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The Shoujo Manga Fashion Drawing Book

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Manga aimed at a teenage female readership

Shōjo manga ( 少女漫画 ), also romanized as shojo or shoujo , are Japanese comics aimed at a teen female person target-demographic readership. The name romanizes the word 少女 (shōjo), literally pregnant "young woman". Shōjo manga covers many subjects in a variety of narrative styles, from historical drama to science fiction, often with a focus on romantic relationships or emotions.[i]

Strictly speaking, however, shōjo manga does not incorporate a style or a genre, merely rather indicates a target demographic.[2] [three]

History [edit]

Shōjo magazines [edit]

Japanese magazines specifically for girls, known as shōjo magazines, first appeared in 1902 with the founding of Shōjo-kai ( 少女界 , lit. "Girls' World") and connected with others such as Shōjo Sekai ( 少女世界 , lit. "Girls' World") (1906) and the long-running Shōjo no Tomo ( 少女の友 , lit. "Girls' Friend") (1908).[2] [4]

The roots of the wide-eyed look commonly associated with shōjo manga appointment back to shōjo magazine illustrations during the early 20th century. The most important illustrators associated with this fashion at the time were Yumeji Takehisa and particularly Jun'ichi Nakahara, who, influenced by his piece of work as a doll creator, frequently drew female characters with large eyes in the early on 20th century. This had a significant influence on early on shōjo manga, evident in the piece of work of influential manga artists such every bit Macoto Takahashi and Riyoko Ikeda.[5]

Simple, single-page manga began to appear in these magazines by 1910, and by the 1930s more sophisticated humor-strips had go an essential feature of most girls' magazines. The most popular manga, Katsuji Matsumoto's Kurukuru Kurumi-chan ( くるくるクルミちゃん ), debuted on the pages of Shōjo no Tomo in 1938.[half dozen] The Second Sino-Japanese State of war which began in 1937 caused paper shortages, and many of the girls' magazines merged or ceased publication.[7] Equally Globe War 2 progressed, nonetheless, "comics, mayhap regarded as frivolous, began to disappear".[eight]

  • A elementary four-panel manga from the Nov 1910 event of Shōjo mag (artist unknown). Notation the henohenomoheji in the final panel.

  • A page from Katsuji Matsumoto's groundbreaking 1934 shōjo manga series The Mysterious Clover

1950s and 1960s [edit]

Postwar shōjo manga, such as Shosuke Kurakane's pop Anmitsu Hime ( あんみつ姫 , lit. "Princess Anmitsu"),[9] initially followed the pre-war pattern of simple humour-strips. Simply Osamu Tezuka's postwar revolution, introducing intense drama and serious themes to children'southward manga, spread quickly to shōjo manga, particularly later on the enormous success of his seminal Princess Knight ( リボンの騎士 , Ribon no Kishi ).[8]

Until the mid-1960s, men vastly outnumbered the women (for instance: Toshiko Ueda, Hideko Mizuno, Masako Watanabe, and Miyako Maki) amid the artists working on shōjo manga. Many male person manga artists, such as Tetsuya Chiba,[10] functioned as rookies, waiting for an opportunity to move over to shōnen ("boys'") manga. Chiba asked his married woman about girls' feelings for research for his manga. At this time, conventional job opportunities for Japanese women did not include condign a manga artist.[xi] Adapting Tezuka's dynamic mode to shōjo manga (which had always been domestic in nature) proved challenging. According to Rachel Thorn:

While some chose to simply create longer humor-strips, others turned to popular girls' novels of the day as a model for melodramatic shōjo manga. These manga featured sweet, innocent pre-teen heroines, torn from the safety of family unit and tossed from one perilous circumstance to another, until finally rescued (usually by a kind, handsome young man) and re-united with their families.[12]

These early shōjo manga almost invariably had pre-boyish girls as both heroines and readers. Unless they used a fantastic setting (as in Princess Knight) or a properties of a distant time or place, romantic honey for the heroine remained essentially taboo. But the average historic period of the readership rose, and its interests changed. In the mid-1960s one of the few female artists in the field, Yoshiko Nishitani, began to draw stories featuring contemporary Japanese teenagers in beloved. This signaled a dramatic transformation of the genre.[13] [14] This may have been due to the baby boomers condign teens, and the industry trying to keep them equally readers.[14]

Between 1950 and 1969, increasingly large audiences for manga emerged in Japan with the solidification of its ii main marketing genres: shōnen manga, aimed at boyish boys, and shōjo manga, aimed at adolescent girls.[1] [8] These romantic one-act shōjo manga were inspired by American Tv set dramas of the time.[15] The debut of teenage daughter manga artist Machiko Satonaka in 1964 meant that condign a manga creative person was something that girls could now aspire to.[16] The success of the 1964 Summertime Olympics in Tokyo, and the golden medal won by the Nippon women's national volleyball squad, influenced a series of sports shōjo manga, such as Assail No. 1 ( アタックNo.1 , Atakku Nanbā Wan ) (1968-1970).[17] On Dec 5, 1966, the first shōjo anime serial, Emerge the Witch ( 魔法使いサリー , Mahōtsukai Sarī ), premiered in Japan on NET Tv.[18] In May 1967, shōjo manga began being published in tankōbon format.[17] Past the terminate of the 1960s, shōjo manga had had a generational and gender shift; it was now a genre for girls, by girls.[17]

1970s [edit]

Betwixt roughly 1969 and 1971, a inundation of young female manga artists transformed the genre again. Some, including Moto Hagio, Yumiko Ōshima, and Keiko Takemiya, became known as the Twelvemonth 24 Group ( 24年組 , Nijūyo-nen Gumi ), or the Fabulous Year 24 Group ( 花の24年組 , Hana no Nijūyo-nen Gumi ), and so named from the gauge year of nativity many of them shared: Shōwa 24, or 1949. This loosely defined group experimented with content and grade, inventing such subgenres such as shōnen-ai (lit. "boy beloved"), and earning the long-maligned shōjo manga unprecedented critical praise.[19] Other female artists of the same generation, such as Riyoko Ikeda, Yukari Ichijo, and Sumika Yamamoto, garnered unprecedented popular support with such hits (respectively) as The Rose of Versailles ( ベルサイユのばら , Berusaiyu no Bara ), Designer ( デザイナー , Dezainaa ), and Aim for the Ace! ( エースをねらえ! , Ēsu o Nerae! ).[1] [2] [13] [14] [8] [20] [21] [ volume & issue needed ] During that era, women's roles in Japanese society were irresolute, and women were being elected to the National Diet, and publishers responded by employing more female talent.[14] Since the mid-1970s, women accept created the vast majority of shōjo manga; notable exceptions include Mineo Maya and Shinji Wada.

Later on 1975 [edit]

From 1975, shōjo manga continued to develop stylistically while simultaneously branching out into unlike merely overlapping subgenres.[22] Meiji University professor Yukari Fujimoto writes that during the 1990s, shōjo manga became concerned with cocky-fulfillment. She intimates that the Gulf War influenced the development of female characters "who fight to protect the destiny of a community", such as Cherry River, Basara, Magic Knight Rayearth, and Crewman Moon. Fujimoto opines that the shōjo manga of the 1990s depicted emotional bonds betwixt women as stronger than the bonds betwixt a man and a woman.[23] Major subgenres include romance, science fiction, fantasy, magical girls, yaoi, and "ladies' comics" (in Japanese, redisu レディース , redikomi レディコミ , and josei 女性 ).[24] [25]

Meaning and spelling [edit]

As shōjo literally means "girl" in Japanese, the equivalent of the Western usage will by and large include the term: girls' manga ( 少女漫画 , shōjo manga ), or anime for girls (少女向けアニメ shōjo-muke anime). The parallel terms shōnen, seinen, and josei as well occur in the categorization of manga and anime, with similar qualification. Though the terminology originates with the Japanese publishers and advertisers,[26] cultural differences with the West mean that labeling in English language tends to vary wildly, with the types often confused and misapplied.

Due to vagaries in the romanization of Japanese, publishers may transcribe 少女 (written しょうじょ in hiragana) in a wide variety of ways. By far the most common grade, shoujo [ commendation needed ], follows English phonology[ citation needed ], preserves the spelling, and requires only ASCII input. The Hepburn romanization shōjo uses a macron for the long vowel, though the prevalence of Latin-1 fonts frequently results in a circumflex instead, as in shôjo. Many English-language texts just ignore long vowels, using shojo, potentially leading to defoliation with 処女 (shojo, lit. "virgin") as well as other possible meanings. Finally, transliterators may use Japan-shiki-type mirroring of the kana spelling: syôjyo, or syoujyo.

Circulation figures [edit]

The reported boilerplate circulations for some of the pinnacle-selling shōjo manga magazines in 2007 included:

Title Reported apportionment Get-go published
Ciao 982,834 1977
Nakayoshi 400,000 1954
Ribon 376,666 1955
Bessatsu Margaret 320,000 1964
Hana to Yume 226,826 1974
Cookie 200,000 1999
Deluxe Margaret 181,666 1967
Margaret 177,916 1963
LaLa 170,833 1976
Cheese! 144,750 1996

For comparison, circulations for the tiptop-selling magazines in other categories for 2007 included:

Category Magazine Title Reported Apportionment
Top-selling shōnen manga magazine Weekly Shōnen Leap ii,778,750
Top-selling seinen manga magazine Young Magazine 981,229
Acme-selling josei manga magazine Y'all 194,791
Top-selling non-manga magazine Monthly the Tv 1,018,919

(Source for all circulation figures: Japan Magazine Publishers Clan[27])

Shōjo magazines in Japan [edit]

In a strict sense, the term "shōjo manga" refers to a manga serialized in a shōjo manga magazine. The list beneath contains past and current Japanese shōjo manga magazines, grouped co-ordinate to their publishers. Such magazines tin can appear on a variety of schedules, including bi-weekly (Margaret, Hana to Yume, Shōjo Comic), monthly (Ribon, Bessatsu Margaret, Bessatsu Friend, LaLa), bi-monthly (Deluxe Margaret, LaLa DX, The Dessert), and quarterly (Cookie Box, Unpoko).

Shueisha [edit]

  • Ribon (monthly, 1955–present)
    • Ribon Special (published 5 times a year, 1990)
  • Ribon Original (bi-monthly, 1981–2006)
  • Margaret (weekly, 1963–present)
  • Bessatsu Margaret (monthly, 1964–present)
  • Deluxe Margaret (bi-monthly, 1967–2010)
  • The Margaret (bi-monthly, 1982–nowadays)
  • Bessatsu Margaret Sis (irregular, 2010–present)
  • Bouquet (monthly, 1978–2000)
  • Bouquet Deluxe or Bouquet DX (irregular, 1980–2000)
  • Bouquet Choice (1983–1990) – terminated later publishing seven anthology and artist special bug
  • Cookie (weekly, 2000–nowadays)
  • Cookie Box (quarterly, 2000–2009) – succeeded Boutonniere Palatial

Kodansha [edit]

  • Nakayoshi (monthly, 1954–present)
  • Aria (monthly, 2010–2018)
  • Shōjo Friend (1962–1996) – succeeded Shōjo Lodge
  • Bessatsu Friend (1965–present)
  • Dessert (1996–nowadays)
  • The Dessert (1999–nowadays)

Shogakukan [edit]

  • Ciao (1977–nowadays)
  • Ciao DX (2014–present)
  • Ciao DX Horror & Mystery (2009–present)
  • ChuChu
  • Sho-Comi (1968–present, formerly Shōjo Comic)
  • Betsucomi (1970–nowadays, formerly Bessatsu Shōjo Comic)
  • Palatial Betsucomi
  • Cheese! (1996–nowadays)
  • Premiere Cheese! (2016–present, formerly Cheese! Zōkan)
  • Pochette
  • Pyon Pyon (1988–1992)
  • Pucchigumi (2006–present)

Hakusensha [edit]

  • Hana to Yume (1974–present)
  • Bessatsu Hana to Yume (1977–present)
  • LaLa (1976–present)
  • LaLa DX
  • Melody

Akita Shoten [edit]

  • Princess
  • Princess Gold (1979–2020)
  • Petit Princess (transitioned to digital-just in 2016)
  • Bonita (1981–1995)
  • Mystery Bonita (1988–present)
  • Susperia Mystery
  • Renai Max
  • Hitomi (1978–1991)

Kadokawa Shoten [edit]

  • Asuka (1985–nowadays)
  • Monthly Comic Gene (2011–present)

Web magazine [edit]

  • Manga Airport
  • Digital Margaret, besides known equally Digima!
  • &Bloom
  • Mobile Flower, also known equally Mobafura

Shinshokan [edit]

  • Unpoko

Outside Japan [edit]

  • Shojo Vanquish (2005–2009), published in North America by Viz Media
  • Wink, published in Korea

Encounter also [edit]

  • Bishōjo (lit. "beautiful girl") – descriptive of the graphic symbol type rather than the audience
  • Class S – historical homoerotic genre about passionate friendships between girls for a female audience
  • History of manga
  • Josei manga – intended for adult women
  • Listing of shōjo manga magazines
  • Magical daughter – a genre featuring girls with magical powers or who utilize magic, initially aimed at a young female person audience
  • Otome game – story-based video games targeted towards women, ofttimes romantic in nature
  • Seinen manga – intended for adult men
  • Shōnen manga – intended for boys
  • Shoujocon – an anime convention held annually from 2000 to 2003
  • Sunjung manhwa – Korean shōjo-style comics
  • Yaoi – homoerotic stories about men in love for girls and women
  • Yuri (genre) – homoerotic stories about women in love for either gender based on publication

Notes [edit]

  1. ^ a b c Toku, Masami, ed. (2005). "Shojo Manga: Girl Power!". Chico Statements Magazine. California State University, Chico. ISBNane-886226-10-five. Archived from the original on October ten, 2011.
  2. ^ a b c Thorn, Rachel (2001). "Shôjo Manga – Something for the Girls". The Nippon Quarterly. Tokyo: Asahi Shimbun. 48 (3). Archived from the original on Feb xix, 2007.
  3. ^ Thorn, Rachel (2004). "What Shôjo Manga Are and Are Not: A Quick Guide for the Confused". Matt-Thorn.com. Archived from the original on Nov 18, 2015.
  4. ^ 明治～昭和 少女雑誌のご紹介 [Meiji – Shōwa: An Introduction to Girls' Magazines]. Kikuyō Boondocks Library. Kikuyō, Kumamoto, Japan. Archived from the original on November 4, 2019.
  5. ^ Masuda, Nozomi (June 5, 2015). "Shojo Manga and its Acceptance: What is the Power of Shojo Manga?". In Toku, Masami (ed.). International Perspectives on Shojo and Shojo Manga: The Influence of Girl Culture. New York: Routledge. p. 24. ISBN978-1-138-80948-2.
  6. ^ Thorn, Rachel. "Pre-World War II Shôjo Manga and Illustrations". Matt-Thorn.com. Archived from the original on March 4, 2016.
  7. ^ Maser, Verena (2013). "Beautiful and Innocent: Female Same-Sex activity Intimacy in the Japanese Yuri Genre" (PDF). University of Trier Department of Linguistics, Literature and Media Studies (PhD thesis): 46.
  8. ^ a b c d Schodt, Frederik L. (Jan 25, 2013) [Showtime published in 1983]. Manga! Manga! The Globe of Japanese Comics. New York: Kodansha USA. ISBN978-ane-56836-476-vi.
  9. ^ Yonezawa, Yoshihiro, ed. (1991). Kodomo no Shōwa-shi: Shōjo Manga no Sekai I, Shōwa 20 nen – 37 nen 子供の昭和史──少女マンガの世界 I 昭和20年〜37年 [A Children'south History of Showa-Era Nihon: The World of Shōjo Manga I, 1945–1962]. Bessatsu Taiyō (in Japanese). Tokyo: Heibonsha. ISBN978-4-582-94239-2.
  10. ^ Thorn, Rachel (2005). "The Moto Hagio Interview". The Comics Journal. Seattle: Fantagraphics Books (269). Archived from the original on January 13, 2016.
  11. ^ Toku, Masami (2007). "Shojo Manga! Girls' Comics! A Mirror of Girls' Dreams". Mechademia. Minneapolis: University of Minnesota Press. 2: 22–23. doi:10.1353/mec.0.0013. ISSN 1934-2489. S2CID 120302321.
  12. ^ Thorn, Rachel. "The Multi-Faceted Universe of Shōjo Manga". Matt-Thorn.com. Archived from the original on January eight, 2016. Retrieved May 10, 2020.
  13. ^ a b Yonezawa, Yoshihiro, ed. (1991). Kodomo no Shōwa-shi: Shōjo Manga no Sekai II, Shōwa 38 nen – 64 nen 子供の昭和史──少女マンガの世界 2 昭和38年〜64年 [A Children'due south History of Showa-Era Japan: The Earth of Shōjo Manga Ii, 1963–1989]. Bessatsu Taiyō (in Japanese). Tokyo: Heibonsha. ISBN978-4-582-94240-eight.
  14. ^ a b c d Thorn, Rachel (2005). "The Magnificent Twoscore-Niners". The Comics Journal. Seattle: Fantagraphics Books (269). Archived from the original on November 2, 2019.
  15. ^ Saito, Kumiko (2011). "Desire in Subtext: Gender, Fandom, and Women'southward Male person-Male Homoerotic Parodies in Contemporary Japan". Mechademia. Minneapolis: University of Minnesota Press. 6: 173. doi:10.1353/mec.2011.0000. ISSN 1934-2489. S2CID 144768939.
  16. ^ Toku, Masami (5 June 2015). International Perspectives on Shojo and Shojo Manga: The Influence of Daughter Culture. Routledge. p. 26. ISBN978-1-317-61076-2.
  17. ^ a b c Kálovics, Dalma (2016). "The missing link of shōjo manga history: the changes in 60s shōjo manga as seen through the magazine Shūkan Margaret" (PDF). Kyōto Seika Daigaku Kiyō. Kyoto Seika University (49). Archived (PDF) from the original on November 4, 2019.
  18. ^ Duffield, Patricia (October 2000). "Witches in Anime". Animerica Actress. Vol. iii, no. xi. Archived from the original on November three, 2019.
  19. ^ Anan, Nobuko (2016). Contemporary Japanese Women'southward Theatre and Visual Arts: Performing Girls' Aesthetics. London: Palgrave Macmillan Uk. doi:ten.1057/9781137372987. ISBN978-ane-349-55706-vi.
  20. ^ Gravett, Paul (July nineteen, 2004). Manga: Lx Years of Japanese Comics. New York: Harper Design. pp. 78–80. ISBN978-1-85669-391-two.
  21. ^ Lent, 2001, op. cit., pp. 9–x.
  22. ^ Ogi, Fusami (2003). "Female Subjectivity and Shoujo (Girls) Manga (Japanese Comics): Shoujo in Ladies' Comics and Immature Ladies' Comics" (PDF). The Journal of Pop Culture. Blackwell Publishing. 36 (four): 780–803. doi:10.1111/1540-5931.00045. Archived (PDF) from the original on Nov 4, 2019.
  23. ^ Fujimoto, Yukari (2008). "Japanese Contemporary Manga (Number i): Shōjo (Girls Manga)" (PDF). Japanese Book News. Vol. 56. The Nihon Foundation. p. 12. Retrieved November 3, 2019.
  24. ^ Gravett, Paul (July 19, 2004). Manga: Sixty Years of Japanese Comics. New York: Harper Design. p. viii. ISBN978-ane-85669-391-ii.
  25. ^ Schodt, Frederik Fifty. (1996). Dreamland Japan: Writings on Modern Manga. Berkeley, California: Stone Span Press. ISBN978-ane-880656-23-5.
  26. ^ 雑誌ジャンルおよびカテゴリ区分一覧 [Magazine genre and category list] (PDF) (in Japanese). Japan Magazine Publishers Clan. February 15, 2018. Archived (PDF) from the original on Nov 4, 2019.
  27. ^ 「マガジンデータ2007」発行のご案内 [Data for Mag Information 2007] (in Japanese). Nippon Mag Publishers Association. Archived from the original on June 21, 2008. Note: The publication, which relies on information provided by publishers, categorizes the magazine Cookie as josei, simply Shueisha's s-manga.net website conspicuously categorizes that magazine as shōjo, hence its categorization here.

References [edit]

  • Ultimate Manga Guide (zip), version 13.half-dozen, last modified July 31, 2004
  • Shōjo Anime List, last modified February fourteen, 1995
  • Napier, Susan J. (2001). Anime from Akira to Princess Mononoke. New York: Palgrave Macmillan. ISBN978-0-312-23862-9.
  • Thorn, Rachel (2001). "Shôjo Manga – Something for the Girls". The Japan Quarterly. Tokyo: Asahi Shimbun. 48 (3). Archived from the original on March 3, 2016.
  • Garrity, Shaenon K. (2008). "The Boys of Shojo Manga". ComiXology. Archived from the original on Baronial 24, 2009.
  • Shamoon, Deborah (2007). "Revolutionary Romance: The Rose of Versailles and the Transformation of Shojo Manga". Mechademia. Minneapolis: Academy of Minnesota Press. 2: three–17. doi:10.1353/mec.0.0009. S2CID 121163032.
  • Takahashi, Mizuki (2008). "Opening the Closed Globe of Shojo Manga". In MacWilliams, Marking W. (ed.). Japanese Visual Culture: Explorations in the World of Manga and Anime . Yard.E. Sharpe. ISBN978-0-7656-1601-ii. Archived from the original on January 3, 2011.

Farther reading [edit]

  • Hébert, Xavier (2010). "L'esthétique shōjo, de l'illustration au manga: De 50'origine des « grands yeux » aux mises en pages éclatées". Le manga au féminin: manufactures, chroniques, entretiens et mangas. Versailles: Éditions H. ISBN978-2-9531781-4-2.
  • Monden, Masafumi (June 2014). "Layers of the Ethereal: A Cultural Investigation of Dazzler, Girlhood, and Ballet in Japanese Shōjo Manga". Fashion Theory. 18 (three): 251–295. doi:10.2752/175174114X13938552557808. S2CID 191664287.
  • Ogi, Fusami (2001). "Beyond Shoujo, Blending Gender: Subverting the Homogendered Globe in Shoujo Manga (Japanese Comics for Girls)". International Journal of Comic Art. 3 (2): 151–161.
  • Prough, Jennifer S. (2011). Directly from the Eye: Gender, Intimacy, and the Cultural Production of Shōjo Manga. Honolulu: Academy of Hawai'i Press. ISBN978-0-8248-3528-half dozen.
  • Saito, Kumiko (2014). "Magic, Shōjo, and Metamorphosis: Magical Girl Anime and the Challenges of Changing Gender Identities in Japanese Society". The Journal of Asian Studies. 73 (1): 143–164. doi:ten.1017/S0021911813001708. ISSN 0021-9118. JSTOR 43553398.
  • Shamoon, Deborah (2012). "The Formation of Postwar Shōjo Manga, 1950–1969". Passionate Friendship: The Aesthetics of Girl's Civilization in Japan. Honolulu: University of Hawaii Press. ISBN978-0-82483-542-ii.
  • Shamoon, Deborah (2012). "The Revolution in 1970s Shōjo Manga". Passionate Friendship: The Aesthetics of Girl'southward Culture in Nippon. Honolulu: Academy of Hawaii Printing. ISBN978-0-82483-542-two.
  • Toku, Masami, ed. (2015). International Perspectives on Shojo and Shojo Manga: The Influence of Girl Civilization. New York: Routledge. ISBN978-i-138-80948-2.

External links [edit]

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