日本の同性愛文化が羨ましい朴ill君。
投稿者： qaqla_juq 投稿日時： 2010/06/24 21:29 投稿番号： [169228 / 230347]
イル子ちゃん。
もっともっと、日本の同性愛文化についての知識を深めるようにな。
はるな愛等、同性愛文化の隆盛、タイにつぐニューハーフ大国、ニッポン。
朴ill君が憧れる、同性愛文化は一朝一夕にできたわけじゃないんだよ。
次を読め。英語に問題があるなら自動翻訳を利用しろよな。
Middle class same-sex love
As Japanese society became pacified, the middle classes adopted many of the practices of the warrior class, in the case of shudō giving it a more mercantile interpretation. Male prostitutes (kagema), who were often passed off as apprentice kabuki actors and who catered to a mixed male and female clientele, did a healthy trade into the mid-1800s despite increasing restrictions. Many such prostitutes, as well as many young kabuki actors, were indentured servants sold as children to the brothel or theatre, typically on a ten-year contract. Relations between merchants and boys hired as shop staff or housekeepers were common enough, at least in the popular imagination, to be the subject of erotic stories and popular jokes. Young kabuki actors often worked as prostitutes off-stage, and were celebrated in much the same way as modern media stars are today, being much sought after by wealthy patrons, who would vie with each other to purchase their favours. Onnagata (female-role) and wakashū-gata (adolescent boy-role) actors in particular were the subject of much appreciation by both male and female patrons, and figured largely in nanshoku shunga prints and other works celebrating nanshoku, which occasionally attained best-seller status.
Male prostitutes and actor-prostitutes serving male clientele were originally restricted to the wakashū age category, as adult men were not perceived as desirable or socially acceptable sexual partners for other men. During the 1600s, these men (or their employers) sought to maintain their desirability by deferring or concealing their coming-of-age and thus extending their "non-adult" status into their twenties or even thirties; this eventually led to an alternate, status-defined shudō relationship which allowed clients to hire "boys" who were, in reality, older then themselves. This evolution was hastened by mid-1600s bans on the depiction of the wakashū's long forelocks, their most salient age marker, in kabuki plays; intended to efface the sexual appeal of the young actors and thus reduce violent competition for their favors, this restriction eventually had the unintended effect of de-linking male sexual desirability from actual age, so long as a suitably "youthful" appearance could be maintained.
A wakashū (wearing headscarf) sneaks a kiss from a female prostitute behind his patron's back. Nishikawa Sukenobu, ca. 1716-1735. Hand-colored shunga print.
もっともっと、日本の同性愛文化についての知識を深めるようにな。
はるな愛等、同性愛文化の隆盛、タイにつぐニューハーフ大国、ニッポン。
朴ill君が憧れる、同性愛文化は一朝一夕にできたわけじゃないんだよ。
次を読め。英語に問題があるなら自動翻訳を利用しろよな。
Middle class same-sex love
As Japanese society became pacified, the middle classes adopted many of the practices of the warrior class, in the case of shudō giving it a more mercantile interpretation. Male prostitutes (kagema), who were often passed off as apprentice kabuki actors and who catered to a mixed male and female clientele, did a healthy trade into the mid-1800s despite increasing restrictions. Many such prostitutes, as well as many young kabuki actors, were indentured servants sold as children to the brothel or theatre, typically on a ten-year contract. Relations between merchants and boys hired as shop staff or housekeepers were common enough, at least in the popular imagination, to be the subject of erotic stories and popular jokes. Young kabuki actors often worked as prostitutes off-stage, and were celebrated in much the same way as modern media stars are today, being much sought after by wealthy patrons, who would vie with each other to purchase their favours. Onnagata (female-role) and wakashū-gata (adolescent boy-role) actors in particular were the subject of much appreciation by both male and female patrons, and figured largely in nanshoku shunga prints and other works celebrating nanshoku, which occasionally attained best-seller status.
Male prostitutes and actor-prostitutes serving male clientele were originally restricted to the wakashū age category, as adult men were not perceived as desirable or socially acceptable sexual partners for other men. During the 1600s, these men (or their employers) sought to maintain their desirability by deferring or concealing their coming-of-age and thus extending their "non-adult" status into their twenties or even thirties; this eventually led to an alternate, status-defined shudō relationship which allowed clients to hire "boys" who were, in reality, older then themselves. This evolution was hastened by mid-1600s bans on the depiction of the wakashū's long forelocks, their most salient age marker, in kabuki plays; intended to efface the sexual appeal of the young actors and thus reduce violent competition for their favors, this restriction eventually had the unintended effect of de-linking male sexual desirability from actual age, so long as a suitably "youthful" appearance could be maintained.
A wakashū (wearing headscarf) sneaks a kiss from a female prostitute behind his patron's back. Nishikawa Sukenobu, ca. 1716-1735. Hand-colored shunga print.
固定リンク：https://yarchive.emmanuelc.dix.asia/1143582/ffckdca4h4z9qa4n5doc0a4n9adbel_1/169228.html