Perfection and Performativity in Print - Visual Analyses of Gender and Sexuality Portrayals in Popular Japanese Graphic Arts since the 17th Century - Thesis

Aug 28, 2026

The thesis examines how gender and sexuality are constructed, staged, and performed within popular Japanese graphic arts from the seventeenth century onward. Using visual analysis, the study traces shifting portrayals of femininity, masculinity, cross-gender acting, and androgyny across ukiyo-e and manga. By organizing the discussion into thematic and historical sections, it links image conventions, subject positions, and cultural contexts to changing ideals of the body, desire, and social roles.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages494

Reading Time20 h 45 min

AccessFree to download

Introduction

Literature Review

Research Methodologies

The Female Body in Japanese Graphic Arts

Passivity and the Female Body

The Birth of Shōjo

“Adult” Themes and Graphic Arts

Cross-Gender Acting in Japanese Graphic Arts

Gender, Performance and Ukiyo-e

“Femininity” and Androgyny

‘Hidden’ Gender: Acting in Print

Masculine Beauty in Japanese Graphic Arts

“Masculinity” in Androgyny

“Beautiful Boys”/“Beautiful Men”

Hypermasculinity and Manga

Conclusion

Bibliography & Videography

Appendices

Perfection and Performativity in Print: Visual Analyses of Gender and Sexuality Portrayals in Popular Japanese Graphic Arts since the 17th Century Jennifer Louise Lynch A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy July 2022 Contents List of Illustrations p. iv Abstract p. ix Declaration p. x Acknowledgements p. xi Notes on Conventions p. xiii Introduction p. 1 Chapter One: Literature Review p. 29 Chapter Two: Research Methodologies p. 60 Part One: The Female Body in Japanese Graphic Arts p. 77 Chapter Three: Passivity and the Female Body p. 82 Yoshiwara and ‘Morality’ Overview p. 83 Women as Subject: Symbolism in Ukiyo-e p. 89 Standardisation of Feminine Depictions in Ukiyo-e p. 95 Case Study: Three Beauties of the Present Day p. 105 Chapter Four: The Birth of Shōjo p. 116 Growth of Shōjo Culture p. 117 Women as Consumer: Development of Shōjo in Illustration p. 119 Women as Creator: Evolution of Shōjo Manga p. 127 Case Study: Kaguyahime p. 134 Chapter Five: “Adult” Themes and Graphic Arts p. 142 Ladies’Comics p. 143 Femme Fatale? ‘Active’ versus ‘Passive’ Portrayals p. 149 Female Same-Sex Themes p. 157 Case Study: Ōoku p. 165 Part Two: Cross-Gender Acting in Japanese Graphic Arts p. 176 Chapter Six: Gender, Performance and Ukiyo-e p. 177 Origins and Development of Kabuki p. 179 Onnagata: An Idealised Vision of Femininity? p. 185 Onnagata in Ukiyo-e p. 193 Case Study: Segawa Kikunojō p. 200 Chapter Seven: “Femininity” and Androgyny p. 213 Takarazuka: Rise of the Otokoyaku p. 214 Female Cross Dressing and links to Manga p. 220 Roles of Cross-gender Acting in Manga p. 222 Case Study: The Rose of Versailles p. 226 Chapter Eight: ‘Hidden’ Gender: Acting in Print p. 237 ‘Men’ Acting as ‘Women’ Acting as ‘Men’ p. 237 Mistaken Identity as a Visual Trope p. 245 Visual Signifiers and Codes in a Singular Character p. 248 Case Study: Grelle Sutcliffe p. 256 Part Three: Masculine Beauty in Japanese Graphic Arts p. 265 Chapter Nine: “Masculinity” in Androgyny p. 271 Role of Wakashu in the Tokugawa Period p. 274 Wakashu in Ukiyo-e p. 276 Wakashu and Erotica p. 279 Case study: Geese Descending on the koto bridges p. 285 Chapter Ten: “Beautiful Boys”/”Beautiful Men” p. 292 Beginnings ofBishōnen in Manga p. 294 ‘Boys’ Love’ p. 299 ‘Bishōnen’ Beyond the Shōjo Sphere p. 306 Case Study: Yoshida Shōin p. 312 Chapter Eleven: Hypermasculinity and Manga p. 321 Blurring the Lines: ‘Male’Characters for Men & Women p. 322 Ideals in Shōnen Manga p. 326 Erotic Manga for Gay Men p. 333 Case Study: Kandagawa-kun p. 342 Conclusion p. 351 Bibliography & Videography p. 358 Appendix One: Artistic Productions: Ukiyo-e & Manga p. 398 Appendix Two: Historical Contexts: Tokugawa & Meiji p. 402 Appendix Three: Nengō: Japanese Chronology p. 408 Appendix Four: Translations, Exhibitions, Collections, Online Images Manga, Art Books, Additional Exhibition Catalogues & Podcasts p. 418 Appendix Five: Professional Engagement p. 431 Illustration Plates p. 434 List of Illustrations Figure 1 Kikugawa Eizan ‘Courtesan Reading a Letter’ c.1810-20 Vertical Ōban Diptych as hanging scroll National Museum Scotland Figure 2 Torii Kiyonaga The Courtesan Wakakusa of the Chōjiya Brothel, and Attendants Asano and Midori, From the series A Pattern Book ofthe Year’s First Designs, Fresh as Spring Herbs c.1783 Nishiki-e 38.1 x 25.7 cm Metropolitan Museum of Art Figure 3 Hishikawa Moronobu (Attributed) A Parade of Courtesans c.1690 Sumizuri-e; 31 x 68 cm Art Institute Chicago Figure 4 Katsushika Hokunn Courtesan Promenading Under Cherry Blossoms c.1815-19 Hanging Scroll [in Allen, 2015, p.132/3] Figure 5 Utagawa Kunisada Courtesans with Kamuro Date Unknown Nishiki-e Triptych: 36.4 x 77 cm Harvard Art Museums Figure 6 Torii Kiyonaga Courtesans V

FAQs

What is the main focus of the thesis?

The thesis focuses on visual analyses of how gender and sexuality are portrayed and performed in popular Japanese graphic arts from the seventeenth century onward.

Which art forms does the study analyze?

The study analyzes ukiyo-e and manga, including related historical contexts and artistic productions across multiple periods.

How does the thesis structure its argument?

It organizes the material into sections centered on the female body, cross-gender acting, and masculine beauty, supported by case studies and thematic chapters.

Aug 28, 2026

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