Thesis (Ph. D.)--Guo li Taiwan shi fan da xue, 1984. / Cover title. Reproduced from typescript. Bibliography: p. 497-509.

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 argues that throughout premodern Japan, classical Japanese poetry (waka) served as a vehicle for the transmission of social knowledge, cultural memory, and specialized information. Waka was originally indispensable to private and public social interactions among aristocrats, but it came to play a diversity of functions for warriors, monks, farmers, merchants, and other social groups at each and every level of premodern society and over many centuries, particularly from the late Heian period (785-1185) through the Edo period (1600-1868). To trace the changes in the social functions of waka, this dissertation explores several moments in the history of waka: the development of a pedagogy for waka in the poetic treatises of the Heian period; the reception of these works in anecdotal collections of the Kamakura period (1192-1333), particularly those geared towards warriors; the use of humorous waka (kyôka), in particular those with satiric and parodic intent, in Muromachi-period (1333-1467) narratives for commoners; and the use of waka as pedagogical instruments for the codification, preservation, transmission, and memorization of knowledge about disciplines as diverse as hawking, kickball, and the tea ceremony. In the epilogue, I trace the efforts of Meiji-period (1868-1911) intellectuals who sought to disconnect waka from any social or pedagogical function, in order to reconceptualize it under the modern European notions of “Literature” and “the Arts.” I conclude that the social functions of poetry in the premodern period should not be understood as extra-literary uses of poems that were otherwise composed as purely literary works in the modern sense. The roles that waka played in pedagogy, in particular in the transmission of cultural memory and social knowledge across diverse social spaces, were an inherent feature of the practice of waka in premodern Japan.

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.

The purpose of this study is to investigate the significance of Japanese theoretical writing on poetry of the Heian period (794 - 1192) (as manifested in the distinctive literary genre known as the karon) with special reference to the development of esthetic concepts in general and the influence of this kind of writing on the Japanese literature of later periods. An attempt is made to show through the presentation of one of the major works in this field, which is here translated into English, what factors were responsible for the distinctive characteristics of Japanese poetry. This kind of study has never been undertaken in English and no source material is available in translation; I therefore thought it best to make a start in this field with a complete translation of the Mumyōshō by Kamo no Chōmei, one of the most important Japanese theoretical works on poetry. By presenting the full text I wish to draw attention to the problems of poetic taste and criticism, as the Japanese of the Heian period saw them. Going back to the sources which Kamo no Chōmei used in his writing, I have tried to give an account (admittedly very incomplete) of poetical thought in Japan up to his time. I have analyzed some of the most influential ideas of the Mumyōshō and presented them in summary. This study has made it clear to me that much further research is necessary to show the genius of Kamo no Chōmei in its proper perspective and to demonstrate the importance of the karon of the Heian period for the development of Japanese literature in general. / Arts, Faculty of / Asian Studies, Department of / Graduate

In classical Japanese poetry (waka), one often equates the poetic persona with the historical poet, perhaps in part due to the fact that waka was very often used for communicative purposes as elevated dialogue. This dissertation deconstructs such a notion of the poetic persona to reveal the various factors that work in tandem to create a textual persona that is in fact rarely a straightforward representation of the poetic author. I show that the poetic persona is the contested ground upon which different actors lay their claims, that waka is a highly performative genre, and that the poet was almost always performing a specific role in front of an audience. As such, the expectations of that audience become a major factor in the “self-portrayal” of the poet, where expressions of emotions, sensations, and ideas are manifested through a complex layering of tropes and conventions that depend on audience expectations (as well as the poet’s own assumption of what these expectations may be). To further complicate matters, the transmission of waka poetry to a wider audience frequently involves the work of compilers of poetry collections, scribes, as well as commentators. To unpack these various factors, I focus on the private poetry collection of the female poet Ise (c. 875 – c. 938), who was well-respected among her early Heian contemporaries. Very little information is known about Ise, so traditionally, her private poetry collection, the Ise shū (Ise Collection), has been used as the primary source of information on this elusive poet. However, as I demonstrate, Ise did not have full control over the construction of her poetic persona; on the one hand, she was often responding to what her audience expected of her, and on the other hand, the Ise shū as we have it today is most likely the work of a compiler who had other motives. Thus, this repository of Ise’s poetry serves not only as an important representation of how Ise’s persona was constructed by both Ise herself and the compiler of her poetry collection, but also as a case study in waka textuality and manuscript culture. In doing so, I highlight the performative and participatory nature of waka—two important characteristics that exemplify the unique qualities of the poetic genre that is waka. This dissertation is organized along two major axes: synchronous and diachronous. Along the synchronous axis, I show how the poet was constantly responding to the expectations of her contemporary audience, both in poetic exchanges, which has a clearly designated audience and specific conventions, and solo compositions, which is often regarded as a freer venue of expression with fewer restrictions. As I argue, the act of composing poetry is inherently performative and more often than not, the poetic persona is an amalgamation of well-established roles within the tradition of waka, catering to what the audience desired of her. Along the diachronous axis, I look at the role of compilers, scribes, and commentators in further constructing the poetic persona through the use of paratexts, including the headnotes to poems explaining their circumstances of composition, the arrangement of poems in a specific sequence, and the framing of a poem. A comparison with other works of various genres shows that there was a great deal of experimentation with the process in which prose headnotes were combined with poetry to create narratives and construct characters. Finally, this dissertation compares various iterations of the same Ise poems in different collections to demonstrate the degree to which the interpretation of a poem and, by extension, the perception of the poetic persona depends on the intermediary roles of the compilers, scribes, and commentators of poetry collections. In short, I show that the poetic persona is the joint product of the multiple authors who work within the performative and participatory milieu of waka. The appendix contains the first full translation in English of the Ise shū, with close to five hundred poems.

In this thesis, I analyse the poetic work of Japanese author Ōtomo no Yakamochi. First, I pay attention to Yakamochi's private poetry. Next, I deal with the poetry he sent to a private recipient, and finally, I turn to his poetry presented during a social event. I stress the relationship between Yakamochi's work and older poetic traditions and I also identify original elements in poems where he used them. The thesis presents Yakamochi as a universal author of 8th century Japanese poetry. Keywords: Ōtomo no Yakamochi. Manyōshū. Japanese poetry. Nara period.

This dissertation seeks to explore possible relationships between literature—poetry, in particular—and royal patronage. More specifically, I am here interested in examining the remarkable efflorescence of Sinitic poetry (kanshi) during the reign of Emperor Saga (786-842, r. 809-823), as well as some of its later developments in the private poetry collections of Shimada Tadaomi (828-891) and his pupil Sugawara no Michizane (845-903). The history of Sinitic poetry composed in Japan has been meticulously studied; there is certainly no dearth of research, either in Japanese or in English. Even so, the early ninth century remains somewhat of a mystery. A total of three imperially commissioned anthologies (chokusenshū) of Sinitic poetry and prose were compiled during this time, along with an imperial history—all of which were the direct product of Saga’s personal patronage. Much of his own poetry has been preserved in these anthologies. Despite the existence of hundreds of Sinitic poems, and a contemporary history (also in Sinitic), scholars tend to shy away from this period. This dissertation is an attempt to remedy that situation. As a means of facilitating a broader appreciation of Saga, I have included some material on King Alfred the Great (849-899, r. 871-899), the most well-known Anglo-Saxon king, and oft-celebrated father of the English nation, who was a near contemporary of Saga. Naturally, I have also interwoven some material on Emperor Taizong (598-649, r. 626-649) of the Tang dynasty, whose influence on ninth-century Sinitic poetry (in Japan) has been the focus of some past research. Scholars of East Asian literature, whether they specialize in Chinese or Japanese literature, are familiar with the grand literary and political legacy of this continental sovereign. Both Saga’s poetry as well as his ideal of sovereignty were influenced by the work of Taizong and his lettered vassals. A central assumption informs this work: ninth-century poetry was inevitably political, insofar as it served as a tool whereby authors could enforce or manipulate prevalent power relations within the court. Poetry, therefore, was both dominated by and exercised significant influence over hierarchical networks of patronage. Poetry was also occasional performative, that is, it was recited aloud on public occasions—royal banquets or excursions—before an audience of vassals and courtiers. Saga, as supreme ruler and patron, composed poetry that sought, through its presentation at these banquets, to repeatedly legitimate his own position, while simultaneously appealing to a number of different audiences. Different audiences harbored different expectations, and Saga, adroit politician that he was, strove to please each in turn by adopting a number of poetic voices or personae. This is especially evident after his retirement, when he found it necessary to adopt a different poetic persona more appropriate to his less prominent station. Tadaomi and Michizane, as recognized scholars, loyal vassals, and influential statesmen, received patronage from both sovereigns and high-ranking noblemen. These complex networks of patronage and varied audiences demanded the creation of ever more subtle poetic personae. This dissertation, among other things, is an exploration of how poets of the ninth century adopted different poetic personae in accordance with their intended audiences. The deliberate mixing of various Sinitic genres to achieve this end receives a great deal of attention.

"Zugl., Hamburg, Univ., Diss., 2000"--T.p. verso. / Includes bibliographical references (p. [377]-393) and indexes.

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.