性や「退行」性をめぐる議論が進歩史観を前提にしている点に注意を払いながら、現代日本においてキャラクター表現が「参加」や「動員」の原理として機能していることに着目し、それらが近代主義的な文化規範とは異質な多様な文化実践を惹起していることを明らかにすることを目的とする。 そのため、本論文はそもそも戦後日本においてサブカルチャーがしばしば「成熟の不可能性」をめぐる問題と関連付けられきたことに着目し、それらが日本/日本人を単一的な主体へと還元してしまっていることを指摘する。つぎに、近年において近代主義的な「成熟」概念とは異質なファンによる「参加文化」が興隆してきていることに言及し、その象徴的な事例として雑誌メディア『ちゃお』を取り上げる。最後に、グローバリズムとナショナリズムの「二層構造」の時代において、キャラクター表現が、拡散と内閉、脱領土化と再領土化、政治性の脱色と過度の政治性の付与といった、矛盾する両極的ベクトルを内包しながら「参加」や「動員」の触媒としてその表現の幅を拡げていることを明らかにする。 While Japan’s character culture—led by manga, anime, and games—holds an important position in contemporary Japanese popular culture, it has also been considered as evidence that Japan is an immature society. Focusing on the fact that these arguments concerning the immaturity of Japanese society are based on a progressive view of history, this study aims to examine how the character culture functions as a principle of participation in contemporary Japan that evokes various cultural practices different from modern cultural norms. The manga magazine CIAO is taken as a significant example of such culture. We clarify how, in the era of globalism and nationalism, the character culture expands the range of expression as a vehicle of participation while containing bipolar vectors, such as diffusion and closure, territorialization and deterritorialization, and political ignorance and excessive politicization.

記録とフィクション

杉本章吾(Sugimoto Shogo) 동아시아일본학회 2018 일본문화연구 Vol.0 No.68

2011년 3월 11일 동북지방을 강타한 대지진과 해일, 그리고 후쿠시마 제1원자력 발전소사고의 복합재해 발생 후 다양한 문화매체에서는 ‘3.11’에 응답하는 작품이 생겨났다. 본 논문에서는 그중에서도 ‘3.11’에 적극적으로 응답하는 문화매체 중 하나인 만화에 주목했다. 그중에서도 지진 피해의 비(非)당사자가 쓴 논픽션 형식의 지진 피해 만화 =‘기록 만화’에 ‘3.11’ 피해자의 ‘개인적인 경험’이 어떻게 표상되는지를 분석했다. 분석을 통해 밝혀진 것은 먼저 ‘기록만화’가 피해자의 증언에 따른 ‘개인적인 경험’을 매개로 하면서 동북지방에서의 참화와 비극을 집단의 기억으로 독자와 공유하려는 역학에 의해 관철되었다는 점이다. 한편, 이러한 집단 공유 지향은 전달 불가능한 차원을 모호하게 만들어 개인의 체험 속에 내재된 개별적 위상을 주변화하는 작용을 했다. 또한 만화라는 대중매체가 내포한 ‘이해하기 쉬움’을 향한 지향과 문화적 기억을 결합하고 독자의 감정을 동원하여 ‘3.11’의 기억을 ‘픽션’ 으로 소비하는 회로를 열었다.이처럼 ‘3.11’을 소재로 한 ‘기록 만화’ 는 ‘기록’ 과 ‘픽션’ 이라는 양극적인 지향이 견고하게 결합된 장르였다. After the Tōhoku earthquake of March 11, 2011 and its aftermath, especially the nuclear disaster at the Fukushima Daiichi Nuclear Power Plant, a flood of discourses and images on these combined disasters has spread not only through mass media, but also various cultural media mechanisms, such as TV dramas, films, art, novels, and social networking services. Amid this wide variety of images and discourses on the great Tōhoku disaster, often known as 3/11, are the reactions of many manga artists. This paper defines these manga as “disaster manga (震災マンガ)” and focuses on non-fiction style manga because they clearly reveal the intention to “document” the disaster more precisely than other types of disaster manga. However, at the same time, such manga also sometimes employ the graphic power of the genre to fictionalize the events of 3/11, thereby turning victims’ experiences into touching stories. Considering the conflict between the need to treat victims ethically and the tendency to fictionalize the disaster, this paper explores how disaster manga use this genre to represent the individual experiences of victims.