{"title":"对规范性的攻击:对Shingeki no Kyojin(攻击泰坦)的奇怪解读","authors":"Marta Fanasca","doi":"10.1386/eapc_00052_1","DOIUrl":null,"url":null,"abstract":"Isayama Hajime’s Shingeki no Kyojin (Attack on Titan 2009–present, hereafter SnK) has gained huge resonance since its first release, a popularity by no means limited to Japan, and enhanced by the high-quality animation series by the same name (2013–present), directed by Araki Tetsurô (first season) and Koizuka Masashi, which has followed from the manga storyline. Without doubt, this success is due to a gripping narrative, focusing on fierce fights between the apparently invincible titans and the numerous characters that aim to save humanity, whose different aesthetic and behavioural characteristics unfailingly appeal to very mixed audiences. In this sense, there are three very notable features of SnK. First, the female characters subvert, redraw or re-interpret stereotypes about femininity both aesthetically and behaviourally, and they can be read as queer. Second, the text presents a lesbian subtext that enriches the narrative in queer terms. Ultimately, the ability of some main characters to shift between the two categories of ‘human’ and ‘titan’ contributes to destabilizing binary divisions in terms of normative or non-normative bodies, providing an additional layer to a queer reading of this text. Through an analysis of the manga and anime versions of SnK, this article investigates how gender stereotypes, heteronormativity and the dichotomy normalizing normative identities vis-à-vis non-normative identities are portrayed. This analysis sheds light on the (lack of) alternatives to binary models in terms of gender and sexuality in the shōnen manga genre, problematizing the contemporary relationship between dominant and oppositional identities. I argue that the non-normative characteristics of the main characters in SnK represent a significant case of non-normative and counter-hegemonic representation in a typically heteronormative genre, which potentially offers a means of identification for the female and queer audiences of shōnen manga.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Attack on normativity: A queer reading of Shingeki no Kyojin (Attack on Titan)\",\"authors\":\"Marta Fanasca\",\"doi\":\"10.1386/eapc_00052_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Isayama Hajime’s Shingeki no Kyojin (Attack on Titan 2009–present, hereafter SnK) has gained huge resonance since its first release, a popularity by no means limited to Japan, and enhanced by the high-quality animation series by the same name (2013–present), directed by Araki Tetsurô (first season) and Koizuka Masashi, which has followed from the manga storyline. Without doubt, this success is due to a gripping narrative, focusing on fierce fights between the apparently invincible titans and the numerous characters that aim to save humanity, whose different aesthetic and behavioural characteristics unfailingly appeal to very mixed audiences. In this sense, there are three very notable features of SnK. First, the female characters subvert, redraw or re-interpret stereotypes about femininity both aesthetically and behaviourally, and they can be read as queer. Second, the text presents a lesbian subtext that enriches the narrative in queer terms. Ultimately, the ability of some main characters to shift between the two categories of ‘human’ and ‘titan’ contributes to destabilizing binary divisions in terms of normative or non-normative bodies, providing an additional layer to a queer reading of this text. Through an analysis of the manga and anime versions of SnK, this article investigates how gender stereotypes, heteronormativity and the dichotomy normalizing normative identities vis-à-vis non-normative identities are portrayed. This analysis sheds light on the (lack of) alternatives to binary models in terms of gender and sexuality in the shōnen manga genre, problematizing the contemporary relationship between dominant and oppositional identities. I argue that the non-normative characteristics of the main characters in SnK represent a significant case of non-normative and counter-hegemonic representation in a typically heteronormative genre, which potentially offers a means of identification for the female and queer audiences of shōnen manga.\",\"PeriodicalId\":36135,\"journal\":{\"name\":\"East Asian Journal of Popular Culture\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"East Asian Journal of Popular Culture\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/eapc_00052_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"Social Sciences\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"East Asian Journal of Popular Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/eapc_00052_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Social Sciences","Score":null,"Total":0}
引用次数: 0
摘要
Isayama Hajime的Shingeki no Kyojin(攻击泰坦2009 -至今,以下简称SnK)自首次发行以来就获得了巨大的共鸣,人气绝不仅限于日本,并由Araki Tetsurô(第一季)和小泉正石执导的高质量同名动画系列(2013年至今)进一步增强了漫画故事情节。毫无疑问,这部电影的成功要归功于扣人心弦的叙事,聚焦于表面上不可战胜的巨人和众多旨在拯救人类的角色之间的激烈战斗,他们不同的审美和行为特征始终吸引着形形色色的观众。从这个意义上说,SnK有三个非常显著的特点。首先,女性角色颠覆、重绘或重新诠释了美学和行为上对女性气质的刻板印象,她们可以被解读为酷儿。其次,文本呈现出女同性恋的潜台词,丰富了同性恋的叙事。最终,一些主要人物在“人类”和“泰坦”这两个类别之间转换的能力,有助于在规范或非规范身体方面不稳定的二元划分,为这篇文章的奇怪阅读提供了额外的层次。本文通过对动漫版《SnK》的分析,探讨了性别刻板印象、异性恋规范以及规范性身份与-à-vis非规范性身份的二分法是如何被描绘出来的。这一分析揭示了shōnen漫画类型在性别和性方面(缺乏)二元模式的替代方案,并对主导身份和对立身份之间的当代关系提出了问题。我认为,《SnK》中主角的非规范性特征代表了典型异性恋规范类型中非规范性和反霸权表现的重要案例,这可能为shōnen漫画的女性和酷儿观众提供了一种识别手段。
Attack on normativity: A queer reading of Shingeki no Kyojin (Attack on Titan)
Isayama Hajime’s Shingeki no Kyojin (Attack on Titan 2009–present, hereafter SnK) has gained huge resonance since its first release, a popularity by no means limited to Japan, and enhanced by the high-quality animation series by the same name (2013–present), directed by Araki Tetsurô (first season) and Koizuka Masashi, which has followed from the manga storyline. Without doubt, this success is due to a gripping narrative, focusing on fierce fights between the apparently invincible titans and the numerous characters that aim to save humanity, whose different aesthetic and behavioural characteristics unfailingly appeal to very mixed audiences. In this sense, there are three very notable features of SnK. First, the female characters subvert, redraw or re-interpret stereotypes about femininity both aesthetically and behaviourally, and they can be read as queer. Second, the text presents a lesbian subtext that enriches the narrative in queer terms. Ultimately, the ability of some main characters to shift between the two categories of ‘human’ and ‘titan’ contributes to destabilizing binary divisions in terms of normative or non-normative bodies, providing an additional layer to a queer reading of this text. Through an analysis of the manga and anime versions of SnK, this article investigates how gender stereotypes, heteronormativity and the dichotomy normalizing normative identities vis-à-vis non-normative identities are portrayed. This analysis sheds light on the (lack of) alternatives to binary models in terms of gender and sexuality in the shōnen manga genre, problematizing the contemporary relationship between dominant and oppositional identities. I argue that the non-normative characteristics of the main characters in SnK represent a significant case of non-normative and counter-hegemonic representation in a typically heteronormative genre, which potentially offers a means of identification for the female and queer audiences of shōnen manga.