Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 220-226).

Thesis (Ph. D.)--University of Chicago, 1991. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on Jan 23, 2007). PDF text: 188 p. ; 3.26Mb. UMI publication number: AAT 3214726. Includes bibliographical references. Also available in microfilm and microfiche format.

Abstract not available

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [308]-338).

Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 363-372). Also available for download via the World Wide Web; free to University of Oregon users.

A recepção da poesia japonesa em Portugal é um estudo sobre o diálogo literário entre os autores portugueses e a tradição lírica da Terra do Sol Nascente. Iniciado no século XVI, esse intercâmbio motivou extensa produção de cartas, diários, relatos de viagem e obras de caráter filológico até a expulsão dos missionários cristãos, ocorrida durante o Período Tokugawa (1603-1867), que interrompeu todas as atividades comerciais, culturais e mesmo diplomáticas entre o arquipélago japonês e Portugal. Com a Restauração Meiji, iniciada na segunda metade do século XIX, o diálogo é restabelecido, em um contexto internacional de crescente interesse europeu pela cultura japonesa, que pode ser avaliada pelas obras publicadas no período por autores como os franceses Edmond de Goncourt e Pierre Loti, o britânico Basil Chamberlain, o norte-americano Lafcadio Hearn e o português Wenceslau de Moraes, este último autor de numerosos livros, como Relance da alma japonesa, Daí Nippon e O culto do chá. Wenceslau de Moraes traça um amplo panorama da civilização japonesa, comentando desde a religião, a moral, a política, a vida cotidiana até as formas poéticas praticadas na literatura japonesa, realizando as primeiras traduções de haicais para o nosso idioma. A recepção criativa da poesia japonesa em Portugal, porém, acontecerá apenas na segunda metade do século XX, quando poetas como Herberto Helder, Casimiro de Brito, Ana Hatherly, E. M. de Melo e Castro, Eugênio de Andrade, Albano Martins e Yvette Centeno recebem a influência da caligrafia artística japonesa, dos enigmáticos koans (). e da extrema concisão e imagética do haicai, desenvolvendo a partir daí composições autônomas, relacionadas com as preocupações formais da época, e em especial com o movimento da Poesia Experimental Portuguesa (PO-EX). Nosso propósito é estudar como cada um desses autores recebeu e transformou o influxo da tradição literária japonesa, mesclada a seus projetos literários e mitologias pessoais / The reception of Japanese poetry in Portugal is a study of the literary dialogue between Portuguese authors and the lyrical tradition of the Land of the Rising Sun. Started in the sixteenth century, this exchange prompted extensive production of letters, diaries , travel accounts and works of philological character until the expulsion of Christian missionaries, which occurred during the Tokugawa Period (1603-1867), when all commercial, cultural and even diplomatic activities between the Japanese archipelago and Portugal ceased. With the Meiji Restoration, which started in the second half of the nineteenth century, the dialog was restored in an international context of increasing European interest in Japanese culture, which can be evaluated by through works published in the period by such authors as the Frenchmen Edmond de Goncourt and Pierre Loti, the Englishman Basil Chamberlain, the American Lafcadio Hearn and the Portuguese Wenceslas de Moraes. This last author published such booksas Glimpse of the Japanese soul and Nippon Hence the cult of tea. Wenceslas de Moraes paints a broad picture of Japanese civilization , from religion, morality, politics and everyday life to the poetic forms practiced in Japanese literature. He also did the first translations of haiku into our language. The creative reception of Japanese poetry in Portugal, however, take place only in the second half of the twentieth century, when poets like Herbert Helder , Casimiro de Brito , Ana Hatherly , EM de Melo e Castro, Eugenio de Andrade, Albano Martins and Yvette Centeno receive the influence of the Japanese Art of callygraphy, of the enigmatic koans and of the extreme concision and imagery of haiku. From these sources, poets developed autonomous compositions related to the formal concerns of the time, especially with the movement of Portuguese Experimental Poetry (PO-EX). Our purpose is to study how each of these authors has received and transformed the influx of Japanese literary tradition, blending it into his or her literary projects and personal mythologies.

This dissertation examines the reception of Chinese language and literature during Tokugawa period Japan, highlighting the importation of vernacular Chinese, the transformation of literary styles, and the translation of narrative fiction. By analyzing the social and linguistic influences of the reception and adaptation of Chinese vernacular fiction, I hope to improve our understanding of genre development and linguistic diversification in early modern Japanese literature. This dissertation historically and linguistically contextualizes the vernacularization movements and adaptations of Chinese texts in the seventeenth to eighteenth centuries, showing how literary importation and localization were essential stimulants and also a paradigmatic shift that generated new platforms for Japanese literature. Chapter 1 places the early introduction of vernacular Chinese language in its social and cultural contexts, focusing on its route of propagation from the Nagasaki translator community to literati and scholars in Edo, and its elevation from a utilitarian language to an object of literary and political interest. Central figures include Okajima Kazan (1674-1728) and Ogyû Sorai (1666-1728). Chapter 2 continues the discussion of the popularization of vernacular Chinese among elite intellectuals, represented by the Ken'en School of scholars and their Chinese study group, "the Translation Society." This chapter discusses the methodology of the study of Chinese by surveying a number of primers and dictionaries compiled for reading vernacular Chinese and comparing such material with methodologies for reading classical Chinese. The contrast indicates the identification of vernacular Chinese as a new register that significantly departed from kanbun. Chapter 3 provides a broader view of the reception of Chinese texts in Japan in the same time period, discussing Hattori Nankaku (1683-1759), a kanshi poet and Ogyû Sorai's successor in literary criticism. Nankaku's contributions include a translation and annotation of the Tang shi xuan (J. Tôshi sen), an anthology of Tang poetry compiled by Ming poet Li Panlong (1514-1570). Such commentaries in accessible Japanese prose reflected the changing readership of Chinese texts, as well as the colloquialization of literary Japanese. Chapters 4 and 5 focus on literary translations and adaptations of Chinese narrative texts in different language styles. Chapter 4 analyzes kanazôshi ("kana booklet") stories by Asai Ryôi (1612?-1691) in comparison to their source text, the Ming Chinese anthology of supernatural stories New Tales Under the Lamplight (Jian deng xin hua). For a comparative perspective on translation style, this chapter also addresses adaptations of the same source story by Korean and Vietnamese authors. Chapter 5 looks into the literati genre of yomihon ("reading books") and focuses on Tsuga Teishô's (1718?-1794?) adaptations of Ming vernacular fiction by Feng Menglong. Teishô, a prolific author considered to be the inventor of this important genre, has been grossly understudied due to the linguistic complexity of his works. His adaptations of Chinese vernacular stories bridged different narrative traditions and synthesized various language styles. This chapter aims to demonstrate Teishô's innovative prose style and the close connections between vernacular Chinese and the development of early yomihon as a sophisticated, experimental genre of popular literature. This dissertation illustrates the inextricable relationships between language transformation and genre development, between vernacularization and narrative literature. It departs from the long-standing paradigm of Sino-Japanese (wakan) literary study, which treats Sinitic writing as an integral part of Japanese literary discourse, emphasizing rather a comparative linguistic approach that addresses Chinese and Japanese linguistic and literary movements in parallel. Within this framework, this project is intended as a platform for further explorations of issues of cultural interaction and translation literature.

Taking up a discourse of agrarian literature (nōmin bungaku) from its roots in the first decade of the twentieth century through the late 1930s, this dissertation presents the struggle of outsiders to participate in a powerful system of meaning production amidst the consolidation of the power of state, institutional, and media apparatuses to arbitrate rural working class expression. Relentlessly contested and confused even in retrospect, the very notion of an “agrarian literature” has long called for the deliberate and rigorous review that this study provides. Through investigation of the roles of individual actors and close readings of specific texts, it identifies the kinds of stories that could be told about rural places and the kinds of stories that rural places could tell about themselves, outlining in the process a regime of cultural production with implications for the postwar period and beyond. Studies of Japanese literature between the 1910s and 1930s have long posited twin juggernauts: one a cosmopolitan, bourgeois literature of and for the urban elite, and the other a vibrant new proletarian movement of and for the urban masses. Scholars have accordingly concentrated on these urban-centric categories individually or, occasionally, dealt in the subtleties of their overlap and opposition. This dissertation examines instead the richness and diversity of thought and experience beyond the cities to challenge such readings of Japanese literature during this period. Writing against prevailing scholarly interpretations of agrarian works as alternately romantic figments of an Arcadian idyll or products of festering reactionary backwaters, it sketches the contours of a society and a lineage of literary writing which, for all its geographical separation from the capital, proves no less integral to Japanese modernity. In 1933 the critic Kobayashi Hideo declared modern Japanese literature a “literature of the lost home.” Critical approaches to writing on rural Japan have subsequently centered the feelings of nostalgia and guilt harbored by the literati who abandoned their rural roots for the booming cities. Nearly all have ignored the reality that for many the “home” was never lost at all. For a century the dominant narrative has excluded those who physically remained in the countryside or actively sought its radical social and political reform by means of cultural practice. Their erasure from history has not only produced an incomplete picture of lived experience in rural Japan during this period, but also severed important threads that link prewar authors and texts with postwar and present day cultural production in the countryside. Chapter one surveys the career of author Nagatsuka Takashi (1879-1915), focusing on his novel of rural Japan The Soil (Tsuchi, 1910). Members of the contemporary Tōkyō literary establishment, notably Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916), had courted this son of Ibaraki landowners as their emissary to the Japanese countryside, but despite The Soil’s bold, experimental style, literary elites would greet the novel with indifference ranging into outright hostility. This chapter reads Nagatsuka’s career and The Soil itself—something the novel’s critics often failed to do—to reckon with its rejection by the period’s foremost individuals and institutions. It examines the literary networks that would sanction, or refuse to sanction, cultural production in and on the Japanese countryside for decades to come. Challenging the later scholarly consensus that has approached The Soil as a kind of ethnography, this chapter also situates Nagatsuka’s writing within the high literary world of the late-Meiji period, arguing for its importance to generations of writers and critics who will promote an “agrarian literature” steeped in both radical politics and a self-consciously literary tradition. Chapter two spans the decade following Nagatsuka’s death in 1915, a period of transforming elite attitudes at the intersection of literary practice and the lived reality of rural Japanese society. With the broadening ideological battleground of the Taishō period (1912-1926) increasingly admitting new materialist conceptions of a rural underclass, artists and intellectuals began to conceptualize art as something of utility for the farmer, a means of solving the “problem” of the countryside within a modernizing nation. The hyper-elite critiques forwarded by Shirakaba group luminaries Arishima Takeo (1878-1923) and Mushanokōji Saneatsu (1885-1976) in the late 1910s would directly inform the activities of smaller coteries including the proto-proletarian journal The Sower (Tanemakuhito, 1921-1923) and the influential Waseda bungaku in the early 1920s, by which time a notion of agrarian literature had gained currency within mainstream literary discourse. Its advocates, who ranged from hard-bitten autodidacts to university professors who could cite Virgil, Theocritus, and Leon Trotsky in the same breath, would promote total societal renewal through a cosmopolitan and forward-looking “literature of the soil.” Chapter three examines the organizing, criticism, and literary work of Inuta Shigeru (1891-1957), a poor farmer’s son who would become the architect of an oppositional agrarian cultural movement, from the mid-1920s through the late 1930s. A fierce admirer and defender of Nagatsuka—whose birthplace stood barely twenty miles from his own—Inuta’s writings nevertheless illustrate the critical distance of a different generation and social class. Inuta’s career has received scant attention from scholars, and during a time when the stench of fascism has clung to anything associated with so-called “agrarianism” (nōhonshugi) the absence of a full account of his activities has left Inuta and his allies to twist in the winds of accusation. In fact his work was heavily suppressed throughout the 1920s and 30s, and his refusal to collaborate with rightwing cultural organizations during the late-1930s met with condemnation from the highest strata of government. In Inuta’s novels and in his journal The Farmer (Nōmin, 1927-1933), he attacked a proletarian movement he could not recognize, a bourgeois literature he called conservative and mired in feudal mechanisms of oppression, and a state ideology that offered little to the poor farmers of communities such as his own.