ONOMATOPE DAN MIMESIS DALAM KOMIK TOKYO REVENGERS VOLUME 9 KARYA KEN WAKUI

AbstractIn Japanese language, imitate-sounds are used to describe the sounds and expressions of the word beingdescribed. This imitate-sounds called Onomatope and Mimesis. Japanese people often use onomatopoeiaand Mimesis in their conversations because it is short and has a strong sense, and it also provides a livelierimpression. The role of onomatopoeia and Mimesis in comic has held a big part in order to convey what‟sthe comic artist wanted to express throught their work. Even though there are plenty of paper thatexplained about Japanese Onomatope, but still the insight about Japanese Mimesis is quite interesting to beexplained through a paper. In this paper, the difference between Onomatope and Mimesis will be explained.With that being said, the most suitable methods to run this paper into a proper one is by using qualitative-descriptive methods to breakdown the data that has been collected. And the thechnique that has been usedfor explaining the data is domain analysis technique. The explanation will be supported by an example ofdata that has been obtained from Tokyo Revengers Comic. The exact data that has been collected in thispaper is Giongo and Gitaigo, which is represent each onomatopoeia and Mimesis. This paper will shows aresult about the difference between onomatopoeia and Mimesis. There are four differences and thediscussion is about the difference between each characteristic of Onomatopeia and Mimesis, which is; 1)the object, 2) sense of capture, 3) sound equation, 4) sound source. Furthermore, will be explained in thispaper.Keywords: onomatopoeia, Mimesis, giongo, gitaigo, comic概要日本語では、模倣音は、説明されている単語の音と表現を説明するために使用される。 これは、オノマトぺとミメシスと呼ばれる模倣音である。日本人はオノマトペやミメシスが短くて感覚が強く、生き生きとした印象を与えるため、会話によく使われる。マンガにおけるオノマトペとミメシスの役割は、漫画家が作品を通して表現したいことを伝えるために大きな役割を果たしてきた。 日本のオノマトぺについて説明した論文はたくさんあるのが、それでも日本のミメシスについての洞察は、論文を通して説明するのは非常に興味深いものである。本稿では、オノマトぺとミメシスの違いについて説明する。そうは言っても、この論文を適切なものにするための最も適切な方法は、収集されたデータを分類するために定性的記述的方法を使用することである。そして、データを説明するために使用されてきた手法は、ドメイン分析手法である。この説明は、東京リベンジャーズ漫画から入手したデータの例によって裏付けられる。 この論文で収集された正確なデータは、それぞれのオノマトペとミメシスを表す Giongo と Gitaigo である。この論文では、オノマトペとミメシスの違いについての結果を示す。 4 つの違いがあり、議論は、オノマトペとミメシスのそれぞれの特徴の違いについてです。 1）オブジェクト、2）キャプチャの感覚、3）サウンド方程式、4）音源。 さらに、この論文で説明する。キーワード: オノマトペ、ミメシス、擬音語、擬態語、漫

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The first decades of the 20th century saw the radical transformation of the ways in which literary media was produced and consumed in Japan. A new mass readership and a widening market for all manner of typographic print formed a rapidly changing ground upon which writers and critics reassessed how, why, and for whom they created works of literature and social thought. This dissertation examines a selection of fictional and critical texts from the turn of the century through the 1930s to demonstrate how mass-produced typographic media both served to produce mass consumer society in this period and functioned as sites for its critique, extending the aesthetic, linguistic, and political horizons of modern Japanese social life. I contend that an engagement with the commodity character of printed text enabled authors to develop experimental practices of writing that problematized the nexus of mutual interactions between printed text, visual media, urban space, and the human body. Chapter 1 traces the rise of magazines and affordable books through the late 1920s to show how new forms of print media served as forums for the dissemination and discussion of alternative models of literary practice and social organization. In Chapter 2, I examine the journal Bungei Jidai (Literary Age, 1924-1927) to explore how a generation of authors born into the age of mass-market print established literary networks, evaluated existing paradigms of reading, and experimented with new forms of writing. In the third chapter, I examine an array of fictional texts, sociological studies, schemas of urban planning, and other representations of modern city life in order to analyze how authors and critics understood the mutual mediations between municipal space, the printed text, and the human body in this period. Finally, in Chapter 4, I identify a shift in the understanding of printed language concurrent with the changes to urban and discursive space that I discuss in the previous chapters. I follow discussions of language reform policies, literary formalism, the economics of the publishing industry, and the project of proletarian literature in the late 1920s in order to demonstrate the emergence of a sense of "literary materialism" precipitated by the proliferation of typographic text. In a brief conclusion, I address the importance of this crucial period for understanding the present shift from print to digital text

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By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.Peer reviewe

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This thesis assesses the image and expressions of the body and illness in Japan during the Edo period (1603-1867), by examining a text on the cultivation of life, Byoka suchi (What a household with sick persons should know). A unique feature of Byoka suchi is its use of script combining Chinese characters and Japanese readings in the form of furigana. Furigana are conventionally employed to signal the pronunciation of Chinese characters, but the furigana in Byoka suchi function as a means for giving the author's translation into the everyday native language of medical terms which are traditionally written in Chinese characters, which were of originally foreign for Japanese. This thesis particularly scrutinises the gap between the Chinese medical terms and their furigana glosses, as it shows how Chinese medicine was transmitted and imbibed by a Japanese physician in order to facilitate understanding lay readers who had not made a formal study of medicine. The thesis consists of three main parts: The first part reviews the intellectual background of cultivation of life culture in both China and Japan, with reference to some of the relevant insights by previous studies. The second part explores how the author's view of body and illnesses can be reconstructed from a close examination of furigana in the text. The third part is devoted to the translation of the first fascicle of Byoka suchi, which concisely represents the author's basic views on medicine, body and illnesses. The translation with meta-commentary will enable us to appreciate the effect of the Chinese character-furigana combinations, as well as to examine the essence of the physiology, pathology and medical ethics of the text. The principal contribution of this research to the field lies in reassessing how the Edo views of body and illnesses deviated from their Chinese counterparts. As a conceptual study, it will also shed light on the uses of special features of Japanese script in transmitting technical concepts into more colloquial and popular language

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Among species, human beings seem to be a peculiar lot. Why is it, for example, that certain members of the species routinely put their survival at risk by puffing on a small stick of nicotine? Why is it that some females of the species make locomotion difficult for themselves by donning high-heel footwear? Are there hidden or unconscious reasons behind such strange behaviors that seem to be so utterly counter-instinctual, so to speak? For no manifest biological reason, humanity has always searched, and continues to search, for a purpose to its life. Is it this search that has led it to engage in such bizarre behaviors as smoking and wearing high heels? And is it the reason behind humanity’s invention of myths, art, rituals, languages, mathematics, science, and all the other truly remarkable things that set it apart from all other species? Clearly, Homo sapiens appears to be unique in the fact that many of its behaviors are shaped by forces other than the instincts. The discipline that endeavors to understand these forces is known as semiotics. Relatively unknown in comparison to, say, philosophy or psychology, semiotics probes the human condition in its own peculiar way, by unraveling the meanings of the signs that undergird not only the wearing of high-heel shoes, but also the construction of words, paintings, sculptures, and the like

EVALITA Evaluation of NLP and Speech Tools for Italian Proceedings of the Final Workshop

Editor of the proceedings of EVALITA 2016