Entender a poesia clássica japonesa exige conhecimentos não só do significado das palavras, mas também dos recursos retóricos que se fazem presentes nesse gênero literário. Por essa razão, neste trabalho, dedicar-nos-emos a analisar os recursos que possibilitam a leitura dos poemas da antologia Kokinwakashû, do Período Heian. Os mais significativos recursos são: makurakotoba, jokotoba, kakekotoba e engo. Como o recurso mais característico dos poemas dessa antologia é o kakekotoba, dedicaremos mais atenção a este, não apenas definindo e apresentando classificações e questões tradutológicas, mas também estabelecendo uma breve comparação com o recurso retórico da literatura ocidental e analisando as relações estabelecidas entre o kakekotoba e os três outros recursos retóricos. Para conseguir realizar nosso objetivo, partiremos da observação de poemas que contêm vários exemplos desses recursos e procuraremos obter conclusões a partir do método dedutivo. Também utilizaremos conceitos da Semiótica Francesa, como isotopia e conector de isotopia, a fim de melhor compreender os efeitos de sentido decorrentes dos recursos de retórica nos textos. Dessa maneira, procuramos contribuir com os estudos da língua e literatura clássicas japonesas, especialmente no Brasil, e inspirar novos estudos no futuro. / Understanding the classical Japanese poetry requires knowledge of not only the meaning of words, but also of rhetorical devices that are present in this literary genre. For this reason, in this work, we dedicate ourselves to analyse the devices that enable the comprehension of poems from the anthology Kokinwakashû, from Heian Period. The most significant devices are: makurakotoba, jokotoba, kakekotoba and engo. The most important device in the poems of this anthology is the kakekotoba. Then, we pay more attention to this, not only defining and classifying the devices and theirs problems of translations, but also comparing them with the Western literature and analyzing the relationships established between the kakekotoba and the three other rhetorical devices. To achieve our goal, we will assume the note of poems that contain several examples of these devices and will analyse them to obtain conclusions by using the deductive method. Also we will use concepts from Semiotics, as isotopy and connector of isotopy, in order to better understand the effects of sense arising from rhetoric devices in the texts. In this way, we aim to contribute to the study of Classical Japanese Language and Literature, especially in Brazil, and inspire other studies in the future.

Considerada ainda na antiguidade como a \"ancestral de todas as narrativas monogatari\", Taketori monogatari é a obra mais antiga de seu gênero. Escrita provavelmente entre os séculos IX e X, a narrativa conta a trajetória da personagem Kaguyahime, desde que foi encontrada pelo personagem que dá título à obra até a ocasião em que é levada de volta para o mundo de onde veio. Os acontecimentos que se desenrolam a partir da corte amorosa empreendida por cinco pretendentes que desejam se casar com ela ocupam considerável espaço na narrativa. Esse arco é considerado pelos estudiosos japoneses como exclusivo de Taketori monogatari, não constando em nenhum outro registro anterior da lenda. A partir desta hipótese e amparados pelo trabalho de Roland Barthes, propusemos uma reflexão sobre a construção do discurso pretensamente amoroso nessa parte em que se acredita vislumbrar o ineditismo da obra. / Regarded as \"the ancestor of all monogatari narratives\" since Classical Japan, Taketori monogatari is the most ancient piece of work in monogatari genre. Written probably between the 9th and 10th centuries, the narrative tells the story of Kaguyahime, from the moment she was found by the character whose name is in the title of the narrative until she is taken back to her homeland. The episodes starred by the five noble men who wish to marry her occupy the most of the narrative and are thought, by the Japanese scholars, to be exclusively Taketori monogatari author\'s creation. Considering the Japanese scholars\' view and supported by Roland Barthes\'s treatise on amorous discourse, we aimed to expose the way the discourse spoken by Kaguyahime and her suitors is built in those supposedly romantic episodes.

Osamu Dazai é um dos poucos escritores japoneses da primeira metade do século XX que emprega mulheres como narradoras. Procuramos explorar essa peculiaridade de seus textos comparando-os, embora brevemente, com aqueles de alguns de seus contemporâneos, como Yasunari Kawabata e Junichirô Tanizaki. Fazemos algumas incursões na ideia de feminilidade que permeava a sociedade japonesa no início do século XX e as transformações que ela sofre até o final da Segunda Guerra, pois acreditamos que essas mesmas mudanças na imagem do feminino também sejam refletidas pelos textos de Dazai. Analisamos alguns de seus textos com narradoras para observar o quanto elas se distanciam ou se aproximam dos ideais de feminilidade da sociedade da época. Por fim, também comparamos as figuras femininas de suas obras do pós-guerra com suas figuras masculinas, estas, muito parecidas com o próprio autor, presas do niilismo e em rota de autodestruição. Nossa intenção, em suma, é explorar, mesmo que de forma limitada, as relações entre a cultura da época e a literatura por meio da análise de alguns textos com narradoras de Osamu Dazai, bem como sublinhar o caráter peculiar dessas mesmas narradoras no interior das obras do autor e em relação aos textos de seus contemporâneos. / Osamu Dazai is one of the few Japanese writers from the first half of the 20th century in whose texts we find female narrators. We intend to explore, although briefly, this peculiarity comparing his texts with those written by authors like Yasunari Kawabata and Junichirô Tanizaki. We make some incursions into the idea of womanliness which permeated the Japanese society in the beginning of the 20th century and the changes which it undergoes until the end of the Second World War because we believe that the same changes in the female image are reflected in Dazais texts. We analyze some of his texts with female narrators to see how far or close they are to societys ideals of womanliness. Lastly, we compare the female characters of Dazais postwar texts with the male ones (who resemble the author himself in their nihilism and self-destructive tendencies). In short, our objective is to examine, even if not as comprehensively as we could wish, how the culture of the period and the literature are related by analyzing some texts with female narrators written by Osamu Dazai. We also hope to stress the uniqueness of these female narrators within the authors texts and in relation to those of his contemporaries.

A literatura policial teve origem com o surgimento das grandes cidades, que possibilitou o anonimato do criminoso e a criação de uma força policial para combater essa criminalidade. No Japão, após o período Meiji (1868-1912), são publicadas as primeiras traduções de contos policiais ocidentais, com autores como Edgar Allan Poe e Arthur Conan Doyle. Influenciado por essas leituras, Hirai Tar (1894-1965) escreve as primeiras histórias do gênero ambientadas no Japão, sob o pseudônimo de Edogawa Rampo, difundindo um dos gêneros mais populares no país hoje. Este trabalho apresenta o escritor Edogawa Rampo ao leitor brasileiro, além de propor uma tradução comentada de três contos policiais, mostrando as opções tradutórias e as diferenças culturais que permeiam o texto de partida e o de chegada, embasado pelas Teorias da Tradução. Selecionamos três contos do início da carreira de Rampo, a saber: Nisen dka, Dzaka no satsujin jiken e Shinri shiken, traduzidos respectivamente para o português como A moeda de cobre de dois sen, Assassinato na ladeira D e Teste psicológico. Além disso, apresentamos um breve contexto do gênero policial no Japão na época de Rampo e atualmente. / Crime literature originated from the emergence of the big cities, which enabled the anonymity of the criminal and the creation of a police force to fight this criminality. In Japan, after the Meiji period (1868-1912), the first translations of Western crime short stories are published, with authors such as Edgar Allan Poe and Arthur Conan Doyle. Influenced by these readings, Hirai Tar (1894-1965) writes the first stories of this genre set in Japan, under the pseudonym Edogawa Rampo, spreading one of the most popular genres in the country today. This work presents the writer Edogawa Rampo to the Brazilian reader, besides proposing a commented translation of three crime short stories, presenting the translating options and the cultural differences which permeate the source text and target text, based on the Theories of Translation. We have selected three short stories from the beginning of Rampo\'s career, which are: Nisen dka, Dzaka no satsujin jiken e Shinri shiken, respectively translated to Portuguese as A moeda de cobre de dois sen, Assassinato na ladeira D and Teste psicológico. We also present a brief context of the crime genre in Japan at Rampo\'s time and at the present.

Esta pesquisa visa analisar a estética do espaço e a estética literária empregadas na narrativa da obra Pôr-do-Sol, de Dazai Osamu, bem como resgatar a essência da cultura japonesa contemporânea de um Japão devastado pela Segunda Guerra Mundial, onde o autor expressa toda a sua sensibilidade poética. Este trabalho baseia-se na pesquisa biográfica de Dazai Osamu, com ênfase ao momento histórico que o autor testemunhou e onde realizou suas escritas, visando o levantamento da iconografia, pictografia e metonímia na linguagem de sua obra. Através deste estudo buscam-se os elementos que o enquadrem no gênero literário denominado Romance do Eu e as influências exercidas pelo Naturalismo europeu e movimentos sociais em sua carreira literária por meio da análise da hereditariedade, das influências do meio social no ambiente da obra e a estética literária empregada em sua técnica narrativa. O estudo desenvolvido demonstra as interferências ocidentais na Literatura Japonesa através da intertextualidade de obras japonesas e ocidentais, que dialogam entre si, e apresentam uma narrativa ao redor da estética do espaço na obra Pôr-do-Sol, retratando a essência humana, o irracional, as emoções, o onírico, as alegrias e desilusões inerentes a todos os seres humanos, principalmente na sociedade japonesa do período histórico do pós-guerra. / This research seeks analyze Dazai Osamu\'s spatial aesthetics and his literary style, which was used in his novel Setting Sun, besides to bring off essence of Japan Contemporary Culture, that was devastated in this country due to World War II. Another point of this study is the narrative aesthetics, where the writer expresses his poetic sensitiveness. This study is based on Dazai Osamu\'s autobiographic research, emphasizing a historical moment of Japan, which he witnessed and finished his writings despite of war; in his novel, Dazai aimed the language of: iconography survey, pictorial survey and metonymy language. This study will search for elements that fit in the literary genre named I Novel, as well as influences the writer suffered from European Naturalism and social movements in his literary carrier; Dazai analyzed the heredity and the influences of social means described in atmosphere of his work and the literary aesthetic (spatial) carried out in his narrative techniques. The study developed here points out western interference in Japanese literature, which can be noticed in the inter-textuality of literary works between west and east, that inter-act itself; therefore introduces a narrative related to spatial aesthetic in the Setting Sun which the writer describes the essence of human beings´nature such as: irrational feelings, the emotions, the day-dreams, the cheerfulness and disappointments, inherent in whole human beings, especially in the Japanese society in certain historical time after war.

This dissertation examines how modern literature in China, Japan, Korea, and Taiwan in the late-nineteenth to the early-twentieth centuries was practiced within contexts of these countries' deeply interrelated literary traditions. Premodern East Asian literatures developed out of a millennia-long history of dynamic intra-regional cultural communication, particularly mediated by classical Chinese, the shared traditional literary language of the region. Despite this transnational history, modern East Asian literatures have thus far been examined predominantly as distinct national processes. Challenging this conventional approach, my dissertation focuses on the translational and intertextual relationships among literary works from China, Japan, Korea, and Taiwan, and argues that these countries' writers and critics, while transculturating modern Western aesthetics, actively engaged with the East Asian cultural tradition in heterogeneous ways in their creations of modern literature. I claim that this transnational tradition was fundamentally involved in the formation of national literary identities, and that it enabled East Asian literati to envision alternative forms of modern civilization beyond national particularity. The dissertation is divided into three parts according to the region's changing linguistic conditions. Part I, "Proto-Nationalisms in Exile, 1880s-1910s," studies the Chinese literatus Liang Qichao's interrupted translation and adaptations of a Japanese political novel by the ex-samurai writer Shiba Shiro and the Korean translation and adaptations of Liang Qichao's political literature by the historian Sin Ch'aeho. While these writers created in transitional pre-vernacular styles directly deriving from classical Chinese, authors examined in Part II, "Modernism as Self-Criticism, 1900s-1930s," wrote in newly invented literary vernaculars. This part considers the critical essays and the modernist aesthetics of fiction by Lu Xun, Yi Kwangsu, and Natsume Soseki, founding figures of modern national literature in China, Korea, and Japan, respectively. Part III, "Transcolonial Resistances, 1930s-40s," addresses the wartime period, when the Japanese Empire exploited the regional civilizational tradition to fabricate the rhetoric of the legitimacy of its colonial rule. This part especially explores the semicolonial Chinese writer Zhou Zuoren, and the colonial Korean and Taiwanese writers Kim Saryang and Long Yingzong, who leveraged that same civilizational tradition and the critiques thereof, in order to deconstruct Japanese cultural imperialism outside of nationalist discourses. / East Asian Languages and Civilizations

In my thesis, I examine the discursive space of the detective fiction genre following Kasai Kiyoshi's periodization in his two-volume seminal work Tantei shosetsuron (The Theory of Detective Fiction, 1998). I investigate how Japanese detective fiction has developed in relation to Japan's modernization, industrialization, nationalism, and globalization, specifically in the 1920s-30s, the 1950s-60s, and from the 1990s to present. By historicizing the discursive formation of the genre in decisive moments in Japanese history, I examine how Japanese detective fiction delineated itself as a modern popular literature differentiating itself from serious literature (junbungaku) and also from other genres of popular fiction (taishu bungaku). My study exposes the socio-political, cultural and literary conditions that conditioned the emergence of the detective fiction genre as a problematic of Japanese society, stitching fantasy and desire for the formation of the national subject in the cultural domain. I investigate the dynamics through which Japanese detective fiction negotiates its particularity as a genre differentiating itself from the Western model and domestically from the conventional crime stories of the Edo and Meiji periods. Chapters One through Three of my study examine Japan's socio-cultural contexts after the Russo-Japanese war, specifically magazine culture and the rise of the detective fiction genre (Chapter I), the I-novel tradition and its relation to the genre (Chapter II), and representations of Tokyo as an urban center, focusing on Edogawa Ranpo's "Inju" (Beast in the Shadows, 1928) (Chapter III). Chapters Four through Six investigate the socio-cultural contexts after World War II, especially Japan's democratization in the 1950s-60s and the rearticulation of the genre through repeated debates about authenticities in Japanese detective fiction (Chapter IV), and the transition from tantei shosetsu (detective fiction) to suiri shosetsu (mystery) focusing on Yokomizo Seishi's Honjin satsujin jiken (The Honjin Murder Case, 1946) and Matsumoto Seicho's Ten to sen (Points and Lines, 1957) as representative works of the two trends (Chapter V), and finally the postmodern "return" to the prewar tradition in the 1990s (Chapter VI).

The aim of this MA thesis is to describe and evaluate the manner in which Richard Flanagan captured Japanese culture in his 2013 novel, The Narrow Road to the Deep North. Since the main motif of the work is the life of an Australian prisoner of war, a topic that has been significant in the creation of Australian national identity, the novel is firstly analysed from its position in the wider context of Australian literature. Richard Flanagan provided the readers with a complex work, which presents the given motif not only from the perspective of the Australian prisoners-of-war, but also from the perspective of their predominantly Japanese captors. The inclusion of the points of view of the Japanese ranks the novel among the contemporary adaptations that provide a more comprehensive view on the events of World War II. For that reason, the novel is assessed as to the complexity and accuracy of the selected and incorporated areas of Japanese culture, whether there is a tendency for schematization in the depiction, and therefore a display of the so-called "Orientalism", as described by Edward Said. This MA thesis aims to analyse whether, and to what degree Flanagan's novel differs from other works of the Australian literature that deal with the events of World War II and Japan. The analysis focuses on...

This dissertation explores how emerging understandings of science and religion impacted the formation of the modern field of literature in Japan. I argue that many modern Japanese writers “enchanted” literature, giving it a metaphysical value that they thought might stand firm in the face of modernity’s “disenchantment of the world,” to use the famous phrase of Max Weber. To do so, writers leveraged new anti-materialistic, pantheistic, and mystical ontologies that emerged around the globe in the late nineteenth and early twentieth centuries in philosophy, theology, and new fields of knowledge like religious studies. These worldviews were appealing alternatives to “religion,” which many Japanese intellectuals understood mainly as orthodox forms of Christianity and Buddhism, and which had been widely rejected by the early twentieth century under the influence of new scientific and historical hermeneutics. At the same time though, influential voices in the emerging critical discourse of Japanese literature were skeptical of purely materialistic accounts of reality and especially of art, turning instead to new notions of the spirit, the ideal, and the transcendental. I argue that the foundations of literary value and of the social position of the author in modern Japan are rooted in these new ideas about what might be experienced and represented outside the bounds of both scientific materialism and traditional religious dogma. The texts I examine consist of literary and aesthetic treatises, debates on philosophical and theological issues, and biographical and fictional works, all of which were pivotal to the theorization of Japanese literature and the artist, ranging from early efforts in the 1890s and extending through the tumultuous first half of the 20th century. The first chapter of my dissertation explores how canonical writers like Kitamura Tōkoku (1868–1894), Mori Ōgai (1862–1922), and Natsume Sōseki (1867–1916) wove emerging theories of religion and reality into their view of the capacity of poetry and fiction in the 1890s and 1900s. I show how their idea of the genius, or, drawing from Thomas Carlyle, of the “hero,” ascribed to the modern author the same capacity to perceive beyond the five senses as that identified in the prophets of the world religions. This understanding was based on a shared premise that religious texts were products not of divine revelation, but of a universal, non-empirical type of experience of the “inner heart,” the “ideal,” or the “World-soul,” defined as the essence of the world’s religions yet untethered to any one religious faith and fully accessible to the modern genius. The second chapter argues that similar ideas penetrated notions of the modern novel and the author through the early 1910s. A new generation of young writers who launched their careers after Japan’s victory in the Russo-Japanese War, including Yanagi Muneyoshi (1889–1961) and Mushanokōji Saneatsu (1885–1976), imagined Japanese artists as equal members of a global community of artists by identifying universal truths and beauty as the object of all art, religion, and science. In justifying the universal nature of art, writers argued that figures from Tolstoy to Rodin, and from Jesus to the Buddha, were all engaged in the same creative process. I show that these views provided a basis for Japanese authors to claim equality with their Western counterparts, just as it allowed prominent Japanese feminist Hiratsuka Raichō (1886–1971) to claim equality with male writers, since both nationality and gender were seen as unrelated to one’s ability to experience and represent the non-material aspects of reality. Similar views of art were employed to imagine the sociopolitical role of the writer within Japan. The third chapter begins with analysis of two leftist intellectuals, Kōtoku Shūsui (1871–1911) and Ōsugi Sakae (1885–1923), who were both eventually killed for their political activity. Both argued that myths, defined by them as both as religious texts and the great works of modern artists, could lead to individual enlightenment, bringing moral clarity for Kōtoku and a new means of experiencing reality for Ōsugi, thus creating the type of subject that could spark political change. Aristocrats Yanagi and Mushanokōji were unsympathetic with the left, but I argue that these two writers similarly attempted to repurpose religious texts to affect social change. By following in the footsteps of the mystics and prophets of the past, while also never directly addressing the existence of the supernatural, they believed that they could create change while also avoiding the pitfalls of religion. I argue that each of these writers drew from religious traditions in their definition of the author’s continuing social and political legitimacy in the midst of the rapid expansion of both leftist movements and of Japanese imperial power in the 1910s and ‘20s. In the fourth chapter, I argue that across his career, writer Akutagawa Ryūnosuke (1892–1927) balanced a critique of traditional religion with an interest in non-religious forms of spiritual experience. Akutagawa cast the Christian Church as a colonial organization concerned with accumulating power, yet at the same time drew on the transnational discourse connecting the supernatural to both psychological disorder and to the colonial idea of “primitivity” in order to create ambiguous portrayals of inexplicable experiences and phenomena. Akutagawa also identifies the possibility for “poetic” literature to open the door to a type of extraordinary experience described almost exclusively in religious language, which I argue also influenced his own experiments with aphoristic writing. This chapter provides a new understanding of this canonical author’s views of religious experience and of literature, while also positioning his work as one part of a discursive current with deep roots in modern Japan and across the globe. In the epilogue, I consider the afterlife of these currents in the 1930s, ‘40s, and ‘50s. I first discuss how the metaphysical and aesthetic positions analyzed in previous chapters laid the groundwork for some authors to shift toward support for the Japanese state’s embrace of authoritarianism and colonialism. However, even if the emphasis on intuitive knowledge and the deeds of heroic individuals within these forms of knowledge led some towards right-wing politics, the fictional and critical texts of Ishikawa Jun (1899–1987) written in this period provide an excellent example of an alternative path. In Ishikawa’s work, traditional Buddhism and Christianity are objects of incessant yearning, representing an absolute moral and conceptual authority that no longer exists in the grimy wartime and postwar reality. But I argue that parallel to his critique of absolutism, Ishikawa’s characters continue to yearn for something more, and Ishikawa himself identifies a potential for salvation within literature. Ishikawa’s work shows that the idea of an enchanted potentiality within writing continued to undergird literary discourse in Japan even in the face of the massive sociopolitical upheaval of WWII.

1 Summary My dissertation focuses on Mishima Yukio and the way the author, who strongly occupied himself with reflections on the imperfection of human language during the last decade of his life, conveyed the things that he was not able to or did not want to express explicitly. The dissertation is based on the metaphor of four rivers flowing into the Sea of Fertility, one of the arid lunar maria, that the writer used for his 'inconsistent' life shortly before his death. The four rivers that merged in Mishima's final work, the grandiose tetralogy The Sea of Fertility, represented four areas of the author's life. Each of them allowed him to express his ideas and feelings in a slightly different way. The River of Writing represented his fiction, the River of Theater showed his plays and his acting, the River of Body emphasized the role of bodybuilding and other sports in his life and finally, the River of Action revealed how the effeminate writer had transformed himself into a 'man of action'. The first section of my dissertation deals with Mishima's view on verbal communication. Although Mishima was a renowned writer and playwright who for the most part led a hardworking life and poured most of his energy into his writing, his attitude towards words was rather ambivalent. On the one hand, Mishima loved...