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Japanese literature of the Heian Era (794-1185) abounds with references to musical instruments and episodes of performance. This thesis provides some insight into that music by translating sections of the "Wakana II" (Spring Shoots II) chapter of the early 11th-century novel Genji monogatari (The Tale of Genji). It explains the

Japanese literature of the Heian Era (794-1185) abounds with references to musical instruments and episodes of performance. This thesis provides some insight into that music by translating sections of the "Wakana II" (Spring Shoots II) chapter of the early 11th-century novel Genji monogatari (The Tale of Genji). It explains the musical references and shows how, in the context of the novel, musical performance, musical teaching, and interpersonal relationships were inextricably intertwined. Detailed appendices provide background on traditional Japanese musical instruments, musical theory, and related subjects.
ContributorsBotway, Lloyd (Author) / Creamer, John (Thesis advisor) / Chambers, Anthony (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
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Yuan Mei 袁枚 (1716-97) is often thought of as a rebellious figure within the eighteenth-century intellectual and literary landscape. His perceived rejection of nearly all aspects of Confucian values was so extreme that he was even dubbed a "sinner against the teachings of Confucius." This thesis examines six stories within

Yuan Mei 袁枚 (1716-97) is often thought of as a rebellious figure within the eighteenth-century intellectual and literary landscape. His perceived rejection of nearly all aspects of Confucian values was so extreme that he was even dubbed a "sinner against the teachings of Confucius." This thesis examines six stories within Yuan Mei's Zi buyu 子不語 (What Confucius Did Not Talk About) and, through close reading, shows how Yuan Mei utilizes each foreign group's physical traits and their ability to verbally and/or ethically communicate with the Chinese protagonist, in order to reflect their adherence to Confucian values and acceptance of Chinese imperial authority to arrange them along a spectrum of humanness that reflects the Chinese-foreign distinction. Furthermore, by examining each story in their historical and literary contexts, it is discovered that nearly every foreign group portrayed in Zi buyu is based on historical groups that actually existed on the periphery of the Qing empire, and that the different degrees of foreignness of each subject reflect each historical foreign group's acquiescence to or rebellion against the imperial authority of the Qing empire. Contrary to commonly held opinions, Yuan Mei's negotiation of foreignness demonstrates his own deep subscription to Confucian ethics and adherence to imperial order.
ContributorsCampos, Miles (Author) / Ling, Xiaoqiao (Thesis advisor) / Oh, Young Kyun (Committee member) / West, Stephen H. (Committee member) / Arizona State University (Publisher)
Created2012
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Description
My study centers on the novel Katakiuchi Kidan Jiraiya Monogatari (1806-1807) by Kanwatei Onitake (1760-1818). Jiraiya Monogatari was the first literary reading book to be adapted for the kabuki stage. It was also the prototype on which Mizugaki Egao, Kawatake Mokuami, Makino Shouzou; and others based their bound picture books,

My study centers on the novel Katakiuchi Kidan Jiraiya Monogatari (1806-1807) by Kanwatei Onitake (1760-1818). Jiraiya Monogatari was the first literary reading book to be adapted for the kabuki stage. It was also the prototype on which Mizugaki Egao, Kawatake Mokuami, Makino Shouzou; and others based their bound picture books, kabuki, and films. The tale is composed of two revenge incidents, both of which have the same structural framework and are didactic in tone. In my study, I analyze the two revenge incidents by examining their narrative structures. Each incident has the same three-act structure: setup, confrontation, and resolution. The setup of each revenge incident introduces the main characters and their relationships and establishes the dramatic vehicle, which is an unexpected incident that sets the revenge in motion. The confrontation contains myriad non-linear inserts, plot twists, and reversals of fortune, all of which have the effect of a narrative delay. This prolongation of the outcome of a simple revenge plot allows readers the necessary space in which they can form their own judgments regarding good and evil and consider karmic cause and effect. The resolution, including the climax as well as the ending of the revenge, demonstrates the didactic notion of punishing evil and karmic effect. The two revenge incidents embody two rules, kanzen chouaku and inga, which together highlight the didacticism of Jiraiya monogatari.
ContributorsZhang, Jin (Author) / Creamer, John (Thesis advisor) / West, Stephen (Committee member) / Chambers, Anthony (Committee member) / Arizona State University (Publisher)
Created2012