Paratexts in Translation: Reinterpreting "Manga" for the United States.
The market for manga in the United States has exploded over the past decade at a time when growth in other segments of the book and comics publishing industries has remained flat. Little research has been conducted to account specifically for this phenomenon, and what has been done invariably confla...
| Publicado en: | International Journal of the Book Vol. 6; no. 2; pp. 13 - 20 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Common Ground Research Networks
2009
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=37130859&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 37130859 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14479516 17TF jtl: International Journal of the Book issn: 14479516 maglogo: N pubinfo: dt: 2009 vid: 6 iid: 2 pid: 22359 pub: Common Ground Research Networks artinfo: ui: 37130859 10.18848/1447-9516/CGP/v06i02/36733 ppf: 13 ppct: 7 formats: fmt: @attributes: type: P size: 318KB tig: atl: Paratexts in Translation: Reinterpreting "Manga" for the United States. aug: au: Brienza, Casey affil: New York University, NY, USA su: Paratext Manga (Art) Publishing Translating & interpreting United States sug: subj: United States Paratext Manga (Art) Publishing Translating & interpreting keyword: Comic Books Contemporary Book Publishing Graphic Novels Manga Paratexts ab: The market for manga in the United States has exploded over the past decade at a time when growth in other segments of the book and comics publishing industries has remained flat. Little research has been conducted to account specifically for this phenomenon, and what has been done invariably conflates manga with other forms of imported Japanese popular culture such as anime. In this paper I argue that it can only be sufficiently understood in the contexts of the specificity of the print medium and localized conditions of book production and distribution. Using Gérard Genette's Paratexts: Thresholds of Interpretation as a theoretical starting point, I show that a series of paratextual innovations pioneered by Tokyopop in 2002 and soon thereafter adopted as an industry standard across the translated manga field led directly to dramatically increased output from an increasing number of publishers and greater visibility in bookstores, where most manga is sold. This paratextual standardization of manga then became a source of aesthetic distinction that, by admitting titles as "manga" which do not fit the old definition of manga as comics from Japan, further fueled the medium's expansion. Indeed, the paratext is so powerful that it also exerts pressure upon the American definition of the word "manga" itself; since 2002, the old, objective definition has been placed in competition with a new, subjective one, wholly dependent upon the textual content and structure. In conclusion, I suggest that this new, inherently fragile and unstable definition of one category of comics is representative of the way in which rationalization can, paradoxically, open up space for irrationality. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of International Journal of the Book is the property of Common Ground Research Networks and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: International Journal of the Book holder: Common Ground Research Networks dt: @attributes: year: 2009 holdings: @attributes: islocal: N |
|---|