The use of the phrase 'ten thousand years' in various East Asian languages originated in ancient China as an expression used to wish long life to the Emperor, and is typically translated as 'long live' in English. Due to the political and cultural influence of China in the area, and in particular of the Chinese language, cognates with similar meanings and usage patterns appeared in many. A brief description of the manga FAIRY TAIL 100 YEARS QUEST: The 100-year-old quest continues the popular manga “Fairy Tail” or “Fae Tale”, which is called the “100-year-old quest”! After the guild has defeated Zeref, a new adventure awaits her. The manga will help you plunge into the mysterious world of “Fairy Tail”. 1 (one, also called unit, and unity) is a number and a numerical digit used to represent that number in numerals.It represents a single entity, the unit of counting or measurement.For example, a line segment of unit length is a line segment of length 1. In conventions of sign where zero is considered neither positive nor negative, 1 is the first and smallest positive integer. One Thousand Years of Manga Brigitte Koyama-Richard No preview available - 2014. About the author (2007) Brigitte Koyama-Richard is a professor at the University of Tokyo, where she teaches comparative literature and art history. She has published several works on Japanese art. Bibliographic information.

Download comiXology - Comics & Manga and enjoy it on your iPhone, iPad, and. This is your first experience with comics or you've been a fan for years, get ready. Is a new subscription service that allows fans to read thousands of comics,.

Manga (漫画manga) are comics or graphic novels created in Japan or by creators in the Japanese language, conforming to a style developed in Japan in the late 19th century.^[1] They have a long and complex pre-history in earlier Japanese art.^[2]

The term manga (kanji: 漫画; hiragana: まんが; katakana: マンガ; listen; English: /ˈmæŋɡə/ or /ˈmɑːŋɡə/) in Japan is a word used to refer to both comics and cartooning. 'Manga' as a term used outside Japan refers to comics originally published in Japan.^[3]

In Japan, people of all ages read manga. The medium includes works in a broad range of genres: action, adventure, business and commerce, comedy, detective, drama, historical, horror, mystery, romance, science fiction and fantasy, erotica, sports and games, and suspense, among others.^[4][5] Many manga are translated into other languages.^[6] Since the 1950s, manga has steadily become a major part of the Japanese publishing industry.^[7] By 1995, the manga market in Japan was valued at ¥586.4 billion ($6–7 billion),^[8] with annual sales of 1.9billion manga books and manga magazines in Japan (equivalent to 15issues per person).^[9] Manga have also gained a significant worldwide audience.^[10] In 2008, in the U.S. and Canada, the manga market was valued at $175 million. Manga represent 38% of the French comics market, which is equivalent to approximately ten times that of the United States.^[11] In France, the manga market was valued at about €460 million ($569million) in 2005.^[12] In Europe and the Middle East, the market was valued at $250 million in 2012.^[13]

Manga stories are typically printed in black-and-white,^[14] although some full-color manga exist (e.g., Colorful). In Japan, manga are usually serialized in large manga magazines, often containing many stories, each presented in a single episode to be continued in the next issue. Collected chapters are usually republished in tankōbon volumes, frequently but not exclusively, paperback books.^[15] A manga artist (mangaka in Japanese) typically works with a few assistants in a small studio and is associated with a creative editor from a commercial publishing company.^[16] If a manga series is popular enough, it may be animated after or during its run.^[17] Sometimes manga are drawn centering on previously existing live-action or animated films.^[18]

Manga-influenced comics, among original works, exist in other parts of the world, particularly in Algeria ('DZ-manga'), China, Hong Kong, Taiwan ('manhua'), and South Korea ('manhwa').^[19][20]

• 3Publications and exhibition
  • 3.2Collected volumes
• 4Digital manga
• 5International markets
• 10References

Etymology

The word 'manga' comes from the Japanese word 漫画,^[21] composed of the two kanji 漫 (man) meaning 'whimsical or impromptu' and 画 (ga) meaning 'pictures'.^[22] The same term is the root of the Korean word for comics(manhwa) and the Chinese word(manhua).^[23]

The word first came into common usage in the late 18th century^[24] with the publication of such works as Santō Kyōden's picturebook Shiji no yukikai (1798),^[25][26] and in the early 19th century with such works as Aikawa Minwa's Manga hyakujo (1814) and the celebrated Hokusai Manga books (1814–1834)^[27] containing assorted drawings from the sketchbooks of the famous ukiyo-e artist Hokusai.^[28]Rakuten Kitazawa (1876–1955) first used the word 'manga' in the modern sense.^[29]

In Japanese, 'manga' refers to all kinds of cartooning, comics, and animation. Among English speakers, 'manga' has the stricter meaning of 'Japanese comics', in parallel to the usage of 'anime' in and outside Japan. The term 'ani-manga' is used to describe comics produced from animation cels.^[30]

History and characteristics

The history of manga is said to originate from scrolls dating back to the 12th century, and it is believed they represent the basis for the right-to-left reading style. During the Edo period (1603–1867), Toba Ehon embedded the concept of manga.^[31] The word itself first came into common usage in 1798,^[24] with the publication of works such as Santō Kyōden's picturebook Shiji no yukikai (1798),^[25][26] and in the early 19th century with such works as Aikawa Minwa's Manga hyakujo (1814) and the Hokusai Manga books (1814–1834).^[28][32] Adam L. Kern has suggested that kibyoshi, picture books from the late 18th century, may have been the world's first comic books. These graphical narratives share with modern manga humorous, satirical, and romantic themes.^[33] Some works were mass-produced as serials using woodblock printing.^[9]

Writers on manga history have described two broad and complementary processes shaping modern manga. One view represented by other writers such as Frederik L. Schodt, Kinko Ito, and Adam L. Kern, stress continuity of Japanese cultural and aesthetic traditions, including pre-war, Meiji, and pre-Meijiculture and art.^[34] The other view, emphasizes events occurring during and after the Allied occupation of Japan (1945–1952), and stresses U.S. cultural influences, including U.S. comics (brought to Japan by the GIs) and images and themes from U.S. television, film, and cartoons (especially Disney).^[35]

Regardless of its source, an explosion of artistic creativity occurred in the post-war period,^[36] involving manga artists such as Osamu Tezuka (Astro Boy) and Machiko Hasegawa (Sazae-san). Astro Boy quickly became (and remains) immensely popular in Japan and elsewhere,^[37] and the anime adaptation of Sazae-san drawing more viewers than any other anime on Japanese television in 2011.^[31] Tezuka and Hasegawa both made stylistic innovations. In Tezuka's 'cinematographic' technique, the panels are like a motion picture that reveals details of action bordering on slow motion as well as rapid zooms from distance to close-up shots. This kind of visual dynamism was widely adopted by later manga artists.^[38] Hasegawa's focus on daily life and on women's experience also came to characterize later shōjo manga.^[39] Between 1950 and 1969, an increasingly large readership for manga emerged in Japan with the solidification of its two main marketing genres, shōnen manga aimed at boys and shōjo manga aimed at girls.^[40]

In 1969 a group of female manga artists (later called the Year 24 Group, also known as Magnificent 24s) made their shōjo manga debut ('year 24' comes from the Japanese name for the year 1949, the birth-year of many of these artists).^[41] The group included Moto Hagio, Riyoko Ikeda, Yumiko Ōshima, Keiko Takemiya, and Ryoko Yamagishi.^[15] Thereafter, primarily female manga artists would draw shōjo for a readership of girls and young women.^[42] In the following decades (1975–present), shōjo manga continued to develop stylistically while simultaneously evolving different but overlapping subgenres.^[43] Major subgenres include romance, superheroines, and 'Ladies Comics' (in Japanese, redisuレディース, redikomiレディコミ, and josei女性).^[44]

Modern shōjo manga romance features love as a major theme set into emotionally intense narratives of self-realization.^[45] With the superheroines, shōjo manga saw releases such as Pink Hanamori's Mermaid Melody Pichi Pichi PitchReiko Yoshida's Tokyo Mew Mew, And, Naoko Takeuchi's Pretty Soldier Sailor Moon, which became internationally popular in both manga and anime formats.^[46] Groups (or sentais) of girls working together have also been popular within this genre. Like Lucia, Hanon, and Rina singing together, and Sailor Moon, Sailor Mercury, Sailor Mars, Sailor Jupiter, and Sailor Venus working together.^[47]

Manga for male readers sub-divides according to the age of its intended readership: boys up to 18 years old (shōnen manga) and young men 18 to 30 years old (seinen manga);^[48] as well as by content, including action-adventure often involving male heroes, slapstick humor, themes of honor, and sometimes explicit sex.^[49] The Japanese use different kanji for two closely allied meanings of 'seinen'—青年 for 'youth, young man' and 成年 for 'adult, majority'—the second referring to pornographic manga aimed at grown men and also called seijin ('adult' 成人) manga.^[50]Shōnen, seinen, and seijin manga share a number of features in common.

Boys and young men became some of the earliest readers of manga after World War II. From the 1950s on, shōnen manga focused on topics thought to interest the archetypal boy, including subjects like robots, space-travel, and heroic action-adventure.^[51] Popular themes include science fiction, technology, sports, and supernatural settings. Manga with solitary costumed superheroes like Superman, Batman, and Spider-Man generally did not become as popular.^[52]

The role of girls and women in manga produced for male readers has evolved considerably over time to include those featuring single pretty girls (bishōjo)^[53] such as Belldandy from Oh My Goddess!, stories where such girls and women surround the hero, as in Negima and Hanaukyo Maid Team, or groups of heavily armed female warriors (sentō bishōjo)^[54]

With the relaxation of censorship in Japan in the 1990s, an assortment of explicit sexual material appeared in manga intended for male readers, and correspondingly continued into the English translations.^[55] However, in 2010 the Tokyo Metropolitan Government passed a bill to restrict such content.^[56]

The gekiga style of storytelling—thematically somber, adult-oriented, and sometimes deeply violent—focuses on the day-in, day-out grim realities of life, often drawn in a gritty and unvarnished fashion.^[57][58]Gekiga such as Sampei Shirato's 1959–1962 Chronicles of a Ninja's Military Accomplishments (Ninja Bugeichō) arose in the late 1950s and 1960s partly from left-wing student and working-class political activism^[59] and partly from the aesthetic dissatisfaction of young manga artists like Yoshihiro Tatsumi with existing manga.^[60]

Publications and exhibition

In Japan, manga constituted an annual 40.6 billion yen (approximately $395 million USD) publication-industry by 2007.^[62] In 2006 sales of manga books made up for about 27% of total book-sales, and sale of manga magazines, for 20% of total magazine-sales.^[63] The manga industry has expanded worldwide, where distribution companies license and reprint manga into their native languages.

Marketeers primarily classify manga by the age and gender of the target readership.^[64] In particular, books and magazines sold to boys (shōnen) and girls (shōjo) have distinctive cover-art, and most bookstores place them on different shelves. Due to cross-readership, consumer response is not limited by demographics. For example, male readers may subscribe to a series intended for female readers, and so on. Japan has manga cafés, or manga kissa (kissa is an abbreviation of kissaten). At a manga kissa, people drink coffee, read manga and sometimes stay overnight.

The Kyoto International Manga Museum maintains a very large website listing manga published in Japanese.^[65]

Magazines

Manga magazines usually have many series running concurrently with approximately 20–40 pages allocated to each series per issue. Other magazines such as the anime fandom magazine Newtype featured single chapters within their monthly periodicals. Other magazines like Nakayoshi feature many stories written by many different artists; these magazines, or 'anthology magazines', as they are also known (colloquially 'phone books'), are usually printed on low-quality newsprint and can be anywhere from 200 to more than 850 pages thick. Manga magazines also contain one-shot comics and various four-panel yonkoma (equivalent to comic strips). Manga series can run for many years if they are successful. Manga artists sometimes start out with a few 'one-shot' manga projects just to try to get their name out. If these are successful and receive good reviews, they are continued. Magazines often have a short life.^[66]

Collected volumes

After a series has run for a while, publishers often collect the episodes together and print them in dedicated book-sized volumes, called tankōbon. These can be hardcover, or more usually softcover books, and are the equivalent of U.S. trade paperbacks or graphic novels. These volumes often use higher-quality paper, and are useful to those who want to 'catch up' with a series so they can follow it in the magazines or if they find the cost of the weeklies or monthlies to be prohibitive. 'Deluxe' versions have also been printed as readers have gotten older and the need for something special grew. Old manga have also been reprinted using somewhat lesser quality paper and sold for 100 yen (about $1 U.S. dollar) each to compete with the used book market.

History

One Thousand Years Of Manga Pdf Torrent Download

Kanagaki Robun and Kawanabe Kyōsai created the first manga magazine in 1874: Eshinbun Nipponchi. The magazine was heavily influenced by Japan Punch, founded in 1862 by Charles Wirgman, a British cartoonist. Eshinbun Nipponchi had a very simple style of drawings and did not become popular with many people. Eshinbun Nipponchi ended after three issues. The magazine Kisho Shimbun in 1875 was inspired by Eshinbun Nipponchi, which was followed by Marumaru Chinbun in 1877, and then Garakuta Chinpo in 1879.^[67]Shōnen Sekai was the first shōnen magazine created in 1895 by Iwaya Sazanami, a famous writer of Japanese children's literature back then. Shōnen Sekai had a strong focus on the First Sino-Japanese War.^[68]

In 1905 the manga-magazine publishing boom started with the Russo-Japanese War,^[69]Tokyo Pakku was created and became a huge hit.^[70] After Tokyo Pakku in 1905, a female version of Shōnen Sekai was created and named Shōjo Sekai, considered the first shōjo magazine.^[71]Shōnen Pakku was made and is considered the first children's manga magazine. The children's demographic was in an early stage of development in the Meiji period. Shōnen Pakku was influenced from foreign children's magazines such as Puck which an employee of Jitsugyō no Nihon (publisher of the magazine) saw and decided to emulate. In 1924, Kodomo Pakku was launched as another children's manga magazine after Shōnen Pakku.^[70] During the boom, Poten (derived from the French 'potin') was published in 1908. All the pages were in full color with influences from Tokyo Pakku and Osaka Puck. It is unknown if there were any more issues besides the first one.^[69]Kodomo Pakku was launched May 1924 by Tokyosha and featured high-quality art by many members of the manga artistry like Takei Takeo, Takehisa Yumeji and Aso Yutaka. Some of the manga featured speech balloons, where other manga from the previous eras did not use speech balloons and were silent.^[70]

Published from May 1935 to January 1941, Manga no Kuni coincided with the period of the Second Sino-Japanese War (1937–1945). Manga no Kuni featured information on becoming a mangaka and on other comics industries around the world. Manga no Kuni handed its title to Sashie Manga Kenkyū in August 1940.^[72]

One Thousand Years Of Slavery Runes Of Magic

Dōjinshi

Dōjinshi, produced by small publishers outside of the mainstream commercial market, resemble in their publishing small-press independently published comic books in the United States. Comiket, the largest comic book convention in the world with around 500,000 visitors gathering over three days, is devoted to dōjinshi. While they most often contain original stories, many are parodies of or include characters from popular manga and anime series. Some dōjinshi continue with a series' story or write an entirely new one using its characters, much like fan fiction. In 2007, dōjinshi sold for 27.73 billion yen (245 million USD).^[62] In 2006 they represented about a tenth of manga books and magazines sales.^[63]

Digital manga

Thanks to the advent of the internet, there have been new ways for aspiring mangaka to upload and sell their manga online. Before, there were two main ways in which a mangaka's work could be published: taking their manga drawn on paper to a publisher themselves, or submitting their work to competitions run by magazines.^[73]

Web manga

In recent years, there has been a rise in manga released digitally. Web manga, as it's known in Japan, has a seen an increase thanks in part to image hosting websites where anyone can upload pages from their works for free. Although released digitally, almost all web manga stick to the conventional black-and-white format despite some never getting physical publications. Pixiv is the most popular site where a host of amateur and professional works get published on the site. It has grown to be the most visited site for artwork in Japan.^[74]Twitter has also become a popular place for web manga with many artists releasing pages weekly on their accounts in the hopes of their works getting picked up or published professionally. One of the best examples of an amateur work becoming professional is One-Punch Man which was released online and later got a professional remake released digitally and an anime adaptation soon there after.^[75]

Many of the big print publishers have also released digital only magazines and websites where web manga get published alongside their serialized magazines. Shogakukan for instance has two websites, Sunday Webry and Ura Sunday, that release weekly chapters for web manga and even offer contests for mangaka to submit their work. Both Sunday Webry and Ura Sunday have become one of the top web manga sites in Japan.^[76][77] Some have even released apps that teach how to draw professional manga and learn how to create them. Weekly Shōnen Jump released Jump Paint, an app that guides users on how to make their own manga from making storyboards to digitally inking lines. It also offers more than 120 types of pen tips and more than 1,000 screentones for artists to practice.^[73]Kodansha has also used the popularity of web manga to launch more series and also offer better distribution of their officially translated works under Kodansha Comics thanks in part to the titles being released digitally first before being published physically.^[78]

The rise web manga has also been credited to smartphones and computers as more and more readers read manga on their phones rather than from a print publication. While paper manga has seen a decrease overtime, digital manga have been growing in sales each year. The Research Institute for Publications reports that sales of digital manga books excluding magazines jumped 27.1 percent to ¥146 billion in 2016 from the year before while sales of paper manga saw a record year-on-year decline of 7.4 percent to ¥194.7 billion. They have also said that if the digital and paper keep the same growth and drop rates, web manga will exceed their paper counterparts.^[79]

Webtoons

While webtoons have caught on in popularity as a new medium for comics in Asia, Japan has been slow to adopt webtoons as the traditional format and print publication still dominate the way manga is created and consumed. Despite this, one of the biggest webtoon publishers in the world, Comico, has had success in the traditional Japanese manga market. Comico was launched by NHN Japan, the Japanese subsidiary of Korean company, NHN Entertainment. As of now, there are only two webtoon publishers that publish Japanese webtoons: Comico and Naver Webtoon (under the name XOY in Japan). Kakao has also had success by offering licensed manga and translated Korean webtoons with their service Piccoma. All three companies credit their success to the webtoon pay model where users can purchase each chapter individually instead of having to buy the whole book while also offering some chapters for free for a period of time allowing anyone to read a whole series for free if they wait long enough.^[80] The added benefit of having all of their titles in color and some with special animations and effects have also helped them succeed. Some popular Japanese webtoons have also gotten anime adaptations and print releases. The most notable being ReLIFE and Recovery of an MMO Junkie.^[81][82]

International markets

By 2007, the influence of manga on international comics had grown considerably over the past two decades.^[83] 'Influence' is used here to refer to effects on the comics markets outside Japan and to aesthetic effects on comics artists internationally.

Traditionally, manga stories flow from top to bottom and from right to left. Some publishers of translated manga keep to this original format. Other publishers mirror the pages horizontally before printing the translation, changing the reading direction to a more 'Western' left to right, so as not to confuse foreign readers or traditional comics-consumers. This practice is known as 'flipping'.^[84] For the most part, criticism suggests that flipping goes against the original intentions of the creator (for example, if a person wears a shirt that reads 'MAY' on it, and gets flipped, then the word is altered to 'YAM'), who may be ignorant of how awkward it is to read comics when the eyes must flow through the pages and text in opposite directions, resulting in an experience that's quite distinct from reading something that flows homogeneously. If the translation is not adapted to the flipped artwork carefully enough it is also possible for the text to go against the picture, such as a person referring to something on their left in the text while pointing to their right in the graphic. Characters shown writing with their right hands, the majority of them, would become left-handed when a series is flipped. Flipping may also cause oddities with familiar asymmetrical objects or layouts, such as a car being depicted with the gas pedal on the left and the brake on the right, or a shirt with the buttons on the wrong side, but these issues are minor when compared to the unnatural reading flow, and some of them could be solved with an adaptation work that goes beyond just translation and blind flipping.^[85]

Europe

Manga has influenced European cartooning in a way that is somewhat different from in the U.S. Broadcast anime in France and Italy opened the European market to manga during the 1970s.^[86] French art has borrowed from Japan since the 19th century (Japonism)^[87] and has its own highly developed tradition of bande dessinée cartooning.^[88] In France, beginning in the mid-1990s,^[89] manga has proven very popular to a wide readership, accounting for about one-third of comics sales in France since 2004.^[90] According to the Japan External Trade Organization, sales of manga reached $212.6 million within France and Germany alone in 2006.^[86] France represents about 50% of the European market and is the second worldwide market, behind Japan.^[13] In 2013, there were 41 publishers of manga in France and, together with other Asian comics, manga represented around 40% of new comics releases in the country,^[91] surpassing Franco-Belgian comics for the first time.^[92] European publishers marketing manga translated into French include Asuka, Casterman, Glénat, Kana, and Pika Édition, among others.^{[citation needed]} European publishers also translate manga into Dutch, German, Italian, and other languages. In 2007, about 70% of all comics sold in Germany were manga.^[93]

Manga publishers based in the United Kingdom include Gollancz and Titan Books.^{[citation needed]} Manga publishers from the United States have a strong marketing presence in the United Kingdom: for example, the Tanoshimi line from Random House.^{[citation needed]}

United States

Manga made their way only gradually into U.S. markets, first in association with anime and then independently.^[94] Some U.S. fans became aware of manga in the 1970s and early 1980s.^[95] However, anime was initially more accessible than manga to U.S. fans,^[96] many of whom were college-age young people who found it easier to obtain, subtitle, and exhibit video tapes of anime than translate, reproduce, and distribute tankōbon-style manga books.^[97] One of the first manga translated into English and marketed in the U.S. was Keiji Nakazawa's Barefoot Gen, an autobiographical story of the atomic bombing of Hiroshima issued by Leonard Rifas and Educomics (1980–1982).^[98] More manga were translated between the mid-1980s and 1990s, including Golgo 13 in 1986, Lone Wolf and Cub from First Comics in 1987, and Kamui, Area 88, and Mai the Psychic Girl, also in 1987 and all from Viz Media-Eclipse Comics.^[99] Others soon followed, including Akira from Marvel Comics' Epic Comics imprint, Nausicaä of the Valley of the Wind from Viz Media, and Appleseed from Eclipse Comics in 1988, and later Iczer-1 (Antarctic Press, 1994) and Ippongi Bang's F-111 Bandit (Antarctic Press, 1995).

In the 1980s to the mid-1990s, Japanese animation, like Akira, Dragon Ball, Neon Genesis Evangelion, and Pokémon, made a bigger impact on the fan experience and in the market than manga.^[100] Matters changed when translator-entrepreneur Toren Smith founded Studio Proteus in 1986. Smith and Studio Proteus acted as an agent and translator of many Japanese manga, including Masamune Shirow's Appleseed and Kōsuke Fujishima's Oh My Goddess!, for Dark Horse and Eros Comix, eliminating the need for these publishers to seek their own contacts in Japan.^[101]Simultaneously, the Japanese publisher Shogakukan opened a U.S. market initiative with their U.S. subsidiary Viz, enabling Viz to draw directly on Shogakukan's catalogue and translation skills.^[84]

Japanese publishers began pursuing a U.S. market in the mid-1990s due to a stagnation in the domestic market for manga.^[102] The U.S. manga market took an upturn with mid-1990s anime and manga versions of Masamune Shirow's Ghost in the Shell (translated by Frederik L. Schodt and Toren Smith) becoming very popular among fans.^[103] An extremely successful manga and anime translated and dubbed in English in the mid-1990s was Sailor Moon.^[104] By 1995–1998, the Sailor Moon manga had been exported to over 23 countries, including China, Brazil, Mexico, Australia, North America and most of Europe.^[105] In 1997, Mixx Entertainment began publishing Sailor Moon, along with CLAMP's Magic Knight Rayearth, Hitoshi Iwaaki's Parasyte and Tsutomu Takahashi's Ice Blade in the monthly manga magazine MixxZine. Two years later, MixxZine was renamed to Tokyopop before discontinuing in 2011. Mixx Entertainment, later renamed Tokyopop, also published manga in trade paperbacks and, like Viz, began aggressive marketing of manga to both young male and young female demographics.^[106]

In the following years, manga became increasingly popular, and new publishers entered the field while the established publishers greatly expanded their catalogues.^[107] The Pokémon mangaElectric Tale of Pikachu issue #1 sold over 1million copies in the United States, making it the best-selling single comic book in the United States since 1993.^[108] By 2008, the U.S. and Canadian manga market generated $175 million in annual sales.^[109] Simultaneously, mainstream U.S. media began to discuss manga, with articles in The New York Times, Time magazine, The Wall Street Journal, and Wired magazine.^[110] As of 2017, manga distributor Viz Media is the largest publisher of graphic novels and comic books in the United States, with a 23% share of the market.^[111]

Localized manga

A number of artists in the United States have drawn comics and cartoons influenced by manga. As an early example, Vernon Grant drew manga-influenced comics while living in Japan in the late 1960s and early 1970s.^[112] Others include Frank Miller's mid-1980s Ronin, Adam Warren and Toren Smith's 1988 The Dirty Pair,^[113]Ben Dunn's 1987 Ninja High School and Manga Shi 2000 from Crusade Comics (1997).

By the 21st century several U.S. manga publishers had begun to produce work by U.S. artists under the broad marketing-label of manga.^[114] In 2002 I.C. Entertainment, formerly Studio Ironcat and now out of business, launched a series of manga by U.S. artists called Amerimanga.^[115] In 2004 eigoMANGA launched the Rumble Pak and Sakura Pakkanthology series. Seven Seas Entertainment followed suit with World Manga.^[116] Simultaneously, TokyoPop introduced original English-language manga (OEL manga) later renamed Global Manga.^[117]

Francophone artists have also developed their own versions of manga (manfra), like Frédéric Boilet's la nouvelle manga. Boilet has worked in France and in Japan, sometimes collaborating with Japanese artists.^[118]

Awards

The Japanese manga industry grants a large number of awards, mostly sponsored by publishers, with the winning prize usually including publication of the winning stories in magazines released by the sponsoring publisher. Examples of these awards include:

• The Akatsuka Award for humorous manga
• The Dengeki Comic Grand Prix for one-shot manga
• The Japan Cartoonists Association Award various categories
• The Kodansha Manga Award (multiple genre awards)
• The Seiun Award for best science fiction comic of the year
• The Shogakukan Manga Award (multiple genres)
• The Tezuka Award for best new serial manga
• The Tezuka Osamu Cultural Prize (multiple genres)

The Japanese Ministry of Foreign Affairs has awarded the International Manga Award annually since May 2007.^[119]

University education

Kyoto Seika University in Japan has offered a highly competitive course in manga since 2000.^[120][121] Then, several established universities and vocational schools (専門学校: Semmon gakkou) established a training curriculum.

Shuho Sato, who wrote Umizaru and Say Hello to Black Jack, has created some controversy on Twitter. Sato says, 'Manga school is meaningless because those schools have very low success rates. Then, I could teach novices required skills on the job in three months. Meanwhile, those school students spend several million yen, and four years, yet they are good for nothing.' and that, 'For instance, Keiko Takemiya, the then professor of Seika Univ., remarked in the Government Council that 'A complete novice will be able to understand where is 'Tachikiri' (i.e., margin section) during four years.' On the other hand, I would imagine that, It takes about thirty minutes to completely understand that at work.'^[122]

See also

• E-toki (horizontal, illustrated narrative form)
• Lianhuanhua (small Chinese picture book)
• Q-version (cartoonification)

References

Inline citations

1. ^Lent 2001, pp. 3–4, Gravett 2004, p. 8
2. ^Kern 2006, Ito 2005, Schodt 1986
3. ^Merriam-Webster 2009
4. ^'Manga/Anime topics'. www.mit.edu. Retrieved 22 June 2017.
5. ^Brenner, Robin E. (30 June 2007). Understanding Manga and Anime. Greenwood Publishing Group. ISBN9780313094484.
6. ^Gravett 2004, p. 8
7. ^Kinsella 2000, Schodt 1996
8. ^Schodt, Frederik (1996). Dreamland Japan: Writings on Modern Manga. Berkeley, CA: Stone Bridge Press. pp. 19-20. ISBN978-1-880656-23-5.
9. ^ ^ab'Manga, anime rooted in Japanese history'. The Indianapolis Star. 2 August 1997.
10. ^Wong 2006, Patten 2004
11. ^Bouissou, Jean-Marie (2006). 'JAPAN'S GROWING CULTURAL POWER: THE EXAMPLE OF MANGA IN FRANCE'.
12. ^Eurasiam. 'The Manga Market : Eurasiam – Japanese art & communication School'. www.eurasiam.com. Retrieved 22 June 2017.
13. ^ ^abDanica Davidson (26 January 2012). 'Manga grows in the heart of Europe'. Geek Out! CNN. Turner Broadcasting System, Inc. Retrieved 29 January 2012.
14. ^Katzenstein & Shiraishi 1997
15. ^ ^abGravett 2004, p. 8, Schodt 1986
16. ^Kinsella 2000
17. ^Kittelson 1998
18. ^Johnston-O'Neill 2007
19. ^Webb 2006
20. ^Wong 2002
21. ^Rousmaniere 2001, p. 54, Thompson 2007, p. xiii, Prohl & Nelson 2012, p. 596,Fukushima 2013, p. 19
22. ^Webb 2006,Thompson 2007, p. xvi,Onoda 2009, p. 10,Petersen 2011, p. 120
23. ^Thompson 2007, p. xiii, Onoda 2009, p. 10, Prohl & Nelson 2012, p. 596, Fukushima 2013, p. 19
24. ^ ^abProhl & Nelson 2012, p. 596,McCarthy 2014, p. 6
25. ^ ^ab'Santō Kyōden's picturebooks'.
26. ^ ^ab'Shiji no yukikai(Japanese National Diet Library)'.
27. ^'Hokusai Manga (15 Vols complete)'.
28. ^ ^abBouquillard & Marquet 2007
29. ^Shimizu 1985, pp. 53–54, 102–103
30. ^'Inu Yasha Ani-MangaGraphic Novels'. Animecornerstore.com. 1 November 1999. Archived from the original on 4 December 2010. Retrieved 1 November 2010.
31. ^ ^abKageyama, Y. 'A SHORT HISTORY OF JAPANESE MANGA'. Retrieved 1 October 2017.
32. ^Kern (2006), pp. 139–144, Fig. 3.3
33. ^Kern 2006
34. ^Schodt 1986, Ito 2004, Kern 2006, Kern 2007
35. ^Kinsella 2000, Schodt 1986
36. ^Schodt 1986, Schodt 1996, Schodt 2007, Gravett 2004
37. ^Kodansha 1999, pp. 692–715, Schodt 2007
38. ^Schodt 1986
39. ^Gravett 2004, p. 8, Lee 2000, Sanchez 1997–2003
40. ^Schodt 1986, Toku 2006
41. ^Gravett 2004, pp. 78–80, Lent 2001, pp. 9–10
42. ^Schodt 1986, Toku 2006, Thorn 2001
43. ^Ōgi 2004
44. ^Gravett 2004, p. 8, Schodt 1996
45. ^Drazen 2003
46. ^Allison 2000, pp. 259–278, Schodt 1996, p. 92
47. ^Poitras 2001
48. ^Thompson 2007, pp. xxiii–xxiv
49. ^Brenner 2007, pp. 31–34
50. ^Schodt 1996, p. 95, Perper & Cornog 2002
51. ^Schodt 1986, pp. 68–87, Gravett 2004, pp. 52–73
52. ^Schodt 1986, pp. 68–87
53. ^Perper & Cornog 2002, pp. 60–63
54. ^Gardner 2003
55. ^Perper & Cornog 2002
56. ^'Tokyo moves a step closer to manga porn crackdown'. The Yomiuri Shimbun. 14 December 2010. Archived from the original on 16 December 2010.
57. ^Rosenbaum, Roman (2011). 'Gekiga as a site of Intercultural Exchange'(PDF). Kyoto Seika University.
58. ^Schodt 1986, pp. 68–73, Gravett 2006
59. ^Schodt 1986, pp. 68–73, Gravett 2004, pp. 38–42, Isao 2001
60. ^Isao 2001, pp. 147–149, Nunez 2006
61. ^Manga Hai Kya, Comics : Shekhar Gurera The Pioneer, New Delhi
62. ^ ^abCube 2007
63. ^ ^abManga Industry in Japan
64. ^Schodt 1996
65. ^Manga Museum 2009
66. ^Schodt 1996, p. 101
67. ^Eshinbun Nipponchi
68. ^Griffiths 2007
69. ^ ^abPoten
70. ^ ^abcShonen Pakku
71. ^Lone 2007, p. 75
72. ^Manga no Kuni
73. ^ ^abPost, Washington (11 November 2017). 'How new technology could alter manga publishing'. Daily Herald.
74. ^'How Pixiv Built Japan's 12th Largest Site With Manga-Girl Drawings (Redesign Sneak Peek And Invites)'.
75. ^Chapman, Paul. ''One-Punch Man' Anime Greenlit'. Crunchyroll.
76. ^Komatsu, Mikikazu. 'Watch 'Hayate the Combat Butler' Manga Author's Drawing Video of Nagi'. Crunchyroll.
77. ^Chapman, Paul. 'Brawny Battling Manga 'Kengan Ashura' Makes the Leap to Anime'. Crunchyroll.
78. ^'Kodansha Comics May Digital-First Debuts'. Anime News Network.
79. ^Nagata, Kazuaki (2 August 2017). 'As manga goes digital via smartphone apps, do paper comics still have a place?' – via Japan Times Online.
80. ^'Kakao mulls listing Japan unit'. koreatimes. 5 September 2017.
81. ^'ReLIFE Anime Promotes July Premiere With Animated Promo'. Anime News Network.
82. ^'Crunchyroll to Stream Recovery of an MMO Junkie Anime'. Anime News Network.
83. ^Pink 2007, Wong 2007
84. ^ ^abFarago 2007
85. ^Randal, Bill (2005). 'English, For Better or Worse'. The Comics Journal (Special ed.). Fantagraphics Books. Archived from the original on 23 March 2012.
86. ^ ^abFishbein 2007
87. ^Berger 1992
88. ^Vollmar 2007
89. ^Mahousu 2005
90. ^Mahousu 2005, ANN 2004, Riciputi 2007
91. ^Brigid Alverson (12 February 2014). 'Strong French Manga Market Begins to Dip'. publishersweekly.com. Retrieved 14 December 2014.
92. ^Rich Johnston (1 January 2014). 'French Comics In 2013 – It's Not All Asterix. But Quite A Bit Is'. bleedingcool.com. Retrieved 14 December 2014.
93. ^Jennifer Fishbein (27 December 2007). 'Europe's Manga Mania'. Spiegel Online International. Retrieved 30 January 2012.
94. ^Patten 2004
95. ^In 1987, '...Japanese comics were more legendary than accessible to American readers', Patten 2004, p. 259
96. ^Napier 2000, pp. 239–256, Clements & McCarthy 2006, pp. 475–476
97. ^Patten 2004, Schodt 1996, pp. 305–340, Leonard 2004
98. ^Schodt 1996, p. 309, Rifas 2004, Rifas adds that the original EduComics titles were Gen of Hiroshima and I SAW IT [sic].
99. ^Patten 2004, pp. 37, 259–260, Thompson 2007, p. xv
100. ^Leonard 2004, Patten 2004, pp. 52–73, Farago 2007
101. ^Schodt 1996, pp. 318–321, Dark Horse Comics 2004
102. ^Brienza, Casey E. (2009). 'Books, Not Comics: Publishing Fields, Globalization, and Japanese Manga in the United States'. Publishing Research Quarterly. 25 (2): 101–117. doi:10.1007/s12109-009-9114-2.
103. ^Kwok Wah Lau, Jenny (2003). '4'. Multiple modernities: cinemas and popular media in transcultural East Asia. Philadelphia: Temple University Press. p. 78.
104. ^Patten 2004, pp. 50, 110, 124, 128, 135, Arnold 2000
105. ^Schodt 1996, p. 95
106. ^Arnold 2000, Farago 2007, Bacon 2005
107. ^Schodt 1996, pp. 308–319
108. ^'The last million-selling comic book in North America? It's Batman vs. Pokémon for the title'. Comichron. 8 May 2014.
109. ^Reid 2009
110. ^Glazer 2005, Masters 2006, Bosker 2007, Pink 2007
111. ^Magulick, Aaron (8 October 2017). 'Viz Manga Sales are Destroying DC, Marvel in Comic Market'. GoBoiano.
112. ^Stewart 1984
113. ^Crandol 2002
114. ^Tai 2007
115. ^ANN 2002
116. ^ANN 10 May 2006
117. ^ANN 5 May 2006
118. ^Boilet 2001, Boilet & Takahama 2004
119. ^ANN 2007, Ministry of Foreign Affairs of Japan 2007
120. ^Obunsha Co., Ltd. (18 July 2014). 京都精華大学、入試結果 (倍率)、マンガ学科。 (in Japanese). Obunsha Co., Ltd. Archived from the original on 17 July 2014. Retrieved 18 July 2014.
121. ^Kyoto Seika University. 'Kyoto Seika University, Faculty of Manga'. Kyoto Seika University. Archived from the original on 17 July 2014. Retrieved 18 July 2014.
122. ^Shuho Sato; et al. (26 July 2012). 漫画を学校で学ぶ意義とは (in Japanese). togetter. Retrieved 19 July 2014.

Works cited

• Allison, Anne (2000). 'Sailor Moon: Japanese superheroes for global girls'. In Craig, Timothy J. (ed.). Japan Pop! Inside the World of Japanese Popular Culture. Armonk, New York: M.E. Sharpe. ISBN978-0-7656-0561-0.
• Arnold, Adam (2000). 'Full Circle: The Unofficial History of MixxZine'. Retrieved 19 December 2007.
• Bacon, Michelle (14 April 2005). 'Tangerine Dreams: Guide to Shoujo Manga and Anime'. Archived from the original on 4 March 2008. Retrieved 1 April 2008.
• Berger, Klaus (1992). Japonisme in Western Painting from Whistler to Matisse. Cambridge: Cambridge University Press. ISBN978-0-521-37321-0.
• Boilet, Frédéric (2001). Yukiko's Spinach. Castalla-Alicante, Spain: Ponent Mon. ISBN978-84-933093-4-3.
• Boilet, Frédéric; Takahama, Kan (2004). Mariko Parade. Castalla-Alicante, Spain: Ponent Mon. ISBN978-84-933409-1-9.
• Bosker, Bianca (31 August 2007). 'Manga Mania'. The Wall Street Journal. Retrieved 1 April 2008.
• Bouquillard, Jocelyn; Marquet, Christophe (1 June 2007). Hokusai: First Manga Master. New York: Abrams. ISBN978-0-8109-9341-9.
• Brenner, Robin E. (2007). Understanding Manga and Anime. Westport, Connecticut: Libraries Unlimited/Greenwood. ISBN978-1-59158-332-5.
• Clements, Jonathan; McCarthy, Helen (2006). The Anime Encyclopedia: A Guide to Japanese Animation Since 1917, Revised and Expanded Edition. Berkeley, California: Stone Bridge Press. ISBN978-1-933330-10-5.
• Crandol, Mike (14 January 2002). 'The Dirty Pair: Run from the Future'. Anime News Network. Retrieved 4 March 2008.
• Cube (18 December 2007). 2007年のオタク市場規模は1866億円―メディアクリエイトが白書 (in Japanese). Inside for All Games. Retrieved 18 December 2007.
• 'Dark Horse buys Studio Proteus' (Press release). Dark Horse Comics. 6 February 2004.
• Drazen, Patrick (2003). Anime Explosion! The What? Why? & Wow! of Japanese Animation. Berkeley, California: Stone Bridge. ISBN978-1-880656-72-3.
• Farago, Andrew (30 September 2007). 'Interview: Jason Thompson'. The Comics Journal. Retrieved 4 March 2008.
• Fishbein, Jennifer (26 December 2007). 'Europe's Manga Mania'. BusinessWeek. Retrieved 29 December 2007.
• Fukushima, Yoshiko (2013). Manga Discourse in Japan Theatre. Routledge. p. 19. ISBN9781136772733.
• Gardner, William O. (November 2003). 'Attack of the Phallic Girls'. Science Fiction Studies (88). Retrieved 5 April 2008.
• Glazer, Sarah (18 September 2005). 'Manga for Girls'. The New York Times. Retrieved 4 March 2008.
• Gravett, Paul (2004). Manga: Sixty Years of Japanese Comics. New York: Harper Design. ISBN978-1-85669-391-2.
• Gravett, Paul (15 October 2006). 'Gekiga: The Flipside of Manga'. Retrieved 4 March 2008.
• Griffiths, Owen (22 September 2007). 'Militarizing Japan: Patriotism, Profit, and Children's Print Media, 1894–1925'. Japan Focus. Retrieved 16 December 2008.
• Isao, Shimizu (2001). 'Red Comic Books: The Origins of Modern Japanese Manga'. In Lent, John A. (ed.). Illustrating Asia: Comics, Humor Magazines, and Picture Books. Honolulu, Hawaii: University of Hawai'i Press. ISBN978-0-8248-2471-6.
• Ito, Kinko (2004). 'Growing up Japanese reading manga'. International Journal of Comic Art (6): 392–401.
• Ito, Kinko (2005). 'A history of manga in the context of Japanese culture and society'. The Journal of Popular Culture. 38 (3): 456–475. doi:10.1111/j.0022-3840.2005.00123.x. Retrieved 5 April 2008.
• Johnston-O'Neill, Tom (3 August 2007). 'Finding the International in Comic Con International'. The San Diego Participant Observer. Retrieved 5 April 2008.
• Katzenstein, Peter J.; Shiraishi, Takashi (1997). Network Power: Japan in Asia. Ithaca, New York: Cornell University Press. ISBN978-0-8014-8373-8.
• Kern, Adam (2006). Manga from the Floating World: Comicbook Culture and the Kibyōshi of Edo Japan. Cambridge: Harvard University Press. ISBN978-0-674-02266-9.
• Kern, Adam (2007). 'Symposium: Kibyoshi: The World's First Comicbook?'. International Journal of Comic Art (9): 1–486.
• Kinsella, Sharon (2000). Adult Manga: Culture and Power in Contemporary Japanese Society. Honolulu, Hawaii: University of Hawai'i Press. ISBN978-0-8248-2318-4.
• Kittelson, Mary Lynn (1998). The Soul of Popular Culture: Looking at Contemporary Heroes, Myths, and Monsters. Chicago: Open Court. ISBN978-0-8126-9363-8.
• Lee, William (2000). 'From Sazae-san to Crayon Shin-Chan'. In Craig, Timothy J. (ed.). Japan Pop!: Inside the World of Japanese Popular Culture. Armonk, New York: M.E. Sharpe. ISBN978-0-7656-0561-0.
• Lent, John A. (2001). Illustrating Asia: Comics, Humor Magazines, and Picture Books. Honolulu, Hawaii: University of Hawaii Press. ISBN978-0-8248-2471-6.
• Leonard, Sean (12 September 2004). 'Progress Against the Law: Fan Distribution, Copyright, and the Explosive Growth of Japanese Animation'(PDF). Retrieved 19 December 2007.
• Lone, Stewart (2007). Daily Lives of Civilians in Wartime Asia: From the Taiping Rebellion to the Vietnam War. Westport, Connecticut: Greenwood Publishing Group. ISBN978-0-313-33684-3.
• Mahousu (January 2005). 'Les editeurs des mangas'. self-published. Archived from the original on 17 July 2012. Retrieved 19 December 2007.^{[unreliable source?]}
• Masters, Coco (10 August 2006). 'America is Drawn to Manga'. Time Magazine.
• 'First International MANGA Award' (Press release). Ministry of Foreign Affairs of Japan. 29 June 2007.
• McCarthy, Helen (2014). A Brief History of Manga: The Essential Pocket Guide to the Japanese Pop Culture Phenomenon. Hachette UK. p. 6. ISBN9781781571309.
• Napier, Susan J. (2000). Anime: From Akira to Princess Mononoke. New York: Palgrave. ISBN978-0-312-23863-6.
• Nunez, Irma (24 September 2006). 'Alternative Comics Heroes: Tracing the Genealogy of Gekiga'. The Japan Times. Retrieved 19 December 2007.
• Ōgi, Fusami (2004). 'Female subjectivity and shōjo (girls) manga (Japanese comics): shōjo in Ladies' Comics and Young Ladies' Comics'. The Journal of Popular Culture. 36 (4): 780–803. doi:10.1111/1540-5931.00045.
• Onoda, Natsu (2009). God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga. University Press of Mississippi. p. 10. ISBN9781604734782.
• Patten, Fred (2004). Watching Anime, Reading Manga: 25 Years of Essays and Reviews. Berkeley, California: Stone Bridge Press. ISBN978-1-880656-92-1.
• Perper, Timothy; Cornog, Martha (2002). 'Eroticism for the masses: Japanese manga comics and their assimilation into the U.S.'. Sexuality & Culture. 6 (1): 3–126. doi:10.1007/s12119-002-1000-4.
• Perper, Timothy; Cornog, Martha (2003). 'Sex, love, and women in Japanese comics'. In Francoeur, Robert T.; Noonan, Raymond J. (eds.). The Comprehensive International Encyclopedia of Sexuality. New York: Continuum. ISBN978-0-8264-1488-5.
• Petersen, Robert S. (2011). Comics, Manga, and Graphic Novels: A History of Graphic Narratives. ABC-CLIO. ISBN9780313363306.
• Prohl, Inken; Nelson, John K (2012). Handbook of Contemporary Japanese Religions. BRILL. p. 596. ISBN9789004234352.
• Pink, Daniel H. (22 October 2007). 'Japan, Ink: Inside the Manga Industrial Complex'. Wired. 15 (11). Retrieved 19 December 2007.
• Poitras, Gilles (2001). Anime Essentials: Every Thing a Fan Needs to Know. Berkeley, California: Stone Bridge. ISBN978-1-880656-53-2.
• Reid, Calvin (28 March 2006). 'HarperCollins, Tokyopop Ink Manga Deal'. Publishers Weekly. Retrieved 4 March 2008.
• Reid, Calvin (6 February 2009). '2008 Graphic Novel Sales Up 5%; Manga Off 17%'. Publishers Weekly. Retrieved 7 September 2009.
• Riciputi, Marco (25 October 2007). 'Komikazen: European comics go independent'. Cafebabel.com. Archived from the original on 11 October 2008. Retrieved 4 March 2008.^{[unreliable source?]}
• Rifas, Leonard (2004). 'Globalizing Comic Books from Below: How Manga Came to America'. International Journal of Comic Art. 6 (2): 138–171.
• Rousmaniere, Nicole (2001). Births and Rebirths in Japanese Art : Essays Celebrating the Inauguration of the Sainsbury Institute for the Study of Japanese Arts and Cultures. Hotei Publishing. ISBN978-9074822442.
• Sanchez, Frank (1997–2003). 'Hist 102: History of Manga'. AnimeInfo. Archived from the original on 5 February 2008. Retrieved 11 September 2007.
• Schodt, Frederik L. (1986). Manga! Manga! The World of Japanese Comics. Tokyo: Kodansha. ISBN978-0-87011-752-7.
• Schodt, Frederik L. (1996). Dreamland Japan: Writings on Modern Manga. Berkeley, California: Stone Bridge Press. ISBN978-1-880656-23-5.
• Schodt, Frederik L. (2007). The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution. Berkeley, California: Stone Bridge Press. ISBN978-1-933330-54-9.
• Shimizu, Isao (June 1985). 日本漫画の事典 : 全国のマンガファンに贈る (Nihon Manga no Jiten – Dictionary of Japanese Manga) (in Japanese). Sun lexica. ISBN978-4-385-15586-9.
• Stewart, Bhob (October 1984). 'Screaming Metal'. The Comics Journal (94).
• Tai, Elizabeth (23 September 2007). 'Manga outside Japan'. Star Online. Archived from the original on 12 October 2007. Retrieved 19 December 2007.
• Tchiei, Go (1998). 'Characteristics of Japanese Manga'. Retrieved 5 April 2008.
• Thompson, Jason (2007). Manga: The Complete Guide. New York: Ballantine Books. ISBN978-0-345-48590-8.
• Thorn, Matt (July – September 2001). 'Shôjo Manga—Something for the Girls'. The Japan Quarterly. 48 (3). Retrieved 5 April 2008.
• Toku, Masami (Spring 2006). 'Shojo Manga: Girl Power!'. Chico Statements. California State University, Chico. ISBN978-1-886226-10-4. Archived from the original on 11 April 2008. Retrieved 5 April 2008.
• Vollmar, Rob (1 March 2007). 'Frederic Boilet and the Nouvelle Manga revolution'. World Literature Today. Retrieved 14 September 2007.
• Webb, Martin (28 May 2006). 'Manga by any other name is...'The Japan Times. Retrieved 5 April 2008.
• Wong, Wendy Siuyi (2002). Hong Kong Comics: A History of Manhua. New York: Princeton Architectural Press. ISBN978-1-56898-269-4.
• Wong, Wendy Siuyi (2006). 'Globalizing manga: From Japan to Hong Kong and beyond'. Mechademia: an Annual Forum for Anime, Manga, and the Fan Arts. pp. 23–45.
• Wong, Wendy (September 2007). 'The Presence of Manga in Europe and North America'. Media Digest. Retrieved 19 December 2007.
• 'About Manga Museum: Current situation of manga culture'. Kyoto Manga Museum. Retrieved 6 September 2009.
• 'Correction: World Manga'. Anime News Network. 10 May 2006. Retrieved 19 December 2007.
• 'I.C. promotes AmeriManga'. Anime News Network. 11 November 2002. Retrieved 4 March 2008.
• 'Interview with Tokyopop's Mike Kiley'. ICv2. 7 September 2007. Retrieved 19 December 2007.
• Japan: Profile of a Nation, Revised Edition. Tokyo: Kodansha International. 1999. ISBN978-4-7700-2384-1.
• 'Japan's Foreign Minister Creates Foreign Manga Award'. Anime News Network. 22 May 2007. Retrieved 5 October 2009.
• 'manga'. Merriam-Webster Online Dictionary. Retrieved 6 September 2009.
• 'Manga-mania in France'. Anime News Network. 4 February 2004. Retrieved 19 December 2007.
• ''Manga no Kuni': A manga magazine from the Second Sino-Japanese War period'. Kyoto International Manga Museum. Retrieved 21 December 2008.
• ''Poten': a manga magazine from Kyoto'. Kyoto International Manga Museum. Archived from the original on 10 April 2009. Retrieved 21 December 2008.
• ''Shonen Pakku'; Japan's first children's manga magazine'. Kyoto International Manga Museum. Archived from the original on 10 April 2009. Retrieved 21 December 2008.
• 'The first Japanese manga magazine: Eshinbun Nipponchi'. Kyoto International Manga Museum. Archived from the original on 22 August 2011. Retrieved 21 December 2008.
• 'Tokyopop To Move Away from OEL and World Manga Labels'. Anime News Network. 5 May 2006. Retrieved 19 December 2007.

Further reading

• 'Japanese Manga Market Drops Below 500 Billion Yen'. ComiPress. 10 March 2007.
• 'Un poil de culture – Une introduction à l'animation japonaise' (in French). 11 July 2007. Archived from the original on 8 January 2008.
• Hattie Jones, 'Manga girls: Sex, love, comedy and crime in recent boy's manga and anime,' in Brigitte Steger and Angelika Koch (2013 eds): Manga Girl Seeks Herbivore Boy. Studying Japanese Gender at Cambridge. Lit Publisher, pp. 24–81.
• (in Italian) Marcella Zaccagnino and Sebastiano Contrari. 'Manga: il Giappone alla conquista del mondo' (Archive) Limes, rivista italiana di geopolitica. 31/10/2007.
• Unser-Schutz, Giancarla (2015). 'Influential or influenced? The relationship between genre, gender and language in manga'. Gender and Language. 9 (2): 223–254. doi:10.1558/genl.v9i2.17331.

External links

• Manga at Curlie

A millennium (plural millennia or millenniums) is a period of one thousand years,^[1] sometimes called a kiloannum (ka), or kiloyear (ky). Sometimes, the word is used specifically for periods of a thousand years that begin at the starting point (initial reference point) of the calendar in consideration (typically the year '1') and at later years that are whole number multiples of a thousand years after the start point. The term can also refer to an interval of time beginning on any date. Millennia sometimes have religious or theological implications (see millenarianism).

The word millennium derives from the Latinmille, thousand, and annus, year.

Debate over millennium celebrations[edit]

One Thousand Years Of Manga Pdf Torrent Downloads

There was a public debate leading up to the celebrations of the year 2000 as to whether the beginning of that year should be understood as the beginning of 'the' new millennium. Historically, there has been debate around the turn of previous decades, centuries, and millennia. The issue arises from the difference between the convention of using ordinal numbers to count years and millennia, as in 'the third millennium', or using a vernacular description, as in 'the two thousands'. The difference of opinion comes down to whether to celebrate, respectively, the end or the beginning of the '-000' year. The first convention is common in English-speaking countries, but the latter is favoured in, for example, Sweden (tvåtusentalet, which translates literally as the two thousands period).

Those holding that the arrival of the new millennium should be celebrated in the transition from 2000 to 2001 (i.e., December 31, 2000, to January 1, 2001) argued that the Anno Domini system of counting years began with the year 1 (There was no year zero) and therefore the first millennium was from the year 1 to the end of the year 1000, the second millennium from 1001 to the end of 2000, and the third millennium beginning with 2001 and ending at the end of 3000.

Popular culture supported celebrating the arrival of the new millennium in the transition from 1999 to 2000 (i.e., December 31, 1999, to January 1, 2000), in that the change of the hundreds digit in the year number, with the zeroes rolling over, is consistent with the vernacular demarcation of decades by their 'tens' digit (e.g. naming the period 1980 to 1989 as 'the 1980s' or 'the eighties'). This sometimes referred to as 'the odometer effect'.^[2] Adding to its cultural significance, the 'year 2000' had been a popular phrase referring to an often utopian future, or a year when stories in such a future were set. There was also media and public interest in the Y2K computer bug.

A third position was expressed by Bill Paupe, honorary consul for Kiribati: 'To me, I just don't see what all the hoopla is about ... it's not going to change anything. The next day the sun is going to come up again and then it will all be forgotten.'^[3] And even for those who did celebrate, in astronomical terms, there was nothing special about this particular event.^[4]

One Thousand Years Of Manga Pdf Torrent Online

Stephen Jay Gould, in his essay Dousing Diminutive Dennis' Debate (or DDDD = 2000) (Dinosaur in a Haystack), discussed the 'high' versus 'pop' culture interpretation of the transition. Gould noted that the high culture, strict construction had been the dominant viewpoint at the 20th century's beginning, but that the pop culture viewpoint dominated at its end.^[5]

The start of the 21st century and 3rd millennium was celebrated worldwide at the start of the year 2000. One year later, at the start of the year 2001, the celebrations had largely returned to the usual ringing in of just another new year,^[6] although some welcomed 'the real millennium', including America's official timekeeper, the U.S. Naval Observatory,^[7] and the countries of Cuba^[8] and Japan.^[9]

The popular^[10] approach was to treat the end of 1999 as the end of 'a millennium' and to hold millennium celebrations at midnight between December 31, 1999, and January 1, 2000, with the cultural and psychological significance of the events listed above combining to cause celebrations to be observed one year earlier than the formal date.^[10] However, this does not establish that insistence on the formal Gregorian date is 'incorrect'. Some event organisers hedged their bets by calling their 1999 celebrations things like 'Click'^{[citation needed]} referring to the odometer-like rolling over of the nines to zeroes; another, pragmatic approach was to celebrate 'a new millennium' twice.^{[citation needed]}

See also[edit]

One Thousand Years Of Manga Pdf Torrent Free

References[edit]

1. ^'Millennium', Oxford Dictionaries (Oxford University Press, 2016).
2. ^'For the Chronologically Correct, Now It's Time for the Millennium'. Los Angeles Times. Retrieved April 12, 2021.
3. ^'Millennium: Date Line Politics'. WaybackMachine. Archived from the original on June 28, 2006. Retrieved February 6, 2021.
4. ^'When Did the 21st Century Start?'. timeanddate.com. Retrieved February 7, 2021.
5. ^Gould, Stephen (1995). Dinosaur in a Haystack. Harmony Books.
6. ^'Millennium Gets Little Notice'. The Washington Post. Retrieved February 24, 2021.
7. ^'For the Chronologically Correct, Now It's Time for the Millennium'. Los Angeles Times. Retrieved November 13, 2020.
8. ^'Castro hosts party for the 'true Millennium''. The Telegraph. Retrieved November 13, 2020.
9. ^'Japanese purists prepare to welcome new millennium'. DeseretNews. Retrieved November 13, 2020.
10. ^ ^abAssociated Press, 'Y2K It Wasn't, but It Was a Party', Los Angeles Times, January 1, 2001.

External links[edit]