Title Yaoi : Voices from the Margins
Author(s) Tricia Abigail Santos, Fermin
Citation 年報人間科学. 31 P.215-P.228
Issue Date 2010
Text Version publisher
URL https://doi.org/10.18910/7429
DOI 10.18910/7429
rights
Note
Osaka University Knowledge Archive : OUKA
https://ir.library.osaka-u.ac.jp/
Osaka University to negotiate and struggle against hegemonic culture. This framework was most was framework This culture. hegemonic against struggle and negotiate to order in symbolic, albeit ways, in find to able are they membership fandoms, and their subcultures through society, in position subordinate their despite Thus, standards. social dominant against critique common and grievances their express to avenue an but realities, social harsh from haven a merely not them provide cultures fan and subcultures these society,and of rest the by neglected feel to said are they status, marginal their of result society.a mainstream As or culture dominant the to relative marginal be to considered gender) age, class, (e.g. backgrounds social similar from come also but have interests, personal only similar not who individuals of gatherings as treated are cultures fan and subcultures perspective, theoretical a such In perspective. conflict a phenomena through these analyzing by is cultures fan and subcultures of existence Yaoi: Voices from the Margins One of the ways in which scholars have tried to make sense of the the of sense make to tried have scholars which in ways the of One to gender and sexuality norms in Japan. Scholars and several yaoi manga artists manga yaoi several and Scholars Japan. in norms sexuality and gender to relation in particularly hypothesis, resistance symbolic this on focus subculture and genre a as both yaoi discussing literature the of much that observed have I boys, beautiful two between relationships love depicts primarily that comics Japanese of genre romantic a yaoi, of fans the on work own my in example, For fandoms. and subcultures practices, cultural popular of examples specific of analyses framing in concepts used widely be to seem resistance of forms as “resistance through rituals” (Hall and Jefferson 1976) discourse (for (for discourse 1976) Jefferson and examples, refer to Jefferson, 1976; Hebdige, 1979). (Hall rituals” through “resistance as subculture the into analyses class-based integrating CCCS, or Studies Cultural Contemporary for Centre Birmingham’s of University the from researchers of works seminal the with 1980s, the into well 1970s, the during used widely Until now, the concepts of hegemony, oppositional cultures and symbolic and cultures oppositional hegemony, of concepts the now, Until FERMIN, Tricia Abigail Santos
215 ― Yaoi: Voices from the Margins into mind as I was trying to organize the various secondary data I have gathered organizehave to I trying data was secondary I various as the mind into criticized as sociologically trivial groupings that merely promote escapism. times at are these, of part being from experience members that pleasures the become catalysts for social transformation, subcultures and fandoms, along with than rather Thus, culture. dominant from benefits gain actually may members their context, social wider even an from seen when because, patterns cultural hegemonic with complicit be can too, subcultures times, at that argue also may Others potential. mere a as remain quo status the changing for possibilities and liminal, the within stays grievances their of expression the thus, And society. in power of lack relative members’ their to due primarily institutions social hegemonic overthrow to ability the have not do cultures fan and these subcultures of Many significance. political and social in thus lacking are be and to level considered symbolic the beyond go not do struggles such time, the of most society, mainstream against opposition and resistance of form some be indeed may groups these express and standards social mainstream with conflict and neglect experiencing while one, For perspective. theoretical this Nobi, 2003). 1991; (Fujmoto, relationships human equal ideal, for quest their and 1998), society”(Suzuki, sexist in men with relationships equal achieving ever of “despair their of expression an as stories, love homosexual and male consuming producing in interest women’s and girls’ young Japanese explain alike Given these differing perspectives and frameworks, several questions came towards raised been have critiques several decade, past the in However, in future research. address to plan I which and examination, careful more need may believe I that aspects certain propose will I discussion, the of course the in identified gaps and irregularities the on based conclusion, in And significance. social genre’s fans’for rationale the of as interpretation well this as yaoi, with engagement challenge may which activities fan yaoi on made studies recent and 1990s early the during spawned has genre this that debates the at look will Finally,I Japan. in sexuality and gender of conceptions mainstream against voices for dissenting venue a provides subculture and genre yaoi the that idea the supporting made been have that arguments various the trace to able In be will born. we so, was doing relationships homoerotic male of use the which from context social the examine will I Second, conventions. basic its and genre yaoi the of The aim of this literature review paper, thus, is to shed light these questions. reality? in women these among resistance actual reflect genre yaoi the of stories the within and conventions the through expressed supposedly norms gender mainstream to resistance the Does now? until up theorized been significance yaoi’s has How stories? love homosexual male towards Japan in women of groups some own of my fascination the for explain to tried phenomenon scholars have yaoi How research: the of sense make fully to attempted and The paper consists of three main parts. First, I will provide an overview overview an provide will I First, parts. main three of consists paper The
216 bands, are not spared from fan imaginations. rocks or groups idol all-male to belong who those particularly celebrities, male popular Even other. each with relations romantic in indulging as reinterpreted hatred—are even or rivalry friendship, it bond—be strong a share somehow but romantically other each with involved originally not are who male two characters usually yaoi, fan-produced In involved. tweaking of kind a is special there yaoi, of case the in However, story. official the of interpretations mainstream re- or stories, original and scenes alternative from imagine they and animation and manga settings and characters borrow fiction and art fan-produced these Usually, manga. yaoi amateur self-published fan-produced, also are there but works, produced commercially original, are There prosaic. even or light rather be could some while pedantic, and poetic heavily be may some stories; such of treatments aesthetic of variety a is between There boys. beautiful relationships romantic around mainly revolves which of storyline the novels, and stories short as such fiction text-based and animation manga, this paper. in used is it how define and “yaoi,” term the of usage and meaning briefly the clarify first will I yaoi, draw or write read, society Japanese in populations The Basics of “Yaoi” There are different terms people in the fandom use to distinguish the the distinguish to use fandom the in people terms different are There of genre romantic a to refer to used term umbrella an basically is Yaoi certain why reasons possible the on discussion a into delving Before In other words, apart from biological sex and age, fans of yaoi are definitely a definitely are yaoi of fans age, and sex biological from apart words, other In school. graduate finished have who those even include fans yaoi attainment, educational of terms in Finally, nationwide. distributed are which manga, BL and yaoi produced commercially of events) dōjinshi in participate not do who those (i.e. audiences and readers regular include even not do study said the in Data country. the over all regions other in scattered are participants the of rest the Osaka, and Tokyo,Kanagawa as such cities big from come events dōjinshi in engage who those of proportion significant a while that notes Natō location, geographic for As workers. blue-collar and professionals students, are there fandom is comprised of both single and married women. In terms of occupation, The heterogeneous. less or more are categories social other in characteristics However, 30s. their in women to teenagers from range generally yaoi write and read who those age; is fans yaoi being of characteristic to defining another female, next events, related attended briefly I when as observations well own as my events, fiction) and comics (fan dōjinshi in engaging women on (2007) Natō by presented data ethnographic on Based women. for women by term, “yaoi.” the with them to refer all shall I produced, fan or original is work a whether of regardless and expressed, is story the style aesthetic whatever discussion, this of purposes the for sub-genres, of taxonomy the these with than across rather differences found sexuality more and we gender on since discourses However, the with concerned mentioned. previously have I that differences Yaoi is known primarily as a women’s genre: one that is produced mainly produced is that one women’sgenre: a as primarily Yaoiknown is
217 ― Yaoi: Voices from the Margins by taking the first syllable of the following 3-word phrase, “ Ya phrase, 3-word following the of syllable first the taking by formed is “yaoi” word The plotline. well-developed very a have not do that manga fan-produced to refer to term derogatory a as used and artists, manga amateur by 1970s the during coined been have to said is term The existence. its of know to come have who those among notoriety and popularity both gain it helped has that genre the of characteristics general other the of word some out draws this of etymology the through going for questions, good very indeed, homosexual male on relationships greatly differs from that of yaoi’s.discourses and treatment aesthetic the surrounding conventions the and men, homosexual for men homosexual by consumed and produced mainly yaoi is comics that Gay out comics.” “gay point from to differentiated be quick should always are fandom the within those women, primarily are audience target and artists its because addition, In group. diverse these drawings are sexually explicit and very much pornographic, this led a lot a led this pornographic, much very and explicit sexually are drawings these of number good a because And bed. in entangled even or kissing up end not, than often more and, tension, sexual of moment a in themselves find suddenly they where series, original an from characters male two portray works these of Many story. fully-developed a as than it—rather parts,” put informants “yummy (2004) Thorn’s the scenes—only short or snippets feature merely work and original an of takeoffs mere be to said are works These meaning.” no conclusion), proper or denouement no has story (the resolution no narrative), nashi, But why is it called “yaoi”? Where did the genre get its name? These are, These name? its get genre the did Where “yaoi”? called it is why But i mi nashi,” which means “no climax (as in the height of action in a in action of height the in (as climax “no means which nashi,” mi ma nashi, ma o chi chi Wind and Trees,1978 and Wind Gymnasium Versailles,of ( November ( Rose Moto Riyoko Hagio Ikeda 1972 ), as such artists Showa in born Yearwere artists include and system calendar Japanese the of 24 Moto Hagio had put it (in Suzuki 1998, 251). However, it is Takemiyais Keiko’sit However, 251). 1998, Suzuki (in it put had Hagio Moto as angels,” manner—“sex-scentless androgynous highly a in drawn were boys the and Europe, in set usually were stories Their boys.” between “love or ai”, “shōnen as known be on later will style This style. poetic and idealized highly a in boys pre-pubescent between love romantic illustrating on experiment to first the were they as genre manga shōjo the or comics girls of development Hana no Nijūyonnen-gumi ( no Hana the as Japanese in Known 2003). Nobi 2002; Nishimura 1998; Suzuki 1991; Fujimoto see examples (for works their influenced tremendously have which “Yearthe of works the mention 1980s the during boom yaoi those as Group” 24 and manga amateur the of part were who artists and scholars However, about. Development of Yaoi “ Ya interpretation: of level another given is “yaoi” term the fans, for Thus, yaoi. in common quite also are incest, and sadomasochism rape, as such intercourse, homosexual male of presentation the in Violence hurts!” ass my stop, “Please “ Ya term: the for derivation another suggest to fans of ru, o kasu, i kaseru,” or “Rape, violate and make him come.” (Thorn 2004) There are varied suggestions as to when or how exactly this genre came came genre this exactly how or when to as suggestions varied are There The Song of of Song ( The Keiko Takemiyaand 1974 ) Thomas, of Heart and ). They are considered as a revolutionary force in the the in force revolutionary a as considered are They ). 花 の 2 4 年 組 ), these influential women manga manga women influential these ), mete, shiri ga o shiri tai!” or i tai!”
218 artists and fans throughout the years, but certain characteristics seem to remain to seem characteristics certain but years, the throughout fans and artists Conventions of the Yaoi Genre events), one can observe that yaoi remains of the most popular genre. weekly even and Markets Comic semi-annual the In 246). 1998, both (Suzuki works original of parodies and original producing in techniques such adopted and presented, style developed newly- this that potential and fun the saw also writers fiction and artists manga amateur Also, 2002). (Nishimura magazines commercial major few a name came out, and at present there are several magazines that specialize in yaoi yaoi works: in specialize that magazines several are there present at and out, came works yaoi original to dedicated magazine Genet’sfirst Jean the on name), play 1978, In charm. androgynous its of deal great a retaining albeit 251), 1998, (Suzuki men” powerful physically and “masculine noticeably more into involved gradually angels sex-scentless The Group. 24 Year the of works ai shōnen the of outgrowth an as yaoi consider researchers many Thus, artists. manga female of generation next the of imagination the spark to able been has not fast asleep. are they and other, each with bed in seen are boys two time, first very the for series, the of pages opening the from where, work particular this is it for group, the of works boldest the of one as considered be may which Uta no Ki to Kaze The conventions of yaoi continue to be re-imagined and innovated on by on innovated and re-imagined be to continue yaoi of conventions The The power of the images and narratives created by the Year 24 Group Group 24 Year the by created narratives and images the of power The Asuka Ciel Asuka , Be x Boy x Be , Boy’sLove (amateur comic sales or or sales comic (amateur sokubaikai dōjinshi , Comic June Comic , Hanaoto and Zero (a (a June , to to , only boys seem to inhabit this world and that male homosexual love is openly is love homosexual male that and world this inhabit to seem boys only sexual tension), and that it should not be some random pairing. implied even or rivalry, friendship, (e.g. other each with connection strong a have should paired has one characters 2 the that is works, fan-produced of case the in especially coupling, in here thing important most the However, “seme.” the to relative position social lower a in is not, than often more and child-like, sweet, really appears “uke” the hand other the On appearance. in scary even cool, lover,rather his seem to even compared may power and of position higher a in stands usually adult, an like more acts and appears “seme” the is: “uke” the or “seme” the who knows usually one alone, the drawings in the From one relationship. passive the therefore is and receives,” who “one or “uke”, an or relationship; the in person aggressive or active the generally is who attacks,” who “one or “seme,” a as either classified are characters pair, a In subculture. manga amateur the within practice fundamental a is work, particular a from characters male two of pairing appropriate the or Coupling, “coupling.” called in a later, more relevant section. importance incentral understanding theof psychology of is yaoi production and consumptionandrogyny of aesthetics the why detail greater in explain yaoi. will of I characteristic noticeable most the probably is and convention, key constantly popular in the genre. Lastly, the settings in yaoi stories are rather isolated. Most of the time, the of Most isolated. rather are stories yaoi in settings the Lastly, is which convention, next the to linked also is aesthetic androgynous The a is fashion androgynous highly a in characters male depicting First,
219 ― Yaoi: Voices from the Margins The Women’s Liberation Movement and the Birth of Yaoi generated yaoi’s supposed predecessor, known as shōnen ai . that Japan in occurring developments social and events historical the at look to need the to us point often literature question, this to answers the appreciate and understand better to order In irresistible? really it makes and Japan in women and girls young of number good a among cord a strikes that yaoi about it is what And girls? other liking girls even or boys, liking girls than rather boys, other loving boys draw to choosing for have Group Year24 the from starting Why Yaoi? this in genre. engaging for motivations and reasons fans’ regarding questions the address to proceed now shall we here, from And subculture. this through way one’s navigate to able be somehow to information and background sufficient such types of characters seem to appear more often. and sister” older “supportive the years, recent in However, happiness. pair’s the to obstacles as considered usually are they exist, do characters female If accepted. The invisibility of female characters is most noticeable in yaoi stories. We must understand that during the 1960s and 1970s, when the first few few first the when 1970s, and 1960s the during that understand must We artists did reasons What boys? young between love portray why So with readers provided have discussion preceding the that believe I role to merely within the family brought about by a male-centered society society male-centered a by about brought family the within women’s merely of to role restriction and passivity of kind this is It happiness. her bring and totally only depend could she prince”—whom “ideal boy—her meets girl love, true one her for wishes girl a campus, school a in usually was setting the time: their during girls young the for manga with dominated that dissatisfied storyline formulaic mostly were They feminists. self-identified are who TakemiyaKeiko, and include Moto Hagio particularly which Group, Yearthe 24 of members 247), 1998, (Suzuki artists and writers women of number influence a to able still were they women, of majority by rejected eventually are more than mere “sexual objects.” too, could be sexual subjects outside of the ideal of “motherhood,” and that they of themselves they that recognize to characteristics” able being by that hopes “essential with womanhood, supposed from “maternity” of concept the deconstruct to lastly, and institutions; male-centered other and family the from seek stemming women against oppression eventually challenge and to third, this; from politics liberation sexual recognize to people for own second, their of ego; development the and identity own women’s of the establishment through first, ways: following the in society Japanese in change sought Movement. Liberation Women’s the of emergence the saw and growth of economic period rapid a in was Japan out, came Group 24 Year the of works influential While the Ribu’s efforts were constantly denigrated by the media and and media the by denigrated constantly were efforts Ribu’s the While Japan, in known was it as “ Ribu ,” or Women’sMovement The Liberation
220 follow the society’s established norms on mating (Thorn 2004, 177). not do characters the because specifically stories, love mainstream follow not does it because yaoi like they years, the throughout romance heterosexual as formulaic as become somewhat has manga yaoi of storylines the if even And genre. the like they reasons main the of one as story Cinderella usual divergence the from yaoi's mention to continue years recent of fans and artists Yaoi manga. shōjo in stories of predictability the with dissatisfied were Group 24 Year the of women the just Not 282). 1991, Fujimoto (in dull and formulaic so just were then back to girls for stories romance According that thought she girls. Moto, Hagio young for comics or manga, shōjo in been abused have and were used that storylines of predictability the to reaction a primarily Why Love Between Boys? Aoki 2008) (in women.” grown now are who girls of generation a to change of message a send to order in and fight, a into getting “without herself express to means a as works her used she that interview an in stated expressly also Takemiya 247). 1991, (Fujimoto writer the of behalf on speak characters where people, other to ideas and thoughts their express to way a was manga how saw they words, other In heard. voice their having in genre book comic the imagination, the of world the using of power and potential the realized particular 24 in Year Group The against. rebel to need the felt writers women of number a that For the Year 24 Group, innovating the conventions of shōnen ai was was ai shōnen of conventions the innovating Group, 24 Year the For of the story: one with a male-to-male pairing, and another one with a female- a with one another and pairing, male-to-male a with one story: the of and Shinzo no conceptualizing was she while fact, In girls. two or boys two between relationships love depicts one whether difference no be should there theory, in yes, that agrees Hagio Actually, argue. may some as too, equals between themselves on either character. project to them for easier it makes characters the of depiction androgynous the Furthermore, if it is self-identification that women seek through their characters, 250). 1998, (Suzuki gender of realm the in equals between relationship love a portray can they that way only the as deemed is love homosexual male 1970s, the during especially Japan, in fans and artists yaoi for that say can way,one a In position. subordinate a in party either put may that pregnancy of possibilities any away does intercourse homosexual of sterility the However, disadvantage. social a itself in already is female born Being have. may she career a of dreams whatever abandon to having husband, her on the dependent for becomes and caring family to relegated immediately is role woman's the then gets and pregnant, marries woman a when for relationships, heterosexual in equality achieving to barrier huge a considered was them for sex” being “child-bearing particular, the In men. to relation in position subordinate their a put in characters automatically itself in embodiment female artists, earlier the For relationships. heterosexual of context the within especially body, female the But why not love between girls? That could also be deemed as love love as deemed be also could That girls? between love not why But of representations in meanings imbued with issues had artists yaoi Also, , she mentioned that she made 2 versions 2 made she that mentioned she Gymnasium , November Toma
221 ― Yaoi: Voices from the Margins thing called 'sex' at a distance from their own bodies. “It was the wings that that wings the was “It bodies. own their from distance a at 'sex' called thing dangerous this operate to order in formulated have girls that device safety a as male that asserts regarded be Ueno should yaoi of case the in them. as manga shōjo in found upon homosexuality acting and desires one's up exploring, building gaze—recognizing, the holding one the as agents, and subjects in 2008). Aoki Women sexual as themselves conceiving time difficult a had still exploration of one's sexuality was still considered a taboo for women (Takemiya such relationships. idealize and imagine to license and freedom much as given are they that feel they then about, much know really not do they which relationships, male-male with presented are they since desires. Also, lesbian their confront unnecessarily not need and characters lesbian in themselves projecting against resistance of sort any have may who reader female any and her for problem the eliminates this boys, between love about write to deciding by Thus 248). 1998, Suzuki, Yoshimotoand (Hagio in dirty too just is doing is she what that feel her makes so doing And relationships. heterosexual of portrayal the with well as realistic be to needs she that feel but help can't she that way same the in realistically, it describe but help can't she body, female the about much so knows she since that explains Hagio as it. about “gooey uncomfortable rather and felt she Obviously, vivid,” nattō .” “too just was her for pairings that female-to-female related She the so? Why one. male-to-male the of favor in pairing female female-to- the against decided she end, the in However, pairing. female Takemiya also mentioned that back in the 1970s, the discussion and and discussion the 1970s, the in back that mentioned also Takemiya were expected to internalize, that at times they wish that they have been born born been have they that wish they times at that internalize, to expected were women as they passivity and timidity sexual the from free break to desire and femininity,of expressions mainstream for dissatisfaction disdain their own their of expression an be to said be can yaoi in misogyny self-directed This 181-2). (2004, sexuality and gender of norms mainstream with unhappy and dissatisfied Yaoi artists and fans provide several explanations for this. point. this at consider could one that convention yaoi interesting an is relationship) boys' beautiful the to obstacles as depicted are they that (meaning, vilification their exist, do they if or, characters female of lack The difficult. be also would characters female of use the why see could we earlier, discussed as bed. And in even relationships, romantic in affairs, day-to-day their in assertive and active are who with—those identify could they that characters assertive girls in the 1970s to mid-1980s. young girls today that the Year 24 Group’s shōnen ai genre was able to do so for for sanctuary sexual this provide to continues yaoi that assume to continued have scholars feminist extension, by And distance. and place safe that provide their imagine and sexuality. And the first few manga of the Year 24 Group aimed just to do that: to experiment to distance and place safe a on them by was putting transformations bodily and passions realistic their engage frontally to able be may women that way only the that believed writers women these that say could we Hence, 131). (1998, argues further she fly,” to girls enabled Thorn noted that those who are drawn to yaoi are usually those who are are who those usually are yaoi to drawn are who those that noted Thorn and active seeking actually be to said are readers and artists yaoi Also
222 oneself as the as oneself projecting by primarily yaoi in possible made is trait, masculine” “typically a as now until up even women many by considered is which likes, one person a towards aggression sexual of release The likes. she that character” or man the “violate to her allow would that phallus imaginary the with her provides yaoi that relates also Nobita Nobi 177). 2004, Thorn (in bodies” women's a in men “gay are they way a in that feel probably may them, like fans and artists yaoi of way.number a that mentions novelist, yaoi-style popular a Shihomi, Sakakibara extreme an in it put have some although argument, transgender/transsexual this support expression sexual of mode a as yaoi on work their upon reflected but man, have who artists a manga yaoi Several bodies. their “correct” as to need the without man a love could they how a imagine them could they provides where genre space the that say also fans and artists yaoi of number A in. comes element transgender interesting an Here, female. than rather male had the choice, yaoi fans may also feel contempt for the norms on “straight “straight on norms the for contempt they feel if also may female fans yaoi than choice, male the be had to prefer even or boys, of full world ideal an expectations. gender predefined any by constrained not are they that sense the in equal an as allows them to indulge in the fantasy of loving a man as a man, or to rephrase it, yaoi women, such for that say can we Hence, 177). (2004, female than rather male born been have they that wishing even and femininity, despising some world, idealized an present they because stories yaoi enjoy they that shared However, while they may seem to get so much pleasure from imagining imagining from pleasure much so get to seem may they while However, in the story (2003, 247-50). Thorn’s informants have also also have informants Thorn’s 247-50). (2003, story the in seme The “Yaoi Ronsō”: Challenges to the Subculture as Resistance Theory the development of their queer subjectivities. in useful very been thus and male, both than rather female, both as characters both interpret to open them leaves Group’sYearthe 24 from those particularly characters, of portrayal ambiguous sexually the desire, lesbian the of in exploration Especially desires. and identities queer their explore and discover to seek they as separately, (2008), Lunsing and as (2000) Welker gays, by and documented lesbians by also but desires, heterosexual their of exploration society has firmly established as natural. modern that binary male-female the from away teeters that desire sexual and gender of conception a developed have to seem fans yaoi how way,see a we In either, or uke whenever or even both the role of seme they feel like doing so. assume to able are they that is them for fun more genre this makes what that too aggressive be and 82-5). Yaoi2002, (Nishimura “violate” mention types fans these especially men, towards to able be to wish they time, same the at and men,” “straight in see to long they that traits passivity,child-like the represents usually are they that stated they are inclined to be to inclined are they masculinity.” Awhether asking 2000, in fans yaoi among conducted was survey Finally, let me briefly discuss the interesting points of the debates on on debates the of points interesting the discuss briefly me let Finally, the in women straight by only not used been has yaoi Furthermore, uke fans. The fans. uke or seme fans, and an overwhelming majority majority overwhelming an and fans, for a lot of yaoi fans and artists artists and fans yaoi of lot a for uke
223 ― Yaoi: Voices from the Margins they generally do not openly identify the character as “gay,” but rather express rather “gay,”but as character the identify openly not do generally they for “homophobic,” as yaoi produce who women that believed he that was made he remark derisive Another identities. gay their of formation the in help or to relate to such, as themselves consider not do who men, gay of lot a for material didn’twhich beautiful, as men much gay provide all portrayed yaoi that said He one. realistic a than rather relationships, gay of image skewed a promoted even it that, claimed He all. at men gay of welfare the for anything contribute didn’t which Japan in boom gay the spawning for yaoi criticized further then Satō women. young of images pornographic at ogle would men old perverted way the to similar was him, for which pleasure, own their for sex homosexual male objectified females way the with was he disgusted how mentioned He yaoi. by following key points. the in summarized be to said be can side his debate, two-year the Throughout Satō’s published genre. yaoi the of Choisir fans and artists the 1992, criticizing severely letter, In open scathing issue. said the regarding discussions encourage to order in developments, these on comment to Masaki Satō activist gay invited had Choisir of editors The attention. media of fore the particular,to in homosexuality, male put had It manga. yaoi of popularity increasing the on focused had media the attention great by about brought largely be to said was Choisir . magazine, feminist the in documented and 1992-1994, from spanned that yaoi First, he claims that the human rights of male homosexuals are harmed harmed are homosexuals male of rights human the that claims he First, which Japan, in place took boom” “gay a 1980s-1990s, late the From is more of an expression of a fundamental human desire for unconditional unconditional for acceptance, love and intimacy. desire human fundamental a of expression an of more is men,” be to happen just they and are, they who for someone “love characters the where stories yaoi in line often-used the that think I “homophobic,” than rather addition, In life. real in out come and identities gay form and express to gays for space a create to meant not Yaoiwas acts. heterosexual of depictions through sexuality own their facing directly with cope not could who women by and for made is It 180). (2004, paths life women’s restrict that stereotypes gender of dissatisfaction women’s Japanese about more actually but men gay about less us tells genre yaoi the that gay saying by about well very it primarily puts Thorn is men. yaoi that believe general in people how at surprise their expressed alike fans and artists Yaoi relationships. realistically homosexual to portray not is objective its such, as and genre, fantasy a is yaoi that stressed letter Sato’s to reacted who artists the of Many Choisir. in published their own little world of illusions and fantasy (Lunsing 2006). in withdraw to women encourages only it that and yaoi, behind drive political of lack the criticizes He in. live to easier world the make helps it rather, but escapism, promote not does manga good that argued He women. for escapism promoting for yaoi attacked he finally, And desire. their of root main the than rather characteristic, accidental an merely was embodiment male Their men. be to happen just they but are, they who for partners their love characters the that Finally, in response to the criticism on escapism, in 1993, Takemiya1993, in stated escapism, on criticism the to Finally,response in and criticisms Sato’s to presented were counterarguments Several
224 liminal space in a male-dominated world. In the world of yaoi, they are able able are they yaoi, of world the In world. male-dominated a in space liminal albeit own, their as claim to women for space and means a provided genre yaoi the that argued they Thus, so. do to others inspire and experiences women’s limit that norms gender rigid the from and free they break to ways sought eventually can, they way whatever in action to Inspired society. within work that ideologies androcentric the question to beginning were women where history Japanese in period a of fruits the as emerged ai, shōnen predecessor, its and yaoi how explained They Japan. in women and girls young among stories love homosexual male of popularity and emergence the explain to attempted have Future Research Themes masculine models reified in one’s society. hegemonic the by imposed pressures the as well as structures gender rigid the against stance confrontational active, an adopt and liminality of world the secure leave themselves, steel to prepared are subculture a of members Unless society. in change significant effect to order in spaces subcultural liminal, in participation people’s than more take would it that believe I be, can culture popular of forms some inspiring However expectations. role and structures gender rigid from freedom their and women of equality of goals the achieve to order in action political towards people encourage to potential the has it that meaning 179), 2004, Thorn (in feminism” true towards step “first a is yaoi that In the preceding discussion, we have seen how scholars and manga artists manga and scholars how seen have we discussion, preceding the In the gap between some academic readings and interpretations of yaoi works works yaoi of interpretations and readings academic some between gap the reveals study ethnographic Natō’s example, For fans. their and artists yaoi the of reality the reflect necessarily not does analysis and expression Literary level. literary the on merely remains expression resistant its and yaoi on discussion and analysis the far, So institutions. hegemonic towards opposition express actively to mean really they whether and works, these of fans the of dilemmas standards within social androcentric against resistance of theme the about written spurred the genesis of this genre in first place will be improbable. which feminism of goals the realizing action, political in engaging actively and fandom and subculture of boundaries secure the of out stepping Without equality. towards progress to lead necessarily it does nor society over control offers neither yaoi, as such ideas, alternative and resistance of expression the for spaces liminal offering subcultures some that saw also we discussion, the of course the in However, permutations. and combinations various in desire and orientation sexual on issues with terms to come to women of possibility the for allow audience its among readings multiple and interpretations of flexibility for allow conventions gender-bending transgressive, The men. of that to equal subjects sexual as act to able be to wish their and desire female of exploration society. patriarchal a in men to favorable texts and institutions subvert symbolically to Thus, several issues still remain unresolved. While so much has been been has much so While unresolved. remain still issues several Thus, Scholars and manga artists alike further stress that yaoi also encouraged the yaoi works, it is still unclear as to whether this also reflects the real real the reflects also this whether to as unclear still is it works, yaoi
225 ― Yaoi: Voices from the Margins continue with my work on the yaoi fandom. ethnographic investigations of this phenomenon. agent-centered, more for need the to us yaoi to points these this Again, are fans? and artists exactly marginal how politics, sexual Japanese in things of scheme greater the in Thus, argued? Satō as genre, gender-liberal seemingly this behind lurking homophobia really there Is homosexuality. and towards think feel women and girls young these exactly what wonder one makes it men, homosexual actual not are works beloved their in characters the that deny and stress to continue fans and artists yaoi As unexamined. largely left still is but YaoiRonsō, the throughout questioned extent, certain a to been, has order their production and consumption of yaoi works. to relation in create themselves fans that meanings and discourses the to genre, the from attention our shift to need the to us to point issues literary.These and liminal the the beyond go on to seem not only do will and drive feminists political their as as surface, criticized be also may artists yaoi and ai shōnen feminist” “open purportedly the of some Furthermore, 102-5). (2007, it of fun the for mainly it do they that and women,” as oppressed are they that feel not of feminist resistancethemes underlying dōjinshithe fan activity, saying thatemphasize many of them “do who researchers and scholars criticize informants her of Some fandom. their towards feelings artists’own fans’and yaoi the and These are the some of the questions and issues that I hope to address as I as address to hope I that issues and questions the of some the are These social heteronormative the to complicity genre’s yaoi the Furthermore, J e f H e b d i g , D c k . 1 9 7 F u j i m o t , References A L M c H a r y u o f e r s o n , n k s i , i
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227 ― Yaoi: Voices from the Margins Yaoi: Voices from the Margins
FERMIN, Tricia Abigail Santos
The dynamics of conflict and resistance between subordinate social groups and hegemonic groups has always been a significant issue in the study of subcultures and fan activities. However, in the past decade, this theoretical perspective has been placed under critique by scholars from the social sciences, questioning whether subcultures and fan activities in reality always and necessarily express conflict and resistance towards hegemonic culture. This paper aims to illustrate this theoretical dilemma by examining the case of the yaoi genre and subculture in Japan. As we survey the various academic literature produced and fan accounts documented concerning the yaoi genre and subculture in Japan, we see that it has been often argued mainly through in-depth literary analyses of yaoi works that it serves as a tool and space for the dissenting voices against mainstream conceptions of gender and sexuality in Japan. Scholars and members of the subculture alike locate the beginnings of yaoi within the context of the Second Wave of Feminism in Japan during the 1970s, and constantly discuss how a pioneering group of women manga artists in this era devised the gender-bending conventions now used in this genre in order to reconcile their issues concerning equality among the sexes, the representations of and meaning imbued in the female body, and the nature of desire. However, in the final analysis, several questions still remain unresolved given the current state of knowledge regarding yaoi. This paper will consider these issues and in the end, propose several questions that the researcher will investigate in her future research plans.
Key words : yaoi, subculture, fan studies, counterculture, gender and sexuality
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