Takarazuka: Sexual Politics and Popular Culture in Modern JapanThe all-female Takarazuka Revue is world-famous today for its rococo musical productions, including gender-bending love stories, torridly romantic liaisons in foreign settings, and fanatically devoted fans. But that is only a small part of its complicated and complicit performance history. In this sophisticated and historically grounded analysis, anthropologist Jennifer Robertson draws from over a decade of fieldwork and archival research to explore how the Revue illuminates discourses of sexual politics, nationalism, imperialism, and popular culture in twentieth-century Japan. The Revue was founded in 1913 as a novel counterpart to the all-male Kabuki theater. Tracing the contradictory meanings of Takarazuka productions over time, with special attention to the World War II period, Robertson illuminates the intricate web of relationships among managers, directors, actors, fans, and social critics, whose clashes and compromises textured the theater and the wider society in colorful and complex ways. Using Takarazuka as a key to understanding the "logic" of everyday life in Japan and placing the Revue squarely in its own social, historical, and cultural context, she challenges both the stereotypes of "the Japanese" and the Eurocentric notions of gender performance and sexuality. |
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Innehåll
25 | |
Staging Androgyny | 47 |
Performing Empire | 89 |
Fan Pathology | 139 |
Writing Fans | 177 |
Epilogue | 209 |
Notes | 217 |
Bibliography | 237 |
265 | |
Andra upplagor - Visa alla
Takarazuka: Sexual Politics and Popular Culture in Modern Japan Jennifer Robertson Begränsad förhandsgranskning - 1998 |
Takarazuka: Sexual Politics and Popular Culture in Modern Japan Jennifer Ellen Robertson Ingen förhandsgranskning - 1998 |
Vanliga ord och fraser
all-female revue ambivalence androgyny Asahi Shinbun Asia Asian assimilation audience body chapter Co-Prosperity Sphere colonial critics cross-dressing dance Danso discourse dominant doseiai Edo period Engeki entertainment erotic fan clubs fan letters fandom female fans feminine figure Fuan Fujin Gendai girls and women henshin homosexual identity ideology imperialism included intersexed Japa Japan Japanese Kabuki Kabuki onnagata Kobayashi kokumin lesbian male fans masculine mass Matsumoto men's roles modern musumeyaku nese newspaper nimaime Nippon onna onnagata Osaka Oscar otokoyaku Paris performance play players of men's politics popular culture postwar practices production referred relationship revue fans revue theater Revue's Rose of Versailles Saijo sex and gender sexual Shochiku Shochiku Revue shojo shojo script social stage stars suicide taishu Takarasiennes Takarazuka actors Takarazuka fans Takarazuka Gurafu Takarazuka kageki Takarazuka otokoyaku Takarazuka Revue tion Tokyo Takarazuka theater troupes Western woman women's roles Yoshiya Nobuko
Populära avsnitt
Sida 18 - When the constructed status of gender is theorized as radically independent of sex, gender itself becomes a free-floating artifice, with the consequence that man and masculine might just as easily signify a female body as a male one, and woman and feminine a male body as easily as a female one.
Sida 38 - For me, therefore, one of the most important aspects of cross-dressing is the way in which it offers a challenge to easy notions of binarity, putting into question the categories of 'female' and 'male', whether they are considered essential or constructed, biological or cultural.
Sida 39 - the original' . . . reveals the original to be nothing other than a parody of the idea of the natural and the original
Sida 11 - primary" gender, which is assigned at birth on the basis of an infant's genitalia, secondary gender is based on both physical (but not genital) and sociopsychological criteria; height, physique, facial shape, voice, personality, and, to a certain extent, personal preference.
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