However, these formulas are again detached from their moorings in specific narratives and deployed over different kinds of spectrum. It makes creating things much less intimidating! I'd be interested to see more contemporary writings. But, as Lyotard noted, the grand narratives of modernism are dead. But the Database method has no narrative at all, and people relate to it in a way that's hard for me to sum up. You don't have to be an otaku to understand this book, it is basically just Azuma picking a specific subculture that he felt predicted our transition to a truly postmodern state. Nothing produced by the database animal has a deeper meaning than the database, and the intensity of works no longer comes from message or narrative but from the combination of different elements in an interesting fashion. His analyses are sound and informative but he seems to find it difficult to see that Otaku thinking can co-exist with a much more grounded relationship with the real world than modernist ideologies have ever permitted their adherents to do.
If you are familiar with Neo Profound examination of how japanese otaku culture illustrates a post-modern way of life. What Azuma fails to understand are the power relations implicit in the internet revolution insofar as it allows us choices about value. It's a bit cynical, a bit authoritative, but I highly recommend it regardless. A clear summary and overview of base ideas of this book as it does have moments of brilliant insight would be more valuable than the original, which is ironic since the author postulates a natural creation of simulacra in the postmodern era. And this, argues Azuma, is how the cultural phenomenon of moe was born.
Instead, the otaku mines the series for information to plug into a mental database that also contains information on similar shows. It seems that the kids are sharper than the academics on matters of actual content. Azuma offre una brevissima cronistoria critica dell'approccio otaku all'animazione giapponese, e dei legami tra i due, cronistoria ben più sensata di quanto si legge di solito sull'argomento; difatti prende una decisa posizione contro il punto di vista continuista, cioè quello che vede l'animazione e il fumetto giappi eredi diretti di solito non viene neanche spiegato in che modo delle arti popolari dell'epoca Edo. Mark Vicars and Kim Senior, 'Queering the Quotidian: Yaoi, Narrative Pleasures and Reader Response,' in Boys' Love Manga: Essays on the Sexual Ambiguity and Cross-Cultural Fandom of the Genre, ed. A large, overlying social structure or metanarrative is replaced with a multiplicity of subjective narratives that overlap and reflect different grand narratives.
I wouldn't recommend this book to anyone because it's just too specific. We're military fans, not soldiers! The second generation, born around 1970, consumed a number of more diversified products, but both of these generations remember a time when each text was part of a grand narrative, when meaning was less about the ability to collect the entirety of a commodified property and more about the large scale philosophies of the world. A social bond, Lyotard claims, is established through language and discourse, through the creation of a referent, an asker and addressee 15. The Tree method involves a central narrative that shapes people's individual experiences by an inner core of truth. A very insightful and intelligent look at what effect otaku culture has on the world and individuals themselves—as well as looking at where that culture came from, amongst other things. In the second section, he provides examples of how it works. Viola looked to technology, the Greeksâ technÃ©, for the means to âtrickâ nature into revealing her secrets, to translate revelation metaphysically into art.
More broadly, Azuma argues that the consumption behavior of otaku is representative of the postmodern consumption of culture in general, which sacrifices the search for greater significance to almost animalistic instant gratification. So this explains where that comes from. Because of the absence of the emotional pull of grand narratives, the otaku can substitute one element of his database for another. I think the audience for this book is pretty small but I'd recommend those interested. Science and narratives, he claims, counter each other naturally but the role of philosophy comes in as a discourse when science is faced with the task of self-legitimizing its rules. This book is a must read for anyone who used to be into anime but wondered what happened. Robert Hurley, New York: Pantheon Books, 1978, p.
I really think the translators could've found a better title for this. The third and final section of the book, however, is a bit of a mess. The power has shifted to the person desiring and this confuses a whole class of intermediaries who made choices for others. I'd be interested to see more contemporary writings. These generations of otaku, and indeed Japanese society at large, sought to create narratives of national and international dominance, and unifying theories of Japanese success. The story of each individual protagonist such as Char or Amuro that plays out across the episodes is a small narrative as well. Azuma manages to communicate his ideas a Ever since attending a speech about Hiroki Azuma and his work, I've wanted to read this book.
A recording studio assistant in his twenties, one of several real people interviewed in the otaku video, was asked about the first time he had sex with another: 'I'm still a virgin, but so what? In Japan, obsessive adult fans and collectors of manga and anime are known as otaku. A person is thrust into a world so much was elucidated by Heidegger which is constructed by others. He also cites German philosophers quite a bit, although he always returns to his own theory and introduces new ideas of his own. Hiroki Azuma not only manages to clearly explain complex postmodern theories from French philosophers, but also apply these to the Japanese subculture of the otaku by providing concrete examples, such as specific anime series or films. In this mind-boggling book on Japan's postmodernity, Hiroki Azuma conjures the ghost of the famous post-Hegelian Kojève, whose theory gets revived and even 'animated' here to reinterpret the anime-saturated realism that dominates our global Japanized reality studio.
Two trojan horses are at play here. It started off strong, but by the end I found myself frustrated by how repetitive it became. Otaku are emblems of the postmodern era because of their simulacra-based consumerism and their changed relationships to grand narrative. Whether it was just a typical lonely girl, a shy schoolgirl crush, a transgressive sort of lolita, or more-when she met with fan culture, she changed. The diagrams and mechanical specs included in many of the toy models of the robots may also be considered small narratives. The section on multiple personality as analogue for Otaku modes of thinking is mildly embarrassing though this is a rare lapse. Their experience of fan culture is conducted and mediated through the internet, and where the intersection between digital media and fan consumer is complicated by the ability to produce new works while simultaneously consuming.
The modern liberal mind is suspicious of the market and increasingly of the internet except as a directed tool but it actively loathes the idea of persons floating between and around multiple identities and destinies instead of locking themselves into some socially definable category. Speriamo che la traduzione del libro di Azuma riesca a riequilibrare il discorso. He suggests the importance of narrative and textual analysis from modernism has been replaced by an emphasis on the individual elements without historicity including the visual that can be constantly reemployed in new patterns. Otaku: Japan's Database Animals by Hiroki Azuma; Jonathan E. Some arguments are overly-represented or fuzzy, but the writing is a deliberate attempt to be clear. Abel and Shion Kono, trans. I spent 2002-2006 wondering why all the series out were so terrible.