帥氣英雌女主角：《櫻蘭高校男公關部》（2002）中的女扮男裝

Abstract

本論文探討了《櫻蘭高校男公關部》（2002）如何在少女漫畫類型中參與並挑戰傳統的性別規範、特別聚焦於女性角色的性別偽裝主題。透過分析主角藤岡春緋對性別的務實觀點、 如何顛覆傳統少女漫畫中女性性別偽裝的敘述模式、這項研究揭示了《櫻蘭》如何豐富了此類型作品中性別流動的表現。借鑒「性別即表演」理論和寶塚歌劇團的影響、論文考察了少女漫畫如何在歷史進程中吸納並轉化這些戲劇性的元素。運用質性研究方法、本研究分析了《櫻蘭》如何藉由顛覆類型角色、幽默和流動的性別表現、超越了對陽剛與陰柔特質的本質主義詮釋。透過春緋的角色、《櫻蘭》挑戰了固定的性別身份、並重新定義了跨性別敘述中常見的「性別揭露」主題、確立了該作品在少女漫畫性別表現演變中的重要地位。藉由創造一位能跨越性別邊界的女主角並探索其流動性別偽裝及其與他人的關係、《櫻蘭》向寶塚影響致敬。這份遺產豐富了少女漫畫中的性別討論、推動此類型朝向更加廣泛和細緻的性別動態理解。

This thesis investigates how Ouran High School Host Club (2002) engages with and challenges traditional gender norms within the shoujo manga genre, focusing on the trope of the cross-dressed heroine. By exploring how Ouran complicates gender representation through its female protagonist, Haruhi Fujioka—whose pragmatic view of gender disrupts conventional narrative tropes of female cross-dressing in shoujo manga—the study reveals how Ouran enriches the genre's portrayal of gender fluidity. Drawing on theories of gender-as-performance and the legacy of the Takarazuka Revue, the thesis examines how shoujo manga incorporates and transforms these theatrical influences over time. Using a qualitative approach, the research analyzes Ouran’s subversion of genre tropes, humor, and fluid gender displays to illuminate how the series moves beyond essentialist portrayals of masculinity and femininity. Through Haruhi’s character, Ouran contests fixed gender identities and redefines the “gender-reveal” trope typically found in cross-dressing narratives, positioning the series as a key text in evolving shoujo manga's gender representation. By creating a heroine who transgresses the boundaries of gender through fluid cross-dressing and her relationships with others, Ouran pays homage to Takarazuka’s influence. This legacy enriches the discourse on gender within shoujo manga, pushing the genre toward a broader and more nuanced understanding of gender dynamics.