In this thesis, I explore the practices of English-speaking readers of shônen manga (Japanese comics written primarily for an audience of teenage boys). I concentrate on three series in particular: Hiromu Arakawa’s Fullmetal Alchemist (2001–2010), Tite Kubo’s Bleach (2001–ongoing), and Masashi Kishimoto’s Naruto (1999–ongoing). I argue that, although it may appear to be inherently imbued with (authorial) meaning, the shônen manga text emerges from a curious ‘alchemy’ through which the practices of readers transform the ‘raw’ materials provided by manga creators to produce a text that appears to have always been inherently meaningful in itself. I argue that this is always an impossible and monstrous transformation. In the first chapter, I introduce the monstrous combinations of words and pictures, panels and gutters known as shônen manga and argue for the importance of taking the practices of ‘ordinary’ (or, at least, non-scholarly) reading seriously. In the second chapter I explore the idea that reading is an ‘alchemy’ through which the disparate elements readers encounter on the page are transformed into a meaningful text. In the third chapter, I discuss the ways in which time and narrative are braided as readers assemble the disparate elements they encounter on the shônen manga page. In Chapter 4, I explore the visceral thrills of reading shônen manga, which are often expressed through notions of the awesome and the epic. Finally, in Chapter 5, I examine the ways in which a group of shônen manga readers known as ‘shippers’ find love and romance amidst the fighting in shônen manga and demonstrate the legitimacy of these readings by locating them in the material text through the concept of ‘canon’. By attending to reading as an embodied and material practice in this way, the thesis contributes to debates about the relationships between creators, texts and audiences and ongoing attempts to imagine new ways of being critical within cultural and literary studies. Within cultural geography, these kinds of attempts have often been aligned with what might broadly be described as nonrepresentational theories. As such, this thesis attempts to draw out the geographies through which manga texts are realised as manga texts at all.

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In recent years Japanese has become an increasingly popular language choice among students in senior high school in Sweden, but very little research has been conducted as to why this trend has emerged. This study aims to investigate the variables affecting senior high school students’ choice to study Japanese and to proceed with it in institutions of higher education, as well as to delineate any gender-specific and socioeconomic discrepancies amongst them based on Bourdieu’s sociology of education. In addition, it strives to shed light on the students’ attitudes toward Japan and the Japanese culture. The empirical data of the study consists of a survey collection of 112 respondents from 4 senior high schools in Stockholm, Uppsala and Västerås. The results indicate that interest in Japanese popular culture, mainly anime and manga, is the main incentive for learning Japanese and that this interest is commenced many years prior to the instruction. The prospect of traveling, studying and working in Japan, as well as to engage further in their interest in the Japanese culture, appears to be what motivates further and higher education in Japanese. The attitudes toward Japan and the Japanese culture are generally positive and the negative opinions expressed mainly derive from cultural difference. The students in the study are predominantly female who carry a strong cultural capital that stems from a middle class family and household of higher education. Hopefully, this study will contribute to the research field of Japanese language learning and inspire others to broaden the discipline.

As cultural studies has consolidated its claim to constitute a distinct field of study in recent years, debate has intensified about its characteristic objects, concepts and methods, if any, and, therefore, its relationship to traditional disciplines in the Humanities and Social Sciences. In History in Australian Popular Culture 1972-1995, I focus on an intersection of cultural studies with history. However, I do not debate the competing claims of 'history' and 'cultural studies' as academic projects. Rather, I examine the role played by historical discourse in popular cultural practices, and how those practices contest and modify public debate about history; I take 'historical discourse' to include argument about as well as representation of the past, and so to involve a rhetorical dimension of desire and suasive force that varies according to social contexts of usage. Therefore, in this thesis I do cultural studies empirically by asking what people say and do in the name of history in everyday contexts of work and leisure, and what is at stake in public as well as academic 'theoretical' discussion of the meaning and value of history for Australians today. Taking tourism and television ('public culture') as my major research fields, I argue that far from abolishing historical consciousness -- as the 'mass' dimension of popular culture is so often said to do -- these distinct but globally interlocking cultural industries have emerged in Australian conditions as major sites of historical contestation and pedagogy. Tourism and television are, of course, trans-national industries which impact on the living-space (and time) of local communities and blur the national boundaries so often taken to define the coherence of both 'history' and 'culture' in the modern period. I argue, however, that the historical import of these industries includes the use of the social and cultural spaces they make available by people seeking to publicise their own arguments with the past, their criticisms of the present, and their projects for the future; this usage is what I call 'popular culture', and it can include properly historical criticism of the power of tourism and television to disrupt or destroy a particular community's sense of its past. From this it follows that in this thesis I defend cultural studies as a practice which, far from participating in a 'death' or 'killing' of history, is capable of accounting in specific ways for the liveliness of historical debate in Australia today.

This thesis analyses the television program known as 'Super Girls', which aired on Hunan Satellite Television from 2004-2006 in the Peoples' Republic of China. In the West, this program is sometimes referred to as 'Chinese Idol' because of its similarities to the globally popular television format, 'Idol'. Although 'Super Girls' shares many similarities with 'Idol' there are also equally important differences. This thesis examines these differences as a way of theorising the how the program negotiates the localisation of a Western television format. First, the program is placed in the broader context of the increased liberalisation and commercialisation of the Chinese television industry. Secondly, the thesis analyses the concept of format television and presents the logic behind the global shift toward producing this type of programming. Next, specific aspects of Super Girls are analysed in detail to bring out how the program functioned culturally in the context of China. These aspects of Super Girls include, the way the program represents the changing role and potential of television from the PRC to contribute to negotiations on Chinese identity that take place among the various symbolic universes of Cultural China, including the global Chinese Diaspora. The thesis also explores the nature of the celebrities produced by the contest through isolating their meaning and significance within the Chinese context. The thesis argues that the contest winners are celebrated for their individuality and come to stand for the rise of 'ordinary power'. The thesis also examines the ways in which Super Girls embraces its audience through new modes of address and offering new types of agency for its audience. As a result, Super Girls offers insight into how Chinese culture is now shaped by a rise of 'ordinary empowerment' where the bottom-up cultures are hybridised with the traditional high culture in television broadcasting.

This thesis sets out to explore the ways people use and interpret experience of music, the divine and interaction with other people within discrete musical spaces. This exploration takes place in two sites: a Pentecostal church in suburban Perth, Western Australia, and the West Coast Blues & Roots festival, a well known music festival held annually in Fremantle, Western Australia. I have nominated these two sites as “realms” because they are spaces set up for the performance and experience of music. My primary questions about these sites relate to how people interact with music, each other and the divine within these realms. This study combines socio-cultural and theological-religious studies theories to illuminate the processes, experiences and interpretations occurring within these musical realms. This has important implications for understanding how people use and interpret music in relation to the world outside the musical realm. People use these experiences to dream and imagine the shape of ideal relationships and communities with each other and the divine presence, and to escape and transform the world outside the musical realm. In this thesis I compile data from participant observation and in-depth interviews at both sites, as well as published interviews with performers. I construct two case studies of the sites, portraying a “day in the life” of a participant in both realms. For each case study I outline ten different interpretive paradigms, five from socio-cultural theorists and five from theology and religious studies. I analyse the data using the phenomenological method, taking a component of data from the fieldwork and comparing and contrasting it with theory. At the end of each chapter I summarise the process and make some remarks relating to the implications of the study. The resulting work makes important contributions to understanding how socio-cultural studies and theological-religious studies can work together in an interdisciplinary fashion to illuminate phenomena. The study sheds light on the nature of musical “realms”, as well as “proto-religious phenomena” and “methodological agnosticism”. Further, this work presents useful contributions into the ways churches may understand and interact with spiritual experience that occurs outside of religious settings. Finally, performers and artists and community workers will benefit from the conclusions of this study on the ways in which people use music and realms to escape, transform and imagine community and society.

This thesis examines the ways in which regional communities appropriate their historic icons of the past, integrating these ‘markers of identity’ into the wider socio-economic context. It notes how nostalgia and the collective memory, together with a strong sense of place are reflected in celebrations which honour national and local historic characters and events, and observes the ways in which isolated rural towns reconcile their new tourist image with their pioneering past. It will be argued that the concepts of nation and national identity are increasingly being challenged by the need for a social and cultural identity which belongs to the local community. A range of diverse cultures and heritage sites has been studied in order to analyse the dilemmas facing local, outback, and Indigenous communities in reconstructing a regional identity today. The Heritage Trail can be seen as a symbolic rite of passage, and this thesis is indeed a personal journey divided into two major components. First, it takes the form of documentary, a visual component consisting of three video films which capture the heritage tourism product along the Tropic of Capricorn. On the Western Line documents the author’s journey on ‘The Spirit of the Outback’ from the central coast to Winton and Kynuna, the home of Waltzing Matilda in far western Queensland. Two further historical productions The Legend of King O'Malley and The Triumph and Tragedy of Tommy Wills record local and national narratives, which both deliver a controversial picture of federation politics and pioneer settlement, colonial sport and frontier war, each focusing on a regional perspective within a wider national vision. The second, written component reflects upon the role of the documentary maker in recording a social history of these diverse communities. It examines the auteur/director’s own perceptions of regional identity, and the oppositions and ambiguities of reality are juxtaposed with legend and myth. This essay explores the different layers of meaning inscribed within central images of cultural tourism such as: the Stockman’s Hall of Fame at Longreach; the Australian Worker’s Heritage Centre at Barcaldine; local museums at Mt. Morgan and Emu Park; the Dreamtime Cultural Centre; and the South Sea Islanders’ Sugar Trail. Following Bennett and Bourdieu’s work on museum visitors, the author’s preliminary survey of tourists seeking Capricornia’s increasingly popular heritage destinations is discussed. In conclusion, it can be argued that the rapid growth of Central Queensland’s cultural centres, local museums, and bicentennially funded outdoor art and ‘unusual’ monuments, has produced new sources of income in a community desperately seeking to survive. The cultural tourist has become a major producer of the heritage industry which impacts strongly on regional identity.

Thesis (M.A.)--Ohio University, August, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 325-349).