Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-21T11:25:57Z No. of bitstreams: 1 André Noro dos Santos.pdf: 29750228 bytes, checksum: e9169b8e0a8eb8f264ac2242908e7884 (MD5) / Made available in DSpace on 2017-12-21T11:25:57Z (GMT). No. of bitstreams: 1 André Noro dos Santos.pdf: 29750228 bytes, checksum: e9169b8e0a8eb8f264ac2242908e7884 (MD5) Previous issue date: 2017-11-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this thesis is to analyze the behavior of the Brazilian otakus and how they imagine and translate their obsession with the Japanese culture. As an empirical object we chose the manga created by Brazilians and some otaku communities reunited in social networks and pop culture events. The hypothesis is that in the translation of the otaku culture and its media products, rather than a language search that could generate, for example, a "mongrel manga", is the mimesis and the assimilation of a behavior and a way of life which, in the Brazilian version, becomes quite unique and, not rarely, distant from some stereotypes generated by the Japanese themselves. In this regard, we observe that the Brazilian otakus have nothing to do with the image of the introspective otakus that marked the beginning of the movement in Japan. The theoretical fundation was based on foreign (e.g. Azuma and LaMarre) and Brazilian (e.g. Luyten, Nunes and Almeida) bibliographies that analyzed the phenomenon. In methodological terms, the research was also extended to the social networks, which constitute the major means of communication of the otakus, as well as to places of concentration of these groups such as the Liberdade neighborhood in São Paulo. The results indicate that the Brazilian otaku culture was gradually becoming another way of commercializing an imagined Japan (Greiner 2015 and 2017), differing from other experiences by focusing exclusively on Japanese culture, without adopting a generic Asian image / O objetivo desta tese é analisar o comportamento dos otakus brasileiros e o modo como imaginam e traduzem a sua obsessão pela cultura japonesa. Como objeto empírico elegemos o mangá criado por brasileiros e algumas comunidades otaku reunidas em redes sociais e eventos de cultura pop. A hipótese é que na tradução da cultura otaku e de seus produtos midiáticos, mais do que uma pesquisa de linguagem que poderia gerar, por exemplo, um “mangá mestiço”, trata-se da mimese e da assimilação de um comportamento e de um modo de vida que, na versão dos brasileiros, torna-se bastante singular e, não raramente, distante de alguns estereótipos gerados pelos próprios japoneses. Neste sentido, observamos que os otakus brasileiros nada têm a ver com a imagem dos otakus introspectivos que marcaram o início do movimento no Japão. A fundamentação teórica partiu de bibliografias estrangeiras (e.g. Azuma e LaMarre) e brasileiras (e.g. Luyten, Nunes e Almeida) que analisaram o fenômeno. Em termos metodológicos, a pesquisa foi também ampliada para as redes sociais, que se constituem como o principal meio de comunicação dos otakus, assim como para locais de concentração desses grupos, como o bairro da Liberdade em São Paulo. Os resultados indicam que a cultura otaku brasileira foi, aos poucos, se transformando em mais um meio de comercialização de um Japão imaginado (Greiner, 2015 e 2017), diferenciando-se de outras experiências por focar exclusivamente na cultura japonesa, sem adotar uma imagem genérica asiática

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-05T12:39:45Z No. of bitstreams: 1 Beatriz Yumi Aoki.pdf: 16580883 bytes, checksum: 04c34bef3b0d6c35d20ab6ebfb96ef60 (MD5) / Made available in DSpace on 2018-07-05T12:39:45Z (GMT). No. of bitstreams: 1 Beatriz Yumi Aoki.pdf: 16580883 bytes, checksum: 04c34bef3b0d6c35d20ab6ebfb96ef60 (MD5) Previous issue date: 2018-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The theme of research is the virtual idol Hatsune Miku and her collective construction from the practices of her fans, who are responsible for most part of the production of related content (such as songs and images). This research aims to understand how the virtual idol in the Japanese pop scenario highlights the relation of the Japanese otaku to fantasy, having as our main hypothesis that, for the fan, fantasy is a form of reality and the notion of authorship is shared, suggesting an indistinction between creation, production and circulation. The methodology is based on the conceptual analysis of the constructive processes of the virtual idol, based on a literature review that describes otaku culture; on the studies of the fancelebrity relationship in the specific Japanese context and on the documentary research and analysis of the content produced concerning the object of this study. In this sense, the dissertation is structured in two main chapters: the first one analyzes the Japanese otaku culture and the context in which it is constituted, based on authors such as Barral (2000), Azuma (2009), Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) and Robertson (1998); while the second aims to reflect on the constitution of the virtual idol and its forms of relationship with Japanese fans, mainly based on Conner (2016), Black (2012), Sone (2017) and Kinsella (1995). As a result, this research is expected to contribute on discussions concerning otaku culture and its understanding of fantasy, specifically in the Japanese context / O tema desta dissertação de mestrado é a ídolo virtual Hatsune Miku e a sua constituição coletiva a partir das práticas de seus fãs, responsáveis por grande parte da produção de seu conteúdo (como músicas e imagens). A pesquisa busca compreender como o ídolo virtual no cenário pop do Japão evidencia a relação do otaku japonês com a fantasia, tendo como hipótese principal que, para o fã, a fantasia é uma forma de realidade e a noção de autoria é compartilhada, sugerindo uma indistinção entre criação, produção e circulação. A metodologia baseia-se na análise conceitual dos processos construtivos do ídolo virtual, a partir da revisão bibliográfica que descreve a cultura otaku; nos estudos da relação fãcelebridade no âmbito específico japonês e na pesquisa documental e análise dos conteúdos produzidos em torno de nosso objeto de estudo. Nesse sentido, a dissertação estrutura-se em dois capítulos principais: o primeiro analisa a cultura otaku japonesa e o contexto no qual ela se constitui, tendo como fundamentação teórica autores como Barral (2000), Azuma (2009), Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) e Robertson (1998); enquanto o segundo se propõe a refletir sobre a constituição do ídolo virtual e suas formas de relação com os fãs japoneses, a partir de Conner (2016), Black (2012), Sone (2017) e Kinsella (1995). Como resultado, espera-se que a pesquisa contribua nas discussões acerca da cultura otaku e de seu entendimento de fantasia, especificamente no contexto japonês

Dans un contexte généralisé où les cultures générationnelles otaku et geek multiplient leurs influences autant sur le plan du contenu culturel que sur les nouveaux médias qu’elles génèrent, nous nous sommes intéressés à sa propension à pénétrer les champs des arts dont la pratique contemporaine. La convergence des médias inhérents à ces deux cultures produit de nouveaux moyens d’expression donnant naissance à plusieurs types de pratiques expérimentales. Il s’est agi pour nous d’interroger nos référents autant que notre pratique sous ce nouvel angle. Une émergence de nouveaux systèmes technologiques se démocratise et intervient de plus en plus fréquemment dans le quotidien des usagers. Sur la base de ces nouvelles connaissances se développent de nouveaux rapports aux objets à partir desquels se forment de nouveaux espaces de fiction.La thèse « Expérimentations artistiques des espaces de fiction générés par les nouveaux médias issus des cultures générationnelles otaku et geek » est transdisciplinaire. Elle mêle études étymologiques, anthropologiques et sociologiques à l’étude des arts. En plus de s'appuyer sur des études réalisées par des chercheurs, la méthodologie appliquée se fonde sur l’expérimentation des œuvres présentées qui touchent à la fois à l’art contemporain, aux livres, aux bandes dessinées, aux films, aux jeux vidéo, aux jeux à réalité alternée, etc., mais aussi à la convergence de tous ces médias. L’expérimentation par une pratique nous semble dans le domaine présenté une donnée très importante du bien-fondé de la recherche qui est basée sur l’étude d’un terrain culturel en constante évolution. / In a widespread background in which the influences of Otaku and Geek Generational Cultures have increased as regards both their cultural content and the new media created by them, we undertook to study their propensity to penetrate into the art sphere, whether within or outside contemporary art. The convergence of the media inherent to both cultures has produced new means of expression which have given rise to several types of experimental practices. In the light of these new aspects, we strove to review our referents as well as our practice. Emerging new IT systems are becoming more and more popular and they are increasingly affecting their users' daily lives. With such new items of knowledge, new relations to things have developed and they provide a foundation on which new Fantasy Realms are being built."Artistic Testings of Fantasy Realms Created by New Media derived from the Otaku and Geek Generational Cultures" is a transdisciplinary thesis. It blends art research with etymological, anthropological and sociological studies. The methodology applied relies on studies carried out by researchers and is based on the testing of the works presented which are related to contemporary art, books, comics, video games, alternate reality games etc., as well as to the convergence of all such media. As regards the domain referred to herein, we believe that testing through practising is a paramount aspect of the relevance of this thesis which is based on the study of an ever evolving cultural territory.

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