「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.

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.

Coexistence between Zostera marina and Zostera japonica in seagrass beds of the Seto Inland Sea, Japan

Sugimoto, Kenji,Nakano, Yoichi,Okuda, Tetsuji,Nakai, Satoshi,Nishijima, Wataru,Okada, Mitsumasa The Ecological Society of Korea 2017 Journal of Ecology and Environment Vol.41 No.3

Background: There have been many studies on the growth conditions of Zostera marina and Zostera japonica, but few studies have examined how spatial and temporal factors affect growth in established seagrass beds or the distribution range and shoot density. This study aims to clarify the factors that determine the temporal and spatial distribution of Zostera marina and Zostera japonica in the Seto Inland Sea east of Yamaguchi Prefecture. Methods: The study site is in Hiroshima Bay of the Seto Inland Sea, along the east coast of Yamaguchi Prefecture, Japan. We monitored by diving observation to confirm shoot density, presence or absence of both species and observed water temperature, salinity by sensor in study sites. Results: The frequency of occurrence of Zostera marina was high in all seasons, even in water depths of D.L. + 1 to -5 m ($80{\pm}34%$ to $89{\pm}19%$; mean ${\pm}$ standard deviation), but lower (as low as $43{\pm}34%$) near the breakwall, where datum level was 1 to 2 m, and it was further reduced in datum level -5 m and deeper. The frequency of occurrence of Zostera japonica was highest in water with a datum level of +1 to 0 m. However, in datum level of 0 m or deeper, it became lower as the water depth became deeper. Datum level +1 m to 0 m was an optimal water depth for both species. The frequency of occurrence and the shoot density of both species showed no negative correlation. In 2011, the daily mean water temperature was $10^{\circ}C$ or less on more days than in other years and the feeding damage by S. fuscescens in the study sites caused damage at the tips. Conclusions: We considered that the relationship between these species at the optimal water depth was not competitive, but due to differences in spatial distribution, Zostera marina and Zostera japonica do not influence each other due to temperature conditions and feeding damage and other environmental conditions. Zostera japonica required light intensity than Zostera marina, and the water depth played an important role in the distribution of both species.

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. .

Profit-based Thermal Unit Maintenance Scheduling under Price Volatility by Reactive Tabu Search

Sugimoto Junjiro,Yokoyama Ryuichi The Korean Institute of Electrical Engineers 2005 KIEE International Transactions on Power Engineeri Vol.a5 No.4

In this paper, an improved maintenance scheduling approach suitable for the competitive environment is proposed by taking account of profits and costs of generation companies and the formulated combinatorial optimization problem is solved by using Reactive Tabu search (RTS). In competitive power markets, electricity prices are determined by the balance between demand and supply through electric power exchanges or by bilateral contracts. Therefore, in decision makings, it is essential for system operation planners and market participants to take the volatility of electricity price into consideration. In the proposed maintenance scheduling approach, firstly, electricity prices over the targeted period are forecasted based on Artificial Neural Network (ANN) and also a newly proposed aggregated bidding curve. Secondary, the maintenance scheduling is formulated as a combinatorial optimization problem with a novel objective function by which the most profitable maintenance schedule would be attained. As an objective function, Opportunity Loss by Maintenance (OLM) is adopted to maximize the profit of generation companies (GENCOS). Thirdly, the combinatorial optimization maintenance scheduling problem is solved by using Reactive Tabu Search in the light of the objective functions and forecasted electricity prices. Finally, the proposed maintenance scheduling is applied to a practical test power system to verify the advantages and practicability of the proposed method.

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. .

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. .

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.

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. .

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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