THE OHIO STATE UNIVERSITY - DEPARTMENT OF EAST ASIAN ... · Talking like a Shōnen Hero: Reframing...
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– Talking like a Shōnen Hero: Reframing masculinity in post-bubble era Japan through the lens of boku and ore Hannah E. Dodd, Ph.D. Student BACKGROUND Japanese hegemonic masculinity in the 20 th century underwent a variety changes. During the post-World War Two (hereafter “postwar”) economic boom, the masculine ideal was reinterpreted from the educated, affluent male to that of the more “red-blooded”, economically aggressive “salaryman,” a shift we can observe in the speech of fictional protagonists (Deacon 2013). According to Kinsui (2003), within a given work, a protagonist typically has the least marked speech style unless there exists a narrative reason that justifies otherwise (66-67). Accordingly, when looking at the speech of protagonists over the early- and mid-20 th century, we are able to see a shift in the preferred first-person pronoun of male characters from boku, which in male speakers is associated with the aforementioned educated speaker noted above, to ore, which has more aggressive, “hot-blooded” connotations, indicating that the default interpretation of the ideal “hero” evolved (Nakamura 2007: 64-66). Figure 1. Percentage of works with a protagonist that uses a given 1PP. Figure 2. Complete list of works included in this data set. METHODS Between 1968 – 2015, 77 total different series aired. • Exclusions • Female protagonist • Few episodes available • No calm voice/poor audio quality Included in data set: 56 CONCLUSIONS Beginning in the mid-90s, boku reemerged as a common pronoun in the mouths of protagonists. Temporally, this is in consistent with the reevaluation of hegemonic masculinity practices that occurred during the 90s as a result of the economic downturn. However, that is not to say that hegemonic masculinity as it existed prior to the downturn went away entirely—rather, it came to coexist more with other varieties of masculinity that gained recognition during this time period (see Smitsmans 2015, Dasgupta 2013). This is reflected in the continued presence (and dominance) of ore-using protagonists. The reevaluation of masculinity, however, is particularly evident by examining the age group using boku the most— teens. Boku is most commonly associated with the speech of young children, particularly boys, and among teens it can carry a connotation of “weakness” (Miyazaki 2004). However, in this data set, the majority of the protagonists that were portrayed using the pronoun boku were teens, and they were not in any sense disadvantaged for their use of boku , nor was boku a reflection of any character-based shortcoming. SELECTED REFERENCES • Dasgupta, R. (2013). Re-reading the Salaryman in Japan: Crafting Masculinities. London: Routledge. • Deacon, C. (2013). All the World’s a Stage: Herbivore Boys and the Performance of Masculinity in Contemporary Japan. In B. Steger and A. Koch (eds.), Manga Girl Seeks Herbivore Boy: Studying Japanese Gender at Cambridge, 129-176. Munster, DE: LIT Verlag. • Kinsui S. (2003). Vaacharu nihongo: yakuwarigo no nazo [ Virtual Japanese: The Mystery of Role Language]. Tokyo: Iwanami Shoten. • Kinsui S. (2014). Yakuwarigo shoojiten [“Role Language Mini Dictionary”]. Tokyo: Iwanami Shoten. • Miyazaki, A. (2004). Japanese junior high school girls’ and boys’ first-person pronoun use and their social world. In S. Okamoto & J. S. Shibamoto Smith (eds.), Japanese Language, Gender, and Ideology , 256-274. Oxford: Oxford University Press. • Nakamura M. (2007). “Sei” to nihongo [ “Gender” and Japanese]. Tokyo: NHK Books. • Smitsmans, J. (2015). The Resilience of Hegemonic Salaryman Masculinity: A Comparison of Three Prominent Masculinities. In Working papers in contemporary Asian studies, 51. Lund, SE: Centre for East and South-East Asian Studies, Lund University. THE OHIO STATE UNIVERSITY - DEPARTMENT OF EAST ASIAN LANGUAGES & LITERATURES AIM During the economic downturn of the 1990s, the dominance of salaryman masculinity weakened due to the destabilization of the path from school to full-time white collar employment. In order to assess in what way hegemonic masculinity’s changes in the 90s are reflected in popular media, this project analyzed animated works adapted from comics that have run in the manga magazine Weekly Shōnen Jump, which has a reported targeted audience of elementary and junior high school boys (61% of readership as of 2012). Also, it is the highest grossest manga magazine both among those marketed to adolescent boys and in the market overall. Table 1. Number of works analyzed by decade. Table 2. Number of protagonists per decade by age group. Contact Information: [email protected] DECADE # OF WORKS 1980 10 1990 14 2000 18 2010 14 Variable: First-person pronoun (hereafter “1PP”) • In fiction, typically consistent throughout work unlike in reality, where speakers will switch depending on circumstance (see Miyazaki 2004, Nakamura 2007). Note: This data set is part of a larger data set that also analyzes average f0 and average range of f0, which is why there are exclusions based on voice or audio quality. RESULTS Data pertaining to the works are arranged according to the decade in which the work first began to air—duration of air or date of end point was not taken into consideration for this project. Age and 1PP of Protagonists As evidenced in Table 2, in the 1980s, the age of the protagonists was evenly distributed, but beginning in the 90s and advancing in the 00s and 10s, the majority of protagonists were teens (age 13-19). CHILD TEEN ADULT 1980 3 3 4 1990 3 8 3 2000 3 12 3 2010 2 10 2 11 33 12 There were a total of 7 total different pronouns used by protagonists in the data set, as we can see in Figure 1. • “Other” - ora (1), oira (2), sessha (1), watashi (2), washi (1) • Boku vs. ore usage • Prior to 1996, no protagonists or side characters in this data set used boku. • Post-1996, boku users are approx. 30% of protagonists. • Even where the protagonist uses ore, there was frequently a boku using character in the ensemble. Decade Work Title (Year of Air) 1980 Space Cobra (1982); Captain Tsubasa (1983); Fist of the North Star (1984); Dragon Ball (1986); Ginga: Nagareboshi Gin (1986); Saint Seiya (1986); City Hunter (1987); Kimagure Orange Road (1987); Sakigake!! Otokojuku (1988); Dragonball Z (1989) 1990 Dragon Quest: Dai no Daibooken (1991); Yuu Yuu Hakusho (1992); SLAM DUNK (1993); Taa-chan King of the Jungle (1993); D・N・A² (1994); NINKU (1995); Rurooni Kenshin (1996); Hell Teacher Nuubee (1996); Sexy Commando (1998); Yuugioh (1998); Soul Hunter (1999); Ningyoo Sooshi Ayatsuri Sakon (1999); HUNTERxHUNTER (1999); ONE PIECE (1999) 2000 Yuugioh DM (2000); Shaman King (2001); Prince of Tennis (2001); Hikaru no Go (2001); Naruto (2002); Whistle! (2002); BobobooBo-BooBobo (2002); Ring ni Kakero (2004); Bleach (2004); Ichigo 100% (2005); Eyeshield 21 (2005); BLACK CAT (2005); Gintama (2006); D.Gray-man (2006); Busoo Renkin (2006); DEATH NOTE (2006); Hitman Reborn (2006); To LOVEru (2008) 2010 Nurarihyon (2010); Bakuman. (2010); HUNTERxHUNTER (2011); Level E (2011); Beelzebub (2011); Toriko (2011); SKET Dance (2011); Kuroko no Basket (2012); Haikyuu!! (2014); Nisekoi (2014); World Trigger (2014); Assassination Classroom (2015); Shokugeki no Sooma (2015); Battle Spirits: Burning Soul (2015) CHILD TEEN ADULT TOTAL boku 1 11 1 13 ore 9 20 7 36 other 1 2 4 7 Table 3. Age of protagonists that use a given pronoun. In Table 3, we can see the age of the protagonists that used particular pronouns. As illustrated above, the majority of boku users that appeared were teens. This is counter to our expectation, as boku has more of an association with young boys than with teenage ones (Miyazaki 2004).
Transcript of THE OHIO STATE UNIVERSITY - DEPARTMENT OF EAST ASIAN ... · Talking like a Shōnen Hero: Reframing...
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Talking like a Shōnen Hero:Reframing masculinity in post-bubble era Japan through the lens of boku and oreHannah E. Dodd, Ph.D. Student
BACKGROUNDJapanese hegemonic masculinity in the 20th century
underwent a variety changes. During the post-World WarTwo (hereafter “postwar”) economic boom, the masculineideal was reinterpreted from the educated, affluent male tothat of the more “red-blooded”, economically aggressive“salaryman,” a shift we can observe in the speech offictional protagonists (Deacon 2013). According to Kinsui(2003), within a given work, a protagonist typically has theleast marked speech style unless there exists a narrativereason that justifies otherwise (66-67). Accordingly, whenlooking at the speech of protagonists over the early- andmid-20th century, we are able to see a shift in the preferredfirst-person pronoun of male characters from boku, whichin male speakers is associated with the aforementionededucated speaker noted above, to ore, which has moreaggressive, “hot-blooded” connotations, indicating that thedefault interpretation of the ideal “hero” evolved(Nakamura 2007: 64-66).
Figure 1. Percentage of works with a protagonist that uses a given 1PP.
Figure 2. Complete list of works included in this data set.
METHODSBetween 1968 – 2015, 77 total different series aired.• Exclusions
• Female protagonist• Few episodes available• No calm voice/poor audio qualityIncluded in data set: 56
CONCLUSIONSBeginning in the mid-90s, boku reemerged as a common
pronoun in the mouths of protagonists. Temporally, this is inconsistent with the reevaluation of hegemonic masculinitypractices that occurred during the 90s as a result of theeconomic downturn. However, that is not to say thathegemonic masculinity as it existed prior to the downturnwent away entirely—rather, it came to coexist more withother varieties of masculinity that gained recognition duringthis time period (see Smitsmans 2015, Dasgupta 2013). Thisis reflected in the continued presence (and dominance) ofore-using protagonists.
The reevaluation of masculinity, however, is particularlyevident by examining the age group using boku the most—teens. Boku is most commonly associated with the speech ofyoung children, particularly boys, and among teens it cancarry a connotation of “weakness” (Miyazaki 2004). However,in this data set, the majority of the protagonists that wereportrayed using the pronoun boku were teens, and they werenot in any sense disadvantaged for their use of boku, norwas boku a reflection of any character-based shortcoming.
SELECTED REFERENCES• Dasgupta, R. (2013). Re-reading the Salaryman in Japan: Crafting
Masculinities. London: Routledge.• Deacon, C. (2013). All the World’s a Stage: Herbivore Boys and the
Performance of Masculinity in Contemporary Japan. In B. Steger and A. Koch (eds.), Manga Girl Seeks Herbivore Boy: Studying Japanese Gender at Cambridge, 129-176. Munster, DE: LIT Verlag.
• Kinsui S. (2003). Vaacharu nihongo: yakuwarigo no nazo [Virtual Japanese: The Mystery of Role Language]. Tokyo: Iwanami Shoten.
• Kinsui S. (2014). Yakuwarigo shoojiten [“Role Language Mini Dictionary”]. Tokyo: Iwanami Shoten.
• Miyazaki, A. (2004). Japanese junior high school girls’ and boys’ first-person pronoun use and their social world. In S. Okamoto & J. S. Shibamoto Smith (eds.), Japanese Language, Gender, and Ideology, 256-274. Oxford: Oxford University Press.
• Nakamura M. (2007). “Sei” to nihongo [“Gender” and Japanese]. Tokyo: NHK Books.
• Smitsmans, J. (2015). The Resilience of Hegemonic Salaryman Masculinity: A Comparison of Three Prominent Masculinities. In Working papers in contemporary Asian studies, 51. Lund, SE: Centre for East and South-East Asian Studies, Lund University.
THE OHIO STATE UNIVERSITY - DEPARTMENT OF EAST ASIAN LANGUAGES & LITERATURES
AIMDuring the economic downturn of the 1990s, the
dominance of salaryman masculinity weakened due to thedestabilization of the path from school to full-time whitecollar employment. In order to assess in what wayhegemonic masculinity’s changes in the 90s are reflected inpopular media, this project analyzed animated worksadapted from comics that have run in the manga magazineWeekly Shōnen Jump, which has a reported targetedaudience of elementary and junior high school boys (61%of readership as of 2012). Also, it is the highest grossestmanga magazine both among those marketed toadolescent boys and in the market overall.
Table 1. Number of works analyzed by decade.
Table 2. Number of protagonists per decade by age group.
Contact Information: [email protected]
DECADE # OF WORKS1980 101990 142000 182010 14
Variable: First-person pronoun (hereafter “1PP”)• In fiction, typically consistent throughout work unlike in
reality, where speakers will switch depending oncircumstance (see Miyazaki 2004, Nakamura 2007).
Note: This data set is part of a larger data set that alsoanalyzes average f0 and average range of f0, which is whythere are exclusions based on voice or audio quality.
RESULTSData pertaining to the works are arranged according to
the decade in which the work first began to air—duration ofair or date of end point was not taken into consideration forthis project.
Age and 1PP of ProtagonistsAs evidenced in Table 2, in the 1980s, the age of the
protagonists was evenly distributed, but beginning in the90s and advancing in the 00s and 10s, the majority ofprotagonists were teens (age 13-19).
CHILD TEEN ADULT
1980 3 3 4
1990 3 8 3
2000 3 12 3
2010 2 10 2
11 33 12
There were a total of 7 total different pronouns used byprotagonists in the data set, as we can see in Figure 1.• “Other” - ora (1), oira (2), sessha (1), watashi (2),
washi (1)• Boku vs. ore usage
• Prior to 1996, no protagonists or side charactersin this data set used boku.
• Post-1996, boku users are approx. 30% ofprotagonists.
• Even where the protagonist uses ore, there wasfrequently a boku using character in theensemble.
Decade Work Title (Year of Air)
1980 Space Cobra (1982); Captain Tsubasa (1983); Fist of the North Star (1984); Dragon Ball (1986); Ginga: Nagareboshi Gin (1986); Saint Seiya (1986); City Hunter (1987); Kimagure Orange Road (1987); Sakigake!! Otokojuku (1988); Dragonball Z (1989)
1990 Dragon Quest: Dai no Daibooken (1991); Yuu YuuHakusho (1992); SLAM DUNK (1993); Taa-chanKing of the Jungle (1993); D・N・A² (1994); NINKU(1995); Rurooni Kenshin (1996); Hell Teacher Nuubee (1996); Sexy Commando (1998); Yuugioh(1998); Soul Hunter (1999); Ningyoo Sooshi AyatsuriSakon (1999); HUNTERxHUNTER (1999); ONE PIECE (1999)
2000 Yuugioh DM (2000); Shaman King (2001); Prince of Tennis (2001); Hikaru no Go (2001); Naruto (2002); Whistle! (2002); BobobooBo-BooBobo (2002); Ring ni Kakero (2004); Bleach (2004); Ichigo 100% (2005); Eyeshield 21 (2005); BLACK CAT (2005); Gintama (2006); D.Gray-man (2006); Busoo Renkin(2006); DEATH NOTE (2006); Hitman Reborn (2006); To LOVEru (2008)
2010 Nurarihyon (2010); Bakuman. (2010); HUNTERxHUNTER (2011); Level E (2011); Beelzebub (2011); Toriko (2011); SKET Dance (2011); Kuroko no Basket (2012); Haikyuu!! (2014); Nisekoi (2014); World Trigger (2014); Assassination Classroom (2015); Shokugeki no Sooma (2015);Battle Spirits: Burning Soul (2015)
CHILD TEEN ADULT TOTAL
boku 1 11 1 13
ore 9 20 7 36
other 1 2 4 7
Table 3. Age of protagonists that use a given pronoun.
In Table 3, we can see the age of the protagonists thatused particular pronouns. As illustrated above, the majorityof boku users that appeared were teens. This is counter toour expectation, as boku has more of an association withyoung boys than with teenage ones (Miyazaki 2004).
