Titlebook: In Godzilla‘s Footsteps; Japanese Pop Culture William M. Tsutsui (Professor of history),Michiko Book 2006 Palgrave Macmillan, a division o

–吃

When Godzilla Speaks,he scientists realize that they have indeed succeeded in creating life, not through their experiments but through the machine that enables the Play. In a shocking reversal, the characters declare independence from their creators and begin to speak and act for themselves, coming down from the screen

CAB

不利

Temporal-Lobe

,Mothra’s Gigantic Egg: Consuming the South Pacific in 1960s Japan,odzilla’s blind fury in the 1950s represents a threat to Japan’s postwar prosperity, whereas Mothra’s egg in the 1960s becomes an emblem of Japan’s consumerism. Tōh(huán)ō monsters are transformed from fearful, destructive entities to lovable creatures amidst the rise of consumer society in Japan.

價值在貶值

上坡

Monstering the Japanese Cute: Pink Globalization and Its Critics Abroad,y known in Japan using the diminutive term of endearment “chan”—occupies a private world of gingham check, apple pies, and twinkling stars. She comforts and cheers by simply being there. The one subscribes to extraordinary masculinist domination, whereas the other creeps her way in to everyday femin

嚴(yán)峻考驗(yàn)

Apocalypse in Fantasy and Reality: Japanese Pop Culture in Contemporary Russia,ema festivals. Whereas such exhibitions and performances could be enjoyed mainly by the citizens of large urban centers, the majority of Russians, especially the youth, see Japan through the lens of anime and manga.

構(gòu)成

反饋

熱心

Christine R. Yanoinatorial theory of rewriting on traces which can be used as an abstract calculus for transforming concurrent processes.978-3-540-53031-2978-3-540-46318-4Series ISSN 0302-9743 Series E-ISSN 1611-3349