Kitazawa Rakuten, "Vagaries of Fate [Sachiko to Rakuko]," Tokyo Puck, vol. 6 no. 32 (1910)

PREVIOUS: [Manga] pt. 5 This mode of sequential progress through a number of juxtaposed frames/cells within a total page/board layout may be analogous to a common though by no means universal understanding of [comics] as, at their core, “sequential art,” yet it remains an open question whether this mode of understanding is especially useful for […]

Takabatake Kas

PREVIOUS: [Manga] pt. 4 The [manga] variants on the game of the goose one sees around this time retain some features (e.g. the spiral pattern, which is not specific to it, and the satire of current affairs) while discarding others (e.g. the rules of play and the 63 game spaces).  For instance, Rakuten’s Election Race […]

Ebisu/Asahi Beer advertisement from Tokyo Puck vol. 4 no. 5 (1908)

PREVIOUS: [Manga] pt. 3 [Comics] and commerce, of course, have a long and tangled history, from the use of Outcault’s Buster Brown character as an advertising mascot for the Brown Shoe Company to the still current[1] use of Schulz’s Peanuts characters in ads for the insurance company MetLife. However, long before Buster, advertisements in print […]

Rakuten manga-shū taisei vol. 1 p. 170-1

PREVIOUS: [Manga] pt. 2 2. Periodic[al] Reading In the comments section to an earlier version of the argument[s] about to follow, Stewart, in response to my reading of a particular page from the July 31st, 1907 issue of Puck (above), gave what I presume to be a rather likely objection to the entire purview of […]

Tsurumi's own example from the sutras housed at Shoso-in

PREVIOUS: [Manga] pt. 1 The idealism of honga as “high art” and the exaggeration of ponchi as “low art,” with which Ippei juxtaposes [manga] at one point and another, are constrained, limited forms of expression, whereas [manga] is seemingly more free in how and what it depicts and therefore more semiotically open. His definition, then, […]

Likewise, Ippei's distinction between the "ideal" honga (right) and the "actual" manga (left)

PREVIOUS: Allen Say’s Drawing From Memory and Chapter 1 – Conclusion: What We Fail to Contemplate Contemplates Us Chapter 2 – [Manga] No one knows exactly when the first Japanese tried his or her hand at cartooning, or why, but it was probably with a playful, irrepressible spirit. Frederik L. Schodt, Manga! Manga! 1. [Manga] […]

DFM p. 55

[all apologies for one-week-belatedness, but earlier drafts of this simply did not cohere] PREVIOUS: Chapter 1 – Conclusion: What We Fail to Contemplate Contemplates Us Intermissive 1 – Allen Say’s Drawing From Memory My original intentions were to simply let the abrupt transition from chapter 1 to the rather idiosyncratic treatment of [manga] in chapter […]

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