HOW HANDSOME, HOW INFURIATING: ONNAGATA GENDER PERFORMANCE ON THE KABUKI STAGE
| dc.advisor | Dr. Cynthia Patton | en_US |
| dc.college | las | en_US |
| dc.contributor.author | Granzow, Kyle | |
| dc.date.accessioned | 2018-05-15T15:33:46Z | |
| dc.date.available | 2018-05-15T15:33:46Z | |
| dc.date.created | December 2017 | en_US |
| dc.date.issued | 2018-05-15 | |
| dc.department | english, modern languages and literatures | en_US |
| dc.description.abstract | This research presents a look at the gender performance of Japanese cross-dressing actors (known as onnagata) on the kabuki stage. It first provides a historical and societal context, then applies the theories of gender performativity of Judith Butler to not only the actors but finally the kabuki play Kyoganoko Musume Dojoji. The construction and portrayal of feminine imagery by male actors in the play is critically examined, and the thesis draws conclusions about Japanese culture based on its moral stance. | en_US |
| dc.identifier.uri | http://hdl.handle.net/123456789/3584 | |
| dc.language.iso | en_US | en_US |
| dc.subject | Japanese culture, East Asian theater, kabuki theater, gender performance, gender theory, Tokugawa Japan | en_US |
| dc.title | HOW HANDSOME, HOW INFURIATING: ONNAGATA GENDER PERFORMANCE ON THE KABUKI STAGE | en_US |
| dc.type | Thesis | en_US |