<p>This paper discusses some concerns about Japanese gender identity as a construct and the subversive means to overthrow it. In my paper I claim that the eastern influences on Japan has created a gap between old and new gender- traditions and norms. This interspace is what the philosopher Judith Butler claims as the site for a possible gender transformation. As Butler claims gender identity to be a construct, I use her methods of understanding and subsequently queertheory, to investigate the construct of Japanese gender identity and also the norms that constitute a national identity. As I elaborate on this theory I use specific artworks from Morimura Yasumasa, Yoshiko Shimada and Bubu de la Madeleine and also the all-male theatre kabuki vs. the all-female revue takarazuka. These examples are not symptomatic for a queer culture. Rather they, as I, aim to in some stances challenge normative gender roles and in other cases offer an alternative vision of what gender identity can mean. As the paper will show, queertheory is a tool that is available for anyone who wishes to criticize and examine strategies of a normative gender. The artworks and the queertheoretical interpretations will, in this paper, offer a possibility to dream of another world.</p>

This paper discusses some concerns about Japanese gender identity as a construct and the subversive means to overthrow it. In my paper I claim that the eastern influences on Japan has created a gap between old and new gender- traditions and norms. This interspace is what the philosopher Judith Butler claims as the site for a possible gender transformation. As Butler claims gender identity to be a construct, I use her methods of understanding and subsequently queertheory, to investigate the construct of Japanese gender identity and also the norms that constitute a national identity. As I elaborate on this theory I use specific artworks from Morimura Yasumasa, Yoshiko Shimada and Bubu de la Madeleine and also the all-male theatre kabuki vs. the all-female revue takarazuka. These examples are not symptomatic for a queer culture. Rather they, as I, aim to in some stances challenge normative gender roles and in other cases offer an alternative vision of what gender identity can mean. As the paper will show, queertheory is a tool that is available for anyone who wishes to criticize and examine strategies of a normative gender. The artworks and the queertheoretical interpretations will, in this paper, offer a possibility to dream of another world.

(anglicky): In this thesis, two representative works of two post-war schools of Japanese detective fiction are analysed based on the knowledge of modern narratology. Two mentioned schools are so called social school of detective fiction (shakaiha 社会派), which appeared at the beginning of 60ties, and new authentic school of detective fiction (shin honkakuha 新本格派), which appeared at the beginning of 80ties. This thesis focuses on a theoretical understanding of the term "detective fiction", it describes the development of the detective genre in post-war Japan while focusing on the debates on "authentic" and "inauthentic" detective fiction and describes typical features of two previously mentioned schools. The by using a theoretical apparat suitable for analysing works of very schematic detective genre, two works - Points and lines (Ten to sen 点と線, 1958) written by Matsumoto Seichō 松本清張 (1909-1992) and Tokyo Zodiac Murders (Senseijutu satsujin jiken 占星術殺人事件, 1981) written by Shimada Sōji 島田荘司 (1948 - ) - are analysed. Analyses focus on composition schemes of both works and on the example translated from original works, existence or absence of elements typical for both schools are demonstrated while a different usage of these elements is showed.