73:
36:
1338:, pp. 224–225: "Echoing Mori, one commentator wrote in 1914 that "juvenile delinquents" of the "rough-neck" stripe saw themselves as "toughs" (soshi) and "swashbucklers" (kyo-kaku), while "smoothies" fancies themselves "high caller dandies" (harikara danji)...With the close of the Meiji period, however, such reports began gradually to diminish, until, by the end of the 1920s, most "juvenile delinquents" had become, according to one authority on the subject, confirmed
191:
325:
typically has the same traits as idealized female beauties in Japan: lustrous black hair, opaque skin, red cheeks, etc., but simultaneously retains a male body, making them aesthetically different from both men and women. Western audiences may perceive bishonen as effeminate, but
Japanese see them as
1128:
Western readers may perceive bishounen ambiguity as effeminate, but that is a misreading. Bishounen as perceived by the
Japanese audience are neither effeminate nor ambiguous; rather, they are seen as "something like angels, wholly male and female." Thus the character is sexually liberated, or is it
618:
characters for crossover appeal to female readers. Mainstream shounen and seinen fare also often uses such characters as rivals for a traditional masculine protagonist, with some degree of comic relief, or for the blander everyman, whether as the embodiment of his insecurities in a grittier realism,
561:
are usually drawn delicately, with long limbs, silky or flowing hair, and slender eyes with long eyelashes that can sometimes extend beyond the face. The character's "sex appeal" is highlighted through introducing the character by using an "eroticized" full-page spread. Characters with "bulging
540:
or at the very least, a lack of any hint of a relationship to maintain their popular availability. Many of the bishōnen stars hired by Johnny & Associates eventually abandoned their princely image, and became stock characters in variety shows and other normal day-to-day programming.
740:
is more about a grounding in sexuality than a transcendence of it, drawing on the idea of the image as being a refuge for alternative methods of looking at sexual natures, and sexual realities, at least since the 1960s, rather than the elegiac aesthetics of usages in an earlier era.
510:) competed for hierarchical sexual dominance with so-called "roughneck" (juvenile delinquent) men, with occasional reports of violence between the two groups. By the 1920s the "smoothie" men had won out over the roughnecks in the popular imagination; "
525:. Accepted into Johnny & Associates in their early teens, these boys, collectively known as 'Johnnys', are trained and promoted to become the next leading singing-acting-commercially successful hit sensations. Almost all can be classified as
917:
Laura Miller refers to Gackt, a widely recognizable Visual Kei performer (and former vocalist of Malice Mizer), for example, as a "living … specimen of bishōnen,"45 relating his "baroque, androgynous indeterminacy"46 too to The Rose of
623:
in the role of the recurring minor rivals readers love to hate, though their effeminate good looks there will often appear older, bigger, stronger, and thus in fact more masculine than the commonly shorter and less mature protagonists.
1588:
The
Process of Divergence between 'Men who Love Men' and 'Feminised Men' in Postwar Japanese Media. Ishida Hitoshi and Murakami Takanori. Intersections: Gender, History and Culture in the Asian Context. Issue 12 January 2006.
748:
are conversely drawn to "emphasize their beauty and sensuality", and female artists have been said to react against the ultramasculine representation by showing androgynous and "aesthetically beautiful" men.
74:
156:
are very popular among girls and women in Japan. Reasons for this social phenomenon may include the unique male and female social relationships found within the genre. Some have theorized that
883:...popular music stars such as Gackt and Hyde, will trace their beautification efforts to a domestically - produced aesthetic. The recent appearance of living specimens of the bishounen...
733:
is a "traditional representation of youth", being "interstitial" between both childhood and adulthood and between being male and being female, regardless of the sexual issues.
344:
notes that
Yoshitsune was considered by contemporaries to be not physically prepossessing, but that his legend later grew and due to this, he became depicted with good looks.
1142:
619:
or as a more lighthearted constant reminder of his less than advantageous social status and the constraints thereof. Comics for younger boys tend to use arrogant
1081:
506:
According to
Pflugfelder, the bishonen concept can be related to the "smoothie/roughneck" dichotomy of the Edo period. Sophisticated Japanese young men (
699:
noted that although
Western comics for girls also included "impossibly beautiful men" who are clearly masculine and always get the girl in the end, the
1661:
498:
album (released on
Creation Records). Almost 8 minutes long, the song is an epic tale of a young boy raised to die young by an eccentric stepfather.
655:
is aimed at a female audience, centered on teenage boys, and drawn elegantly. Another common mistake is assuming that the female characters in
756:
in distress is always rescued by an older, protective, mentor. This scenario has an "unmistakably homoerotic" atmosphere. He also notes that
423:
fans use the term to refer to any handsome male character regardless of age, or any homosexual character. In the original
Japanese, however,
1568:"Intersections: Itō Bungaku and the Solidarity of the Rose Tribes [Barazoku]: Stirrings of Homo Solidarity in Early 1970s Japan"
318:
was conceived of as "aesthetically different from both women and men both the antithesis and the antecedent of adult masculinity".
1485:
Monnet, Livia (1999). "Montage, cinematic subjectivity and feminism in Ozaki Midori's
Drifting in the World of the Seventh Sense".
348:
was depicted according to the standards of a Heian-era middle-aged man, but since 1989 he has been depicted as a modern-style
1614:
1469:
1385:
1294:
1242:
1193:
1176:
1054:
869:
1646:
1520:
1437:
1151:
1027:
993:
961:
910:
1089:
1435:
Wood, Andrea. (Spring 2006). "Straight" Women, Queer Texts: Boy-Love Manga and the Rise of a Global
Counterpublic.
254:
is used to describe men who are of age, including those who have entered or completed tertiary education. The term
752:
Ian Buruma, writing in 1984, considered the "bishonen in distress" to be a recurring motif in popular manga. The
114:
651:
aesthetic is aimed at a male audience, and is typically centered on young girls, drawn in a cute, pretty style;
647:, because of the similar construction of the terms. There are major differences between the two aesthetics. The
42:, a Japanese singer-songwriter, is considered to be one of the living manifestations of the Bishōnen phenomenon.
1265:
1260:
Beauty Up: Exploring Contemporary Japanese Body Aesthetics. Laura Miller. University of California Press, 2006.
270:
is the most well-known of the three terms, and has become a generic term for all beautiful boys and young men.
710:
narratives champion "the imagined potentialities of alternative differentiations" James Welker describes the
472:
463:
or the Anglicized slang term "bishie" (also spelled "bishi"), but these terms remain less common. The term
1651:
744:
Representations of men in manga by and for men show "an idealized man being ultramasculine and phallic",
1511:
Buckley, Sandra (1991) "'Penguin in Bondage': A Graphic Tale of Japanese Comic Books", pp. 163–196, In
1641:
1460:
1532:
Welker, James (2006). "Beautiful, Borrowed, and Bent: "Boys' Love" as Girls' Love in Shōjo Manga".
295:
123:
1455:
675:
females are usually more petite and drawn in a style that is cute rather than beautiful, whereas
216:, literally "beautiful person", is usually, though not always, used to refer to beautiful women.
471:
is occasionally used to describe some androgynous female characters, such as Takarazuka actors,
518:
477:
329:
1044:
1017:
310:, whose general meaning of "adolescent boy" had by this point been supplanted by the new term
1375:
1656:
1380:. Michigan Monograph Series in Japanese Studies. University of Michigan Press. p. 98.
768:, and notes that "death is the only pure and thus fitting end to the perfection of youth."
57:
8:
695:
represents and what it is interpreted as, mostly to fit a particular external viewpoint.
691:
Several cultural anthropologists and authors have raised the multifaceted aspect of what
131:
1636:
1549:
1215:
902:
537:
1590:
1610:
1553:
1516:
1465:
1415:
1381:
1290:
1261:
1238:
1219:
1172:
1147:
1050:
1023:
989:
957:
906:
865:
93:
67:
1567:
1140:
Drazen, Patrick (October 2002). '"A Very Pure Thing": Gay and Pseudo-Gay Themes' in
1541:
1494:
1207:
726:
with a feminine soul "who lives and loves outside of the heteropatriarchal world".
895:
Johnson, Adrienne Renee (2019). "From Shōjo to Bangya(ru): Women and Visual Kei".
333:
1352:
1235:
In the Company of Men: Representations of Male-male Sexuality in Meiji Literature
896:
859:
80:
20:
611:
162:
provide a non-traditional outlet for gender relations. Moreover, it breaks down
1410:
765:
494:
489:
355:
1498:
1129:
the Japanese reader who is freed from their own traditional social restraints?
930:
599:
397:
1630:
1419:
1019:
Cartographies of desire: male-male sexuality in Japanese discourse, 1600-1950
607:
345:
263:
167:
35:
760:
must either grow up, or die beautifully. He considers the "worship" of the
306:, in part to replace the by then obsolete erotic meaning of the older term
171:
109:
1111:
553:
is also a distinct art style not usually forgotten in books about drawing
1036:
823:
590:
534:
179:
190:
178:
fashion, or comedic flair, traits that are usually assigned to the hero/
1602:
1282:
1211:
1198:
1164:
861:
Abstracts of the Annual Meeting -- American Anthropological Association
696:
578:
530:
341:
163:
27:
786:
639:
280:
207:
817:
303:
127:
105:
101:
97:
898:
Shōjo Across Media: Exploring "Girl" Practices in Contemporary Japan
857:
829:
311:
1545:
1515:. C. Penley and A. Ross, eds. Minneapolis: University of Minnesota
723:
360:
147:
143:
26:"Bishy" redirects here. For the radial route in York, England, see
1342:. In the popular imagination, "rough" was no match for "smooth"."
1310:
798:
779:
522:
212:
643:('beautiful girl') is often mistakenly considered a parallel of
96:
term literally meaning "beautiful youth (boy)" and describes an
810:
299:
277:
began as an ideal of a young lover, originally embodied in the
1143:
Anime Explosion! The What, Why & Wow of Japanese Animation
258:
is used to describe boys of middle and high school age. Last,
804:
792:
715:
570:
554:
448:, some fans prefer to use the slightly more sexually neutral
420:
416:
392:
388:
175:
139:
135:
119:
39:
1043:
Yamazaki, H.; Yorifuji, B.; Yoshida, T.; Horn, C.G. (2010).
1042:
836:
603:
403:
1607:
A Japanese Mirror: Heroes and Villains of Japanese Culture
1287:
A Japanese Mirror: Heroes and Villains of Japanese Culture
1169:
A Japanese Mirror: Heroes and Villains of Japanese Culture
521:
Entertainment Company, specializes only in producing male
569:
Bishōnen characters are fairly common in shōjo manga and
427:
applies only to boys under 18. For those older, the word
198:
and his retainer Benkei view the falling cherry blossoms.
134:, the androsocial and androerotic ideals of the medieval
933:[Eight Immortals of the Wine Cup] (in Chinese).
573:. Many of the male characters show subtle signs of the
292:, literally "young person", although only used for boys)
1082:"On The Iconic Difference between Couple Characters in
492:
notably used the term in his song "Bishonen" from the
170:
characters. These are often depicted with very strong
157:
151:
83:
210:) more often than not refers to feminine beauty, and
122:. It has always shown the strongest manifestation in
1022:. University of California Press. pp. 221–234.
736:
Ishida Hitoshi makes the case that the image of the
703:
are "more ambivalent" and sometimes get each other.
1591:
http://intersections.anu.edu.au/issue12/ishida.html
1146:Berkeley, California: Stone Bridge Press pp.91-94.
1075:
1073:
679:females exhibit the long limbs and elegance of the
517:In particular, Japan's largest male talent agency,
1609:. Great Britain: Penguin Books. pp. 130–131.
1171:. Great Britain: Penguin Books. pp. 132–135.
1373:
1353:"Modern Japan - Entertainment - Johnny's Jimusho"
1628:
1070:
988:. Taylor & Francis. pp. 188, 522, 553.
952:Orbaugh, Sharalyn (2002). Sandra Buckley (ed.).
533:features combined with a sometimes deliberately
130:bands of the 1970s, but it has roots in ancient
1277:
1275:
1273:
610:relationships between beautiful boys), however
449:
428:
326:something like angels, wholly male and female.
294:, or adolescent boy, and was influenced by the
278:
266:male child or a childlike male. Outside Japan,
240:
217:
126:, gaining in popularity due to the androgynous
46:
1534:Signs: Journal of Women in Culture and Society
1079:
456:
437:
287:
247:
224:
55:
1289:. Great Britain: Penguin Books. p. 125.
1011:
1009:
1007:
1005:
986:Encyclopedia of Contemporary Japanese Culture
954:Encyclopedia of Contemporary Japanese Culture
858:American Anthropological Association (2003).
174:abilities, sports talent, high intelligence,
1374:Yoshimoto, M.; Tsai, E.; Choi, J.B. (2016).
1270:
481:, or any women with traits stereotypical to
1335:
1237:. Stanford University Press. pp. 3–4.
1015:
1431:
1429:
1002:
1256:
1254:
1194:"Extreme Makeover for a Heian-Era Wizard"
979:
977:
975:
973:
947:
945:
943:
729:Jonathan D. Mackintosh believes that the
372:in the title of a work about the younger
368:characters, and in 1848 he used the term
16:Japanese term for an attractive young man
1662:Male stock characters in anime and manga
1454:
1232:
956:. Taylor & Francis. pp. 45–46.
415:Some non-Japanese, especially American,
189:
100:that can be found in disparate areas in
34:
1505:
1426:
983:
951:
894:
667:manga are very different from those in
627:
584:Some manga are completely drawn in the
194:Yoshitsune, the most famous historical
1629:
1601:
1531:
1484:
1281:
1251:
1191:
1163:
970:
940:
888:
138:imperial court and intellectuals, and
108:beauty. This word originated from the
686:
262:can be used to refer to a beautiful,
142:aesthetic concepts carried over from
66:
1377:Television, Japan, and Globalization
1046:The Kurosagi Corpse Delivery Service
336:have been identified as historical
231:means "beautiful middle-aged man".
13:
1355:. Japan-zone.com. 16 November 2006
501:
14:
1673:
663:. In truth, female characters in
577:style, such as slender eyes or a
529:, exhibiting the same physically
1016:Pflugfelder, Gregory M. (1999).
614:(boy's comics) may use casts of
549:Besides being a character type,
387:aesthetic is continued today in
298:who played female characters in
1595:
1582:
1560:
1525:
1478:
1448:
1401:
1367:
1345:
1329:
1303:
1233:Reichert, James Robert (2006).
1226:
1185:
1157:
1134:
562:muscles" are rarely considered
115:Eight Immortals of the Wine Cup
1438:WSQ: Women's Studies Quarterly
1104:
923:
851:
764:to be the same as that of the
1:
844:
566:, as they are too masculine.
512:rough was no match for smooth
1414:(in Russian) (3): 36. 2004.
235:is to be distinguished from
7:
1049:. Dark Horse. p. 202.
771:
450:
442:, literally "handsome man")
429:
279:
241:
218:
158:
152:
84:
47:
10:
1678:
1647:Japanese words and phrases
1570:. Intersections.anu.edu.au
606:(girls' comics focused on
467:was popular in the 1980s.
25:
18:
1499:10.1080/09555809908721622
1461:Manga: The Complete Guide
1408:"Short anime glossary ".
457:
444:is used. In the place of
438:
288:
248:
225:
185:
56:
1464:. Del Rey. p. 417.
410:
302:. The term arose in the
519:Johnny & Associates
514:", writes Pflugfelder.
1192:Miller, Laura (2008).
544:
478:The Rose of Versailles
358:wrote many works with
330:Minamoto no Yoshitsune
296:effeminate male actors
199:
68:[bʲiɕo̞ꜜːnẽ̞ɴ]
43:
905:. pp. 308, 322.
364:undertones featuring
273:The aesthetic of the
193:
38:
1080:Febriani Sihombing.
706:For Sandra Buckley,
659:manga and anime are
598:manga are generally
488:Scottish pop singer
124:Japanese pop culture
1445:(1/2), pp. 394-414.
1118:. 26 September 2014
602:(girls' comics) or
132:Japanese literature
1652:Japanese sex terms
1212:10.1353/mec.0.0034
903:Palgrave Macmillan
722:is an androgynous
687:Critical attention
200:
44:
19:For the film, see
1616:978-0-14-007498-7
1471:978-0-345-48590-8
1387:978-1-929280-76-6
1296:978-0-14-007498-7
1244:978-0-8047-5214-5
1178:978-0-14-007498-7
1056:978-1-59582-528-5
871:978-1-931303-15-6
150:to China. Today,
104:: a young man of
1669:
1642:Culture of Japan
1621:
1620:
1599:
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1580:
1579:
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1509:
1503:
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1476:
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1433:
1424:
1423:
1405:
1399:
1398:
1396:
1394:
1371:
1365:
1364:
1362:
1360:
1349:
1343:
1336:Pflugfelder 1999
1333:
1327:
1326:
1324:
1322:
1307:
1301:
1300:
1279:
1268:
1258:
1249:
1248:
1230:
1224:
1223:
1189:
1183:
1182:
1161:
1155:
1138:
1132:
1131:
1125:
1123:
1108:
1102:
1101:
1099:
1097:
1088:. Archived from
1077:
1068:
1067:
1065:
1063:
1040:
1034:
1033:
1013:
1000:
999:
984:Buckley (2002).
981:
968:
967:
949:
938:
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927:
921:
920:
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855:
462:
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293:
291:
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253:
251:
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161:
155:
146:, imported with
91:
89:
78:
77:
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65:
61:
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52:
1677:
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1571:
1566:
1565:
1561:
1530:
1526:
1510:
1506:
1483:
1479:
1472:
1456:Thompson, Jason
1453:
1449:
1434:
1427:
1407:
1406:
1402:
1392:
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1372:
1368:
1358:
1356:
1351:
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1334:
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1162:
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1119:
1110:
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1095:
1093:
1092:on 21 July 2015
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982:
971:
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941:
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913:
893:
889:
876:
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872:
864:. p. 336.
856:
852:
847:
842:
774:
689:
636:
588:style, such as
547:
504:
502:Popular culture
454:
435:
413:
376:partner in the
285:
245:
222:
188:
72:
71:
63:
53:
31:
24:
21:Bishonen (film)
17:
12:
11:
5:
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1615:
1594:
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1559:
1546:10.1086/498987
1524:
1504:
1477:
1470:
1447:
1425:
1411:anime*magazine
1400:
1386:
1366:
1344:
1328:
1313:Tender Pervert
1302:
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1156:
1133:
1103:
1069:
1055:
1035:
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783:
775:
773:
770:
688:
685:
635:
626:
546:
543:
503:
500:
495:Tender Pervert
412:
409:
380:relationship.
356:Kyokutei Bakin
300:kabuki theater
187:
184:
81:transliterated
15:
9:
6:
4:
3:
2:
1674:
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1521:0-8166-1932-8
1518:
1514:
1513:Technoculture
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1152:1-880656-72-8
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1029:0-520-20909-5
1025:
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995:0-415-14344-6
991:
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963:0-415-14344-6
959:
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918:Versailles.47
914:
912:9783030014858
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166:surrounding
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110:Tang dynasty
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1657:Male beauty
1603:Buruma, Ian
1487:Japan Forum
1283:Buruma, Ian
1165:Buruma, Ian
1112:"Bishounen"
824:Metrosexual
600:shōjo manga
591:Saint Seiya
202:The prefix
180:protagonist
164:stereotypes
106:androgynous
1631:Categories
1574:31 October
1540:(3): 842.
1359:31 October
1321:31 October
1266:0520245091
1199:Mechademia
1062:26 January
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714:as being "
697:Ian Buruma
608:homosexual
557:. In art,
535:ambivalent
473:Lady Oscar
342:Ian Buruma
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1637:Androgyny
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1554:144888475
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538:sexuality
508:smoothies
304:Meiji era
128:glam rock
102:East Asia
98:aesthetic
86:bishounen
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935:宗之瀟灑美少年
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762:bishōnen
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237:bishōnen
233:Biseinen
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196:bishōnen
159:bishōnen
153:bishōnen
148:Buddhism
144:Hinduism
94:Japanese
49:Bishōnen
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931:"飲中八仙歌"
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787:Bishōjo
780:Bijinga
673:bishōjo
669:bishōjo
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581:face.
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256:shōnen
242:seinen
186:Origin
182:role.
140:Indian
1550:S2CID
1340:nanpa
1216:S2CID
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793:Dandy
716:queer
571:anime
555:manga
490:Momus
451:bijin
421:manga
417:anime
411:Usage
398:shōjo
393:manga
389:anime
213:bijin
176:dandy
120:Du Fu
112:poem
92:is a
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1611:ISBN
1576:2011
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