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Dissertation--Evangelisch-Theologische Fakultät--Münster--Westfälische Wilhelms-Universität, 2005. / Bibliogr. des oeuvres d'Edo Osterloh, p. 587-606 et bibliogr. p. 607-658.

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This thesis investigates Serial Verb Constructions (SVCs) where two or more finite verbs along with their complements occur in a single clause without any form of coordination or subordination. Two basic questions are addressed: (a) what types of SVCs are there, and how are they to be distinguished from other similar constructions? (b) what is the parameter that allows a language like Edo to have SVCs, and not English or French? / It is argued that true SVCs are those in which the verbs share internal as well as external arguments. Based on a battery of syntactic tests, it is proposed that there are two kinds of SVCs with distinct syntactic structures: resultative and consequential. This is contrary to the unified approach in previous works such as Baker (1989) and Collins (1997). It is argued that resultative SVCs are constrained to two verbs, the second of which is typically unaccusative, and they assign their internal theta roles to a single object---true internal argument sharing. Consequential SVCs are less constrained, and involve sequences of transitive verbs, with internal argument sharing realized via an empty category, pro, as the object of the second verb. Both kinds of SVCs contain two functional heads: an E(vent) head that binds the events denoted by the verbs which it dominates, and a Voice head that licenses the Agent of the events expressed by those verbs. / Some other constructions that have been classified as SVCs turn out to involve two separate clauses, each with their own E(vent) and Voice heads: covert coordinations, modal-aspectual verb constructions, and instrumental constructions. A syntactic structure for each of these non-SVCs is proposed. / Based on Pollock's (1989) approach to verb raising and the checking theory of Chomsky (1993, 1995), it is argued that SVCs can occur in languages where Tense (or other Infl categories) does not need to be checked. The parameter is as follows: non-SVC languages are those in which Infl must check features with the verb {English, French, Igbo, Chinese etc.}, versus SVC languages where it doesn't {Edo, Yoruba, Ewe, Akan etc.}

The gokan is a medium of pre-modern Japanese literature where the story is told through a mixture of text and image on every page, with the narrative and dialogue of the story surrounding the image illustrations on all sides. The Nise Murasaki inaka Genji (A Rustic Genji by a Fake Murasaki, 1829-42), written by Ryutei Tanehiko (1783-1842) and illustrated by Utagawa Kunisada (1786-1865), was one of the most popular gokan of the Edo Period (1605-1868) and has been republished approximately twenty-four times from the end of the nineteenth century until today. By examining how these works handle text and image, this thesis seeks to gain a deeper understanding about how image functions in the gokan genre. When text must be translated and the image altered from the original layout to make it comprehensible to modern readers, the resulting text and image combinations, or lack of image, offer insight into the importance of the role of image in gokan.

The publishing business in the Edo period (1603 – 1868) was very unique since it was divided into two genres: shomotsu mononohon and jihon kusazōshi. Publishers had their specialties and their business strategies varied. In this research paper, I examine the publishing strategies from the view of the network system. First, I state the definition of this network. Next, I study the publishing history of the Edo period to gain a general understanding. Lastly, I examine the network systems of the shomotsu publishers and the jihon kusazōshi publishers. I use examples from Tsutaya Jūzaburō, Suharaya Mohē, Tsuruya Kiemon, the Torii School and the Utagawa School. In the end, the readers will understand the various networks had the roles to energize the Edo community, and each network was indispensable among the whole big network system.

During Japan’s Edo period (1600-1868), popular literature began to take on a variety of physical formats and develop into various genres. Because many authors of this period were familiar with and producing creative works in a number of these genres, there was much crossover of content, format, and style. Authors were experimenting and playing with different ways to represent and give information about their characters through devices such as the dialogue they wrote, the illustrations included in the works, asides in the images, and many more. In this thesis, I explore the myriad ways authors of Edo period popular fiction employed creative visual and textual techniques to present authentic, realistic characters, focusing on the script itself: kana and kanji,ruby (glosses), page layout, text size, diacritical marks and other non-character markings, and spelling, etc. I have separated the period into three chronological sections: 1600-1750, 1751-1804, and post-1804. In the first section, I discuss how the early Edo kanazōshi (“kana booklets”) incorporate content and visual elements that are developed in later works. Because the genre label kanazōshi is arbitrary and inadequate, these books can be seen as a jumping off point for many of the later popular fiction genres. I then describe the connection between the kanazōshi and the ukiyozōshi (“books of the floating world”), showing that the authors’ creation of humorous yet (to varying degrees,) accurate character types seen both in the main and minor characters was directly influential on later works. In the second section, I discuss issues with the term “genre” as applied to Edo period fiction and examine the burgeoning visual techniques used by authors in dangibon (“sermon books”), kibyōshi (“yellow cover books”), and sharebon (“books of wit and fashion), ultimately showing that Inaka shibai (1787), though labeled a sharebon, operates as an inter-genre bridge between this literary incubation period and the post-1804 genre kokkeibon (“funny books”). In the final section, I look closely at the more fully developed techniques used in the kokkeibon in order to show an evolution in the representation of dialogue in this latter stage of development.

La majorité des études sur le thé au Japon se consacre à la cérémonie du thé. Dans cette étude, nous nous proposons au contraire d’analyser l’histoire du thé au Japon du strict point de vue des techniques de culture et de fabrication du thé à l’époque Edo (1600-1868). Dans un premier temps, l’étude se concentre sur l’histoire du thé au Japon depuis son apparition au VIIIe siècle jusqu’au milieu du XIXe siècle. Cette partie abordera l’ensemble du développement de la filière du thé en s’attachant aux points suivants : l’évolution de la consommation du thé sur l’archipel, les différentes techniques de fabrication utilisées et enfin la mise en place des circuits économiques nécessaires au commerce intérieur du thé. Cette étude tentera de comprendre le passage d’une consommation par les élites à une consommation par l’ensemble de la population, ainsi que les implications de cette évolution. Dans un second temps, ce travail se focalisera sur l’étude des techniques de culture et de fabrication du thé à l’époque Edo. De multiples sources historiques sont examinées pour cela : comptes rendus de voyages de savants occidentaux, documents iconographiques divers, mais ce travail s’attache plus spécifiquement à l’analyse des nombreux traités agricoles de l’époque Edo. Ainsi, la description détaillée des différents procédés de fabrication de cette époque permet de comprendre les liens qu’il peut exister entre les différentes techniques, et de réfléchir aux modalités de création et d’amélioration des thés japonais. / Most studies related to Japan’s tea are about the tea ceremony. On the contrary, in this study we are proposing to analyze the history of tea in Japan from the strict point of view of tea culture and manufacture’s techniques in the Edo period (1600-1868). First of all, the study focuses on the history of Japan’s tea from its emergence in the 8th century, up until the mid-19th century. This part will deal with the whole development of the tea sector, focusing on the following points: the evolution of tea consumption on the archipelago, the different manufacturing techniques used and finally the implementation of the economic systems, necessary to the domestic trade. This study is trying to understand the transition from the consumption by the elites only, to the consumption by the entire population, as well as the implications of this evolution. Finally, this study will focus on the study of tea’s culture and manufacture techniques during the Edo period. To do so, we will look at many historical sources: reports and diaries of Western travelers, various iconographic documents, but this thesis will mainly be focusing on the analysis of many agricultural treaties during the Edo period. Therefore, this detailed description of the various manufacturing processes of this period makes it possible to understand the existing links between the different techniques, and to think about the methods of creation and improvement of Japanese teas.

The main concern of this thesis is a literary analysis of Ukiyoburo, a work by Shikitei Sanba, who was a prominent Japanese writer of the Edo period. This thesis contains a fairly extensive treatment of Sanba's life and work. In this part, the highest attention is paid to works of the kokkeibon genre, which made Sanba famous. The theoretical part mainly deals with the narrative analysis, which has been chosen to be the main research method of this thesis. In the analytical part, the presented methods are used to examine mainly the narrative mode, the story, the environment, the characters and the humor of Ukiyoburo, Sanba's most important work.