Chapter three investigates the manifestation of Japanese masculinity in Gringo (1987–89), one of Tezuka’s final works. The concept of hybridity is utilized and the case is made that Tezuka ultimately denies his racially mixed characters the benefits of their Japanese identity. Chapter two examines intersections between race and war narratives using Adolf (1983–85, 1995–96 English), Tezuka’s WWII epic about the Jewish Holocaust. Chapter one analyzes Ode to Kirihito (1970–71, 2006 English), and introduces Julia Kristeva’s theory of abjection to show the ways in which Tezuka bestializes his ethnically Japanese protagonists and turns them into a distinct class of subaltern. By investigating three of Tezuka’s mature, lesser-known works from the 1970s and 80s, I will illustrate how Tezuka’s narratives have been shaped by his consciousness of racial issues and his desire to investigate the changing nature of Japanese identity in the postwar era.
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Tezuka Osamu (1928–1989), Japan’s “god of manga” and the creator of such beloved series as Astro Boy and Kimba the White Lion. This master’s thesis explores the construction and mutability of the Japanese race and ethnicity in the print comics of Dr. By introducing various aspects of development of the neglected 60s shōjo manga through the media of weekly magazines this paper aims to forward the recognition of this often overlooked period’s true merits, and contribute to the foundations of a revised and more thorough shōjo manga history.
contents of the magazine other than manga 5. I focus on the changes in the magazine and shōjo manga from several aspects: 1. In the second part of this paper I inspect the magazine Shūkan Margaret as a representative of the mainstream of shōjo manga in the 60s. Next I consider publication history, because accessibility poses as a further obstacle in keeping the works of this period in the consciousness of critics and the general public. First I analyze the critical and scholarly discourse on shōjo manga, which came to focus on the 70s, and consequently deemed the 60s a mere ‘pre-history’. In the first part of this paper I attempt to find reasons for how the creators of and works from the 60s ended up being obscured within the history of shōjo manga.
With the shift to weekly publication frequency in the 1960s the media of shōjo magazines and the shōjo manga serialized in them changed greatly, nevertheless this decade is an understudied period in shōjo manga history.
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