This paper examines diachronic changes in the pronoun use and phonetic performance of protagonists in sh?nen anime, a genre of animated work that is aimed predominately at adolescent boys. Utilising nearly forty years of sh?nen anime, this study constructs a diachronic analysis of first-person pronoun usage, the primary pragmatic index of gender performance in Japanese, as well as average pitch and pitch range, which are frequently cited as salient phonetic markers of gender performance but are understudied in this area with regard to language in media. By analysing the way that changes in masculinity structures are reflected in performance of fictional protagonists, this paper demonstrates the necessity for further research on language use, particularly by protagonists, in fictional media, as well as on the way that dominant language ideologies are reproduced and consumed in the popular culture market.
Building on recent work supporting a sociolinguistic approach to orthographic choice, this study engages with paratextual language use in yuri, a subgenre of Japanese shōjo manga ‘girls’ comics’ that centers on same-sex romantic and/or erotic relationships between female characters. The comic magazine Comic Yuri Hime has been the dominant, if not only, yuri-oriented published magazine in Japan since its inception in 2005. Though both written and consumed by a primarily female audience, the magazine has undergone numerous attempts to rebrand and refocus the target audience as a means to broaden the magazine's readership. This change in target demographic is reflected in the stylistic representation of paratextual occurrences of the second-person pronoun anata, indicating the role of the textual landscape in reflecting, and reifying, an imagined target audience. (Script variation, manga, popular media, Japan, yuri manga)
Japanese pop idols occupy an ambiguous position in the broader popular music landscape, straddling a line between fiction and non-fiction, simultaneously characterological yet physically instantiated. As idealized representations of the girl or boy next door, idols serve as both ‘image characters’ who can be used to sell a variety of products, as well as ‘quasi companions’ meant to provide fans with a manufactured sense of intimacy. Using a joint quantitative and qualitative approach, this article analyses the lyrics of female idol groups. Specifically, I demonstrate how the combination of first- and second-person pronouns and sentence-final expressions are utilized to construct both female-coded and male-coded gendered personae, revealing that idol lyrics engage in the process of cross-gender performance. As a result, through their performance of these personae, female idol groups explicitly reinforce a binary imagination of normative gender expressions, allowing such idol groups to capitalize on idealized heterosexual adolescence through affective resonance and nostalgia.
Fifty years since Roland Barthes proclaimed the death of the author, there still exists difficulty in framing the nature of interaction between commercial (professional) creators and fan (transformative) authors. In the postinternet age, the visibility of unsanctioned (or tacitly sanctioned) derivative fictional works has only increased, as have the number of commercial creators with experience in creating derivative works for a fan audience. It has therefore become necessary to interrogate whether the author has truly died in the Barthian sense, and if not, what role the construct of the author plays in today's popular mediascape. In an analysis of the Foucauldian author function (that is, the role discursively constructed authors play relative to their work) assessing both Euro-American and Japanese histories of fan practice, a move to a more open-source style of fan practice is evident. The author in an open-source fandom functions as a heuristic device through which fans may access and search the database, as well as a means of decentralizing commercial authority over media content.
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