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Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal. / La thèse se propose d'analyser le développement du fu lyrique sous les Six Dynasties (220-589). Comme le lyrisme est une notion occidentale, il faudra, avant d'aller du côté chinois, expliquer sa signification en Occident et voir ensuite comment elle peut être appliquée à la Chine tout en respectant son intégrité et sa spécificité culturelles. La thèse montrera comment le narratif et le descriptif font partie du lyrisme ainsi que l'expression des sentiments personnels. Des textes critiques tels que L'esprit littéraire et la sculpture de dragons de Liu Xie et les préfaces à certains fu, entre autres, seront utilisés afin de toujours garder à l'esprit la façon chinoise de concevoir le poème lyrique. Le nouvel horizon épistémique des Six Dynasties sera aussi présenté et son impact sur les fu et les shi sera discuté. Le fu est un genre littéraire mi-descriptif, mi-narratif, qui combine prose et rimes et qui a aussi hérité de quelques éléments venant du shi ; c'est pourquoi il en sera question ici. Le Fu sur la résidence dans les faubourgs de Shen Yue (441-513) a été choisi pour illustrer le lyrisme car au-delà de la forme rigoureuse dictée par le genre, Shen Yue y a introduit de nouveaux éléments. Le premier chapitre définira le genre, discutera de ses origines à l'aide de l'opinion des chercheurs qui s'y sont consacrés et en décrira les caractéristiques sous les dynasties Han (-206-+220). Loin de rester stable, il évoluera vers le lyrisme à la fin de ces dynasties. Pour le montrer, des fu de Sima Xiangru, Yang Xiong et Zhang Heng seront présentés. Au deuxième chapitre, il sera question de l'évolution du fu lyrique depuis la fin des Han jusqu'à Tao Qian. Puis il sera question de l'autre genre en développement, le shi. Après une brève récapitulation de ses origines, les Dix-neuf poèmes anciens, des shi de Ruan Ji et de Xie Lingyun seront présentés afin de discerner comment ce genre a évolué. Ceci permettra d'évaluer la contribution de Shen Yue à cet égard en regardant ses fu et ses shi. Cela mène naturellement au troisième chapitre qui se penchera sur le Fu sur la résidence dans les faubourgs, mais en gardant en perspective le Fu sur la résidence en montagne de Xie Lingyun, qui a servi de "modèle" à celui de Shen Yue. Cependant tel n'est pas le cas et ce chapitre s'appliquera à le montrer en examinant le traitement que Shen Yue a fait des narrations et des descriptions, du parallélisme, de la métrique et de la prosodie. Cet examen permettra de voir que le temps et l'espace sont traités de façon particulièrement intéressante par Shen Yue et que son fu n'est nullement une imitation de celui de Xie Lingyun. Il a raccourci les sections descriptives et a introduit des narrations historiques en faisant de fréquents passages de l'une à l'autre. Shen Yue joue beaucoup avec les couleurs et les formes. Sa poésie comporte donc un aspect visuel important, et dans tout ceci, c'est sa vision de la réclusion qu'il apporte. Cette vision est en accord avec l'horizon épistémique des poètes des Six Dynasties. Le fu des Six Dynasties a été peu étudié et cette étude aura permis de dégager son fonctionnement et ses caractéristiques. En appendice, on retrouvera une traduction française annotée de ce fu. Vu qu'il n'existe que deux traductions anglaises, et une partielle, en japonais, de ce fu, j'ai alors décidé de présenter ma propre traduction.

This project considers the ways in which English authors and a diverse group of Japanese subjects co-produced literary representations of Japan in the late nineteenth and early twentieth centuries. I argue that Anglo-Japanese encounters were defined by imbrication: by a number of overlapping phenomena that developed both coincidentally and as a result of contact between the two countries. Among coincidental developments, I include urbanisation and the development of a prosperous middle class in both Japan and England. Developments that appear to arise as a result of Anglo-Japanese contact include the prevalence of Social Darwinism in intellectual circles in both countries, as well as the growth of transnational bureaucratic networks. I refer to these phenomena collectively as "Japanglia," The literary implications of these overlaps--some highly ephemeral, others longer lasting--form the focus of this dissertation. In the four case studies presented here, I find that Japanglian phenomena compel us to adopt variously intertextual, inter-artistic, tropological, and somatically-focused approaches to our reading. My first chapter focuses on intertextuality in the work of Sir Christopher Dresser and Meiji bureaucrat Ishida Tametake. I find that the existence of Japanglian bureaucratic networks (formed in the overlap of English and Japanese bureaucracies) resulted in the publication of interpenetrative English and Japanese accounts of the same events. Japanglian texts may also be inter-artistic, using culturally blurred visual and decorative artforms as models for their own representations of Japan. This becomes apparent in my second case study, which considers the relationship between Gilbert and Sullivan's Mikado and Japanese ukiyo-e prints . Tropologically focused reading is also of use when reading these texts, for common tropes circulated between writers of English and Japanese origins. This common tropology features in the work of Rudyard Kipling and Okakura Kakuzo ̄. Finally, as my study of the Japan writings of Marie Stopes suggests, blurring between the categories of Englishness and Japaneseness may register in the phenomenology of somatic experience.

Children’s literature flourished in Edo-period Japan, as this dissertation shows through a survey of eighteenth-century woodblock-printed picturebooks for children that feature children in prominent roles. Addressing a persisting neglect of non-Western texts in the study of children’s literature and childhood per se, the dissertation challenges prevailing historical understandings of the origins of children’s literature and conceptions of childhood as a distinct phase of life. The explosive growth of print culture in seventeenth- and eighteenth-century Japan not only raised expectations for adult literacy but also encouraged the spread of basic education for children and the publication of books for the young. The limited prior scholarship on Edo-period Japanese children’s books tends to dismiss them as a few isolated exceptions or as limited to moralistic primers and records of oral tradition. This dissertation reveals a long-lasting, influential, and varied body of children’s literature that combines didactic value with entertainment. Eighteenth-century picturebooks drew on literary and religious traditions as well as popular culture, while tailoring their messages to the interests and limitations of child readers. Organized in two parts, the dissertation includes two analytical chapters followed by five annotated translations of picturebooks (kōzeibyōshi and early kusazōshi). Among the illustrators that can be identified are ukiyoe artists like Torii Kiyomitsu (1735-1785). The first chapter analyzes the picturebook as a form of children’s literature that can be considered in terms analogous to those used of children’s literature in the West, and it provides evidence that these picturebooks were recognized by Japanese of the late eighteenth and early nineteenth centuries as uniquely suited to child readers. The second chapter addresses the ways in which woodblock-printed children’s literature was commercialized and canonized from the mid-eighteenth century through the latter years of the Edo period, and it shows that picturebooks became source material for new forms of children’s culture during that time. The translated picturebooks, from both the city of Edo and the Kamigata region, include a sample of eighteenth-century views of the child: developing fetus, energetic grandchild, talented student, unruly schoolboy, obedient helper at home, young bride-to-be, and deceased child under the care of the Bodhisattva Jizō. / East Asian Languages and Civilizations

This dissertation examines documentary cinema in Socialist China as an emerging technology of mass politics, a new medium for creating political imaginaries and writing history, and a global vernacular connecting China to other revolutionary and modernizing cultures. At the center of my investigation is documentary cinema's capacities to work across boundaries between reality and fiction, between physical and metaphysical worlds, and between a historical world bound by its materiality and a revolutionary world mobilized to take leaps into a brighter future. I argue that these capacities made documentary a particularly relevant media for socialism for both epistemological and historiographical reasons. Epistemologically, documentary brought together the empirical and the ideological, both fundamental to a Marxist quest for truth. Historiographically, documentary's deep bond to the present moment and its capacity for temporal re-structuring and mass mobilization allowed it to intervene radically into the making and writing of history, particularly in a society engaged with engineering its own transformation. Using visual archives only recently made available, the dissertation's wide-ranging discussions include how documentary re-enacted the civil war upon the founding of the PRC, documented "tomorrow" during the Great Leap Forward, created mass passions for diplomacy in the 1960s, and enabled a poetics of mourning and testimony in the immediate years after the Cultural Revolution. / East Asian Languages and Civilizations

This study explores the literature of late Choson in its material context, examining how the physical aspects of the production and circulation of texts impacted the practice of writing. By analyzing various travelogues from Beijing (yonhaengnok) and private collections (munjip) from the late seventeenth to the early nineteenth century, I examine how transcultural contacts across borders and changing textual environments influenced intellectual circles and literary trends in late Choson Korea. Interpreting the literary text as the material product of a culture, my study shifts the emphasis from the author as the creator of a text to the editors, publishers, collectors, and readers, through whose hands a text is reshaped and given new meaning. In light of the concept of social authorship, the written culture of late Choson will be revisited in relation to complex networks of social interactions. The print and manuscript culture of the day, socio-political groups that the author belonged to, the book market, and the government policies of that time provide interesting information on the practices of literary production, based on the larger cultural dynamics of East Asia. This dissertation revolves around a series of questions about circulation networks and their impact. In regard to the social and cultural condition of literary production in the eighteenth century, I examine transnational interactions with foreign intellectuals as well as collective coterie activities of reading and writing among the literati in Seoul. How did the flourishing of print culture of the Jiangnan area and the book markets in Beijing change the textual dynamics of Korea? Did the government censorship carried out by the Qing and the Choson governments effectively control the circulation of books? How did the Choson literati consume the foreign books and why did they form so many literary communities in Seoul? By investigating the large scope of these textual situations, I explore how the transcultural contacts "across borders" and the changing textual environments influenced intellectual circles and literary trends in late Choson. With respect to textual dynamics, I emphasize the various "informal networks" that have been placed at the center of book reception and consumption. For example, a number of book brokers in the Qing and Choson facilitated the distribution of books, and the sharing of manuscripts among friends in literary coteries was influential in the shaping of new literary tastes and public culture. These unconventional routes outside of established channels functioned as the actual key drivers of book culture in late Choson. My argument throughout this dissertation is that "informal circulation" is a central, rather than marginal, feature of eighteenth-century book culture and literary production. Through a specific case study of a literatus-official, Yi Tong-mu (1741-1793), my dissertation addresses these issues in three parts that consist of seven chapters: (1) Part One, "Social Authorship and Manuscript Production," examines how the writings of Yi Tong-mu were constructed and transmitted through a complex of social interactions and how the physical aspects of texts inform various transactions of human and non-human agencies in the production of texts. (2) Part Two, "The Location of Texts: Circulation of Books, Censorship, and Community Activities" traces how social networks among the domestic literati as well as among foreign intellectuals facilitated the circulation of books. First, I examine the large scope of transnational interaction between China and Korea, and the literary inquisition carried out by the Choson government in response to the changing textual environment. This is followed by a discussion of the poetry communities in Seoul, in which the Choson literati shared their reading practices and produced their common aesthetic tastes in their writings. (3) Part Three, "Making Meaning: Reading Self and Social Discourses," examines how Yi Tong-mu read books from the Ming and the Qing--such as those by Yuan Hongdao of the Ming and Wang Shizhen of the Qing--and wrote his own poetry and literary criticism and embodied his interpretive activities in his own works. / East Asian Languages and Civilizations

xii, 251 p. / Sedimentations of transformations and experiences empowered the 20th century writers Sata Ineko and Hirabayashi Taiko as writers. Because of their mutual belief in the early principles of the proletarian literary movement--writing the reality of the working class from their perspectives--both produced works centered on daily life. In not only delineating but also examining the daily occurrences, their stories and critiques acutely exposed the issues, the conditions, and the exploitation of the working class under capitalism, particularly the unfair and unreasonable treatment of women and women workers under the patriarchal slogan "Good Wives and Wise Mothers" and the discrimination of women workers and writers even within the proletarian movement. The café proved the best site for both to offer keen analyses. Materializing the actual working experiences of jokyû (café waitresses), they exposed the superficiality of Japanese modernity in the 1920s and 30s, the suppression and oppression of women under patriarchy, commodification and exploitation of working women under capitalism, and the ultimate consequences--social myopia and deterioration of human life. While the café was for jokyû a site of exploration and challenge by overturning the dominant power hierarchy practiced in society, for Sata and Hirabayashi, writing about the café challenged the prejudice and confinement of existing categorizations such as "women," "women workers," " jokyû ," "women writers," and "proletarian writers." Both Sata and Hirabayashi treated the café and jokyû as realistic and multifaceted. To strengthen this realism, both writers relied on their own corporeal experiences and sensations, supporting honest illustrations of power dynamics and the dual-system oppression of women at play within and beyond the café environment. Both acknowledged the body as a site of complication and possibility. Through their acknowledgments beyond the surface inscriptions that restrict and limit who and what lies within, both Sata and Hirabayashi contended that the body was an interactive and potentially productive catalyst for change. For them, the corporeal experience proved more effective for gaining consciousness, obtaining class-consciousness, and eventually achieving ideological resolution than through doctrinal readings and teachings. / Committee in charge: Stephen Kohl, Chairperson; Alisa Freedman, Member; Tze-Lan Sang, Member; Jeffrey Hanes, Outside Member

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