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Archives of Peking University News - PKU English - 北京大学

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<strong>北京大学</strong>英语新闻网/<strong>Peking</strong> <strong>University</strong> <strong>News</strong><br />

Popular Japanese Manga<br />

Focused—Popular Culture Panel<br />

Session<br />

By Zhang Yuan<br />

<strong>PKU</strong> NEWS 2005--11—17<br />

http://ennews.pku.edu.cn/news.php?s=132212414<br />

<strong>Peking</strong> <strong>University</strong>, Beijing, Nov. 17th, 2005: In second round talk <strong>of</strong> Popular Culture<br />

panel session on the morning <strong>of</strong> Nov. 17th, Japanese manga was heatedly<br />

discussed as a commonly recognized popular cultural phenomenon in Asia as well<br />

as the rest <strong>of</strong> the world. This interesting topic rendered a lively and relaxing<br />

atmosphere to the Forum in general.<br />

The issue was brought about mainly by two keynote speakers, Pr<strong>of</strong>essor Lee Wood<br />

Hung from Chinese <strong>University</strong> <strong>of</strong> Hong Kong, and Pr<strong>of</strong>essor Shimamura Teru from<br />

Joshibi <strong>University</strong> <strong>of</strong> Art and Design. The former‘s specific topic was ―Translation as<br />

Cultural Hybridization: A Study <strong>of</strong> Chinese Editions <strong>of</strong> Japanese Comics in Hong<br />

Kong‖, while the latter talked about ―Japan Animation: from Commercialism to Art‖.<br />

Both <strong>of</strong> them showed their great interest and attention to Japanese manga as a<br />

prevailing cultural genre whose production, rendition, translation and reception<br />

deeply reflect some cultural mentality and inter-flow.<br />

Pr<strong>of</strong>essor Lee gave a detailed case study <strong>of</strong> Chinese editions <strong>of</strong> Japanese comics in<br />

Hong Kong, in which he demonstrated that the translating and editing process was<br />

not a mechanical word-to-word translation, but a creative activity which also involved<br />

coinage <strong>of</strong> new expression in Chinese, avoidance <strong>of</strong> Chinese cultural taboos and<br />

such. By demonstrating this, Pr<strong>of</strong>. Lee aimed to indicate that ―foreign consumption <strong>of</strong><br />

Japanese comics is by no means merely a passive acceptance and<br />

internationalization <strong>of</strong> Japanese culture‖, but a ―dynamic mechanism <strong>of</strong> intercultural<br />

flow, cultural localization and hybridization‖.<br />

Following his speech, Pr<strong>of</strong>. Teru provided a closer look at the original Japanese<br />

animations. By showing the gradual trend for the emergence and prosperity <strong>of</strong> some<br />

artistic and creative animations, which is independent <strong>of</strong> the main stream commercial<br />

animation, he pointed out the ―possibility <strong>of</strong> internationalization <strong>of</strong> animation product<br />

that is fairly different from globalization, which is, in its contemporary context, nothing<br />

but another name <strong>of</strong> Americanization‖.<br />

906

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