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Miyake, Toshio. "Doing Occidentalism in contemporary Japan: Nation anthropomorphism and sexualized parody in “axis powers hetalia”." Transformative Works and Cultures 12 2013. Accessed 2 May. 2013. <http://journal.transfor ... wc/article/view/436/392>. 
Added by: joachim (5/2/13, 12:40 PM)   Last edited by: joachim (5/2/13, 3:12 PM)
Resource type: Web Article
Language: en: English
Peer reviewed
DOI: 10.3983/twc.2013.0436
BibTeX citation key: Miyake2013
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Categories: General
Keywords: "Axis Powers Hetalia", Fandom, Gender, Japan, Korea, Manga, Nationalism, Parody
Creators: Miyake
Collection: Transformative Works and Cultures
Views: 7/801
Attachments   URLs   http://journal.tra ... ticle/view/436/392
Axis Powers Hetalia (2006–present), a Japanese gag comic and animation series, depicts relations between nations personified as cute boys against a background of World War I and World War II. The stereotypical rendering of national characteristics as well as the reduction of historically charged issues into amusing quarrels between nice-looking but incompetent boys was immensely popular, especially among female audiences in Japan and Asia, and among Euro-American manga, anime, and cosplay fans, but it also met with vehement criticism. Netizens from South Korea, for example, considered the Korean character insulting and in early 2009 mounted a protest campaign that was discussed in the Korean national assembly. Hetalia’s controversial success relies to a great extent on the inventive conflation of male-oriented otaku fantasies about nations, weapons, and concepts represented as cute little girls, and of female-oriented yaoi parodies of male-male intimacy between powerful “white” characters and more passive Japanese ones. This investigation of the original Hetalia by male author Hidekaz Himaruya (b. 1985) and its many adaptations in female-oriented dōjinshi (fanzine) texts and conventions (between 2009 and 2011, Hetalia was by far the most adapted work) refers to notions of interrelationality, intersectionality, and positionality in order to address hegemonic representations of “the West,” the orientalized “Rest” of the world, and “Japan” in the cross-gendered and sexually parodied mediascape of Japanese transnational subcultures.
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