著者
隠岐 さや香 OKI Sayaka
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
vol.10, pp.18-32, 2019-03-25

Mr. Osomatsu (Osomatsu-san) is a Japanese anime comedy series (2015–2018) based on Akatsuka Fujio’s manga series, Osomatsu-kun (1962–1969). The anime features more adult-oriented humor compared to the original manga, as it follows the lives of the sextuplet Matsuno brothers, who have fully grown up into lazy NEETs. The anime series attracted young female audiences with its character designs and its comical but delicate portrait of the everyday relationships among the brothers. The purpose of this study is to examine and explain the queer elements apparent in this series, including its bromance and accompanying incestuous connotations, human/non-human romantic relationships, and polyamorist desire between the sextuplets and the heroine, Totoko. We can find similar elements in Akatsuka’s canon, which adopts a “nonsense gag manga” style marked by a fascination with the transgression of rules. However, it is clear these elements take on different meanings in Mr. Osomatsu, with its very satiric description of today’s neoliberal market society, which excludes the Matsuno brothers from any kind of stable social relationship except with their own family. We see these queer relationships are indeed forced options for them in place of a heteronormative romantic love out of the brothers’ reach, but at the same time they make us look at a certain strategy to challenge the neoliberal norm of masculinity, to be an economically independent man capable of living a heteronormative family life. In this regard, Akatsuka’s gag heritage almost merges with the act of queering, and allows us to look into the diversities and the difficulty of masculinity in today’s Japanese society.
著者
大橋 崇行 OHASHI Takayuki
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
vol.10, pp.34-47, 2019-03-25

Previous research on girls’ novels in modern Japan has focused on delicate and sentimental stories and novels portraying fraternal relationships among girls. In fact, especially in the novels published in Shōjo no Tomo, which is one of the quintessential girls’ magazines in the early Showa era, we can see many novels following this trend. However, the girls’ magazine Shōjo Club, published by Kōdansha, which gained more support from girls, had works that tended to be quite different from these novels. Actually, it is a group of works that include girl detective novels, historical novels, and adventure novels for girls. Also, it is necessary to point out that many detective novels were also published in Shōjo no Tomo. So, in this research, I will compare Makyō no ni Shōjo (Two Girls in the Demon, 1952–53) written by Saijō Yaso with such novels. This novel is notable because it was written as an adventure novel for boys which was originally titled Kotei no Daimajin (The Great Deity of the Lake Bottom, 1950), which was rewritten for girls. Therefore, by analyzing how this work was revised, it is possible to read what Saijō Yaso thought about what elements were necessary for girls’ novels. And in this study, I focus on how the mystery is positioned for girl readers. And, in an adventure novel whose main character is a girl detective, I conclude that the girls’ novel of Saijō Yaso was featured in bringing in fraternal relationships of girls as seen in girls’ novels. Through analyzing this work, I would like to confirm the diversity of entertainment novels for girls in Japan during the Showa period. At the same time, by considering differences from boys’ novels, I analyze the diversity of gender that was organized among girl readers.
著者
隠岐 さや香 OKI Sayaka
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
no.10, pp.18-32, 2019-03-25

Mr. Osomatsu (Osomatsu-san) is a Japanese anime comedy series (2015–2018) based on Akatsuka Fujio's manga series, Osomatsu-kun (1962–1969). The anime features more adult-oriented humor compared to the original manga, as it follows the lives of the sextuplet Matsuno brothers, who have fully grown up into lazy NEETs. The anime series attracted young female audiences with its character designs and its comical but delicate portrait of the everyday relationships among the brothers. The purpose of this study is to examine and explain the queer elements apparent in this series, including its bromance and accompanying incestuous connotations, human/non-human romantic relationships, and polyamorist desire between the sextuplets and the heroine, Totoko. We can find similar elements in Akatsuka's canon, which adopts a "nonsense gag manga" style marked by a fascination with the transgression of rules. However, it is clear these elements take on different meanings in Mr. Osomatsu, with its very satiric description of today's neoliberal market society, which excludes the Matsuno brothers from any kind of stable social relationship except with their own family. We see these queer relationships are indeed forced options for them in place of a heteronormative romantic love out of the brothers' reach, but at the same time they make us look at a certain strategy to challenge the neoliberal norm of masculinity, to be an economically independent man capable of living a heteronormative family life. In this regard, Akatsuka's gag heritage almost merges with the act of queering, and allows us to look into the diversities and the difficulty of masculinity in today's Japanese society.ファイル差し替え(2019/4/10).本稿はカルチュラル・タイフーン(東京藝術大学、2016年7月3日)での研究発表「アニメ『おそ松さん』にみるクィアネスとその社会・文化的文脈」の内容に加筆・修正したものである。
著者
飯田 祐子 IIDA Yuko
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
vol.10, pp.48-63, 2019-03-25

In this paper, I examine Murata Sayaka’s works with a special focus on the concept of “genderqueer.” Genderqueer is a term born from Transgender theory, which criticizes the gender binary norm. Murata wrote about transgender characters who try to transcend gender, as well as, cisgender women, who deviate from the gender norm in extreme ways. Murata created these people to show her intolerance of the gender binary system, and by doing that, her trials resonate with the concept of genderqueer. In Convenience Store Woman, Murata reveals that “normal” is constructed with the exclusion of the others. Part of her focus is on the family system that she considers to be the most repressive. It is the basis of society and strongly gendered. The protagonist Keiko Furukura escapes from gender norms by identifying herself as a part of a convenience store. Convenience Human, the identity Furukura creates, is an allegorical non-gendered existence. In Murata’s other works, she continues to invent alternative sexuality in order to free sexual desire from the gender system. For instance, she features several types of sex with things practiced by girls, and she extends this idea and describes with enthusiasm having sex with the Earth. Her ideas are in the same direction as post-human or non-human ontology. In her most recent work, Earthian, she seeks a way to survive as an alternative post-human creature. She describes the binary confrontation “normal/abnormal” as “Earthian/alien.” The protagonists survive as aliens in the repressively gendered society, the Earth. In this paper, I demonstrate the concrete gender queerness in order to criticize the binary gender system, through Murata’s works created with her explosive imagination.
著者
岩川 ありさ IWAKAWA Arisa
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
no.10, pp.8-17, 2019-03-25

Inbe Kawori's Imperfect Cats is a photography book published in 2018. Inbe spent 4 years interviewing 62 women and taking portraits of them. Her portraits and texts show us women's various experiences. The purpose of the present essay is to investigate the interaction between cultural gender norms and "frames of recognition." In this essay, I focus on the works of Judith Butler, especially Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 2006 [1990]) and Notes Toward a Performative Theory of Assembly (Harvard University Press, 2015). In Gender Trouble, Butler insists that "gender is not a fact, the various acts of gender create the idea of gender, and without those acts, there would be no gender at all" (Butler 2006: 190). By analyzing the representation of women in Inbe's book, I describe the various acts of gender. At the same time, I considered this essay a trans-affirmative work. Recently, some feminists made trans-phobic speeches on SNS (see details in "Transgender and Feminism" by Hori Akiko. https://wezz-y.com/archives/62688). I describe the concept of gender as historical and performative in agreement with Butler's previous research about gender performativity. In addition to Butler, I focus on the works of Eve Kosofsky Sedgwick's Epistemology of the Closet (University of California Press: 1st edition, 1990).
著者
盧 銀美 NO Eunmi
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
vol.10, pp.142-157, 2019-03-25

This study examines the features of voiceover, a filmic technique that has been widely used in melodrama films since the late 1930s. One function of voiceover, which was developed alongside the talkies in the late 1930s, was conceptualized by the term “monologue” and was used to represent characters’ inner voices, as well as the voice through which one character expresses their subjective view of another character’s internality. In this study, I analyze the dynamics of melodramatic modes of voiceover prevalent in the shinpa-geki style of Japanese films in the 1930s. I will focus on Naruse Mikio’s 1937 film Nadare, which depicts the lives of the Japanese upper class during that period. My analysis will illustrate the ways in which monologue voiceover allowed an ever-increasing number of filmmakers to create a kind of filmic “diversity,” where monologues functioned to express the complex inner voices of a variety of characters. This voiceover technique, widely adopted in melodrama films made after 1935, helped to dramatize the standard shinpa-geki themes of feudalistic thought or patriarchy, while creating melodramatic modes of subjective bipolarity and time tension. Investigating these features will demonstrate how voiceover served as a typical means for generating melodramatic modes of “conflict” within melodrama films during the 1930s.
著者
名取 雅航 NATORI Masakazu
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
vol.10, pp.174-188, 2019-03-25

The aim of this paper is to analyze how two films, Gyaku-kosen (1956) and Natsu no arashi (1956), were underestimated and consequently forgotten in the context of Japan’s postwar gender dynamics. Based on literature authored by female university students, Iwahashi Kunie and Fukai Michiko, these two films were popularized in the name of “Sun Tribe women.” By investigating discourses on these works and their social background, this paper reveals a process through which in-depth discussion about women’s agency in controlling their bodies and expressing their desires has been excluded, and it delves into the untapped significance of Sun Tribe women. At the basis of the imbricated ground for oblivion—recognition as and prejudice against the Sun Tribe culture, failure in embodying the essence of the original literature, and conflict between the visualized heroin and actress Kitahara Mie’s star image—lies a deep-rooted gender issue. Discourses on Gyaku-kosen demonstrate men’s fear toward a self-oriented body of a woman which can never be seen in the idea pictures (democracy pictures) in the occupation era or the postwar “panpan” film (prostitute film). The forgotten Sun Tribe women, Kitahara and the authors of the original stories, encourage us to reconsider the generalized history of the film, the literature, and postwar Japan.
著者
飯田 祐子 IIDA Yuko
出版者
名古屋大学大学院人文学研究科附属超域文化社会センター
雑誌
JunCture : 超域的日本文化研究 (ISSN:18844766)
巻号頁・発行日
no.10, pp.48-63, 2019-03-25

In this paper, I examine Murata Sayaka's works with a special focus on the concept of "genderqueer." Genderqueer is a term born from Transgender theory, which criticizes the gender binary norm. Murata wrote about transgender characters who try to transcend gender, as well as, cisgender women, who deviate from the gender norm in extreme ways. Murata created these people to show her intolerance of the gender binary system, and by doing that, her trials resonate with the concept of genderqueer. In Convenience Store Woman, Murata reveals that "normal" is constructed with the exclusion of the others. Part of her focus is on the family system that she considers to be the most repressive. It is the basis of society and strongly gendered. The protagonist Keiko Furukura escapes from gender norms by identifying herself as a part of a convenience store. Convenience Human, the identity Furukura creates, is an allegorical non-gendered existence. In Murata's other works, she continues to invent alternative sexuality in order to free sexual desire from the gender system. For instance, she features several types of sex with things practiced by girls, and she extends this idea and describes with enthusiasm having sex with the Earth. Her ideas are in the same direction as post-human or non-human ontology. In her most recent work, Earthian, she seeks a way to survive as an alternative post-human creature. She describes the binary confrontation "normal/abnormal" as "Earthian/alien." The protagonists survive as aliens in the repressively gendered society, the Earth. In this paper, I demonstrate the concrete gender queerness in order to criticize the binary gender system, through Murata's works created with her explosive imagination.