By Kam Louie, Morris Low
This ebook indicates how East Asian masculinities are being shaped and reworked as Asia is more and more globalized. The gender roles played by means of chinese language and eastern males are tested not only as they're lived in Asia, but in addition within the West. The essays accrued the following increase present understandings of East Asian identities and cultures in addition to Western conceptions of gender and sexuality. whereas uncomplicated concerns equivalent to masculine beliefs in China and Japan are tested, the e-book additionally addresses concerns together with homosexuality, women's perceptions of guys, the function of recreation and nutrients and Asian males within the chinese language diaspora.
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Extra resources for Asian Masculinities: The Meaning and Practice of Manhood in China and Japan
17 It is also interesting to note that, like many other authors of his time, when Cao Xueqin portrays a male character with a feminine appearance it is always an indication that the author views him positively [zhengmian renwu]. Whenever a character is portrayed as having a more masculine appearance it is a signal that the author does not approve of him [fanmian renwu]. In Honglou meng, there are three males apart from Jia Baoyu who stand out because of their feminine appearance: the Prince of Bei-jing, Qin Zhong and Liu Xianglian (Chan 1980, 169).
Beauty, with few exceptions, becomes a sign of the negation of social and official respectability, and convention is employed unconventionally. The case of Jia Baoyu The epitome of the feminised-male aesthetic is the hero of Honglou meng, Jia Baoyu. While Jia Baoyu is usually understood to be rebelling against orthodox social convention, there is nothing about his feminised appearance per se that would have been considered unusual by contemporary readers: a face like the moon of Mid-Autumn, a complexion like spring flowers at dawn, a hairline straight as a knife-cut, eyebrows that might have been painted by an artist’s brush, a shapely nose, and eyes clear as limpid pools, that even in anger seemed to smile, and, as they glared, beamed tenderness the while.
On the other hand, the manliness of negative characters was always exaggerated, with dark faces, ample beards, strong, tall bodies and deep voices. In other words, the attributes of the male and female genders were arranged along a moral scale. What is today considered a masculine appearance was associated in Qing literature with dirt, coarseness, lust and sadistic domination. Cao Xueqin describes such men as “hairy and brutish things” [xumei zhuowu]. In Pinhua baojian there is a character named Xi Shiyi who personifies these qualities, a vile but very wealthy merchant in the prime of his life (early thirties).
Asian Masculinities: The Meaning and Practice of Manhood in China and Japan by Kam Louie, Morris Low