Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [176]-179).

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-11T11:30:35Z No. of bitstreams: 1 2012_DonatellaNatili.pdf: 8778076 bytes, checksum: 9b1ed24c6acf8af0bc35a507420102e6 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2013-01-28T11:32:55Z (GMT) No. of bitstreams: 1 2012_DonatellaNatili.pdf: 8778076 bytes, checksum: 9b1ed24c6acf8af0bc35a507420102e6 (MD5) / Made available in DSpace on 2013-01-28T11:32:55Z (GMT). No. of bitstreams: 1 2012_DonatellaNatili.pdf: 8778076 bytes, checksum: 9b1ed24c6acf8af0bc35a507420102e6 (MD5) / O Prêmio Nobel, conferido pela primeira vez ao Japão em 1968, com a escolha de Kawabata Yasunari, representou para a literatura japonesa um marco entre um passado de marginalidade cultural, de um Japão considerado “periférico” e “exótico” em relação à Europa e Américas, e um presente de inserção e integração em nível internacional. Considerando que o Nobel existia há 67 anos, tratava-se de um prêmio tardio para uma literatura de extraordinária riqueza como a japonesa, mas, ao mesmo tempo, era o reconhecimento de o Japão pertencer ao mundo da cultura, e por esta razão, assumiu um significado simbólico muito além do real prestígio do Prêmio. Quando, em 1994, o Prêmio Nobel é conferido também a Ōe Kenzaburō, delineia-se uma situação na qual os dois únicos autores premiados, também testemunhas dos dois únicos momentos em que a literatura (e a cultura) japonesa destaca-se em uma premiação internacional, tornam-se pontos de referência pelo fato de representar realidades e visões culturais diferentes, às vezes antitéticas, irrenunciáveis para a formação da identidade da literatura japonesa (uma formação provocada pelo contato com o “Outro”). Uma comparação entre os dois autores foi inevitável, como o mesmo Ōe tem demonstrado, quando escolheu fazer um discurso em que polemizava com Kawabata... É um caso único da história do Nobel que contrapõe duas Weltanshauung muito diferentes: a Beleza versus Ambiguidade, a Evasão na tradição contra a Ruptura dos paradigmas culturais. Estes são os temas sobre os quais este trabalho propõe-se a refletir. ______________________________________________________________________________ ABSTRACT / The Nobel Prize, first awarded in 1968 to Japan, with the choice of Kawabata Yasunari, represented, for Japanese literature, a landmark between a background of cultural marginality – a Japan considered a “peripheral” and “exotic” in relation to Europe and the Americas – and a present of insertion and integration at an international level. Whereas as the Nobel existed for sixty-seven years, it was a prize for a later literature of extraordinary richness as the Japanese, but at the same time, it was the recognition for Japan to belong to the world of culture, and for this reason assumed a symbolic significance far beyond the real prestige of the award. When, in 1994, the Nobel Prize was also awarded to Ōe Kenzaburō, it outlined a situation in which the only two winning authors – also witnesses of the only two times in the literature (and culture) Japanese stands out in an international award – become reference points for the fact of representing different cultural realities and visions, sometimes antithetical, indispensable to the formation of the identity of the Japanese literature (a formation caused by contact with the “Other”). A comparison between the two authors was inevitable, as the same Ōe has shown, when he chose to make a speech in which he polemicized with Kawabata... It is a unique case in the history of Nobel which contrasts two very different Weltanshauung: Beauty versus Ambiguity, Evasion in the tradition against Rupture of cultural paradigms. These are the themes on which this thesis proposes to reflect.

Lau, Chi Sum Garfield. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 136-137). / Abstracts in English and Chinese. / Introduction: Conflictual Self in the Modern Era: Conrad and Kawabata --- p.6 / Chapter Chapter One: --- Immorality and Conflictual Self in Conrad's The Return --- p.20 / Chapter Chapter Two: --- The Past and Split Self in Kawabata's Thousand Cranes --- p.50 / Chapter Chapter Three: --- Conflictual Self and Split Self in Conrad's The Secret Agent and Kawabata's The Sound of the Mountain --- p.81 / Conclusion: Conflictual Self in Occidental and Oriental Contexts --- p.117 / Bibliography --- p.136

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [308]-338).

Les perspectives de recherche de cette étude s'organisent autour d'un axe thématique qui ouvre la dimension littéraire japonaise contemporaine au débat critique international : l'un des enjeux de notre analyse est de comprendre, par la comparaison d'un nombre limité d'œuvres exemplaires, la spécificité de l'expérience de la réécriture parodique du canon au Japon. Par ailleurs, tout en définissant de façon ponctuelle et rigoureuse le champ d'investigation, cette analyse permet de réfléchir au problème complexe de l'utilisation, devenue paradigmatique, des formes intertextuelles dans la littérature "postmoderne". S'agit-il d'une façon pour préserver ou déconstruire ? Est-il possible de considérer la relecture parodique comme une forme de traduction du canon? Dans cette perspective, on se propose de conduire une analyse directe et comparative des œuvres d'auteurs divers mais qui se sont tous intéressés à des textes-source communs : en particulier on prend en considération le cas exemplaire des parodies des textes de Kawabata Yasunari (1899 – 1972) réalisées par Ogino Anna (1956), Inoue Hisashi (1934-2010) et Shimizu Yoshinori (1947) (respectivement dans "Watashi no aidokusho", 1991 ; "Bun to Fun", 1970 et "Kirikirijin", 1981 ; "Ese monogatari", 1991). Face aux œuvres immortelles du grand maître de la modernité, tous trois ont réalisé des parodies qu'on peut lire comme des traductions dans un langage nouveau d' hypotextes célèbres ("Yukiguni", "Izu no odoriko") ; ou, en même temps, comme des parodies de la traduction, qui révèlent les fragments d'un jeu cassé, moyens utiles à la réflexion metatextuelle. / The overall aim of my research is to investigate whether and, if so, how the use of intertextual tropes like parody and pastiche have been a determining factor in the “translation” of the modern canon in contemporary Japanese literature. In order to investigate these aspects, I have explored as a case study three works completely different in terms of style and themes, but that share a common hypotext: in fact, I analyse in this research the parodies of Yukiguni, the worldwide renowned masterpiece of Kawabata Yasunari, realized by Ogino Anna, Shimizu Yoshinori and Inoue Hisashi (respectively in Watashi no aidokusho　『私の愛毒書』, 1991; Ese monogatari 『江勢物語』, 1991; Kirikirijin, 『吉里吉里人』, 1981).Through a comparative examination of the chosen texts, but also considering the critical discourse on the “canonization” of the works of Kawabata and the non-negligible role of their translations for the western audience, I try to demonstrate the strategic importance of intertextual practices in contemporary Japanese literary scene: the exploration of the use of parody and pastiche in postmodern Japanese context highlight the challenging perspective of a literature that reflect on itself by reflecting itself. / Le prospettive di ricerca di questo studio si concentrano attorno ad un asse tematico che apre la dimensione letteraria giapponese contemporanea al dibattito critico internazionale : nucleo essenziale del nostro percoso è infatti la proposta di un'analisi, realizzata attraverso la messa in relazione di un corpus di testi esemplari, dell'esperienza della riscrittura parodica del canone letterario moderno nel Giappone contemporaneo.In particulare, il caso di studio analizzato è quello delle riscritture realizzate da tre autori contemporanei (Ogino Anna, Shimizu Yoshinori, Inoue Hisashi) che hanno in commune ipotesti estremamente celebri : Yukiguni ("Il paese delle nevi") e Izu no odoriko ("La ballerina del paese delle nevi"), di Katawabe Yasunari, primo Nobel giapponese per la letteratura.

Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 112-117).

Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). Includes bibliographical references (leaves 112-117).

Les perspectives de recherche de cette étude s'organisent autour d'un axe thématique qui ouvre la dimension littéraire japonaise contemporaine au débat critique international : l'un des enjeux de notre analyse est de comprendre, par la comparaison d'un nombre limité d'œuvres exemplaires, la spécificité de l'expérience de la réécriture parodique du canon au Japon. Par ailleurs, tout en définissant de façon ponctuelle et rigoureuse le champ d'investigation, cette analyse permet de réfléchir au problème complexe de l'utilisation, devenue paradigmatique, des formes intertextuelles dans la littérature "postmoderne". S'agit-il d'une façon pour préserver ou déconstruire ? Est-il possible de considérer la relecture parodique comme une forme de traduction du canon? Dans cette perspective, on se propose de conduire une analyse directe et comparative des œuvres d'auteurs divers mais qui se sont tous intéressés à des textes-source communs : en particulier on prend en considération le cas exemplaire des parodies des textes de Kawabata Yasunari (1899 – 1972) réalisées par Ogino Anna (1956), Inoue Hisashi (1934-2010) et Shimizu Yoshinori (1947) (respectivement dans "Watashi no aidokusho", 1991 ; "Bun to Fun", 1970 et "Kirikirijin", 1981 ; "Ese monogatari", 1991). Face aux œuvres immortelles du grand maître de la modernité, tous trois ont réalisé des parodies qu'on peut lire comme des traductions dans un langage nouveau d' hypotextes célèbres ("Yukiguni", "Izu no odoriko") ; ou, en même temps, comme des parodies de la traduction, qui révèlent les fragments d'un jeu cassé, moyens utiles à la réflexion metatextuelle. / The overall aim of my research is to investigate whether and, if so, how the use of intertextual tropes like parody and pastiche have been a determining factor in the “translation” of the modern canon in contemporary Japanese literature. In order to investigate these aspects, I have explored as a case study three works completely different in terms of style and themes, but that share a common hypotext: in fact, I analyse in this research the parodies of Yukiguni, the worldwide renowned masterpiece of Kawabata Yasunari, realized by Ogino Anna, Shimizu Yoshinori and Inoue Hisashi (respectively in Watashi no aidokusho　『私の愛毒書』, 1991; Ese monogatari 『江勢物語』, 1991; Kirikirijin, 『吉里吉里人』, 1981).Through a comparative examination of the chosen texts, but also considering the critical discourse on the “canonization” of the works of Kawabata and the non-negligible role of their translations for the western audience, I try to demonstrate the strategic importance of intertextual practices in contemporary Japanese literary scene: the exploration of the use of parody and pastiche in postmodern Japanese context highlight the challenging perspective of a literature that reflect on itself by reflecting itself. / Le prospettive di ricerca di questo studio si concentrano attorno ad un asse tematico che apre la dimensione letteraria giapponese contemporanea al dibattito critico internazionale : nucleo essenziale del nostro percoso è infatti la proposta di un'analisi, realizzata attraverso la messa in relazione di un corpus di testi esemplari, dell'esperienza della riscrittura parodica del canone letterario moderno nel Giappone contemporaneo.In particulare, il caso di studio analizzato è quello delle riscritture realizzate da tre autori contemporanei (Ogino Anna, Shimizu Yoshinori, Inoue Hisashi) che hanno in commune ipotesti estremamente celebri : Yukiguni ("Il paese delle nevi") e Izu no odoriko ("La ballerina del paese delle nevi"), di Katawabe Yasunari, primo Nobel giapponese per la letteratura.

Literary Dependents focuses on diverse discourses on childhood that informed and impacted Japanese literature and society in the modern era. Through an analysis of magazines, literary works, and related media, this dissertation traces the ways childhood has been constructed and utilized in literary, social, political, and cultural discourse from the late nineteenth century to the present. As Japan strove to establish itself as a modern nation in the late nineteenth century, children and youth became a focal point of development as future citizens and leaders of the nation. Hence, images of children in print media were directly tied to Japan’s national identity in the modern world. The development did not stop in the twentieth century, and the concept of childhood underwent many shifts and changes. Taishō Democracy, the Second World War, the Allied Occupation, and the economic boom all brought about changes in the meaning and value of childhood to society, and in each period, new depictions of childhood abounded in print media. By exploring these developments, Literary Dependents seeks to understand how modern Japanese society has represented and utilized childhood as a way of shaping its visions and ideals regarding gender, family, life, art, and the future. The materials covered in Literary Dependents are publications that were intended for both children and adults, in which complex relationships between children and adults played out. The first chapter analyzes the Meiji period (1868-1912) women’s magazine Jogaku zasshi (Women’s Education Magazine, 1885-1904), showing how notions of the wise mother, hardworking wife, as well as a model language for women were constructed through its reading material for children. Chapter 2 centers around the translation of the American children’s novel Little Lord Fauntleroy (1885-1886) by Wakamatsu Shizuko, serialized from 1890 to 1892 in Jogaku zasshi, which provided an idealized image of the child, mother, and family, and was meant to show young women, rather than children, how to be mothers and how to create an ideal family. Chapter 3 discusses the literary space shared by children and adults in the children’s magazine Akai tori (Red Bird, 1918-1936), in which about one fifth of the pages were allotted to writings in prose and verse by children from across the empire. This chapter discusses the unique kind of authorship that arose from the collaboration between adults and children as the child writers themselves strove to fit the standards established by Akai tori. Chapter 4 further explores the issue of child authorship through the example of Toyoda Masako (1922-2010), whose elementary school compositions were repeatedly published in Akai tori, and in 1937, were published in a book titled Tsuzurikata kyōshitsu (Composition Class). This chapter rereads Toyoda’s writing in Tsuzurikata kyōshitsu intertextually, juxtaposing her own expressions with the critique and interpretations by educators and literary writers, as well as referencing her autobiographical writings from the postwar period. The juxtaposition elucidates the arbitrariness of the ideals that were attributed to children’s writing in 1920s and 30s Japan. Chapter 5 deals with the depiction of children with disabilities during the Second World War through an analysis of Kawabata Yasunari’s Utsukushii tabi (A Beautiful Journey), serialized in Shōjo no tomo (Girls’ Friend, 1908-1955) from 1939 to 1942. The serialization took place during a time of significant political change, which impacted the contents of Shōjo no tomo and the novel. The difficulty of continuing to write about a deaf-blind girl at such a time is evident in the abrupt turns in direction that the novel took during this time, moving away from depicting the disabled child and ultimately expressing colonialist and nationalist ideals. The sixth and last chapter explores the role of children in systems of distribution and consumption. In the immediate post-WWII period, reading material for children were scarce, not only because it was a general time of lack even for food, but also because strong nationalist/militarist sentiments found in wartime publications needed to be eliminated, or at least repackaged to fit the new environment. Yoshino Genzaburō’s Kimitachi wa dō ikiru ka (How Will You Guys Live?, 1937) was one text that underwent multiple “repackagings” in the postwar period. This chapter examines the different ways an “ethics” book was promoted under the changing historical conditions of post-WWII Japan. Although the materials covered in Literary Dependents center around those published in Japan, they are inextricably tied to other cultures and traverse national boundaries, not only through translation and adaptation, but also through intercultural interaction, collaboration, or travel. Furthermore, the dissertation connects childhood to other identities of gender, sexuality, disability, race, and class. Publications for children are often a coalescence of society’s myriad of networks as well as its most pressing issues, packaged and issued to an imagined child reader, which is itself an idealized image of the members of that society. The child and all of the ways it is imagined in print media can provide a unique window onto society and history. Hence, this dissertation explores the topic of the child in publishing culture, not to arrive at some definition of the child, but to better understand history through it. As much as children are dependent on adults and encounter publications through the mediation of adults, many aspects of the publishing industry are also dependent on children as readers, writers, consumers, images in marketing, or ideological figures. Literary Dependents is an investigation of mutual dependencies between the child and adult, publishing and literature, and print media and society.