The first decades of the 20th century saw the radical transformation of the ways in which literary media was produced and consumed in Japan. A new mass readership and a widening market for all manner of typographic print formed a rapidly changing ground upon which writers and critics reassessed how, why, and for whom they created works of literature and social thought. This dissertation examines a selection of fictional and critical texts from the turn of the century through the 1930s to demonstrate how mass-produced typographic media both served to produce mass consumer society in this period and functioned as sites for its critique, extending the aesthetic, linguistic, and political horizons of modern Japanese social life. I contend that an engagement with the commodity character of printed text enabled authors to develop experimental practices of writing that problematized the nexus of mutual interactions between printed text, visual media, urban space, and the human body. Chapter 1 traces the rise of magazines and affordable books through the late 1920s to show how new forms of print media served as forums for the dissemination and discussion of alternative models of literary practice and social organization. In Chapter 2, I examine the journal Bungei Jidai (Literary Age, 1924-1927) to explore how a generation of authors born into the age of mass-market print established literary networks, evaluated existing paradigms of reading, and experimented with new forms of writing. In the third chapter, I examine an array of fictional texts, sociological studies, schemas of urban planning, and other representations of modern city life in order to analyze how authors and critics understood the mutual mediations between municipal space, the printed text, and the human body in this period. Finally, in Chapter 4, I identify a shift in the understanding of printed language concurrent with the changes to urban and discursive space that I discuss in the previous chapters. I follow discussions of language reform policies, literary formalism, the economics of the publishing industry, and the project of proletarian literature in the late 1920s in order to demonstrate the emergence of a sense of "literary materialism" precipitated by the proliferation of typographic text. In a brief conclusion, I address the importance of this crucial period for understanding the present shift from print to digital text.

The Edo period (1600-1867) was an era of revenge, both in lived reality and on the printed page. During the Edo period, revenge for the murder of a senior family member was considered a virtuous act of filial piety, and, following certain bureaucratic protocols, it was legal for junior family members to pursue a lethal vendetta (katakiuchi) against the murderer. Over one hundred successful vendettas were carried out over the nearly 270 years of Tokugawa rule, events which formed the ground for a vast number of semi-fictional retellings and purely fictional works, many of them penned by some of the period's most famous authors. As an act of virtuous violence, charged with meanings that were deeply entwined with the fundamental values of early modern Japanese moral ideology, vendetta constitutes a unique point of access to the early modern moral imagination. I argue that this unique status enabled the literary topos of vendetta to speak powerfully to the desires and anxieties of early modern readers, constituting a site in which the demands of social obligation, the power of social norms and discourses, the moral relations of class and gender difference, and the ideologies that ordered visions of community and human relationships could be examined, affirmed, re-imagined, challenged, and critiqued, through the complex representational possibilities of literary art. Adopting a comparative approach that places texts, authors, and historical moments in dialogue and that emphasizes the involvement of these works in their broader sociocultural contexts, I explore the work performed by one of the most vital literary topoi of early modern Japan. I begin in Chapter One by situating the vendetta fiction of the Edo period within a broader literary and discursive trajectory by identifying patterns in the formation of the vendetta topos across works that predate the founding of the Tokugawa shogunate. Exploring the ways these earlier texts imagine the figures of avenger and enemy and the status of virtuous violence, I argue that vendetta has always been characterized as possessing a disruptive potential that can unsettle orders of authority and social hierarchies, and challenge figures of power and status. In Chapter Two, I consider the early modern legacy of this critical potential by examining popular vendetta fiction's representation of the fundamental social relationships--with the household, status community, and ruling authority--that governed the constitution of selfhood in Edo Japan. Through the liminal figure of the avenger, as a character whose pursuit of vengeance affirms those relationships while temporarily loosing him from their bonds and protections, I demonstrate the ways revenge fiction re-imagined and critiqued the individual's relationship with these primary communities. In Chapter Three, I demonstrate that this critical potential of the vendetta topos could also be turned to explore and expose even moral aspects of early modern society not closely connected to revenge. By examining the ways the late 17th century author Ihara Saikaku (1642-1693) uses the frame of vendetta to invert and challenge the anxieties that attended lower-class working women in contemporary discourse, I show that vendetta fiction could be a powerful site for wrestling with the moral and social contradictions wrought by the changes of a modernizing urban economy. Finally, in Chapter Four I argue that the critical potential of vendetta fiction operates not in spite of, but through the literary conventions that coalesce into formulaic elements during the vendetta literature boom at the turn of the 19th century. Drawing on theories of melodrama to explore the ethical-aesthetic mode that dominates the representation of revenge in these texts, I argue that they expose the contradictions and repressions inherent in the virtues the shogunate was actively propagating in a bid to bolster its moral and political authority as part of the Kansei Reforms of 1787-1793. Throughout these chapters I seek to show the ways in which a body of popular texts that has been largely overlooked as bloodthirsty and formulaic was a critical, active agent in constituting the ways early modern authors and readers imagined and sought to understand their world.

This dissertation explores the Bhaktamāl and its subsequent tradition. Nābhādās' late sixteenth- or early seventeenth-century collection of hagiographies praises the qualities of hundreds of devotees and thereby sets the boundaries of a devotional community that far exceeds the sectarian context in which its author wrote. By closely considering the Bhaktamāl, its commentaries, manuscripts, and print editions, this thesis traces crucial aspects of the development of modern Hinduism from the early seventeenth century until the beginning of the twentieth. Priyādās completed the first major commentary on the Bhaktamāl in 1712, approximately a century after Nābhādās composed his garland. Priyādās presents a conception of the Vaishnava community that differs significantly from Nābhādās'. After Priyādās, the Bhaktamāl tradition continued to develop through a thriving manuscript culture, and the Bhaktamāl became a popular text. During the nineteenth century, the Bhaktamāl shaped British understandings of Indian society and played a central role in traditionalist articulations of modern Hinduism. At the beginning of the twentieth century, the concerted efforts of "Sītārāmśaraṇ" Bhagvān Prasād "Rūpkalā" and George Abraham Grierson helped to create a sense of fixity within the Bhaktamāl tradition. Since the time of its composition, the Bhaktamāl has remained a prominent locus of dispute over the boundaries and logic of the broad-based devotional community that we now know as Hinduism.

This dissertation considers how the literatus entrepreneur Li Yu (1610-1680) took advantage of the burgeoning market economy of early Qing China to engineer and market a new experience of the everyday. The world in which Li Yu's cultural products were best sellers was rife with novelty. The Ming dynasty had collapsed in 1644, yet many of its defining features remained: urban centers brimmed with gadgets, both Chinese and foreign, that offered new possibilities for engaging the material world. The status of writing and the reading public was also changing, as more books were published at lower costs than ever before. Li Yu capitalized on this ripe moment to develop and sell cultural products that directed the focus of consumers to the details and possibilities of their everyday. I argue that through his cultural production, Li Yu changed what constituted cultural capital and who had rights to it in the urban centers of southern China in the early Qing. Li Yu made a brand of his name, which he used to market his fiction and drama as well as intangible products like innovative designs and do-it-yourself technologies. I examine the strategies that traverse the range of his cultural production to demonstrate how he altered the physical makeup of the built environment and the visual experience of theatrical performance, while also revising the ways that they could be represented in language and depicted in narrative. Readers of Li Yu's writing, visitors to his gardens, and audiences for his theatrical productions could expect to encounter particulars: his language zooms in on the material world, narrating the gritty specifics of genitals and dirt; he waxes technical about his rigged stage lighting and dioramic windows. In one of his stories, a man uses a telescope to impersonate a god; in another a wily thief cannot "see" a woman's myopia, and so misjudges her. At the heart of this study is Li Yu's magnum opus, Leisure Notes (Xianqing ouji), a curious collection of several hundred essays on topics that range from theater direction to heating, choosing a concubine to balustrade design, the art of walking to pomegranate trees. This text has some commonalities with late-Ming manuals of taste, which documented the fine points of distinction around which people negotiated their status vis-à-vis conspicuous consumption of luxury commodities. In the late Ming, these markers of social distinction were hotly debated as merchants challenged literati claims to rights over cultural capital. I show how Li Yu departs from late-Ming discourse by rejecting luxury commodities to locate discernment instead in readers who join him in experimenting with his reproducible designs and technological improvements in the spaces of their everyday lives. I contend that these experiments reveal the limitations of grand narratives of the day--such as Confucian morality, gender norms, fate, and medicine--by exploiting their contingencies, and by elevating the status of individual experience.

The dissertation is a study of the boom of waka poetry in the tenth century. Waka is approached here as a cultural phenomenon, that is, a complex system of people, practices, and ideas centering around the production, distribution, and consumption of cultural artifacts. Four main aspects of this system are examined: first, the network of people who, at various stages and in different ways, were involved in it. I identify three primary groups of agents (the poets, the patrons, and the public) and provide an analysis of each. Second, the body of ideas and beliefs that motivated and sustained involvement with waka as either poets, or patrons, or recipients. Third, the shared body of ingredients and skills that poets used to craft their works. Fourth and final, the criteria that contemporary audiences used to evaluate poems. Each chapter deals with a specific aspect. Chapter 1 and 2 provide a sort of bird's eye view of the social world behind the waka phenomenon. Chapter 1 uses criteria such as social position and gender to present a typology of poets in tenth century court society. I distinguish between low-ranking poets who viewed waka as a potential pathway to career advancement, and high-ranking poets who used it mainly as a tool for conducting dalliances and as a marker of status. I also examine the case of women poets, and discuss whether it is legitimate to see them as a distinct type. Chapter 2 focuses on the contribution of the patrons and the public. I start with a short history of patronage from the origins to the mid-tenth century, and then discuss various specific aspects of patronage, including its relation to the monjo keikoku theory (the idea that literature was useful for government), the appearance of the "poetry specialists" (senmon kajin), and the role of women as patrons of waka. This chapter also sketches a first, tentative profile of the waka public, and identifies some of the areas that a more thorough study should or could cover. Chapter 3 deals with the ideas and beliefs that motivated and sustained the waka phenomenon of the tenth century. As Bourdieu notes, "the sociology of art and literature has to take as its object not only the material production but also the symbolic production of the work, i.e. the production of the value of the work, or, which amounts to the same thing, of belief in the value of the work." Some of the developments that the chapter examines are the emergence of a new view of poetry-making as a pathway to immortality, a new image of the poet as a literary giant worthy of the respect and admiration of society, the emergence of a proto-celebrity culture around poets and their work via poem-stories (utagatari), and the sedimentation of the connection between poetry and courtly elegance (miyabi). Chapter 4 focuses on the body of ingredients and skills that poets used to make poems. I discuss how poetic know-how was acquired through study, what it consisted of, and several methods to apply it in actual composition. A discussion of the Kokin waka rokujo (Six Tomes of waka, c. 974), a giant poetry collection probably intended to serve as a reference book for poets, completes the chapter. Chapter 5 deals with contemporary criteria to evaluate poetry. Two main texts are examined: the Tentoku yo'nen dairi uta-awase (Poetry contest at the Palace of the Fourth Year of Tentoku, 960), and the Waka kuhon (Nine Grades of waka, c. 1009) by Fujiwara no Kinto; (966-1044). The final section of the chapter discusses Tokieda Motoki's argument that since poetry was used in everyday life as a medium of communication, the aesthetic value of a poem was often less important than its performative value.

This project seeks a new perspective on issues of literacy, literary language, and cultural contact in the literature of premodern Japan by examining the primers used to study Chinese-style literature in the Heian and early medieval periods (c. 900-1250CE). Much of Heian literary production was centered on kanbun: "Chinese-style" writing that resembled classical Chinese and mobilized allusive connections to classical Chinese texts, but was usually read based on classical Japanese vocabulary and syntax. The knowledge gleaned from introductory kanbun education forms an important and little-researched common thread linking readers and writers from a wide range of backgrounds - from male and female courtiers to specialized university scholars to medieval monks and warriors eager to appropriate court culture. While tracing the roles of commonly-studied kanbun primers and commentaries in shaping Heian literary culture and its medieval reception, I consider key aspects of premodern Japan literacy - from the art of kundoku ("gloss-reading") to the systems of knowledge involved in textual commentary and the adaptation of kanbun material. Examining the educational foundations of premodern Japanese literary culture demonstrates that kanbun and other literary styles functioned as closely entangled modes of literacy rather than as native and foreign languages, and that certain elements of classical Chinese knowledge formed a valued set of raw material for literary creativity. Chapter 1 outlines the diversity of premodern Japanese literacy and the key primers and encyclopedic reference works involved in kanbun education. Chapter 2 focuses on a primer for learning written characters, the Thousand Character Classic (Qian zi wen), discussing its varied reception in the contexts of calligraphy practice, oral recitation, and commentarial authority and offering translations from the tongue-in-cheek literary showpiece Thousand Character Classic Continued (Zoku Senjimon, 1132). In Chapter 3, I examine the role of kanbun knowledge in Sei Shonagon's Pillow Book (Makura no soshi, early 11th century), which foregrounds the social and creative roles of introductory kanbun material as a vocabulary of conversational quotation among both men and women. Chapter 4 turns to Condensed Meaning of the New Ballads (Shin gafu ryakui, 1172), a ground-breaking anecdotal commentary on Bai Juyi's poetry, to discuss the way that kanbun texts were interpreted and reinvented through commentary. Chapter 5 discusses an innovative poetic adaptation of a kanbun primer, Waka Poems on the Child's Treasury (Mogyu waka, 1204), which makes use of poetic topics and historical anecdotes as effective ways of organizing kanbun knowledge and also suggest the potential for introductory education to spark literary creativity across genre boundaries. I conclude with a brief look at the relevance of premodern Japanese kanbun education for broader questions about literary language and for comparisons involving other transregional classical languages like Latin. By illustrating the processes by which elements of Chinese literary culture were adopted and adapted throughout East Asia, this project provides fertile ground for exploring issues of literacy and cultural interaction that underlie all forms of literature.

This thesis explores the uncharted territory of relational subjectivity in modern Chinese literature. As a model of identity that positions the self in a web of social interaction, emotional connectivity, relational subjectivity suggests that the self is continually partial, open, and constantly "under construction." Lacking an autonomous "closed system," subjects remain open to exchange and to becoming agents of co-created meaning. Through readings of the fiction, essays, and poetry of Lu Xun, Ye Shaojun, Shen Congwen, Bing Xin, Xiao Hong, and Eileen Chang, I investigate the ways these writers manipulated narrative structure, texture and voice to present a discourse of openness, receptivity, and tolerance for difference. My investigation uncovers a wider range of subjectivities and relational yearning than was previously recognized for this era. Chinese writers also linked the discourse of relational subjectivity with a more generalized epistemological openness characterized by neutral visual attentiveness and acts of listening. This study reflects a growing interest in locating forms of sociality in the modern Chinese context. As such, my work furthers the theoretical discourse for examining self-other relationships, especially those shaped by multiple-perspectivism, non-hierarchy and horizontal ways of seeing. Finally, this research offers possibilities for locating an alternative beginning for modern Chinese conceptualizations of self in community.

This dissertation examines the influence of `poetic sociality' during Japan's Meiji period (1867-1912). `Poetic sociality' denotes a range of practices within poetic composition that depend upon social interaction among individuals, most importantly the tendency to practice poetry as a group activity, pedagogical practices such as mutual critique and the master-disciple relationship, and the exchange among individual poets of textually linked forms of verse. Under the influence of modern European notions of literature, during the late Meiji period both prose fiction and the idea of literature as originating in the subjectivity of the individual assumed hegemonic status. Although often noted as a major characteristic of pre-modern poetry, poetic sociality continued to be enormously influential in the literary and social activities of 19th century Japanese intellectuals despite the rise of prose fiction during late Meiji, and was fundamental to the way in which poetry was written, discussed and circulated. One reason for this was the growth of a mass-circulation print media from early Meiji onward, which provided new venues for the publication of poetry and enabled the expression of poetic sociality across distance and outside of face-to-face gatherings. With poetic exchange increasingly taking place through newspapers and literary journals, poetic sociality acquired a new and openly political aspect. Poetic exchanges among journalists and readers served in many cases as vehicles for discussion of political topics such as governmental corruption, international relations and environmental disasters, an aspect of Meiji-era poetry that has received comparatively little attention.

This dissertation combines methods from literary history, book history and religious history in order to map formerly unknown regions of Hindi literary culture in early modern North India. By sketching the broad contours of the manuscript archive and also looking closely at the material aspects and histories of individual text artifacts including notebooks, anthologies, and scriptures, it reveals connections and distinctions between audiences, genres, and canons that could not otherwise be seen. As the vernacular language of Hindi gradually came to displace the cosmopolitan language of Sanskrit as the medium of literary, scholastic and religious discourse over the fourteenth through seventeenth centuries, new configurations of oral performance practices and written manuscripts came into being; these practices and manuscripts in turn helped to consolidate new networks, and eventually bring new publics into being. For the religious communities associated with bhakti in particular, the process of vernacularization opened up opportunities for innovation concerning genre and style: by adopting certain literary techniques and particular inscriptional practices, these groups were able to deploy their writings as literature, scholarship, scripture, or a combination of all three. The distinctions that traditions like the Sikhs, the Dadu Panth, and the Niranjani Sampraday made between these different discourses and genres are reflected in the manuscripts that they created, and in the performance modes of which those manuscripts were a part. In the process of creating physical scriptures, they also transformed themselves into a different type of textual community.

This dissertation offers a new perspective on the birth of modern Chinese literature by investigating the following question: How did literature come to be understood as an effective vehicle of national salvation? The following chapters locate the answer to this question in intertwining ideas on religion and realism. The late nineteenth and early twentieth centuries saw an upsurge of vernacular literature portraying contemporary life in China alongside deliberations on the meaning of a newly introduced term: “religion” (zongjiao). This process launched a long lasting perception of literature as effective—capable of turning a country in flux to a strong nation. The story of modern Chinese literature’s rise to such prominence forms part of a transnational history, linking national literatures and Christian modernity. Across the colonial world, Protestant missionaries introduced the idea that a true-to-life literary portrayal can mobilize readers into action by appealing to their natural sympathy towards human suffering. These theories found a seedbed in China, Japan, India and Africa, where various authors modified the Christian evangelical message into a thorough critique of imperialist thought. Chapter One begins with the global rise of “Life” in the 1910’s as a new epistemology for understanding the human. In China, deliberations over the meaning of life hinged upon interactions with social Darwinism, American Protestant ideas on religious experience, Bergsonian vitalism, critiques of materialism in German Lebensphilosophie, and Chinese Neo-Confucian ethical thought. “Life” became the main axis pivoting debates on how to save China from its plight: Could evolutionary biology account for the truth of life? Could religion explain aspects of life that biology cannot? The task of representing the truth of life was entrusted upon the fledgling modern Chinese fiction and poetry. Chapters Two and Three trace this conviction in the powers of literature to nineteen-century missionary essay contests. Held in sites of imperial encroachment around the world, these contests promoted fiction writing as a miraculous endeavor. Similar to the way that reading the scriptures was supposed to produce a sense of connection to the great beyond, so too was the spiritual message of literary texts believed to ignite a “sympathetic resonance” (gongming) between authors and readers that would propel the latter to social action. The religious concept of sympathy inspired Chinese authors to further explore the connections between man and the universe in search of the perfect representation of life. This search led to an important encounter with the Bengali Renaissance Movement, explored in Chapters Four and Five. Rabindranath Tagore’s visit in China (1924) serves as a point of departure to investigate how prominent Chinese authors experimented with concepts such as “Eastern Spirituality” “The Poet’s Religion” and “Folktales”. Such literary interactions added important dimensions to the formation of Chinese realism, by envisioning Pan-Asian literary sympathies, which redefined the meaning of religion, life, and the nation. By foregrounding the transnational collaborations and interactions of religion, realism, and Asian solidarity in shaping Chinese literature, this dissertation offers a multi-sited perspective on the unmatched significance of modern literature to China’s national revival and, in turn, delivers a new understanding of China’s role in a global deliberation over the meaning of human life.