Aspects| Source 1 – Gender and Authenticity in Nipponese Popular Music: 1980-2000| Source 2 – SMAP. Sexual activity. and Masculinity: Constructing the Perfect Female Fantasy in Nipponese Popular Music| Source 3 – They’re Beating the Drum for Female Empowerment ; Music: As they challenge gender stereotypes. Japanesetaiko ensembles are catching on with adult females. particularly Asiatic Americans. | Analysis. Interpretation. explanation| Claim| Both Shonen Knife and Puffy subvert the traditional perceptual experience of gender in Japan. | Sports and Music Assemble People ( SMAP ) . reconstructs the thought of maleness by encompassing their feminine sides. | Female Taiko drummers go against the societal stigma that Nipponese female must be soft and soft. | Both Cogan and Chan examine the altering traditional women’s functions in Japan by demoing how female creative persons redefine their places in society through their plants. On the other manus. Darling-Wolf focal points on how the Reconstruction of maleness has successfully attracted many female fans. | Reasons. Evidence.
Shonen Knife compose their ain wordss and is more independent ( “creative control’ ) 2. Puffy plays an of import function in exemplifying how adult females can put pes in amusement industry ( “subvert traditional thoughts of women’s activities in Japan” ) | 1. SMAP reconstructs the thought of maleness by adding the female component to fulfill the Nipponese female media consumers’ yearn for the males taking on females’ traditional functions and traits. ( “crying contests” . “not afraid to demo their feelings” ) | 1. They yell and use their physical strength which is a entire contradictory to the word picture of traditional Nipponese adult females. ( “ male things” ) 2. Younger adult females perceive that their engagement in playing Taiko can assist them to accomplish “gender equity”| The influence of the Nipponese female and male has reconstructed gender stereotype in Japan. Female artists yield hope for Nipponese adult females to redefine their gender functions and even encompass the alleged maleness. Male creative persons are besides seen to encompass their feminine side. exemplifying the reinterpretation of maleness in Japan society.
Assumptions| -Puffy is representative of Japan’s dad group while Shonen Knife is representative of Japan’s hood set. | – SMAP is representative of other male sets in Japan. – Most Nipponese audience value the personality of their favorite vocalists more than their ability to sing. | – Those adult females who choose to play Taiko are assumed to hold the purpose to strike for gender equality in Japan society. – Female Taiko drummers are non “ladylike” and “mild-mannered” | All writers assume that music plays a polar function in stand foring Japan’s gender pigeonholing issue. | Audience Appeals| Comparison of two female sets with contrasting manners to beef up their rating pertaining to gender pigeonholing. | Descriptive portraiture of the SMAP’s members and their work to do audience understand how SMAP manages to stay as an influential set in Japan despite their deficiency of ability to sing. | Use of duologues to uncover the character of the female Taiko drummer| A comparing gives a clearer image the extent of similarity and differences between Shonen Knife and Puffy.
Elaborate account of the illustrations allows audience to understand more about SMAP. The usage of duologue in Chan’s work makes reading easy | Style| More academic. with subdivided subjects before a combination of the subjects. | More academic. with really specific illustrations to discourse an issue. | Casual style| All writers have their ain manners in presenting their plants. Cogan divides the subjects to do the audience understand the subject separately before unifying the subjects as a whole. Darling-Wolf utilizations specific illustrations to get down up the issue to be discussed while Chan prefers an informal manner to do her work easy to be understand. |