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I Have A Dragon In My Body - Chapter 362
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I Have a Dragon in My Body is a Manga/Manhwa/Manhua in (English/Raw) language, Action series, english chapters have been translated and you can read them here. You are reading I Have a Dragon in My Body chapters on mangagreat.com, fastest updating comic site. The Summary is
Introducing a generation of Celestial Masters and returning to high school, he was surprised to find that he had a dragon in his body… When you are still very weak and face bullying, will you fight desperately or obey? In the previous life, he obeyed, but in this life… The romantic emperor rushed across the city, turning his hands over the clouds, and there was only one mind in mind: I am the king, and where is he? !!

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I Have A Dragon In My Body
Chapter 362

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I Have A Dragon In My Body - Chapter 362

Japanese pop culture has influenced Italy over the last thirty years. In the ‘70s anime started to fill the airtime of emerging private TV channels, marking the childhood of those Italian who grew up in those years and until the early ‘90s, when manga finally appeared in the Italian market. Globalization and Internet have made other aspects of Japanese pop culture available to Italians and the rest of the world alike. This phenomenon has resulted into a very active Italian fandom spanning through different generations, and into a strong fascination towards Japan. This paper aims to provide insights on the way Italian fans perceive Japanese pop culture and Japan; on the kind of bonds to Japan they develop, and how they socialize. It does so considering the biggest Italian web-community, AnimeClick.it, as a microcosm of the Italian fandom interactions and emotions. Privileging a qualitative method, it notably focuses on the people who give life to the website. Their images of Japanese pop culture reveal the recognition of a specific cultural odour perceived as pleasant, which translates into an interest in Japan. Those fans associate Japan to images of fantasy and charming mystery that nevertheless co-exist with perceptions of extreme difference echoing the notion of Japanese uniqueness, so that Orientalist processes are re-enacted. There are intergenerational differences in the way fans have developed an emotional bond, and look at Japanese pop culture. However, these get mediated and transcended through their socialization and collaboration in the web-community, opening up new perspectives for the future evolution of the Japanese pop culture’s influence in Italy.

Originally published in Italian as "Storia dell'animazione giapponese. Autori, arte, industria, successo dal 1917 a oggi" by Tunué, fall 2012, ISBN 978-88-97165-51-4, this is an excerpt in English.

book about manga around the world

Table of Contents Source: Mutual Images [Online], Issue 5, Autumn, 2018. ISSN: 2496-1868. Doi: https://doi.org/10.32926/5 Freely available at our Open Access Journal : http://www.mutualimages-journal.org

Presentation of the 1st Mutual Images Workshop held at Konan University, Japan. Includes the abstracts of the papers presented

Editing of anime (Japanese cartoons) is a process through which the product is altered in order to make it appropriate for the public. Such a practice is quite common all over the Western world, and Italy is no exception. Japanese anime are not designed only for an audience of children, and there exist different types of products aimed at viewers of different ages; consequently, in Japan anime are shown at various time slots according to their characteristics. In Italy, on the contrary, cartoons are generally considered a product targeted exclusively at children, and even those anime which were originally designed for an older audience are broadcast during the protected time slot and therefore have to comply to certain standards regarding their content and the type of language spoken. Censorship thus tends to take place both on the visual and the verbal levels: scenes considered inappropriate are removed from the story, the plot is often changed, the text is frequently domesticated in its references to the Japanese culture, and the language is flattened. Italian translators take an active part in the editing of anime: as they are the first ones to actually see the episodes, they are supposed to report to their commissioners any ambiguous element they come across, and they perform (self)censorship on the verbal level, manipulating the dialogue exchanges as is expected by the translation company.

Pokémon integrates, as a commercial brand, numerous ways to communicate, and it is a fine enter-tainment for billions of people every day, in every corner of the planet, through all kind of modern media channels. Since its very first appearance in West, the Pokémon popularity, and the journalistic critic, comes from the sociocultural prejudices towards an exotic country as Japan is perceived; still today, two years after the Pokémon GO mobile app launch, and after twenty years of healthy brand life, several critics appears and disappears. Between the other guilty forms of this transmedial or polymedial phenomenon, the most interesting one is the cartoon transposition, which was hardly de-bated among international press in the early oughts. This essay wants to collect and analyze this "in-famous moments" of the brand in the States and in Europe, showing how the prejudice towards the "japaneseness" never disappeared; the same japaneseness that takes roots – and has modified the western aesthetic paradigms since the late 70s – in our western way of thinking, in the modern video-games environment, in our social common sense.

At every relevant technological change, the behaviour of the average user has also evolved. This is a constant law that arguably defines the concept of “medium,” as well as the audience’s experience through time. From a European perspective, it can be observed how every single episode through the history of Japanese animation overseas distribution has been conditioned by the hegemony of different distribution channels (television, VHS, the internet…). The case of anime’s distribution is, in that sense, very illustrative of the synergies among audiences, technology, media, and content production. With the maturation of the digital on demand platforms, a new chapter has been opened in the distribution of serial content, while debates about the core issues in modern Media Studies reappear. This research paper is intended to shed light on some of these questions, by discussing the reconceptualisation of genre and (sub)genres within digital content providers. It will also pay attention to the role of these content providers in the development of new models of production and/or the transformations of the anime medium and other serial audiovisual productions. Finally, it will point out some differences between transnational audiences in the consumption of these serial audiovisual products. While other content provider platforms will be analysed in relation to anime distribution (Amazon Prime, Crunchyroll…), these questions will be examined mainly through Netflix. This case study is justified due to a number of reasons related to its historical significance, wide international spread, and influence.

A new interest in various forms of spirituality and religiosity is emerging in some subcultures of contemporary society. This tendency can be seen as an indicator of an Orientalization process that affects everyday life and lifestyles, and it can be read as a symptom of a crisis in the paradigm of Western Modernity, which is changing the relationship between culture and nature, the central role played by the rational positivist paradigm, and ideas of body, space and time. Oriental disciplines and martial arts are a significant case study for the purpose of analyzing the on-going Orientalization process. These highly ritualized practices have become part of many people’s daily life and have affected their way of dressing, as well as the way they arrange furniture at home and the way they make decisions that involve their diet and body care. These practices may also affect people’s identities by changing their values, ethics and morality. To explore the Orientalization process, I first introduce some features of the diffusion of the “mythical Orients” in the Western imaginary since the sixties. In particular, I focus on some media products (for example, mangas and wuxia movies) that played an important role in arousing interest in Other cultures. In this stage I will refer to some media theories, in particular to Gerbner’s cultivation theory and to the medial socialization effect. In a second step I focus on the imaginary embodied in some Oriental disciplines and martial arts. I refer to some results of a research that I am conducting in some martial arts gyms, starting from my experience as an instructor. In that context I performed an ethnographic study, gathering several in-depth interviews with masters, beginners, fighters, experts and therapists, and analysing the interactions within some online communities (virtual ethnography). This last method allowed me to come back to the first step, and to focus on how some features of the media imaginary are mediated through the interactions within the virtual communities.