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The Pennsylvania State University the Graduate School Department of Comparative Literature READING AS RITUAL: DESIRE for TEXTUAL

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The Pennsylvania State University the Graduate School Department of Comparative Literature READING AS RITUAL: DESIRE for TEXTUAL The Pennsylvania State University The Graduate School Department of Comparative Literature READING AS RITUAL: DESIRE FOR TEXTUAL COMMUNITY IN WORKS BY JEREMIAS GOTTHELF, IZUMI KYŌKA, YANAGITA KUNIO, AND ANNETTE VON DROSTE-HÜLSHOFF A Dissertation in Comparative Literature by Yuka Amano ©2014 Yuka Amano Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2014 ii The dissertation of Yuka Amano was reviewed and approved* by the following: Charlotte Eubanks Associate Professor of Comparative Literature, Japanese and Asian Studies Dissertation Advisor Chair of Committee Thomas O. Beebee Edwin Erle Sparks Professor of Comparative Literature and German Reiko Tachibana Associate Professor of Comparative Literature, Japanese and Asian Studies Martina Kolb Assistant Profesor of German and Comparative Literature Caroline D. Eckhardt Professor of Comparative Literature and English Head of the Department of Comparative Literature * Signatures are on file in the Graduate School iii ABSTRACT This dissertation proposes that reading non-religious, literary texts from modern Europe (Germany and Switzerland) and Japan through the interpretive lens of ritual provides a discursive method for linking premodern, subnational traditions and notions of what constitutes the literary to the emergence of a national literary culture identified as such. Studies of ritual texts or the ritual experience of reading have been conducted predominantly in the pre-modern religious context. The present study is concerned with modern secular texts and examines them from a sociological perspective. By focusing on four works spanning the period from the mid-nineteenth to the beginning of the twentieth century, I consider how ritual experience is produced through an interactive process between the text and the reader. Specifically, I consider two Japanese texts (Kusa-meikyū by Izumi Kyōka and Tōno monogatari by Yanagita Kunio), one Swiss text (Die schwarze Spinne by Jeremias Gotthelf), and one German text (Die Judenbuche by Annette von Droste-Hülshoff). The theoretical framework of the study draws on existing theories of reading, fiction, and ritual performance. Though theories of reading tend to emphasize the subjective experience of the individual reader, my study focuses on the communal aspects of reading. By attending to the major features of ritual—formality, performativity, symbolism, and group identity—I define the concept of ritual reading as inhering in a public act of prioritizing the textual world through the reader’s compliant subjection to its fictional order. Through an immersive experience of the text (i.e., by accepting its norms, beliefs, and worldview), the reader achieves a sense of belonging to the inter-subjective community of the text beyond spatio-temporal boundaries. Exploration into the social dimension of reading by integrating two central but seemingly incompatible iv ideas—reading as an individual, private act and ritual as a collective, public event—I argue, opens a new possibility for understanding reading experience. Through a comparative investigation of the four texts, I define what constitutes the ritual textuality of the books—the historical context, the cultural background, and the worldview underpinning the construction of each. The choice of these texts from different historical and cultural backgrounds is informed by the fact that they all constitute a critical response through the literary form to the impact of modernity—dissolution of local communities in the wake of industrialization and urbanization, emphasis on values of individualism, and a sense of social alienation. Through this research, I highlight a key feature common to all four texts: the instantiation of a textual community of shared values to counter the homogenizing/abstracting force of the modern nation-state. In essence, these works each constitute a modern ritual undertaking, as each refers to extraordinary experiences in the virtual space of the text while involving the physicality of each individual reader in the creation of community. v TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………...…………………………………….vi INTRODUCTION..………………………………………………………………………..………1 CHAPTER ONE ........................................................................................................……............31 Ritual Transgression in Jeremias Gotthelf’s Die Schwarze Spinne CHAPTER TWO…..…………………………………………………….…….…………………70 Textualized Orality: Izumi Kyōka’s Kusa-meikyū CHAPTER THREE ……………...…………………………………………………………......110 The Construction of a National Essence: Yanagita Kunio’s Tōno Monogatari CHAPTER FOUR …………………………………………………………………...…………152 Die Judenbuche as an Anti-Ritual Novel CONCLUSION …...…………………………………………………………………………... 182 WORKS CITED………………………………………………………..............…………….. .188 vi ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the support of many people. First and foremost, I would like to thank my committee members, especially my advisor, Dr. Charlotte Eubanks, for her generous guidance and support throughout my doctoral studies. In her always positive spirit, Dr. Eubanks encouraged me to continue writing when I could see no light at the end of the tunnel. The key concept of this project was inspired by her lectures on performativity. I owe much to Dr. Thomas Beebee, who provided me with an opportunity to pursue my career as a Ph.D. student and offered me a great deal of support, both professionally and emotionally. I am also indebted to Dr. Reiko Tachibana and Dr. Martina Kolb for giving me meaningful comments on this research. Special gratitude goes to the department head, Dr. Caroline Eckhardt, for her unfailing kindness toward me and for teaching me how to be professional as an academic from my first year at Penn State onward. Further, I would like to gratefully acknowledge the assistance I received in the course of writing. I appreciate the brilliant editorial service offered by Nicola McCarthy, who opened my eyes to the depth and logical rigor of the English language. I am also thankful to my former fellow students. Luz Angerika Kirschner helped me to translate German quotations. Kahori Tateishi stimulated me with her intellectual comments on my writing. In addition, I wish to acknowledge the valuable service provided by Penn State University Libraries. Without their prompt Interlibrary Loan service, I could not have completed this project as an off-campus student. I have been blessed with the friendship of many fellow graduate students at Penn State, shared their kindness and intellectual curiosity with me—as well as their great sense of humor. In particular, Luz, Kahori, Grace Wu, Ipek Kismet, and Sunny Tien made my days in State College vii fun and memorable. Last but not least, I thank my husband, Tomoki, who kept his faith in me and offered undying support and encouragement through difficult times. 1 INTRODUCTION 1. The Ritual Experience of Reading “I wonder,” he said to himself, “what’s in a book while it’s closed. Oh, I know it’s full of letters printed on paper, but all the same, something must be happening, because as soon as I open it, there’s a whole story with people I don’t know yet and all kinds of adventures and deeds and battles. […] All those things are somehow shut up in a book. Of course you have to read it to find out. But it’s already there, that’s the funny thing. I just wish I knew how it could be.” Suddenly an almost festive mood came over him. He settled himself, picked up the book, opened it to the first page, and began to read. (Michael Ende, The Neverending Story 15) The protagonist of The Neverending Story, Bastian, is alone in the school’s attic, embarking on reading a book he has just stolen from a used book store. His sense of anticipation is typical of the ritual reading that I am proposing in this project. Bastian regards the book as a kind of organic entity in which the whole world is contained: “But it’s already there, that’s the funny thing. I just wish I knew how it could be.” For him, reading is neither principally about the act of following printed letters nor about a cognitive process. Instead, it is an immersive experience in a fictional world. The “almost festive mood” that “comes over him” as he anticipates the extraordinary world of the book accords with the anticipation of one who is about to participate in a pleasant ritual ceremony. Such a solemn, almost religious, attitude in engaging in the act of reading is precisely what Italo Calvino requires from the reader of his novel: “You are about to begin reading Italo Calvino’s new novel, If on a winter’s night a traveler. Relax. Concentrate. Dispel every other thought. Let the world around you fade. Best to close the door […]” (3). Regarding this opening, Marie Laure Ryan points to the ceremonial aspect of reading for 2 Calvino: “The instructions to the reader that open If on a Winter’s Night a Traveler suggest the rites of passage through which various cultures mark the crossing of boundaries between the profane and the sacred, or between the major stages of life” (90). Both the character of Bastian in The Neverending Story and the implied reader of If on a Winter’s Night a Traveler are alone with the text—perhaps in a quiet empty room, but certainly immersed in the textual world. This private, personal dimension of reading is not compatible with the idea of ritual, which generally presumes the sharing of time and space in a communal setting. Usually, ritual reading refers to public performance,
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