著者

楊 焮雅 伊藤 剛

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

vol.27, pp.25-36, 2021-03-31

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With the advent and widespread of web-based manga, expressions that differ from traditional paper-based manga haveoften been observed. "Vertical scrolling manga", which readers scroll vertically, is at the core of such new formats ofexpressions. Here, we argue the following two terms to use. One is "条漫" (in Japanese: jouman, in Chinese :Tiaoman), whichis generally used for vertical scrolling manga in Chinese, and another is " 頁漫" (in Japanese: pejiman, in Chinese :Yeman),traditional paper-based manga.Also in this paper, we reexamine the concept of pages, which is usually defined by the physical conditions of paper media.Therefore, in reading a certain panel of manga, when the series of panels that the readers have to read to understand theone in question match the frame of upper level that is consists of panels in eyeshot, we newly define the frame as a page.This redefinition of the page concept provides an understanding of the essential difference between“ jouman” and“ pejiman”.

著者

楊 焮雅 伊藤 剛

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

no.27, pp.25-36, 2021-03-31

---

With the advent and widespread of web-based manga, expressions that differ from traditional paper-based manga haveoften been observed. "Vertical scrolling manga", which readers scroll vertically, is at the core of such new formats ofexpressions. Here, we argue the following two terms to use. One is "条漫" (in Japanese: jouman, in Chinese :Tiaoman), whichis generally used for vertical scrolling manga in Chinese, and another is " 頁漫" (in Japanese: pejiman, in Chinese :Yeman),traditional paper-based manga.Also in this paper, we reexamine the concept of pages, which is usually defined by the physical conditions of paper media.Therefore, in reading a certain panel of manga, when the series of panels that the readers have to read to understand theone in question match the frame of upper level that is consists of panels in eyeshot, we newly define the frame as a page.This redefinition of the page concept provides an understanding of the essential difference between" jouman" and" pejiman".

著者

百束 朋浩

出版者

東京工芸大学芸術学部

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

no.27, pp.13-23, 2021-03-31

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Abstract XR is generally is frequently used as a shorthand to group technologies such as VR, AR and MR. VR have the capabilityof creating a virtual world with various kinds of realistic metaverse, but the flow of time in those worlds is constant.Therefore VR is widely used as a simulator. AR is a technology that gives the realistic world information with a sense ofreality, and the flow of time is the same as in the real world. XR has the potential to develop into an industry as a newvisual media technology that does not control time. This paper examines the technological evolution of XR, and whether ithas the potential to develop into a new contents industry from the technological perspective.

著者

西村 安弘

出版者

東京工芸大学芸術学部

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

vol.27, pp.1-11, 2021-03-31

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A short story“ Theme of the Traitor and the Hero” by Jorge Luis Borges has an antinomic plot in which an activist forIreland’s independence is both a traitor and a hero at the same time. Two films based on this story, The Man Who Liesby Alain Robbe-Grillet and The Spider’s Stratagem by Bernardo Bertolucci, introducing a theme of the doubles, switchthe background of Ireland’s independence to anti-Fascist resistance. Robbe-Grillet’s leading character calls himself BorisVarissa or Jan Robin and one shoots down the other at the end. Through the absurd lives of the doubles, it exposes thevacancy of narration. In Bertolucci’s film, a father and a son who have the same name Athos Magnani are played by Giulio Brogi alone. Theson tires to reveal the truth of his father’s assassination in Tara and his investigation causes the symbolic killing of hisfather. The father unified with the local town makes his son a prisoner. Tara is also the homeland where Scarlett O’Hara repeatedly comes back in The Gone with the Wind. Though Scarlett andMelanie Hamilton are seemed to be the contrast characters, the author Margaret Mitchell divided the original heroine intothese twin characters. For Irish quarter and communist Bertolucci, Tara is the fatherland both where he should abandonand where he dreams to return.