Abstract

The classical Chinese poem The Ballad of Mulan and Riyoko Ikeda’s iconic shōjo manga series The Rose of Versailles are two important East Asian cultural texts that are compared in this article to examine feminist resistance and gender negotiation. The protagonists of both stories are women who work in very patriarchal environments while also opposing, subverting, and eventually overcoming traditional gender norms. This paper argues that both texts enact what could be called a “dialectics of compliance and resistance”—that is, a simultaneous negotiation between conformity to institutional norms for survival and resistance through exposing and challenging those same norms in which heroines must adopt masculine codes to survive institutional structures, but in doing so reveal those structures as arbitrary and historically contingent—through the analytical lenses of feminist literary criticism, queer theory, postcolonial gender studies, and Judith Butler’s theory of gender performativity. The article explores the mechanics of cross-dressing as a political act, the ideological ambivalence ingrained in narrative closure, the construction of female heroism, and the divergent yet convergent ways in which each text positions itself relative to its own socio-political moment. They do this by drawing on close textual reading and cultural-historical contextualisation. In the end, the paper argues that The Ballad of Mulan and The Rose of Versailles share a feminist imaginary that resonates strongly with current discourses on gender, identity, and resistance, even though they come from different cultural and generic traditions and are separated by more than fourteen centuries.

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