Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.

Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.

The thesis is concerned with three so-called "incidents of intense violence" (gekka jiken) that occurred between late 1882 and late 1884: the Fukushima, Kabasan, and Chichibu incidents. All three revolts occurred simultaneous to, and were connected with, the rise and fall of the "freedom and popular rights movement" (jiyu minken undo), especially with its principal institutional expression, the Jiyuto or "Liberal Party." One of the most important of the connections between the revolts and the Jiyuto is that of their overlapping leadership. For the most part, local Jiyuto leaders served as the leaders of these three revolts. Due to this fact, and the other equally important one of the critical extent to which the local Jiyuto leaders embraced the ideological principles of the national Jiyuto—as opposed to the pragmatic, perhaps cynical, approach toward these principles taken by the national leadership—the "natural right" basis of the Liberal's ideology and its corresponding endorsement of the "right of revolution" filtered down to the farmers, hunters, day-labourers and others who participated in these incidents. Notions of "natural right" were used as guiding principles to govern the aims of their revolutionary organisations and as explanations to justify their attempts to overthrow the government. Popular songs, poems, the courtroom testimony of those participants arrested, the content of their revolutionary manifestos, their statements of aims as presented in their organisational charters, the content of lectures given in peasant villages, by local Jiyuto organisers, and the like attest to the beginnings of a strong liberal-democratic undercurrent existing in the early 1880's among Japan's common people (heimin). These findings call into question the conclusions regarding the early failure of democracy in Japan reached by such noted Western scholars as E. H. Norman, Robert Scalapino, and Nobutaka Ike. This is due partly to the fact that each of these scholars analysed Japan's politics of this period almost exclusively at the level of national, elite figures and thereby ignored the impact that the popular rights movement had upon local politics and rural folk. By neglecting local politics, the above-mentioned scholars prematurely drew the conclusion that Japan's common people acted as a collective Atlas who patiently bore the burdens of modernisation upon their peasant backs in obedient silence. / Arts, Faculty of / Political Science, Department of / Graduate

In 1868, the Meiji government decided to establish a military system that would improve not only the fighting capacity but also the military discipline of Japan's army. On the one hand the Meiji leaders rebuilt Japan's army with inspiration from Western models, initially the French. On the other hand they adopted from Western countries modern military justice system, that helped to shape gradually the Japanese navy and army in the 19th century.;This thesis delves deep into the introduction and evolution of the military justice system in the Meiji era, in an effort to explain how it helped reshape military discipline within the Imperial Japanese Army. Utilizing a range of primary sources, it studies the creation and enforcement of the military justice system from a military history rather than legal history perspective. It is hoped that this thesis reveals the crucial role that the military justice system played in Japan's military modernization during this period. The findings also explain why military discipline of the Imperial Japanese Army began to decline again after the Russo-Japanese War.

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This is a study of some of the works of the Japanese novelist, Ozaki Koyo (1867-1903). The aim has been to identify the legacy that the fiction of the Tokugawa period (1600-1868) left in his work, so comparatively little attention has been paid to his life or to works that throw no light on this question, such as his adaptations and translations of western literature. Koyo's fiction was influenced by two distinct literary traditions from the Tokugawa period. His interest in ninjobon, a genre of romantic novel, spanned his creative life and imparted to his works a tendency towards complex romantic plots and a concern for realistic dialogue. For a few years, however, this source of influence yielded to another: Koyo was involved in the revival of the works of Ihara Saikaku which took place in the years around 1890, and this profoundly affected his language and style for several years. Attempts to imitate Saikaku's fiction also enabled him to experiment with uses of the narrator that were foreign to ninjobon writers, and he became progressively more interested in probing the minds of his characters. He took these developments further in his last two novels, stimulated both by the western fiction he had read and by current literary fashions. In Tajo takon he used the narrator to express his rejection of views of marriage imported from the West; in Konjiki yasha he combined the qualities of ninjobon with a study of usury. Apart from revealing some of the areas in which Meiji fiction was indebted to tradition, Koyo's works show that the influence of Tokugawst fiction was not always as harmful as it is often supposed to be.

This dissertation attempts a concomitant reexamination of two interrelated phenomena. Its primary undertaking is an analysis of mid-to-late nineteenth century gesaku commercial fiction production and its structural transformations during the first decades of the Meiji period, together with the imbrications of its narratological and rhetorical conventions with the language of reportage writing on the page of the Meiji newspaper. In conjunction with, and in order better to situate, the foregoing, its secondary task is to question the literary-historical emplotment of this period and its authors in the later 1920s, at the moment when Meiji literary history first emerges as an analytical object after the institutionalization of literature and journalism as discrete categories of discursive production. To such ends, this dissertation focuses on Kanagaki Robun (1829-1894), whose diverse career coincides what has come to be considered the transitional moment – and thereby recalcitrant to historiographical analysis not altogether fraught with ambivalence – intervening between the latter decades of the Tokugawa period and the ultimate establishment of Literature (bungaku) as an ideologically self-sufficient category of social value and discursive praxis by the first decades of the twentieth century. His survival in the annals of this later literary history proffers an occasion to reconsider the mechanisms involved in the arbitration of social, literary, and aesthetic value. Chapter I begins with a brief sketch of Robun’s early biography and career before the Restoration, through which we hope to delineate some sense of the social and literary-productive context undergirding his activity, specifically, and, more generally, the attitudes towards authorship, adaptation, and narration constituting the prevailing ethos of the time; here, we take a survey of several of Robun’s earlier works, written before his assumption of the “Kanagaki” penname and his first major success with Kokkei Fuji mōde (Ridiculous Pilgrimage to Mount Fuji, 1860-1), many of which are erotic parodies of well-known kabuki or Chinese vernacular narratives, and analyze the manner in which the author constructs his enunciative position therein, before momentarily considering how Robun, at this juncture in his career, was perceived by his peers. Then in conclusion, we anticipate both Robun’s later career, its ambivalent emplotment in literary history and the fraught evaluation of the early Meiji period in toto through a later retrospective on the part of literary critic Tsubouchi Shōyō as he looks back on the literary ecosystem of the early Meiji period and the ethical conflict, latent in his argument, between the ideological dominance of modern rubrics of literary value and incommensurate pleasures of reading as lived experience. Chapters II and III take as their focus Robun’s work in the comic hizakurige-mono genre pioneered by Jippensha Ikku’s Tōkaidōchū hizakurige (Along the Eastern Sea Road by Shank’s Mare, 1802-22), first with his success with Fuji mōde and subsequently, Seiyōdōchū hizakurige (Along the Western Sea Route by Shank’s Mare, 1872-4), a heavily intertextual updating of Ikku’s classic. Chapter II approaches Robun’s contributions to the genre through formal and narratological analysis, considering how the shift in topos, from domestic travel on foot, as in Ikku, to transpacific nautical travel via steamship, precipitates modulations in narrative structure, and weighs the ramifications of these intrageneric transformations. Chapter III shifts its focus to the intergeneric and intertextual, with attention to the modular configuration of its primary intertext in Ikku’s Tōkaidōchū hizakurige and the paratextual apparatus of hanrei, or the prefatory guidelines explicating a given text’s contents, provenance of sources, and editorial policies followed, etc. inherited from non-fictional and academic writing, and how these operate in Ikku and Robun as a space for conceptualizing social knowledge and the figure of the author. Chapters IV and V address the latter portion of Robun’s career, after the Meiji government’s promulgation of the Three Articles on Education and its efforts to conscript gesaku authors like Robun to assist in the education of the new subjects of the Meiji state. Here, we examine the simultaneous devaluation of and dependence upon popular fiction in Robun’s Bunmei kaika-inflected writing, before his relocation to the emergent newspaper industry, at which point we consider the sort of narrative and rhetoric prevalent in reportage writing in the 1870s and its phenotypical affinity with gesaku stylistics. Chapter IV concerns itself with a discussion of the political and economic factors precipitating Robun’s move away from gesaku production and his subsequent literary activity informed by his new role as a government official employed by Kanagawa Prefecture, before his move to the Yokohama mainichi shinbun (Yokohama Daily News). Chapter V then turns to the space of newspaper narrative and the emergence of tsuzuki-mono or serialized narrative, and how their early status as neither consummately fiction nor non-fiction adumbrates aspects of the epistemological economy of readerly desire and social knowledge, aspects subsequently concealed by the later ascendance of bungaku and the shōsetsu as the dominant lens through which socially valued discursive production comes to be apprehended, and the concomitant institutionalization of Journalism as Literature’s reciprocal in the early twentieth century. In the epilogue, we attempt to locate more precisely the coeval emergence of these ostensibly distinct and antagonistic categories in public discourse in the early 1900s, and the concomitant adjudication of the sociocultural value of early Meiji gesaku production and its affiliated figures, anticipating in turn the more rigorous synthesis of a systematized Meiji literary history in the years immediately following the 1923 Great Kantō Earthquake.

In March, 1990, I was hired to teach English in Japan at a small, private academy in Chitose, Hokkaido. The school was called the Academy of Clark's Spirit. My first day at work I was asked by my boss, Sato Masako: "So Mr. Walker, of course you know who Dr. Clark is?" I told Mr. Sato that I was sorry, but that I did not. "You said in your resume that you are a history student? We named this school after him. He's one of the most important people in Hokkaido's history," he said, looking disappointed. Mr. Sato explained that he wanted me to teach with the spirit of Clark in mind and bring to his classrooms what Clark brought to Hokkaido over a hundred years before. I nodded and asked to see my apartment. I began this study of William Smith Clark after my first stay in Hokkaido. It is the product of my interest in modern Japanese history, particularly Japan's relationship with the United States. The first leg of this project was started in Amherst, Massachusetts, where I met with Dr. John Maki. He directed me through the Clark collection at the University of Massachusetts at Amherst. I had several interviews with Maki during the week I was in Massachusetts and was given liberal access to the Clark collection under his influence. The second leg of my study was continued in Sapporo, Hokkaido. I met with Dr. Toshiyuki Akizuki at Hokkaido University and was shown through the Clark collection there. I lived in Hokkaido for about two years and have kept notes on the tribute paid to Clark and visible signs of his impact on the northern island. The focus of this study is to look at Clark's contribution to the development of Hokkaido by detailing his work in education, Christianity, and agriculture. By focusing on Clark's particular contribution to Hokkaido a larger historical trend, that is, the importation of foreign ideas in the history of Meiji Japan, is better understood. ~he results of this study conclude that Clark was an important figure in the history of Hokkaido's settlement, and to the development of nineteenth century Japan.,. ,Clark was also an important figure in the history of the relations between Japan and the United states., It is in lasting institutions like Hokkaido University and the Sapporo Independent Christian Church where Clark's impact is best illustrated. These institutions, particularly the university, were the nerve centers for Hokkaido's development, and Clark planted these seeds of enlightenment, under the direction of the Meiji government, in the fertile northern soil. I have gained a better understanding of Clark's stay in Hokkaido because of this project, but doubt that I could even now satisfy Mr. Sato's insistence that I teach with Clark's spirit. I do understand, however, why it was important to Mr. Sato that I try. Clark's phrase "Boys Be Ambitious" still embodies the spirit of many educators in Hokkaido and his success with Japanese students is one of the better examples of international exchange in any country. Clark is cherished by the people of Hokkaido as the spiritual pioneer of their island even though his stay

This thesis deals with the beginnings of the Japanese nationalism. It examines the role of the Sino- Japanese war of 1894-1895 in these beginnings in relation to other national consciousness forming factors. Govermental activities, such as education system and army reforms, and the effort to stress the emperor as a symbol of the Japanese people, and also activities of the intelectual strata, who influenced the society mainly through journalism, were especially prominent among them. It stresses the importance of the period media (newspapers, illustrated magazines, woodcut prints) and early modern theatre to the spread of the national consciousness among masses. It also shows how the way the war was conveyed in the media influenced the view the Japanese had of themselves and of the neighbouring countries. Powered by TCPDF (www.tcpdf.org)