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refers to one of two female manga artist groups which are considered to have revolutionized ''shōjo'' manga (girls' comics). Their works often examine "radical and philosophical issues", including sexuality and gender issues, and many of their works are now considered "classics" of ''shōjo'' manga.〔Suzuki, Kazuko. 1999. "Pornography or Therapy? Japanese Girls Creating the Yaoi Phenomenon". In Sherrie Inness, ed., ''Millennium Girls: Today's Girls Around the World''. London: Rowman & Littlefield, p.247 ISBN 0-8476-9136-5, ISBN 0-8476-9137-3.〕 Many of those in the first group, , also known as the Forty-Niners, were born in Shōwa 24 (1949). The exact membership is not precisely defined, but includes Yasuko Aoike, Moto Hagio, Riyoko Ikeda, Yumiko Ōshima, Keiko Takemiya, Toshie Kihara, Ryoko Yamagishi, Minori Kimura, Nanae Sasaya, and Mineko Yamada.〔 A second group, known as , includes Wakako Mizuki, Michi Tarasawa, Aiko Itō, Yasuko Sakata, Shio Satō, and Yukiko Kai. The Year 24 Group significantly contributed to the development of subgenres in ''shōjo'' manga, and marked the first major entry of women artists into manga.〔Gravett, Paul (2004) ''Manga: Sixty Years of Japanese Comics''. NY: Harper Design. ISBN 1-85669-391-0. p. 8.〕〔Schodt, Frederik L. 1986. Manga! Manga! The World of Japanese Comics. Tokyo: Kodansha. ISBN 978-0-87011-752-7.〕 Thereafter, ''shōjo'' manga would be drawn primarily by women artists for an audience of girls and young women.〔〔〔Toku, Masami, editor. 2005. "Shojo Manga: Girl Power!" Chico, CA: Flume Press/California State University Press. ISBN 1-886226-10-5. See also http://www.csuchico.edu/pub/cs/spring_06/feature_03.html. Accessed 2007-09-22.〕 The Year 24 Group used ''bildungsroman'' genre conventions in their works.〔Matsui, Midori. (1993) "Little girls were little boys: Displaced Femininity in the representation of homosexuality in Japanese girls' comics," in Gunew, S. and Yeatman, A. (eds.) Feminism and The Politics of Difference, pp. 177–196. Halifax: Fernwood Publishing.〕 Stylistically, the Year 24 Group created new conventions in panel layout by departing from rows of rectangles that were the standard of the time and using panel shape and configuration to convey emotion, and softening or removing panel borders.〔Gravett, Paul (2004) ''Manga: 60 Years of Japanese Comics'' (Harper Design, ISBN 1-85669-391-0) page 79〕 At around the same time as the year 24 group were creating manga, shōjo manga magazines began serialising on a weekly basis.〔(Women in Science Fiction and Fantasy: Overviews, Robin Anne Reid )〕 Moto Hagio and Keiko Takemiya lived in the same apartment in Ōizumi in Nerima, Tokyo from 1970 to 1973, in a situation similar to Osamu Tezuka's Tokiwa-so. Takemiya's friend Norie Masuyama lived nearby and was described by Moto Hagio as Takemiya's "brain staff". Masuyama was not a manga artist herself, but she introduced Takemiya to male homosexuality for women via ''Barazoku'', which inspired Takemiya and Hagio to create ''shōnen-ai'' works. Until that time, ''shōjo'' manga was written mainly by male manga artists, such as Osamu Tezuka with his ''Princess Knight'', and their attempts by female manga artists to write manga for girls were relatively new. Comiket, the world's largest comic convention, was started by the dojinshi circle , which began as a group for studying the works of Moto Hagio. Works by Hagio and Satō were included in the ''shōjo'' manga anthology ''Four Shōjo Stories'', published in North America by Viz Communications in 1996. == References == 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Year 24 Group」の詳細全文を読む スポンサード リンク
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