Fr. 236.00

Female Masculinity and the Business of Emotions in Tokyo

Inglese · Copertina rigida

Spedizione di solito entro 1 a 3 settimane (non disponibile a breve termine)

Descrizione

Ulteriori informazioni

Female Masculinity and the Business of Emotions in Tokyo investigates the novel "emotion business" of dans escorting as a phenomenon emerging between gender performativity and pop-culture, commodified relationships and the wish for self-expression.
Fanasca documents the dreams, ambitions and fears of young crossdresser escorts negotiating their identity with and within the Japanese society, as well as those of crossdresser escorts' clients: women looking for the perfect man and the opportunity to experience emotions. Combining anthropological, sociological and gender studies theories with an ethnographic approach, Fanasca argues that dans crossdressing is the tool used by a sector of Japanese women to resist the heteronormative and patriarchal society and its expectations, while reinventing themselves and their identities looking for self-actualization.
Female Masculinity and the Business of Emotions Tokyo is an interdisciplinary work which will interest both scholars and students of Japanese studies, gender studies, and anthropology.

Sommario

Introduction, 1. Gender Identity, Performativity and Fantasy: The Case of Dans Escorting, 2. Walk Like a Man, Talk Like a Man: Working with Dans  in Akihabara, 3. Who are Dans ?, 4. Identity and Human Relationships, 5. The Customers' Perspective 6. Working with Emotions - The Negative Aspects of the Business, Conclusions

Info autore

Marta Fanasca is a Marie Skłodowska-Curie Fellow at the University of Bologna and a Research Fellow at KU Leuven. For her research, she worked herself as a dansō (FtM crossdressing) escort. Her articles have appeared in Asian Anthropology and Girlhood Studies. She is also a freelance translator from Japanese.

Riassunto

Female Masculinity and the Business of Emotions Tokyo investigates the novel “emotion business” of danso escorting as a phenomenon emerging between gender performativity and pop-culture, commodified relationships and the wish for self-expression.

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