From Jokun to Onnagata: Performance, Aesthetics, and the Cultivation of Femininity during the Edo Period.

dc.contributor.authorD'Almeida, Monique A.
dc.contributor.departmentArt History
dc.date.accessioned2019-05-28T19:29:58Z
dc.date.available2019-05-28T19:29:58Z
dc.date.issued2017-05
dc.identifier.urihttp://hdl.handle.net/10125/62152
dc.subjectEdo period
dc.subjectJapan
dc.subjectart
dc.subjectwomen
dc.subjectgender
dc.subjectperformance
dc.titleFrom Jokun to Onnagata: Performance, Aesthetics, and the Cultivation of Femininity during the Edo Period.
dc.typeThesis
dcterms.abstractAs the portrayal of women in Japanese woodblock prints produced during Japan’s Edo period (1603–1868) remains an understudied area, the objective of this thesis is to contribute to the understanding of the idealized female image. My research investigates how the idealized female image was established, cultivated, and circulated during the latter half of the Edo period. Throughout this thesis, focus will be given to the feminine idealized image, specifically the prescriptive ideals found in bijin-ga (prints of beautiful women) and the descriptive ideals expressed in yakusha-e (actor prints) of onnagata, male actors who portray female roles in Kabuki theater. Utilization of primary sources in the shape of prints and literature along with theories on gender performativity identifies how artists portrayed the feminine ideal. By conceptualizing bijin-ga and yakusha-e prints within its sociocultural context, there is evidence to suggest that Edo period woodblock prints contributed to the construction and circulation of idealized female imagery.
dcterms.descriptionM.A. Thesis. University of Hawaiʻi at Mānoa 2017.
dcterms.languageeng
dcterms.publisherUniversity of Hawaiʻi at Mānoa
dcterms.rightsAll UHM dissertations and theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission from the copyright owner.
dcterms.typeText

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