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The Literature of Shibata Renzaburō and a New Perspective on Nihilism in Postwar Japan, 1945 – 1978

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The Literature of Shibata Renzaburō and a New Perspective on Nihilism in Postwar Japan, 1945 – 1978 The Literature of Shibata Renzaburō and a New Perspective on Nihilism in Postwar Japan, 1945 – 1978 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Artem Vorobiev, M. A. Graduate Program in East Asian Languages and Literatures The Ohio State University 2017 Dissertation Committee: Richard Edgar Torrance, Ph.D., Advisor Etsuyo Yuasa, Ph.D. Naomi Fukumori, Ph.D. Copyrighted by Artem Vorobiev 2017 Abstract This dissertation intends to delineate and explore the work of Shibata Renzaburō (柴田錬三郎, 1917-1978), author of kengō shōsetsu novels, the genre of historical and adventure novels, which occupies a large and important niche in popular Japanese literature of the twentieth century. Shibata Renzaburō is widely known in Japan; his works have seen numerous editions and reprints, and a number of his most popular works have been adapted for film and television. Shibata Renzaburō is an iconic writer in that he was instrumental in establishing and solidifying the kengō shōsetsu genre, a genre in which stories were usually set in the Edo period (1603-1868) and which involved elaborate plots and revolved around fictional master swordsmen, featuring intrigue, adventure, masterful swordplay, and fast-paced narratives. While the notion of a master swordsman protagonist was not new and came about during the prewar period, Shibata’s writing differed from prewar works in several important aspects. One of the points of difference is the role and influence of French literature in Shibata’s work, in particular, in the character of Nemuri Kyōshirō, the protagonist of the eponymous Nemuri Kyōshirō series. ii To my parents iii Acknowledgments I would like to thank Professor Richard Torrance, my advisor, for the untiring help, patience, and intellectual guidance he has offered throughout my years at the Department of East Asian Languages and Literatures. None of this would be possible without Professor Torrance’s assistance. I am profoundly indebted to Professor Yuasa for her help in the course of my Japanese studies. Her patience and encouragement meant a great deal to me. Professor Yuasa’s corrections, comments, and input, were an invaluable component of this project. I would like to express my deepest gratitude to Professor Naomi Fukumori for her time and patience in providing her feedback and input, and offering her overall perspective and encouragement, which helped me tremendously in my work. Dr. Fukumori’s support and confidence in me were a source of strength and continuing motivation. I would also like to thank Dr. Jirye Lee, whose faith in me, encouragement and gentle presence throughout helped me keep my sanity and wits about me, and whose personality was a source of great inspiration. iv Vita September 1968 .............................................Born – Moscow, Russia 1992................................................................B.A. Psychology, The American University 2010................................................................M.A. Japanese, The Ohio State University 2008 to present ..............................................Graduate Teaching Associate/Lecturer, Department of East Asian Languages and Literatures, The Ohio State University Publications Vorobiev, A. (2013). Images of Kanazawa in Izumi Kyōka’s Yuna no tamashii. Proceedings of the Association for Japanese Literary Studies, 14, 49-63 Fields of Study Major Field: East Asian Languages and Literatures v Table of Contents Abstract ..………………………………………………………………………….………ii Dedication ...……………………………………………………………………………...iii Acknowledgments …………...…………………………………………………………..iv Vita ………………………………………………………...……………………………...v Introduction ……………………….……………………………………………………....1 Chapter 1: Shibata Renzaburō: Life and Work ...………………………………………..10 Chapter 2: Shibata Renzaburō and Nakazato Kaizan: Influences and Congruencies …...85 Chapter 3: Nemuri Kyōshirō ……………………………………………...…………....142 Chapter 4: Shibata Renzaburō’s Other Works …………………………….…………...203 Conclusion …………………………………………………………………………..…250 References …………………………………………………………………………...…260 vi INTRODUCTION 0.1 GENERAL BACKGROUND This dissertation will explore the life and work of Shibata Renzaburō (柴田錬三 郎, 1917-1978), author of kengō shōsetsu, swordsmanship novels – a subset of jidai shōsetsu novels, the genre of historical and adventure novels, which occupies a large and important niche in popular Japanese literature of the twentieth century. Jidai shōsetsu, or, period novels (historical fiction) are a subgenre of taishū bungaku, popular literature – works written for popular entertainment and, as such, traditionally deemed to be of lesser intellectual and artistic caliber and value than works in the junbungaku, or pure literature style. Taishū bungaku consists of a number of literary forms, such as jidai shōsetsu [時代小説]/historical fiction; suiri [推理] or tantei [探偵] shōsetsu/mystery or detective novels; katei shōsetsu [家庭小説]/domestic novels; jidō shōsetsu [児童小説]/juvenile or children’s fiction; and even kaidan shōsetsu [怪談 小説]/supernatural, or ghost-story fiction. The jidai shōsetsu sub-genre, in which Shibata Renzaburō made a name for himself, can be further divided into sub-categories, which include torimonochō [捕物帳]/detective novels, denki shōsetsu [伝奇小説]/romantic 1 novels, kengō shōsetsu [剣豪小説]/swordsmanship novels, shisei shōsetsu [市井小 説]/urban novels, and matatabi mono [股旅物]/wandering gamblers/gangsters’ stories. Shibata Renzaburō’s writing can be categorized as belonging in the kengō shōsetsu genre – swordsmanship novels – in which the protagonists are swordsmen of ability and the stories are set in the Edo period (1603-1868), involve elaborate plots, and revolve around fictional master fencers, featuring intrigue, adventure, masterful swordplay, and fast-paced narratives. Shibata Renzaburō is widely known in Japan; his works have seen numerous editions and reprints, and a number of his most popular works have been adapted for film and television. Yet, apart from several Japanese films from the 1960s based on Shibata’s Nemuri Kyoshirō (眠狂四郎) series, licensed to and released in the U.S. by the AnimEigo, Inc., between 2009 and 2013, the body of his literary work remains practically unknown in the United States. The present study aims to redress that. This dissertation will attempt place Shibata Renzaburō’s writings (mostly, the Nemuri Kyōshirō series) in the greater sociocultural context of postwar Japan and will explore how Shibata’s literature reflects, refracts, and recreates the notions of self, society, and identity in Japan during the three decades between 1956 and Shibata’s death in 1978. The goals of this dissertation are, thus, twofold: it aims to redress the lack of knowledge about Shibata Renzaburō and the body of his work in the field of Japanese studies in the United States by becoming the first study on the subject; it also aims to analyze the sources of and reasons for Shibata’s success and popularity in Japan. I intend 2 to show that Shibata’s success is owed, in part at least, to both the successes and failure of his literary predecessors, most importantly, of Nakazato Kaizan’s Daibosatsu tōge (The Great Buddha’s Pass, 1913-1941). Shibata skillfully builds upon Nakazato Kaizan’s precepts where they are successful (the use of a roguish and nihilistic swordsman as main character) while avoiding the manifestly problematic elements of Kaizan’s writing (a drawn-out and inconclusive, humorless narrative). Both the shortcomings and the accomplishments of Nakazato Kaizan have contributed to Shibata’s success. In the process of reassessing and incorporating Kaizan’s writing experience, Shibata redefines and reinvents the jidai shōsetsu genre with his kengō shōsetsu novels. I will also argue that Shibata’s popularity can be attributed to his skillful inclusion of modernist elements from French literature in the character of Nemuri Kyōshirō, his most famous protagonist. Shibata Renzaburō is an iconic writer who was instrumental in establishing and solidifying the kengō shōsetsu genre. While the notion of a master fencer protagonist was not new and came about during the prewar period, Shibata’s writing differed from prewar works in several important aspects. In fact, the rapid story development was one of the important features contributed by Shibata to the genre as it is known today. The rapid story development was crucial to Shibata’s use of the yomikiri (読み切り) format, the completion of an entire stand-alone episode within a single issue of a periodical. Nemuri Kyōshirō’s nihilism is not merely a literary device for captivating the audience. It is also Shibata Renzaburō’s way of addressing contemporary issues; it is a two-way mirror, a means, by gleaning the past, to find the reflection of the modern. 3 The first serialized Nemuri Kyōshirō episode was published in Shūkan shinchō in May 1956. The success of the novel brought Shibata Renzaburō fame and created a “Nemuri Kyōshirō boom” almost overnight, imbuing a new life into the kengō shōsetsu genre. I intend to explore the origins, sources, and mechanisms of Shibata Renzaburō’s popularity; however, the Nemuri Kyōshirō series are but a tip of the literary iceberg that is the body of Shibata Renzaburō’s work, and in order to attain a better understanding of one of the most popular Japanese writers of the twentieth century, both Shibata Renzaburō’s writings and life will be explored as an organic whole inasmuch as possible within the confines of this study.
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