This dissertation examines a cluster of texts centered on Hizakurige 膝栗毛, or Shank’s Mare, by Jippensha Ikku 十返舎一九 (1765-1831), the first eight installments of which were published annually between 1802 and 1809 in the city of Edo, now Tokyo. The series follows its ruffian protagonists Yajirobē 弥次郎兵衛 and Kitahachi 喜多八 on a picaresque journey, as they make their way down the Tōkaidō highway 東海道 (literally, “Eastern Seaboard Road”) on a largely spurious pilgrimage to the Grand Shrine at Ise. Hizakurige rapidly established Ikku as a major figure in the world of gesaku 戯作 (roughly, “vernacular popular writing”) at the turn of the 19th century, and remains one of the most famous, enduringly-popular pieces of gesaku ever written, known at least in passing to most people in contemporary Japan. Despite this, there has been no dissertation-length study of Hizakurige written in English until now. Accordingly, I investigate the roots of its immense popularity by examining the nuanced layers of laughter and enjoyment—or warai 笑い—that Yaji and Kita’s stories have brought to the readers of Hizakurige over the last two centuries. To do so, I explore a variety of sources, media, and genres that Jippensha Ikku drew upon to build the multifaceted and dynamic world of Hizakurige-related texts—or Hizakurigemono 膝栗毛物—with the groundbreaking first eight installments serving as the unifying nadir for my inquiries. I start with an in-depth introduction to Ikku’s life and his works, detailing his experiences as a writer, illustrator, playwright, poet, traveler, and, eventually, as a person with physical disabilities, which reveal much about the tone, style, and contents of Hizakurige. I examine scholarship on Ikku’s work has to date, and propose frameworks centered on the intertwined structural and compositional concepts of sekai 世界 (literally, “world”) and shukō 趣向 (roughly, “innovation”) in gesaku as conceptualized by Nakamura Yukihiko 中村幸彦 (1911-1998). The second chapter revolves around the role played by kyōka 狂歌 (comic poetry) in Ikku’s development as a creator of gesaku. Centered on two compilations of kyōka edited and illustrated by Ikku—Ikyoku suzukuregusa 夷曲十廻松 (Rustic Rhymes: Rustling in the Pines, 1799) and Ikyoku azuma nikki 夷曲東日記 (Rustic Rhymes: A Diary of Eastern Times, 1800)—the chapter makes use of a framework that hinges on shukō to analyze the structural and poetic techniques that kyōka poets had at their disposal to create meaning, develop narratives, and, ultimately, instill their poetry with wit and amusement. I take up the topic of Nansō kikō tabisuzuri 南総紀行旅眼石 (Travels to Nansō with a Glittering Ink-stone: The Gem-sights of the Journey, 1802) in the third chapter. Although it is an illustrated, kyōka-centric, two-protagonist travelogue written by Ikku in the same year as the first installment of Hizakurige, Tabisuzuri appears to have been a total flop. To discover why this might be, I examine the bibliographic and biographical context in which Tabisuzuri came to be written, explore how the poetically dense paratextual apparatus of its various prefaces function, and analyze a series of linked scenes from the main body of Tabisuzuri that are the direct progenitors for two of Hizakurige’s most infamous episodes. In the fourth chapter, I consider Hizakurige in the context of travel writing, beginning with the prefatory matter of Hizakurige, then discussing the influence of two groups of travel texts upon the development of Hizakurige: first, Chikusai 竹斎 (1621), by Toyama Dōya 富山道冶 (date of birth unknown -1634), and Tōkaidō meisho ki 東海道名所記 (Record of Famous Sites of the Tōkaidō, 1659), by Asai Ryōi浅井了意 (c. 1612-1691); and, second, a trio of illustrated guidebooks (Meisho zue 名所図会) written in 1780, 1796, and 1797 by Akisato Ritō 秋里離島 (fl. 1770-1830). In a comparative analysis, I show how the two-person protagonist structure of Hizakurige draws on models frequently seen in travel writing, and investigate how Yaji and Kita’s characterization is enlivened through their depiction both as equals and as lovers. I also investigate how and why Ikku makes increasingly extensive—but decreasingly innovative—use of motifs taken from the illustrations in Ritō’s Meisho zue series. Finally, in the fifth chapter I examine how Hizakurige is deeply influenced by shukō drawn from performative genres—particularly kyōgen—and how Hizakurige is imbued with a kind of “latent performativity” that offers a hybrid mode of engagement with the text that sits at the intersection between “reading” and “performing.” I contend that this latent performativity comes about through the operation of Hizakurige’s shukō, both as individual, discrete shukō that function in the context of a single moment of the text, and as more extended, structural “macro-shukō” that shape broader swaths of the text’s character and have a greater impact upon the development of Hizakurige’s sekai. Accordingly, I investigate how Ikku imitates and innovates upon shukō drawn from two kyōgen plays—Dobukacchiri どぶかっちり (“Kerplunk”) and Kitsunezuka 狐塚 (“Fox Mound”), exploring the key characteristics of these two kyōgen pieces, and carrying out comparative analyses of the relevant scenes in Hizakurige. Over the course of the dissertation, I attempt to offer a variety of answers to one central question: why does Hizakurige matter, and what is its significance for our understanding of the development of gesaku in the late Edo period (1603-1868)? I contend that Hizakurige is important not just because of its immediate success, or its subsequent influence on surrounding textual and dramatic genres, or its enduring popularity, but also because it demonstrates the need for a more fruitful approach for the study of early modern Japanese popular literature: one predicated not just on genre, but on the intertwined interactions of sekai and shukō.

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キーワード・抄録は著者により付与された

Dans ce travail, nous nous proposons d'étudier des groupes de villages de la provinces d'Izumi durant l'époque d'Edo (1600 - 1868), afin de mettre en avant des types d'organisations sociales sortant des cadres institutionnels connus ainsi que les particularismes des localités étudiées.Ces ensembles de villages étant liés à la présence d'un sanctuaire commun (en plus des sanctuaires propres à chaque village ou hameau), nous partirons des relations établis entre ces établissements religieux et les groupes de villages qui leur sont liés, explorant le mode d’organisation des fidèles, leurs interactions avec les autorités seigneuriales ou shogunales. Nous nous intéresserons également à la structure interne du sanctuaire et les rôles des différents desservants, prêtres shintô et moine bouddhistes, notamment au travers des disputes qui les déchirent. Cela nous amènera également à nous interroger sur le rôle des organisations religieuses et tout particulièrement celui des organisations de prêtres shintô centrées sur les maisons curiales Yoshida ou Shirakawa, qui prennent leur essor durant cette époque.C’est en ce sens que nous nous pencherons sur les sanctuaires Kasuga, Hijiri, Kaminomiya et Shimonomiya, et Ôiseki. Explorant les groupes de villages qui leurs sont liés, nous nous attacherons à mettre en avant les interactions entre quatre groupes : les fidèles, le sanctuaire, les prêtres shintô et les moines bouddhistes. Cette analyse permettra de faire ressortir particularismes locaux, modes d’organisations non-institutionnels et structures internes de ces sanctuaires. / This dissertation examines several groups of villages in Izumi Province during the Edo period (1600 - 1868). It seeks to elucidate the non-institutional social organizations and unique characteristics of those villages. Each of the groups of villages examined in this study were closely linked with a particular Shintô shrine. This dissertation begins by analyzing the relationship between shrines and the groups of villages with which they were linked. It will then examine the functions performed by the parishioner organizations of each shrine, as well as the relationship between parishioner organizations, on the one hand, and the local authorities and shogunate, on the other. It will also investigate each shrine’s social structure and the role of Shintô priests and Buddhists monks. This dissertation will also highlight the range of shrine-related conflicts and disputes that occurred in Izumi Province during the Edo period. Furthermore, it will examine the role that religious organizations, such as the Yoshida and Shirakawa priestly orders, played in early modern society. Specifically, this dissertation focuses on five shrines in Izumi Province: Kasuga, Hijiri, Kaminomiya, Shimonomiya, and Ôiseki. Through an examination of those five shrines, this dissertation will study the interaction between four groups: local parishioners, Shintô shrines, Shintô priests, and Buddhist monks. Such an analysis will enable us to elucidate the unique characteristics of the villages surrounding each shrine, the various non-institutional organizations that developed in those villages, and the internal social structure of each shrine.

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This thesis deals with popular paraphrases of classical Japanese literature in the Edo period (1600- 1868). It analyses creative rewritings of a famous Heian tale Genji monogatari by popular authors of the Edo period, primarily Nise Murasaki inaka Genji by Ryūtei Tanehiko (1783-1842), which is one of the most successful works of Japanese early modern literature. The aim of this thesis is, utilizing elements of narrative analysis, to identify and interpret creative strategies applied by Tanehiko and his predecessors (Kogame Masuhide, Miyako no Nishiki and Okumura Masanobu) in works based on Genji monogatari and to find out what the relation was between their works and their Heian model, and if and to what extent Tanehiko's work was a unique occurrence between popular paraphrases of classical Japanese literature.

Seen from abroad, Tokyo appears as a huge, vibrant metropolis where 21st-century Japan meets the traditional side of the country. Tokyo´s skyline is a diverse jumble of traditional houses and shrines, and modern architecture from skyscrapers of glass to 1970´s living capsules. Since the beginning, Tokyo has had great prerequisites for creating a city with amazing urban environment. Water was the first reason for people to settle down in Tokyo Bay. During Edo period (1603 – 1867), Tokyo was always described as a picturesque city with well-planned hydrology and a harmonic relationship with nature. With its canals full of water, it was a city comparable to Venice. The distribution and exchange relied almost entirely on water transport. With the expansion of the city, the water system had to be upgraded, which led to creating a complex network of waterways. Unlike in Western countries, where the economic, social and cultural life of the city developed around rather formal places as plazas and squares, in Japan, the lifeblood of the city developed in close connection with the water and nature. These places, also known as “meisho” (名所, lit. “famous places”) used to be linear open structures such as streets, river shores and bridges. During the transformation of Tokyo into a modern capital, the city cut many ties with the past. The unused canals suddenly became redundant and started belonging to the “wrong” side of the city. By the 1980s, many of the waterways were so polluted that the government began filling them up or covering them with elevated highways in preparation for the 1964 Tokyo Olympics. The modernization and its transformation also meant that most of the network of “meisho” and greenery have disappeared. “From dameisho to meisho” is inspired by series of woodblock prints “One Hundred Famous Views of Edo” (名所江戸百景, Meisho Edo Hyakkei) completed by the Japanese artist Hiroshige Ando (1797–1858), depicting a matrix of famous public spaces in Tokyo. My project examines the possibilities of recasting “meisho”, a spatial representation in Japanese culture, into a new, modern context via editing different layers of the city and its fabric. It explores linear, thread-like spaces such as Edo waterways, its transformations roads, as well as recently built elevated highways in order to search for contaminations and new collaborations, unexpected conditions and create new, green urban stitches. As one of the tackling tools, the project also looks at demographic trends shaping Japan and benefits from aging society and shrinking Japanese population. Last but not least I investigate ways of graphical reinterpretation of the series of woodblock prints using Tokyo and its new “meisho” spaces as a rolemodel.