Bibliografias temáticas / Popular culture – pictorial works

Literatura científica selecionada sobre o tema "Popular culture – pictorial works"

Autor: Grafiati
Publicado: 25 de julho de 2024

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Artigos de revistas sobre o assunto "Popular culture – pictorial works"

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Fejes, János. "Strangers of Popular Culture – The Verbal and Pictorial Aesthetics of Mythological Metal Music". Acta Universitatis Sapientiae Communicatio 4, n.º 1 (1 de dezembro de 2017): 37–60. http://dx.doi.org/10.1515/auscom-2017-0002.

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AbstractExtreme metal music is held to be a destructive genre of popular culture, treated as a pariah for many. Being a seriously misunderstood genre, I would like to highlight that metal music is a result of conscious work process that cannot only be noticed on the level of the music but on the level of verbal and pictorial expressions too. In my paper, I would like to show the working mechanisms of the so-called “(neo)pagan/mythological metal” movement, focusing on the rhetoric side of its mentioned expressions, searching for the ways these bands rewrite ancient myths and legends.For my research, I will use three main threads: 1) history of religion (looking for the connections of the reception of ancient topics in contemporary society, e.g. New Age Cults and New Religious Movements); 2) reception theory, as the thoughts of Northrop Frye, Wolfgang Iser (1972), and John Fiske (2011) all should help to understand the general processes behind reading and producing texts; 3) subculture studies – e.g. the works of Richard Schusterman and Deena Weinstein (2002) to have a deeper insight to the genres standing on the edge of mass and high culture.After a general introduction, I would like to demonstrate the above mentioned through some case studies. The chosen mythological cultures are going to be the world of the ancient Middle East (Mesopotamia, Egypt, and the Old Testament), the classical Roman world, and the Viking Era, also showing some Hungarian and Romanian examples in the last section. In each section, the following issues should be examined: band and stage names connected to the topic, album titles, lyrics, and album covers. All these together will show us many clear patterns from romantic nostalgia to allegoric concepts, all revolving around the essence of metal music: being a Stranger in a familiar society.
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Semerenko, Lubov I., e Oleksandr O. Pliushchai. "Pictorial as readable: ekphrasis in a literary work and reader’s p". Alfred Nobel University Journal of Philology 1, n.º 23 (junho de 2022): 50–59. http://dx.doi.org/10.32342/2523-4463-2022-1-23-4.

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The interaction of arts which poets, writers, artists, scholars and philosophers have always paid considerable attention, has gained popularity recently and it has been given serious consideration in art history, literary and cultural studies, and aesthetics. Some researchers explain a growing interest in the phenomenon of increasing significance of visuality in modern culture. The aim of the article is to clarify the status quo in the study of ekphrasis in literary and cultural studies. To achieve the aim pursued, the following research methods have been used: cultural-aesthetic, comparative and hermeneutic. The paper focuses on the concept of ekphrasis and its use in literary works and studies the current trends in the study of ekphrasis, regarding its definition, typology, functions, ekphrastic genre invariants, and reader’s perception of ekphrasis. Some exemplary instances of ekphrasis description in English ekphrastic poetry and emotive prose have been considered, and the verbal means of ekphrasis generation have been analysed. The analysis of the most popular works of domestic and foreign scholars such as: N.S. Bochkareva, L. Geller, N.N. Yefimova, A.Yu. Krivoruchko, V. Cunningham, J. Hollander, L. Spitzer and many others, has allowed to make the conclusion that most scholars use the definition of ekphrasis as a “poetic description of a pictorial or sculptural work of art” suggested by Leo Spitzer, although, the definition of ekphrasis as a “verbal representation of visual representation” of James Hefferman, which is a broader concept is also popular. Different classifications of ekphrasis have been suggested by the researchers. N. Braginskaya, for instance, distinguishes the dialogical and monological ekphrasis on the basis of the internal structure of the text, the main difference being the manner of presenting information to the reader. The typology of ekphrasis and its main functions are mainly given on the basis of creative works of a particular writer or poet and many researchers pay attention to sense general features of ekphrasis as the process which combines iconic and sign images in verbal discourse. Ekphrasis, being the representation of other arts in literature, expands considerably the narrative space. The origin of ekphrasis goes back to the ancient times where it is seen as a rhetorical device. In classical rhetoric, ekphrasis could refer virtually to any extended description of art objects. Ekphrasis, an ancient rhetorical term, has been now revived in academic circles, in the studies of art and literature. After languishing in obscurity until 1967, when Murray Krieger published a notable essay on it, ekphrasis is commanding major attention, “ploughing the inexhaustibly fertile ground where literature meets visual arts”. There are various approaches to the study of the ekphrastic tradition, and the historical approach being one of them, can be seen in many works. Ekphrasi in modern research is a multifaceted and polyfunctional phenomenon. The typology of ekphrasis and its main functions are mainly given on the basis of the particular poet`s or writer`s creative works, paying attention to some general features of ekphrasis which combines iconic and sign images in verbal discourse. The phenomenon of ekphrasis merits further consideration, especially, due to the availability of Liliane Louvel’s The Pictorial Third: An Essay into Intermedial Criticism, which provides the author’s innovative approach to the understanding of the relationships between the literary text and image.
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Fadeeva, T. E. "360° ILLUSTRATION IN CONTEMPORARY VISUAL CULTURE". Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, n.º 89 (2023): 92–99. http://dx.doi.org/10.37313/2413-9645-2023-25-89-92-99.

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The object of the article: the works of contemporary artists working with the 360° format and creating the so-called. "spherical illustrations" or 360° illustrations, controlled panoramic images. Works were selected as material, reflecting the types of strategies for the work of artists with this medium, demonstrating the connection between the artist's intention and the formal, structural solution of the work. Subject of the article: the specifics of 360° illustration, its expressive possibilities, as well as the strategies of artists who turn to this format as an instrument of aesthetic impact on the viewer in the context of the modern communication society. The study is devoted to the actively developing phenomenon of 360° illustration, which is currently becoming increasingly popular among artists and delineates new aesthetic horizons for illustration as an art form. The main goal of the study is to identify the specifics of the phenomenon of spherical illustration in modern visual culture, the contextualization of 360° illustration in the field of modern visual culture. The author made the following conclusions: the 360° illustration is the ultimate version of the structure of the classical pictorial image with a direct perspective, which at the same time carries out a “Copernican revolution” in terms of the viewer’s attitude to the artistic image (from a passive recipient, he turns into active interpreter and co-author of the artist), thus, on the one hand, illustrators get to expand the repertoire of their own expressive means (partly borrowing the techniques of screen arts), and, on the other hand, the viewer gets the opportunity to be "inside" the image and experience it as a subjective aesthetic experience.
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Dimarco, Christa R. "Van Gogh’s Parisian Gardens on the Butte Montmartre". Nineteenth Century Studies 34 (1 de novembro de 2022): 1–41. http://dx.doi.org/10.5325/ninecentstud.34.0001.

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Abstract Vincent van Gogh generated around 150 paintings, plus drawings and works on paper, while he lived in Paris from 1886 through 1888. Scholars tend to focus on the paintings he made after he left the capital for the Provençal town of Arles. Iconic Arlesian images such as Night Café and Sunflowers have overshadowed the Paris-period paintings and, in turn, the sociocultural underpinnings of his oeuvre. This essay focuses on one of the largest bodies of imagery Van Gogh completed in Paris: a series depicting small gardens for the working class that sprawled down a hill behind a popular tourist attraction on the Butte Montmartre. These works have been seen as depictions of rural Montmartre, but the essay locates them in the context of tourism and also connects them to Émile Zola’s 1873 novel Le Ventre de Paris. In doing so, the author views Van Gogh’s seemingly traditional landscapes as departing from the pictorial compositions he studied and embracing instead a pictorial frame that conveys the subjugation of the working class amid social reform efforts related to communal gardens.
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NIKOLENKO, K., e O. NIKOLENKO. "CONTEMPORARY STRATEGIES OF STUDYING INTERTEXTUALITY". Philological Studies, n.º 33 (19 de abril de 2021): 13–19. http://dx.doi.org/10.33989/2524-2490.2020.33.228193.

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The article explores the definition and the essence of intertextual theory as it is interpreted by M. Bakhtin, J. Kristeva, R. Barthes and other prominent scholars and literary critics of the 20th century, particularly from the viewpoint of poststructuralism. In the broadest terms possible, intertextuality can be defined as a set of relations between texts, which can include direct quotations, allusions, literary conventions, imitation, parody and unconscious sources among others. This concept dramatically blurs the outlines of texts, making them, in R. Barthes’s words, an “illimitable tissue of connections and associations.” The term itself was originally coined by the French semiotician and philosopher Julia Kristeva in the late 1960s. By combining Saussurean and Bakhtinian theories, J. Kristeva produced the first enunciation of intertextual theory, wherein she essentially suggested reconsidering the widely accepted notions of the author’s “influences” and the text’s “sources”. This theory was further developed by R. Barthes, who proclaimed the “death of the author” and insisted that the literary meaning can never be fully grasped by the reader, because the intertextual nature of literary works always leads readers on to new textual relations. In turn, French critic G. Genette introduced the notion of ‘transtextuality’ as a more comprehensive term, and put forward five types of transtextual relations (intertextuality, paratextuality, metatextuality, architextuality, hypertextuality). This theory has also become widely popular in the era of postmodernism, not just in relation to literary works, but also in other domains (cinematography, architecture, pictorial arts etc), as imitation of well-known artistic styles, direct and indirect references to various works of culture have become a salient feature of postmodern art. In general, it should be emphasized that intertextuality subverts the concept of the text as self-sufficient, hermetic totality. Instead, it emphasizes the fact that all literary production takes place in the presence of other texts, works of culture, and various social and historical factors. The reader also plays a crucial role in interpreting the text, because the reader’s previous experiences, their cultural and educational background will inevitably influence the scope of meanings that the reader is able to extract from the text.
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Ayu Lestari, Dita, Megi Primagara, Shinta Aulia Sari, Afifah Meilina, Silfiah Fauziah, Ade Irfany Sugesti, Aisyah Nasywa e Ahmad Diva Salwi. "Meme Culture: A Study of Humor and Satire in Digital Media". International Journal of Advanced Multidisciplinary Research and Studies 4, n.º 4 (9 de julho de 2024): 134–40. http://dx.doi.org/10.62225/2583049x.2024.4.4.3013.

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Meme culture is an interesting phenomenon in digital media that plays an important role in digital communication and culture that has become a popular tool for conveying information and ideas that spread rapidly on the internet and social media platforms. The purpose of this study is to examine more deeply how the satire discourse is contained in pictorial texts and purely texts in memes how the role of memes in digital media, and how their impact in digital media as well as knowing how the role of memes in shaping individual and group identity. This research is interesting because the satirical humor style contained in memes is an effective, practical, absurd response to entertainment, politics, education, culture, and others and can shift, exclude, and reverse discourse, because it can create new discourse. This research study uses critical discourse analysis by Norman Fairclough, which identifies that discourse can be a series of spoken and written words or a series of speech acts. With this analytical knife, it was found that satire in memes on social media is used in the form of satire and criticism of things that are going viral and how these issues affect social media in the real world. Memes are not seen as silent, passive, and ready-made texts when produced. Instead, memes are dynamic and mobile strategies through comedic satire.
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LIU, Mingxuan. "REPRESENTATION OF THE CITY IN TRADITIONAL CHINESE GOHUA PAINTING: MOTIFS, TYPOLOGY, PICTORIAL AND STYLISTIC FEATURES". HUDPROM: The Ukrainian Art and Design Journal 2023, n.º 2 (15 de outubro de 2023): 57–65. http://dx.doi.org/10.33625/hudprom2023.02.057.

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The representation of the city in traditional Chinese painting has certain features and traditions that distinguish it from the representation of urban imagery in Western art. First of all, this is an artistic generalization of the urban landscape as part of the artistic context of nature. It is also important to focus attention on the depicted identities of the urban space (houses, streets, bridges, as well as the nature that surrounds the city, etc.). In addition to this, gohua in its historical development has an obvious tendency to panoramicity and a generalized way of perception, which actualizes a special system of artistic motifs. Within the historical context of Chinese painting, the city often has a symbolic meaning, and its visuality is represented through the symbolism of color, space or emblems. After all, the use of traditional artistic materials and techniques is of great importance, which determines the palette of artistic techniques and directly affects the artistic motifs of the representation of the city. The representation of the city within the gohua reflects the peculiarities of Chinese culture and perception of the world. Cities are considered as part of nature and interconnected with it. This approach gives works of art depth and symbolic meaning. It is substantiated that the cityscape in the context of the general phenomenology of guohua has its own conceptual and terminological niche, which can be translated as “urban ink painting” (都市水墨). In turn, within this niche, the most popular artistic technique is “meticulous painting” (gongbi /工笔画; literally, “working with a brush”). The following typical pictorial and stylistic features of the urban landscape genre within Chinese ink painting, which are characteristic of the modern stage of development of Chinese fine art, have been established: 1) Expressiveness, which is expressed in the artist’s effort to convey not only the appearance of the city landscape, but also the emotional reaction to the landscape; 2) Minimalism: the desire to build an artistic foundation with the minimum number of colors and elements and focus on the expressiveness of details; 3) Line graphics: as a sign reflects the European approach to understanding the technique and imagery of Chinese painting; in the urban landscape genre, it affects imagery by conveying the shapes and contours of objects; 4) Contrast, with the help of which artists create volume, depth and texture of the urban landscape; 5) A separate artistic parameter is symbolism, which is a field of interpretation of the general pictorial and stylistic repertoire
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Mroziewicz, Karolina. "The Image of the Lithuanian and Ruthenian Legacy of the Jagiellons in 16th-Century Pictorial Catalogues of Polish Monarchs". Ikonotheka 27 (10 de julho de 2018): 133–56. http://dx.doi.org/10.5604/01.3001.0012.2322.

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This article analyses the dynamics that were present in the manner of representing the Lithuanian and Ruthenian legacy of Ladislaus Jagiello and of the first two generations of his descendants in popular 16th-century pictorial catalogues of Polish monarchs. The catalogues actively supported the collective memory and facilitated the integration of Lithuanian and Ruthenian traditions in the Kingdom of Poland. An analysis of the textual and visual message of Maciej of Miechów’s Chronica Polonorum (1519, 1521), of the treatises by Justus Decius appended to it in 1521, the illustrated chronicles of Marcin (1551, 1554, 1564) and Joachim (1597) Bielski, and the visual contents of Tomasz Treter’s Regum Poloniae icones (1591) series has shown that a typical feature of 16th-century works on the first Jagiellons is the non-uniformity of their literary narrations, which contrasts with the relatively stable image of the Jagiellons in the pictorial catalogues. The textual narratives were much quicker to react to the current political, cultural and confessional needs than their visual counterparts, and they accordingly adjusted the literary image of the first Jagiellons. In the dynastic narrations the unfavourable image of the Jagiellons, still present in the first two decades of the 16th century, was replaced by a laudatory narrative concerning the predecessors of Sigismund the Old, which brought into prominence the dynasty’s ancient lineage and its contributions to the Kingdom of Poland. The Eastern roots of the Jagiellons were assimilated into the Polish historical representations by crediting the Lithuanians and Ruthenians with a Sarmatian genealogy. The narratives of the nobility dating from the second half of the 16th century associated the dynasty’s history with that of the nobility and presented it in the light of the religious, heraldic and socio-ethical interests of Polish noblemen. Ladislaus Jagiello was therefore depicted as a leader of the Polish and Lithuanian nations, operating at the intersection of two diverse cultures, i.e. cultures which were not subject to any evaluative assessment unless they were detrimental to Polish traditions and interests. The last discussed pictorial catalogue, i.e. a series of depictions of monarchs by Tomasz Treter, is a rare example of reaching back to Jagiello’s Eastern heritage by choosing a Ruthenian painting as a model for his depiction. The use of a Ruthenian representation of the king from all the paintings funded by Jagiello is proof of interest in the Eastern artistic tradition and of its gradual integration into the cultural heritage of the Crown on the eve of the Union of Brest (1596).
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Stanicka-Brzezicka, Ksenia. "Design jako próba przywrócenia kanonu? Pojęcia, metody i dyskursy a niemieckie i śląskie wzornictwo pierwszej połowy XX wieku". Artium Quaestiones, n.º 32 (15 de dezembro de 2021): 37–66. http://dx.doi.org/10.14746/aq.2021.32.2.

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In the article, the concept of canon is related to the process that has been defined as the transition from applied art to design. The thesis is then put forward that this processcan be seen as the canonisation of products intended for mass production. The above statement suggests that a (qualitative?) change has taken place between designing and producing artistic and also utilitarian objects and the phenomenon called design. However, an answer to this problem first requires a clarification of terms. If we understand design and production historically in the context of the transition from handicraft to machine production, i.e. within the narrative socio-economic history, and if we place design in the ontology of visual culture, its pictorial representations and materiality, we will see a shift of focus to aesthetic values, related to form and materiality, and thus canonisation – the establishment of icons (of design). The canon will in this sense be a defence against aesthetic relativism. Escaping into the canon is art history’s way of dealing with the social, economic and knowledge and technology arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures. transfer issues that are indispensable in the study of crafts, arts and craft and design. The history of art (but also popular culture!) has canonised many works and phenomena. One example is the Bauhaus, widely seen as the canon of 20th-century design, although Gropius himself defined its purpose in the words: “das ziel des bauhauses ist eben kein ‘stil’, kein system, dogma oder kanon [...]”. Similar phenomena took place concerning the design of the first half of the 20th century from the Lower Silesia area: the slogan “Breslauer Moderne” referred, in part, to the Werkbund exhibition in 1929 (WuWA), and the activity of the Wrocław Academy in the field of applied arts was included in the research on searching for connections with Bauhaus as an exemplification of the canon. Design as historically understood industrial design and design as a creative activity, as the energy needed to produce a canonical utilitarian object, i.e. one whose aesthetic or artistic value will go far beyond utilitarian, form the framework in the text for methodological discussion, reflections on defining concepts and critical analysis of scientific discourses and their possible junctures.
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Kol'tsova, Natal'ya Zinov'evna, e Liu Miaowen. "Dialogue of arts in the novel “The Artist is Unknown” by V. Kaverin". Litera, n.º 9 (setembro de 2020): 42–50. http://dx.doi.org/10.25136/2409-8698.2020.9.33780.

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Prose about the artist is fairly popular in the world and Russian culture, but the novel “The Artist is Unknown” by V. Kaverin holds a special place within the Russian literature, and the title itself is precedent for the philologists – it is mentioned each time when it comes to genre of the novel about artist. Kaverin not only creates a vivid image of the artist-painter, but also restores his manner via literary style. The pictorial beginning is prevalent in the text; however, orientation towards other types of art, namely sculpture and theatre, are also noticeable sculpture and theater, which is reflected in the character sphere and in the composition itself. In the novel “The Artist is Unknown”, theater and painting are deeply intertwined – and not only scenes of the play engage painting, but also the authorial “painting” involves theatrical aesthetics. However, namely the art of painting, is in the center of Kaverin’s attention, while the ekphrasis technique becomes the fundamental principle for arranging artistic material. It should be noted that the focus of attention of the audience falls onto imaginary ekphrasis, description of the image that exists only in the author's imagination, which allows revealing the features of Kaverin's original idiostyle that correlates certain literary techniques with the painter's technique (the author thinks in the categories of color, painting, texture, and perspective). In such way, painting becomes a metalanguage, the way of understanding the laws of art as such, and thus, the laws of literature, including such categories as narrative perspective and composition. The boundary between genres of the novel about artist and the novel about the novel in Kaverin's text is quite lucid: the fate of the artist is inseparable from the fate of his creation, and the questions of skill, purpose and designation of works comprise the very essence of conflicts of the novel.
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Teses / dissertações sobre o assunto "Popular culture – pictorial works"

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Herbig, Art, A. Watson, Andrew F. Herrmann e A. Tyma. "The Creation of Profs Do Pop!: A Critical Examination of Popular Culture Communities". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/790.

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Sakoi, Junko. "The responses of fifth graders to Japanese pictorial texts". Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3700794.

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This study explores the responses of twelve fifth graders to Japanese pictorial texts— manga (Japanese comics), anime (Japanese animations), kamishibai (Japanese traditional visual storytelling), and picture books — and their connections to Japanese culture and people.

This study took place Cañon Elementary School in Black Canyon City in Arizona. The guiding research questions for this study were: How do children respond to Japanese pictorial texts? and What understandings of Japanese culture are demonstrated in children's inquiries and responses to Japanese pictorial texts? The study drew on reader response theory, New Literacy Studies, and multimodality. Data collection included participant-observation, videotaped/audiotaped classroom discussions and interviews, participants' written and artistic artifacts, ethnographic fieldnotes, and reflection journals. Results revealed that children demonstrated four types of responses including (1) analytical, (2) personal, (3) intertexual, and (4) cultural. These findings illustrate that the children actively employed their popular culture knowledge to make intertextual connections as part of meaning making from the stories. They also showed four types of cultural responses including (1) ethnocentrism, (2) understanding and acceptance, (3) respect and appreciation and valuing, and (4) change. This study makes a unique contribution to reader response as it examines American children's cultural understandings and literary responses to Japanese pictorial texts (manga, anime, kamishibai, and picture books).

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Tolley, Rebecca. "Review of Alcohol in Popular Culture: An Encyclopedia, ed. by Rachel Black". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5639.

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Liu, Zhe. "The History of a Chinese Pictorial Genre in Modern Shanghai : Lianhuanhua – The Palm-sized World (1920-1949)". Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1045.

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Cette thèse fait la recherche sur lianhuanhua, un genre de la bande dessinée chinoise, comme une expression de la culture populaire à Shanghai, qui était la plus importante métropole dans l’histoire moderne de la Chine. Chapitre I essaie d'expliquer pourquoi lianhuanhua est née à Shanghai et comment peut- il devenir une part de la culture populaire. Le contexte était la configuration politique et culturelle crée comme le résultat de la présence des concessions étrangères. Les éléments cultures et techniques nourrissaient la création de lianhuanhua. Le développement de lianhuanhua était un processus de combiner les images et les mots dans le brochure de la bande dessinée qui devenait très populaire dans le groupe de gens ordinaires. Dans Chapitre II, Le Destin de Hong et Bi est un exemple de explorer la relation entre lianhuanhua et les autres modes de divertissement. Il établissait une connexion entre les divertissements différents. Par le processus de transition de ce texte, nous pourrions observer le développement de visual narrative, l'interaction entre les modes différents des divertissements urbains et la culture urbaine qui faisait un rôle essentiel, décisif, agissant en coulisse. Le Chapitre III se concentre principalement sur les producteurs de trois angles : l’identité culturelle originale et le statut social, leurs conditions dans le cercle, et leur relation avec cette métropole. Lianhuanhua était le lien entre ces nouveaux résidents et Shanghai. La complexe condition de cette industrie de l’édition révélait la stratégie des immigrants qui gagnaient leur vie par lianhuanhua. Le Chapitre IV recherche comment la culture populaire rencontrait les défis politiques différents. Les médias publics, surtout des journaux, représentaient la voix ‘correcte’ imposée sur les gens ordinaires par la classe la plus haute de la société. La guerre elle-même de 1937 créait un défi spécial à cause de l’instabilité politique. L’ingérence officielle du Gouvernement Nationaliste aussi agissait sur le rôle de lianhuanhua. Nous pourrions identifier quatre éléments pendant le développement de lianhuanhua : Le premier, la condition préalable principale pour le développement de lianhuanhua était l’émergence de Shanghai comme une métropole moderne. Le deuxième, le genre de lianhuanhua était économiquement et culturellement disponible pour la plupart des gens. C’est un facteur très important pour sa popularisation. Le troisième, les producteurs sont un groupe crucial pour le développement de lianhuanhua. Le quatrième, lianhuanhua était une scène de lutte entre les élites et les gens ordinaires
This study examines the development of lianhuanhua, a genre of Chinese comic, as an expression of popular culture in modern Shanghai, the most important metropolis in the Chinese modern history. Chapter one attempts to explain why lianhuanhua was born in Shanghai and how it became a part of popular culture. The background was the political and cultural configurations created as a result of the presence of the foreign settlements. Cultural and technical elements fed the creation of lianhuanhua. The development of lianhuanhua was a process of combining pictures and words into comic booklet that became very popular among the common people. In Chapter Two, The Fate of Hong and Bi is taken as an example to explore the relationship between lianhuanhua and other forms of entertainments. It established a connection between different entertainment spheres. Through the whole process of transition, we can observe the development of visual narrative, the interaction between different forms of urban entertainments, and the urban culture that played an essential, decisive and directional role behind the scenes. In Chapter Three, research focuses mainly on producers from three angles: the producers’ original cultural identity and social status, their condition in production circles, and their relationship with the metropolis. Lianhuanhua was a link between these new residents and the metropolis.. The complexity of this publishing industry reveals the living strategy of these immigrants. In Chapter Four, we study how popular culture faced the three different political challenges. The public media, especially the press, represented the “correct” discourse by the upper classes over the common people. The war itself in 1937 raised a special challenge due to political instability. Official interference by the National Government also influenced the role of lianhuanhua. Yet Lianhuanhua survived all these challenges. We identified four important elements in the process of the development of lianhuanhua. First, the basic precondition for the rise and the development of lianhuanhua was the emergence of Shanghai as a modern city. Second, the genre of lianhuanhua was within the reach, economically and culturally, of a wide range of readers, which was an important factor for its popularisation. Third, producers were a crucial group for the development of lianhuanhua. Fourth, lianhuanhua is a stage of the wrestle between the elite and the common people
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Herrmann, Andrew F. ""Saving People. Hunting Things. The Family Business": Organizational Communication Approaches to Popular Culture". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/439.

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Book Summary: Popular culture helps construct, define, and impact our everyday realities and must be taken seriously because popular culture is, simply, popular. Communication Perspectives on Popular Culture brings together communication experts with diverse backgrounds, from interpersonal communication, business and organizational communication, mass communication, media studies, narrative, rhetoric, gender studies, autoethnography, popular culture studies, and journalism. The contributors tackle such topics as music, broadcast and Netflix television shows, movies, the Internet, video games, and more, as they connect popular culture to personal concerns as well as larger political and societal issues. The variety of approaches in these chapters are simultaneously situated in the present while building a foundation for the future, as contributors explore new and emerging ways to approach popular culture. From case studies to emerging theories, the contributors examine how popular culture, media, and communication influence our everyday lives.
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Dudding, William P. "Soldier of Culture: A Literary Analysis of the Works of Kanye West". Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/192.

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In my thesis, I explored the work of the artist Kanye West as a rejected voice of Generation Y. Why was he rejected? Could he, in fact, be the voice? By examining readings of several of his songs and music videos over the span of his career as well as his public interactions, I attempt to properly place West in American culture. As a result of my research, I found West to be an extremely influential artist and an intriguing representation of the 2000s.
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Herrmann, Andrew F. "Book Review of Reading Joss Whedon". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/838.

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Meier, Lori T. "Making Sense of Popular Culture, Spaces of Learning, and Self: Educational Experiences at the Boundaries of Teacher Education". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/5902.

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Sutton, Matthew D. "The Young, Clean-Cut America: The Hootenanny, Revisited". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2365.

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Herrmann, Andrew F. "Daniel Amos and Me: The Power of Pop Culture and Autoethnography". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/752.

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Nearly everyone I know has a relationship with something in popular culture, whether it is Buffy the Vampire Slayer, amassing The Astonishing X-Men comics, or collecting every version of every Star Wars movie. Relationships and pop culture: couldn’t that make an autoethnography? This is a short version of my relationship with a band, Daniel Amos. I am not in Daniel Amos. I don’t know the members of the band (although I am Facebook friends with them now). I first heard them in 1982 serendipitously. Or maybe it was destiny. Either way, they opened my eyes to the wonders, doubts, and excesses of my life, critiqued my faith, and brought me joy. I feel like I know them, and they me. Thirty-one years after first hearing them, I realize our relationship is one of the longest I have had. We grew up and are growing older together.
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Livros sobre o assunto "Popular culture – pictorial works"

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Ltd, Press Association, ed. Britain's century: Popular culture. Edinburgh: Mainstream Pub., 1999.

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2

photographer, Goss John 1958, ed. Very Thai: Everyday popular culture. 2a ed. Tatien, Bangkok: River Books, 2013.

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No, Sŭng-dae. Pawi ro paeunŭn uri munhwa. Sŏul-si: Muhan, 1999.

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Liksom, Rosa. Go Moskova go. [Helsinki]: Tammi, 1988.

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5

Hundertmark, Christian. The art of rebellion: The world of street art. [Mainaschaff, Germany]: Publikat-Verl, 2005.

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Gakugeika, Fukui Kenritsu Bijutsukan. Nihon no poppu ten: 1960-nendai. Fukui-shi: Fukui Kenritsu Bijutsukan, 1992.

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Hakubutsukan, Ishikawa Kenritsu Rekishi, ed. Shōwa wandārando: Mono de tadoru sengo. Kanazawa-shi: Ishikawa Kenritsu Rekishi Hakubutsukan, 2007.

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Carlos, Rico Juan, e Spain. Subdirección General de Museos Estatales., eds. Certamen de fotografía sobre cultura popular 2007. Madrid: Ministerio de Cultura, Dirección General de Bellas Artes y Bienes Culturales, Subdirección General de Museos Estatales, 2008.

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Pearce, Chris. The fifties: A pictorial review. London: Blossom, 1991.

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Lisa, Eisner, e Alonso Román, eds. Height of fashion. Los Angeles, Calif: Greybull Press, 2000.

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Capítulos de livros sobre o assunto "Popular culture – pictorial works"

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Griffiths, John. "Shurey's Pictorial Budget, 19th February 1900". In Empire and Popular Culture, 147–51. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351024709-20.

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Vorobiev, Artem. "Shibata Renzaburō’s Other Works". In East Asian Popular Culture, 177–211. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11192-1_5.

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Sautto, Chiara. "Gender and Reproduction in the Dystopian Works of Sayaka Murata". In Palgrave Studies in Science and Popular Culture, 157–72. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96192-3_8.

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Suquet, Mirta. "Incorrigibility and Becoming-Child: Portrayals of People Living with HIV/AIDS in the Works of Cuban Writer Miguel Angel Fraga". In Palgrave Studies in Science and Popular Culture, 63–89. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-59699-5_4.

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Nischik, Reingard M. "On Imagology, Canadian-US Relations, and Popular Culture: National Images and Border Crossings in Margaret Atwood’s Works". In Comparative North American Studies, 93–120. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137559654_5.

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Talairach-Vielmas, Laurence. "‘How Are You to Enter the Fairy-Land of Science?’: The Wonders of the Natural World in Arabella Buckley’s Popular Science Works for Children". In Fairy Tales, Natural History and Victorian Culture, 47–64. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137342409_3.

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Saunders, Corinne. "From Romance to Vision: The Life of Breath in Medieval Literary Texts". In The Life of Breath in Literature, Culture and Medicine, 87–109. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_5.

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AbstractBreath and breathlessness are flashpoints in medieval literary texts. Medieval medical theories, rooted in classical thought, emphasise the bodily spirits and in particular, the ways that motions of the ‘vital spirit’—closely connected with breath—cause powerful physical responses that write emotions on the body in sighs, swoons, and even death. Physiological theory was complemented by theological notions of pneuma, the Spirit of divinity and life. The movement of breath plays a key role in depictions of emotion from love to grief, and in visionary or mystical experience. This essay explores breath and breathlessness in a range of English secular and devotional literary texts: popular romance writing, the medically alert fictions of Chaucer, and visionary works including the Revelations of Divine Love of Julian of Norwich and the spiritual autobiography of Margery Kempe. In all these works, concepts of the vital spirits and the role of breath in emotion are central. The play of breath underpins and shapes depictions of romantic love, explorations of the boundary between life and death, and ideas of spiritual revelation, creating narratives of profoundly embodied, affective experience.
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Pitassio, Francesco. "Looking at the Images". In Neorealist Film Culture, 1945-1954. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789089648006_ch03.

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Neorealism offered a harsh representation of reality in its portrayal of war brutality, shantytowns, an impoverished population, and abandoned children. This depiction relied on photographic reproduction. However, besides this rendition, neorealism consisted of other multifaceted forms that defined its visual culture. Film posters promoted neorealist productions through a pictorial style and the eroticisation of the actors’ bodies,instead of displaying photographic images of everyday reality, as in photojournalism. Neorealism emerged at the same time as photo-romances, which were popular magazines offering melodramatic narratives in pictures. Neorealist works were novelised according to this template, which contributed to defining neorealist visual culture. In the 1950s, as neorealism declined, attempts were made to merge documentary representation with the template provided by photo-romances and the burgeoning field of photo- journalism. Photo-documentaries published in Cinema Nuovo expanded and prolonged neorealist visual culture into photography.
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Plock, Vike Martina. "‘A Journal of the Period’: Modernism and Conservative Modernity in Eve: The Lady’s Pictorial (1919–29)". In Women's Periodicals and Print Culture in Britain, 1918-1939. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412537.003.0004.

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This chapter examines and puts into context the ‘modernist turn’ of Eve: The Lady’s Pictorial, a popular fashion magazine marketed to middle-class female readers in the interwar period (1919-1929). While many of its society columns and features unquestionably endorsed traditional, patriarchal values, the fact that editors also reviewed and commissioned work by modernist women writers such as Elizabeth Bowen, Radclyffe Hall, Storm Jameson, Rosamond Lehmann, Jean Rhys, Sylvia Townsend Warner and Virginia Woolf, shows that the magazine was fashioned as a dialogic space that aimed to address the various, at times contradictory, experiences and interests of women in the interwar period. By analysing the particulars of this productive dialogue between conservatism and progressiveness in Eve, the chapter advances research on interwar periodical culture, suggesting that some existing critical designations such as ‘little,’ ‘smart,’ or ‘service’ inadequately describe the heterogeneity of the printed materials found in this particular 1920s magazine.
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Easley, Alexis. "Felicia Hemans and the Birth of the Mass-Market Woman Poet". In New Media and the Rise of the Popular Woman Writer, 1832-1860, 24–52. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475921.003.0002.

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This chapter focuses the career of Felicia Hemans, one of the first women writers to achieve widespread fame as a mass-market poet. I begin with an overview of the revolution in print that corresponded with the span of Hemans’s career, 1808 to 1835. While Hemans’s poems might have made their first appearance in books or periodicals priced at one shilling or more, they were among the most frequently reprinted content in periodicals and newspapers aimed at broad audiences that included working-class and lower-middle-class readers. In the second part of this chapter, I use Hemans’s poem ‘The Better Land’ as a case study for exploring how the practice of reprinting enabled the dissemination of her work to mass-market audiences and niche readerships. In the third section of this chapter, I explore the history of American reprintings of Hemans’s poetry, highlighting how she negotiated the lack of international copyright protection for British authors in order to harness new markets abroad. I close the chapter by exploring a posthumously published poem, ‘To My Own Portrait.’ Its circulation in memorials after Hemans’s death tells us much about emergent visual print culture, which defined the ‘poetess’ as both a celebrity author and a pictorial image.
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Trabalhos de conferências sobre o assunto "Popular culture – pictorial works"

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Walton, James M., e Patrick LeBeau. "Maverick and Skunk Works: Representing Aerospace in Popular Culture". In AIAA SCITECH 2023 Forum. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2023. http://dx.doi.org/10.2514/6.2023-2397.

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Cotoman, Carolina. "Funeral traditions and customs reflected in Petre V. Ștefănucă’s works". In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.12.

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The article presents funeral traditions and customs reflected in Petre V. Ștefănucă’s works from the beginning of the 20th century, as discovered by the folklorist in the Bessarabian villages. The aspects that have been preserved until now are also mentioned. The author appreciates the way of capturing the details and encompassing the whole represented by these phenomena of the popular culture. Each stage of the burial custom is analyzed and explained.
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Kaverkina, Aleksandra. "Projecting event series on literary mastership for schoolchildren in libraries". In Sixth World Professional Forum "The Book. Culture. Education. Innovations". Russian National Public Library for Science and Technology, 2021. http://dx.doi.org/10.33186/978-5-85638-236-4-2021-121-123.

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Literary mastership is a discipline aimed to teach students to write fiction and non-fiction works. This subject is getting more and more popular every year. Libraries have enough resources to organize teaching literary mastership to their patrons. The major provisions needed for this kind of library events targeted at schoolchildren, e. g. developing theoretical basis, audience analysis, outsourcing and desired final product, are discussed.
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Khokhlova, Yu I., e A. N. Sunami. "“SEMIOTIC CULTS” AS A PHENOMENON OF MASS CULTURE IN THE DIGITAL AGE". In 4th International Conference Modern Culture and Communication. Institute for Peace and Conflict Research, 2024. http://dx.doi.org/10.31312/978-5-6048848-7-4-18.

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The report examines the phenomenon of so-called "semiotic cults" — communities of like-minded people formed around works of popular culture, both literary and visual (films, cartoons, comics, etc.) and having features of a religious cult. This issue seems to be especially relevant in the context of the digital age, in the context of the widespread use of social networks and the adoption of a paradigm for determining the value of content through "feedback" expressed in likes, comments and the number of subscribers. As an example of such a para-religious movement, the community of "Disney adults" formed around Disney products is cited.
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Hołowaty, J. "Repair of High Silicon Steel Railway Bridges". In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.1024.

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<p>Structural steel has a varied history, with different types of steels used in construction. The majority of structural steels were of standard type but right from the start there was great interest in manufacturing higher strength steels. For a short period, high silicon structural steels were popular and the steels found applications in many riveted engineering structures. The first two railway bridges made from silicon steel were constructed in Germany and Switzerland. The paper presents repair works on two railway truss bridges constructed from high silicon steel in the early 1930s. Modernisation of the track system required some works to be carried out via welding. Material and tensile tests were undertaken to assess the possibility for welding to be used in joining the new components. Repair works were carried out by Polish Railways. The results of tests on the old silicon steels may be useful when strengthening similar riveted structures constructed from early high-strength steels.</p>
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Задорожня, Ірина. "ДІАЛЕКТНА ТЕКСТОТЕКА: ФОРМУВАННЯ ТА ІНФОРМАТИВНІСТЬ". In Proceedings of the XXV International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25012021/7360.

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The article reviews the problem of Ukrainian dialectic textography. This scientific area has been recently enriched with new works. This article focuses on dialectic text. Text is one of the important tools to represent dialect materials. For example, small text fragments show how can a lexeme behave in a speech-space. One of the dialects of the central region of Ukraine was chosen for the analysis, as this dialect specifically is one of the ancestors of the modern Ukrainian literary language. The subject of the presented fragments is associated with popular geographical terminology. This vocabulary is closely related to primordial history and culture. This thematic group is archaic. It has not yet become the object of a separate study, which would represent the whole variety of dialects from the entire territory of Ukraine. Up until today, there are only a few regional works.
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Kovaleva, M. V. "The Theme of Cultural Crisis by Representatives of Russian Religious Thought of the Late 19th – Early 20th Centuries (on the Example of the Works of S.N. Bulgakov and N.A. Berdyaev)". In General question of world science. General question of world science, 2022. http://dx.doi.org/10.18411/gqws-15-10-2022-05.

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Dynamic changes in Russian social life in the late 19th and early 20th centuries, the elimination of its rigid ideological framework influenced the development of our society. The turning points were not limited to economic and political changes. There was a radical change in the worldview paradigm, which, accordingly, influenced the content of ideals, values, life-sense attitudes, and rules of social interaction. The rearrangement of the components of the spiritual and semantic core of culture at the end of the 1990s testified to a crisis in this area. It was the crisis processes in culture that predetermined the further search for its adequate interpretation and, in this regard, aroused tremendous research interest in its genesis, structure, driving forces and internal potential. Undoubtedly, attention to this phenomenon is also connected with the fact that culture in modern conditions is becoming the dominant social force. No social phenomenon can take place outside of culture and independently of it. This means that cardinal changes in society entail changes in the system of its norms and values, i.e. cultural change, and conversely, change in culture is necessarily accompanied by a shift in the social field. Regulating interpersonal interactions, cultural systems, first of all, semantic complexes (ideas, norms, values) constitute any social phenomenon. Accordingly, in modern philosophy, interest in culture as a factor in creative life and social development is becoming more acute. At the beginning of the 20th century, in the extremely specific conditions of “Russian life”, representatives of Russian religious philosophy directed their creative search to comprehending the essence of culture and determining ways out of the crisis. In this regard, it seems relevant to appeal to the ideas of such philosophers as S.N. Bulgakov, N.A. Berdyaev, who comprehend the fate of Russian culture and put forward a number of provisions that determine the understanding of this phenomenon. In line with the assessment of culture as a factor in social life order, the topic is relevant, which highlights the problematic field of analysis outlined by representatives of Russian religious philosophy of the late XIX - early XX centuries. This is the understanding of culture as a specific holistic organism, as a way of familiarizing a person with the spiritual essence of the world, as a value space oriented towards ideals. This is a deep faith in culture, its interpretation as a means of spiritual life, in which the personal beginning of a person is revealed. At the beginning of the 20th century, the selfdetermination of Russian religious philosophy took place in the context of an appeal to the spiritual heritage, including the religious one. And already self-determined as such, Russian religious thought reflects on the state of national culture. One of the most popular problems of the beginning of the 20th century is the problem of the cultural crisis. The religious concept of culture is inherent in the desire to comprehend the essence of culture in order to open the way from a crisis state to renewal and cultural revival. The Russian thought of this period is distinguished by the breadth of its consideration of the theme of the crisis: from theoretical and historical-cultural analysis to sharp socio-philosophical journalism. The concept of the crisis of culture, developed by Russian religious philosophers, is the basis of their own philosophy of culture. Representatives of this trend focus their creative search on determining ways out of the crisis, therefore, addressing this issue in the presence of a tendency to overcome the cultural crisis that began in Russian society at the end of the 19th century is also relevant. It should be noted that the identified problems, the topics developed by Russian religious philosophers of the late XIX - early XX century are polemical both in theoretical terms and in the context of the realities of modern Russian culture. Is culture a space of absolute values? Is it possible to truly understand culture in detachment from social pragmatics? Why should human activity necessarily be associated with ideals and values? Should a philosophical approach to understanding culture be based on historical realities? Is it possible to identify the concept of culture as a whole with spiritual culture? What is a crisis - cultural exhaustion or being without cultural orientation? The answers to these and many other questions, one way or another touched upon by representatives of this trend, no doubt introduce new aspects into the philosophical vision of culture, enrich modern cultural and philosophical knowledge and, which is very important, contribute to an in-depth understanding of Russian cultural processes of the new millennium.
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Li, Yijin. "SPIRITUAL COMMUNICATION ACROSS TIME AND SPACE — ON THE SUCCESS OF LIAOZHAI STUDY BY V. M. ALEXEYEV". In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.02.

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Russian sinologist V. M. Alexeyev translated and studied Liaozhai according to the new “artistic requirements” in the Soviet era, that is: 1) the requirement to introduce the real Chinese language and art works to the Russian and Soviet people and show his translation talent; 2) the requirement to adapt to the historical culture and aesthetic psychology of the Russian nation and meet the needs of the Russian people; 3) the requirement to conform to the popular social trend of thought among Russian humanistic intellectuals at the turn of the 19th–20th century, and to introduce Oriental wisdom; 4) the requirement to communicate with Pu Songling, an ancient Chinese writer who has common ground in life experience and social ideal, and to express his inner feelings and resonance. Alexeyev’s spiritual communication with Pu Songling is not only the impetus of his whole life to study Liaozhai, but also the secret of his great success in Liaozhai study.
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Ovodova, Svetlana. "Representation of Cultural Traumas in Contemporary Public Discourse: “New Frankness” of Meta-Modernism". In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-04.

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The prerequisites for this study are criticism of postmodernism by theorists and philosophers of culture, and the actualisation of metamodernism as one of the most popular theories of postmodernism. The relevance of the study is determined by the appearance of a ‘new sensitivity’ having arisen from geopolitical events of the 2000s. Metamodernism theory authors declare the new structure of sensation to be different from the dominants of postmodernism and modernism. The article describes the transformation of the representation of cultural traumas in public discourse with the consideration of ideas of metamodernism and a new frankness. The article covers the methodological capabilities for using postmodernism and metamodernism discourses for analysing the principles of representation of cultural trauma within public discourse. Distinguishing features of new frankness are highlighted. Immortal Regiment action is analysed as an example of actualisation of personal experience and family history in public discourse. The concept of ‘new frankness’ increases the role and significance of the witness. The examples of works of contemporary mass culture and media resources are used to trace the actualisation of the witness’s narrative of cultural trauma. Warmth, depth, and affect, characteristic of metamodernism, actualise the demand for plausibility and personal experience of an event. An indirect effect of these hypotheses consists in that narratives on cultural trauma are multivariate as manifested in criticism of the conventional image of a historic event. Re-evaluating historical events from different points of view triggers mechanisms of latent trauma, potentially making almost any historical event a cultural trauma. The study resulted in the revelation of accentuation of sensitivity in narratives of cultural traumas, as opposed to manners prevailing in modernism and postmodernism discourses, i.e. practices of stigmatisation, suppression, and the commodification of cultural traumas.
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Hasegawa, Sho, e Masashi Yamada. "A Statistical Analysis of History of Japanese Light Novels". In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002996.

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In recent years, cool Japan anime, video games and manga have been recognized as important export-oriented merchandise in Japan. Another recent Japanese genre is light novels. Light novels are one of the genres of novels and construct a part of recent Japanese pop culture. In Japan recently, the anime, manga and live-action films have been adapted from the original light novels. Light novels were chiefly read by high and junior-high school student previously, but the range of the readers has been expanding widely in recent years. However, light novels have not been statistically studied yet. In the present study, 533 titles of popular light novels published in 2004-2020 were investigated to clarify the trends in the genre.Numbers were counted for each of 129 items, data of published year, publisher, label, platform first appeared on, length of time from the first publication to the release of the anime adaptation, length of time from the first publication to the manga adaptation and so on for each year. And a 17 x 129 cross-tabulation table was constructed. Then it was analyzed by correspondence analysis and cluster analysis.The results of the correspondence analysis showed a three-dimensional solution with a cumulative contribution ratio of 64 %. Each year was plotted on the three-dimensional space, then cluster analysis was performed on the plots with Ward’s method. The results of the cluster analysis showed that the plots could be divided into four periods; 2004-005, 2006-2015, 2016-2017 and 2018-2020.The results showed that KADOKAWA’s labels were popular between 2004 and 2014, but the other publishers’ labels which collect novels appearing in individuals’ private home pages or posted on web-sites became popular in recent years. The most important part of the business strategy of light novels is mass-production, which means a large number of works and writers are needed. As such, it stands to reason that internet novel submission sites have become an important source for publishers.The results also showed that it only took one or two years to produce anime for many titles between 2006 and 2014, but in recent years, the period of time has increased to four years and the number of cases where no anime was produced has also increased. Additionally, manga based on the light novels tends to be published within one year. This suggests that the center of the multimedia strategy of light novels has shifted from anime to manga. Since the mid-2010s, tablet devices and e-comics applications have rapidly developed. This has enabled publishers to rapidly produce and publish manga based on the original light novels. Moreover, it now takes longer to produce anime, because the quality of frames and productions costs have increased. Therefore, anime studios tend to select an original work of light novel carefully, observing the sales of the e-manga adaptation.
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