Denna processundersökning på kandidatnivå beskriver inköpsprocessen och exponeringen av manga vid Umeås filialbibliotek. Undersökningens syfte var att genom enkät- och fältundersökningar beskriva inköpsprocess, exponering och förmedlingen av manga för att kunna presentera nya förslag för placering, märkning och förmedling av manga vid Umeås filialbibliotek. Undersökningen utgick ifrån följande frågeställningar: Var finner biblioteken information kring aktuell manga för inköp? Vad påverkar vilken manga som köps in? Hur ser katalogisering och uppdelningen av manga ut och hur går katalogisering av manga till vid Umeås filialbibliotek? Hur ser bibliotekens utbud och exponering av manga ut? Finns det eller har det funnits någon plan för förmedling och exponering av manga vid Umeås filialbibliotek? Finns det ett behov av mer förmedling av manga idag? Vad har tidigare och vad påverkar idag exponeringen och förmedlingen av manga vid Umeås filialbibliotek? Undersökningen presenterar en kort översikt över mangans- och de västerländska tecknade seriernas delade historia, mangans plats på de svenska filialbiblioteken idag och tidigare relevant forskning. I den tidigare forskningen presenteras moralpanik, populärkultur och skräplitteratur som en anledning till de fördomar som påverkar förmedlingen av manga idag och jämförs med Frankrikes starka seriekultur och marknad för manga. För att undersöka inköpsprocess, förmedling och exponering utfördes 17 enkätundersökningar i samband med 9 fältundersökningar vid Umeås filialbibliotek. Detta visade att mangan ofta köps in utan urval, på grund av en brist på manga översatt till svenska. Generellt fokuserar man mer på vad som skall köpas in än vad som undviks vid inköp. Biblioteken undviker om möjligt att påbörja inköp av långa serier men fortsätter köpa in dessa om de påbörjats. Man anpassar gärna sina inköp av manga efter förekomsten av färdiga katalogposter och katalogiserar inte mangan internt. Exponeringen av manga har minskat på senare år och 88% av respondenterna ser att det kanske behövs eller behövs mer exponering av mangan idag. Mangan placerades på biblioteken i nära anslutning till ungdomslitteratur men utan inbördes ordning. Fältstudierna bekräftade den svenska mangans målgrupper enligt Strömberg (2007 s.68). Ingen klar skillnad kunde ses emellan inköp, katalogisering och exponering av manga i en jämförelse mellan folkbibliotek och integrerade skol- och folkbibliotek, skillnaderna är sannolikt mer knutna till bibliotekens storlek och aktivitetsnivå. Undersökningen avslutas med nya förslag för inköp i form av en prenumerationstjänst ifrån Comixology, förslag för märkning av manga i två målgrupper (barn/ungdom) samt hänvisning till vidare ökad kunskap om manga som läsfrämjande medie i stil med västerländska tecknade serier.

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When comparing official translations and scanlations (fan-translation) the discussion often leads to the method of translation, namely foreignization and domestication. This study seek out to compare the official translation, by Vizmedia, to the scanlation done by Twisted Hel Scans, of the manga Tokyo Ghoul. The translations were compared to see if some different tendencies in their translation choices could be found. As well as looking for differences, the accuracy was also analyzed to see which translation had the higher accuracy. The results showed that the official translation leaned more towards a domesticated approach but did use some foreignizing aspects as well. The scanlation was leaning much heavier towards a foreignizing approach in which the translators tried to keep the original sentence structure and also tried to transfer Japanese cultural terms into the translations. The scanlation overall had a worse flow of the text when compared to the official translation, and it also presented more translation errors.

Uppsatsen analyserar maskuliniteter i tre populära mangasserier: Kohei Horikoshis My hero academia (2014), One och Yusuke Muratas One-punch man (2012) samt Hirohiko Arakis Jojo’s bizarre adventure: part 1 phantom blood (1986). Syftet med föreliggande studie är attsynliggöra vilka maskuliniteter som representeras i mangorna och på så sätt kunna diskutera och problematisera de manliga ideal som ungdomar möter i populärkulturen. För att besvara uppsatsens syfte utgår studien från en kvalitativ metod och materialet tolkas utifrån ett genusperspektiv med inriktning på maskuliniteter. Resultatet visar att samtliga verk innehåller representationer av ideala samt icke-önskvärda maskuliniteter. Den självuppoffrande, uthålliga, starka och moraliskt drivna hjälten utgör verkens maskulina ideal. De icke-önskvärda maskuliniteterna underbygger sina handlingar med egoism. Vidare synliggör resultatet att mangornas konstruktioner av maskulinitet och femininitet både reproducerar och utmanar samhällets föreställningar om vad som är manligt och kvinnligt. I samtliga verk görs exempelvis femininet till något passivt och vackert och maskulinitet till något starkt och aktivt. Verken tar dock avstånd från tanken att män till sin natur är aggressiva. Resultatet visar också att mangorna skiljer sig i sina maskulina representationer. I My hero academia och Jojo’s bizarre adventure utgör protagonisterna verkens maskulina ideal medan protagonisten i One-punch man kan betraktas som en skrattspegel till ett traditionellt hjälte-ideal.

This essay discusses the becomings of the character Saya in the visual novel Saya no Uta (2003), developed by Nitroplus. Being perceived as either girl or monster, Saya is trapped between these notions, within the endless becomings of her conceptualisation. Using the idea of becomings developed by Gilles Deleuze in Logic of Sense (1969) this essay aims to understand how Saya could be perceived through her becomings. Compared to the character of Alice from Alice in Wonderland, which is a prevalent subject through Logic of Sense, Saya shows many similarities with Deleuze's unofficial heroine. Donna Haraway's A Cyborg Manifesto (1985) is used to understand the underlying machinic desires of Saya, and how she becomes a productive force through consumption of the notions that try to define her. The dichotomy of girl and monster is further explained using Rosi Bradiotti's Nomadic subjects (1994), where the monster not only becomes a manifestation of the grotesque, but also a subject of the monstrosity within its discursive concept. The ambivalence of the monster is the duality between the abhorrent and the adored. The analysis shows that Saya, whether she is released to the world or not, renders the dichotomy useless in relation to the force of the materiality that somehow persists through, whatever its meaning, and what it ultimately is subjected to.

Qu’est-ce qu’un héros de bande dessinée ? Comment fonctionne-t-il ? Pourquoi est-il ainsi ? Ce sont là les trois questions principales que nous entendons traiter dans les pages de cette thèse. C’est principalement l’étude de la relation entre le lecteur et le héros qui va nous permettre de répondre. Cette relation, nous la nommons identification, elle est à la fois reconnaissance et projection. C’est dans ce double mouvement – du héros vers le lecteur, du lecteur vers le héros – que nous trouverons notre objet. Notre cheminement nous amènera à définir le héros tant de façon diachronique, en nous attardant sur son origine et son évolution historique (avec une attention particulière pour les productions et les réflexions de Rodolphe Töpffer), que de façon synchronique en le comparant aux héros d’autres médiums. Définissant le héros par son fonctionnement identificatoire, nous étudierons celui-ci en analysant les stratégies graphiques mises en œuvre par les auteurs de bandes dessinées pour que celui-ci se produise. Cela nous permettra enfin de tirer des conclusions esthétiques et éthiques de ce fonctionnement, et de préciser la nature de l’expérience de la bande dessinée. Ce travail de recherche fera donc appel, pour être mené à bien, à des outils provenant des domaines variés que sont l’analyse plastique, la sémiologie, l’esthétique, la philosophie, les études littéraires, etc. / What is a comic book hero? How does it work? Why is it so? These are the three main issues that we intend to cover in the pages of this thesis. This is mainly the study of the relationship between the reader and the hero that will allow us to respond. This relationship, we call identification, it is both recognition and projection. It is in this double movement - the hero to the reader, the reader to the hero - that we find our purpose. Our journey will take us to define the hero so diachronically, but to focus on its origin and historical development (with particular attention to the production and reflections Rodolphe Töpffer) as synchronically by comparing the heroes of other mediums. Defining the hero by identificatory function, we will study it by analyzing the graphic strategies implemented by the authors of comics for it to happen. This will allow us finally to draw aesthetic and ethical conclusions of this operation, and to specify the nature of the experience of the comic. This research will therefore appeal to be completed, tools from various fields such as plastic analysis, semiotics, aesthetics, philosophy, literary studies, etc.

Depuis la fin des années 90, la plupart des animes n'arrivent en Europe qu’en DVD, alors qu’ils ont occupé largement les programmes pour enfants, il y a 30 ans. Rompant avec le circuit marketing habituel qui impose un passage à la télévision avant d'être éditées pour le marché de la vidéo, les animes édités en DVD illustrent une forme de « démédiation » des séries TV. De rendez-vous télévisuels, ils sont "re-conditionnés" en œuvres vendues directement au public pour qu'il les collectionne. Cette thèse étudie la manière dont les publics acceptent d’entrer dans cette logique de collection. L’hypothèse suivie a été celle de la ciné-vidéophilie qui postule une convergence entre des pratiques autrefois distinctes de cinéphiles et de vidéophiles. Cette recherche combine les études de réception et la sociologie des usages, permettant d'éclairer sous cet angle spécifique le développement des stratégies transmédia à l’œuvre dans les industries du divertissement audiovisuel. / Since the end of the 1990’s, most Japanese animated TV series have been arriving in Europe as DVDs, even though they used to be the main content of children TV programs 30 years ago. Breaking away from the usual marketing circuit which usually imposes a television broadcasting of a series before it is edited for the video market, animes on DVD illustrate a form of TV series « demediation ». Through this “repackaging” process, they are turned from regular TV programs into collectibles, directly sold to consumers . This dissertation studies the ways anime publics accept or not this logic of collecting TV series. The hypothesis offered is that of cine-videophilie, based on the premisse of a convergence of formerly distinct cinephile and videophile practices. This research combines reception studies and sociology of technology, thus highlighting under this specific angle some present developments in the transmédia processes at work within the audiovisual entertainment industries.

Denna uppsats undersöker normer för översättning av könskodat språk. Genusvetare menar att könskodat språk inte bara upprätthåller stereotyper om kön utan också förstärker dem. Därför tycker feministiska översättningsvetare att det är viktigt att vara medveten om vilka stereotyper som översättningar överför mellan kulturer. Denna uppsats behandlar stereotyper om kön i japanska serier, så kallade manga. Med hjälp av den översättningsvetenskapliga metoden sammankopplade par jämförs källtexterna och måltexterna med varandra. Resultatet visar att nästan allt det könskodade språket har utelämnats i måltexterna. Trots att detta gör språket mindre stereotypt blir inte alla karaktärer mindre stereotypa. En karaktär är till och med mer stereotyp i måltexten än i källtexten. Detta visar att utelämning förmodligen inte är ett medvetet val av översättaren för att minska stereotyper. Anledningen till utelämningarna verkar istället vara att det är en norm att utelämna en stor del av karaktärers rollspråk. / This essay investigates norms in translation of gender stereotype language. Gender Studies has for many years claimed that gender stereotypes in language not only maintain gender stereotypes but also reinforce them. Because of this feminist translation theorists stress the importance of being aware of what stereotypes translation can and do transfer between cultures. In this essay the gender stereotypes that are dealt with are the ones of characters in Japanese comics, so called manga. With a methodology from Translations Studies, coupled pairs, it compares Japanese source texts with Swedish target texts. The results shows that almost all of the gender stereotype language in the source texts has been omitted in the target texts. Even though this makes the language less stereotype, it does not make all of the characters less stereotype. One character is even more stereotype in the target text than in the source text. This probably shows that the omissions are not a choice made by the translator to reduce stereotypes. The reason for the omissions seems instead to be that it is a norm in translation of manga to omit a certain amount of the character specific language.

The contemporary Japanese manga industry began in 1959 when the first weekly manga magazines were published. Throughout the 1960s publishing companies attracted a large adult readership by incorporating radical political themes and realistic drawing styles in manga magazines. The readership continued to expand throughout the 1970s and 1980s and manga became a mass medium on a similar scale to television or pop-music. This thesis identifies two distinct trends in the cultural status of manga which were developing from the mid-1980s onwards. On the one hand, what had previously been seen as 'commercial' manga became respected as an 'art' form and highbrow communication medium. On the other, manga was vilified as pornography and as the extreme expression of an increasingly fragmented society. In the former trend, prestigious corporations sponsored a new category of 'information' manga, whilst in the latter, 'girls' and 'otaku' manga genres were censured by a quasi-governmental censorship movement. The amateur manga subculture in particular became the focus of a 'moral panic' where those involved were characterised as isolated and socially dysfunctional. This thesis, based on ten months' participant observation and intensive interviews in 'Morning' manga magazine editorial office in 1994, examines how this editorial was influenced by the changing status of manga in Japanese society in the formulation of its editorial policy and production methods. Editors felt that in the 1990s social changes presented the manga industry with serious production problems - in particular, a dearth of 'good' artists who could produce social themes, and a shrinking readership. Morning editorial attempted to overcome these problems by pioneering a new form of artistic, high-quality and respectable adult manga, aimed at older and more socially-elite readers. By creating a new proactive intellectual role for manga editors at the same time as sponsoring experimental graphic styles, Morning editorial produced a distinctive new form of conservative, state-supporting social and political adult manga. The re-definition of specific genres of manga as 'art' by Japanese institutions was paralleled by changes in commercial manga production which privileged the social and intellectual interests of editors over those of readers and artists. This study concludes that editors have become increasingly impo7tant in manga production between 1986 and 1995, and that there is a tight interrelationship between commercial cultural production and broader cultural and social discourses generally.

Este trabalho tem como objetivo analisar a competitividade das exportações brasileiras de manga e de uva no mercado internacional no período de 1989 a 2005. Para tanto, utilizou-se o modelo de Constant Market Share (CMS) e o modelo de Vantagem Comparativa Revelada (VCR) para evidenciar os principais fatores responsáveis pela rápida expansão das exportações nacionais para esses dois produtos, além de realizar uma análise comparativa entre as duas culturas selecionadas. O primeiro modelo busca analisar as causas de variação da quantidade (ou valor) exportada de um produto pelo país em questão em relação ao tempo, gerando três dimensões explicativas para a variação das exportações: o efeito dimensão, o efeito distribuição e o efeito competitividade. O efeito dimensão mostra como o crescimento das exportações mundiais afetou o crescimento das exportações do país analisado. O efeito distribuição refere-se às exportações para países de maior ou menor dinamismo. Por resíduo, descontando-se os demais efeitos temos o termo competitividade.Para a geração dos resultados foi necessária a sub-divisão do período de análise em três grupos trienais: 1989/1990/1991, 1994/1995/1996 e 2003/2004/2005.O modelo de Vantagem Comparativa Revelada parte do pressuposto de que o país em questão tende a se especializar nas exportações de produtos que ofereçam vantagens competitivas. Para tanto, o indicador deve apresentar um valor superior a 1 para os produtos competitivos, evidenciando que a participação do produto em questão na pauta do país analisado é superior à participação do país no mercado global geral. Diferentemente do CMS, os indicadores de Vantagem Comparativa Revelada (VCR) nas exportações de um produto podem ser calculados com freqüência anual. O resultado do modelo de Constant Market Share para manga, referente ao primeiro sub-período de análise, mostra que o significativo aumento das exportações brasileiras de manga foi fortemente influenciado pelo crescimento do mercado mundial, seguido pelo efeito competitividade e destino das exportações. Para o segundo subperíodo, o efeito de maior significância foi a competitividade, seguido pelo efeito crescimento do mercado mundial e destino das exportações. Para a uva, o resultado referente ao primeiro sub-período de análise mostra que o significativo aumento das exportações brasileiras dessa fruta foi fortemente influenciado pelo efeito destino das exportações, seguido pelo efeito competitividade e crescimento do mercado mundial. Para o segundo sub-período, os resultados apontam a competitividade como principal fator responsável pelo aumento das exportações brasileiras, seguido pelo efeito crescimento do mercado mundial. O efeito destino das exportações apresentou valor negativo. Para o caso da manga, foram observados altos valores para o indicador de Vantagem Comparativa Revelada, especialmente para o período após 1993. Diferentemente dos resultados apresentados para a manga, as exportações de uva revelam vantagem comparativa apenas no final do período analisado (depois de 2002). / This paper has the main purpose of analyzing competitiveness of Brazilian exports of mangoes and grapes in the international market between 1989 and 2005. Constant Market Share and Revealed Comparative Advantage were used to obtain the main factors that could explain the fast growth of Brazilian exports of the chosen fruits, doing a comparative analysis between these fruits. The first model tries to analyze the reasons of variation in the quantity (or value) of a product exported by the current country related to the time, generating three dimensions: the effect dimension, the effect distribution and the effect competitiveness. The effect dimension shows how the growth of the world exports affected the growth of the current country\'s exports. The effect distribution relates to exports to countries of bigger or smaller dynamism. As a result, discounting the other effects we have the term competitiveness. To generate the results it was necessary to have the sub-division of the analyzed period into three triennial groups: 1989/1990/1991, 1994/1995/1996 and 2003/2004/2005.The Revealed Comparative Advantage model considers that a country tends to specialize itself in exporting products that offer competitive advantages. Thus, the indicator must submit a value higher than 1 for competitive products, showing that the product participation in a country is superior to the country participation in the global market. Different from Constant Market Share (CMS), Revealed Comparative Advantage indicators of exports can be calculated with annual frequency. The Constant Market Share model result for mangoes, referring to the first sub-period analysis shows that the significant increase in Brazilian exports of mangoes was strongly influenced by the growth of the world market, followed by the competitiveness effect, and the destination of exports. For the second sub-period, the most significant effect was the competitiveness, followed by the growth of the world market and the destination of exports. Considering grapes, the result referring to the first sub-period analysis shows that the significant increase in Brazilian grapes exports was strongly influenced by the effect \"exports destination\", followed by the effect competitiveness and the world market\'s growth. For the second sub-period, the results indicate competitiveness as the main factor responsible for the increase of the Brazilian exports, followed by the growth of the world market. The effect \"exports destination\" showed a negative value. For the Revealed Comparative Advantage (RCA) model, the mango case results showed a high revealed comparative advantage, especially after 1993. The grapes´ results show a comparative advantage only at the end of the period, when, from 2002 on there was a trend of grape consolidation as a competitive product in the international market, though on a distant level from mangoes.