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Shojo

Shōjo manga (少女漫画), often translated as "girls' comics," is a genre of Japanese manga specifically targeted at adolescent girls and young women, emphasizing emotional depth, interpersonal relationships, romance, and personal growth through character-driven stories and visually expressive artwork featuring large eyes, flowing lines, and intricate emotional expressions.^[1]^[2] Originating in the early 20th century, shōjo manga evolved from illustrations in girls' magazines, with pioneering works like Katsuji Matsumoto's Nazo no Clover (1934) introducing adventure elements for young female readers, and Osamu Tezuka's Ribon no Kishi (1953–1956) marking the first major story manga in the genre, featuring a cross-dressing princess protagonist that explored gender roles.^[1]^[3] In the post-World War II era, shōjo manga gained prominence as publishers shifted toward serialized comics in dedicated magazines, reflecting Japan's recovering society through themes of school life, friendship, fantasy, and budding romance, often with active female leads defying traditional expectations.^[3]^[4] The 1960s saw a transformative period with the Year 24 Group (24-nengumi), a cohort of female artists born around 1949, who innovated styles and narratives, introducing psychological depth, magical girl tropes like in Himitsu no Akko-chan (1962–1965), and romance-focused plots as seen in Hideko Mizuno's Hoshi no Tategoto (1960–1962).^[3] By the 1970s, the genre expanded to include experimental stories such as Moto Hagio's The Poe Clan (1972), which featured all-male casts, deep friendships, and supernatural elements, broadening shōjo manga's appeal beyond conventional romance to encompass action, horror, and boys' love (yaoi) subgenres.^[5]^[2] Shōjo manga's defining characteristics include its kawaii (cute) aesthetic with pastel tones, floral motifs, and dynamic panel layouts that prioritize mood and introspection over action, fostering themes of female empowerment, coming-of-age, and social relationships that resonate universally.^[4]^[2] Since the 1990s, it has influenced global pop culture, inspiring anime adaptations, fashion trends like the Licca-chan doll, and educational integration in Japan, where manga was incorporated into national art curricula in 1998 to promote visual literacy among youth.^[1]^[6] Today, shōjo manga continues to diversify, attracting diverse audiences worldwide while maintaining its core focus on emotional narratives and strong female perspectives.^[7] This article primarily discusses shōjo manga; for other cultural meanings of shōjo, such as "young girl" or in mythology, and its use as a surname, see the relevant sections below.

Shōjo Manga and Anime

Etymology and Definition

The Japanese term shōjo (少女) literally means "young girl" or "little female," derived from the kanji 少 (shō), signifying "few" or "small," combined with 女 (jo), denoting "woman" or "girl." This linguistic origin underscores the genre's emphasis on the experiences and perspectives of female youth.^[8] In the context of manga and anime, shōjo defines a demographic-driven genre targeted at adolescent girls and young adult women, typically aged 12 to 18, featuring stories that prioritize emotional depth, personal development, romance, and interpersonal relationships. These narratives often center on protagonists navigating self-identity, friendships, and first loves, using expressive art styles to convey inner feelings and subtle psychological nuances.^[9]^[10] Shōjo differs from shōnen manga, which appeals to young males through action-oriented plots and competitive themes, and from josei, intended for adult women and focusing on realistic depictions of career, marriage, and complex emotional realities. Serialization in shōjo occurs primarily in monthly magazines like Nakayoshi (published by Kodansha) and Ribon (published by Shueisha), which provide age-appropriate content blending fantasy, school life, and light drama.^[11]^[12] The concept of shōjo as a manga genre evolved from early 20th-century "girls' comics" in literary publications for young female readers, which included simple illustrations and prose stories, to a formalized category after World War II amid Japan's cultural reconstruction and the rise of specialized comics media. This post-war shift marked the genre's expansion into standalone narratives with greater artistic innovation and market segmentation.^[1]^[13]

Historical Development

The origins of shōjo manga trace back to the early 20th century, emerging within dedicated girls' magazines that catered to young female readers in Japan. The first such publication, Shōjo Kai, debuted in 1903 and ran until 1912, featuring serialized novels, poetry, and illustrations aimed at fostering literacy and moral education among girls. This was followed by Shōjo Sekai in 1906, published by Hakubunkan until 1931, which specialized in literature and artwork emphasizing emotional and romantic themes for teenage girls. Influential children's magazines like Akai Tori (Red Bird), launched in 1918 and continuing until 1936, further shaped the visual and narrative styles through free verse, fairy tales, and illustrations that highlighted innocence and fantasy, laying groundwork for shōjo aesthetics despite targeting a broader youth audience.^[14] Following World War II, shōjo manga experienced a significant boom in the 1950s and 1960s, transitioning from literary supplements to serialized visual storytelling in commercial magazines. Publishers like Kodansha and Shueisha drove this commercialization, with Kodansha introducing Nakayoshi in 1954 and Shueisha introducing Ribon in 1955, while Kodansha's longstanding Shōjo Club—originally founded in 1923—shifted toward manga-heavy content with serialized stories for young girls. These outlets serialized works like Osamu Tezuka's Ribon no Kishi (1953–1956), which popularized "story manga" formats and expanded readership among elementary-aged girls, marking manga's dominance over traditional novels in girls' media. By the late 1950s, weekly and monthly shōjo magazines proliferated, reflecting postwar economic recovery and a growing consumer market for youth entertainment.^[15]^[16] The 1970s brought revolutionary innovations through the "Year 24 Group," a cohort of female manga artists born around Shōwa Year 24 (1949) who transformed shōjo narratives with sophisticated themes. Figures such as Moto Hagio, Riyoko Ikeda, and Keiko Takemiya debuted in the mid-1960s via Kodansha contests but gained prominence in magazines like Shōjo Comic and Betsuma, introducing science fiction elements—as in Hagio's They Were Eleven (1975)—and early boys' love (shōnen-ai) stories, such as Takemiya's Kaze to Ki no Uta (1976–1984). These creators challenged gender norms and expanded shōjo beyond romance, incorporating psychological depth, historical drama like Ikeda's The Rose of Versailles (1972–1973), and explorations of taboo topics, appealing to teenage and adult readers while establishing female authorship as central to the genre.^[17]^[18] In the 1980s and 1990s, shōjo expanded into anime adaptations and international markets, solidifying its cultural footprint. Key works like Candy Candy (manga 1975, anime 1976) and The Rose of Versailles (anime 1979–1980) achieved widespread popularity on Japanese television, blending melodrama with historical and coming-of-age elements to attract global audiences through localization efforts in Europe and Latin America. This era saw further diversification with magical girl series and the rise of publishers exporting content, though shōjo anime remained niche compared to shōnen until broader licensing in the 1990s.^[19] From the 2000s onward, shōjo manga has embraced digital publishing, subgenre proliferation, and cross-cultural influences, adapting to technological and global shifts. Platforms for e-manga and webcomics surged around 2010, enabling direct-to-digital serialization and broader accessibility, while the yaoi (boys' love) subgenre—rooted in 1970s shōnen-ai—gained commercial independence with dedicated imprints. Diversification includes fusions with global pop culture, such as K-pop-inspired idol themes in series like The Idolmaster Cinderella Girls adaptations, alongside increased international co-productions and fan-driven content. In the 2020s, shōjo content has increasingly migrated to streaming platforms like Netflix, with adaptations such as Fruits Basket (2019–2021) boosting international viewership, as of 2025.^[20]^[21]^[7]^[22]

Key Characteristics

Shōjo manga and anime are distinguished by their distinctive art style, which prioritizes emotional expression and aesthetic beauty over photorealism. Artists employ flowing, sinuous lines and layered panels to convey complex inner states, often overlapping elements without borders to depict memories or psychological flux, creating a sense of fluidity and introspection.^[23] Exaggerated facial features, such as large, sparkling eyes filled with stars or ethereal sparkles, and dreamlike backgrounds with motifs like flowers or soft gradients, emphasize characters' beauty and sentiments, fostering a visual poetry that immerses readers in the protagonists' emotional worlds. This style, influenced by prewar illustrators like Nakahara Jun'ichi and refined by postwar female creators, uses ample white space and floating symbolic elements to heighten dramatic tension and mood. Narratively, shōjo works frequently adopt first-person perspectives or close third-person views to delve into protagonists' internal monologues, exploring psychological depth through non-linear sequencing that mirrors fragmented thoughts and emotional turbulence rather than linear plot progression.^[23] Episodic structures, often centered on romance arcs, build through subtle interpersonal dynamics and personal growth, allowing space for introspection on identity and relationships without rigid chronological constraints.^[18] These elements, pioneered by the Year 24 Group in the 1970s, shifted toward innovative layouts that prioritize subjective experience. In production, shōjo manga is typically serialized in monthly anthology magazines such as Ribon or Nakayoshi, with chapters averaging 30-50 pages to accommodate detailed emotional narratives within the format's constraints.^[20] When adapted to anime, these stories leverage voice acting that amplifies emotional delivery through nuanced tonal shifts and expressive inflections, enhancing the intimacy of internal dialogues and romantic tension for viewers.^[24] Key subgenres within shōjo include magical girl tales, featuring ritualized transformation sequences where protagonists don empowered attire to combat threats, symbolizing personal metamorphosis and agency.^[25] Historical romances transport characters to past eras for tales of forbidden love and societal constraints, while slice-of-life school stories capture everyday adolescent experiences in educational settings, blending humor with relational growth. Gender representation in shōjo centers on predominantly female protagonists who often subvert traditional roles by embodying strength and independence, relying on personal resilience or female alliances rather than male saviors to navigate challenges.^[26] These characters, from magical warriors to determined students, challenge passivity through active decision-making and emotional fortitude, fostering narratives of empowerment amid relational complexities.^[18]

Common Themes and Tropes

Shōjo manga and anime frequently explore themes of coming-of-age, where protagonists navigate the transition from adolescence to maturity through personal challenges and emotional growth.^[27] This is often intertwined with self-discovery, as characters confront their identities, desires, and societal expectations, exemplified in series like Fruits Basket where the heroine uncovers her emotional resilience amid family secrets.^[27] Forbidden love serves as a central motif, depicting romances that defy social norms, such as class barriers or gender conventions, which heighten emotional stakes and underscore themes of sacrifice.^[28] Friendship bonds are equally prominent, portraying deep, supportive relationships among female characters that foster mutual empowerment and provide a counterpoint to romantic tensions.^[29] Empowerment through adversity rounds out these themes, with heroines overcoming obstacles like discrimination or loss to assert their agency, reflecting broader narratives of resilience.^[30] Recurring tropes in shōjo works include reverse harems, where a female protagonist is surrounded by multiple male suitors, each offering distinct emotional connections that explore her romantic preferences.^[27] The bishōnen archetype, featuring ethereal, androgynous beautiful boys, embodies idealized masculinity blended with feminine traits, often serving as romantic interests that challenge traditional gender roles.^[31] Time travel appears as a device for romance resolution, allowing characters to revisit past mistakes or alter fates to achieve emotional closure.^[32] Symbolic elements like flowers and seasons convey inner emotions, with blooming motifs representing budding love or renewal, while wilting ones signify heartbreak.^[29] The evolution of these tropes traces from the 1970s' dramatic tragedies, influenced by the Year 24 Group of female artists, to lighter, more optimistic reversals in the 1990s.^[33] Works like The Rose of Versailles (1972–1973) exemplified early intensity through tragic romances and political intrigue, focusing on forbidden loves amid historical upheaval.^[28] By the 1990s, tropes shifted toward playful empowerment, with clumsy heroines triumphing over princely figures in romantic comedies, as seen in the genre's embrace of fantasy elements for uplifting resolutions.^[30] Cultural symbols enrich these narratives, with school uniforms denoting innocence and the structured world of youth, often framing scenes of budding relationships. Cherry blossoms symbolize transience and fleeting emotions, mirroring the impermanence of adolescent experiences.^[29] Diaries and journals facilitate introspection, serving as tools for protagonists to process inner turmoil and track personal evolution.^[1] In trope application, the Cinderella motif recurs in modern reverse harems, where ordinary girls ascend socially through charm and perseverance, subverting passive fairy-tale roles into active pursuits of love and self-worth.^[30] Bishōnen characters, meanwhile, often catalyze self-discovery by prompting heroines to question their desires, blending aesthetic allure with emotional depth.^[31]

Target Audience and Cultural Impact

The primary target audience for shōjo manga consists of girls aged 12 to 18 in Japan, though the genre has broadened to include adult women and international readers through translations and adaptations.^[11] This demographic focus allows shōjo to explore themes resonant with adolescent experiences, such as self-discovery and relationships, while its accessibility has drawn male readers and older fans seeking emotional narratives.^[11] In Japan, shōjo manga sustains a robust market, with the overall manga industry exceeding 700 billion yen in annual sales by 2024, and shōjo titles contributing significantly through serialized publications.^[34] Publishers like Shogakukan play a pivotal role by issuing key shōjo magazines such as Ciao (launched in 1977) and Cheese! (since 1996), which serialize popular series and drive circulation among young readers.^[35] Culturally, shōjo has shaped gender norms by challenging traditional roles, as seen in works by the Year 24 Group that introduced fluid identities and feminist undertones, empowering female readers to question societal expectations.^[36] It has also inspired fashion trends like Lolita style, with its frilly, romantic aesthetics drawing directly from shōjo's visual emphasis on elaborate, girlish attire.^[37] Additionally, stories often impart moral lessons on friendship, empathy, and personal growth, influencing educational discussions on emotional intelligence among youth.^[38] Globally, shōjo's export surged in the 1990s with Sailor Moon, which sparked a boom in Western fandom and generated billions in merchandising, introducing magical girl tropes to international audiences.^[39] Its reach extends to adaptations like Korean dramas based on shōjo manga, such as Boys Over Flowers (from Yoko Kamio's series), which popularized romance narratives across East Asia and beyond.^[40] Fan communities thrive online, fostering cross-cultural exchange, though localizations have faced critiques for altering Japanese cultural elements, such as names and settings, potentially leading to misrepresentations.^[41] In modern contexts, shōjo is diversifying to incorporate LGBTQ+ themes, with recent titles featuring queer relationships and identities that normalize diverse sexualities and challenge heteronormative tropes.^[42] This evolution broadens its gender-neutral appeal, attracting non-female readers interested in inclusive storytelling. However, it competes with digital platforms like webtoons, which offer faster-paced, vertically scrolling romances that appeal to younger global users and erode traditional shōjo magazine sales.^[42]

Other Cultural Meanings of Shōjo

Shōjo as "Young Girl" or "Virgin"

In Japanese, the term shōjo (少女) literally translates to "little woman" or "few woman," combining the kanji for "few" or "little" (少) and "woman" (女), and it primarily refers to a girl or young lady typically aged between 7 and 18 years old, emphasizing a stage of innocence, emotional sensitivity, and pre-adulthood.^[43]^[44] This linguistic usage distinguishes shōjo from more casual terms like onna no ko (女の子, "female child"), which lacks the nuanced connotations of transience and budding femininity associated with adolescence.^[43] The word shōjo shares its pronunciation with shojo (処女), which specifically denotes a "virgin" or "maiden," highlighting historical and cultural overlaps in portraying young females as embodiments of purity and unspoiled femininity.^[45]^[46] During the Meiji era (1868–1912), as Japan underwent rapid modernization and educational reforms, shōjo gained prominence in literature and social discourse, symbolizing not only personal purity but also national ideals of disciplined, educated womanhood that contributed to Japan's emerging modern identity.^[47] Girls' higher schools established under the 1879 Education Order created a protected "moratorium" phase for shōjo, allowing them to cultivate refined sensibilities before assuming adult roles as "good wives and wise mothers" (ryōsai kenbo), thereby linking individual innocence to broader societal and national progress.^[48] In modern Japanese society, shōjo extends beyond linguistics into sociocultural realms, particularly in fashion subcultures where it intersects with kawaii (cute) aesthetics, as seen in Harajuku street styles that evoke childlike innocence and playful femininity among young women.^[49] This usage reflects a deliberate embrace of the shōjo identity as a form of resistance or escapism, allowing individuals to prolong the transient adolescent phase amid pressures to conform to adult expectations.^[50] In education, shōjo denotes a distinct life stage focused on personal development and identity formation, often explored in psychological contexts as a period of emotional exploration and peer bonding that shapes gender roles.^[47] Unlike the English term "girl," which can apply broadly without temporal limits, shōjo carries implications of impermanence, underscoring societal expectations for a swift transition to josei (女性, adult womanhood) and the associated responsibilities of maturity.^[4] This cultural framing influences psychological discussions of identity, where shōjo represents a formative, collective space for negotiating autonomy before full integration into gendered adult norms.^[47]

Shōjō in Japanese Mythology and Folklore

The shōjō (猩々), also romanized as shōjo in some contexts, is a yōkai or supernatural creature in Japanese folklore, portrayed as a red-faced, long-haired sea spirit renowned for its insatiable love of sake and drunken merriment. This entity traces its origins to Chinese folklore, where it derives from the xīngxing (猩猩), an ape-like being symbolizing liveliness and often linked to orangutans or heavy drinkers in ancient texts such as the Shanhaijing. Adapted into Japanese traditions during the Heian period or earlier through cultural exchange, the shōjō evolved from a mere primate figure into a whimsical coastal dweller embodying indulgence and the blurred line between the human and supernatural realms.^[51]^[52] Physically, shōjō are depicted as humanoid apes standing about the height of a man, with crimson or ruddy skin, flowing white or red hair, and perpetually flushed faces suggestive of intoxication. They inhabit rugged coastal mountains, islands, and shallow seas around Japan, sometimes clad in seaweed skirts or loincloths fashioned from marine debris. These yōkai are omnivorous but particularly partial to alcohol, brewing potent sake from seawater that tests the moral character of drinkers—tasting divine for the virtuous and poisonous for the wicked. Symbolizing both hedonistic excess and hidden wisdom, shōjō are generally peaceful, engaging in boisterous dances, songs, and games while demonstrating an uncanny understanding of human languages and customs.^[52]^[51] In folklore, shōjō play roles as enigmatic benefactors or tricksters who interact with humans through alcohol-fueled exchanges, often imparting knowledge or gifts in return for drink. One enduring tale describes a shōjō encountered by a sake merchant on the Yangtze River, who, in exchange for unlimited libations, bestows a magical crock producing endless liquor, ensuring the man's prosperity—a motif reflecting themes of reciprocity and supernatural reward. This narrative forms the basis of the classical Noh play Shōjō, composed in the Muromachi period (14th–16th centuries), where the spirit appears in a dream to the protagonist Kōfū, leading to a celebratory dance sequence that showcases the yōkai's joyful, rhythmic movements and ties to festive rituals. Performed in Noh theater, the play underscores the shōjō's cultural significance as a symbol of harmony between revelry and enlightenment, influencing later artistic depictions in ukiyo-e prints and literature.^[53]^[52] In modern interpretations, shōjō continue to appear in anime and manga as lighthearted, comedic yōkai, often as minor characters providing humorous relief through their boisterous affinity for sake, as seen in series exploring supernatural folklore. They also persist in cultural practices, such as sake-brewing rituals and festivals honoring harvest and fermentation, where effigies or performances invoke the spirit for blessings of abundance and joy.^[51]

Shōjo as a Surname or Name

Etymology and Usage

The surname Shōjo, typically rendered in kanji as 荘所, derives from the combination of 荘, signifying "villa," "manor," or connotations of solemnity and respect, and 所, denoting "place," "location," or situational context.^[54] This composition suggests origins related to a geographic or estate-based identifier, common in Japanese onomastics. It is homophonous with the unrelated term shōjo (少女), meaning "young girl," which may incidentally lend the name associations of youth or femininity in cultural perception. Primarily used in Japan, the surname remains rare, occurring in approximately 30 households nationwide and borne by around 987 individuals, with the highest concentrations in Wakayama Prefecture (21%), Hokkaido Prefecture (17%), and Osaka Prefecture (13%).^[54]^[55] It does not rank among the most common Japanese surnames but appears sporadically in professional fields such as entertainment and sports. As a given name, Shōjo is similarly uncommon, recorded in about 1,151 cases in Japan, predominantly as a male name despite the homophone's feminine implications, and extends occasionally to diaspora communities in countries like Brazil, the United States, and India.^[56] In Japanese naming practices, Shōjo evokes subtle ties to traditional descriptors of adolescence and purity through its phonetic overlap with shōjo (少女), though the surname's kanji emphasize locational or dignified themes; modern naming conventions have allowed greater flexibility in adopting such homophonous forms since the post-Meiji era liberalization of personal nomenclature.^[57]

Notable Individuals

The surname Shōjo, rendered in variants such as Shoujou or Shojo, is exceedingly rare in Japan, with records indicating approximately 30 households associated with the kanji form 荘所, which evokes notions of solemnity and place, thereby underscoring its limited integration into broader Japanese nomenclature.^[54] This scarcity highlights the term's more frequent cultural resonance beyond surnames, yet it persists in select notable contexts tied to Japanese heritage. Yuki Shoujou (born December 12, 1980), a professional mixed martial artist from Kanagawa Prefecture, Japan, exemplifies modern notability under this surname, competing primarily in Shooto's bantamweight division since his debut in 2004. With a record of 17 wins, 9 losses, and 2 draws across 28 bouts (as of November 2025), his career features a signature guillotine choke submission victory over former Shooto champion Yasuhiro Urushitani in 2008, establishing him as a resilient figure in Japan's regional MMA scene during the 2000s and beyond.^[58]^[59] In historical annals, Shōkadō Shōjō (1584–1639), originally Nakanuma Shikibu, stands as a pivotal artist and Shingon Buddhist monk whose dharma name aligns with the surname's phonetic form. Renowned as one of the "Three Brushes of the Kan'ei era," he revived the fluid sō (grass-script) calligraphy tradition and produced influential Yamato-e paintings in ink monochrome, drawing from Chinese monk-artist inspirations like Muqi Fachang, while also mastering tea ceremony and poetry to shape Edo-period aesthetics.^[60] Given the surname's infrequent occurrence, documented prominent bearers remain limited, with these examples illustrating its sporadic yet impactful ties to Japanese artistic and athletic domains.

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Nov 6, 2021 · A classic of the genre, Boys Over Flowers is one of the most well-known K-Dramas of all time. An adaptation of the eponymous shojo manga by ...
[42]
The Localisation of the Hana Yori Dango Text: Plural Modernities in ...
This article examines the circulation and reception of the original Japanese shōjo manga text, Hana Yori Dango, through the three sites of Taiwan, Korea and ...
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How LGBTQ+ stories have evolved and flourished in manga
Jun 21, 2022 · In the past few years, there has been a significant increase in the quality of Japanese manga with LGBTQ characters and themes.
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Definition of 少女 - JapanDict: Japanese Dictionary
noun. girl (usu. between 7 and 17), young lady · archaicnoun. female between 17 and 20 years old (ritsuryō period).
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Japanese Meaning of 少女 (しょうじょ) shoujo - JLPT Sensei
Meaning: little girl; maiden; young lady; female usually between 7 and 18 years old. Type: Noun. Level: JLPT N3 Vocabulary. Related Kanji. N4 Kanji: 少 (shou, ...
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Shōjo - Anime News Network
"Shōjo" is a demographic indicator for anime and manga aimed at girls. However, among Western fans, it is often misinterpreted to mean "an anime with the ...
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"Virgin" in Japanese
Mar 26, 2019 · First, the word shojo 処女 means a "virgin" woman. This sounds like shoujo 少女, "girl," which, confusingly, is also romanized shōjo, but ...
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[PDF] Emergence and developments of shôjo in 1910s through 1930s Japan
While the term shôjo is now commonly used in Japanese to indicate female adolescents who are under twenty years old, this word was actually created through the.Missing: 少女 | Show results with:少女
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The Genre Formation of the Meiji-Era Shōjo Shōsetsu = 構成される ...
Aug 20, 2022 · This article focuses on the early stages of girls' fiction, or shōjo shōsetsu, between 1895 and 1912, the latter years of the Meiji period.Missing: connotations | Show results with:connotations
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[PDF] SHŌJO: THE POWER OF GIRLHOOD IN 20TH CENTURY JAPAN
Shōjo are 'young women' in Japanese media, often depicted as cute, but can be both feminine and dominant, and are sometimes sexualized.
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[PDF] A Brief Introduction to the Kawaii Aesthetic in Contemporary Japan
However, the modern concept of kawaii originates from a subculture associated with young schoolgirls in the 1970s. This conception of kawaii has since passed ...
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Meiji-Era Representations of Shōjō (Orangutans) as Exotic Animals
Jun 29, 2017 · Abstract. This study investigates the multiple representations of shōjō in the translated literature and print media of Japan's Meiji era.Missing: ancient | Show results with:ancient
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Shōjō | Yokai.com
### Summary of Shōjō Yokai
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Noh Plays DataBase : Shōjō : Synopsis and Highlight
Kōfū, a liquor seller, meets Shōjō, a mysterious ocean-dwelling man, in a dream. Shōjō gives Kōfū a magic crock, and the play focuses on the celebratory ...
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Shoujo Surname - Meaning and Kanji Variations
Nov 11, 2022 · 荘 means "villa, manor, country house." ... 所 means "place, location, spot." Place, Location - Used to indicate a place or reason for an action.Missing: etymology | Show results with:etymology
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Shojo Surname Origin, Meaning & Last Name History - Forebears
The last name Shojo is most widely held in Japan, where it is borne by 987 people, or 1 in 129,528. In Japan it is mostly found in: Wakayama Prefecture, where ...Missing: etymology | Show results with:etymology
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Shojo Name Meaning, Origins & Popularity
**Summary of Shojo as a First Name:**
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https://www.sherdog.com/fighter/Yuki-Shojo-9577
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Yuki Shojo MMA Stats, Pictures, News, Videos, Biography - Sherdog
Yuki Shojo ; AGE, 44 / Dec 12, 1980 ; HEIGHT, 5'5" / 165.1 cm ; WEIGHT, 125 lbs / 56.7 kg ; TKO. 2. Meter. 12% ; SUBMISSIONS. 3. Meter. 18%.Missing: Shoujo | Show results with:Shoujo
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Yuki Shojo | MMA Fighter Page - Tapology
Yuki Shojo (17-9-2) is a Pro MMA Fighter out of Fujisawa, Kanagawa, Japan. View complete Tapology profile, bio, rankings, photos, news and record.Missing: Shoujo | Show results with:Shoujo
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Shōkadō Shōjō | Japanese Painter, Ukiyo-e Artist | Britannica
Oct 30, 2025 · Shōkadō Shōjō was a Japanese calligrapher and painter, one of the “three brushes” of the Kan-ei era. He was a priest and respected ...Missing: athlete | Show results with:athlete