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Setsuyōshū in Early Modern Japan

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Setsuyōshū in Early Modern Japan SETSUYŌSHŪ IN EARLY MODERN JAPAN: A BOOK HISTORICAL APPROACH STEFFEN REMVIK This dissertation is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) Department of Culture Studies and Oriental Languages Faculty of Humanities University of Oslo Supervisors: Prof. Dr. Mark Teeuwen and Prof. Dr. Helge Jordheim January 2017 2 Abstract The word setsuyōshū refers first and foremost to a kind of dictionary that was in use from late in the Muromachi-period (1336-1573) until the beginning of the twentieth century. Although many setsuyōshū remained as mere dictionaries, in the early modern period (1600-1868) additional content that was not related to the dictionary was added to many of them. Because of this additional content, many refer to setsuyōshū as “household encyclopedias”. Setsuyōshū were popular books, but so far they have been largely neglected by scholars, especially by non-Japanese. As the first of its kind, this study is an attempt to fill that gap. One of the few who has researched setsuyōshū and written about them in English is Yokoyama Toshio, who interpreted setsuyōshū as books that “civilized Japan”. In this study I challenge such an interpretation, and argue that we need to address simpler and more important questions before we pose abstract questions about the books’ impact on society. How did the setsuyōshū change over time, and what remained unchanged? Who produced the setsuyōshū and under what circumstances? What were the publishers’ motivations for producing setsuyōshū? Where did the information in setsuyōshū come from and what were the relationships between setsuyōshū and other books? Who were the readers of setsuyōshū and how did they read them? The approach used in this study to address such questions is two-fold: viewing setsuyōshū through the concept of genre on the one hand, and through what I call the book- historical communication circuit on the other. Through the concept of genre I am examining the setsuyōshū themselves and how they developed over time, while through the lens of the book-historical communication circuit I am looking at many of the different actors connected to setsuyōshū such as publishers, publishing guilds, and readers. This holistic approach to setsuyōshū reveals many insights and provides some surprising answers to the questions posed above. 3 Acknowledgements Writing a PhD dissertation is often thought of as a lonely affair, but the truth of the matter is that I would never have reached the final page had it not been for the help of others. First of all, I would like to thank my main supervisor, Mark Teeuwen, for his excellent guidance and heartfelt encouragement over the last four years. His positive attitude has been contagious and has pushed me forward when I could not push myself, and his advice on everything from the smallest language details to larger research topics has been nothing but exemplary. My sincere gratitude goes to my secondary supervisor, Helge Jordheim. His first-rate scholarly advice helped steer this project in the right direction at a crucial stage, but equally important was his personal guidance which helped me regain momentum when I needed it the most. I would also like to thank Naomi Yabe Magnussen, librarian at the Oslo University Library, who has always been helpful in obtaining the texts and resources I have been looking for. My heartfelt thanks goes to everyone who has taken their time to look at my manuscript at various stages of the process and offered valuable advice on language, style, and content: Aike Rots, Guro Samuelsen, Ina Marie Lunde Ilkama, Andreas Gartz, and all participants of the writing seminars arranged by the Department of Culture Studies and Oriental Languages. I am indebted to Satō Takahiro, who always promptly and unselfishly has answered my ignorant questions. I would also like to thank Ivo Spira, Ellis Tinios, and Andrew Gerstle for quick and concise answers to minor, but important, questions. I also want to extend my gratitude to family and friends: my dear friends, who have always been prepared on short notice to help me refill the tank when the weight of the empty page became too heavy to bear; my mother and father, Lisbeth and Arne Remvik, whose support in anything and everything my entire life has been unrelenting; and last but not least, I am forever grateful to the two most important persons in my life, my loving wife, Juwita Remvik, whose continuous support and positive attitude have been essential for the completion of this dissertation, and Oskar, who just by being, has managed to brighten up even the darkest of days. 4 Note on style The common Hepburn transcription system is used for romanization of Japanese words while Pinyin is used for the few occurrences of Chinese words. Some exceptions where the Hepburn system has not been used are common geographical names such as Tokyo, Osaka, and Kyoto and words that are accepted in English such as Shinto and shogun. Japanese words are written in italics and are followed by Japanese script in the first occurrence of the word. Japanese terms with explanations and Japanese script can be found in a glossary at the end of the dissertation. Names of setsuyōshū and other Japanese texts are treated in a similar manner and Japanese script follows the romanized title in first occurrences. In some cases, Japanese script is provided in multiple occurrences for the title of books. At the end of the dissertation, I have also provided a list of the various setsuyōshū and other primary sources mentioned in the text, which contains the title in both romanized form and with Japanese characters. Names of Japanese persons follow the Japanese order, with family name followed by given name. All of the translations in this dissertation are my own, unless indicated otherwise. 5 Table of Contents Abstract ...................................................................................................................................... 3 Acknowledgements .................................................................................................................... 4 Note on style ............................................................................................................................... 5 List of figures ........................................................................................................................... 10 List of tables ............................................................................................................................. 13 Chapter 1: Introduction ............................................................................................................ 14 A brief introduction to setsuyōshū ....................................................................................... 15 Publishing and printing in early modern Japan .................................................................... 17 Purpose of this thesis ............................................................................................................ 20 Previous research on setsuyōshū .......................................................................................... 21 On the primary sources used ................................................................................................ 25 Structure of this thesis .......................................................................................................... 28 Chapter 2: Setsuyōshū and book history .................................................................................. 31 Book history and the communication circuit of books......................................................... 34 Authors and compilers ..................................................................................................... 42 Intertext ............................................................................................................................ 42 Publishers ......................................................................................................................... 44 Guilds ............................................................................................................................... 44 Manufacturers ................................................................................................................... 45 Shippers ............................................................................................................................ 46 Distributors ....................................................................................................................... 46 Readers ............................................................................................................................. 47 Genre .................................................................................................................................... 48 Transtextuality ...................................................................................................................... 52 Concluding remarks ............................................................................................................. 55 6 Chapter 3: History and genre ................................................................................................... 56 Kohon setsuyōshū ................................................................................................................. 56 Early modern setsuyōshū .....................................................................................................
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