This thesis will consider the question of the intended audience of Jippensha Ikku’s十返舎一九, ōraimono (educational book) Togakushi Zenkō-ji ōrai 戸隠善光寺往来(1822) as preface to an annotated translation completed using free online xylographic editions. Published in the midst of rising literacy rates and a boom in religious pilgrimages, this work would have been popular among women of the late Edo era. Analysis of the ōraimono genre will reveal that this work, was intended as a practical guidebook for Zenkō-ji pilgrimages rather than for use as a classroom textbook. An experienced traveler guides a dutiful son and mother from Edo (Tōkyō) along the Nakasendō and Hokkoku Kaidō roads to Zenkō-ji Temple and Togakushi Shrine in Shinano Province (Nagano). The mother character in Togakushi Zenkō-ji ōrai, though not the direct recipient of the expert traveler’s knowlege, will be revealed as a sort of hidden protagonist central to the entire narrative. Lastly, I will attempt to settle disputed publishing information, arguing that Nishimiya Shinroku 西宮新六was the first publisher and Moriya Jihei 森屋治兵衛printed subsequent editions. Serious in tone, this work demonstrates Ikku’s versatility as a departure from his famous slapstick travelogue, Tōkaidōchū Hizakurige (Shank’s Mare).

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.

The Onmyōji series has had an incredible impact on Japanese fiction. It has created an entire genre of material called onmyōjimono and sold 5 million copies counting only the novel series. Despite this, it has been woefully understudied by both Japanese and English speaking scholars. The Japanese scholars that do acknowledge it use it as a springboard to launch a survey of Abe no Seimei in written and performed media throughout history, and the English speaking scholars have limited their analyses to the form that oni take in the narrative. My research has revealed that Yumemakura Baku utilizes a complex set of mechanisms to combine disparate narratives into a cohesive whole, integrating elements of genre and modern literary aesthetics to make old narratives agreeable to modern tastes. In the process he creates a dark and threatening world through which the Heian courtiers must navigate. Abe no Seimei acts as their guide and mediator. Despite holding an official rank within the court he is as otherworldly as the world, filled with supernatural beasts and formless creatures, in which they live. Using the mechanism of Abe no Seimei, Yumemakura Baku reveals to the reader their own tendencies toward prejudice, while constructing a vast world through centuries of written material.

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73. / Art History, Visual Arts & Musicology / M.Mus.

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73. / Art History, Visual Arts and Musicology / M.Mus.

Les fuites non détectées dans les réseaux d'eau potable sont responsables en moyenne de la perte de 30% de l'eau transportée. Il s'avère donc primordial de pouvoir contrôler ces fuites. Pour atteindre cet objectif, la modélisation de l'écoulement de l'eau dans les conduites en tenant compte des fuites a été formulée de différente manière. La première formulation est un système d'équations différentielles ordinaires représentant des fuites constantes, réparties uniformément le long des conduites. Le système peut s'avérer être numériquement raide lorsque des organes hydrauliques sont rajoutés. Deux méthodes implicites ont été proposées pour sa résolution : la méthode de Rosenbrock et la méthode de Gear. Les résultats obtenus montrent que le débit varie linéairement le long des conduites et que les pertes en eau par unité de longueur sont identiques sur chaque conduite. La seconde formulation prend en compte la relation entre les fuites et la pression. Un système de deux équations aux dérivées partielles a été proposé. L'EDP de transport-diffusion-réaction, contenant l'opérateur du p-Laplacien, est résolue par une méthode à pas fractionnaires. Deux méthodes ont été testées. Dans la première, la réaction est couplée avec la diffusion et dans la seconde, elle est couplée avec le transport. Les résultats indiquent que les pertes en eau ne sont pas réparties de façon homogène sur le réseau. Cette formulation décrit de manière plus réaliste les réseaux d'eau potable. Enfin, le problème du contrôle du volume des fuites par action sur la pression a été étudié. Pour cela, un problème d'optimisation est résolu sous la contrainte que la pression doit être minimale pour réduire les fuites et être suffisante pour garantir un bon service aux consommateurs. Les résultats trouvés confirment que la réduction de la pression permet de réduire le volume des fuites de façon significative et que le choix de l'emplacement du ou des points de contrôle est primordial pour optimiser cette réduction.

Le premier chapitre de mon HDR concerne la propagation des vibrations dans un système hôte-parasitoïde. Mais avant de pouvoir analyser les vibrations émises par les deux insectes, il a fallu étudier la propagation des vibrations dans les végétaux. En effet la feuille est un système complexe composé de différents matériaux : la nervure centrale, les nervures secondaires et le limbe, ayant chacun des propriétés physiques différentes. Afin de mieux connaître les propriétés physiques de la feuille nous avons utilisé deux approches. Dans une première approche, nous avons fait une analyse temps-fréquence de la propagation des signaux sur une feuille de pommier. Puis, dans un deuxième temps, nous avons analysé, à l'aide d'une méthode d'éléments finis, la déformation d'une feuille soumise à une force. Nous avons ensuite analysé les signaux vibratoires émis par le parasitoïde et ceux émis par la mineuse. Puis, nous avons étudié le comportement de la mineuse quand elle est soumise aux vibrations simulant l'attaque d'un parasitoïde et réciproquement le comportement d'un parasitoïde quand il est soumis aux vibrations simulant la présence d'une mineuse dans une mine.<br /><br />Le deuxième chapitre fait partie d'un projet européen, CICADA, dans lequel j'étudie un modèle physique de mouvement des soies du grillon, soies étant utilisées comme mécanorécepteurs pour échapper à la prédation. Le modèle physique que nous avons élaboré permet de calculer la réponse de la canopée de poils. Or, la distribution de poils peut varier suivant les espèces de grillons mais aussi en fonction du stade des grillons. Le grillon comprend 9 stades qui auront une sensibilité différente face à l'attaque des prédateurs.<br /><br />J'ai ensuite travaillé sur un projet d'invasion biologique répondant à un appel d'offre du Ministère de l'Aménagement du Territoire et de l'Environnement dans lequel j'étudie la propagation d'un insecte invasif et de ses parasitoïdes, c'est l'objet du troisième chapitre de mon HDR. Notre problème d'invasion est causé par la mineuse du marronnier qui s'attaque aux feuilles de l'arbre. Cette mineuse est elle-même attaquée par des parasitoïdes. Notre but était de comprendre les mécanismes de l'invasion de cette mineuse et de trouver des moyens de lutte pour la stopper. Le système biologique que nous avons donc étudié est un système tritrophique composé d'un végétal, le marronnier d'Inde (Aesculus hippocastaneum), d'un insecte phytophage, la mineuse (Cameraria ohridella) et de ses parasitoïdes polyphages. Pour modéliser l'avancée spatio-temporelle de la mineuse et de ses parasitoïdes, deux approches ont été utilisées, d'une part un modèle discret contenant toutes les données biologiques du terrain. D'autre part un modèle continu, plus simple, mais donnant des dynamiques assez complexes d'un point de vue mathématique. Ces deux modèles ont ensuite été comparés dans le cadre de l'effet de la dispersion des mineuses sur l'avancée de celles-ci.

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