Matching Items (6)
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- All Subjects: Asian Literature
- Creators: Bokenkamp, Stephen
- Creators: Chambers, Anthony
- Status: Published
Description
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
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, 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
Description
As many modern scholars have warned, the complexity of Tang narratives is far
beyond the reach of Lu Xun’s twentieth-century generic labels. Therefore, we should have
an acute awareness of the earlier limiting view of these categorizations, and our research
should transcend the limitations of these views in regard to this extensive corpus or to being
confined to rigid and meager reading of the richness of the stories. This dissertation will
use a transdisciplinary methodology that incorporates both history and literature in close
reading of seven Tang tales composed in the mid-to-late Tang eras (780s–early 900s), to
break the boundaries between the two generic labels, chuanqi and zhiguai, and unearth
significant configurations within these literary texts that become apparent only through
stepping across genre.
beyond the reach of Lu Xun’s twentieth-century generic labels. Therefore, we should have
an acute awareness of the earlier limiting view of these categorizations, and our research
should transcend the limitations of these views in regard to this extensive corpus or to being
confined to rigid and meager reading of the richness of the stories. This dissertation will
use a transdisciplinary methodology that incorporates both history and literature in close
reading of seven Tang tales composed in the mid-to-late Tang eras (780s–early 900s), to
break the boundaries between the two generic labels, chuanqi and zhiguai, and unearth
significant configurations within these literary texts that become apparent only through
stepping across genre.
ContributorsLiu, Qian (Author) / West, Stephen H. (Thesis advisor) / Bokenkamp, Stephen (Committee member) / Cutter, Joe R (Committee member) / Tillman, Hoyt C (Committee member) / Arizona State University (Publisher)
Created2017
Description
This thesis hopes to propose a new hypothesis about the origin of Chinese heptasyllabic poetry. Although there are numerous academic discussions in the existing poetic narrative, few of them have noticed the possible effect of the Celestial Master Daoism. Based on the literary analysis and formal comparison, this thesis first finds that, during the time Cao Pi曹丕 created his “Yange xing,” the first literati heptasyllabic poem, “cypress beam genre” (boliang ti柏梁體) poetry – the earliest form of heptasyllabic poetry – was already a normal, fixed, and mature poetic form within the community of Celestial Master Daoism. Therefore, Celestial Master Daoism’s mastery of boliang ti poetry and their intensive and frequent composition highly likely motivated Cao Pi, the new Wei ruler who took over the populace of Celestial Master Daoism and had a close relationship with Zhang Lu’s張魯 family, to learn and introduce this poetic form into his own poetic creation. Then, this thesis also traces this poetic form back to suburban sacrifice songs in the Han dynasty. During the reign of Emperor Wu, the prototype of boliang ti poetry appeared in suburban sacrifice songs created to express worship to heavenly and earthly deities. Hence, when the Celestial Master Daoism became the inheritor of regional power (mainly in Sichuan, Chongqing, and Shaanxi of today’s China) of the Han empire and hoped to establish their own regime, they created their own ritual texts by modeling after Han suburban sacrifice songs. In so doing, they demonstrated their legitimacy and exclusivity by connecting the regime itself with Dao.
ContributorsBai, Haihan (Author) / Bokenkamp, Stephen (Thesis advisor) / Klein, Lucas (Committee member) / Williams, Nicholas (Committee member) / Arizona State University (Publisher)
Created2022
Description
Based on literary works produced by the multiethnic literati of the Jin dynasty (1115–1234), this dissertation examines Chinese conceptions of the Steppe world in the early years of the Mongol era (1206–1260). As I show, late Jin literati, who took arduous journeys in the Eurasian Steppes, initiated transcultural communications between the Chinese and Steppe worlds. Their writings encouraged more Chinese literati to reach out to the Mongols and hence facilitated the spread of the ideal Confucian-style governance to the Mongol empire. In general, I follow the approach of New Historicism in analyzing poetic works. Even though the Mongol conquest of China damaged many northern literary texts, materials surviving from the thirteenth century still feature a great diversity. I brought historical records and inscriptions on stela to study the social conditions under which these literary works were produced. This dissertation aims to contribute a new voice to the ongoing effort to modify the traditional linear understanding of the development of Chinese literary tradition.
ContributorsWen, Zuoting (Author) / West, Stephen H. (Thesis advisor) / Tillman, Hoyt C (Committee member) / Bokenkamp, Stephen (Committee member) / Brown, Claudia (Committee member) / Arizona State University (Publisher)
Created2020
Description
The production of “separate collections” (bieji 別集) or collected works in China is a social practice that emerged between the 1st and 3rd centuries CE. This research focuses on how the practice developed over the course of the Song dynasty (960-1279) in terms of literary materials involved, competences required, associated meanings, and its links to other social practices. I examine extant collected works, descriptions of them, and contemporary feedback on their production to create a series of snapshots that reveal its trajectory over time. Surveying the emergence of the practice in the early imperial period through its development in medieval times shows that pre-Song dynasty production of collected works was the result of several pre-existing conditions: competences related to bookmaking, the emergence of the idea of the inscription of authorial personality in literary works, the elevated status of belles-lettres, and several pre-existing tropes that lent it increasing importance. As the practice began recruiting scholars in 1020, it underwent a series of changes: attention to loss and variation between editions gave way to the search for missing works and the production of increasingly complete and authentic editions. This was followed in 1080 by several innovations, including the organization of works literary according to chronological order, rhyme, or topical category and insertion of annotations and a chronological biography. After 1180, compilers began synthesizing the accomplishments of previous editions to make editions that featured multiple annotators arranged in increasingly sophisticated ways for a new readership that were strongly associated with commercial printing. I identify six varieties of the production of the collected works of Song authors, each with distinct aims and associations that differed with respect to elements of practice, the practitioners they recruited, and how they linked with other social practices toward larger social goals. Findings contribute to Chinese book history by contextualizing change in formalistic trends over time. Identified as a social practice, the account of change and variation in the compilation of collected works during the Song presented in this research adds unique perspective to the subject of social change in this pivotal period of Chinese history.
ContributorsBilling, John Samuel (Author) / Oh, Young (Thesis advisor) / Bokenkamp, Stephen (Committee member) / Ling, Xiaoqiao (Committee member) / West, Stephen (Committee member) / Arizona State University (Publisher)
Created2023