Fantasies of cross-dressing Japanese women write male-male erotica

237 Pages·2012·1.83 MB·English

by  Nagaike, Kazumi

Fantasies of Cross-dressing:
Japanese Women Write Male-Male Erotica
Brill’s Japanese
Studies Library
Edited by
Joshua Mostow (Managing Editor)
Caroline Rose
Kate Wildman Nakai
VOLUME 37
The titles published in this series are listed at brill.nl/bjsl
Fantasies of
Cross-dressing:
Japanese Women
Write Male-Male
Erotica
by
Kazumi Nagaike
•
LEidEN   BOStON
2012
Cover illustration: Hensōkyoku (© Keiko takemiya)
Library of Congress Cataloging-in-Publication data
Nagaike, Kazumi.
Fantasies of cross-dressing : Japanese women write male-male erotica / by Kazumi Nagaike.
p. cm. — (Brill’s Japanese studies library ; v. 37)
includes bibliographical references and index.
iSBN 978-90-04-21695-2 (hardback : alk. paper) 1. Erotic literature, Japanese—History and
criticism. 2. Japanese literature—Women authors—History and criticism. 3. Authors and
readers—Japan—History—20th century. 4. Women and literature—Japan. i. title.
PL721.E24N34 2012
895.6’093538—dc23
2012003072
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iSSN 0925-6512
iSBN 9789004216952 (hardback)
iSBN 9789004227002 (e-book)
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CONtENtS
Acknowledgements  ........................................................................................ vii
List of Figures  ................................................................................................... ix
1 introduction  ............................................................................................... 1
PARt ONE
tHEOREtiCAL ViSiONS
2 Mapping Out theories of Sexuality and Sexual Fantasies  .......... 13
PARt tWO
tHE ACt OF WRitiNG/REAdiNG
MALE HOMOSEXUAL FANtASiES
3 L’homme Fatal and (dis)empowered Women in Mari Mori’s
Male Homosexual trilogy  ..................................................................... 37
4 Perverse Aesthetics in taeko Kōno’s “toddler-Hunting”:
the Beating Father, the Beaten Boy, and a Female
Masochist  ................................................................................................... 57
5 the decadent Aesthetics of Male Homosexuality in Kanoko
Okamoto’s “the Bygone World”  .......................................................... 73
6 Rieko Matsuura’s The Reverse Version: the theme of
Girl-Addressing-Girl and Male Homosexual Fantasies  ................ 87
7 Perverse Sexualities, Perverse desires: Representations of
Female Fantasies and Yaoi Manga as Pornography directed
at Women  .................................................................................................. 103
vi contents
PARt tHREE
tRANSLAtiONS
8 “the Lover’s Forest” (Mari Mori)  ....................................................... 137
9 “the Bygone World” (Kanoko Okamoto)  ........................................ 187
10 “Chiyoko” (Rieko Matsuura)  ............................................................... 199
 11 Conclusion ................................................................................................ 209
References  ......................................................................................................... 215
index  ................................................................................................................... 223
ACKNOWLEdGEMENtS
the publication of this book is indebted to the support of a number of
people and organizations. i would like gratefully to acknowledge my
academic mentors, colleagues and friends, who have provided me with
endless encouragement, stimulation and assistance. Sharalyn Orbaugh,
who first introduced me to feminism and gender studies, offered inspiring
and valuable suggestions for improving my analysis. Without her academic
and moral support, i could not even have begun to research the specific
topic of female fantasies of male homosexuality. thanks are also due to
other academic mentors, whose guiding light enabled me to become an
academic researcher: Joshua Mostow, Valerie Raoul, Catherine Swatek,
Steven taubeneck, thomas Kemple, E.d. Blodgett, Janice Brown, Sonia
Arntzen, Gun’ichi Antoku, and Akio Shinmura. i would also like to express
special thanks to Noriko Mizuta, who provided me with the valuable
opportunity to work as a pre-doctoral research associate at the Center for
Gender Studies, Josai international University. i also wish to acknowledge
the financial support of the University of British Columbia, whose graduate
studies scholarship and the Okamatsu Foundation made the initial phase
of this research project possible. A research grant from JSPS (Japan Society
for the Promotion of Science) in 2007–2008 also partially supported the
completion of this project.
due to insufficient space, i cannot individually acknowledge all of the
help which i received from my former and current colleagues at Josai
international University and Oita University; however, i must mention
one: Katsuhiko Suganuma, who provided the emotional support which
energized me to complete this book. i would also like to thank my friends,
Raymond Langley, Kaori Yoshida, Shino takahashi, Rio Otomo, Joanne
Quimby, and John Major for their support, as well as for some heartfelt
criticism that stimulated me. in particular, i would like to acknowledge
the contributions of Louisa Wei, my ‘soul sister,’ who has given me endless
affection and support from the time i embarked on the Masters program
at the University of Alberta.
Some sections of this book are based on earlier publications in journals
and in a multi-authored volume. i am grateful to the editors of U.S.-Japan
Women’s Journal, Japanese Language and Literature, and Routledge for their
permission to include revised versions of these original texts in this book.
viii acknowledgements
My thanks also go to Chikuma Publisher and Rieko Matsuura, who kindly
allowed me to publish English translations of original literary works, and
Keiko takemiya, Libre Publishing and Shōbunkan permitted me to use
manga images for this book.
Finally, i would like to express my greatest gratitude to both of my
wonderful families. the Choi family (daniel, Elaine, Melissa, Phillip, and
Jacqueline) treated me like a real family member during my stay for almost
five years at their home in Vancouver. And my parents, Jun’ichi Nagaike and
Yasuko Nagaike, my sister Miwa, and her family (my thoughtful brother-
in-law, Akihito, and my three beautiful nephews, Kaisei and Kishō and
tenga) have all taught me what love really means.
LiSt OF FiGURES
1. Sex Drunker, by B.t. Azuma, Shōbunkan  .......................................... 106
2. Haru wo daite ita (Holding onto the Spring), by Youka Nitta,
Libre Publisher  ........................................................................................... 119
3. Haru wo daite ita (Holding onto the Spring), by Youka Nitta,
Libre Publisher  ........................................................................................... 119
4. PBB (Playboy Bruce), by Shiuko Kano, Libre Publisher  ................ 120
5. Wild Rock, by Kazusa takashima, Libre Publisher  ......................... 126