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Anarchy and Anarchism in Modern Japanese Fiction, 1900-1930

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Anarchy and Anarchism in Modern Japanese Fiction, 1900-1930 CHAOS FROM ORDER: ANARCHY AND ANARCHISM IN MODERN JAPANESE FICTION, 1900-1930 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Stephen Filler, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Richard Torrance, Adviser Professor William Tyler ________________________ Adviser Professor Shelley Quinn Department of East Asian Languages and Literatures ABSTRACT Anarchism was an important social and political movement in prewar Japan, promoted by Kôtoku Shûsui in the first decade of the 20th century and developed into a rich political and artistic philosophy by Ôsugi Sakae in the 1910s. Japanese anarchists saw industrial capitalism as the cause of intolerable conditions suffered by the working class, and sought the destruction of the capitalist system and of all external government, championing individualistic rebellion as the vehicle of revolution. Literary anarchism flourished during this same period in the form of essays, fiction, and poetry written by self-styled anarchists to promote the political philosophy of anarchism and to attempt to capture contemporary realities and promote revolutionary action. This dissertation explores selected works of fiction by anarchists in order to trace the development of an anarchistic style. Chapter One identifies the main elements of literary anarchism as consisting of: journalistic-style realistic reporting on the lives of the poor; the reification of concepts like “nature” and “life” in a vitalistic philosophy celebrating the growth and evolution of individuals and society; the championing of violent, nihilistic rebellion; and radical individualism. Journalistic realism is shown to be derived from newspaper exposés of the living conditions of the underclass which were written from the 1880s onward, and the artistic portrayal of “vitalism” is shown to be ii influenced by early Japanese naturalistic fiction. The fiction of Kunikida Doppo applied the journalistic style to his portrayals of the lives of the poor, while the fiction of Tayama Katai and Shimazaki Tôson extensively developed the themes of vitalism and nihilism. Chapter Two discusses the creation of a truly anarchist literature through Ôsugi Sakae’s formulation of an anarchistic artistic philosophy, which was put into practice by his colleagues such as Miyajima Sukeo. Miyajima and others welded the elements of journalism and Japanese naturalism to a firmly anarchist political stance, creating a dramatic new form of revolutionary literature. Chapter Three discusses the development as well as the decline of anarchist literature through the late 1920s. Two important “proletarian” writers with heavily anarchist sympathies, Hirabayashi Taiko and Yamakawa Ryô, utilized realistic prose and anarchistic themes to deal with the conflicts which attended their lives as members of the anarchist and socialist movements. Hirabayashi, in particular, criticized the misogyny endemic to the allegedly egalitarian anarchist movement, while Yamakawa sought to retain individualism in the face of a Marxist dogmatism which demanded that the individual and art be subordinated to the purposes of the movement. Chapter Three also discusses the flourishing of anarchist avant-garde poetry by such writers as Hagiwara Kyôjirô and Ono Tôzaburô. Such poetry gave anarchist radicalism its most dramatic and original expression, but also revealed the fragmentation and decline of anarchism as a political movement due to internal conflicts and external persecution by the government. iii Dedicated to my mother, Sheila Filler And to the memory of my father, Louis Filler iv ACKNOWLEDGEMENTS I wish to thank my adviser, Richard Torrance, who initially suggested this topic and has provided support, guidance, and advice all along. I thank William Tyler for helping me to learn to handle Japanese texts and for guiding my exploration of the relationship between politics and literature. I also thank Shelley Quinn for her insights on the performative nature of literature. Much of the research for this dissertation was conducted under grants from the Japan Foundation for my research at Ryûkoku University, Kyoto, from June to September 2001, and from the Monbukagakushô for my research at Osaka University, from October 2001 to April 2003. I thank all the individuals involved in making this research possible. I thank Mari Noda, Galal Walker, Charles Quinn, James Unger, and Mineharu Nakayama for their guidance. My appreciation goes to Philip Brown for his comments on the manuscript. I am grateful for the friendship of my fellow graduate students, especially Michael Tangeman. I also thank Scott Langton, Minae Savas, and Jeffrey Angles. I thank Debbie Knicely for all her assistance and advice over the years. I thank Izuhara Toshitaka at Osaka University for his advice on Japanese naturalism and his valuable seminars. I thank Akihiko Kitano for introducing me to essential materials, and Tsuneo Kitagawa for his assistance in finding a university sponsor. I thank Horikiri Toshitaka, Ôwada Shigeru, Sofue Shôji, v Matsuzawa Shinsuke, Shimura Masashi, and everyone at the Research Center for Early Japanese Socialism. I thank Araki Den and Suzuki Sadami for advice and materials. I thank Saitô Masao for his advice and assistance. I thank Murata Michiyo, Araki Kôji, Takayama Hiroko, Matsudaira Yôko, Watanabe Aiko and family, the Kamitanis, Morita Seiichi, Muranaka Hirohiko, Nonkichi, Nakai Tarô, Tanaka Hikaru, Arimatsu Yukiharu, the Board of Education at Ando-chô (Nara Prefecture), Yamada Kazuko, Neil Garscadden, Lee Cohen, and Heather Jim. I thank Suzanne Gay, Ann Sherif, Amy Redden, and my other colleagues at Oberlin College. I thank Amy Christiansen for her mentorship and professional advice. All-around thanks and love to my mother, Abby, Nell, Jonathan, Jude, and Jem. Finally, I thank Helena for her love and support for the duration of this project. vi VITA 1966……………………………Born – Holyoke, Massachusetts 1997………………………………………M.A. Japanese Literature, The Ohio State University 2001………………………………………Dissertation Research Fellow, The Japan Foundation, Ryûkoku University, Kyoto 2001-2003………………………………...Research Fellow, Monbukagakusho, Osaka University 2003-2004………………………………...Visiting Instructor of Japanese, Oberlin College FIELDS OF STUDY Major Field: East Asian Languages and Literatures vii TABLE OF CONTENTS Page Abstract…………………………………….…………………………………….ii Acknowledgements……………………………..………………………………v Vita…………………………………………...…...………………..…………....vii Introduction: Political anarchism and literary anarchism…………...……...1 Chapters: 1. The emergence of anarchist tendencies in socialist and naturalist fiction (1902-1911)……………………………………….…………..…………….25 2. The flowering of political anarchism and anarchist theory (1911- 1923)………………………………………………………………………...80 3. Proletarian literature, nihilism, and avant-garde poetry: the flourishing and fragmentation of anarchist literature………………………………….144 Conclusion…………………………………………………………….………214 Bibliography………………………………………………………….……….223 viii INTRODUCTION POLITICAL ANARCHISM AND LITERARY ANARCHISM Literary anarchism This study aims to identify and describe the elements of literary anarchism in modern Japanese literature through a discussion of representative literary works of prose. The time period covered is from the turn of the 20th century to approximately 1930, a period of time which saw the rise of anarchism in Japan and its development into a variety of anarchist and anarchist-related movements. Anarchist movements have continued in Japan to the present day, but the governmental suppression of radical political movements in the mid- 1930s put an effective end to prewar anarchism. Anarchism came to Japan in the early 20th century as a radical political philosophy which, like communism, sought to overthrow the existing capitalist system, which was seen as the cause of intolerable suffering by the working masses. Rendered in Japanese as museifu shugi or anakizumu, anarchism, in the words of historian Peter Marshall, “rejects all forms of external government and the State and believes that society and individuals would function well without them.”1 1 Peter Marshall, Demanding the Impossible: A History of Anarchism (London: HarperCollins, 1993) xiii. 1 Literary anarchism is described in standard literary sources like the Nihon Kindai bungaku daijiten2 as consisting of definable groups, literary journals, schools, and manifestos, as well as a cluster of themes and imagery which reflect the values and agendas of self-described “anarchists.” More narrowly, “anarchist literature” (anakizumu bungaku) refers to the texts produced by these anarchists. Since anarchism was a significant political and social force in Japan, the focus of this study is to clarify the ideas, literary works and writers that have been identified as anarchistic and to demonstrate the influence that these writers had on the contemporary and present day social and political milieux in Japan. Terminology A discussion of literary anarchism requires the use of a number of terms relating to anarchism and socialism which often overlap with each other and which elude categorical definition. Most of these terms were directly derived from European words, usually in the form of Sino-Japanese compound “translations” (e.g., shakai shugi, “socialism”). In some cases, phonetic borrowings were used (e.g., borusheviki, “Bolshevik”). In this study I will use these terms primarily to make
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