论文代写：“御宅族”在动漫理论中的运用问题
在这个意义上，御宅族可能是从混淆现实和虚构中获得乐趣的人。为了以正确的方式回答这个问题，重要的是要明确什么是虚构，什么是现实。在斋藤玉明的《美丽的战斗女孩》一书中，他提出了“虚构”和“真实”之间不存在二元对立的理论。有人说过，任何所谓的“日常现实”，实际上都是一组从不被中介的意识中融合而来的体验。同时也说明，“虚构”是一种“想象的概念”，它是由大量的媒介形式所决定的，而这些媒介形式是调解作品创作所必需的。
这类似于Andre Nassenber在他的书《界面幻想——拉康尼亚的半机械论，一种“先验方案”》中所写的任何东西。这本书通过协调和激励人们的欲望来强化人们的欲望，而不仅仅是在我们的幻觉中实现欲望。他还表示,幻想的作用是一种类似于不幸的松果体按照笛卡尔的哲学一直中介之间的正常的象征性的结构是正式和对象的积极性一直遇到的人在现实中。
在村上的雕塑中，御宅族的欲望被物化了。作者说，他们渴望爱一个胺字符在一个三维的形式，这是在一个二维的世界。村上隆的《召唤怪兽》第一章创造了动画世界的真实潜力。因此，我们可以得出结论，如果不对不同类型的虚词进行适当的下划线，就不可能有与御宅族相关的讨论。他补充说，人们无法假定非御宅族受试者之间存在任何结构性差异。这是因为这两种人都是神经症患者，他们也站在一个类似的相关符号。
In the meaning which has been provided, otaku may be someone who derives enjoyment from getting confused between reality and fiction. In order to answer the question in a proper manner, it is important to define what exactly the fiction is and what the reality is. In Saito Tamaki’s book “beautiful fighting girl”, he has given the theory that there is no binary opposite between “fiction” and “real.” It has been stated that whatever is called as the “everyday reality” is actually a set of experiences that merge from a consciousness of not being mediated. Also it has been explained that the “fiction” is “an “imaginary concept” which has been determined by a large number of forms of media which is necessary to mediate the creation of work.
This is similar to whatever is written by Andre Nassenber in his book “Interface Fantasy- A Lacanian Cyborg Ontology, a “transcendental scheme.” The book aggrandizes the desire of the people by providing its co-ordinates and motivates the people to desire, instead of just realizing the desire in our hallucination. He has also stated that the role of fantasy is a way which is analogous to the ill-fated pineal gland as per the philosophy of Descartes who has been the mediator in between the normal kind of symbolic structure which is formal and the positivity of objects which has been encountered by the people in reality.
In Murakami’s sculpture, the materialization of Otaku’s desire has been done. The writer states that their desires to love an amine character in a 3 dimensional form which is within a 2-dimensional world. The chapter one of the Summon Monsters by Takashi Murakami creates a real potentiality of the anime world. Thus it can be concluded that there can never be a discussion related to otaku without doing the proper underlining of the different types of imaginary terms. He adds that the people cannot postulate any kind of structural difference between the non-otaku subjects. This is because both of these are neurotics and they also stand in a similar related to the symbol.
论文代写：“御宅族”在动漫理论中的运用问题
要理解御宅族对动漫的占有，动画理论中的“现实”和“虚构”问题的另一种回答方法，可以通过考虑三种不同类型的概念来完成，这三种概念可能与大冢的现实主义和动画有关。这些在马克·斯坦伯格的《动画电影理论》中都有介绍。第一个概念是现实主义，其所指的是生物的身体。第二种概念是现实主义，其所指的是机械或其逼真的摄影描绘。最后也是最重要的概念是对“动漫现实主义”有一个正确的认识。从这些概念可以看出，现实主义的前提是动画和漫画在环境中无处不在。同样，它也不包括艺术作品中对现实主义的共同讨论，而是从视觉层面对世界的现实描绘。根据Tezuka Osamu的漫画“符号学”理论，有人认为漫画和动画之间存在一定程度的张力。有一幅符号学的图画，它拥有一个可以流血和死亡的肉体，并且可以与他人发生性关系，即使这幅图画与现实世界的参照物没有关系。
正如大冢Eiji和Azuma Hiroki所言，动画导致了一种特定形式的现实主义在代码结构空间中的发展，这也可能不同于电影现实主义。阐述了御宅族的情感和情感，以及其无序、越轨的行为。
然而，对御宅族的不同刻板印象往往包含“孤立”或“失败”的概念。这样做是为了在社会中确立自己的社会身份。这种社会认同应该与扇子实践中创造性和生产力的意义相抗争。同样的例子可以从J. Ash的期刊中得到，指出御宅族在日本社会是一个非常负面的形象，尽管御宅族是新兴世界的乐观形象。御宅族的负面观点可以归因于他们对社区的臆断，社区没有能力区分现实和虚构。此外，动画是御宅族的愿望所依赖的主要媒介。而且，它只是一个暂时逃离现实世界的难民。
Another approach to answer the question of “reality” and “fiction” within animation theory to understand otaku’s possession of anime can be done by consideration of three different types of concepts which may be related to realism and animation for Otsuka. These have been introduced in “Animating film theory” by Marck Steinberg. The very first concept is the realism whose referent is the biological body. The second concept is realism whose referent is the mechanic or its photorealistic depiction. Also the final and the most important concept is to have the proper understanding related to the “manga-anime realism.” From these concepts it can be said that it is realism whose premise is the environmental ubiquity of animation and manga. Also, it is not something which includes the common discussion of realism in artwork, as a realistic depiction of the world in terms of the visual level. According to Tezuka Osamu’s “semiotic” theory of manga”, it has been argued that there is a certain level of tension for manga and anime. There is a semiotic drawing that possesses a physical body that can bleed and die, and can have sexual relations with others even if the drawing has no relation to a real-world referent.
As suggested by Otsuka Eiji and Azuma Hiroki, Animations leads to the development of a particular form of realism in a code-structure space, which may also be different from the cinematic realism. It explicates the emotion and affect for otaku and its disordered and deviant behaviour.
However, different stereotypes of otaku often embrace the concepts of “isolation” or “failure”. This is done for the establishment of their social identity in the society. This kind of social identity should be contended along with the significance of creativity and productivity within their fan practice. An instance of the same can be obtained from the journal by J. Ash indicates which states that otaku is a very much negative image in Japanese society in spite of the optimistic picture of otaku is emerging world. The negative views of otaku could be attributed to presuming of the community which does not have the ability to distinguish what the reality is and what actually is the fiction. Further, animation is the primary medium in which otaku’s desires may depend upon. Also, it is just a refugee for the temporary escape from real world.
