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The Art and Cultural Phenomena in the Anime/Manga Doujinshi ...

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Jewels of <strong>the</strong> <strong>Art</strong> World<br />

Douj<strong>in</strong>shi<br />

J<strong>in</strong>-Shiow CHEN<br />

2002 Chen, 2003<br />

Cosplay<br />

Cosplay<br />

Danc<strong>in</strong>g with <strong>the</strong> <strong>Anime</strong>/<strong>Manga</strong> Imag<strong>in</strong>ary:<br />

<strong>The</strong> <strong>Art</strong> <strong>and</strong> <strong>Cultural</strong><br />

<strong>Phenomena</strong> <strong>in</strong> <strong>the</strong><br />

<strong>Anime</strong>/<strong>Manga</strong> Douj<strong>in</strong>shi<br />

Community<br />

Santoso, 1998<br />

Kanemitsu,


2003 2000<br />

2004<br />

1998 2002 2003<br />

T-shirt<br />

2003<br />

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75


Jewels of <strong>the</strong> <strong>Art</strong> World<br />

Jenk<strong>in</strong>s 1992 media fans<br />

1996<br />

Fiske<br />

2003 35<br />

anime/manga fan<br />

f<strong>and</strong>om 1993 2004<br />

Jenk<strong>in</strong>s 1992<br />

Chen, 2003<br />

Textual Poachers<br />

community<br />

Jenk<strong>in</strong>s 1992


1992<br />

2002; Wilson, 2003<br />

Chen, 2003<br />

Krug, 2004; Wilson, 2003<br />

douj<strong>in</strong>shi-kai<br />

<strong>in</strong>tertextuality Wilson, 2003<br />

symbolic creativity<br />

Jenk<strong>in</strong>s<br />

Duncum, 2001; Freeman, 2003; Willis,<br />

Andy Warhol Lichtenste<strong>in</strong><br />

2003 K<strong>in</strong>dler<br />

2001 2004<br />

Willis 1990<br />

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1997<br />

1998<br />

1997<br />

Chen, 2002<br />

2004<br />

Fiske, 1987; Pustz, 1999 Jenk<strong>in</strong>s 1992<br />

symbolic community


Chen, 2002<br />

2004<br />

Fiske, 1992<br />

representational codes<br />

2003<br />

Fiske 1989 f<strong>in</strong>ancial economy<br />

cultural economy<br />

2004<br />

a sense of history<br />

<strong>in</strong> a perpetual change 1999<br />

<strong>in</strong> a perpetual present <strong>and</strong><br />

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3. 4. 5.<br />

Chen, 2002<br />

one dimensional culture 1989<br />

1. 2.<br />

Herbert Marcuse


1997 What's so funny about <strong>the</strong> comics ? 517 87-91<br />

Herbert Marcuse<br />

1998<br />

1989<br />

Hal Foster<br />

2004<br />

2003<br />

1999<br />

John Fiske 1990 1997<br />

Fiske Underst<strong>and</strong><strong>in</strong>g popular culture<br />

2003<br />

2001<br />

1993<br />

2004 2004<br />

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2002<br />

2000<br />

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presented <strong>in</strong> InSEA 31st World Congress, New York, USA.<br />

Chen, J. S.<br />

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2003 . <strong>The</strong> comic/anime fan culture <strong>in</strong> Taiwan: With a focus on adolescents' experiences. <strong>The</strong> Journal of Social <strong>The</strong>ory <strong>in</strong> <strong>Art</strong> Education, 23,<br />

Duncum, P. 2001 . Visual culture: Developments, def<strong>in</strong>itions, <strong>and</strong> directions for art education. Studies <strong>in</strong> <strong>Art</strong> Education, 42 2 , 101-112.<br />

Fiske, J. 1987 . Television culture. London: Routeldge.<br />

Fiske, J. 1989 . Underst<strong>and</strong><strong>in</strong>g popular culture. Boston: Unw<strong>in</strong> Hyman.<br />

Fiske, J. 1992 . <strong>The</strong> culture economy of f<strong>and</strong>om. In L. A. Lewis Ed. . Ador<strong>in</strong>g audience: Fan culture <strong>and</strong> popular media pp. 30-49 . New York:<br />

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