Anna Madill
https://www.wjx.cn/m/3989081.aspx (Chinese BL survey)
ORCID iD is 0000-0002-9406-507X
Research website with lots of visual materials: https://projectresilience.co.uk/
Anna Madill specializes in qualitative methods with particular interest in visual approaches. Her research is broadly in the field of 'well-being.' She is Internationalisation Lead and Professor in the School of Psychology, University of Leeds UK. Anna Madill is a Fellow of the British Psychological Society and Fellow of the Academy of Social Sciences . She Co-Founded and Chaired (2008-11) the British Psychological Society Qualitative Methods in Psychology Section (http://www.bps.org.uk/qmip/qmip_home.cfm). Anna Madill is former Associate Editor of the British Journal of Clinical Psychology and on the editorial boards of the British Journal of Clinical Psychology, the British Journal of Social Psychology, Qualitative Psychology, and Qualitative Research in Psychology. She is on the Advisory Board of the University of Leeds Centre for Endangered Languages, Cultures and Ecosystems and on the Committee of the Leeds Interdisciplinary Mental Health Research Network https://www.leeds.ac.uk/leeds-interdisciplinary-mental-health-research-network
https://youtu.be/wE9OrxYPrYA
Address: School of Psychology, University of Leeds, Leeds, LS2 9JT, UK
ORCID iD is 0000-0002-9406-507X
Research website with lots of visual materials: https://projectresilience.co.uk/
Anna Madill specializes in qualitative methods with particular interest in visual approaches. Her research is broadly in the field of 'well-being.' She is Internationalisation Lead and Professor in the School of Psychology, University of Leeds UK. Anna Madill is a Fellow of the British Psychological Society and Fellow of the Academy of Social Sciences . She Co-Founded and Chaired (2008-11) the British Psychological Society Qualitative Methods in Psychology Section (http://www.bps.org.uk/qmip/qmip_home.cfm). Anna Madill is former Associate Editor of the British Journal of Clinical Psychology and on the editorial boards of the British Journal of Clinical Psychology, the British Journal of Social Psychology, Qualitative Psychology, and Qualitative Research in Psychology. She is on the Advisory Board of the University of Leeds Centre for Endangered Languages, Cultures and Ecosystems and on the Committee of the Leeds Interdisciplinary Mental Health Research Network https://www.leeds.ac.uk/leeds-interdisciplinary-mental-health-research-network
https://youtu.be/wE9OrxYPrYA
Address: School of Psychology, University of Leeds, Leeds, LS2 9JT, UK
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Publications by Anna Madill
(11) (PDF) Reflective rumination mediates the effects of neuroticism upon the fading affect bias in autobiographical memory. Available from: https://www.researchgate.net/publication/358617748_Reflective_rumination_mediates_the_effects_of_neuroticism_upon_the_fading_affect_bias_in_autobiographical_memory#fullTextFileContent [accessed Feb 18 2022].
Methods: We recruited 15 participants (11 men, 4 women) via two rehabilitation facilities. All are addicts-in-recovery aged 19-24 years. Material was generated through photo-led interviews, analysed using an inductive variant of thematic analysis, and the resulting model refined through expert and participant checks.
Results: We present a multi-route, multi-directional pathways to recovery model. It has three phases, Recreational Use, Addiction (Relaxed, Chaotic, Strategic), and Supported Recovery, each phase consisting of a cycling between, or transition through, a series of stages.
Conclusions: The model enhances psycho-socio-cultural insights into the experience of risk and recovery, and informs prevention and treatment for youth substance misuse in Assam. This is the first model of its kind and an important public health resource. We discuss the possible transferability of the model to a wider range of contexts.
Methods: Materials consist of: (i) images participants brought to interview; (ii) 30 posters co-created by participants to convey key messages from their interview; (iii) six short films on the implications of addiction, and an animation of our Pathways to Recovery model. We also created a community education package that incorporated these materials. We analyse feedback from three groups of events and a social media campaign which drew variably across our materials and engaged a range of audiences.
Results: Outcomes indicate the co-creation process and focus on the visual was successful in promoting young people's voice, increasing awareness, and has potential for stigma reduction. Our educational package was deemed useful in increasing awareness and to have potential in prevention and treatment.
Conclusions: Our case study offers insights into community mental health education in low-and-middle-income-countries, confirming the importance of co-creation, usefulness of visual materials, and the potential of social media campaigns, while acknowledging the importance of local context in health messaging, particularly for stigmatised topics.
(11) (PDF) Reflective rumination mediates the effects of neuroticism upon the fading affect bias in autobiographical memory. Available from: https://www.researchgate.net/publication/358617748_Reflective_rumination_mediates_the_effects_of_neuroticism_upon_the_fading_affect_bias_in_autobiographical_memory#fullTextFileContent [accessed Feb 18 2022].
Methods: We recruited 15 participants (11 men, 4 women) via two rehabilitation facilities. All are addicts-in-recovery aged 19-24 years. Material was generated through photo-led interviews, analysed using an inductive variant of thematic analysis, and the resulting model refined through expert and participant checks.
Results: We present a multi-route, multi-directional pathways to recovery model. It has three phases, Recreational Use, Addiction (Relaxed, Chaotic, Strategic), and Supported Recovery, each phase consisting of a cycling between, or transition through, a series of stages.
Conclusions: The model enhances psycho-socio-cultural insights into the experience of risk and recovery, and informs prevention and treatment for youth substance misuse in Assam. This is the first model of its kind and an important public health resource. We discuss the possible transferability of the model to a wider range of contexts.
Methods: Materials consist of: (i) images participants brought to interview; (ii) 30 posters co-created by participants to convey key messages from their interview; (iii) six short films on the implications of addiction, and an animation of our Pathways to Recovery model. We also created a community education package that incorporated these materials. We analyse feedback from three groups of events and a social media campaign which drew variably across our materials and engaged a range of audiences.
Results: Outcomes indicate the co-creation process and focus on the visual was successful in promoting young people's voice, increasing awareness, and has potential for stigma reduction. Our educational package was deemed useful in increasing awareness and to have potential in prevention and treatment.
Conclusions: Our case study offers insights into community mental health education in low-and-middle-income-countries, confirming the importance of co-creation, usefulness of visual materials, and the potential of social media campaigns, while acknowledging the importance of local context in health messaging, particularly for stigmatised topics.
See online news article: https://www.psypost.org/2022/02/new-study-suggests-female-paraphilias-are-hiding-in-plain-sight-62487
Female-oriented male-male erotica is a genre of popular culture often know as Boys’ Love (BL), yaoi, and danmei. It is one of the largest by-and-for women sexual subcultures and a global phenomenon. With the largest data sets in the field, we ask: Which risqué sexual content do Sinophone (Chinese-speaking) and Anglophone (English-speaking) participants particularly enjoy in BL and does this differ between cultures?; and, Are there sub-demographics in Sinophone and in Anglophone culture who enjoy particular forms of risqué sexual content in BL and do these forms relate also to enjoyment of particular storylines and concern with legal issues? The material studied meets the DSM-5 definition of the paraphilic and little is known about paraphilias in women or in the general population. We analyze using Categorical Principal Component Analysis one 15-response question from our Sinophone (N = 1922) and Anglophone (N = 1715) BL fandom surveys: Which risqué sexual content do you particular enjoy in BL?, and test for associations with seven demographic and other BL content-related questions. Notably, the component structure is nearly replicated between the two independent samples, in order of strength: BDSM Specialist, Mechanoid/Animal Sex Specialist, Underage Sex Specialist, and Minority Paraphilia Specialist. In both samples, it is the avid BL fans and/or those who like explicitly sexual stories, a largely overlapping demographic, who most engage the risqué content while, for the Sinophone, this includes also more nonhetersexual and/or other-gendered people. We conclude that women’s paraphilias have been largely overlooked because they might be expressed more commonly through fantasy than action, that their mass expression has awaited both the means and the market force, and that current conceptualization of, and assumptions about, paraphilias are overly modelled on that of men.
Boys’ Love (BL) is a global by-and-for women genre of youth culture focused on male-on-male sexuality and romance. Incest relationships are not uncommon in BL yet there is no research on what kinds are of most interest to the audience, and with which sub-demographics, and none offer an intercultural comparison. We address this lacuna analyzing data from the largest BL audience survey to date in both Anglophone (N=1715) and Sinophone (N=1922) regions. CATPCA reveals a strikingly similar component structure across the two cultures with a preference hierarchy descending from non-blood relationships, blood intergenerational, then brothers. For both regions, it is the avid fans who tend to consume incest material while, for the Sinophone, it is the less socially-empowered who appear most engaged: women, the other-gendered, and the nonheterosexual. Moreover, Sinophone fans are more concerned about legal issues than are Anglophone. Other subtle cultural differences suggest Sinophone BL fans focus on family rules and roles and the Anglophone on the intimacy of brotherly bonds. As young women have increasing opportunity to create and consume sexuality explicit material geared to their particular tastes and needs, our study provides important information to inform debates about the forms, functions and legislative context around pornography.
Our aim is to compare comprehensive data on the engaged demographics of female-oriented male-male erotica in Anglophone regions and that of the greater China area. Our study constitutes the largest such data set in each region (Anglophone N = 1707; Chinese N = 1498). Data were analysed from our online Boys’ Love (BL) fandom survey: one version in English and an almost identical version in Chinese. We confirm that the engaged Anglophone demographic includes more men, people with a wider range of sexual orientations, lower proportion of heterosexual identification, and a wider and older age range. We provide greater detail than ever before and demonstrate engagement with BL by young straight men and questioning of sexual identity by female fans, at least in the Anglophone West. Finally, we provide novel evidence that a broad demographic of young people in the greater China area is familiar with BL as a casual interest in contrast to Anglophone regions where it is more of a niche pass-time. We offer important insights into a global erotic entertainment by-and-for women which is influencing the mainstream but under increasing legislative scrutiny.
Our aim is to provide robust information on the demographic in Mainland China and Hong Kong who engage with female-oriented male-male erotica (a.k.a., danmei or Boys’ Love [BL]). We ask three novel research questions: Are there differences between (a) ‘casual’ and ‘avid’ danmei fans? (b) danmei fans by social outlook in the sexual sphere (‘Traditional’, ‘Progressive’)?, and (c) danmei fans from Mainland China and from Hong Kong? Questions were selected from our 43-question online BL fandom survey in Chinese and the largest data set of its kind (N=1498). Statistical comparisons provide evidence: of consistency between self-reported fan behaviour and fandom intensity: that avid fans are more likely to report nonhegemonic sexual orientations and to be more ‘Progressive’ than causal fans; the ‘Progressive’ report greater concern with copyright and legal issues while engaging with a wider range of sexual materials than do the ‘Traditional’; and fans from Hong Kong are more likely to report nonhegemonic sexual orientations and to be ‘Progressive’ than those from Mainland China. In conclusion, although materials often perpetuate a heteronormative ideology, avid fans demonstrate a relatively progressive social outlook and engagement in socially-challenging danmei-related activities and we speculate that even casual engagement with danmei may encouraged young people to think critically about the complexities of human sexuality.
Yaoi, boys’ love (BL), and danmei are all popular culture designations for male-male romance and erotica largely by and for women. This entry provides a brief outline and history of the development of yaoi and BL in Japan; slash fiction, yaoi and BL in the West; and danmei in China. Fan-base demographics are provided for Japan, China, and the Anglophone West. Research provides evidence that the fan-base is, indeed, predominantly female and, as often assumed, heterosexual but that the engaged Anglophone demographic has a much ‘queerer’ set of gender and sexual identities that appears to be the case in Japan and China. Challenges for yaoi/BL/danmei culture include legal remedies for copyright infringement and increasing attempts to regulate sexually explicit material on the internet. While male-male romance and erotica by and for women may be interpreted as having feminist and progressive potential, this is not necessarily the stated motivation for engagement by fans. Even so, importantly, danmei culture is credited with helping to raise public awareness of same-sex relationships in China.
The aim of this study is to compare Sinophone and Anglophone fan fiction consisting of female-oriented male-male romance: danmei and slash, respectively. To increase comparability, we analysed Harry Potter fan fiction in which the characters Harry and Draco are married. Male-male marriage was selected because our online Sinophone and Anglophone BL fandom surveys indicate this to be the most popular story element of the nine options we provided. We analysed five stories originally written in Chinese and five originally written in English which subsequently had been fan-translated into Chinese. Using Thematic Analysis (Braun & Clarke, 2006) we found some robust patterns. In contrast to the Anglophone fiction, the Sinophone tended to: stress the importance of family approval for the marriage; incorporate a wedding ceremony; employ clearly gendered roles between partners; utilise extended, as opposed to nuclear, families; and showed the couple to produce children, particularly boys. Hence, the stories mirror the relative social conservatism and social liberalism of their cultures of origin. However, in reading and writing such danmei young Chinese women are still pushing at the boundaries of the traditional family.
This article addresses the research question: How do Chinese Yaoi fans read Yaoi stories? Yaoi is a female-oriented genre of Japanese popular culture which describes romantic and erotic relationships between men. We interviewed twenty Chinese nationals who are self-defined fans of Yaoi (mean age=23.5 years). Although men were not excluded, none volunteered. A Yaoi fandom survey was created in Chinese and in English with five sections: demographics, Yaoi materials, feelings about Yaoi, social relationships, and other erotic materials (Chinese N=1085; Anglophone N=1615). Thematic Analysis of the interviews produced five themes suggesting the existence of a heteronormative frame: social and family approval, everlasting romantic relationship, heteronormative couple, dislike reversible relationship, and gay relationships in reality. We then selected questions from the survey for statistical analysis on the rationale that these items might inform this frame and help us interpret and contextualise the qualitative analysis. Our survey results support our thematic analysis that Chinese Yaoi fans tend to read Yaoi through a heteronormative frame and, importantly, that in comparison with Anglophone fans, this is differential to Chinese culture.
Abstract
‘Fujoshi’ (rotten girl) is a derogatory Japanese term for female fans of homoerotic manga and anime in the genre know as Boys’ Love (BL). BL is a global phenomenon and one of the largest, female-oriented, erotic subcultures. I have underway, what is already, the biggest survey of the Anglophone fandom (https://leeds.onlinesurveys.ac.uk/blfandomsurvey) and have, so far, completed 14 face-to-face and around 100 e-mail interviews. This is the first project I have conducted on sexually explicit material and, although I consider myself to be a fujoshi, I am not, otherwise, a user of pornography/sexually explicit material. In fact, this research has presented a huge challenge to me in terms of becoming more comfortable discussing sexual topics and, even more personally, in making my own investment in male-male sexuality public. This has meant dealing with feelings of embarrassment and shame, but also of relief in finding and communicating with other women who have a similar erotic fantasy life. However, the project has also made me feel, at times, quite anxious given recent UK prohibited images of children legislation. What does BL represent for me that I am willing to put myself through this, spend most of my spare time on it, and is it really ‘research’?
North American comics and Japanese manga have influenced each other since at least the end of the Second World War. The centrality of manga in Japanese popular culture, however, can be hard to appreciate given the low status usually afforded comics in the West. Manga have a distinctive history in terms of content, style, and marketing strategy and a symbiotic relationship exists between manga, anime (Japanese animation), gaming, live-action film, and off-shoot merchandising, such that narratives and characters successful in one medium are often repackaged and marketed in others. There is also a considerable amount of amateur manga - dojinshi - produced by Japanese teenagers, young adults, and even professional mangaka (artist-authors) sold, swapped, or made freely available on the internet and at Comiket and other amateur, comics markets. A significant proportion of dojinshi activity is the production and consumption of yaoi.
The following sections will describe and contextualise the female-oriented media portraying romantic and sexual relationships between, usually young, men variously known as Boys’ Love, shonen-ai, yaoi, and (male-male) shotacon and often denoted as ‘mxm’ and ‘m/m’. Global, particularly Original English Language, Boys’ Love will also be outlined as will legal issues with regard to these often controversial works.
[...]
Male–male sexuality is the central trope of Boys’ Love (BL) manga with stories tending to revolve around a central uke-seme (‘bottom’–‘top’) pair. Although focused on men, BL is produced and consumed primarily by women. This article presents, from an anglophone British perspective, analysis of age-stratified male–male romance – paederasty – as portrayed in BL. My corpus consists of 234 commercially-translated original Japanese BL manga stories, created by 100 different mangaka (author-artists), published commercially in English between 2003 and 2012. A total of 68 (30%) of these stories were identified as involving agestratified relationships, eight of which were selected for detailed analysis. Seven were selected for typicality: Waru (2007) by Yukari Hashida deemed the most typical. Fangs (2008) by Hiroki Kusumoto was also included in analysis as the most atypical age-stratified story in order to test the robustness of identified patterns. I argue that that, from an anglophone perspective, the characteristic themes of age-stratified BL map surprising well onto the eroticised intra-familial dynamics of Freud and the intra- and inter-familial economics of Lévi-Strauss. The patterns identified are evidenced and discussed under the following headings: the mother identified son, the doubly divested man, the castrated father, men on the market and the mother with the phallus. These themes help build and substantiate my argument that age-stratified BL might work, within an anglophone context at least, as a feminist critique of patriarchy through the mechanism of phallic divestiture.
Extract from draft:-
Almost Crying: The ‘Doll’ in Non-Fantasy Boys’ Love
In order to understand some of the specific affordances of the fantasy genre for BL, it is useful to compare Hybrid Child with a non-fantasy BL story with the same central ‘doll’ trope. Almost Crying by Mako Takahashi was first published in Japanese in 2002 and in English in 2006. It is a one-book manga consisting of eight separate stories all set in a seemingly contemporary Japan with improbable, but non-fantastical, plots. In Celluloid Closet , Takaido has lost his beloved doll and is overjoyed to find her in the Lily -look-a-like Sakurada.
Celluloid Closet: Sakurada and Takaido
No, not just like her. He is her! Ever since my Lily mysteriously disappeared from my closet, I’ve been searching for her! This is a fated reunion! Of course I had to hug her!
Sakurada has started working in a toy shop after school. Takaido comes in every restocking day to search the shelves. Sakurada asks if he is looking for something. To Sakurada’s horror, Takaido hugs him with joy: “Lily! I’ve finally found you!” A photo reveals that Sakurada does, indeed, look very like the lost Lily-doll and the security guard finds Takaido’s bag to be stuffed with toys: “They keep me from being lonely.” Takaido begins to work at the toy shop and is very attentive to Sakurada. Sakurada is annoyed but tolerates his ministrations, although this does not include wearing a Lily outfit that Takaido brings to work. Sakurada is overjoyed when he finds that the Lily-doll is being re-released and Takaido tries to be happy when he is told the news. However, Sakurada begins to feel despondent that he was “just a substitute for the doll” and begins to cold-shoulder Takaido. Takaido forcible carries Sakurada to his house where Sakurada discovers that Takaido has already found his Lily-doll but has not stopped loving him. Sakurada then accepts that they have a relationship. However he still refuses to wear Lily clothes.
The paranoid-schizoid position – stuck in a ‘good’ place
Whereas the Hybrid Child stories can be viewed as explorations of the depressive position, Celluloid Closet can be understood as a parody of a relationship founded on the paranoid-schizoid functioning of one partner. Young children’s object relations are often facilitated by a ‘transitional object’ – usually a blanket, doll, or soft toy - which acts as an intermediary between their internal good object and developing, more realistic but also increasingly, ambivalent relationships with external whole objects (Winnicot, 1964). Older children and adults can continue to use a transitional object invested with the qualities of the ‘loved object’ to provide reassurance, required less with increasing integration of a good object within the ego. Takaido’s Lily-doll appears to be such a transitional object.
What is unusual about this scenario is that, when Takaido misplaces Lily, he transfers the projection onto a stranger with similar physical characteristics in a particularly distorting way such that “the early primitive ideal is clung to, controlled and transfixed in its primitive, all-giving form in order to avoid reality” (Likierman, 2001, p.96). This is an extreme defence against depressive integration of good and bad part-objects and Takaido wards-off the loneliness of the ‘loss of the loved object’ through clinging to paranoid-schizoid forms of relating. Sakurada at first rejects the projection, then tolerates it, and eventually is worn down by the intensity of Takaido’s passion. Circumstances provide Takaido the opportunity to mature through developing an intense relationship with a person whose agency might catalyse modification of unconscious phantasy in the direction of more reality-based relating. However, the story ends with Takaido still largely unable to distinguish Sakurada from his internal loved object and omnipotent disavowal of his separate existence.
Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey
https://books.google.co.uk/books?hl=en&lr=&id=lmqkCgAAQBAJ&oi=fnd&pg=PT12&ots=iuhaL-_qAe&sig=C2__T-Hls9npEtC183hOdvwTHhA#v=onepage&q&f=false
Boys’ Love (BL) is a genre of Japanese manga portraying romantic and sexual relationships between, sometimes controversially, young men. It is largely produced and consumed by young women and is available in translation worldwide. The English legal context relevant to BL is outlined, with emphasis on Prohibited Images of Children legislation (Section 63 Criminal Justice and Immigration Act 2008), and three readings of a BL yonkoma are offered: paedophilic, satirical, and queer. It is argued that the young female readers of BL problematise the legislative invitation to a single, literal, paedophilic reading of suspicious texts and the position that the intended audience is unimportant. It is concluded to be important to understand how intelligible, meaningful, non-paedophilic frames are available for reading non-realistic, erotic texts involving visually young characters and that BL with sexual content partakes of a distinct imaginary space that might be termed explicit romance or sensitive pornography.
Yaoi or BL (Boys' Love) is a genre of Japanese subculture presenting in comics, videogames, novels and fan arts which describe the fantasy erotic and romantic relationships between males. This is a female-oriented subculture which originated in the early 1970s spread globally, especially during the 1990s. In contemporary China there is a huge population of Yaoi consumers and producers with an inestimable number of Yaoi novels serialized online and many other kinds of Yaoi material uploaded to the internet. However, Yaoi culture and fans face much prejudice in China, even compared to Yaoi as it has been received and produced in the West. An aim of our study of Yaoi culture in China, was to determine the demographics of the Chinese fan-base and to compare this to the demographics of the Anglophone fan-base. Hence, this presentation will report the comparisons of demographic information from our BL Fandom survey data of Sinophone and Anglophone Yaoi fans. We collected 1527 Chinese and 1700 Anglophone survey responses from almost identical surveys in Chinese and in English over a 3 year period from 2014-2017. Demographic data included gender (male, female, other), age, sexual orientation, occupation, strength of fandom identification, acceptance of male/male and female/female relationships in real life, and consumption of non-BL pornographic materials. Results suggested that compared to Anglophone fans, Chinese fans identified less strongly as a BL fan, were less accepting of non-heterosexual relationships in real life, and consumed less non-BL pornography. These finding are commensurate with the relative social conservativism of Chinse culture, including the greater regulation and criticism of Yaoi culture and self-uploaded on-line material. We are still exploring our data and expect to report additional findings during the presentation.
Yaoi or BL (boys' love) is a genre of Japanese subculture presenting in comics, videogames, novels and fan arts which describe the fantasy erotic and romantic relationships between males. This is a female-oriented subculture which originated in the early 1970s before spreading globally. In contemporary China there is a huge population of BL/yaoi (a.k.a., danmei) consumers and producers with an inestimable amount of danmei materials, including novels, online. However, danmeii culture and fans face much prejudice in China, even compared to yaoi/BL as it has been received and produced in the West. An aim of our study of danmei culture in China, was to determine the demographics of the Chinese fan-base and to compare this to the demographics of the Anglophone fan-base. Hence, this presentation will report the comparisons of demographic information from our BL Fandom survey data of Sinophone and Anglophone BL/yaoi/danmei fans. We collected 1498 Chinese and 1707 Anglophone survey responses from almost identical surveys in Chinese and in English over a 3-year period 2014-2017. Demographic data included gender (male, female, other), age, sexual orientation, occupation, strength of fandom identification, acceptance of male/male and female/female relationships in real life, and consumption of non-BL pornographic materials. Results suggested that compared to Anglophone fans, Chinese fans identified less strongly as BL fans, were less accepting of non-heterosexual relationships in real life, and consumed less non-BL pornography. These finding are commensurate with the relative social conservativism of Chinse culture, including the greater regulation and criticism of danmei culture and online material.
Yaoi or BL (Boys’ Love) is a genre of Japanese subculture presenting in comics, videogames, novels and fan art which describe the fantasy erotic and romantic relationships between men. Yaoi is a female-oriented subculture which, since its origins in the early 1970s, has spread globally, especially during the 1990s. In the 21st century, yaoi has become extremely popular in China. This presentation will explore the different preference for animal-related themes between Anglophone and Chinese fandoms comparing the results of a survey with an English version (n=2417) and Chinese version (n=1129). The survey includes 43 questions. Those relevant to animal themes appear in the options provided on ‘risqué sexual content’ and the options provided on ‘specific elements’ in yaoi. The survey results demonstrate that animal themes are popular for Chinese fans, whether or not associated with sexual content. On the other hand, the Anglophone survey results showed animal themes to be generally less popular, while demonstrating differences between simple animal elements (ears or tails) and animals as whole creations who can have sex with humans or who transform into human shape. Chinese yaoi - both original and fan work - has developed a particular style based on Chinese mythology, history, folktale. Animal themes are common in traditional Chinese mythology and folktale in which animals are presented as showing emotion, having sensations, and demonstrable intellect much like humanity. Although imported Japanese manga, anime, and video game brings many animal themed contents to an Anglophone audience, animal themes involving sexual contents may present an interesting cultural boundary.
http://sainsbury-institute.org/news-events/legislating-manga-workshop/
This talk will explore the implications of the Prohibited Images of Children section of the Coroners and Justice Act 2009 for Boys' Love and Yaoi in the UK. The British legislation will be set in context briefly with regard to the legal situation in North America, Australia, Japan and China. Anna is Chair of Qualitative Inquiry in the School of Psychology at the University of Leeds and is author of 'Boys’ Love manga for girls: Paedophilic, satirical, queer readings and English law' in Children, Sexuality and Sexualisation (2015). Her online BL fandom survey can be found at https://leeds.onlinesurveys.ac.uk/blfandomsurvey
Yaoi or BL (Boys’ Love) is a genre of Japanese subculture presenting in comics, videogames, novels and fan art which describe the fantasy erotic and romantic relationships between men. This is a female-oriented subculture which originated in Japan in the early 1970s. It has spread globally and has become a phenomenon in China through websites hosting countless fan fictions.
This presentation will report on one potential explanation for the popularity Yaoi in China – that it creates an ideal romantic relationship for young women to enjoy. First, in contrast to heterosexual romance, that between two men might more easily be presented as a relationship between two equal individuals. This allows the romance to jettison or revise conventional gender roles. Second, most relationships in Yaoi avoid reproduction. This makes the relationship independent of family expectations for (grand)children and offers a challenge to pro-family rhetoric. Third, male-male romance establishes the hurdle of social disapproval that the partners must surmount together. Hence, theirs may be presented as a particularly strong love because it has to endure many sacrifices.
Although Yaoi as ‘ideal romantic relationship’ is likely to be attractive to women across the world, this may be particularly so in China. China has a strongly traditional culture while, on the other hand, has massively improved the education and life expectations of girls over the last 2 or 3 generations. Hence, many young Chinese women may see in Yaoi the kind of relationship they aspire to with a man while they are, at the same time, subject to social and family pressures to maintain tradition roles of wife and mother.
Genre, genealogy, and gender: Reflecting on Boys' Love manga This presentation will focus on a genre of manga known as Boys' Love, BL or 'yaoi'. The central trope of BL is the portrayal of sexual and romantic relationships between, usually young, men. Originating from shojo (girls) manga in early 1970s Japan, BL is now a worldwide phenomenon. This presentation will trace briefly the complex genealogical development of BL (sub)genres. Current findings from the largest – and ongoing survey of the Anglophone BL fandom will be presented (https://leeds.onlinesurveys.ac.uk/blfandomsurvey) to provide insights into the fandom demographic with regard to gender and sexual orientation. The meaning of BL as a genre will be interrogated using data from the presenter's coding of 240 original Japanese BLmanga available in commercial English translation and survey data on the erotic material preference of the Anglophone fandom. This will include consideration of questions such as the extent to which BL is a 'parasitic' genre and whether it might be considered to have its own distinct chronotope. Finally, the importance of male-male erotic fantasy for women prior to the development of BL and outside its fandom is explored. In conclusion, the evidence and arguments presented will be drawn together to suggest that BL is possibly one of the most visible modes of working through the 'hysteric's' fundamental questions of being: 'am I a man or a women?' and 'what is a woman?'
Boys’ Love (BL) is an umbrella term for female-oriented media, predominantly manga, anime, light novels, and games usually of Japanese origin which focus on erotic relationships between men. There is also a tremendous amount of related amateur male-male erotic fan-art, fan-fiction, and manga (known as yaoi dojinshi) on the internet and sold at the massive Japanese comics markets. It is well-known that most BL readers, mangaka (author-artists), and yaoi dojinshi creators are female. The history of BL is the history of its progenitor genres. Shonen-ai – literally ‘boy love’ – is the name given to a genre of male-male romance developed in Japan by a small number of ground-breaking female mangaka during the 1970s. In the 1980s, young Japanese women began to be more irreverent with fictionalised, male-male sexuality, creating amateur parodies of existing, non-erotic works, which became known as ‘yaoi’. Shotacon contains of erotic material which deliberately portrays young, often pre-pubescent, boys and female-oriented, male-male shotacon is sometimes, and controversially, considered a BL sub-genre. Since the mid-1990s, BL/yaoi has become a global phenomenon with products available in commercial translation and numerous fan-created, in-copyright-infringement, scanlation (‘scan-and-translate’) on-line. One of the, possibly particularly, surprising aspects of BL is its, often, risqué sexual content including rape/non-con/dub-con, BDSM, incest, and underage sex. I offer an introduction to BL as both a professional and as an amateur activity and in an Asian as well as in a Western context, where its relationship to male-male slash fiction is considered. Particular emphasis will be given to what is known, or speculated about, the pleasure afforded women through their engagement with BL, and I will present interim results from my on-going on-line survey of the Anglophone BL fandom (current n=998).
Researching Sex and Sexualities
University of Sussex 8-9th May 2015
Anna Madill for METHODOLOGIES STRAND
Abstract: Rotten girl on rotten girl: Boys’ Love ‘research’
‘Fujoshi’ (rotten girl) is a derogatory Japanese term for female fans of homoerotic manga and anime in the genre know as Boys’ Love (BL). BL is a global phenomenon and, overlapping with the male-male slash community, one of the largest, female-oriented erotic subcultures. I have underway, what is already, the biggest survey of the Anglophone fandom (https://leeds.onlinesurveys.ac.uk/blfandomsurvey) and have, so far, completed around 12 face-to-face and 30 e-mail interviews. This is the first project I have conducted on sexually explicit material and, although I consider myself to be a fujoshi, I am not, otherwise, a user of pornography/sexually explicit material. In fact, this research has presented a huge challenge to me in terms of becoming more comfortable discussing sexual topics and, even more personally, in making my own investment in MxM public. This has meant dealing with feelings of embarrassment and shame, but also of relief in finding and communicating with other women who have a similar erotic fantasy life. However, the project has also made me feel, at times, frankly paranoid because I have been afraid that my BL may contravene UK prohibited images of children legislation (it doesn’t!). What does BL represent for me that I am willing to put myself through this, spend most of my spare time on it, and, hence, is it really ‘research’?
Biography
Anna Madill is Chair in Qualitative Inquiry and Deputy Head of the School of Psychology, University of Leeds, and member of the university Centre for Interdisciplinary Gender Studies. She is Co-Founder and former Chair (2008-11) of the British Psychological Society Qualitative Methods in Psychology Section and is Associated Editor of the British Journal of Clinical Psychology. Anna received British Academy funding (2011-2013) for ‘Understanding Japanese Boys' Love manga from a UK perspective’ from which she has three book chapters in press, made 12 conference presentations (including a keynote) and many other presentations to academics and the public, and, in relation to which, she has been consulted by the BBC.
Little Red Riding Hood is one of the best known fairy tales and its central villain - the wolf - a potent and recurring motif in contemporary popular culture, including Japanese manga. I am studying from a UK perspective a cluster of erotic manga genres (Boys’ Love or ‘BL’) which are produced and consumed predominantly by young women. The sine qua non of BL is the portrayal of romantic and sexual relationships between young men. Manga often presents characters as human-animal hybrids. Add to this the explicitly sexual nature of BL content, its homoerotic and transgressive themes, and the fact that it is created for and by young women, BL is interpretable as a site within which women are attempting to develop new ways of engaging with male sexuality. It is indicative of their psychological potency that European fairy tale motifs have been used as a vehicle in this project. The research question I will explore is: What happens when the fairy tale motif of ‘the girl and the wolf’ – that is, of the female’s initiation into the dangerous aspects of male sexuality – is queered? I will explore how this is presented in contemporary commercial BL manga, the readings this makes available, and the ways this might function for modern women. The explicit eroticism of BL invites a psychoanalytic interpretative lens. Specifically, the disjunction between the gender of the protagonists and audience makes pertinent a Kleinian understanding of defensive splitting and of projective identification. However, a purely psychoanalytic reading is possibly too individualistic and potentially pathologising, and I will draw also on queer theory to preserve my sense that BL can be read as exploring new ways of performing heterosexuality through the use of, often visual, metaphorical slippages and defamiliarisation. I will also pay attention to social and cultural context since I am studying ‘exotic’ texts in translation which are produced in a different legislative and socio-historico nexus.
Boys’ Love (BL) is a genre of manga which portrays sexual and romantic relationships between young, often adolescent, men. Perhaps surprisingly, most BL mangaka (artist-authors) are female and most consumers are teenage girls and young women. However, despite a renowned artistic pedigree and global associated youth subculture - consisting of one of the most sexually-benign demographics - BL distributors and audience are vulnerable to prosecution under recent English prohibited images of children legislation (Coroners and Justice Act 2009). English child pornography laws have become increasingly stringent. Legislation was first against production and dealing and then extended also to possession; moved from a narrow, actual-age-based definition of ‘child’ to a wider, impression-of-age-based one; and expanded the type of prohibited image from the photographic to include also free-hand drawings of fantasy encounters which might involve imaginary beings. This paper argues that BL problematises key assumptions of the prohibited images of children legislation in that the law invites a literal, and privileges a singular, reading of such fantasy, erotic, visual texts. The legislation invites a literal reading through implying that given criteria coherent for the assessment of representational texts (e.g., photographs of real children) can be applied also to non-representational texts (i.e., fantasy drawings): specifically, that protagonist age can, within the ordinary everyday parameters of impression, be determined but also that a series of problematic foci (genitals or anal region) and acts can be described void of context and awarded moral status similar to that of the real. Perhaps even more problematic, the legislation invites a singular reading of texts through priming a search for the specified and reified elements by a defined audience (magistrates, District Judge, or jury) under the remit that a certain constellation may warrant prohibition. That is, it alerts hegemonically-empowered or hegemonically-representational groups to a paedophilic reading and disavows other possible readings as irrelevant if these groups can find that reading. Importantly, as an interpretative community, BL fans’ own reading practices and understanding of genre conventions are discounted. Hence, paradoxically, a demographic the legislation is designed to protect (young people) is now, under its auspices, potentially vulnerable to prosecution through their BL fanship.
Abstract: Boys’ Love (BL) is a genre of manga which portrays sexual and romantic relationships between young, often adolescent, men. Perhaps surprisingly, most BL mangaka (artist-authors) are female and most consumers are teenage girls and young women. However, despite a renowned artistic pedigree and global associated youth subculture - consisting of one of the most sexually-benign demographics - BL distributors and audience are vulnerable to prosecution under recent English prohibited images of children legislation (Coroners and Justice Act 2009). English child pornography laws have become increasingly stringent. Legislation was first against production and dealing and then extended also to possession; moved from a narrow, actual-age-based definition of ‘child’ to a wider, impression-of-age-based one; and expanded the type of prohibited image from the photographic to include also free-hand drawings of fantasy encounters which might involve imaginary beings. This paper argues that BL problematises key assumptions of the prohibited images of children legislation in that the law invites a literal, and privileges a singular, reading of such fantasy, erotic, visual texts. The legislation invites a literal reading through implying that given criteria coherent for the assessment of representational texts (e.g., photographs of real children) can be applied also to non-representational texts (i.e., fantasy drawings): specifically, that protagonist age can, within the ordinary everyday parameters of impression, be determined but also that a series of problematic foci (genitals or anal region) and acts can be described void of context and awarded moral status similar to that of the real. Perhaps even more problematic, the legislation invites a singular reading of texts through priming a search for the specified and reified elements by a defined audience (magistrates, District Judge, or jury) under the remit that a certain constellation may warrant prohibition. That is, it alerts hegemonically-empowered or hegemonically-representational groups to a paedophilic reading and disavows other possible readings as irrelevant if these groups can find that reading. Importantly, as an interpretative community, BL fans’ own reading practices and understanding of genre conventions are discounted. Hence, paradoxically, a demographic the legislation is designed to protect (young people) is now, under its auspices, potentially vulnerable to prosecution through their BL fanship.
https://leeds.onlinesurveys.ac.uk/blfandomsurvey
Madill, A. (2011-2013) Understanding Japanese "Boys' Love" manga from a UK perspective. British Academy.
These 234 BL stories in commercial English translation constitute my sample (up to November 2013). I define a 'story' as a narrative focusing on one central uke-seme pair and sometimes that has has to be a judgement call. All stories have been coded using a large number of content and theoretical codes. I am interested in coding patterns but the main orientation of my analysis is qualitative.""""
Centered around romantic and sexual relationships between men, "danmei" is wildly popular in China. It's been a hit abroad, too, with three books recently receiving an authorized English translation-and all three making it to the New York Times's bestsellers list.
See: Madill, A., Shloim, N., Brown, B., Hugh-Jones, S., Plastow, J., & Setiyawati, D. (2022). Mainstreaming Global Mental Health: Is there Potential to Embed Psychosocial Wellbeing Impact in all Global Challenges Research? Applied Psychology: Health & Well-Being, 1-23. https://doi.org/10.1111/aphw.12335
Leeds academics and researchers will be involved in a range of projects, including ways of improving mental health, transforming food production, building sustainable futures and reducing the risk of antimicrobial resistance.
The money to finance the projects is from the UK’s Global Challenges Research Fund (GCRF), which supports cutting-edge research to address the global issues faced by developing countries. It is part of the UK Government’s overseas aid budget or ODA.
“The UK’s research system has a crucial role to play in finding solutions to... environmental disasters, extreme poverty and food security.”
PROFESSOR ANDREW THOMPSON, UK RESEARCH AND INNOVATION
UK Research and Innovation – which administers GCRF – said 141 new international research projects had been funded through its Collective Programme. The projects where Leeds is the lead institution are:
• Mainstreaming global mental health: a praxis nexus approach - led by Professor Anna Madill, School of Psychology...
A film produced as part of a Leeds-led research project has been selected for screening at the Changing the Story Online International Film Festival, taking place between the 1st - 5th June 2020.
The film is a participant-led, co-production created as part of the Global Challenges Research Fund project ‘The Big Picture’ led by School of Psychology professor, Anna Madill. The project focuses on understanding the lived experience of young Assamese people around risk, recovery and resilience in relation to substance use disorder. The goal is to increase knowledge, enhance the voice of young people, and inform practice through impacting policy and promoting public awareness.
‘Diary of a Recovering Drug Addict’ will be screened on the festival website on Tuesday 2nd June at 2pm (BST). It highlights four chapters of a recovering addicts life, from before addiction to recovery, documenting the thoughts and feelings of recovering addicts throughout the process. Find out more about what you can expect from the documentary. On the day, there will also be other films dedicated to films about mental health, loss and loneliness. View the CTS international film festival programme.
The qualitative research, led by the University of Leeds, is based on detailed interviews with 22 women who have both been diagnosed with the condition and have given birth to children.......
For more information on pregnancy and IBD click here: https://www.youtube.com/watch?v=br0kciD8xJk&t=5s
Background music "Where I am From" by Topher Mohr and Alex Elena (taken from YouTube audio Library, free to use)
If you wish to know more about the study "IBD and Mums-to-Be" you can follow us on Facebook or Twitter @IBDandMumstoBe
To watch a video about the early years of motherhood with IBD click here: https://www.youtube.com/watch?v=TQjt8pnMv4I&t=10s
Background music "Where I am From" by Topher Mohr and Alex Elena (taken from YouTube audio Library, free to use)
If you wish to know more about the study "IBD and Mums-to-Be" you can follow us on Facebook or Twitter @IBDandMumstoBe
For more information on planning for a child within the context of IBD check Crohn's and Colitis UK's website: https://www.youtube.com/watch?v=2iwLh6XCnq8&t=4s
To watch a video on pregnancy with IBD click here: https://www.youtube.com/watch?v=br0kciD8xJk&t=5s
To watch a video on the early years of motherhood with IBD click here: https://www.youtube.com/watch?v=TQjt8pnMv4I&t=10s
Background music "Where I am From" by Topher Mohr and Alex Elena (taken from YouTube audio Library, free to use)
If you wish to know more about the study "IBD and Mums-to-Be" you can follow us on Facebook or Twitter @IBDandMumstoBe
Motherhood with IBD: https://youtu.be/TQjt8pnMv4I
Pregnancy with IBD: https://youtu.be/br0kciD8xJk
Planning for a baby https://youtu.be/2iwLh6XCnq8
Further details and registration https://bit.ly/3qmeePw
Professor Paul Cooke University of Leeds
Dr Rebecca King University of Leeds
Dr Siobhan Hugh- Jones University of Leeds
Professor Tolib Mirzoev University of Leeds
Dr Erminia Colucci Middlesex University
Dr Rebecca Graber University of Brighton
Professor Stuart Taberner University of Leeds
Dr Karina Croucher University of Bradford
Dr Adrian Evans University of Bradford
Professor Raghu Raghavan De Montfort University
Professor Brian Brown De Montfort University
Our Partner Organisations and associated advisors are:
MIND India https://mindindia.org/ - Dr Sangeeta Goswami
National Institute of Mental Health and Neuroscience, Bangalore https://nimhans.ac.in/ - Professor Santosh Chaturvedi and Professor Poornima Bhola
Center for Public Mental Health, Universitas Gadjah Mada https://iup.psikologi.ugm.ac.id/center-for-puclic-mental-health/ - Dr Diana Setiyawati
Worldwide, one billion people have a mental health disorder, placing these among the leading causes of ill-health and disability. Moreover, poor mental health disproportionately affects people in Low and Middle Income Countries (LMIC) where there exists also a huge mental health workforce gap. Arguably, mental health is a right and tackling poor mental health is also a means of facilitating sustainable socio-economic development. Global Mental Health aligns with Sustainable Development Goal 3: 'Good Health and Well-Being,' specifically 3.4: 'By 2030, reduce by one third premature mortality from non-communicable diseases through prevention and treatment and promote mental health and well-being.'
Our ambition is to trigger a step-change in how the research community thinks about where, how and by whom mental health in LMICs can be impacted to benefit people experiencing poor mental health. Specifically, we believe there is untapped potential for global researchers to impact mental health whilst delivering their core (non-mental health) project aims, and that this can be done without significant resource implications. Therefore, to accelerate global action on mental health our long-term aim is to produce a Global Mental Health Impact Framework with potential for use in all research in developing countries. Our first stage project will establish a foundation and pathway towards this long-term aim by creating a beta version of the Impact Framework, based on arts and humanities methodologies first, ready for future testing and development across a broad range of GCRF projects in a second stage application. At this second stage, we will also develop an implementation plan to support funders, researchers and LMIC partners to understand and use the Framework.
The Challenge Cluster brings together 16 GCRF projects funded by the AHRC, ESRC and MRC, a University of Leeds (UoL) AHRC-GCRF Network Plus, and UoL AHRC-led GCRF Hub totaling over £6.5 million and collaborator from outside the academy who has worked on non-GCRF ODA-oriented projects. A huge advantage of the Cluster is that it builds on the activities and resources of Praxis: Arts and Humanities for Global Development: an AHRC-led GCRF Hub at the UoL. We will develop our own Praxis Nexus approach to bring together what has been found and engage with researchers, practitioners, and policy-makers to accelerate impact on a cross-national scale commensurate with the significance of the GCRF programme.
Measurable, realistic, achievable objectives for the first-stage 12-month project are to:-
1. Complete a scoping review of (i) material practices and (ii) implicit and explicit mental health activities in non-mental health focused GCRF projects funded to date;
2. Complete a report outlining the basis for a Global Mental Health Impact Framework around collaborative material practices;
3. Develop and strengthen equitable international academic, policy and practitioner partnerships and build capacity in LMIC and the UK; and,
4. Use this work to assist in developing the agenda and programmes of research to be undertaken in the second stage application.
In relation to potential applications and benefits we will:
1. Raise the awareness of UK and LMIC funders, researchers and organisations that they may be missing 'low hanging fruit' opportunities to impact mental health in their portfolios and projects;
2. Provide them with a basic understanding of how Global Mental Health challenges can be conceptualised and identified in non-mental health focused projects; and
3. Explain ways that diverse projects could achieve mental health impact at micro, meso and macro levels as part of their routine activities without overstretching project expertise or resources; and,
4. Stimulate LMIC organisations and government departments to think about how they might integrate mental health impact across their diverse agendas and projects.
https://www.youtube.com/watch?v=TQjt8pnMv4I&t=10s
IBD and Mums to Be: Pregnancy with IBD YouTube (778 views)
https://www.youtube.com/watch?v=br0kciD8xJk&t=5s
IBD and Mums to Be: Planning for a Baby in the context of maternal IBD YouTube (1037 views) https://www.youtube.com/watch?v=2iwLh6XCnq8&t=4s
http://www.leedstrinity.ac.uk/News_Events_Blogs/Pages/Graduate-Teaching-Assistant-talks-to-BBC-Radio-Humberside-for-Men%E2%80%99s-Health-Week.aspx
The project will provide a complementary, qualitative evaluation of the service using ‘photo elicitation’. Photo elicitation is a developing method of inquiry in which participants are invited to take photographs which help them to express something of their experience around the topic of investigation. The researcher provides a structure by having an introductory meeting to clarify the topic of investigation, to answer questions, and provide a digital camera, if one is needed - participants can use their own phone/tablet if they like. A time-frame is agreed for the photos to be taken and sent to the researcher (e.g., by e-mail attachment) and for the participant and researcher to meet to discuss the meaning of the photos in an audio-recorded research interview. The research entails undertaking photo elicitation with service users (n~16) about their experience of the new service and to include purposefully sampled staff as well (n~8 including inpatient service and community partners). The aims are to provide:
• an in-depth understanding of the experience of service users and staff to complement the quantitative service evaluation currently ongoing in the Trust;
• an understanding of the strengths of the service and areas requiring further development, from the perspective of both service users and staff;
• an evidence-base from which to develop the service, for example, through exploring the possibility of integrating the method in an on-going cycle of service evaluation and service use technology skill development;
• to provide a platform to apply for additional funding for a public engagement and knowledge transfer/dissemination to other services.
https://www.crohnsandcolitis.org.uk/news/ibd-and-mums-to-behttps://www.youtube.com/watch?v=2iwLh6XCnq8
https://www.youtube.com/watch?v=br0kciD8xJk
https://www.youtube.com/watch?v=TQjt8pnMv4I&t=30s
https://www.crohnsandcolitis.org.uk/research/projects/mothers-to-be-and-ibd
One of the biggest problems facing anyone researching pornography/erotica or comics, and therefore doubly so for anyone researching erotic/pornographic comics, is finding and gaining access to primary materials. So we have decided to have a go at establishing an archive in the UK to collect and catalogue English-language porn and erotic comics.
We intend to approach a number of libraries and research institutions to host and/or fund the archive. Persuading them to support us will be a lot easier if we an show that there is a need for this archive, so to help with that we’ve started this petition.
We’ve already got this kick-ass logo designed for us by Alison Lucy Stone and meetings set up with a couple of big libraries. Help us out by signing the petition? And if you’d like to be more involved, please tweet Dr Anna Madill @UKFujoshi or Dr Jude Roberts @tangendentalism - we’d love to hear from you!