This research is about the untold history of intersexuality during a time when androgyny in juvenile boys was desirable and men performed female roles on stage. Moreover, it introduces the role of...Show moreThis research is about the untold history of intersexuality during a time when androgyny in juvenile boys was desirable and men performed female roles on stage. Moreover, it introduces the role of the body in the story about gender ambiguity in pre-modern Japan. Until now, studies on the history of gender and sexuality have focused on the role of culture in sex determination. However, this study proposes that biology was equally important. Through a critical analysis of visual material produced during Japan's pre- modern times, the intersexed character may be revealed as an essential figure for understanding the construction of gender, sex and sexuality in historical and contemporary times. In the Heian-period (794-1185), the intersexed character was presented as an absurd sexual deviant in the Yamai no Shōshi. The Genroku-period (1688- 1704) depicted intersexuality as a female deficiency in the work Kōshoku Kinmō-zui by Yoshida Hanbei, which was also reproduced around one and a half century later in Ryōsuitei Tanekiyo's Kaiin Suikōden Sho-hen. Towards the end of the Edo-perdiod (1800-1868) more graphic works of intersexed bodies appeared. Keisai Eisen's Makura Bunko invoked a gaze of shameless fascination and pity, whereas Utagawa Kunitora's Otsumori Sakazuki put intersexuality into the realm of erotic fantasy. Ultimately, this research asks the question: What do early images of intersexuality reveal about attitudes towards gender, sex and sexuality in pre-modern Japan? The answer to this question reveals how intersexed bodies, in various periods of time, were to be looked at with humour, curiosity, pity and sexual desire.Show less
This study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911),...Show moreThis study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911), followed by the publication of official translations in Chinese at the beginning of the twentieth century , the posterior abrupt tragic decrease of the studies under the Communists and its complete death with the beginning of the Cultural Revolution (1966-1976) , which did not allow Shakespeare to resuscitate until the end of the 70s . The second chapter will be focused on the methods of translations and the theories put forward between the end of the 19th century and the beginning of the 20th century in China, while the third chapter of this study aims at observing how Chinese translators overcame the historical, grammatical and cultural differences between Shakespeare and China, how they rendered the most important traits of the Shakespearean works in Chinese. To conclude, the fourth chapter will be concentrated on the comparison between the original English version of the famous drama of “Romeo and Juliet” and its Chinese.Show less
