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Research on Japanese men's speech shows greater use of "neutral" forms, forms not strongly associated with masculine or feminine speech, than is seen in Japanese women's speech. [12] Some studies of conversation between Japanese men and women show neither gender taking a more dominant position in interaction.
LGBTQ culture in Japan has recently begun to distinguish. The Japanese adopted the English term gender ( ジェンダー , jendā ) to describe cultural concepts of feminine and masculine. Previously, sei was used to distinguish the binary biological sexes, female and male, as well as the concept of gender.
The ideal female skin color in Japan would be considered "tan" in the West. According to Ashikari, there is a widepread perception in Japan that European women's skin is less beautiful than Japanese women's, as White women's skin is stereotyped as being too pale, reddish, and roughly textured. [14]
Josou o Yamerarenaku Naru Otokonoko no Hanashi is written and illustrated by Kobashiko. [4] As they enjoy gender-swap stories, they had originally planned to write a story about a transgender character, but decided to instead write about a male character dressing like a woman after deciding that Kazu does not have to be a woman to be cute.
Otokonoko (男の娘, "male daughter" or "male girl", also pronounced as otoko no musume) is a Japanese term for men who have a culturally feminine gender expression. [1] [2] This includes, among others, males with feminine appearances, or those cross-dressing.
Historically, Japanese culture has portrayed feminine men and masculine women in the context of theatre and performance, involving cross-dressing, men performing women's roles in kabuki (known as onnagata), and all-female performance companies such as the Takarazuka Revue. [2] Unisex fashion for men has also been expressed through anime and manga.
This was more uncommon as it was standard for onnagata to be an artistically feminine performance played by a male actor who underwent training to learn the role. [6] In contemporary kabuki performance, onnagata is a separate theatrical role with different training that is separate from actual women in society.
In 2004, 54% of Japanese women in their 20s were single, as opposed to 30.6% in 1985. [34] Young women are instead living a lifestyle centred on friends and work. [34] Unmarried Japanese adults typically live with their parents, thus saving on household expenses and increasing the amount of money available to spend on their own entertainment.