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Fantasizing What Happens When the Goods Get Together: Female Homoeroticism as Literary Trope

Fantasizing What Happens When the Goods Get Together: Female Homoeroticism as Literary Trope Fantasizing What Happens When the Goods Get Together: Female Homoeroticism as Literary Trope Julia C. Bullock In the 1960s a new generation of women writers exploded onto the Japanese literary scene, producing narratives that depicted autonomous expressions of female sexuality in graphic, sometimes fantastic, and frequently shocking ways. This was in startling contrast to then-dominant discourses of female sexuality that encouraged women to channel such impulses either into the service of male desires or, alternatively, into the birth and care of children by “good wives and wise mothers.”1 Authors like Kurahashi Yumiko, Kno Taeko, ba Minako, Kanai Mieko, and Takahashi Takako (among many others) thus opened the door to new conversations about “what women want.” Their efforts generated both controversy and praise, and some of them were even rewarded with the Japanese literary world’s official seal of approval, the Akutagawa prize.2 positions 14:3 doi 10.1215/10679847-2006-017 Copyright 2006 by Duke University Press positions 14:3 Winter 2006 This level of acclaim was remarkable given the atmosphere of chauvinism that characterized male critics’ assumptions of women’s intellectual abilities at the time. Many of these writers were among the first generation of women to attend elite universities alongside men, an opportunity newly http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions asia critique Duke University Press

Fantasizing What Happens When the Goods Get Together: Female Homoeroticism as Literary Trope

positions asia critique , Volume 14 (3) – Dec 1, 2006

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Publisher
Duke University Press
Copyright
© 2006 by Duke University Press
ISSN
1067-9847
eISSN
1067-9847
DOI
10.1215/10679847-2006-017
Publisher site
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Abstract

Fantasizing What Happens When the Goods Get Together: Female Homoeroticism as Literary Trope Julia C. Bullock In the 1960s a new generation of women writers exploded onto the Japanese literary scene, producing narratives that depicted autonomous expressions of female sexuality in graphic, sometimes fantastic, and frequently shocking ways. This was in startling contrast to then-dominant discourses of female sexuality that encouraged women to channel such impulses either into the service of male desires or, alternatively, into the birth and care of children by “good wives and wise mothers.”1 Authors like Kurahashi Yumiko, Kno Taeko, ba Minako, Kanai Mieko, and Takahashi Takako (among many others) thus opened the door to new conversations about “what women want.” Their efforts generated both controversy and praise, and some of them were even rewarded with the Japanese literary world’s official seal of approval, the Akutagawa prize.2 positions 14:3 doi 10.1215/10679847-2006-017 Copyright 2006 by Duke University Press positions 14:3 Winter 2006 This level of acclaim was remarkable given the atmosphere of chauvinism that characterized male critics’ assumptions of women’s intellectual abilities at the time. Many of these writers were among the first generation of women to attend elite universities alongside men, an opportunity newly

Journal

positions asia critiqueDuke University Press

Published: Dec 1, 2006

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