4.0 Article

Translating the pet man: the milky puppy imaginary and neoliberal subjectivity

Journal

INTER-ASIA CULTURAL STUDIES
Volume -, Issue -, Pages -

Publisher

ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD
DOI: 10.1080/14649373.2023.2265682

Keywords

China; masculinity; cultural translation; East Asia; TV drama; neoliberal subjectivity

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This article investigates the phenomenon of "milky puppy" in Chinese internet culture and its representation in Chinese TV dramas. The term "milky puppy" symbolizes a young and adorable male figure, similar to a puppy, and is influenced by the moe culture in Japanese and Korean popular cultures. The article explores the cultural translation of the pet man imaginary in East Asia and argues that the bodily rhetoric of milky puppy represents the commodification of the male body. Through the analysis of two Chinese TV dramas, Find Yourself and The Rational Life, the article identifies distinctive Chinese characteristics in the portrayal of pet man masculinity and examines the negotiation between neoliberal subjectivity and patriarchal gender norms in postsocialist China.
The term milky puppy (xiao naigou) gained popularity as a slang term in Chinese cyberspace since 2017, symbolizing a young, endearing, and adorable male figure, much like the perception of a puppy. This phenomenon, influenced by Hallyu 4.0 and the toshishita romantic motif prevalent in Japanese and Korean popular cultures, has led to the emergence of an older woman-younger man relationship pattern as a new trend in Chinese digital entertainment, particularly TV dramas. In this context, the younger, pet boyfriend is commonly referred to as a milky puppy. This article investigates the transnational flow and cultural translation of the Pet Man imaginary in East Asia, arguing that the bodily rhetoric of milky puppy signifies a Chinese variant of moe culture and represents the commodification of the male body. The article presents critical analyses of two recent Chinese TV dramas within this romantic subgenre, Find Yourself and The Rational Life, and compares them to the South Korean drama Something in the Rain. Through this comparative study, the article aims to identify distinctive Chinese characteristics in the portrayal of pet man masculinity in these dramas. By engaging with feminist and governmentality theories, the study explores how gender dynamics in these dramas negotiate between neoliberal subjectivity and the resilience of patriarchal gender norms in postsocialist China.

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