The Kyoto International Manga Museum 京都マンガミュージアム is just taking place an exhibition to introduce and analyze Manpu 漫譜 expression featured in the Japanese Manga cartoons, in collaboration with Hiroshima-born Kyoto-based Manga cartoonist Fumiyo Kono こうの史代.
Etymologically, the first appearance of the term Manpu using a designation method for cartoon narrative was driven by cartoonist Koji Aihara 相原コージ and Manga-magazine editor Kentaro Takekuma 竹熊健太郎, mentioned in the series of books written through joint authorship of them titled "Even a Monkey Can Draw Manga 猿でも描けるまんが教室" in the early 1990s. In this book, they defined a Manpu as a "symbolic representation unique to Japanese Manga, which visualize an atmospheric feelings and actualize an unreasonable sensations." However what they aimed there is actually kinda "deconstruction" of history of Manga in Japan The strategic significance of Manpu development is, arranged the new state for young cartoonists, neither depended upon nor expanded by the traditional emphatic methodology of onomatopoeia for representing the matter of things and characterized emotions, but is more ontological "pleasure of sign" to thrust human-emotion off.
Very fortunately, you can read their post-modern scripture of Manga in English; available some used books via Amazon. Bringing it in your hand, go to Kyoto !
I take this occasion to say; I assume that Even A Monkey Can Draw Manga is the Must Book for realizing the other criteria(Leo Steinberg!) out of the Greenbergarians of Manga-ism: Tezuka as a keeper of universal justice of techno-science, too much humanized GHIBLI, and capitalized Otaku's flat world as well.