In Japan, obsessive adult fans and collectors of manga and anime are known as otaku. When the underground otaku subculture first emerged in the 1970s, participants were looked down on within mainstream Japanese society as strange, antisocial loners. Today otaku have had a huge impact on popular culture not only in Japan but also throughout Asia, Europe, and the United States.
In Japan, obsessive adult fans and collectors of manga and anime are known as otaku. When the underground otaku subculture first emerged in the 1970s, participants were looked down on within mainstream Japanese society as strange, antisocial loners. Today otaku have had a huge impact on popular culture not only in Japan but also throughout Asia, Europe, and the United States.
Hiroki Azuma’s Otaku offers a critical, philosophical, and historical inquiry into the characteristics and consequences of this consumer subculture. For Azuma, one of Japan’s leading public intellectuals, otaku culture mirrors the transformations of postwar Japanese society and the nature of human behavior in the postmodern era. He traces otaku’s ascendancy to the distorted conditions created in Japan by the country’s phenomenal postwar modernization, its inability to come to terms with its defeat in the Second World War, and America’s subsequent cultural invasion. More broadly, Azuma argues that the consumption behavior of otaku is representative of the postmodern consumption of culture in general, which sacrifices the search for greater significance to almost animalistic instant gratification. In this context, culture becomes simply a database of plots and characters and its consumers mere “database animals.”
A vital non-Western intervention in postmodern culture and theory, Otaku is also an appealing and perceptive account of Japanese popular culture.
Hiroki Azuma is codirector of the Academy of Humanities in the Center for the Study of World Civilizations at the Tokyo Institute of Technology. A leading cultural critic in Japan, he is the author of seven books, including Ontological, Postal, which won the 2000 Suntory Literary Prize.
原来動物化是在cue黑格尔和科耶夫。从grand narrative到small narrative到 grand non-narrative，从otaku在subculture下的象征性认同的位置来填补日本战败的实在界创伤，到沉迷于萌え元素的想象性消费。而这种萌え元素则是基于东浩纪所谓的Database而创造出来的non-narrative为萌而萌的元素，一切皆是拟像的生产，深层的树式意义结构转...原来動物化是在cue黑格尔和科耶夫。从grand narrative到small narrative到 grand non-narrative，从otaku在subculture下的象征性认同的位置来填补日本战败的实在界创伤，到沉迷于萌え元素的想象性消费。而这种萌え元素则是基于东浩纪所谓的Database而创造出来的non-narrative为萌而萌的元素，一切皆是拟像的生产，深层的树式意义结构转变成表层的Database/块茎式意义结构。可在东浩纪中Otaku其自身却并没有成为块茎式的，反而是被这种Database大他者所结构的犬儒者，我们认识到了这一切的虚构，却依然乐于如此消费。这样的主体没有其自身的菲勒斯，并且直接抹平了围绕object a的探问，一切可以建立在其上的欲望都能让其享用。(展开)
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东浩纪 作者
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0 有用 面包漏水 2020-10-07 18:49:26
原来動物化是在cue黑格尔和科耶夫。从grand narrative到small narrative到 grand non-narrative，从otaku在subculture下的象征性认同的位置来填补日本战败的实在界创伤，到沉迷于萌え元素的想象性消费。而这种萌え元素则是基于东浩纪所谓的Database而创造出来的non-narrative为萌而萌的元素，一切皆是拟像的生产，深层的树式意义结构转... 原来動物化是在cue黑格尔和科耶夫。从grand narrative到small narrative到 grand non-narrative，从otaku在subculture下的象征性认同的位置来填补日本战败的实在界创伤，到沉迷于萌え元素的想象性消费。而这种萌え元素则是基于东浩纪所谓的Database而创造出来的non-narrative为萌而萌的元素，一切皆是拟像的生产，深层的树式意义结构转变成表层的Database/块茎式意义结构。可在东浩纪中Otaku其自身却并没有成为块茎式的，反而是被这种Database大他者所结构的犬儒者，我们认识到了这一切的虚构，却依然乐于如此消费。这样的主体没有其自身的菲勒斯，并且直接抹平了围绕object a的探问，一切可以建立在其上的欲望都能让其享用。 (展开)
3 有用 sirius_flower 2016-02-11 21:46:26
实在讨厌这种用尾注的书 关键尾注还在全书最后 简直就是电子书阅读的头号敌人 英译本还是一贯地出现了很多意译删节; 书还是很不错的！
0 有用 edleweiss 2015-10-10 23:19:36
很好看也很relevant，虽然值得吐槽的地方也不少
0 有用 不许死 2023-07-30 06:12:25 英国
感觉对于今天的二次元研究不太适配了…动不动就宏大叙事的衰落啊后现代之类的感觉好老套（虽然确实是很老的书了，但就是感觉读了收获不大。）
0 有用 hachiii 2024-11-24 13:26:48 美国
主要论点蛮有趣的，但是中间写得有点乱。介绍了一些很花哨的概念，但不是每一个都有讲清楚。