A recepção da poesia japonesa em Portugal é um estudo sobre o diálogo literário entre os autores portugueses e a tradição lírica da Terra do Sol Nascente. Iniciado no século XVI, esse intercâmbio motivou extensa produção de cartas, diários, relatos de viagem e obras de caráter filológico até a expulsão dos missionários cristãos, ocorrida durante o Período Tokugawa (1603-1867), que interrompeu todas as atividades comerciais, culturais e mesmo diplomáticas entre o arquipélago japonês e Portugal. Com a Restauração Meiji, iniciada na segunda metade do século XIX, o diálogo é restabelecido, em um contexto internacional de crescente interesse europeu pela cultura japonesa, que pode ser avaliada pelas obras publicadas no período por autores como os franceses Edmond de Goncourt e Pierre Loti, o britânico Basil Chamberlain, o norte-americano Lafcadio Hearn e o português Wenceslau de Moraes, este último autor de numerosos livros, como Relance da alma japonesa, Daí Nippon e O culto do chá. Wenceslau de Moraes traça um amplo panorama da civilização japonesa, comentando desde a religião, a moral, a política, a vida cotidiana até as formas poéticas praticadas na literatura japonesa, realizando as primeiras traduções de haicais para o nosso idioma. A recepção criativa da poesia japonesa em Portugal, porém, acontecerá apenas na segunda metade do século XX, quando poetas como Herberto Helder, Casimiro de Brito, Ana Hatherly, E. M. de Melo e Castro, Eugênio de Andrade, Albano Martins e Yvette Centeno recebem a influência da caligrafia artística japonesa, dos enigmáticos koans (). e da extrema concisão e imagética do haicai, desenvolvendo a partir daí composições autônomas, relacionadas com as preocupações formais da época, e em especial com o movimento da Poesia Experimental Portuguesa (PO-EX). Nosso propósito é estudar como cada um desses autores recebeu e transformou o influxo da tradição literária japonesa, mesclada a seus projetos literários e mitologias pessoais / The reception of Japanese poetry in Portugal is a study of the literary dialogue between Portuguese authors and the lyrical tradition of the Land of the Rising Sun. Started in the sixteenth century, this exchange prompted extensive production of letters, diaries , travel accounts and works of philological character until the expulsion of Christian missionaries, which occurred during the Tokugawa Period (1603-1867), when all commercial, cultural and even diplomatic activities between the Japanese archipelago and Portugal ceased. With the Meiji Restoration, which started in the second half of the nineteenth century, the dialog was restored in an international context of increasing European interest in Japanese culture, which can be evaluated by through works published in the period by such authors as the Frenchmen Edmond de Goncourt and Pierre Loti, the Englishman Basil Chamberlain, the American Lafcadio Hearn and the Portuguese Wenceslas de Moraes. This last author published such booksas Glimpse of the Japanese soul and Nippon Hence the cult of tea. Wenceslas de Moraes paints a broad picture of Japanese civilization , from religion, morality, politics and everyday life to the poetic forms practiced in Japanese literature. He also did the first translations of haiku into our language. The creative reception of Japanese poetry in Portugal, however, take place only in the second half of the twentieth century, when poets like Herbert Helder , Casimiro de Brito , Ana Hatherly , EM de Melo e Castro, Eugenio de Andrade, Albano Martins and Yvette Centeno receive the influence of the Japanese Art of callygraphy, of the enigmatic koans and of the extreme concision and imagery of haiku. From these sources, poets developed autonomous compositions related to the formal concerns of the time, especially with the movement of Portuguese Experimental Poetry (PO-EX). Our purpose is to study how each of these authors has received and transformed the influx of Japanese literary tradition, blending it into his or her literary projects and personal mythologies.

O presente trabalho constitui um estudo sobre um conjunto de obras pertencentes ao gênero japonês de cunho autobiográfico denominado Romance do Eu, com o intuito de traçar características comuns a essas obras que sirvam como apontamentos para uma morfologia desse gênero surgido no início do século XX. Num primeiro momento, situamos o Romance do Eu no contexto histórico-literário do Japão e apresentamos as discussões de estudiosos japoneses na fase inicial de desenvolvimento dessa forma literária, além da visão de dois estudiosos estrangeiros sobre o gênero. Nesse percurso, traçamos ligações entre as obras estudadas com a repressão ideológica e o exercício da liberdade de expressão na postura acuada e resignada dos protagonistas, encontradas num conjunto de obras analisadas num segundo momento, que vão desde 1906, com a obra Futon (Acolchoado), de Tayama Katai, até o final da Segunda Guerra Mundial. Tais obras revelaram uma sensível e rica diversidade quando analisadas pelos elementos da narrativa que estruturam o texto, mas não foi possível encontrar textualmente aspectos que identificassem o protagonista da obra com seu autor. Na realidade, elas se mostraram uma forma velada de contestação ao sistema autoritário do Japão ao centrarem seu conteúdo em fatos da vida pessoal do autor e parodiarem os romances europeus introduzidos na época. Esse dialogismo do Romance do Eu desenvolve-se também no nível textual da obra de Dazai Osamu, intitulada Pôr-do-Sol, escrita em 1947, logo após a rendição do Japão e ainda sob a ocupação das tropas norte-americanas, incumbidas de iniciar a democratização do país. O estudo desenvolvido nesse terceiro momento mostra que o autor utiliza, ainda, outras formas literárias que privilegiaram a ficção na literatura japonesa, elabora personagens que são desdobramentos de si mesmo e que dialogam entre si e faz uso de diferentes formas narrativas, que se mesclam à intertextualidade de obras japonesas e ocidentais, criando, assim, uma obra que dispensa o rótulo de Romance do Eu e assegura a sobrevivência dessa forma narrativa na prosa moderna do Japão. / ABSTRACT From Katai to Dazai: Notes for Morphology of the Novel of the Self consists of a study on a set of literary works belonging to the autobiographical character Japanese genre denominated Novel of the Self, aiming at outlining common characteristics to these works that serve as notes for a morphology of this genre started in the beginning of the XX century. In a first instance the Novel of the Self is placed in the Japanese historical-literary context and the discussions of Japanese scholars in the initial development phase of this literary form are presented, as well as the vision of two foreign scholars about the genre. In this trajectory are outlined connections of the works studied with the ideological repression and the exercise of the freedom of expression in the cornered and acquiescent posture of protagonists, being these connections found in a set of works analyzed in a second instance, comprehending 1906 with the work of Futon (Quilt) by Tayama Katai, up to the end of the Second World War. Such works have revealed an insightful and rich diversity when analyzed by the elements of the narrative which structure the text, but aspects that could identify the work?s protagonist with its author have not been possible to find textually. As a matter of fact, they have revealed a veiled way of contest to the Japan?s authoritative way as they have focused their content on facts of the author?s personal life and parodied the European novels introduced at that time. This dialogism in the Novel of the Self is also developed on the textual level of the work of Dazai Osamu entitled Sunset, written in 1947, right after the surrender of Japan while under the occupation of the American troops charged with the task of beginning the country?s democratization. The study developed in this third instance reveals that the author uses, in addition, other literary forms that benefit the fiction in the Japanese literature, makes up characters that are developments of himself and that also talk among themselves, and makes use of different forms of narratives that merge to the intertextuality of Japanese and Western works, creating, as a result, a work that excuses the label of Novel of the Self and, assures the endurance of this narrative form in the Japans modern prose.

Thesis (Ph. D.)--Ohio State University, 2004. / Title from PDF t.p. (viewed on Apr. 29, 2006). Advisor: William J. Tyler, Dept. of East Asian Language and Literatures. Includes vita. Includes bibliographical references (p. 376-400).

This dissertation examines the principal Japanese translations of Arthur Waley (1889-1966): Japanese Poetry: The Uta (1919), The No Plays of Japan (1921), and The Tale of Genji (1925-33). These works have been overlooked as English literature of the British modern period, although Waley intended most of his translations to function as modern English literature. I include a short biography of Waley's formative years and maintain that aspects of his identity—Jewish, bisexual, and socialist—were important in the choice of his occupation and in the selection and interpretation of his texts. I situate Japanese culture in the context of orientalism and Anglo-Japanese political relations. Japanese culture had a role to play in Anglo-Japanese imperialisms; this is demonstrated through an examination of the activities of the Japan Society of London, where Waley presented one of his first translations. The School of Oriental Studies in London also provided a platform for the translation and dissemination of Asian literature for the express purpose of promoting British imperial interests in the Far East. As an orientalist working through these institutions and the British Museum, Waley's positioning of himself as a Bloomsbury anti-imperialist was ambiguous. His texts, moreover, had a role to play in the presentation of Japan as an essentially aesthetic, 'feminine' nation. There are few letters, and no diaries or working papers of Waley. I rely, therefore, on his published works, as well as the memoirs, letters and biographies of family members and friends, especially those of the Bloomsbury Group with which he was associated. I make extensive use of the Transactions of the Japan Society and historical records of the School of Oriental Studies, as well as critical reviews of Waley and other translators. Social and cultural histories of the period are used to construct key. contexts: the Anglo-Jews, the Cambridge Fabians, British orientalism, and English modernism between the wars. Since I maintain that homoeroticism in Japanese literature was one of its attractions for Waley, I also look to queer theory to assist in my reading of Waley's texts. I conclude that The Tale of Genji enabled Waley to realize a personal ambition to write stories, and he produced a unique English novel that remains not only the most important modernist interpretation of Japanese culture between the wars, but a remarkable record of Edwardian-Bloomsbury language and aesthetic sensibility.

National Identity, Ethnic Identity, Minoritiness...These are all categories which appear to have existed always already, categories which seem to be normative by nature. They are determinative, for they position human beings on different levels of the social ladder and organize strategically human interrelations. Yet, while these same apparently transcendental categories appropriate a position of universality, they also claim to be particular to a specific place, a specific people, a specific race etc. The disjunction inherent in these categories can be realized within this ideological contradiction. It is therefore this very disjunction that calls upon the rethinking of identity in relation to nation, ethnicity and minority. In this thesis I offer a translation of nine separate excerpts from Kobayashi Aya's account on Burakumin experience in Japan. The author's contemplation on Japaneseness and Minoritiness, her questioning of national identity as a category and of this category as predetermined become the focus of my work. While outlining the structure of Kobayashi's writing and the methods she chooses to employ, I analyze the concepts of performativity, repetition and disruption as potential options for rethinking Japaneseness and Minoritiness as categories of identity.

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1975. / Bibliography: leaves 399-404. / 404 leaves

Thesis (Ph. D.)--University of Washington, 2008. / Vita. Includes bibliographical references (leaves 228-245).

Thesis (Ph. D.)--University of Washington, 1994. / Includes bibliographical references (leaves [334]-342).

Thesis (Ph. D.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 322-336). Also available via the World Wide Web.

Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 45-51).