代寫論文-禦宅族群體中的“現實主義” 在這篇文章中,我們將討論20世紀遺留下來的受阿尼米主義啟發的當代藝術,是如何在禦宅族的“現實主義”基礎上,創造出一種效果和情感的角色。本研究將從兩個不同的角度來探討後現代社會“動漫現實主義”中所呈現的“他”模式。第一個方面將包括分析導致禦宅族在拉康的小說和現實概念中與社區其他粉絲分離的因素。為了進行分析,將使用提取理論。為了有效地完成討論,我們將討論為什麽在類似的隨機實踐中,媒體在不同群體中被認為是重要的。另一個方面將與齋藤對禦宅族癡迷對象的積極看法有關,這可能是小說的一部分,以及同樣的觀點如何超越了塞奇威克和阿德姆·弗蘭克提出的酷兒理論中關於“羞恥”的主要辯論。此外,還將對日本戰後的兩幅藝術作品進行評價。第一部作品是村上隆的《寂寞牛仔》(1994)/《嗨》(1995),第二部作品是森麻子的《和我一起玩》(1998)/《武士》(1997)。

These two artists have achieved great commercial success in the contemporary art market which is known as their representation of culture icon of Japan. The primary reason for the selection of these artists for the exploration in fandom is that the works that they have produced are inspired from the particularities of Otaku culture. It is distinct from other forms of fan groups due to their habit of consumption that is based upon what is considered to be socially unacceptable. In addition to this, the characteristics of animation as the primary medium in which otaku inhabit explicates a cultural phenomenon of the present digital age in which the amine-world is something which is realistic and is a part of our day to day life.
Saito yet sustains that the erotic desire in fan practice is not only a symbol which is derived from cultural “anxiety” or “identity.” Instead, he takes the same in a more optimistic manner in such a way that the outward performativity is taken by him in fandom as the celebration of perverseness.

“My some boy” and ‘Hiroporn’ describes the celebration of otaku, or rather the celebration of the desires of otaku. Strangely, otaku community holds a very negative view of Murakami’s approach to their sculpture and another anime-inspired project Miss Ko2. They rejected to exhibit the art works in the market (A Cosmic event in Tokyo).

As per the words which are given by Otaku, it is a positive quality to have the sense of aesthetic distance. The mannequin qualities which has been given by Hiropon and my Lonesome Cowboy have been considered to be the object based representation instead of a direct expression which may be related to the attachment or to have the desire of the character of amine. Therefore, the characters Hiropon and my Lonesome Cowboy were something which didn’t had any appeal to Otaku who have been working on them.
In the article published in Kash, it has been argued that Murakami does not intends to challenge any kind of distinctions between Otaku and their art in the works of sculpture. It is true that Murakami tries to reinforce the same in different spheres. It also means that “My Lone some boy” is something which is similar to Hibopron. Thus “My Lone some boy” was nothing but the small representation of the sexual desires of Otaku within the world of art. It even does not have anything to do with the correlations to the mainstream culture. It can be said that the zoom-out size of the sculpture of Gereki that has been made by M is nothing but the massive extension of the erotic desire of Otaku. It clearly implies his claim of “narrative consumption.” in the post-modern society.

Thus, Muramaki embodies the “realism” in otaku fandom by making the use of a method of commercial production in his practice. This is done by him to underline the “narrative consumption” that turns erotic imaginary and fictive obsessions into substances and commercial consumption. It could be seen as an embodiment that the “virtual” world has become as “real” as the “physical” world because of the emergence of animation and the proliferation of other media. Both Mori and Murakami’s work are tells that this is nothing new, as Lacan argued; fantasies and illusions are the forms of all sexual desire (P.xvii intro BG).

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