This thesis investigates how the portrayal of Ten’ō Haruka and Kaiō Michiru in the 1990s anime Bishōjo Senshi Sērā Mūn contrasts with previous portrayals of female same-sex relationships in shōjo...Show moreThis thesis investigates how the portrayal of Ten’ō Haruka and Kaiō Michiru in the 1990s anime Bishōjo Senshi Sērā Mūn contrasts with previous portrayals of female same-sex relationships in shōjo media. In earlier shōjo works, relationships between women were characterized as ephemeral. Same-sex relationships were either not explicitly labeled as romantic, or ended in tragedy if they were with the death of one or both characters. Starting from the late 1970s, these relationships followed rigid character archetypes. Supported by an analysis of the source material, this study argues that the characters of Haruka and Michiru are more nuanced than these archetypes and their relationship is portrayed as lasting rather than fleeting. Additionally, their narrative avoids the trope of a tragic ending, which was and continues to be prevalent in same-sex literature.Show less
The fox in Japan has an image of either a benevolent or an evil being. This thesis examines this creature and creates awareness to the origin of this image. The image of the Indian Dakini, a...Show moreThe fox in Japan has an image of either a benevolent or an evil being. This thesis examines this creature and creates awareness to the origin of this image. The image of the Indian Dakini, a voluptuous demon, merged with the image of the benevolent kami Inari in Japan. Looking at stories about the fox, the thesis proves that this image of the fox could better be described as one of an 'in-between' animal, neither good nor bad in being. The fox acts according to the situation it is in and is mostly just a mischievous animal.Show less
This research explorers the gender performativity of cross-dressers from various styles of the Japanese performing arts. By using existing academic literature accompanied with footage from...Show moreThis research explorers the gender performativity of cross-dressers from various styles of the Japanese performing arts. By using existing academic literature accompanied with footage from interviews, performances, and TV programs, I analyse overarching patterns among cross-dressers in Kabuki, Takarazuka, dansō –the act of dressing as a man– and josō –the act of dressing as a woman–. While cross-dressers om-stage produce masculine and feminine characters through replicating existing gender constructions, they also produce new gender constructions that deviate from the hegemonic model of masculinity and femininity at the same time.Show less
