Publication:
His master's voice, her jokes: voice and gender politics in the performance of Rakugo

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dc.contributor.departmentN/A
dc.contributor.kuauthorŞahin, Esra-Gökçe
dc.contributor.kuprofileOther
dc.contributor.schoolcollegeinstituteN/A
dc.contributor.yokidN/A
dc.date.accessioned2024-11-10T00:10:55Z
dc.date.issued2022
dc.description.abstractThis article explores the role of voice and voicing as a gendered construct in the performance of rakugo in Japan. Rakugo is a traditional genre of comedic storytelling, performed by a single actor. The genre sets a nostalgic tone for the simplicity of life in preindustrial Tokyo, through portrayals of foolishness and mockery of various human situations. A great majority of the rakugo performers are men. Despite the fact that rakugo is characterized with a technique of cross gender vocalization, rakugo performers state that the female voice is considered unsuitable for vocalizing the protagonists in rakugo stories. On the basis of ethnographic data gained from participant observation, and my own apprenticeship under a prominent rakugo master, I investigate the role of female voice as a "speaker" in the Bakhtinian "double-voiced discourse" of rakugo. The female voice is considered unsuitable to perform rakugo well, because women are denied the agency to reciprocate the androcentric ideology that views the genre as exclusively male authored.
dc.description.indexedbyWoS
dc.description.indexedbyScopus
dc.description.issue3
dc.description.openaccessNO
dc.description.publisherscopeInternational
dc.description.sponsorshipJapan Foundation Fellowship Grant and multiple Student Fellowships at the Reischauer Institute of Japanese Studies at Harvard University This article has benefited from the helpful comments and constructive feedback of a number of colleagues. I would like to extend my gratitude to Armanc Yildiz, George P. Meiu, Gavin Williams, Michael Herzfeld and Paula R. Curtis. Special thanks to the reviewers for their meticulous approach and insightful guidance. Funding for the research was provided by the Japan Foundation Fellowship Grant and multiple Student Fellowships at the Reischauer Institute of Japanese Studies at Harvard University. All translations are my own.
dc.description.volume32
dc.identifier.doi10.1111/jola.12351
dc.identifier.eissn1548-1395
dc.identifier.issn1055-1360
dc.identifier.quartileQ2
dc.identifier.scopus2-s2.0-85120580949
dc.identifier.urihttp://dx.doi.org/10.1111/jola.12351
dc.identifier.urihttps://hdl.handle.net/20.500.14288/17377
dc.identifier.wos722057700001
dc.keywordsVoice
dc.keywordsGender
dc.keywordsCamp
dc.keywordsDouble-voiced discourse
dc.keywordsJapan
dc.languageEnglish
dc.publisherWiley
dc.sourceJournal Of Linguistic Anthropology
dc.subjectAnthropology
dc.subjectLinguistics
dc.subjectLanguage
dc.titleHis master's voice, her jokes: voice and gender politics in the performance of Rakugo
dc.typeJournal Article
dspace.entity.typePublication
local.contributor.authorid0000-0002-6546-5082
local.contributor.kuauthorŞahin, Esra-Gökçe

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