Author Archives: rbsgch

Team 5 (Buchanan/Gonzalez/Hui) Section 3

We were responsible for the “Yamato Waki and Girls’ Comics” section.  There were a lot of information that we wanted to gather and share but there was not enough time. We tried our best to gather the most crucial information with the time that was given to us.  Enjoy!

Who is Yamato Waki?

Yamato Waki was born on March 13, 1948 in Sapporo, Japan. She is currently 64 year’s old. Her career started in 1966, and she is considered one of the major writers of Girl’s Comics. She mostly wrote Romakome, romantic comdies, and one of her major works is her own rendition of The Tale of Genji called Asaki Yume Mishi.  She is also known for her exquisite drawings in this work, and it is often called a “modern Genji picture scroll.”
Link which provides more information about Yamato Waki.

 Covers of Asaki Yume Mishi


    genji     genji2     

 

Tanabe Seiko

Tanabe was born in 1928.  She is mentioned in this section for her work of the Genji called Shin Genji monogatari or The New Tale of Genji.  The author compares her work with Yamato for both translation of the Genji have been popular with women of all ages.

A thorough bibliography of Tanabe Seiko.  This links to an eBook on Google and her bibliography starts on the bottom of page 397 to 402.

Below is a cover of Tanabe’s work that we retrieved from Amazon.  

Covers magazines of Mimi, Ribon, and Nakayoshi
         

Link providing more information about Nakayoshi magazine
This link shows that the last Mimi issue was published in 1996.

Terms and Pictures

Shojo Manga is a term used for referring to girls’ comics.
An article by Masami Toku, an associate professor at CSU-Chico, which gives further information regarding characteristics of manga and shojo manga.

Shonen manga is a term used for boys’ comics.

eien no shojotachi means “eternal girls” which refers to women of all ages who want to remain Shojo or girls (338).

Niju yonen gumi (Showa 24 Group) is a group that included renowned comic-book writers such as Hagio Moto, Oshima Yumiko, and Takemiya Keiko.  They are usually known for controversial stories based on eternal life, suicide among the young, and homosexual love (335).

    Ooshima, Yumiko        images

This is an interview with Hagio Moto where she explains what is Niju yonen gumi (24 Year Group).  Below the video are profiles of other manga artists that are part of this group.

 Genji picture scrolls (emaki) were displayed while reading the Genji so that the ladies in waiting could reference it to their mistresses. 

Takarazuka (Takarazuka Girls’ Revue) is an “influential all-women’s musical-theater company [and they] adapted the works of Tanabe and Yamato for the stage” (339).

The Rose of Versailles (Berusaiyu no bara) is a girl’s comic that was made into a play by Takarazuka.  This play is the most popular Takarazuka show.

A performance done by Takarazuka on the adaption of Yamato’s work.
Another performance done by Takarazuka.  The song is called “Song of Jealousy” and Genji is the one singing it.

Pocket-book edition (bunkobon) is a more economical and efficient way to carry mangas that first appeared in magazines.  This is what made it more accessible to consumers.   

This site links to the history and definition of what is pocket book edition.
This site gives a detail definition for the Japanese term Bunkobon.

Kitamura-As-Critic Corner

Kitamura argues that modern versions of The Tale of Genji have “lost their prestige” in traditional Japanese literature, but at the same time readers of all ages can now understand the Genji in different forms such as mangas, magazines, and short stories. Kitamura mentions that the accessibility of these new renditions of The Tale of Genji is due to the target audience, which is now girls. With this target audience in mind, writers such as Yamato Waki, utilize shojo manga tropes. These tropes are the “self-affirmation brought about by a man” and pure love (337). To achieve this effect, Yamato Waki did not include the court politics that were present in the original Genji. She also tweaked the romance of the original so that the love would be pure. For example, Yamato omits sections from the the novel that would collide with her “love” theme. Kitamura suggests that in making The Tale of Genji accessible, it diminishes part of its genius.

                                                                                                                               

“Sexuality, Gender, and The Tale of Genji in Modern Japanese Translations and Manga.”  Envisioning The Tale of Genji: Media, Gender and Cultural Production.  Ed. Haruo Shirane.  New York: Columbia UP, 2008. 334-340.