Pop art essay conclusion | siekrisawraifranliquadroelissibor
The content of yaoi and boys' love are signs to which we have attached meaning. Our initial interpretations notwithstanding, we have engaged in a semiotic process for which there is no foreseeable end. From one instance of signification emerges more signifiers in an ongoing chain of meanings--a manifestation unlimited semiosis which Eco (1992) examines with such insight. If we were to shift attention from the significance that yaoi may hold for young Japanese females and Japanese society in general to the significance that M/M, dojinshi, and youth-generated popular culture hold for art education, we enter another realm of semiotic possibility. Yaoi, and boys' love are signs of teenage power within the realm of visual cultural. They represent the power of young peoples' artworks in which art teachers play virtually no role. We art teachers should examine these manifestations of power residing within the visual culture of youth in relationship to the visual cultural power represented by formal art education curricula.
Pop Art Movement: Pop Art Essay
As art educators, we were drawn to the dojinshi subculture because we saw the profound influence manga had on the drawings of Japanese young people. Once we glimpsed the subculture we were astonished by its size, depth, complexity, and importance to the lives of an enormous number of Asian and a growing number of American teenagers. Here is an enormous chunk of visual culture created and controlled almost entirely by young people for their own purposes. Even more importantly, those purposes involved, among other things, their drawing, redrawing, and erasing the lines of gender and identity, and in the process, probably changing society in unpredictable ways. We were even more surprised that few art educators in Asia or America are even taking note of what is happening.
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Pop-art was an art movement that emerged ..
The origins of the twin phenomena yaoi and boys' love are fascinating. Of the dojinshi artists who sold their comic books at the first COMICMARKET, Yonezawa (personal communication, August 17, 2000) estimates that eighty-percent were females. In the 1980s increasing numbers of males began to participate, and now, our observation is that the ratio appears to favor females only slightly. In the seventies two major types of dojinshi dominated COMICMARKET. Groups of university students created dojinshi with original characters and plots; at the same time manga and anime fan clubs produced parodies of characters from commercial manga and animated cartoon characters. It was the parodies that set the stage for yaoi and boys' love. The term yaoi was coined in the late seventies by Kanazawa region dojinshi artists included Yasuko Sakata and Rinko Hatsu. Basing their dojinshi on popular media characters, they took the terms , , and (no climax, no point, no meaning) to characterize Sakata's dojinsh . Yaoi is formed by the three terms. As used by Sakata and her group, yoai is an ironic subversion of a traditional Japanese narrative structure consisting of an introduction, development, transition, and conclusion (Natsume, personal communication, June 6, 2002). Yaoi emphasizes male/male (M/M) relationships which do not follow a traditional story structure, , , , and --introduction, development, transition, and conclusion which has its origin in Chinese poetry (Inokai, 2001, p. 10). In the eighties yaoi became synonymous with M/M--parodies of popular manga and animation characters in what appear to be gay relationships in which explicit and sometimes violent sex is shown. "Boys' love" termed in Japanese, refers to dojinshi featuring highly romantic gentle, loving, and cuddly male/male relationships in which explicit sex is seldom suggested. Both yaoi and boys' love are, according to their creators and consumers, forms of love "superior" to heterosexual varieties.