Matching Items (6)
Description
My study centers on the novel Katakiuchi Kidan Jiraiya Monogatari (1806-1807) by Kanwatei Onitake (1760-1818). Jiraiya Monogatari was the first literary reading book to be adapted for the kabuki stage. It was also the prototype on which Mizugaki Egao, Kawatake Mokuami, Makino Shouzou; and others based their bound picture books, kabuki, and films. The tale is composed of two revenge incidents, both of which have the same structural framework and are didactic in tone. In my study, I analyze the two revenge incidents by examining their narrative structures. Each incident has the same three-act structure: setup, confrontation, and resolution. The setup of each revenge incident introduces the main characters and their relationships and establishes the dramatic vehicle, which is an unexpected incident that sets the revenge in motion. The confrontation contains myriad non-linear inserts, plot twists, and reversals of fortune, all of which have the effect of a narrative delay. This prolongation of the outcome of a simple revenge plot allows readers the necessary space in which they can form their own judgments regarding good and evil and consider karmic cause and effect. The resolution, including the climax as well as the ending of the revenge, demonstrates the didactic notion of punishing evil and karmic effect. The two revenge incidents embody two rules, kanzen chouaku and inga, which together highlight the didacticism of Jiraiya monogatari.
ContributorsZhang, Jin (Author) / Creamer, John (Thesis advisor) / West, Stephen (Committee member) / Chambers, Anthony (Committee member) / Arizona State University (Publisher)
Created2012
Description
While studying in Japan, I became fascinated by the variety shows my roommates would watch. These shows featured a flexible format with comedians and other entertainers participating in a wide variety of activities. For my senior creative project, I decided to determine what features were essential to Japanese variety shows, and to then use these features to create my own program.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
ContributorsAmkraut, Elliott R. (Author) / Chambers, Anthony (Thesis director) / Wilson, Bradley (Committee member) / Maday, Gregory (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-05
Description
In the current age, with media influence spreading through the entire world, formerly isolated regions and gated cultures became interconnected. With this globalization of culture came the communion between Japanese and Western media, especially animation and comics. Morality is often exemplified by heroes within a particular culture as figures for audiences to admire and draw values from, which can be a useful representation of that society's particular standards. The cultures' portrayal of heroism and morality through characterization and plot structure are emblematic not only of their original culture, but the new age of globalization as concepts previously considered unique to one region soon blended together through the world. From the Western "Hero's Journey" style mythos to the Japanese anime and manga heroes of the modern decades, we can see the growth and impact of globalization which caused new blends of portrayals and themes in revolutionary ways. The roots of the differences were found through research of popular culture and history of Japanese animation and Western comic books. Iconic Western comic book heroes such as Superman, Batman, and Wolverine are analyzed, followed by analysis and comparison to the Japanese parallel of the Japanese hero, specifically within Hirohiko Araki's acclaimed Jojo's Bizarre Adventure anime and manga franchise. Finally, the popular animated Western cartoon Avatar: The Last Airbender, known for its vast Eastern influence, meet the two worlds in the middle and epitomize the globalization of this concept of a hero's narrative. The purpose of this analysis is to understand the dynamics of cultural influence and cultural specificity, elucidating some stereotypes in contemporary culture brought by misconceptions and traditions in order to promote cross-cultural understanding.
ContributorsNguyen, Hau Trung (Author) / Wise, John MacGregor (Thesis director) / Wilson, Bradley (Committee member) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
In this project, I will study how the Disney corporation altered the story Rapunzel and how those changes interact and are influenced by culture and time. The story is indicative of the time and culture that produced it, but it has been reproduced many times and in many cultures. I will compare the original Grimm Brothers' Rapunzel (1812) and the popular Disney film Tangled (2010). This project will be divided into two main parts to address these two distinct iterations of the story. In the first section, I will focus on this form of media's background information and relevance. In the second part, I will address the specific differences between the versions and their relevance. I will discuss the restraints and limitations of my research as well as possible future related research. I will establish the importance and value of fairy and folk tales as well as their widespread reciprocal impact. I will compare the effects of media in general on a population with a hypothesized impact of fairy and folktales. Furthermore, through all of this, I will critique the changes made by Disney.
ContributorsHoover, Rebekah (Author) / Fette, Donald (Thesis director) / Hoyt, Heather (Committee member) / Barrett, The Honors College (Contributor) / School of Human Evolution & Social Change (Contributor) / School of Art (Contributor)
Created2023-05
Description
Billions of people across the world use social media. Because a large portion of those users are college students between the ages of 20 and 22, this study sought to explore social media's effects on a female college student’s body image. The study’s research questions are: How does social media affect female college students’ feelings about their physical selves, and do such effects differ across platforms? Interview data are analyzed based on theories of social comparison, normative influence, narrative-induced transportation, media richness, and social presence. Results reveal that social media affects female college students' perceptions of physical images, and overall this effect is more often negative than positive. Also, Instagram offered a more perfectionist visual culture than Facebook and Twitter.
ContributorsEckstein, Susanna Marie (Author) / Kwon, Hazel (Thesis director) / Barrett, Marianne (Committee member) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
Boy’s Love (BL) and yaoi are a subculture that originated in Japan that refers to sexually explicit male-to-male romantic fantasies in Japanese popular culture (Martin, 2012, p. 365). The term fujoshi, a belonging term of BL and yaoi, refers to females interested in male-to-male romantic relationship fantasies (Suzuki, 2013). In the early 2000s, cultural consumption and artistic communication between China, Japan, and Korea became more frequent (Oh, 2009). A large number of Japanese animations and television series have been imported to China for national communication and cultural sharing. Since then, various genres of Japanese popular culture, including BL (relating to intimate relationships) and yaoi (relating to sexual content), have become widespread in China. Globally, the public understands BL and yaoi as a subordinate portion of the otaku culture that heavily relates to Japanese anime, games, and manga (or comics in English); and a broader homosexual subculture with a deep connection to sexual desires (Bai, 2022). However, in China, the focal point of BL and yaoi is relatively different from the fujoshi communities elsewhere. This project explores BL and yaoi’s development in China, introducing perspectives of what, how, and why the Chinese fujoshi form their community within the public digital spaces shared by the mainstream media culture.
Additionally, through anonymous personal interviews, this project brings Chinese fujoshi’s consumer views on their past and current BL and yaoi consumption within and outside of the fujoshi community (see detailed interview process and interviewees’ information in Appendix C-E). Eight Chinese females who have self-identified as fujoshi or had similar practices were selected for the interviews. The chosen participants’ age is from twenty-two to mid-thirties. All of them have had at least five years’ access to BL and yaoi and received higher education. Each participant had at least two interviews answering questions regarding their attitudes as fujoshi and their viewpoints on consuming BL and yaoi products. This thesis analyzes the Chinese fujoshi community’s uniqueness in making BL content visible and yaoi content invisible in China. Consequently, they are forced to have a limited preference for BL and yaoi content, adapt the shared space with other popular cultures on mainstream social media, and utilize alternative communication methods to avoid violating China’s law and censorship. These factors indicate the need for specified classifications or designated digital spaces for BL, yaoi, and even the greater homosexual culture.
ContributorsLi, Yishu (Author) / Kroo, Judit (Thesis director) / Robert, Tuck (Committee member) / Wilson, Bradley (Committee member) / Barrett, The Honors College (Contributor) / School of Art (Contributor) / School of International Letters and Cultures (Contributor)
Created2022-05