INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 UGETSUMONOGATARI, KAIDAN, AKINARI: AN EXAMINATION OF THE REALITY OF THE SUPERNATURAL IN EIGHTEENTH-CENTURY JAPAN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Noriko T. Reider, M.A. ***** The Ohio State University 1997 Dissertation Committee: Approved by Professor Shelley F. Quinn, Adviser Professor Richard Torrance Adviser Professor Fumiko Tôgasaki East Asian Languages and Literatures UMI Mumber: 9801769 Copyright 1997 by Reider, Noriko Tsunoda All rights reserved. UMI Microform 9801769 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT In 1776, Ueda Akinari (1734-1809) published Ugetsu monogatari (Tales of Rain and Moonlight), a collection of nine short stories o f the supernatural that has since been recognized as a master­ piece in the tradition of strange and mysterious tales known as kaidan. My work defines kaidan and its appeal with reference to Mikhail M. Bakhtin’s genre theory. It also explores the meanings of Ugetsu mono-gatari in terms of Akinari's personal experience and beliefs. The popular appeal of Ugetsu monogatari lies in the fascination inherent in strange and mysterious stories, and Akinari skillfully created his classic by incorporating into these stories multiple allusions to Chinese and Japanese literary works, and a sophisticated discourse on such topics as National Learning, as well as his personal convictions and beliefs. Ugetsu monogatari was the result of Akinari’s concerted effort to create kaidan of literary sophistication, and it is my argument that his creation was driven by his desire for literary recognition as well as his yearning for justice to be done in the literary arena, if not in real life. It follows that the greater the reader’s knowledge of literature and o f Akinari’s beliefs, the greater his or her appreciation of Ugetsu monogatari. By incorporating these multiple elements into his text, Akinari greatly contributed to honing the kaidan genre. The first chapter defines kaidan as a genre and situates it and Ugetsu monogatari in Edo period literature. To my knowledge, my work elucidates Japan’s kaidan tradition systematically for the first time in English. Genre is treated as a logical outgrowth of how people perceive the world. From this standpoint, the second chapter delineates the belief of Akinari’s contemporaries in supernatural beings, and that of Akinari. In chapter three, the Japanese fascination with kaidan is discussed. Obsession, one important attribute ofkaidan, is crucial to Ugetsu monogatari, for it is a recurring motif as well as a personal trait of importance to Akinari. The fourth chapter defines the audience of Ugetsu monogatari. And in chapters five through eight, I examine four stories to substantiate how the full appreciation of the text is geared toward the most informed readers, even though the general motif of the stories appeals to a broad audience. The stories analyzed are "Shiramine" (White Peak), "Kikka no chigiri" (Chrysanthemum Tryst), "Kibitsu no kama" (Cauldron o f Kibitsu), and "Aozukin" (Blue Hood). u i Dedicated to my father IV ACKNOWLEDGMENTS I would like to express my sincere appreciation to my adviser, Shelley Fenno Quinn, a scholar and a performer of No. Her guidance, patience, and support made this entire endeavor possible. I respect her integrity, kindness, and understanding, and hope to emulate the depth and breadth of her scholarly knowledge. I am also grateful to the other members of the committee. Richard Torrance offered me invaluable advice from his learned perspective. His scholarly attitude toward rigorous research has always been an inspiration to me. Fumiko Togasaki of Wittenberg University gave perceptive comments and suggestions for this thesis. Her encouraging words buttressed my spirits. Timothy Wong of Arizona University provided me with insightful comments on my discussion of Chinese fiction. The Chinese literature classes he taught at the Ohio State University were both very informative and entertaining. John Huntington kindly read my thesis in his busy schedule and gave useful suggestions and references. Also thanks go to Kiyoshi Tachikawa of Naganoken Tanki Daigaku and Shinji Nobuhiro of Tokyo University for their guidance. I thank Timothy Smith for his comments on human psychology, and Thomas Savas and Sally Meckling for proofreading this text. Hashimoto Mari made every effort to obtain materials in Japan whenever I asked her. My appreciation goes to her as well. My families, the Reiders in US and the Tsunodas in Japan, gave me consistent support. They occupy a special place in my heart. Last but not least, I want to thank my husband, Brent Reider, for his great love, encouragement, support, and firm belief in me. VI VITA October 18, 1958 ...................................... Bom - Tokyo, Japan 1982............................................................B.A. Japanese & Chinese history, Sophia University, Tokyo, Japan 1987 ........................................................... M.A. Japanese history, Sophia University, Tokyo, Japan 1990 ............................................................M.A. Japanese literature. The Ohio State University. 1989-93 ...................................................... Graduate Teaching and Research Associate, The Ohio State University. 1996-97 ...................................................... Visiting instructor, Kenyon College, Ohio. FIELDS OF STUDY Major Field: East Asian Languages and Literatures YU TABLE OF CONTENTS Page Abstract.......................................................................................................... ii Dedication..................................................................................................... iv Acknowledgments ......................................................................................... v V ita ................................................................................................................ vii Introduction..................................................................................................... 1 Chapters: 1. What is k a id a n l ........................................................................................10 1.1 Definition of kaidan ..................................................................... 10 1.2 Is kaidan a genre? ........................................................................ 13 1.3 Kaidan “as a way of looking at a world”................................... 16 1.4 Brief history of kaidan genre until the appearance of Ugetsu monogatari ..................................................................... 24 1.4.1 Three prototypes of kaidan fiction.............................24 1.4.2 Saikaku shokoku banashi (Saikaku's Tales from Various Provinces) — parodie kaidan ....................... 28 1.4.3 Hanabusa zôshi (Tales o f a Garland) — the appearance of highly sophisticated kaidan fiction .. 30 1.4.4 Flowering of kaidan and appearance of Ugetsu monogatari ....................................................... 35 Notes ......................................................................................... 40 VUl 2. Akinari and belief in the supernatural .....................................................56 2.1 People around Akinari................................................................ 57 2.2 Akinari’s belief in the supernatural ............................................ 65 N o tes............................................................................................. 72 3. The appeal of kaid a n ................................................................................80 3.1 Plausible explanation for everyday occurrences ...................... 80 3.2 Attraction to the exotic............................................................... 85 3.3 Fascination with the camivalistic ...............................................87