Beautiful and Innocent - Female Same-Sex Intimacy in the Japanese Yuri Genre

Aug 23, 2026

Uploaded by Aurora

This dissertation examines female same-sex intimacy within the Japanese yuri genre, framing it as a site of discursive negotiation and cultural meaning. It analyzes key yuri works across historical stages, from pre–World War II “sisterhood” narratives to developments in yuri manga production after 2003. The study also evaluates audience reception through fandom characteristics and an online survey of fans, supported by interviews with Japanese manga magazine editors and qualitative evidence drawn from manga libraries and fan events.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages183

Reading Time7 h 41 min

AccessFree to download

Table of Contents

List of Illustrations and Tables

Acknowledgments

Note on Language

Introduction. A Lily Is a Lily Is…No Lily?

Chapter 1. The Yuri Genre as Site of a Discursive Struggle

Part I. Content of the Yuri Genre

Chapter 2. “Sisterhood” before World War II: Hana monogatari and Otome no minato

Chapter 3. From Esu to Distress: Shīkuretto rabu and Shiroi heya no futari

Chapter 4. Fans’ Imagination Galore: Bishōjo senshi Sailor Moon

Chapter 5. The Monumental Text: Maria-sama ga miteru

Chapter 6. Developments in the Yuri Genre after 2003

Part II. Producing Yuri Manga

Chapter 7. The Yuri Manga Market in Japan

Chapter 8. Interviews with Japanese Manga Magazine Editors

Part III. Reception of the Yuri Genre

Chapter 9. Characteristics of the Yuri Genre’s Fandom in Japan

Chapter 10. Online Survey among the Fans of the Yuri Genre in Japan

Conclusion. Yuri at the Crossroads

References

Beautiful and Innocent Female Same-Sex Intimacy in the Japanese Yuri Genre Verena Maser Dissertation aus dem Fachbereich II: Sprach-, Literatur-und Medienwissenschaften der Universität Trier (überarbeitete Fassung) Fach: Japanologie Datum der Disputatio: 27.9.2013 In memory of my grandfather Gottlob Maser Table of Contents List of Illustrations and Tables iv Acknowledgments v Note on Language vii Introduction. A Lily Is a Lily Is…No Lily? 1 Chapter 1. The Yuri Genre as Site of a Discursive Struggle 9 Part I. Content of the Yuri Genre 31 Chapter 2.“Sisterhood” before World War II: Hana monogatari and Otome no minato 32 Chapter 3. From Esu to Distress: Shīkuretto rabu and Shiroi heya no futari 49 Chapter 4. Fans’ Imagination Galore: Bishōjo senshi Sailor Moon 63 Chapter 5. The Monumental Text: Maria-sama ga miteru 76 Chapter 6. Developments in the Yuri Genre after 2003 92 Part II. Producing Yuri Manga 104 Chapter 7. The Yuri Manga Market in Japan 105 Chapter 8. Interviews with Japanese Manga Magazine Editors 113 Part III. Reception of the Yuri Genre 132 Chapter 9. Characteristics of the Yuri Genre’s Fandom in Japan 133 Chapter 10. Online Survey among the Fans of the Yuri Genre in Japan 141 Conclusion. Yuri at the Crossroads 159 References 163 List of Illustrations and Tables Figure 1. Structure of the Yamayurikai (compiled by the author) 78 Table 1. Websites from which Respondents Originated 141 Table 2. Valid Responses 142 Table 3. Respondents’Age 144 Table 4. Respondent’s Top Five Yuri Titles by “Sexual Identity” 146 Table 5. How Respondents Came into Contact with Yuri Manga/Anime 147 Table 6. How Often Respondents Read/Watched Yuri Manga/Anime 148 Acknowledgments This is a revised version of my dissertation (2013, Universität Trier, Fachbereich II) with new material and a newly designed overall structure, and would not have been possible without many individuals and institutions. The generous funding from the German Institute of Japanese Studies (DIJ) in 2011/2012 enabled me to conduct research in Japan, and I would like to thank its administrative staff, its researchers and my fellow Ph.D. students for their support. The final stage of the dissertation writing process was funded through a scholarship provided by the German state of Rhineland-Palatinate. I would also like to thank Spielwarenmesse eG and its team for encouraging me and for employing me part-time during the initial three months of my research. During my fieldwork in Japan, I was supported by many individuals and institutions. The resources at the Gendai manga toshokan and the Yoshihiro Yonezawa Memorial Library of Manga and Subcultures were invaluable. Their staff was always helpful and answered even the most obscure questions. I would especially like to thank Fujimoto Yukari who was always helpful and answered my every question on manga. I am especially grateful that she invited me on a research trip to the Kikuyō library in Kumamoto prefecture. Its vast collection of pre-and postwar girls ’magazines gave me a hands-on experience that was invaluable. I would also like to thank its librarian Murasaki Shūzō for opening the collection to us and answering all questions. My thanks are also due to all those in Japan who helped me conduct my research on the yuri genre. These are first and foremost all the editors who agreed to be interviewed for this study and all the fans who participated in my online survey. This work would not be what it is without them. I am also indebted to all the fans I met at numerous fan works events and who provided me with insights I would never have gotten had I stayed in front of my computer. I would especially like to thank Hanaka, Michiru and Takamune. Thanks are also due to the pretesters of my survey. A special thank you goes to Takahashi Macoto who sat down with me for an impromptu interview at his art gallery in Chiba prefecture. For their help with

FAQs

What central issue does the dissertation address about the yuri genre?

It treats the yuri genre as a site of discursive struggle, focusing on how female same-sex intimacy is represented and given meaning within Japanese culture.

Which periods and works does the study use to discuss yuri content?

It traces themes through works such as Hana monogatari and Otome no minato, then later narratives involving Shīkuretto rabu and Shiroi heya no futari, followed by titles including Sailor Moon and Maria-sama ga miteru, and developments after 2003.

How does the dissertation investigate reception of the yuri genre?

It examines fandom characteristics in Japan and conducts an online survey among yuri fans, and it also includes interviews with Japanese manga magazine editors to connect production and audience dynamics.

Aug 23, 2026

Uploaded by Aurora