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Bungei Shunjū in the Early Years and the Emergence

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Bungei Shunjū in the Early Years and the Emergence THE EARLY YEARS OF BUNGEI SHUNJŪ AND THE EMERGENCE OF A MIDDLEBROW LITERATURE DISSERTATION Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Minggang Li, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Richard Torrance, Adviser Professor William J. Tyler _____________________________ Adviser Professor Kirk Denton East Asian Languages and Literatures Graduate Program ABSTRACT This dissertation examines the complex relationship that existed between mass media and literature in pre-war Japan, a topic that is largely neglected by students of both literary and journalist studies. The object of this examination is Bungei shunjū (Literary Times), a literary magazine that played an important role in the formation of various cultural aspects of middle-class bourgeois life of pre-war Japan. This study treats the magazine as an organic unification of editorial strategies, creative and critical writings, readers’ contribution, and commercial management, and examines the process by which it interacted with literary schools, mainstream and marginal ideologies, its existing and potential readership, and the social environment at large. In so doing, this study reveals how the magazine collaborated with the construction of the myth of the “ideal middle-class reader” in the discourses on literature, modernity, and nation in Japan before and during the war. This study reads closely, as primary sources, the texts that were published in the issues of Bungei shunjū in the 1920s and 1930s. It then contrasts these texts with ii other texts published by the magazine’s peers and rivals. Third, it takes up the literary works in the magazine and reads them in the context of creative and critical works that appeared in other media and have been given a place in literary histories. This study draws attention to the important literary figure Kikuchi Kan, the creator of Bungei shunjū, and to the popular middlebrow literature that has been forgotten. Its conclusion emphasizes the complexity of Bungei shunjū’s encounter with politics, economics and culture of its time, and the active role, both positive and negative, it played in the history of modern Japanese literature and in the history of modern Japan in general. Through this study, the conceptions of literature, modernity, and nation are further clarified. iii To my father iv ACKNOWLEDGMENTS There are a number of people and several institutions I wish to thank for helping to bring this dissertation to completion. Professor Richard Torrance, my adviser, provided advices and emotional encouragement. He was a supporter and patient critic of the project from its inception. Professor William J. Tyler was an invaluable source of knowledge on Japanese modernism and wartime censorship. He whole-heartedly supported the dissertation, advised on matters of stylistics, and his seminars on modern Japanese literature were fundamental in helping me to rethink my concept of “literature.” I also wish to thank Professor Kirk Denton for his insights into the relationship between the mass media and literature in the Chinese context, for his careful reading of the dissertation in draft form, and for his valuable suggestions on how to better structure the dissertation. Professor Suzuki Sadami of the International Research Center for Japanese Studies in Kyoto was a boundless source of knowledge concerning modern Japanese literature, and his suggestions for the first two chapters of this dissertation were particularly helpful. v I am also grateful to the faculty, staff, and fellow graduate students at the Department of East Asian Languages and Literatures at The Ohio State University. Professor Shelly Quinn, Professor Mari Noda, and Debbie Knicely have been extremely supportive over the years. The research for this dissertation was supported by a grant from the Japan Foundation and a fellowship from the graduate school of The Ohio State University. vi VITA February 5, 1974……………………...Born-Baoding, China 1999…………………………………..M.A. Japanese Culture, Peking University 1999-2000…………………………….University Fellow, Graduate School, The Ohio State University 2001…………………………………..M.A. Japanese Literature, The Ohio State University 2001-2005…………………………….Graduate Teaching Assistant, The Ohio State University 2005-2006…………………………….Research Fellow, Japan Foundation, Kyoto, Japan 2006-2007…………………………….Presidential Fellow, Graduate School, The Ohio State University 2007-2008…………………………….Visiting Assistant Professor of Japanese, Denison University FIELDS OF STUDY Major Field: Modern Japanese Literature vii TABLE OF CONTENTS Page Abstract……………………………………………………………………ii Dedication…………………………………………………………………iv Acknowledgments…………………………………………………………v Vita………………………………………………………………………...vii List of Tables………………………………………………………………ix Chapters: Introduction………………………………………………………………..1 Chapter 1. The Facts Concerning the Creation of Bungei Shunjū…….......13 Chapter 2. The Changes in Modern Japanese Modes of Reading and the First Year of Bungei Shunjū……………………..….……..67 Chapter 3. Yokomitsu Riichi, Naoki Sanjūgo and Their Relationships to Bungei shunjū………………………………………………127 Chapter 4. The Transformation from Literary Journal to General- Interest Magazine……………………………………………....185 Chapter 5. The Difficult Years of the 1930s and 1940s…………………...248 Epilogue…………………………………………………………………....319 List of References………………………………………………………….325 viii LIST OF TABLES Table Page 1.1 Contents of January 1923 Issues of Three Magazines………………….47-48 2.1 Library Use of 259 College Students in Tokyo…………………………84 2.2 Local Young Readers’ Reasons to Choose Kingu, 1928………………..92 2.3 Number of Magazines Checked out at Asakusa Library in 1924 and 1925…………………………………………………………...93 2.4 Book Reading Tendencies at Tokyo Public Libraries, 1936……………96 2.5 Books Owned by Local Branches of United Youth Association of Japan……………………………………………………..97 5.1 Circulation Ranking of Japanese Women’s Magazines in the Early Shōwa Period………………………………………………..252 ix INTRODUCTION New Trend in Literary Studies In his influential work The Mirror and the Lamp published first in 1953, M. H. Abrams proposes in literary study a framework comprised of four elements—universe, work, artist, and audience— which “in the total situation of a work of art are discriminated and made salient, by one or another synonym, in almost all theories which aim to be comprehensive.”1 Consequently he classifies literary theories into four groups: mimetic, pragmatic, expressive, and objective. According to Abrams, mimetic theories deal with the ontologically tainted problem of how literature represents reality; pragmatic theories with either entertaining or didactic effects on the audience; expressive theories focus on authorial subjectivity from a more epistemological perspective; and, finally, objective theories regard literary works as autonomous and self-sufficient in a linguistic way. Abrams also argues that from Plato on, different times placed emphasis on one or another of these different theories, and the history of literary criticism can be divided generally into four phases corresponding to the four theoretical categories in the temporal order of mimetic, pragmatic, expressive, and objective. 1 M. H. Abrams, The Mirror and the Lamp (New York: Oxford University Press, 1953) 6. 1 Even though Abrams mostly limits his theory to the history of English poetry criticism, and his effort of matching each theoretical category with the temporal phases of history seems problematic to many,2 his fourfold division of possible literary perspectives proves to be valid and helpful in many ways. For example, the theory of objective orientation, which was listed as the last of the four both in terms of the length of time it was dominant and its importance relative to the other three, was obviously in dominance in postwar literary criticism until the 1960s, at least if one agrees that Structuralism and New Criticism are representative of objective theories in Europe and the US. However, starting in the late 1960s, literary studies proceeded in a new direction which broke with expressive and objective approaches and turned to historical, social or cultural orientations. Though in Abrams’ formulation, contemporary approaches in literary discourse correspond to a mirror which reflects the world, these would appear to go beyond his static model. In summarizing the development of Marxist literary criticism in the latter half of the 20th century, Raymond Williams claims, “The crucial theoretical break is the recognition of ‘literature’ as a specializing social and historical category.”3 This is true not only in terms of the New Left criticism but also in terms of the literary studies at large in recent decades. Pierre Bourdieu’s theory of the “field of cultural production” is an influential and important component of this trend in literary studies. Bourdieu believes that “any 2 Refer to “Introduction” in Hazard Adams, ed., Critical Theory since Plato (New York: Harcourt Brace Jovanovich College Publishers, 1992) 1-9. 3 Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977) 53. 2 social formation is structured by way of a hierarchically organized series of fields.”4 Each of these fields, such as the field of economics or the field of education, is structured by the positions that agents occupy in that field, and each operates by its own laws. Therefore, “literature” becomes the “literary field,’ which is a crucial part
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