Jaqueline Berndt

Jaqueline Berndt


Visa sidan på svenska
Works at Department of Asian, Middle Eastern and Turkish Studies
Telephone 08-16 20 25
Visiting address Roslagsvägen 101, Kräftriket hus 4 B
Room 254
Postal address Japanska 106 91 Stockholm

About me

Professor of Japanese Language and Culture
PhD (Dr. phil.) in Aesthetics/Kunstwissenschaft, Humboldt University Berlin, 1991

2018–2020_Council member, European Association of Japanese Studies (EAJS)
2019-_Chairperson and main contact for book series "Stockholm Studies in Media Arts Japan” (SMAJ, Stockholm University Press)
2018-_Board member, Stockholm Studies in Culture and Aesthetics (SUP)
2018- _Board member, Forum for Asian Studies, SU

Employment History

  • Professor in Manga/Comics Theory (tenured), Department & Graduate School of Manga, Kyoto Seika University, Japan (2009-2017), Acting head, Graduate School of Manga (2010-2014)

  • ​Associate Professor in Art and Media Studies (tenured), Faculty of Education and Human Sciences, Yokohama National University, Japan (2001-2009)

  • Associate Professor in Art Sociology (tenured), Department of Social Sciences, Ritsumeikan University, Kyoto, Japan (1995-2001)


I am teaching in English (and Japanese--although not at SU).
HT 2020:
JKA111/DK26_Introduction to Japanese Studies
JKA918_Manga Studies
JKA932_Japanese Popular Culture

To Foreign Students Seeking PhD Supervision:
Unfortunately, I am not allowed to accept PhD students outside of the specifically Swedish framework of contracted positions (here, PhD student is an employment, and openings are rare; a program with entrance exams doesn’t exist).
But if you are enrolled in another university’s PhD program, you are welcome to receive my supervision as an academic intern or guest for one or two semesters (provided that you are able to cover your living expenses).



Main areas

What? — Visual arts/aesthetic culture in Asia (19th – 21st centuries: graphic arts, incl. posters; painting; photography; architecture; filmic media), manga/comics, anime and animation
How? — Art Theory/Aesthetics; Museum/Exhibition Studies; Media Studies

Forthcoming Publications

“Anime’s Situated Posthumanism: Representation, Mediality, Performance,” in The Bloomsbury Handbook to Posthumanism, ed. Mads Rosendahl Thomsen and Jacob Wamberg, pp. 403–414 (August 2020).

“Manga Aging: Grannies and Gutters,” in Spaces Between – Gender, Diversity and Identity in Comics, ed. by Verónique Sina & Nina Heindl, Berlin: Springer.

Review_The Citi exhibition Manga マンガ, edited by Nicole Coolidge Rousmaniere and Matsuba Ryoko (London: Thames & Hudson/The British Museum, 2019; 352pp.), Print Quarterly (summer 2020).

“Deviating from ‘Art’: Japanese Manga Exhibitions 1990–2015,” in Comic Art in Museums, edited by Kim Munson, University Press of Mississippi (July 2020).

“Conjoined by Hand: Aesthetic Materiality in Kouno Fumiyo’s Manga In this corner of the world,” Mechademia 12.2 (special issue “Asian Materialities,” guest-edited by Stevie Suan).

“Manga Femininity: Negotiating Gender through Genre in Women’s Comics,” in catalogue for exhibition on EmPOWering! How Women Revolutionized Japanese Manga, edited by Stephen Salel, the Robert F. Lange Foundation Curator of Japanese Art (Honolulu Museum of Art, Spring 2021).

International Collaboration:

  • Playing Japan: Game Studies, Anime Research, and Language Education (SU-funded collaboration with The University of Tokyo, Prof. Hiroshi Yoshida); public symposium at SU on 23 September 2020.
  • Invitations to Playful Reading: towards a New Paradigm for the Study of Graphic Fiction from Early Modern to Contemporary Japan (Cambridge-Stockholm Collaborative Research Grants Scheme, with Dr Laura Moretti, Senior Lecturer in Pre-modern Japanese Studies, Cambridge University), 2020–2022

  • Archive Centre for Anime Studies, Niigata University (with Prof. Minori Ishida, Prof. Kim Joon Yang et al.)

Subjects and Interests

My academic production has constantly focused on Japan’s modern and contemporary visual culture, stretching from painting to manga as graphic narratives, and therein the interrelation between culture and aesthetics, the latter understood as matters of form, style, materiality, sensory and affective perception. During the early phase of my career, my focus was more on institutional fine art (folding screens in the museum space, modern traditionalist painting, i.e. nihonga, nude and naked, Yokoo Tadanori’s posters, and contemporary “Neo-pop” artists such as Murakami Takashi), while in recent years I have been more interested in speaking with or along media texts instead of merely speaking about them, i.e., in making the texts, in their specific individuation and situatedness, speak instead of using them as representational illustration of larger socio-cultural issues. Furthermore, the initial focus on intercultural comparison between Japan and Europe (or the “West”) has to transcultural flows beyond “influences,” mainly in East Asia and the Southeast Asian Sinosphere.


A selection from Stockholm University publication database
  • 2018. Jaqueline Berndt. Arts 7 (4)

    The transcultural consumption of Japan-derived popular media has prompted a significant amount of academic research and teaching. Instead of addressing globalization or localization as such, this article investigates the interplay of anime research and the institution of Japanese studies and recurrent methodological issues therein, in particular, related to representation and mediation, intellectual critique and affective engagement, subculture and national culture.The inclination towards objects and representation in socio-cultural as well as cinema-oriented Japanese-studies accounts of anime is first introduced and, after considering discursive implications of the name animein Japan and abroad, contrasted with media-studies approaches that put an emphasis on relations, modalities, and forms. In order to illustrate the vital role of forms, including genre, similarities between TV anime and Nordic Noir TV drama series are sketched out. Eventually, the article demonstrates that the study of anime is accomodated best by going beyond traditional polarizations between text and context, media specificity and media ecology, area and discipline.

  • 2020. Jaqueline Berndt. "Ran an die Wand, rein in die Vitrine?" Internationale Positionen zum Ausstellen von Comics in der pädagogischen und musealen Praxis, 98-108
  • 2017. Jaqueline Berndt. Hokusai, 21-27
  • 2017. Jaqueline Berndt. Konsthistorisk Tidskrift 86 (1), 67-74
  • 2019. Jaqueline Berndt. Shōjo Across Media, 1-21

    In order to provide a framework for the whole volume, this introductory chapter promotes a shift of methodological focus from shōjo (girl) as a category of social representation to shōjo mediations, considering not only media for and by actual girls, but also shōjo as character type, code, and taste category. Firstly, shōjo research inside and outside of Japan is recapitulated with due regard to changes in both mediascape and critical orientation. Secondly, it is demonstrated that the word shōjo assumes its specific meaning in relation to other, historically changing Japanese names for “girl” and the employed media. Finally, the volume’s individual chapters are introduced with particular regard to the conception of shōjo they apply, relating to Japanese and gender studies, genre theory, transcultural research on popular media, and performativity respectively.

  • 2019. Jaqueline Berndt. Journal of Japanese Studies 45 (2), 471-475
  • 2018. Jaqueline Berndt.
  • Chapter Hand in Hand
    2018. Jaqueline Berndt. Ästhetik des Gemachten, 53-84

    The characterization of manga (graphic narratives) and anime (animated film) as ‘superflat’ is usually accompanied by overlooking the materiality of their craftedness. Media-aesthetic discussions of craftedness focus on stylization, hyper-mediality, and parodic intertextuality rather than the persistence of manual craft, the role of hand drawing, and the preference for an analog look. Taking In This Corner of the World as its example, this article investigates how the story of a hand and its pictorial representation are entwined with the comics-specific employment of free-hand drawing, printed pages, and serial publication format. It arrives at the conclusion that a pragmatic orientation towards tangible proximity between past and present, characters and readers, or viewers, outweighs invitations to critically reflect on the medium of comics as such.

  • 2016. Jaqueline Berndt. Orientaliska Studier (147), 143-169
Show all publications by Jaqueline Berndt at Stockholm University

Last updated: June 15, 2020

Bookmark and share Tell a friend