• Título:  THE OTAKU PHENOMENON AND SCANLATIONS: CONDITIONING FACTORS IN THE EVOLUTION OF MANGA TRANSLATION IN SPAIN
• Autor:  Doncel-Moriano Urbano, Salomon
• Universidad:  Universidad de Granada
• Departamento:  Escuela Internacional de Posgrado
• Fecha de Lectura:  26/09/2022
• Mención Europeo / Mención Internacional: concedido
• Programa de doctorado:  Programa de Doctorado en Lenguas, Textos y Contextos por la Universidad de Granada
• Dirección: 
  • Jiménez Hurtado, Catalina (DIRECTOR)
• Tribunal: 
  • CARLUCCI, LAURA (PRESIDENTE)
  • Álvarez de Morales Mercado, Cristina (SECRETARIO)
  • MEDINA REGUERA, ANA (VOCAL)
  • RODRÍGUEZ RODRÍGUEZ, FRANCISCO (VOCAL)
  • Bolaños García-Escribano, Alejandro (VOCAL)
• Descriptores: 
  • TRADUCCION E INTERPRETACION
  • LENGUA Y CULTURA
  • FILOLOGIA
• Fichero de tesis:
• ISBN:  9788411175562
• https://digibug.ugr.es/bitstream/handle/10481/77669/58546%281%29.pdf?sequence=4&isAllowed=y
• Resumen:
  The term otaku has acquired a considerably wide range of meanings in the last three decades. The term started being used by Kawamori and Mikimoto when they were still students at Kei¿ University and created anime for fun and who would eventually become professionals in the anime industry. Soon after, a serial killer called Miyazaki Tsutomu and the critic Nakamori Akio would make the term cursed and hated. The growth and expansion of a new philosophy that revolves around manga, anime and video games somehow rescued the term from the darkness and highlighted its cool uniqueness. In fact, a phenomenon that moves masses and generates billions of yen every year should not be called ¿subculture¿ as if it were ¿under culture¿, or ¿minus culture¿, deserving a higher status within the broad, still hard to enter, circle of culture. There is one unique component that is present in the creation, recreation and transcreation of manga and that is not present in other comics: otakism. Otakism, the quality of otaku, is the key to our analysis, its new starting point, and its final goal. The fundamental hypothesis of this doctoral thesis is grounded on a theory of the evolution of translation strategies applied to manga in Spain that has taken place during three decades under the influence of different types of otaku. The otaku is no longer the fan, consumer or critic. The otaku has also transcended the amateurism and has entered the professional with full authority. Still, the influence of the otaku phenomenon on translations cannot be understood without approaching manga and anime in isolation but as otaku products, a set of elements that compose an otaku franchise. In that respect, the Sailor Moon franchise becomes a perfect prism through which to explore the turnover in the translation approaches in otaku franchises. The internarratives that inspired Takeuchi Naoko form a continuum with those that she creates in her masterpiece, transcending through different formats and media. Takeuchi is an omnipresent otaku, fact that highlights the scope of the otaku phenomenon worldwide. My approach is global and inclusive, and I have relied upon a myriad of texts of different nature, including manga, anime, academic texts and fan literature, among which fanzines, bulletins, mailing lists, and in general any document that contains reflections on the concepts of the otaku, fan translations and professional translations of manga and anime.