Поколение 24: Революция в жанре сёдзё-манга и влияние Германа Гессе.

Japanese manga series by Keiko Takemiya

Keiko Takemiya made her debut as a manga artist in 1967, and though her early works attracted the attention of manga magazine editors, none achieved any particular critical or commercial success. Her debut occurred in the context of a restrictive shōjo manga (girls' manga) publishing culture: stories were marketed to an audience of children, were focused on uncomplicated subject material such as familial drama or romantic comedy, and favored Cinderella like female protagonists defined by their passivity. Beginning in the 1970s, a new generation of shōjo artists emerged who created manga stories that were more psychologically complex, dealt directly with topics of politics and sexuality, and were aimed at an audience of teenage readers. This grouping of artists, of which Takemiya was a member, came to be collectively referred to as the Year 24 Group. The group contributed significantly to the development of shōjo manga by expanding the genre to incorporate elements of science fiction, historical fiction, adventure fiction, and same sex romance: both male–male (shōnen ai and yaoi) and female–female (yuri). Takemiya was a close friend to fellow Year 24 Group member Moto Hagio, with whom she shared a rented house in Ōizumigakuenchō, Nerima, Tokyo, from 1971 to 1973. The house was nicknamed the "Ōizumi Salon", and came to be an important gathering point for Year 24 Group members and their affiliates. Their friend and next door neighbor 増山法恵 was a significant influence on both artists: though Masuyama was not a manga artist, she was a shōjo manga enthusiast motivated by a desire to elevate the genre from its status as a frivolous distraction for children to a serious literary art form, and introduced Takemiya and Hagio to literature, magazines, and films that came to inspire their works. Of the works Masuyama introduced to Takemiya, novels by writer Herman Hesse in the Bildungsroman genre were particularly relevant to the development of Kaze to Ki no Uta. Masuyama introduced Takemiya and Hagio to Beneath the Wheel (1906), Demian (1919), and Narcissus and Goldmund (1932); Demian was especially impactful on both artists, directly influencing the plot and setting of both Takemiya's Kaze to Ki no Uta and Hagio's own major contribution to the shōnen ai genre, The Heart of Thomas (1974). Though none of Hesse's stories are explicitly homoerotic, they inspired the artists through their depictions of strong bonds between male characters, their boarding school settings, and their focus on the internal psychology of their male protagonists. Other works that informed the development of Kaze to Ki no Uta were the European drama films if (1968), Satyricon (1969), and Death in Venice (1971), which screened in Japan in the 1970s and influenced both Takemiya and Hagio in their depiction of "preternaturally beautiful" male characters; Taruho Inagaki's essay (少年愛の美学), which influenced Takemiya to select a school as the setting for her series; and issues of Barazoku, the first commercially circulated Japanese gay men's magazine.

Takemiya initially conceived of the story of Kaze to Ki no Uta in 1970, following which she stayed up through the night with Masuyama discussing the series over the telephone. She wrote a detailed outline of the plot in December of that year, and drew the first 50 pages of the manga in a sketchbook in January 1971. Takemiya showed the sketchbook draft to multiple editors, but none were interested in publishing the series, citing its controversial subject material. Several editors advised her to move the opening scene of the series, which depicts Gilbert in bed with an older male student, to later in the story; she refused, stating, "I want to put the page that best reflects the story at the beginning." It attracted controversy for its sexual depictions, particularly its opening male–male sex scene and its depictions of sadomasochism, incest, and rape. Takemiya has stated that she was concerned how parent–teacher associations would react to the series, as Shūkan Shōjo Comic publisher Shogakukan was a "stricter" company best known for publishing academic magazines for schoolchildren. Reader letters in Shūkan Shōjo Comic were divided between those who were offended by the subject material of the series, and those who praised its narrative complexity and explicit representations of sex. Gilbert was initially unpopular with readers, though as the series progressed to depict his backstory and early childhood, he subsequently became more popular than Serge. It was re released as nine hardcover volumes published under Shogakukan's Sōsho imprint from July 1988 to March 1989. Since then, Kaze to Ki no Uta has been reprinted several times by different Japanese publishers, including a nine volume edition published as part of "The Complete Keiko Takemiya" collection under Kadokawa Shoten's Asuka Comics DX imprint from August 1990 to March 1991; a four volume aizōban edition published under Chuokoron Shinsha's Chuko Aizōban imprint from August to November 1993; a ten volume bunkoban edition published under Hakusensha's Bunko imprint from March to September 1995; and an eight volume bunkoban edition published under Chuokoron Shinsha's Chuko Bunko Comic ban imprint from July 2002 to January 2003. The series was also released as sixteen e book volumes by イーブックイニシアティブジャパン in 2010. Kaze to Ki no Uta was translated and published outside of Japan for the first time in 2018, by Spanish language publisher Milky Way Ediciones. It was released in ten omnibus volumes based on the 1995 Japanese bunkoban edition, featuring color pages and new cover art chosen by Takemiya. The series was also published by Italian language publisher it in late 2018, under their J Pop Manga imprint. It was initially released in a ten volume box set, the individual volumes later being released once a month.

The primary characters of Kaze to Ki no Uta are bishōnen ( "beautiful boys"), a term for androgynous male characters that sociologist Chizuko Ueno describes as representing "the idealized self image of girls". Takemiya has stated that her use of protagonists that blur gender distinctions was done intentionally, "to mentally liberate girls from the sexual restrictions imposed on us [as women]". By portraying male characters with physical traits 'typical' of female characters in manga – such as slender bodies, long hair, and large eyes – the presumed female reader is invited to self identify with the male protagonist. This device led psychologist Hayao Kawai to remark in his analysis of Kaze to Ki no Uta that "perhaps no other work has expressed the inner world of the adolescent girl to such an extent". and directed by Yoshikazu Yasuhiko, with Sachiko Kamimura as animation director. Animation for the film was done in cooperation between Tranquilizer Product Company, Kugatsusha, Triangle Staff, and Tokyo Media Connections. but Studio Gallop does not appear in the end credits of the film, and their website does not list the film. A 1987 advertisement in June credits Konami for "animation production/work" (アニメーション制作). Sanctus adapts the introductory chapters of the manga, bookended by scenes of a now adult Serge re visiting Lacombrade; multiple sequels were planned, but were never produced. Internationally, Sanctus was licensed by Italian distributor Yamato Video in 2006, which released the film as a DVD containing both the original Japanese audio and an Italian dub starring Marisa Della Pasqua as the voice of young Serge and Paola Della Pasqua as the voice of Gilbert. A radio drama adapting the first volume of Kaze to Ki no Uta aired on TBS Radio, with Mann Izawa as scriptwriter and Hiromi Go as the voice of Gilbert. and "Gilbert's Requiem"; 風と木の詩 ジルベールのレクイエム; Kaze to Ki no Uta: Gilbert no Requiem, composed by 東海林修, in 1984. (風と木の詩 シンセサイザー・ファンタジー), a remix album of Gilbert no Requiem, was released in 1985. In 1985, Shogakukan published Le Poème du Vent et des Arbres, an artist's book featuring original illustrations by Takemiya of characters from Kaze to Ki no Uta. 復刊ドットコム reprinted the book in 2018, with eight new illustrations and new scans of the original artwork produced by Genga' (Dash), an art preservation project Takemiya developed at Kyoto Seika University. In 2016, Takarajimasha published , a limited edition artist's book containing thirty two Kaze to Ki no Uta illustrations chosen by Takemiya and new illustrations originally drawn by Takemiya for her solo art exhibitions.

"The Lamb of God: Agnus Dei"; 神の子羊 Agnus Dei; Kami no Kohitsuji: Agnus Dei, a serial novel sequel to Kaze to Ki no Uta, was published in the yaoi magazine June from 1990 to 1994. The novel's chapters were collected into three hardcover volumes published by Kōfūsha Shuppan from 1992 to 1994, each featuring an original cover illustration by Takemiya. "The Dove of Happiness"; 幸福の鳩; Kōfuku no Hato is a 48 page sequel and side story to Kaze to Ki no Uta. Set three years after Gilbert's death, the story focuses on the relationship between Jules and Rosemarine, who meet again by chance at Serge's piano concert in Paris. Kōfuku no Hato was written and illustrated by Takemiya, and was published in her artist's book , released by Kadokawa Shoten in November 1991.

In 1980, Takemiya won the 25th (1979) Shogakukan Manga Award in both the shōjo and shōnen (manga for boys) categories for Kaze to Ki no Uta and Toward the Terra, respectively. Roughly 5million copies of collected volumes of Kaze to Ki no Uta have been sold as of 2019. Although some Japanese critics dismissed Kaze to Ki no Uta as a "second rate imitation" of The Heart of Thomas upon its initial release, it has received wide critical acclaim, and has been described as a "masterpiece" of the shōnen ai genre. Masaki Satō, a gay writer who originated the yaoi ronsō debate of the 1990s, said he was "saved" by manga like Kaze to Ki no Uta, and poet and playwright Shūji Terayama compared the series' publication to "the great events that occurred in the Parisian literary world", likening it to Story of O by Anne Desclos and Justine by the Marquis de Sade and writing that "from now on, comics will probably be called 'Kaze to Ki no Uta and thereafter'". Chiho Saito believes that Kaze to Ki no Uta heavily influenced the anime and manga series Revolutionary Girl Utena she developed as part of the artist collective Be Papas, noting the many similarities between the works in a 2016 essay she wrote about Takemiya. In an overview of the filmography of Yoshikazu Yasuhiko for Anime News Network, critic Michael Toole praised Kaze to Ki no Uta Sanctus: Sei Naru Kana as a "subtle piece" that is "vibrant and beautiful", favorably comparing it to the 1981 film adaptation of Takemiya's Natsu e no Tobira.