ORE NO KANOJO – REPRESENTATIONS OF MASCULINE AND FEMININE IN UTADA HIKARU’S MUSIC

Abstract

This paper aims to explore the ethé present in the song "Ore no Kanojo" by the Nikkei singer Utada Hikaru. Using Critical Discourse Analysis (CDA) as proposed by Norman Fairclough (2001), the study focuses on textual aspects, discursive practices, and social practices of the song. Although the Japanese language does not have gender inflection, it presents markers that distinguish masculine and feminine speech, such as the use of deictics and particles. The song "Ore no Kanojo," from the album Fantôme (2016), is analyzed in terms of two discursive ethé that represent a couple discussing their relationship. The masculine ethos is marked by the reaffirmation of power and emotional detachment, while the feminine ethos demonstrates fragility and self-awareness of social roles. The analysis reveals a critique of traditional gender dynamics in Japanese society, where both characters are presented as prisoners of pre-defined expectations and roles. The study suggests that "Ore no Kanojo" contributes to a broader understanding of gender ideologies in contemporary Japan, highlighting the complex interactions between personal identity and social norms.