The gokan is a medium of pre-modern Japanese literature where the story is told through a mixture of text and image on every page, with the narrative and dialogue of the story surrounding the image illustrations on all sides. The Nise Murasaki inaka Genji (A Rustic Genji by a Fake Murasaki, 1829-42), written by Ryutei Tanehiko (1783-1842) and illustrated by Utagawa Kunisada (1786-1865), was one of the most popular gokan of the Edo Period (1605-1868) and has been republished approximately twenty-four times from the end of the nineteenth century until today. By examining how these works handle text and image, this thesis seeks to gain a deeper understanding about how image functions in the gokan genre. When text must be translated and the image altered from the original layout to make it comprehensible to modern readers, the resulting text and image combinations, or lack of image, offer insight into the importance of the role of image in gokan.

Durante a época clássica japonesa, eram produzidos vários textos de ficção em prosa direcionados às mulheres da nobreza. Estas obras eram chamadas monogatari e, inicialmente, eram consideradas parte de um gênero literário menor justamente por serem vistas como um mero passatempo para as damas ociosas. Os primeiros monogatari foram produzidos por homens, mas a obra mais emblemática do gênero, Narrativas de Genji, foi criada pela dama da corte Murasaki Shikibu e teve influência de textos anteriores do mesmo gênero, poesia, literatura clássica chinesa e mitologia japonesa. Já no século XII, com a produção dos rolos de pinturas Genji Monogatari Emaki iniciou-se uma longa tradição de recepção cultural da obra da autora, que continuaria nos séculos seguintes e, a partir dos anos 1970 foi herdada por um novo meio de expressão cultural, o shõjo mangá. Em 1979 começou a ser publicada a série Asaki Yumemishi de Waki Yamato, que é considerada uma das principais adaptações em quadrinhos da obra e influenciou muitas das versões que a sucederam. A obra recria, utilizando elementos estéticos e narrativos do gênero shõjo de mangá, a maior parte do enredo da obra original, algo que ocorre em poucas adaptações em quadrinhos das Narrativas de Genji. Outras versões analisadas neste trabalho são Genji Monogatari Sennen no Nazo, de Tõko Miyagi, que adapta uma light novel onde são recriados alguns episódios do texto base que se combinam a eventos originais, Genji Monogatari de Serina Miõ, que é dividida em episódios focados em algumas das damas presentes na obra original e Onna Hikaru Genji no Ikemen Nikki, que traz episódios curtos onde as personagens são recriadas com o gênero invertido. Para mostrar algumas das características da transposição do texto original para o shõjo mangá nos focamos na personagem Rokujõ no Miyasudokoro, verificando as diferenças e semelhanças do modo de representação da personagem em cada uma das versões e como a sua trajetória narrativa é retrabalhada para se adequar às convenções do shõjo mangá / Various fictional works in prose aimed at noblewomen have been created during Classical Japanese Era. These works are part of a literary genre called monogatari, which was, in the beginning, considered lower, a pastime for ladies. Most early monogatari were written by men, but the most emblematic of them, The Tale of Genji, is a creation of a court lady known as Murasaki Shikibu and was influenced by literary works in the same genre, poetry, classical Chinese literature and Japanese mythology. The Tale of Genji reception is a long tradition which began in the twelfth century, with the production of the picture scrolls Genji Monogatari Emaki. This tradition continued through centuries and, since the 1970s, was inherited by shõjo manga, a new medium of expression. In 1979 the series Asaki Yumemishi written by Waki Yamato started being published. It is considered one of the most important manga adaptations of the Tale of Genji and influenced several versions published after it. In this version, most of the plot of the original work is recreated using aesthetic and narrative elements of the shõjo manga genre, which occurs only in a few adaptations. This dissertation will also deal with other shõjo versions of the work, which are Genji Monogatari Sennen no Nazo, by Tõko Miyagi, an adaptation of a light novel that recreates some episodes of the original interspersed with new events; Genji Monogatari by Serina Miõ, an episodic series focused on some female characters and Onna Hikaru Genji no Ikemen Nikki, a series of short chapters where the characters are portrayed with reversed genders. Aiming to show some aspects of the transposition of the original text to shõjo manga, we will be focusing on the character Rokujõ no Miyasudokoro, verifying differences and similarities on her modes of representation in each version and how its narrative trajectory is reworked to fit the conventions of shõjo manga

Durante a época clássica japonesa, eram produzidos vários textos de ficção em prosa direcionados às mulheres da nobreza. Estas obras eram chamadas monogatari e, inicialmente, eram consideradas parte de um gênero literário menor justamente por serem vistas como um mero passatempo para as damas ociosas. Os primeiros monogatari foram produzidos por homens, mas a obra mais emblemática do gênero, Narrativas de Genji, foi criada pela dama da corte Murasaki Shikibu e teve influência de textos anteriores do mesmo gênero, poesia, literatura clássica chinesa e mitologia japonesa. Já no século XII, com a produção dos rolos de pinturas Genji Monogatari Emaki iniciou-se uma longa tradição de recepção cultural da obra da autora, que continuaria nos séculos seguintes e, a partir dos anos 1970 foi herdada por um novo meio de expressão cultural, o shõjo mangá. Em 1979 começou a ser publicada a série Asaki Yumemishi de Waki Yamato, que é considerada uma das principais adaptações em quadrinhos da obra e influenciou muitas das versões que a sucederam. A obra recria, utilizando elementos estéticos e narrativos do gênero shõjo de mangá, a maior parte do enredo da obra original, algo que ocorre em poucas adaptações em quadrinhos das Narrativas de Genji. Outras versões analisadas neste trabalho são Genji Monogatari Sennen no Nazo, de Tõko Miyagi, que adapta uma light novel onde são recriados alguns episódios do texto base que se combinam a eventos originais, Genji Monogatari de Serina Miõ, que é dividida em episódios focados em algumas das damas presentes na obra original e Onna Hikaru Genji no Ikemen Nikki, que traz episódios curtos onde as personagens são recriadas com o gênero invertido. Para mostrar algumas das características da transposição do texto original para o shõjo mangá nos focamos na personagem Rokujõ no Miyasudokoro, verificando as diferenças e semelhanças do modo de representação da personagem em cada uma das versões e como a sua trajetória narrativa é retrabalhada para se adequar às convenções do shõjo mangá / Various fictional works in prose aimed at noblewomen have been created during Classical Japanese Era. These works are part of a literary genre called monogatari, which was, in the beginning, considered lower, a pastime for ladies. Most early monogatari were written by men, but the most emblematic of them, The Tale of Genji, is a creation of a court lady known as Murasaki Shikibu and was influenced by literary works in the same genre, poetry, classical Chinese literature and Japanese mythology. The Tale of Genji reception is a long tradition which began in the twelfth century, with the production of the picture scrolls Genji Monogatari Emaki. This tradition continued through centuries and, since the 1970s, was inherited by shõjo manga, a new medium of expression. In 1979 the series Asaki Yumemishi written by Waki Yamato started being published. It is considered one of the most important manga adaptations of the Tale of Genji and influenced several versions published after it. In this version, most of the plot of the original work is recreated using aesthetic and narrative elements of the shõjo manga genre, which occurs only in a few adaptations. This dissertation will also deal with other shõjo versions of the work, which are Genji Monogatari Sennen no Nazo, by Tõko Miyagi, an adaptation of a light novel that recreates some episodes of the original interspersed with new events; Genji Monogatari by Serina Miõ, an episodic series focused on some female characters and Onna Hikaru Genji no Ikemen Nikki, a series of short chapters where the characters are portrayed with reversed genders. Aiming to show some aspects of the transposition of the original text to shõjo manga, we will be focusing on the character Rokujõ no Miyasudokoro, verifying differences and similarities on her modes of representation in each version and how its narrative trajectory is reworked to fit the conventions of shõjo manga

This Master Thesis is an interdisciplinary case study that examines physical sexual violence in the form of female displacement in Murasaki Shikibu’s eleventh-century Japanese masterpiece, The Tale of Genji. By investigating several cases ranging from spatial relocation to abduction and kidnapping involving four major Genji heroines, Utsusemi, Yūgao, Murasaki and Ukifune, I define violent displacement as an autonomous act of sexual violence by which a male character removes a female character from her initial location to a place of his choice. The man’s motivations are predominantly related to gaining sexual access to the woman’s body or ensuring control over her. Often such cases of displacement occur in the same context as other cases of physical sexual violence, such as forced sexual intercourse, which they may precede and facilitate, but rarely do they constitute mere preludes to more severe acts of sexual violence. I have posited several hypotheses about displacement, such as differences in rank and status between the protagonists, the man’s violation of standard courtship procedures, and the reactions by the woman and her female entourage. With these criteria, I have interpreted episodes of displacement in the female author’s tale, with particular emphasis on her choice of words and narrative techniques. I have supplemented textual analysis by examining the history of motifs in Genji illustrations by artists who interpreted these displacement episodes very differently or not at all. I conclude that the discourse on sexual violence in The Tale of Genji cannot be limited to the incidents involving forced sexual intercourse. The presence of female displacement indicates that sexual violence in the tale is not an accidental occurrence, but a topos carefully constructed by Murasaki Shikibu and strategically placed within the context of the tale.

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Women and relations to women are a central focus of Genji monogatari. Questions regarding women and their relationship to power need to be explored in order to provide understanding to the Genji. While there have been many feminist accounts of the Genji, most assume notions of patriarchy. This thesis will begin to historicize power and how women are inside its formations. Chapter one will discuss marriage politics and the regency system to show how women function in relation to these formations. Chapter two will historicize sexuality in the Genji. Chapter three will discuss perspective in the e-maki of Genji monogatari. Discussion in these three chapters will show that power relations in the Genji are more complex than notions of male domination over female. Resistance in the text is better understood as resistance against the social formations of mid-Heian court society than resistance against men in general.

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Over the course of the “Genji monogatari” (“The Tale of Genji,” c. 1008) narrative, roughly fifty characters die. The eponymous hero’s arc starts with the passing of his mother and ends as he himself succumbs to grief at being parted from his beloved Murasaki; the subsequent ten chapters of the text are likewise marked by successive personal losses. However, while the “Genji’s” plot is consistently catalyzed through encounters with death, it would be a mistake to say that the tale is about death: instead, it is the highly aestheticized scenes of grief experienced privately and communally by its characters in the aftermath (and sometimes even in the anticipation) of their loved ones’ passing that motivate much of the action and narrative development. My dissertation project aims to analyze the intrinsic affective qualities of “Genji monogatari’s” portrayals of death and mourning. Although the text showcases Murasaki Shikibu’s skillful interweaving of Heian spiritual beliefs, social rituals, and funerary practices with classical literary tropes and the preexisting traditions in elegiac poetry, it also represents a significant departure and innovation vis-à-vis earlier and contemporary depictions of death. For one, it resurrects and reinvents the depiction of the corpse which all but disappeared from courtly literature, and expands the narrated experience of bereavement from the point of view of an isolated principal mourner to that of a larger emotional/affective community. What’s more, the narrative patterns and images it establishes early on continue to evolve over the span of the text itself. The “Genji’s” hallmark death scenes foreground the exquisite bodies of the dying or already dead—and almost exclusively female—subjects, laid out unobstructed to the discerning gaze of the male protagonists. As I will show through a thorough exploration of the poetic vocabulary and affective narrative structuring in situations dealing with grief and sorrow in these scenes, this has the effect of narratively minimizing the moment of death as a descriptive event and instead heralding an affective mode of storytelling that creates communal bonds between the bereaved characters, the narrator(s), and the readers. That said, as the plot progresses, subtle subversive changes start to emerge: the women in the first part of the tale, who remained beautiful but voiceless after frequently meeting sudden ends, give way to characters who anticipate and eventually even will their demise, and whose richer interiority offers insights on their mortality that can counterpoint the ensuing objectifying consumption of their bodies. This development consequently not only brings into question the larger meaning of death retrospectively throughout the entire text, but also allows us to glean Murasaki Shikibu’s own intratextual theorization on the affective and narrative functions of death, in addition to its wider literary potential.