Highlight 1 Remove Text “Fūzoku Art Museum” reframes European images of abduction, coercion, resistance, voyeurism, and female self-regard as part of the magazine’s erotic archive (PDF pp. 3–7). PDF pages Category
Highlight 2 Remove Text “Three States of the Tormented Woman” presents three bondage scenes attributed to Kita Reiko, turning female suffering into a comparative visual taxonomy (PDF pp. 8–10). PDF pages Category
Highlight 3 Remove Text A swordsman-and-captives scene depicts two restrained women as historical drama, blending jidaigeki imagery with erotic helplessness (PDF p. 9). PDF pages Category
Highlight 4 Remove Text “A Woman Who Suffers” uses drunkenness and bodily collapse to eroticize vulnerability outside a formal bondage scene (PDF p. 11). PDF pages Category
Highlight 5 Remove Text “New Torment and Old Torment” explicitly compares older and newer forms of seme, supported by photographs of tightly bound women (PDF pp. 32–36). PDF pages Category
Highlight 6 Remove Text “The Dangerous Allure of Theater” examines stage performance as a space where female bodies, danger, and voyeuristic excitement converge (PDF pp. 23–26). PDF pages Category
Highlight 7 Remove Text “Male Café” surveys urban male same-sex subculture as part of the issue’s broader map of modern sexual difference (PDF pp. 27–31). PDF pages Category
Highlight 8 Remove Text “No Virgin in Tokyo!” treats urban female sexuality through sensational reportage and the rhetoric of modern corruption (PDF pp. 37–41). PDF pages Category
Highlight 9 Remove Text “A Woman’s Confession of the Room of Ecstatic Cruelty” gives etsugyaku a first-person feminine voice and links torment to reciprocal pleasure (PDF pp. 42–46). PDF pages Category
Highlight 10 Remove Text “Office Girl and Automobile Rendezvous” places modern work, mobility, and clandestine sexuality within the magazine’s pathology series (PDF pp. 47–51). PDF pages Category
Highlight 11 Remove Text “The Wives Who Absolutely Refuse Pregnancy” frames reproductive refusal as a modern sexual and social disorder (PDF pp. 52–54). PDF pages Category
Highlight 12 Remove Text “Women of the Red-Light District” presents prostitution as both social problem and erotic spectacle (PDF pp. 65–68). PDF pages Category
Highlight 13 Remove Text “The Woman I Tormented” offers a male first-person account of inflicting seme, exposing the uneasy boundary between confession and fantasy (PDF pp. 69–74). PDF pages Category
Highlight 14 Remove Text “Edo Punishments: Ten Forms” reconnects modern erotic imagery to historical punishment, one of the key ancestral visual sources for kinbaku (PDF pp. 89–90). PDF pages Category
Highlight 15 Remove Text “Lesbos Correspondence” and “Sodomia Correspondence” create print-based communities for female and male same-sex readers within the same issue (PDF pp. 128–135). PDF pages Category