同性愛文化に憧れる朴ill君、もっと学べ。
投稿者： qaqla_juq 投稿日時： 2010/06/25 17:13 投稿番号： [169362 / 230347]
朴ill君、またはイル子ちゃん。
日本における同性愛文化の歴史を深く学ぶがよい。
そうすれば、日本の自衛隊関係者は「同性愛者による軍の弱体化」をそれほど真剣に心配していない事実に突き当たることだろう。はるな愛等ニューハーフが人気を博している状況は、なにも現代の特殊な状況に限定したものではないんだよ。笑
英語がダメなら、自動翻訳を使えよ。
Art of same-sex love
These activities were the subject of countless literary works, most of which remain to be translated. However, English translations are available for Ihara Saikaku who created a bisexual main character in The Life of An Amorous Man (1682), Jippensha Ikku who created an initial gay relationship in the post-publication "Preface" to Shank's Mare (1802 et seq), and Ueda Akinari who had a homosexual Buddhist monk in Tales of Moonlight and Rain (1776). Likewise, many of the greatest artists of the period, such as Hokusai and Hiroshige, prided themselves in documenting such loves in their prints, known as ukiyo-e, pictures of the floating world, and where they had an erotic tone, shunga, or pictures of spring.
Nanshoku was not considered incompatible with heterosexuality; books of erotic prints dedicated to nanshoku often presented erotic images of both young women (concubines, mekake, or prostitutes, jōrō) as well as attractive adolescent boys (wakashū) and cross-dressing youths (onnagata). Indeed, several works suggest that the most "envious" situation would be to have both many jōrō and many wakashū. Likewise, women were considered to be particularly attracted to both wakashū and onnagata, and it was assumed that these young men would reciprocate that interest. Therefore, both the typical practitioners of nanshoku and the young men they desired would be considered bisexual in modern terminology. Men who were purely homosexual might be called "woman-haters" (onna-girai); this term, however, carried the connotation of aggressive distaste of women in all social contexts, rather than simply a preference for male sexual partners.
日本における同性愛文化の歴史を深く学ぶがよい。
そうすれば、日本の自衛隊関係者は「同性愛者による軍の弱体化」をそれほど真剣に心配していない事実に突き当たることだろう。はるな愛等ニューハーフが人気を博している状況は、なにも現代の特殊な状況に限定したものではないんだよ。笑
英語がダメなら、自動翻訳を使えよ。
Art of same-sex love
These activities were the subject of countless literary works, most of which remain to be translated. However, English translations are available for Ihara Saikaku who created a bisexual main character in The Life of An Amorous Man (1682), Jippensha Ikku who created an initial gay relationship in the post-publication "Preface" to Shank's Mare (1802 et seq), and Ueda Akinari who had a homosexual Buddhist monk in Tales of Moonlight and Rain (1776). Likewise, many of the greatest artists of the period, such as Hokusai and Hiroshige, prided themselves in documenting such loves in their prints, known as ukiyo-e, pictures of the floating world, and where they had an erotic tone, shunga, or pictures of spring.
Nanshoku was not considered incompatible with heterosexuality; books of erotic prints dedicated to nanshoku often presented erotic images of both young women (concubines, mekake, or prostitutes, jōrō) as well as attractive adolescent boys (wakashū) and cross-dressing youths (onnagata). Indeed, several works suggest that the most "envious" situation would be to have both many jōrō and many wakashū. Likewise, women were considered to be particularly attracted to both wakashū and onnagata, and it was assumed that these young men would reciprocate that interest. Therefore, both the typical practitioners of nanshoku and the young men they desired would be considered bisexual in modern terminology. Men who were purely homosexual might be called "woman-haters" (onna-girai); this term, however, carried the connotation of aggressive distaste of women in all social contexts, rather than simply a preference for male sexual partners.
固定リンク：https://yarchive.emmanuelc.dix.asia/1143582/ffckdca4h4z9qa4n5doc0a4n9adbel_1/169362.html