Last Paper: Personal Analysis Narrative

Lynee Hart

Mr. Cox

ENG 104

12/4/11

 

 

Personal Analysis Narrative

  

Part 1 – Audience & Genre

*each part is expected to be roughly 300+ words*

• How did analyzing the audience affect your writing? In what ways?
• What genres have been difficult for you to work with? Why?
• How does the genre of a project or text impact how you organize your writing?

 

My posts and papers were mainly on subjects that most people in my class did not understand. For example I chose my project to be about anime and after a few learning sessions about Japanese animation in class I found that many people did not like it or even knew what it was. So I made sure to add a lot of information and examples of what anime was. This was also beneficial since most of our work needed proof or evidence from a reliable source to back it up. Even though I was thorough many people still did not understand and this is where I found my difficulty. I could not get everyone to understand what is! This, in turn confused me; I thought it was simple enough. So I also made sure that in my findings to add definitions and pictures to help people better understand. For example in one of my posts about anime I added pictures of anime characters and demons. Another thing I found difficult but at the same time was the Interactive fiction and the Rouge game. I found them hard to play with and to later write about until I started relating them to other things I liked more, which is a method we learned. Many of the things we did in class I found many more connections to than I thought I would. Though many of the people in class were confused at first I was able to find a way to help them understand and I feel my presentation was great thanks to Cory’s help.

 

 

Part 2 – Community & Writing Process

• Considering how several of our texts have significance even outside of the classroom, how do you see yourself as a writer in a larger community (not just in the classroom)
• What is your opinion of the prewriting process? Why? What prewriting did you like the most? What was helpful for you? What wasn’t?
• As a member of a writing community, how were you able to help your classmates in their revision process? How did aiding them impact your own writing

 

Throughout school many teachers wanted me to pre-write my papers by setting up a, and I hated it. But in this class our pre-writing was more of seeing examples of the types of writing we would be doing or using class time to learn about what we would write. I understand that pre-writing is useful but I, and many others, prefer just writing. I feel this class had a great balance since we were given specific guidelines and examples for our papers. These helped me greatly along with asking for help if needed. This process was also nice because we could write without strict guidelines. I feel this gave people more room to use there own writing voice.  We had time before turning in out papers to peer edit and I found it really helpful. The other people in my class helped me see my errors. I was also able to help people write other peoples papers. Usually people were just not sure how to word something or they were over thinking it. I the end we all were able to help each other. The writing and readings we did in class were for more than just a grade. Many of the things we read and wrote about had to do with finding ourselves inside the writings. So many of Le Guin`s writings were about society and our impact on it. I found her writings very interesting and enjoyed reading them. After reading a few of her article I began to analyze thing differently in my own life.

 

 

Part 3 – Strengths & Weaknesses

• What have you learned in this class this semester? What skills and processes have you utilized in your writing for this class? How do you plan to utilize these skills outside of our classroom, both in academic and non-academic situations?
• In what ways do you struggle with writing? How have you dealt with these issues? Have you noticed improvement, or has it stayed a problem?
• What do you see as your strengths as a writer? How did you utilize or exploit these strengths in your writing for this class or other classes?

 

One of my biggest issues with writing was trying to gain my own voice in writing. To try to gain my own voice I tried to make my writing more like how I talked, but at a higher level to make my great. This is what I did in this class and I feel I can now see my voice more clearly in my papers and that they are more my own. This is just one of the things I learned this semester. I also learned where to find better sources thanks to Cory. One of my strengths has always been good transitions, layout and using sources, but thanks to my better, more reliable, sources my papers are better. I find books, articles and journals much easier now on a vast array of subjects. For my final project paper I was able to find many sources about anime and it helped improve my paper greatly. A few resources sites I used was the NIU Libraries on the NIU website, Muse and the Google scholar search engine.

Critical Returning1-Translating

Critical Returning1-Translating

 

Summary

For my project about why Anime or Japanese animation is a respectable art form I found many different websites, articles and books about my subject. The one I chose for this post was an article done by Shinobu Price. I felt Cartoons from Another planet: Japanese Animation as Cross-Cultural Communication had everything I needed to explain my subject and my viewpoint.

In Price’s article he beings by explaining what anime is and its history. This gives the viewer, even those not sure what anime is, a good sense of what it is. Price also discuses the stylistic differences of Japanese animation and the reasons behind them. The article also talks about the themes anime expresses, as well as the misconceptions of anime. He basically was trying to clear animes name in our nation. Because most people in America and many other countries feel anime is for children or porn.

 

Response

As I have stated before my subject for my project was to defend anime as a legitimate art style.  Like Price wrote, “Westerners often treat animation, or ‘cartoons’, with such hierarchical disdain that forces it to be labeled as an inferior art form”, which has happened to me(Price, 154). Many of my art teachers, throughout my life, have told me my art style was too childish or I should not draw anime. I would often question why and it would always frustrate me. I think if more people were like Price and saw how “ child-only animated fare makes up only a small portion of the greater art form as a whole”, then maybe they would change there minds!(Price, 154) I loved that fact he stated this as well as the fact that he is Japanese. I feel since he is he gives us a more up close and personal view of what animation is really about. This is another reason why I chose this article. As for the more adult content Price explains that “anime artist [use anime], “1) as a realm of fantasy in which pent up repression can be released in an exciting and justifiable arena, and 2) for a direct confrontation of  those  very issues that plague human society and consciousness” (Cartoons from Another Planet,159). I agree with this statement as I feel that is what all art does. It allows us to convey and feel emotions that other wise might not be acceptable. This is why anime is a respectable and legitimate art form.

Final Project Paper

Lynee Hart

Mr. Cox

ENG 104

11/28/2011

 

Anime IS Art!

 

“Oh, you draw anime…” said my teacher with a less than enthusiastic tone. I wanted to ask her, what does that mean, but I held it in. This was a reaction I would receive many times in different art classes and, every time, would question their response. Why do so many people, in and out of the drawing community, view anime as if it is not a respectable art form? Was it because of the association with children’s cartoons? Could their misconceptions of the porn industry in anime, if this what guides their preconceptions? They may have not made these assumptions if they had seen all the improvements of anime, the different types, the popularity of it here in America and how many artist are anime artists today. Or maybe, it is because they do not even understand what it is and where it came from.

Anime can be described as “the Japanese abbreviated pronunciation of ‘animation’”, while in English-speaking countries, it refers to Japanese animated cartoons (wikipedia.org). These Japanese cartoons had their beginnings in the 1917, but “many original Japanese cartoons were produced in the ensuing decades, the characteristic anime style developed in the 1960s—notably with the work of Osamu Tezuka—and became known outside Japan in the 1980s”(Wikipedia.Org). So as anime began to climb in Japan it slowly began to get noticed in America but the programs America was given at first was children’s anime.

Most Americans, and many other countries, know of Pokémon. Pokémon was on of the biggest cartoon shows to come out of Japan. Along with shows like Robotech and Star Blazers, some of the first shows to come to America, created an idea that Japanese cartoons was only for kids.  This being ironic since Movies from Disney was considered innovations in comparison. Maybe another reason people viewed them as just kiddy television was because of the unusual stories.

To most the Japanese culture and themes may seem very odd or weird, especially since they “don’t always appear in the most obvious form” (Anime Explosion!, prefix 10. In anime the culture and themes are infused into it, even in “children’s” animes. Stories of magical people, lands, talking animals, magic and so on are things mostly in kid movies. This is also ironic consider a majority of anime is adult orientated. If a viewer from America sees a man bow to another man or a character call another by a prefix it might seem odd since we don’t to that. So out of that confusion they may just give up on anime and just brush it aside. But this is not how all people react many people love anime for this reason. The differences in culture are what fascinates them. In fact the” various fan subcultures do is provide a space for community [and] they allow people of diverse background and experience to form bonds around a common interest” (The World of Anime Fandom in America, 1).There is another part of anime, specifically how the character look and act, that draw others attentions.

In Japanese cartoons the characters can very form artist to arts but most follow the usual big expressive eyes, unique hair, clothes, deep character development and facial expressions. The face changes are drastic and often funny. Many call these facial changes a” ‘face fault’, in which they display an extremely exaggerated expression” (Wikipedia.org). So the characters “may exhibit a “vein” or “stress mark” effect, where lines representing bulging veins will appear on their forehead” (Wikipedia.org). This may be another reasons adult may not like it, because of its “cartoonish” nature, but it is one of the reasons I love it. Over the years more and more people have come to love it as well.

One study found that “60 percent of all T.V. cartoons worldwide are anime” (Anime from Akira to Howls Moving Castle). An African company will “soon launch a 24-hour anime channel…” thus showing the popularity in other parts of the world (Anime from Akira to Howls Moving Castle). Every year there can be multiple conventions for anime which grow in size each year as well. The first organized convention took place in “North America in 1977, which created a fan club to help promote anime” (Watching Anime, 22). As more and more people took interest in Japanese animation, it seemed the more that came over seas.

With in increase of anime came the increase in genres aw well. More people began to watch more drama, action romance and sci-fi instead of just programs for young adults. Japanese animation has even more of a break down between age, gender, and sub-genres. For young girls there is shojo and for boys, shonen (from Akira to Howls Moving Castle).The increase in popularity as led to cultures mixing ideas as well as the mix of media.

In America one of the genres used in books, movies and other forms of entertainment is cyber punk. Cyber-punk can be descried as “is a postmodern and science fiction genre noted for its focus on “high tech and low life” (Wikipedia.org). Cyberpunk plots often center on a conflict

among hackers, artificial intelligences, and mega corporations, and tend to be set in a near-future Earth, rather than the far-future settings or galactic vistas found in novels such as Isaac

Asimov’s Foundation or Frank Herbert’s Dune.The settings are usually post

industrial dystopias but tend to be marked by extraordinary cultural ferment and the use of technology in ways never anticipated by its creators (“the street finds its own uses for things”).Much of the genre’s atmosphere echoes film noir, and written works in the genre often use techniques from detective fiction (Burning Chrome, 1981). Japan took notice of this genre and has successfully made many cyberpunk animes. The “[re]discovery of Japan [in American cyberpunk] changed the Japanese view of Japanese culture… [in that] America cyberpunk enable Japan to find itself in the future of the West” (Kumiko Sato). This binding of the culture genres helped American and Japanese audiences alike to come together.

Another collaboration brought together by anime was that of anime-styled video games. Although they may be more popular in Japan, as of now, they are making a popularity rise here in America and other countries. This is because almost “every popular manga and anime have been adapted into video games in  Japan, with increasing numbers of them being imported into Europe and North America” (Video Games and Their  Relationship with Other Media,4). Though video games are a popular anime venue there are still forms of anime that many find distasteful.

Porn has always been an awkward and rather touchy subject, some want it banned from the entire internet while others argue such a thing is an attack on their rights. Anime is also subject to such controversial arguments. As stated before anime has many different subjects and some of it sex. For Americans “one of the most shocking features of anime is this frequent depiction of sexual imagery and graphic violence” (Cartoons from Another Planet, 159). An ironic fact of all of this is America is the country in high demand of anime porn, or Hentai as it is called in Japan. I will agree with the vulgarity of the pornography in anime (being the unwilling victim of it), but I also feel there is another side to this argument. What many may not consider is how anime is a medium used by anime artist, “1) as a realm of fantasy in which pent up repression can be released in an exciting and justifiable arena, and 2) for a direct confrontation of  those  very issues that plague human society and consciousness” (Cartoons from Another Planet,159). In fact here have been studies finding that “in the United States there has been a consistent decline in rape over the last 2 decades, and in those countries that allowed for the possession [porn]…”( Porn, Good for Us?). Many people can see past these misunderstood preconceptions and find a real love for anime, like anime artist.

Over the history of Japanese animation that has been a rise of anime artist who aspire to create their characters, manga and T.V. shows. Some American fans have grown up making career out of it. This is more possible today thanks to technology. The amateur manga movement is remarkable in that it has been organized almost entirely by and for teenagers and twenty-something’s. Amateur manga is not sent to publishers to be edited and distributed. It is, instead, printed at the expense of the young artists themselves and distributed within manga clubs, at manga conventions and through small adverts placed in specialist information magazines serving the amateur manga world.  Through the 1980s it grew to gigantic proportions without apparently attracting the notice of  academia, the mass media, the police, the PTA, or government agencies such as the Youth Policy Unit (Seishonen Taisaku Honbu), – which were established precisely to monitor the recurring tendency of  youth to take fantastical departures from the ideals of  Japanese culture(Kinsella 1).

In conclusion anime is an art form that should be respect for all that it adds to our cultures and societies. Japanese animation brings us together through cultural sharing, mixed media, thoughts and shared ideals. Japanese animation also teaches us to look past our preconceptions. Anime most importantly is able to invoke emotions that we all can feel, no matter what age, religion, culture or race, like all art should.

 

 

Works Cited

“Anime.” Wikipedia, the Free Encyclopedia. Web. 29 Nov. 2011. <http://en.wikipedia.org/wiki/Anime&gt;.

“Cyberpunk.” Wikipedia, the Free Encyclopedia. Web. 29 Nov. 2011. <http://en.wikipedia.org/wiki/Cyberpunk&gt;.

Diamond, Milton. “Porn:good for Us?” The Scientists. Web. <http://classic.the-scientist.com/article/display/57169/&gt;.

Drazen, Patrick. Anime Explosion!: the What? Why? & Wow! of Japanese Animation. Berkeley, CA: Stone Bridge, 2003. Print.

“History of Anime.” Wikipedia, the Free Encyclopedia. Web. 29 Nov. 2011. <http://en.wikipedia.org/wiki/History_of_anime&gt;.

Napie, Susan. “The World of Anime Fandom in America.” The World of Anime Fandom in America 1 (2006): 47-63. Print.

Napier, Susan Jolliffe. Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. New York: Palgrave Macmillan, 2005. Print.

Patten, Fred. Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Berkeley, CA: Stone Bridge, 2004. Print.

Picar, Martin. “Video Games and Their Relationship with Other Media.” Video Games and Their Relationship with Other Media. Print.

Price, Shinobu. “Cartoons from Another Planet: Japanese Animation as Cross-Cultural Communication.” The Journal of American Culture 24.1-2 (2001): 153-69. Print.

“Stylistic Crossings: Cyberpunk Impulses in Anime”” Stylistic Crossings: Cyberpunk Impulses in Anime” Print.

Sulliva, Jeremy. “Anime: The Cultural Signification of the Otak.” Anime: The Cultural Signification of the Otak (2005). Print.

 

 

J-Pop(Encounter 5: Electronic Music Encyclopedia)

Lynee Hart

Mr. Cox

ENG 104

11/20/2011

JPOP

 

            J-pop, or Japanese music, is “… refer to all Japanese popular songs”, including techno (wikipedia.org). Japanese techno or J-pop has been described as upbeat and energetic by some and has it roots mixed in with many other genes that will be further discussed. The other genes as well as the culture and time period also play a major role on J-pops unique sound. This unique sound is further created by the different artist, their instruments of choice and the themes or imagery the artists use. J-pop would not have even existed though if it were not for the areas and cultures that influenced it,

Japanese Pop had its beginnings in the”… 1970s in Japan [s]everal Japanese musicians began experimenting with electronic music, including electronic rock” (wikipedia.org). At first this change to Japanese music was mostly underground, but thanks to artist like Isao Tomita and Eikichi Yazawa this new style became more mainstream. Isao Tomita has been noted as being the pioneer for the style and has influenced many artists. As more and more of artist who became influenced by the pioneers of J-pop the more popular it became, but this popularity would have never occurred if not for the first types of the techno gene.

J-pop, or Shibuya-Kei as it called “… originated in the Shibuya district of Tokyo [and] is best described as a mix between jazz, pop, and electro-pop” (wikipedia.org). Shibuya-Kei`s jazz and pop influences came from the 90`s other euro-beat, trance and techno dance genes. The 90`s euro-beat, trance and techno came from the classics such as funk, soul, blues and jazz (Iskur’s Guide to Electronic).  The Shibuya district is full of night clubs and social places where the up beat music fits right in, the “…early 1990`s  the hit charts [in] Shibuya …”  were those based off of J-pop(Cultural Studies and Cultural Industries, 255).Another way Japanese pop has found a way into many different cultures hearts is through its films, and television shows.

From children to adults many of them place video games or watch Japanese cartoons, referred to as Anime, and in many of them there is J-pop. When these games and T.V. programs came to America, and many other countries, so to did the music and the interest for them. Some of the most popular games such as “Street Fighter, Tekken and Final Fantasy” are just a few of the games that have J-pop in them(Jpop!, 5). Many people, my self included, first heard a J-pop song through one of these mediums. Thus, this introduction increased the awareness of the genre and many artists in Japan use this style today.

Japanese pop artist of today, such as Gackt or Hikaru Utada, are very famous in many cultures. Both artist use electronics to alter their voices or have upbeat music. The guitar and many digital devices such as synthesizers and auto tuners are used. Sometimes artist simply use technology just to speed up or slow down their voice, they even may do this to the music itself. These changes add much to the meaning and the themes of the songs themselves.

Like in all pop music from any culture, J-pop can be about anything and everything. The songs can still have an upbeat tempo but be very serous. Gackt, the artist mentioned early has a few songs like this as well as very happy and sad ones. Again they span all over the spectrums of emotions and themes. This being said, the sad songs, in the eyes of the Japanese, may not be sad at all. If a song is about a persons death and it still has a somewhat up beat feel that is because the Japanese do not view death as a negative thing but as just a another stage in life. Another part of the culture that may or may not influence the songs is how they view personal relationships. A sad love song is common in Japan, as it is in many cultures, but the song isn’t only about the negative feeling but how they overcome them. Gackt`s song is a great example of this. In one of his sad love songs he sings about a lost love and how he will become stronger from it singing, “One day, I will prove to you. That I can over come you” saying how he will get over it and they can be friends again (Gackt). Songs like these and many others show many details about the culture and the people. This music has influenced many people including myself.

My first encounter with J-pop was during an Anime show, the opening had a song that was upbeat and catchy. Though this was my first encounter I did not start loving it until I heard a song by Gackt. Gackt is more pop rock, while still being upbeat, and it appealed more to my genre of music that I was used to. It was the mix of the up beat nature with the rock that made me enjoy it. Hikaru Utada is another favorite artist of mine; she has made many songs to my favorite games. There are not many artists I like yet but I always keep looking for new artist. I find her voice both beautiful and soothing. I often listen to it to boost my mood. This is what also got my sister into the genre and we both listen to it now. Another reason I was drawn to Japanese pop was the language itself, Japanese has always been beautiful to me. I instantly looked up the translated lyrics and found it the structure of the songs more story-telling in a way. This also was very interesting to me. Ever since then I have been listening to J-pop.

In conclusion Japanese pop is an up-beat gene that was born from techno, jazz and other classics and its culture. This shows through the artists lyrics and how they alter their voices and music. It once was an underground genre and is now an up and coming music in all countries. The music continues to influence other artist and listeners alike and is deep in different forms of media such as games and T.V. shows. J-pop is here to stay and as the future of technological music advances so will Japanese pop music.

Examples of J-Pop

Isao Tomita

Hikaru Utada

Gackt

Links

J-Pop Artists:

Isao Tomita- http://en.wikipedia.org/wiki/Isao_Tomita

Gackt-http://en.wikipedia.org/wiki/Gackt

Hikaru Utada-http://en.wikipedia.org/wiki/Hikaru_Utada#Musical_style

Resources Links:

J-Pop-http://en.wikipedia.org/wiki/J-pop#1990s:_Coining_of_the_term_.22J-pop.22

Ishkur`s Guide-http://techno.org/electronic-music-guide/

Shibuya-Kei(J-pop)-http://en.wikipedia.org/wiki/Shibuya-kei

Cultural Studies and Culutral Industries-http://books.google.com/books?id=z-ZsUQoKoDUC&pg=PA225&dq=shibuya-+kei&hl=en&ei=x3vJTui8CMrDgAeGo71r&sa=X&oi=book_result&ct=result&resnum=4&ved=0CDgQ6AEwAw#v=onepage&q=shibuya-%20kei&f=false

Japan Pop!-http://books.google.com/books?hl=en&lr=&id=xwJw1q0unYAC&oi=fnd&pg=PA1&dq=history+of+japanese+pop+music&ots=jf80xJEkkM&sig=8wq4onEWZPJFoB68n9X02Qu9LVk#v=onepage&q=history%20of%20japanese%20pop%20music&f=false

Works Cited

Berry, Chris, Nicola Liscutin, and Jonathan D. Mackintosh. Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region Makes. Aberdeen, Hong Kong: Hong Kong UP, 2009. Print.

Craig, Timothy J. Japan Pop!: inside the World of Japanese Popular Culture. Armonk, NY: M.E. Sharpe, 2000. Print.

“Hikaru Utada.” Wikipedia, the Free Encyclopedia. Web. 21 Nov. 2011. <http://en.wikipedia.org/wiki/Hikaru_Utada&gt;.

“Ishkur’s Guide to Electronic Music | New Home on Techno.org.” Digitally Imported – Addictive Electronic Music. Web. 20 Nov. 2011. <http://techno.org/electronic-music-guide/&gt;.

“J-pop.” Wikipedia, the Free Encyclopedia. Web. 21 Nov. 2011. <http://en.wikipedia.org/wiki/J-pop&gt;.

“Shibuya-kei.” Wikipedia, the Free Encyclopedia. Web. 21 Nov. 2011. <http://en.wikipedia.org/wiki/Shibuya-kei&gt;.

Lab Activity (Nov 9)

 Sometimes, the best way to learn how to write effectively is to immerse yourself in the powerful, vivid, effective writing of others.  We practiced close reading of an article when we read Shinobu Price’s “Cartoons From Another Planet,” but then we focused largely on content.  Today, I’d like you to look at one of the following essays in detail — but this time we will pay attention to the specifics of how it is put together as a piece of writing.

1.         Read through one of the following essays (or choose another from those we have read already — e.g. Le Guin!).  Read ittwice– skimming first, to get a sense of how the piece works as a whole, then re-reading for details and how the essay is organized on a paragraph and sentence level.Gloria Anzaldua — Borderlands
   Mary Roach — Packing For Mars
   Carl Sagan — You Are Here
   
2. Then, please write a response to the following questions/themes/ideas:Think about how the essay you’ve read is organized.  How is it organized:

*On the largest scale — where does it start and end?  What happens in between?  What major points does your author make?  What do they elaborate on?  How does your author transition between major ideas/paragraphs?  How does your author go beyond the 5-paragraph essay format?  What can you learn from how your author’s paper is organized?

*How do the individual paragraphs work?  How are the sentences in the paragraphs related?  How do multiple paragraphs combine to form passages in the essay that work together or that speak to a common idea?  How does your author develop an idea in a paragraph?  Do they do any sort of analysis?  Do they elaborate on ideas?  How?  What makes one sentence difference from the next?  What does each paragraph and sentence contribute to the reader’s total understanding of the main ideas?

*Then, consider how sentences are working.  How does the author write sentences that go beyond simple (subject>verb>object) constructions?  Are the author’s sentences varied and interesting?  How?  What makes them so?  How do sentences transition between each other (like paragraphs)?  How do ideas build from sentence to sentence?

*Finally, reflect on how the ideas of the essay relate to our class themes.  Overall — how can you interpret what this essay is saying, after you have looked at how the essay says it.  How does what the essay says relate to how it is said?

1. In answering these questions, you will be practicing a form ofrhetorical analysis — or looking at how writing works.  The major skill I want you to practice in responding to these questions is the giving of examples and the analyzing of examples.  Include quotes to show your reader what passages you’re talking about.  Use the Purdue Owl and Writer’s Help to cite sources and integrate quotes effectively.  Then talk about (analyze) those passages according to the questions above.

Most importantly, organize your own response.  The purpose of this assignment is to practice close, careful reading and awareness of how we can read and write carefully and in detail.  Before and as you write your own response — consider how you will organize your ideas broadly on the essay level, the paragraph level, and on the level of the word and sentence.  Think about the choices you make as you write.  Self-edit as you go.

1. Expectations:Length: 300+ words
   Carefully considered writing that effectively analyzes your chosen essay by quoting and discussing specific passages, sentences, word choices, etc.
   Detailed attention to how your own writing is working, how it is organized, as well as to the self-editing process — in an awareness of your own style.
   A minimum of typos/errors.
   Due Date: Friday 11-11

How Good Writing Looks

            “When Shakespeare was writing, he wasn’t writing for stuff to lie on the page; it was supposed to get up and move around” (Ken Kesey). For many artists of writing this is true. The words they type or write down are supposed to convey something more and move you. Le Guin is one of those writers, her works are supposed to make you think more and find a deeper meaning. “… (H)er works explore Taoist, anarchist, ethnographic, feminist, queer theory, psychological and sociological themes” giving them many themes(Wikipedia). In one of the short Essays it discuses the ideas of Utopia and what a Utopia is. Le Guin also talks about the principals of Yin and Yang or a balance of good and evil and how it affects a Utopia. Let us first look at her ideas of what a Utopia is and how she presents them.

A Utopia is a “an ideal place or state” according to Dictionary.com, Le Guin feels the same to a point. But when she writes about it her sentence structures leads most readers to see it a bit differently. Le Guin states her opinions and then sets apart her quotes from other writers and scholars to make them stand out more. For example, Le Guin writes, “In order to believe in utopia, Bob Elliott said, we must believe

‘That through the exercise of their reason men can control and in major ways alter for the better their social environment…. One must have faith of a kind that our history has made nearly inaccessible’ (http://theanarchistlibrary.org). Le Guin also uses multiple beliefs to support her ideals. Such as Taoism, anarchy, ethnographic, feminist psychological and sociological themes as stated earlier. This gives the readers a sense that the author knows what she is talking about and helping to persuade them. She continues to use this method to explain the connection of Yin and Yang balance to a Utopia.

Le Guin states that Yin and Yang of a Utopia is something that seems unattainable by humans since we cannot focus on any point in time, space, or ideals. She brings in the idea of Coyote to do this, using Coyote as a way to show a manifestation of ourselves. The part of ourselves we do not want to admit to. “Coyote walks through all our minds. Obviously, we need a trickster, a creator who made the world all wrong. We need the idea of a God who makes mistakes, gets into trouble, and who is identified with a scruffy little animal” (http://theanarchistlibrary.org).

In conclusion Le Guin is a writer of movement; she wants you to do more than see words on a page. She does this through her sentence structures as well as the use of quotes. Another way is through metaphors and ideals. She does all of this to make us see the words come to life and connect to us.

 

Works Cited

Coming Back From the Silence.” Interview by Jonathan White. Le Guin Interview. Sierra Club Books, 1994. Web. 11 Nov. 2011. <http://www.swarthmore.edu/Humanities/pschmid1/engl5H/leguin.interv.html&gt;.

Interview

Le Guin, Ursula K. “A Non-Euclidean View of California as a Cold Place to Be.” A Non-Euclidean View of California as a Cold Place to Be (1982). The Anarchist Library. Web. 11 Nov. 2011. <http://theanarchistlibrary.org/HTML/Ursula_K._Le_Guin__A_Non-Euclidean_View_of_California_as_a_Cold_Place_to_Be.html&gt;.

Journal Article

“Writing Quotes Page 7 – BrainyQuote.” Famous Quotes at BrainyQuote. Web. 18 Nov. 2011. <http://www.brainyquote.com/quotes/keywords/writing_7.html&gt;.

Critical excursion 1-Guidefinding:

You may be wondering how I got to where I am today in terms of skills and the answer is practice and a lot of tutorials! The site I go to for reference pictures and a step-by-step tutorial is DeviantART. DeviantART is a website for artist of all kinds from photography, traditional drawing, and painting to digital art. The site itself has advanced over the year and as of today I feel it has become more professional. They have added new pages for online-portfolios and tutorials. Many artists, like me, use them to improve their style and techniques.

My DeviantART page!:

~WARNING MY PAGE CONTAINS MATURE CONTENT!~

http://vivalegato.deviantart.com/

Another resource I and other artists use to improve our skill is how to draw books. My personal favorite is “How to Draw Manga” by Tadashi Ozawa. In the book it gives instructions as well as detailed step-by-step visuals on how to draw different things in anime and manga. The subject matter in each book can range from how to draw women, men, fighting, robots, perspective, animals, samurai and clothes. These books have really improved my art as well as my technique.

Encounter 5: Anime: Cartoons From Another Planet

Japanese Identity:

Is anime in some way essentially Japanese? How does it establish or emerge from a specific cultural context, society, or history? Does it present or represent a Japanese (vs. American, e.g.) identity? Or, how does it transcend (or not) cultural boundaries? Consider the current worldwide popularity of the medium. Explore the connections between the medium (of Animation) and its origin and audience (Eastern or Western). Make an argument for or against the “Japanese-ness” of Anime, considering how things like dubbing into English and writing for English-speaking markets changes the nature of the product.

In developing your argument, make reference to (refer to the ideas of, quote, discuss) the following:

•  Price – “Cartoons From Another Planet.”
• At least one of the other critical articles posted to “Encounter 5 [Part 2].”
•  At least one anime series from each section (use mine or find your own that would fit!).
• At least one source that you have found (that I did not provide you).
• Author a response of at least 1,000 words.

Japanese Identity Leave it alone!

   “Anime is deeply embedded in all aspects of Japanese society: folklore, legends, history, religion, moral assumptions, and aesthetic standards…” (Price, 156).  The reason for this is “… that anime is created with only the Japanese audience in mind”(Price, 156). Even though anime creators have this intent many still feel this art form can transcend cultural-barriers and is an important part of what anime is. The issue of the “Japanese-ness” in anime is something I believe can transcend cultural boundaries.  Anime should be left alone in its natural state, if you take out all of the cultural references, religion, language and overall content your insulting the creators and its people. Anime, however, can also be less culturally infused.

   There have been many people who say Anime is essentially Japanese and I agree with that to a point, not all Anime is. The show called Fullmetal Alchemist is one of those Anime`s that is not drenched in Japanese themes. The lead characters names are Edward and Alphonse Elric, non-Japanese names, and they use alchemy, a science used in many different countries and are in a time that is their own and not specific. For the most part this show may be considered “American” Now, I am not saying that all Anime is non-Japanese ,in fact, most of it is Japanese culture infused.

The show Inuyasha is a good example. The story is set between present day Japan and the warring feudal era, the time of samurai and demons. The main character Kagome must travel to the feudal era, through a magical well, to help a half-demon collect a sacred jewel. In this show some demons look human, like in Japanese folklore, while others are monster-like.

The well she travels through is part of another Japanese belief. The characters eat Japanese food, encounter famous Japanese legends and is all around full of Japanese customs. Many believe these cultural aspects can be understood even if you do not know the culture that well.

Miyazaki, a famous anime artist,believes that no matter what culture you are anime can be understood by all people. Miyazaki was once asked if he was surprised that children audiences understood and loved the pace and cultural references in his movies. He simply replied,” no. Not really. It just means that Japanese and American children are alike.” even though there are vast cultural differences (Princess Mononoke in U.S.A., 1999). Crispin Freeman, a voice actor for Animes, also holds this sentiment but on a religious aspect.

You can watch it here!

Start the video at 4:24!!! I couldn`t figure out how to cut it, sorry!

Crispin Freeman attended many conventions and programs to understand more about anime. After many of these lectures he began to see how anime artist use ” [t]he religious mystic to achieve an experience of radical unity with the divine” (Lunning, 274). Freeman believes that through the art of anime we as a people, no matter what culture, can come together. So in this sense anime is a way of understanding Japanese culture as well.

Anime is a great way to show some of the Japanese customs, beliefs and cultural ways, since it is so influenced. The characters will often “attend Shinto festivals, eat Japanese food, and sleep on futon on tatami floors”(Price, 156). If a Japanese reference is made or there is a Japanese object you do not know of, usually the creator will add in a way to explain it. The T.V. shows or movies also add in the Japanese language, even in the American versions. Often characters will add prefixes to the end of names. In fact the way of speaking is a good window into their culture. The use of Sama at the end of a characters name shows a sign of respect. Usually in manga, in the back of the book, there will be a dictionary for all the Japanese terms. So, anime, I feel, has some learning value to it when incorporated with its natural culture. The culture aspect is also a natural part of anime, since it is from Japan it should have Japanese themes.

Our cultures influence greatly what we incorporate into our art and writing.  A European artist might draw a famous man with more modern clothing to fit his society, while a Japanese artist may draw him with a kimono on, even though that is not the correct way to portray that person. We always put in some element of our society into out works. So it is an inevitable part of human nature to add what is natural to them in their programs. So, when you suppress or take that out of the show it takes away from the artists ideas.

Many anime shows are “Americanized” when brought over seas. I feel that doing that to an artist or writers work is wrong. By doing that you are taking away what the artist had in mind and by changing the picture or words you could change the meaning.  Some ways that anime is “Americanized “is simple item switches.  For example, cigarettes are replaced with suckers; some Japanese food is switched with American food, mature content may be edited out and “[a]lcoholics were now translated as drinking water instead of sake…” even if the bottle is labeled sake in Japanese characters (Price, 161). Word choices in the dialog are also changed when translated into English, thus furthering the original focus. Many anime artists, including Miyazaki; feel such changes are incredibly rude and unorthodox.  Miyazaki even made a point of it by making a contract with Disney stating that, unless overviewed, they could not produce his movies. He did not want the Disney animators changing his vision.

In conclusion anime should have it cultural roots intact, even when coming to America. Anime, with its cultural richness, can help us break cultural barriers and teach us more about each other. Japanese animation can teach us more about religion and what it means to us and about what we have in common. Anime needs its heritage and cultural material should stay and not give in to big corporations. As Miyazaki put it, “[on the future of hand-drawn animation] I’m actually not that worried. I wouldn’t give up on it completely. Once in a while there are strange, rich people who like to invest in odd things. You’re going to have people in the corners of garages making cartoons to please themselves. And I’m more interested in those people than I am in big business” (Hayao Miyazaki).  If people do not give up in anime it will thrive in its natural state!

Works Cited

Arakawa, Hiromu. “Fullmetal Alchemist.” Fullmetal Alchemist. Aug. 2001. Television.

Lunning, French. “Giant Robots and Superheroes: Manifestations of Divine Power, East and West An Interview with Crispin Freeman.” Lunnin Mechademia Volume 3 (200): 274-82. Project Muse. Web. 21 Oct. 2011. <http://interstellarsprawl.files.wordpress.com/2011/10/lunning-frenchy-giant-robots-and-superheroes.pdf&gt;.

Price, Shinobu. “Cartoons from Another Planet: Japanese Animation as Cross-Cultural Communication.” The Journal of American Culture 24.1-2 (2001): 153-69. Print.

Princess Mononoke In U.S.A. Perf. Hayao Miyazaki. 1999. Youtube. 5 Aug. 2007. Web. 21 Oct. 2011. <http://www.youtube.com/watch?feature=player_embedded&v=lmhxQszjGE8&gt;.

Takahashi, Rumiko. “Inuyasha.” Inuyahsa. 13 Nov. 1996. Youtube. Web. 21 Sept. 2011. <http://www.youtube.com/watch?v=Scq1tydQMjM&gt;.

Lab Activity 9-28: Comics, Visual Rhetoric, and Scott McCloud; Looking Around

Part 1: After having read Scott McCloud — for your own blog — write a brief summary of the passages I’ve given you.  Focus on taking out  McCloud’s main ideas.  What are the big ideas he presents?  Thematically — what ideas are important and relevant in terms of  the topics of representation, close reading of systems, and narrative we’ve talked about so far — and how might we use his ideas to interpret texts in the future?  How does McCloud help us readimages?

Follow his text in detail as you read.  Then summarize what he says, giving only his major ideas.  Write this out — but you DO NOT have to write in essay from.  Use bullets, numbers, or some other organization that is visually useful in dividing ideas, if you prefer.  Describe the main ideas you give.  Offer this as both a means of understanding what McCloud has written and also a guide to how to apply him to your own future readings (of comics, but also other texts)– and we will look at some on Friday.  (100-200 words)

Part 2: Then, offer some thoughts on McCloud’s ideas and style.  What did you think of him — not just in the sense of ‘did you like it,’ but what did it make you think?  How did it expand (if it did) your vocabulary for talking about texts, representation through media, and narrative?  (100-200 words)

If you don’t finish this in lab today, do this before Friday, please!

 

Part 1

McClouds comic was very interesting and I am glad I read it. I agree with many of his viewpoints and ideas. He states that comics are not just pictures and some dialog but a complex balance between icons, symbols, abstract, word choice, environment, style and realism. Depending on how much detail some one puts into his or her art gives an impression. More simple human shapes, like stick figures, are more universal since that stick figure is so abstract it could be anyone. Adding to that most people put themselves in that less detailed human shape than a more realistic one. McCloud emphasized this thought and felt the more abstract a character was the more a person would feel they could relate.

Part 2

I found McClouds ideas on people’s perceptions on art style affects and word choices very interesting. His suggestion that comics that have characters who are more abstract would be more appealing is true. I often put myself in the shoes of characters that are not to specific looking. I also do this with characters with certain personality traits, which is something I feel he also suggested by saying word choice was important. You can tell a lot about a person’s character by the way they talk of maybe even don’t. Word choice is also important for story in general, sometimes simple is better, but it’s all about how your words mix with your style.

Princess Mononoke Miyazaki Interview

Part 1

Part 2

Princess Mononoke (It`s only like my favorite movie…EVER (O3O)