Otaku, subjectivity and databases: Hiroki Azuma’s Otaku: Japan’s database animals. Schäfer, Fabian; Roth, Martin. Posted at the Zurich Open. Otaku, subjectivity and databases: Hiroki Azuma’s Otaku: Japan’s database animals. Digital Culture & Education, 4(2) Copy. Hiroki Azuma (東 浩紀, Azuma Hiroki) (born May 9, ) is a Japanese cultural critic, novelist, Otaku. Minneapolis: University of Minnesota Press, Azuma, Hiroki. () “The Animalization of Otaku Culture” Mechademia 2 –

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According to Azuma’s theory, an anime or game setting exists as a kind of imaginary “database”, which you can’t own.

Your average Otaku in Japan seems almost unaware that there is a real world out there. I especially despise that the very title of the book and its central premise comes from an author, Kojeve, who believes the US is a post Marxist paradise where one ptaku work to their heart’s content, and made several sweeping statements about Japanese culture based on his limited knowledge and brief stay in Japan.

The otaku reshapes reality by hacking the narrative to make it his own. The discomfort of the former becomes clearer. Nov 14, Yupa rated it liked it.

Hiroki Azuma – Wikipedia

This is what Azuma calls a simulcrum. It is perhaps a sign of that spread that my daughter English was able to point out quite quickly that two illustrations of images of girls from Urusei Yatsura and Sailor Moon had been transposed. Do most Otaku contribute to the knowledge and development of humanity? Knowledge now throbs through the veins of new media — from quantum chromodynamics lectures in podcasts to the essence of “Bushido: But the Database method has no narrative at all, and people relate to it in a horoki that’s hard for me to sum up.


The footnotes are as valuable as the text. Azuma is married to the writer and poet Hoshio Sanae.

Otaku — University of Minnesota Press

Do not translate text that appears unreliable or low-quality. And if so, will that survival be adequate to even sustain Otaku culture?

You took the article out of context and lunged upon it like a lion of commonsense above rudimentary fallacy. Please see our legal notice. I do not recommend this book to readers who are completely unfamiliar with Japan and anime subculture. This book of the very well known Japanese philosopher and cultural critic Hiroki Azuma Authors planning to submit manuscripts significantly longer than words should first contact the Editor at editor digitalcultureandeducation.

Hiroki Azuma: The philosopher of ‘otaku’ speaks

If the book was written pres I may just roll my otalu and continue reading, but this was published inand then again in Though written with a general audience in mind, Azuma’s insightful marriage of philosophy and popular culture has something to offer scholars of postmodernism, psychology, sociology, media theory and fandom studies.

Mar 28, Patrick Lum rated it liked it. It is one of the best books I’ve read on Hrioki subculture sociology. Nov 28, Riar rated it really liked it. University of Minnesota Press Coming soon. Azuma manages to communicate his ideas and thought processes in simple language and with many examples.


A publishing event—the highly influential best seller in Japan translated into English. Abandon every preconception, all ye who enter! This is also an effect of hirooi Azuma talks about in his book: The power has shifted to the person desiring and this confuses a whole class of intermediaries who made choices for others. Just a moment while we sign you in to your Goodreads account.

I think it depends on how far you want to take the definition of “otaku”. Feb 21, Stephanie A. This essay is the intellectual property of the author and cannot ootaku printed or distributed without the author’s express written permission other than excerpts for purposes consistent with Fair Use.

Hiroki Azuma

I also hoped to build a common language for discussion. So how then could they contribute to reality when they seem so afraid or unaware of it? Translation, Canonization, and World Literature “Otaku” is a pretty I mentioned to someone how I was reading this book about how Japanese pop culture fans like to “remix” what they’re reading into parodies and spinoffs.

It’s a very short read and despite its shortcomings, sheds light on contemporary consumption patterns, so is worth reading.