RESULTADOS DE APRENDIZAJE

Despite the focus by the majority of the micronovels on male same-sex intimacies, many of the examples include occurrences of female characters. Sometimes such characters are intended as a foil to the development of the male characters’ relationship, acting as saboteurs (consciously or otherwise) to their long- term happiness. Other times, they are included as a representation of a figured world consisting of a gender binary, and their interaction with the male characters is not directly detrimental to the development of their same-sex relationship, but may cast judgements upon it through direct comment or silent assumption (as is the case in example A012 (see p.300), where the female character’s line of questioning [更喜欢 爸还是妈？Is your favourite, daddy or mummy?] shows the presumption that the child will have gender-dichotomous parents). I believe it is especially important to analyse the portrayal and positioning of women in the figured worlds of these stories, as they comprise the largest reader demographic for this literary genre, and are the primary producers of yaoi, BL and danmei, therefore one can learn much about how women are choosing to represent themselves socially within the texts, and to observe how these representations disrupt (or reinforce) patriarchy and heteronormativity.

One might presume, being a literature medium by women for women, that the portrayal of women within the figured worlds of this genre of fiction would tend to be both positive and progressive. However, this appears not to be the case. Writing about English-language BL manga, Blair has observed that female characters are usually portrayed negatively:

161 One of the more common uses for female characters is as a

barrier to the male characters’ developing relationship. A typical character could be a woman with whom the characters’ family wants him to develop a relationship, either because homosexuality is not considered socially acceptable and they want they character to be accepted, or because they do not know that he is gay and are pushing him toward a relationship in general

(Blair, 2008, p.113) Despite its seemingly transgressive nature, Martin (2012) concludes that, in the context of Chinese-language BL fiction in Taiwan, significant elements of the genre “reproduce ambivalences around both homosexuality and feminine gender from the broader culture” (2012, p.374). These phenomena are also evident within the selection of Chinese-language micronovels under investigation. From the presumptive arrogance of the female character in micronovels A004 (see p.296) and A005 (see p.297) who presume the male suitor is pursuing them rather than their boyfriends, to the orders of the unseen noblewoman in micronovel A014 (see p.301) who commands her son to visit his spouse, despite the ongoing relationship between the man and his attendant, women in this genre of fiction are generally portrayed as invasive or combative to the ‘pure love’ which exists between the male characters. Speaking to consumers of queer-themed microfiction in China, several of the female respondents were clear on their dislike for female characters in this type of story:

Some girls may hate that her favourite male character is with another girl character. She likes the male character very much, so she has great hostility to the female character; she may think that the female character is not good enough—why would he be with her?! However, she knows that the male character is not real, but even he was, she couldn’t be with him, so she

162 might think: “I would rather him being in love with another guy”

[…] Some girls maybe just think female characters represent weakness, stupidity, and annoyance, while male characters always represent the brave, smart and charming. In fact, in most novels or films or TV episodes, the female characters do represent the features I mentioned, which make the novel or film or TV really boring. When girls read, or watch them, this kind of boring state may cause her to feel uncomfortable and humiliated because the girl characters are terrible. Unlike boys, when boys read or watch this, they won’t be offended because they think that is how girls should be. So girls may like gay fiction because there are less female characters and stories inside, which may make them feel more comfortable.

—Luli, 23-year-old female, sexuality undeclared Businesswoman from Inner Mongolia Microfiction consumer

Most of these fictions would have handsome male protagonists and these fictions would not have female protagonists, so female readers are unlikely to be jealous. It is an enjoyment to picture two handsome men being together, just as men enjoy watching two beautiful women getting together.

—Paihong, 25-year-old female, sexuality undeclared Data analyst from Hubei Microfiction prosumer and author of BL novels From these two responses, one can see that—at least for these two consumers—the issue of jealousy is a strong motivational factor in both their desire to see two men in a romantic relationship together, and their dislike of the female characters within

163 this type of fiction. Character exposition within microfiction has sparse room for development, therefore portrayals of both sexes seem to be simplified.