Titlebook: Gender in Japanese Popular Culture; Rethinking Masculini Sirpa Salenius Book‘‘‘‘‘‘‘‘ 2023 The Editor(s) (if applicable) and The Author(s) 2

難受

書目名稱Gender in Japanese Popular Culture影響因子(影響力)




書目名稱Gender in Japanese Popular Culture影響因子(影響力)學(xué)科排名




書目名稱Gender in Japanese Popular Culture網(wǎng)絡(luò)公開度




書目名稱Gender in Japanese Popular Culture網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Gender in Japanese Popular Culture被引頻次




書目名稱Gender in Japanese Popular Culture被引頻次學(xué)科排名




書目名稱Gender in Japanese Popular Culture年度引用




書目名稱Gender in Japanese Popular Culture年度引用學(xué)科排名




書目名稱Gender in Japanese Popular Culture讀者反饋




書目名稱Gender in Japanese Popular Culture讀者反饋學(xué)科排名

棲息地

From , to Genderless: Mediating Queer Styles and Androgynous Bodies in Japan,ender-crossing practices by individuals who are assigned female at birth, whereas genderless is a fashion mode which denotes styles that do not distinguish between genders. Drawing on media coverage of . individuals and genderless . (girls) in the 2010s, supplemented by ethnographic research conduct

ARM

,“I’ll Create My Own Precedents”: Female , Performers on Tokyo’s , Stages,stories have been performed by men for (mostly) male audiences. The misogynistic and/or male-centered characters of the stories are not the only obstacle female performers are faced with; they also have to confront the male-centered community and audience expectations. With few senior female master-

剝皮

MINT

新奇

The Widening Road: Constructions of Gay Japanese Men on YouTube,nd straights in Japan. Early internet sites created safe public spaces for sexual minority members to meet and socialize where straights previously seldom had access or were expressly unwelcome. Using a collection of coming out and Q and A videos, the chapter will also explore the use of vlogging di

新奇

choroid

憤慨點(diǎn)吧

Engagements with Gender, Sexuality, and Authenticity in Cosplay,d erotic cosplay. Cosplay is a fan practice in which the body of the cosplayer (who takes on various roles such as audience, craftsperson, performer, editor, and distributor) is crucial, both to their own performance and experience in real time and to the creation of digital media, which is dissemin

Atrium

https://doi.org/10.1007/978-3-322-93158-0labeled as “doing” . or genderless. Ultimately, I suggest that . and genderless allow us to rethink the gender binary, particularly in queer studies and transgender studies in a transnational context, and the connections between style and gender and sexual subjectivities.