著者

一宮 真佐子

出版者

日本村落研究学会

雑誌

村落社会研究ジャーナル (ISSN:18824560)

巻号頁・発行日

vol.15, no.1, pp.13-24, 2008 (Released:2012-12-04)

参考文献数

22

被引用文献数

2 1 2

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The purpose of this paper is to illustrate the representations of “agriculture and rural space” in MANGA, one of the major genres of popular culture. Today in Japan, “consumerist gaze” has a significant influence upon rural areas. The popular culture, where such influence can be easily found, has been subjected to study. Even though, few studies have focused on the subculture genres like MANGA. This paper picks up 26 MANGA works which treated agricultural subject or whose settings were in rural space at that time. In the first step, the trend of settings and descriptions in those works is analyzed. According to this trend, these works are divided into 4 groups, and their features are shown below ; group A “comedy-style and personal topics (e.g. marriage)”; group B “dealing with social problems” ; group C “return to native place (U-turn) and significant concern about rural/food culture” ; group AC is intermediate between A and C. Additionally, group A is divided into A1 and A2 according to whether “out-migrants (I-turn)”appear in the works. Next, 4 works which are representative of groups except AC are examined. By this analysis, several representations of “agriculture and rural space” and their transition process in MANGA works are defined. Before the late 70s, “agriculture and rural space” was represented as unrefined “premodern”, compared to refined industry/urban area. Afterward it came to be represented as “problematic modern” as same as urban area, and after the late 90s as “alternatives to modernity”. Since around 2000, “agriculture and rural space” is represented as “hetero-culture” which is equal option to city. Generally, the comedy-style works turn the negative representation into positive one. In conclusion, the characteristics of that representations in MANGA are defined as; the inverse of dominant sense of values by “laughter” ; the ceaseless shift of themselves through intertextual acts.