Tema / THEME 主要議題 homoseqsualoba iaponiaSi Homosexuality in Japan 私 seqsualobas biologiuri da reproduqciulis garda, socialuri da kulturuli mniSvnelobac gaaCnia. istoriulma da eTnografiulma kvlevebma daadastura, rom mamakacebSi homoseqsualur qcevas yvela drosa da sazogadoebaSi vxvdebiT, Tumca sxvadasxva kultura da religia sxvadasxvanairad aRiqvams da afasebs mas (qalTa homoseqsualoba naklebadaa Seswavlili, rac mamakacuri Sovinizmis kidev erT gamovlinebas da kulturaTa upiratesad maskulinuri xasiaTiT SeiZleba aixsnas). blekvudma, uiThemma da endlemenma1 xangrZlivi kvlevis Semdeg damokidebuleba sam tipamde daiyvanes. pirveli tipis sazogadoeba sakmaod tolerantulad ekideba homoseqsualobas, Sesabamisad aseTi tipis sazogadoebaSi mcxovrebi homoseqsualebi Riad saubroben sakuTar qcevaze. meore tipis sazogadoebaSi mamakacebi aucileblad CarTulni arian homoseqsualur qcevaSi maTi mamakacebad Camoyalibebis periodSi (ritualebi, iniciaciis formebi da sxv). da, bolos, mesame tipis sazogadoebaSi mamakacebis homoseqsualoba mkacrad isjeba, samarcxvinod iTvleba da cxadia, maTi umetesoba ar amJRavnebs Tavis midrekilebebs. amasTan, SesaZloa erTi da igive sazogadoeba homoseqsualur qcevas garkveul situaciebSi kategoriulad krZalavdes, xolo sxva situaciebSi aucileblad Tvlides, an neitraluri damokidebulebas amJRavnebdes. tradiciebi, wes-Cveulebebi da ritualebi ar ayalibebs raime gansakuTrebul, mudmiv seqsualur identurobas da cnobierebas 2, erotikuli upiratesoba ki SeiZleba ar mJRavndebodes qcevaSi. amitomac, am tipis kvlevebis umetesoba swavlobs damokidebulebas ara homoseqsualTa, aramed homoseqsualuri qcevis mimarT sxvadasxva kulturebsa da sazogadoebaSi. Sexuality has social and cultural meanings beyond its biological and reproductive ones. Historical and ethnographic research attests that, homosexual behavior is observable in all human history and society; however, their perception varies by cultures and religions (women’s homosexuality is understudied, which is yet another expression of male chauvinism and masculine character of the cultures). After extensive studies, Blackwood, Whitam and Endleman1 came up with the three types of societies based on their attitudes: the irst type is rather tolerant to homosexuality. In these societies, homosexuals are able to openly speak about their behavior. In the second type, the men are engaged in homosexual behavior on their way to turning into men (rituals, various forms of initiations, etc.). The inal type is a culture where male homosexuality is strictly punishable, is subject to shame and most men hide their inclinations. Besides, the same society that strictly condemns homosexual behavior in certain situations may take it as a necessarily required behavior other scenarios or may simply be neutral to it. As usual, traditions, customs and rituals do not form any particular, constant sexual identity and consciousness2 , while erotic preferences may not be displayed in behavior at all. Therefore, the majority of such research studies attitudes not towards the homosexuals per se, but attitudes towards homosexual behavior in various cultures and societies. 私 私 私 Suasaukuneebis iaponia aRmosavlur kulturaTa umetesoba (islamuri samyaros gamoklebiT) sakmaod indiferentulia mamakacTa homoseqsualuri qcevis mimarT. erTsqesiani siyvar- Japan in the Middle Ages The majority of Eastern cultures (minus Islamic world) are quite uncaring towards homosexual behavior in men. Most tolerant to the same sex love was Japan until XIX Century. This was related to, on one hand, to general aesthetization of the male body, and on the other, with bravery and faithfulness cult of Samurai3. Homosexual relations were never thought of as something to be ashamed of or ilthy; these were rather believed as an important part of cultural heritage and a sign of a developed civilization. There are numerous terms in Japanese language, which describes homosexual relations between males. Nanshoku4 26 Tema / THEME 主要議題 ulis mimarT yvelaze mimtevebeli aziuri qveyana XIX s-mde iyo iaponia, rac dakavSirebuli iyo, erTi mxriv, mamakacis sxeulis saerTo esTetizaciasTan, xolo meore mxriv _ mamacobisa da erTgulebis samuraul kultTan.3 homoseqsualur urTierTobebs mamakacTa Soris iaponelebi arasodes uwodebdnen samarcxvinos an binZurs da mas Tavisi kulturuli memkvidreobis mniSvnelovan elementad da ganviTarebuli civilizaciis niSnad Tvlidnen. iaponur enaSi bevri termini arsebobs, romelic mamakacTa Soris seqsualur urTierTobas aRwers. nansoku4 (zogan gvxvdeba dansoku) zogadi terminia, romelic gamoiyeneba homoseqsualur urTierTobaTa sxvadasxva tipis aRsawerad, romelTa Soris gansxvavebasac konteqstis garda, ganapirobebs homoseqsualur aqtSi monawileTa asaki, statusi da genderuli identoba. es termini aRwers seqsualuri qcevis formas an seqsualur rolebs da ara aqtSi monawileTaYidentobas an seqsualur upiratesobas. mamakacebs, romelTac qali izidavda, SesaZloa aseve mimzidvelad CaeTvala vakaSuu (sityvasityviT, axalgazrda biWi) an msaxiobi, vinc qalis rols TamaSobda (onagata an “qalis niRabi”). 5 gansxvavebiT dasavluri kulturebisagan, iaponiaSi qalisa da mamakacis siyvaruli erTnairad normalurad iTvleboda. mxolod erTi sqesisTvis gansakuTrebuli upiratesobis miniWebas iSviaTad da ucnaurobad miiCnevdnen. mamakacebs, romlebic mxolod sxva mamakacebTan urTierTobas aniWebda upiratesobas onnagirais (qalTmoZules) uwodebdnen - ara ltolvis, aramed ganridebis obieqtis mixedviT. amasTan, mamakacTa seqsualuri urTierToba ufro mkacrad iyo reglamentirebuli, vidre heteroseqsualuri urTierTobebi.6 istorikosebi sam gansxvavebul subkulturas gamo- (Sometimes it is Danshoku) is a general term, used to describe diverse types of homosexual relations where distinction is based on the context of the act, as well as on the age (junior or senior role), status and gender identities of the participants. The term describes a type of sexual behavior, sexual roles, and not the identities of the participants or sexual advantages of certain parties. Men, who had preferences for women, could very well feel attracted to wakashu (literally, “an young boy”) or an actor, who played feminine roles (onagata or “a woman’s mask”). 5 Unlike Western cultures, love to men and love to women was taken with equal normalcy. Afording any particular gender a superior place would count as strange. Men, who exclusively preferred men, were called as onnaigirai (womenhater) – based not on their attraction, but on their object of dislike. Besides, a relationship among men was subject to stricter regulations as opposed to heterosexual relationships.6 Historians talk about three diferent subcultures: Buddhist monasteries, feudal circles of Samurai and theatrical universe. According to a legend, Kūkai, a Buddhist monk, introduced Nanshuku in Japan after returning from China at the beginning of the IX Century. However, in the original works of Kūkai, one cannot ind evidence or mention of it. Besides, even though Buddhists are tolerant towards various types of sexual practices, ascetic lifestyle, and sexual abstinence is usually advocated in Buddhist monasteries. Despite the 私 私 27 私 Tema / THEME 主要議題 私 yofdnen: budistur monastrebs, feodalur-samuraul wresa da Teatralur samyaros. legendis Tanaxmad, homoseqsualuri urTierTobebis kultura iaponiaSi budistma berma kukaim Seitana CineTidan IX saukunis dasawyisSi. Tumca, Tavad kukais naSromebSi es Tema saerTod ar gvxvdeba. amasTan, budizmis sakmaod Semwynarebluri damokidebulebis miuxedavad sxvadasxva seqsualuri teqnikebis mimarT, budisturi taZrebSi cxovrebis wesebi seqsualur TavSekavebasa da asketizms qadagebs. zemoTqmulis miuxedavad, koia mTa, romelzedac kukais monasteri idga) dRemde asocirdeba erTsqesian siyvarulTan. rogorc Cans, budisti berebis umravlesobisaTvis dauqorwineblobis aRqma ar vrceldeboda seqsualur urTierTobebze berebsa da morCilebs Soris da sakmaod gavrcelebuli iyo iaponiaSi. amaze metyvelebs rogorc sxvadasxva literaturuli wyaroebi, ise budistur taZrebSi SemorCenili Canawerebi. 7 kidev ufro mkacrad iyo reglamentirebuli homoseqsualuri urTierTobebi samuraebs Soris. samurai (iseve, rogorc paJi da saWurvelTmtvirTveli) warmoudgeneli iyo partnioris gareSe. meCvidmete saukunis iaponeli poeti ihara saikaku wers: “ymawvili ufrosi sayvarlis gareSe igivea, rac uqmro qali da aseTi ymawvili sasaciloa.” seqsualuri urTierToba samuraisa da mowafes Soris kodeqsis mixedviT manamde grZeldeboda, sanam mowafes 18-19 weli Seusruldeboda da iniciacias gaivlida. amis Semdeg urTierToba axal safexurze gadadioda. rogorc wesi, es urTierToba ukve aRar Tvlida savaldebulod seqsualur urTierTobebs, Tumca, wyvilebi uaxloes megobrebad rCebodnen. imavdroulad, maRali wris warmomadgeneli samuraebi, valdebulni iyvnen daqorwinebuliyvnen qalze da ojaxi SeeqmnaT. meomarTa kastisaTvis damaxasiaTebeli TaobaTaSorisi homoseqsualuri urTierTobebi araerTxel gamxdara Suasaukuneebis iaponur literaturisa da mxatvrobis mTavari Tema (ihara saikakus “mamakacuri siyvarulis diadi sarke”; genZi monogataris “moTxroba genZize”; kitagava fuZimaro, suZuki harunobu, utagava kunisada da sxv). samuraebisa da raindTa wreSi, sadac yvelaferi meomruli Rirsebis kodeqss emorCileboda, yvelaze metad erTguleba fasobda. suzerenis Ralati mkacrad isjeboda. Tumca, siyvarulSi erTguleba garkveuli xarisxiT efuZneboda urTierTgamocdasa da Tanxmobasac: “axalgazrdam ufrosi, sul cota, xuTi wlis ganmavlobaSi unda gamoscados. Tu am xnis ganmavlobaSi mas above mentioned, Koya, a mountain where Kūkai built his monastery, is still associated with same-sex love. Celibacy rule, it seems, did not regulate sexual relations between monks and noviciates throughout Japan. Various literature sources, as well scriptures remaining in Buddhist monasteries attest to this . 7 Sexual relationships between the Samurai were regulated even more thoroughly. Samurai (and page and trainbearer) was unimaginable without a partner. Ihara Saikaku, 17th Century Japanese Poet, writes, “An adolescent without an older lover is the same as a woman with no husband. But this sort of person is ridiculous.” According to a code, sexual relationships between Samurai and his apprentice would last until he reached 18-19, and later was initiated. After this stage, their bond would move up to another stage. As a rule, this stage did not mandate sexual relations between the two. The couple remained as closest friends to each other. At the same time, High-ranking Samurai were mandated to get married with a woman and create a family. Intergenerational homosexual relations between the warriors have often become the major theme of Japanese literature and painting of the middle Ages (Ihara Saikaku’s The Great Mirror of Male Love; Genji Monogatari “Tale of Genji.” Kitagawa Fujimaro; Suzuki Harunobu, Utagawa Kunisada et al.) Fidelity was the most appreciated trait among the Samurai circles, where everything was subject to martial code of virtues. Betraying the suzerain was a crime worthy of a strict punishment. However, idelity in love was, to a certain degree, based on mutual testing and agreement: "A young man should test an older man for at least ive years, and if he is assured of that person's attentions, then he too should request the relationship. A ickle person will not enter deeply into a relationship and later will abandon his lover. If they can assist and devote their lives to each other, then their nature can be ascertained. However, if [only] one partner is crooked, then the other should say that there are hindrances to the relationship, and sever it with irmness. If the irst should ask what those hindrances are, then one should respond that he will never in his life say. If he should continue to push the matter, one should get angry. If he continues to push even further, cut him down. Furthermore, the older man should ascertain the younger's real motives in the aforementioned way [relationship]. If the younger man can devote himself and get into the situation [even] for ive or six years, then it will not be unsuitable.” 28 Tema / THEME 主要議題 erTxelac ar Seepareba eWvi misi zraxvebis keTilSobilebaSi, maSin mas SeuZlia upasuxos mis grZnobebs, meryev adamianTan SeuZlebelia kargi urTierTobis damyareba, vinaidan is male uRalatebs Tavis sayvarels. Tu aseTi adamianebi TavianT sicocxles erTmaneTs uZRvnian, isini urTierTndobiT sargebloben. Tu erTi maTgani garyvnilia, meorem unda uTxras, rom ar SeuZlia masTan urTierToba da amis Semdeg samudamod gawyvitos masTan kavSiri. Tu pirvelma hkiTxa mizezi, meorem unda upasuxos, rom arafris gulisTvis ar etyvis mizezs. Tu pirveli mainc ar eSveba, meore unda ganrisxdes. Tu pirveli daJinebiT gaagrZelebs Txovnas, maSin adgilzeve mokali. amas garda, ufrosmac aseve unda Seamowmos umcrosis realuri ganzraxva imave gziT. Tuki umcross SeuZlia mTlianad miuZRvnas Tavi ufross xuTi an eqvsi wlis ganmavlobaSi, maSin is Sesaferisi iqneba.” samuraebis homoerotiuli megobroba tipiuri feodaluri institutia. seqsualuri moTxovnilebis dakmayofileba da ymawvilebisadmi ltolva aq efuZneba vasalur, damokidebul urTierTobas. seqsualuri kavSirebi ara marto amyarebda am urTierTobebs, aramed maT personalizirebuls xdida, iaponuri terminologiiT, “civ vals” “Tbil valad” aqcevda.8 feodals SeeZlo Zala exmara biWze, magram am SemTxvevaSi siyvaruli mas ar ekuTvnoda. cnobilia iseTi SemTxvevebic, rodesac ufrosi samuraic iZleoda erTgulebis fics. paradoqsulia, magram vakasudo (sityvasityviT “ymawvilTa gza”) rogorc batonisadmi upirobo morCilebis tradicia, imavdroulad ewinaaRmdegeba kidevac mas. samuraebis kodeqsis erT-erTi cnobili avtori, iamamoto cunetomo ase aRwers am winaaRmdegobas: “sakuTari sicocxlis gawirva sxvisTvis nansokus ZiriTadi principia. sxva SemTxvevaSi es samarcxvino saqmea. Tu am wess icav, araferi grCeba, rasac batonisaTvis gaiRebdi. amitomacaa is erTdroulad sasiamovnoca da usiamovnoc.”9 feodalizmis epoqis dasrulebasTan erTad Seicvala am urTierTobebis Sinaarsic. homoseqsualurma urTierTobebma dakarga kavSiri meomrul eTikasa da aRmzrdelobiT idealebTan, riTac gamoecala moraluri safuZveli, romelsac eyrdnoboda. erotiuli urTierTobebi ufro da ufro komercializebuli gaxda. mesame specifiuri homoseqsualuri subkulturaa - Teatraluri samyaro. vinaidan qals ekrZaleboda scenaze gamosvla, warmodgenaSi qalis rols gadacmuli mamakacebi asrulebdnen. maT onnagatas (onnaga- Homoerotic friendship of Samurai – is a typical feudal institution. Gratiication of sexual desires and inclination towards adolescents is based on feudatory, vassalage dependencies. Sexual contacts not only bonded these ties, but made them personalized, or to use Japanese words, transformed a “cold vassal” into a “warm vassal.” 8 Overlord could use force on a boy, but in such cases, his love could not be demanded. There are cases known, when an older Samurai gave an oath of idelity. Paradoxically, wakashudo was both integral to the tradition of unqualiied devotion that a retainer had to have towards his lord, and at odds with it. Yamamoto Tsunetomo had this to say about the quandary: 私 “To lay down one’s life for another is the basic principle of nanshoku. If it is not, so it becomes a matter of shame. However, then you have nothing left to lay down for your master. It is therefore understood to be both something pleasant and unpleasant." 9 The content of these relationships changed their meaning with the ending of feudal epoch. Homosexual relationships lost their connection to martial ethics and educational ideals, which rendered it without moral grounds, upon which it was built. Erotic relationships became more and more commercialized. The third, speciic homosexual subculture – is the universe of the theatre. Since women were not allowed on stage, men played feminine roles, dress in special masks. They 29 Tema / THEME 主要議題 ta) uwodebdnen. nos da kabukis iaponur tradiciul TeatrebSi yovelTvis bevri iyo homoerotika, xolo axalgazrda msaxiobebi xSirad didebulTa, maT Soris mmarTveli-siogunebis sayvarlebi iyvnen. droTa ganmavlobaSi aqtioruli prostitucia sruliad kanonier da prestiJul saqmianobad iqca. marTalia, kabukis Teatris biWebi valdebulebi ar iyvnen Tavisi sayvarlebis erTgulebi yofiliyvnen da garkveuli Tanxis sanacvlod nebismier msurvels emsaxurebodnen, mainc pativs scemdnen da afasebdnen. am wreSi asakobrivi sazRvrebi Zalzed pirobiTi iyo, zogjer “biWebad” iTvlebodnen 30 wels gadacilebuli mamakacebi, romlebic cdilobdnen, marad axalgazrduli ieri hqonodaT. maTTvis asakis kiTxva uzrdelobad iTvleboda. XVII-XVIII ss-Si iaponiaSi mamakacuri prostituciis legaluri formebic gaCnda. axalgazrda ymawvilebs, vinc komerciuli seqsiT irCenda Tavs, kagemas uwodebdnen, specialuri sameZavo saxlebs ki - kagemaZaia (kagemajaya), rac sityva-sityviT kagemas Cais saxls niSnavs. miuxedavad imisa, rom homoseqsualur urTierTobebis tradicias iaponiaSi TiTqmis aTaswlovani istoria aqvs da arasodes ganixileboda codvad an amoralobad, dasavluri civilizaciis gavleniT 1873 wels kanoniT aikrZala homoseqsualuri qcevis garkveuli formebi. Tumca, am kanonma sul Svidi weli iarseba da Semdeg isev gauqmda. were named as onnagata. No and Kabuki Japanese traditional theatres always had a lot of homoerotic passion, while young actors were often the lovers of the nobility, including, governing Shoguns. As times passed by, artistic prostitution became quite a legitimate and prestigious occupation. True, Kabuki theatre boys didn’t have to stay true to their lovers and would gladly serve anyone sums of monies, but they were still respected and appreciated. Age related threshold was not important in this circle; sometime men over 30 were still referred to as “boys.”They were all trying to look as young as they could keep it that way. Asking them their age was a mauvais ton. In XVII-XVIII Centuries Japan, witnesses legalized forms of male prostitution. Young male adolescents, who were maintaining themselves with prostitutions, were called Kagema. Special public houses, kagemajaya were set up to employee Kagema boys. Kagemajaya literally means ‘tea house for Kagema’. Despite the fact, that homosexual relations have a history of thousand years and it was never seen as a sin or an immoral phenomenon, Western civilization still inluenced Japanese views on homosexuality. Certain forms of homosexuality were declared illegal in 1873. However, this law did not last for more than 7 years before it was abolished. Modern Japan Tanamedrove iaponia 私 Tanamedrove iaponiaSi homoseqsualuri urTierTobebi kriminalizebuli araa, magram arc antidiskriminaciuli kanonmdebloba arsebobs. iaponiaSi uamravi gei barebi da sxva TavSeyris adgilebia homoseqsualTaTvis. pop-varskvlavebs, momRerlebs, teleSouebis wamyvanebs Soris bevri Ria gei da transgenderia. miuxedavad amgvari loialobisa, kanoniT qorwineba mxolod sxvadasxva sqesis adamianebs Sorisaa daSvebuli. mkvlevarTa azriT, amgvari mdgomareoba iaponel geebs biseqsualuri cxovrebis wesisaken ubiZgebs. sxvagvari situaciaa lesboselebTan dakavSirebiT. iaponuri kultura, romelic erT-erTi yvelaze mizogenuri kulturaa msoflioSi, tradiciebs arc am mxriv Ralatobs. miuxedavad, zogadad seqsualobisa da maT Soris mamakacTa homoseqsualobis mimarT loialuri damokidebulebisa, iaponuri kulturisaTvis dRemde miuRebelia qalis aqtiuri roli heteroseqsualur urTierTobebSi (rom aRaraferi vTqvaT qalTa homo- 30 Tema / THEME 主要議題 seqsualobaze). vinaidan, aseTi urTierTobebi mainc arsebobs, SeuZlebelia raime formiT ar iyos asaxuli Tanamedrove masobrivi kulturis produqciaSi. 1814 wels Tavisi drois erT-erTma cnobilma mxatvarma hokusaim gamosca wigni, romlis Sinaarsic mTlianad gaformebuli iyo Sav-TeTri eskizebiT. dasuraTebulma romanebma (manga) maSinve uzomo popularoba moipova. dResdReobiT manga Jurnalisa da damoukidebeli broSurebis saxiT gamoicema, Tumca, rogorc mkvlevarebi amtkiceben, manga ar warmoadgens dasavluri komiqsis nairsaxeobas. komiqsisagan gansxvavebiT, manga gamorCeulia mxatvruli Sesrulebis maRali xarisxiTa da emociuri siRrmiT. 10 XX saukunis meore naxevridan iaponiaSi popularuli xdeba mangas motivebze Seqmnili animaciuri filmebi da serialebi. animes pirveli avtorebi qalebi iyvnen da amitomac pirveli serialebis samizne auditoriasac axalgazrda qalebi Seadgendnen. samocdaaTiani wlebis seqsualurma revoluciam mangakebs (ase uwodebdnen animeze momuSave qal mxatvrebs), ubiZga ufro Tamamad gamoexataT qalsa da mamakacs Soris arsebuli urTierTobebi TavianT filmebSi, magram iaponuri kulturis patriarqaluri xasiaTi da qalTa seqsualobis mimarT SenarCunebuli mkveTri konservatizmi mkacr SezRudvebs uwesebda avtorebs. mangasa da animeSi qali-gmirebis seqsualuri subieqturoba didi xnis ganmavlobaSi gamonakliss warmoadgenda. swored am SezRudvebis damsaxureba unda iyos mangasa da animeSi axali tipis personaJis gaCena - axalgazrda, feminizebuli biWis tipaJi. aseTi tipis manga, rogorc wesi, mogviTxrobs ori axalgazrdas siyvarulze. dasawyisSi, aqcenti megobrobasa da homoerotiul ltolvaze keTdeboda, Tumca, mogvianebiT mangakebma ufro Tavisuflad daiwyes homoseqsualuri scenebis gamosaxvac, ramac axal Janrs “iaoi”-s Cauyara safuZveli. Tumca, am urTierTobebs homoseqsualuri mxolod pirobiTad SeiZleba vuwodoT. iaois personaJebis urTierToba mamakacuri homoseqsualuri siyvarulis Taviseburi interpretacia, fantaziis nayofi ufroa, vidre realoba. isini arc vizualurad hgvanan mamakacs (miT umetes iaponel mamakacebs. mangasa da animes erTerTma mkvlevarma yuradReba miaqcia kidev erT Taviseburebas: iaois personaJebis umetesoba TeTrkaniani axalgazrdaa da maRal socialur wres miekuTvneba, rac kidev ufro aucxoebs personaJs da amZafrebs iaponeli qalebis protests iaponuri patriarqaluri kulturis mimarT)11, da arc kulturaSi aRiarebul Modern Japan does not criminalize homosexual relationships, but does not protect it with antidiscrimination measures either. Japan has a wealth of gay bars and gathering places for homosexuals. There are many gays and transsexuals among pop-stars, singers and, TV show hosts. Despite such loyalty, same sex marriage is not allowed. These forces too many Japanese gays, researchers say to lead bisexual lives. Lesbians are a very diferent case. Japanese culture, which is one of the most misogynist cultures in the world, does not divert from these traditions in its treating of lesbian women. Despite quite loyal attitudes towards sexuality, and even male homosexuality, women’s active role in heterosexual relations is not accepted (let alone female homosexual relations). Since these relations still exist, it is impossible for it not to be relected in one way of another in mass culture productions. In 1984, a then-famous painter Hokushai published a book completely decorated black-and -white sketches. The stories decorated with pictures (manga) were an immediate success. Manga today is published in the form of magazines and brochures; researchers claim manga is not a form of comics, as we know them in the West. Unlike comics, manga is characterized with high quality prints and emotional depths . 10 Manga-based animated ilms and serials became popular in the second half of the XX Century. First authors of anime were women and therefore their primary target audiences were young women. Sexual revolution of the 1970s pushed manga-ka women (the name coined for those who work on Manga) to bring out more explicit content in their works on female-male relationships. However, patriarchal character of Japanese culture and strict conservatism maintained to restrict the expression of female sexuality did not aford much space to manga-ka women. That is why manga and anime were not adequately including female-heroines with as sexual subjects. This restriction is credited to have paved a way for new type of character – that of a young, feminized boy. As a rule, a manga of this type tells a love story of a two. Initially, the emphasis was placed on mutual friendship and homoerotic attractions. However, later manga-ka artists started expressing more and more explicit content, thus creating a very new genre of manga, yaoi. Calling Yaoi a homosexual is an arbitrary decision. Its characters interpret male homosexual love in a certain way. It is 31 私 Tema / THEME 主要議題 私 mamakacuri qcevis standartebs akmayofilebs. mkvlevarTa azriT, isini iaponeli qalebis mier gamogonili arsebebi arian, romlebic amgvarad gamoxataven ukmayofilebas arsebuli genderuli stereotipebiTa da tradiciebiT, romelic zRudavT maT realur cxovrebaSi. am mosazrebas isic adasturebs, rom am Janris produqciis momxmareblebi mxolod qalebi arian, gei mamakacebi ki ver axdenen identificirebas iaois personaJebTan da mas mTlianad qalebis fantaziis nayofad miiCneven.12 miuxedavad amisa, iaois gamogonilma personaJebma mniSvnelovani gavlena moaxdines iaponeli qalebis damokidebulebaze geebis mimarT realur cxovrebaSi. 90-iani wlebidan moyolebuli izrdeba im qalebis ricxvi, vinc dainteresebulia ara mxolod geisTan megobrobiT, aramed surs masTan ojaxis Seqmnac. rac Seexeba homoerotiuli Sinaarsis animeebs, romelic kacebis mier gei mamakacebisaTvis iqmneba, misi gmirebi upiratesad “maCoebi”, mkveTrad maskulinuri personaJebi arian. hentais qveJanrebi, romelic lesbosuri wyvilebis urTierTobas asaxavs, pornografiuli Sinaarsisaa da axalgazrda mamakacebisTvisaa gankuTvnili. manga an anime, romelic lesbosur urTierTobebs asaxavs da gogonebzea gaTvlili iuri-mangas (yuri) saxels atarebs. am Janris warmoSoba ukavSirdeba 80-iani wlebis popularul serials “uxamsi wyvili” (Dirty Pair), romlis mTavari gmirebi kei da iuri – mamakacad gadacmuli qalebi arian. originalSi isini heteroseqsualebi arian, Tumca, personaJebis “araqalurma”, mebrZolma xasiaTma da totalurad warumatebelma urTierTobebma mamakacebTan, mravalgvari spekulaciis saSualeba misca mis Tayvanismcemlebs da bazari gaivso samoyvarulo gamocemebiT, romelic mTavari gmirebis lesbosur urTierTobebs asaxavda. swored erT-erTi gmiris saxelis mixedviT ewoda am Janrs iuri-manga. amgvarad, gansxvavebebis aRwera, romliTac gei/ lesbi identoba konstruirdeboda/konstruirdeba Suasaukuneebis/Tanamedrove iaponur kulturaSi SeuZlebelia Sesabamisi konteqstis, tradiciebisa da istoriis gaTvaliswinebis gareSe. mkvlevarTa azriT, is faqti, rom dasavluri kulturisagan gansxvavebiT, gei-identoba aigeba ara rogorc “ucxo” (Tu ar gaviTvaliswinebT iaoi-s personaJebs, romlis xasiaTzec zemoT visaubreT), antisocialuri, anti-religiuri an anti-reproduqci- a mere product of phantasy and has less to do with reality. Visually, they do not visually resemble male images (especially, Japanese male images. One of the manga and yaoi researcher has drawn our attention to the fact that the vast majority of the characters are white adolescents from upper social circles, which renders the character as alien and toughens’ Japanese women’s protest to this patriarchal culture)11 and do not conform to male behavior standards imposed by the culture. Researchers believe they are creatures invented by Japanese women, who found their voices to protest Japanese gender stereotypes and traditions, which limit them in everyday real lives. This hypothesis is further supported by the demographic of the art: absolute majority of yaoi consumers are females. Various commentators have, then, argued that the bishoonen are not really 'men' but fantastic, androgynous creatures created by Japanese women as an expression of dissatisfaction with current gender stereotypes and the 'narrow life paths' which restrict women in the real world. Gay men tend not to identify with the beautiful youths in women's manga and feel that these igures are igments of women's imaginations . 12 Despite this, yaoi inventors inluenced greatly how Japanese women view gay men in real lives. Since the 90s, the number of women, who are interested in having gay friends and having gays as their lifetime partners, is increasing steadily. As for homoerotic anime, created by men for gay men, they mostly feature macho characters, strictly masculine characters. Hentai sub-genres, that describe lesbian couples, are of pornographic nature and are intended for young male audience. Manga or anime, which describes lesbian relationships and is targeted at women, is called Yuri-manga. The creation of this genre is related to the soap opera under the name Dirty Pair. (Where main characters, Kei and Yuri- are women crossdress in male cloths. However, their “non-feminine,” martial nature and total lack of success with men, allowed its fans to speculate in multiple ways and ill the market with various amateur love-follow-up editions were main characters were portrayed as lesbian couple. Thus Yuri derives from main character of the story, Yuri). In sum, without taking context, history, and traditions into account, one is unable to describe diferences that help us understand how identity of gays and lesbians was constructed/is constructed in feudal and modern Japan. Researchers believe, the fact that unlike Western cultures gay identity is not constructed as something “alien’ (not including Yaoi characters, which we already addressed above) , anti-social, 私 私 私 32 Tema / THEME 主要議題 uli, imaze mianiSnebs, rom gei-uflebebisaTvis brZolas iaponiaSi ufro mSvidi da konstruqciuli xasiaTi eqneba. 13 vfiqrob, zemoxsenebuli mcire eqskursic ki sakmarisia CvenSi gavrcelebuli mosazrebis gasabaTileblad imis Taobaze, rom homoseqsualuri urTierTobebi sazogadobis socialuri da zneobrivi gaxrwnis produqtia da yvela kultura erTnairad negatiurad afasebs mas. Temas Jurnalis momdevno nomerSic gavagrZelebT. amjerad iseT kulturebze visaubrebT, romelSic biologiur sqess, erotikul upiratesobasa da seqsualur qcevas Soris kavSiri naklebad xilvadi an umniSvneloa kulturisaTvis. anti-religious or anti-reproductive, indicates that ighting for gay rights in Japan will be rather peaceful and calm project.13 I believe the materials provided above, are satisfactory to dissolve the opinion spread among us that homosexual relations are a byproduct of moral and social degradation of societies and that as if all cultures approach it with equal hostility. The topic will be continued in follow-up publications. This time, we will speak about cultures where biological sex, erotic preferences and sexual behavior will be less visible or important for it. Eka Agdgomelashvili eka aRdgomelaSvili 私 私 1.Blackwood, E. Breaking the mirror: The construction of lesbianism and the anthropological discourse on homosexuality. Many Faces of Homosexuality: Anthropology and Homosexual Behavior. ed. NY: Harrington Park Press, 1986. ; Whitam, F.L. (1983). "Culturally Invariable Properties of Male Homosexuality: Tentative Conclusions from Cross-cultural Research, Archives of Sexual Behavior, 12, 207-226. ; Endleman, Robert. Homosexuality in Tribal Societies. Transcultural Psychiatric Research Review. 1986; 23: 187-218. 2. Мастерc У., Джонсон В., Колодни Р. Основы сексологии. М.: Мир, 1998 3. Кон И. Лунный свет на заре. Лики и маски однополой любви. — М.: Издательство ACT, 1998 4. nansoku sityva-sityviT niSnavs mamakacis fers. hari leup-is azriT, Cinuri ieroglifi, romelic feris aRsaniSnavad gamoiyeneba imavdroulad “seqsis” evfemizmsac warmoadgens da iaponuri da Cinuri leqsikonebSi misi erT-erTi definiciaa “xorcieli siamovneba”. alternatiul termins warmoadgenda Sudo, abreviatura, romelic Sedgeba vakaSudos (axalgazrdebis gza), vakaSusa (ymawvili) da do-sagan (gza). Gary Leupp says that since ancient times in China, the character for "color" has been understood as a euphemism for sex, and that Japanese and Chinese dictionaries include "sensual pleasure" as one of its deinitions. An alternative term, used almost interchangeably for many years, was shudō, an abbreviation of wakashudō (the way of youths), from wakashu (adolescent male) and dō (way). Leupp, Gary. Male Colors: The Construction of Homosexuality in Tokugawa Japan. University of California Press, 1995. 5. Mark McLelland. Male Homosexuality and Popular Culture in Modern Japan. Intersections: Gender, History and Culture in the Asian Context. Issue 3, January 2000. http://intersections.anu.edu.au/issue3/mclelland2.html 6. Кон И. Лунный свет на заре. Лики и маски однополой любви. — М.: Издательство ACT, 1998 7. “erT-erT aseT CanawerSi, romelic 1237 wliTaa daTariRebuli, 36 wlis budisti beri kasakis monastridan erTgulebis aRqmas aZlevs vinme riuo-marus: kasakis taZarSi 41 wlis asakamde viqnebi aRkvecili. ukve viweqi 95 kacTan da es ricxvi 100-s ar gadaaWarbebs. me ar meyvareba riuo marus garda arc erTi biWi. ymawvilebs Cem saZinebelSi ar gavaCereb. ufros da saSualo asakis biWebis sayvareli ar viqnebi. “A religious vow from the same period, registered by a monk named Samon Shūsei at the Tōdaiji Temle in Nara, also indicates widespread homosexual behavior in Buddhist monasteries. Containing ive resolutions, it was composed in 1237, when this author was thirty-six years old: I will remain secluded at Kasaki Temple until reaching age forty-one. Having already fucked ninety-ive males, I will not behave wantonly with more than one hundred. I will not keep and cherish any boys except Ryuo-maru. I will not keep older boys in my own bedroom. Among the older and middle boys I will not keep and cherish any as their nenja.” Leupp, Gary. Male Colors: The Construction of Homosexuality in Tokugawa Japan. University of California Press, 1995. 8. Кон И. Лунный свет на заре. Лики и маски однополой любви. — М.: Издательство ACT, 1998 9. Yamamoto Tsunetomo, Hagakure, The Book of the Samurai. William Scott Wilson, trans. New York and Tokyo, Kodansha International 1979. 10. Midori Matsui, 'Little Girls Were Little Boys: Displaced Femininity in the Representation of Homosexuality in Japanese Girls' Comics,' in Feminism and the Politics of Diference, ed. Sneja Gunew and Anna Yeatman, Boulder, Colorado: Westview Press, 1993, p. 180. 11. Kazumi Nagaike. Elegant Caucasians, Amorous Arabs, and Invisible Others: Signs and Images of Foreigners in Japanese BL Manga. Intersections: Gender and Sexuality in Asia and the Paciic. Issue 20, April 2009. http://intersections.anu.edu.au/issue20/nagaike.htm 12. Mark McLelland. Male Homosexuality and Popular Culture in Modern Japan. Intersections: Gender, History and Culture in the Asian Context. Issue 3, January 2000. http://intersections.anu.edu.au/issue3/mclelland2.html 13. Mark McLelland. Male Homosexuality and Popular Culture in Modern Japan. Intersections: Gender, History and Culture in the Asian Context. Issue 3, January 2000. http://intersections.anu.edu.au/issue3/mclelland2.html 33 私