ABSTRACT

In the 1920s in Japan, girls attending single-sex secondary schools developed a girls’ culture (shōjo bunka) or subculture to insulate themselves temporarily from the pressures of patriarchal society. Part of this subculture was a practice called s kankei (s or sister relationships), also called Class S, which were same-sex romantic attachments between classmates, condoned at the time as a temporary practice relationship that would end upon graduation, followed by an arranged marriage. Although s relationships were not ‘lesbian’ in the contemporary sense, literature and film created by men in the 1920s through the 1960s appropriated aspects of girls’ culture, including exploitative representation of female homosexuality. One example is Manji (Quicksand, 1928) by Tanizaki Jun’ichirō, which depicts an s relationship as lurid and perverse. Kawabata Yasunari plagiarized from his female disciple Nakazato Tsuneko in order to publish the most popular Class S novel of the era, Otome no minato (Harbor of Girls, 1937). Kawabata also included exploitative scenes of female homosexuality in his novel Utsukushisa to kanashimi to (Beauty and Sadness, 1963). Both Tanizaki’s and Kawabata’s novels were made into films by New Wave directors, Manji in 1964 by Masumura Yasuzō and Beauty and Sadness in 1965 by Shinoda Masahiro, and featured the first depictions of ‘lesbianism’ in Japanese film. Although these films reinscribe the male gaze, they helped inspire a nascent gay culture and opened the way for more authentic gay cinema. This essay recenters girls’ culture in modern Japanese literature and film, and discusses the variable meaning of female homosexuality for different audiences.

摘要

在1920年代的日本，进入单性中学的女孩发展了一种女孩文化（shōjobunka）或亚文化，以使自己暂时摆脱父权制社会的压力。这种亚文化的一部分是一种被称为s kankei（或姐妹关系）的习俗，也被称为S类，是同学之间的同性浪漫依恋，当时被宽容为一种暂时的习俗关系，这种关系在毕业后便会终止，随后是包办婚姻。尽管从现代意义上说，恋爱关系不是“女同性恋”，但男人在1920年代至1960年代创作的文学和电影都采用了女孩文化的各个方面，包括对女性同性恋的剥削。一个例子是Manji（谷崎淳一郎（TanizakiJun'ichirō）的《流沙》（Quicksand，1928年）一书描述了s的关系既残酷又不正常。川端康成从他的女弟子中里Tsuneko才能发布时代最流行的S类小说，剽窃乙女不凑（港的女孩，1937年）。川端康成在其小说《Utsukushisa到kanashimi》（Beauty and Sadness，1963）中也包括了女性同性恋的剥削场面。谷崎和川端的小说都是由新浪潮导演曼吉于1964年由MasumuraYasuzō以及《美丽与悲伤》制作成电影的1965年由筱田正广（Shi​​noda Masahiro）拍摄，并在日本电影中首次描写“女同性恋”。尽管这些电影重新诠释了男性的目光，但它们却有助于激发新生的同性恋文化，并为更真实的同性恋电影开辟了道路。本文探讨了日本近代文学和电影中的女孩文化，并讨论了不同受众对女性同性恋的不同理解。