Ce mémoire étudie la place accordée aux victimes et aux bourreaux dans le manga, la populaire bande dessinée japonaise, mais aussi son rôle dans la construction d’une société pacifique dans la période de l’après-guerre. Les mangas Astro Boy d’Osamu Tezuka et Gen d’Hiroshima de Keiji Nakazawa sont analysés dans le contexte social des années 1950 à 1980 au Japon. Respectivement témoins de la guerre du Pacifique et survivant d’Hiroshima, Tezuka et Nakazawa exposent tour à tour dans leurs œuvres leur expérience du conflit. Les mangas reflètent un traumatisme des bombardements nucléaires d’Hiroshima et de Nagasaki. Les mangas sont un instrument de catharsis pour les survivants qui désirent apaiser leur mémoire. Les témoignages des survivants sont réunis sous des discours pacifistes et dénonciateurs que les protagonistes prononcent en leur nom, ce qui permet une extériorisation du traumatisme. Le souvenir des morts, masqué sous l’humour permet au lecteur de revivre inconsciemment ce traumatisme. Les mangakas s’attaquent à la question des torts refoulés par les Américains et les Japonais désignés comme bourreaux. Il s’agit pour eux de s’attaquer à l’amnésie collective qui se développe au lendemain de la défaite. Ainsi, Tezuka présente une image ambiguë de l’Américain à la fois considéré comme un monstre/extra-terrestre et comme un sauveur/allié. De son côté, Nakazawa s’attaque aux bourreaux américains et japonais qui oublient leurs crimes de guerre. Le premier chapitre se compose de l’état des recherches et du cadre théorique. Les deuxième et troisième chapitres se concentrent respectivement sur l’analyse du manga d’Osamu Tezuka et celui de Keiji Nakazawa.

This study has analyzed the relationship between trauma and otherness in two autobiographical graphic narratives. The study suggests that autobiographical graphic narratives are better equipped to represent the effects, mainly that of otherness, on the self as a result of trauma. In the ten volume manga series Barefoot Gen, Keiji Nakazawa details his childhood survival of the atomic bombing of Hiroshima during World War II. As he rebuilds his life, fellow survivals that look like his deceased family members recall his trauma of the bombing. Like we see in Nakazawa’s Barefoot Gen, Art Spiegelman also uses repetitious imagery and a fragmentary form of comic narration to represent the experience of trauma throughout In the Shadow of No Towers. However, while Nakazawa repeats specific imagery of the atomic bombing throughout Barefoot Gen based on his eyewitness testimony, Spiegelman manipulates imagery of the September 11, 2001, terrorist attacks to reject the notion that only one specific set of images can represent a traumatic event. Thus, by the end of the second section of In the Shadow of No Towers, Spiegelman creates a multiplicity of images to reenact the trauma of 9/11. / Access to thesis permanently restricted to Ball State community only.

<div>Typing in Japanese is a difficult process for novice and intermediate learners of Japanese due</div><div>to the writing system of the Japanese language and its comparatively involved input method on a</div><div>keyboard. Considering that spell checkers, which enable the user to check and correct their own</div><div>errors and select the correct kanji word, are designed for native speakers, the learners of Japanese</div><div>as a foreign language (JFL) may not recognize their spelling errors and are thus unable to selfcorrect using this built-in tool.</div><div>The present study addresses this problem and conducts an experiment to evaluate the</div><div>effectiveness of a visual feedback tool by its error recognition rate on the learners spelling errors</div><div>when typing in Japanese. The participants were 46 beginner level JFL learners in a third semester</div><div>Japanese course, and the majority consist of native speakers of Chinese or English. The</div><div>participants participated in two experimental sessions. In both sessions, participants were audio</div><div>recorded while reading aloud a list of words in Japanese for pronunciation analysis and screen</div><div>recorded while typing the same list of Japanese words. These recordings are used to analyze the</div><div>characteristics of error patterns in both pronunciation and typing. During the typing sessions, visual</div><div>feedback is provided to the participants via a customized dictionary tool when participants make</div><div>a spelling error.</div><div>The results show that regardless of the native language, the learners have difficulty on certain</div><div>words that include long vowels or double consonants. The recorded error patterns align with the</div><div>findings of previous studies (Hatasa, 2001; Nakazawa, 2003; Tsuchiya, 2000), and the visual</div><div>feedback showed an average error recognition rate of 76% of the participants’ spelling errors. The</div><div>participants also assessed the dictionary tool in terms of usability, and their responses indicate that</div><div>such tools are very useful during typing. The researcher concludes that using a visual feedback</div><div>dictionary tool is effective in recognizing the spelling errors of the learners when typing, and it</div><div>increases the learner’s awareness of spelling accuracy.</div>