"Arts, Faculty of"@en . "Asian Studies, Department of"@en . "DSpace"@en . "UBCV"@en . "Chanez, Elsa Claire Camille"@en . "2018-04-23T15:40:24Z"@en . "2018"@en . "Master of Arts - MA"@en . "University of British Columbia"@en . "Completed around 1307, Towazugatari, the work of a Kamakura-era (1185\u00E2\u0080\u00931333) woman known as Lady Nij\u00C5\u008D (1258\u00E2\u0080\u0093after 1306), was only rediscovered in 1938. Half court diary and half travel diary, this hybrid work covers the life story of its author from her entry to court at age fourteen to her pilgrimages throughout Japan after becoming a Buddhist nun. Unlike other works of the Heian (794\u00E2\u0080\u00931185) or Kamakura period, Towazugatari has not enjoyed much reception or adaptation after its completion, until the twentieth century when it was uncovered. However, since its rediscovery the text has inspired a short story, four novel adaptations, a movie, a play, and four different manga adaptations. In this thesis, I focus on the four novelizations of the text, arguing that, because of its late discovery, hybrid nature, and unique content, these novel adaptations have acted as replacements of the original for non-academic audiences. I also highlight two different waves of adaptations by separating the four novels into two categories, chronologically and thematically, suggesting that the earlier works focused on retelling the story of Nij\u00C5\u008D\u00E2\u0080\u0099s life while the later adaptations create narratives around the text itself as an artifact. \r\n\tFirst, I carry out a survey and analysis of all of the non-novel adaptations in order to provide a background on which to couch my discussion of the novels. As my critical framework, I utilize Linda Hutcheon\u00E2\u0080\u0099s A Theory of Adaptation and Michael Emmerich\u00E2\u0080\u0099s idea of replacement from his The Tale of Genji: Translation, Canonization, and World Literature. I rely on close readings of the texts, secondary sources, and personal communication with some of the authors to support my argument. Next, I analyze Setouchi Harumi\u00E2\u0080\u0099s (1922\u00E2\u0080\u0093) Ch\u00C5\u00ABsei enj\u00C5\u008D and Sugimoto Sonoko\u00E2\u0080\u0099s (1925\u00E2\u0080\u00932017) Shin Towazugatari. Finally, I discuss Mori Masako\u00E2\u0080\u0099s (1944\u00E2\u0080\u0093) Kewaizaka and Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s (1966\u00E2\u0080\u0093) Koi goromo Towazugatari."@en . "https://circle.library.ubc.ca/rest/handle/2429/65582?expand=metadata"@en . " Rewriting Lady Nij\u00C5\u008D\u00E2\u0080\u0099s Story: Transformation, Retelling, and Replacement in Modern Adaptations of Towazugatari by Elsa Claire Camille Chanez B.A., The University of British Columbia, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2018 \u00C2\u00A9 Elsa Claire Camille Chanez, 2018 i Abstract Completed around 1307, Towazugatari, the work of a Kamakura-era (1185\u00E2\u0080\u00931333) woman known as Lady Nij\u00C5\u008D (1258\u00E2\u0080\u0093after 1306), was only rediscovered in 1938. Half court diary and half travel diary, this hybrid work covers the life story of its author from her entry to court at age fourteen to her pilgrimages throughout Japan after becoming a Buddhist nun. Unlike other works of the Heian (794\u00E2\u0080\u00931185) or Kamakura period, Towazugatari has not enjoyed much reception or adaptation after its completion, until the twentieth century when it was uncovered. However, since its rediscovery the text has inspired a short story, four novel adaptations, a movie, a play, and four different manga adaptations. In this thesis, I focus on the four novelizations of the text, arguing that, because of its late discovery, hybrid nature, and unique content, these novel adaptations have acted as replacements of the original for non-academic audiences. I also highlight two different waves of adaptations by separating the four novels into two categories, chronologically and thematically, suggesting that the earlier works focused on retelling the story of Nij\u00C5\u008D\u00E2\u0080\u0099s life while the later adaptations create narratives around the text itself as an artifact. First, I carry out a survey and analysis of all of the non-novel adaptations in order to provide a background on which to couch my discussion of the novels. As my critical framework, I utilize Linda Hutcheon\u00E2\u0080\u0099s A Theory of Adaptation and Michael Emmerich\u00E2\u0080\u0099s idea of replacement from his The Tale of Genji: Translation, Canonization, and World Literature. I rely on close readings of the texts, secondary sources, and personal communication with some of the authors to support my argument. Next, I analyze Setouchi Harumi\u00E2\u0080\u0099s (1922\u00E2\u0080\u0093) Ch\u00C5\u00ABsei enj\u00C5\u008D and Sugimoto Sonoko\u00E2\u0080\u0099s (1925\u00E2\u0080\u00932017) Shin Towazugatari. Finally, I discuss Mori Masako\u00E2\u0080\u0099s (1944\u00E2\u0080\u0093) Kewaizaka and Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s (1966\u00E2\u0080\u0093) Koi goromo Towazugatari. ii Lay Summary This thesis explores four novel adaptations of a premodern Japanese woman\u00E2\u0080\u0099s work that was completed around 1306 but only rediscovered in 1938. I explore ideas of reception, adaptation, and retelling to argue that both the exceptional circumstances around the discovery of the text and its peculiar content have allowed for the novelizations of the text to act as replacements of the original for non-academic audiences. First, I provide a survey of non-novel adaptations of the text. Then, I analyze Setouchi Harumi\u00E2\u0080\u0099s (1922\u00E2\u0080\u0093) Ch\u00C5\u00ABsei enj\u00C5\u008D and Sugimoto Sonoko\u00E2\u0080\u0099s (1925\u00E2\u0080\u00932017) Shin Towazugatari. Finally, I discuss Mori Masako\u00E2\u0080\u0099s (1944\u00E2\u0080\u0093) Kewaizaka and Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s (1966\u00E2\u0080\u0093) Koi goromo Towazugatari. iii Preface This dissertation is original, unpublished, independent work by the author, Elsa Claire Camille Chanez. iv Table of Contents Abstract ...................................................................................................................................................... i Lay Summary ........................................................................................................................................... ii Preface ...................................................................................................................................................... iii Acknowledgements ................................................................................................................................ vii Dedication .............................................................................................................................................. xiii Chapter One: Introduction ..................................................................................................................... 1 6.1 The Modern Discovery of Towazugatari ....................................................................................... 1 6.2 Two Waves of Academic Reception .............................................................................................. 5 6.3 Novelizations and Other Modern Adaptations ............................................................................ 6 6.4 Premodern Women\u00E2\u0080\u0099s Literature and Adaptations ...................................................................... 8 6.5 Methodology .................................................................................................................................. 10 6.6 Adaptation and Replacement ...................................................................................................... 12 Chapter Two: A Survey of Non-Novel Adaptations of Towazugatari ............................................... 16 7.1 \u00E2\u0080\u009CThe Major Counsellor Attendant\u00E2\u0080\u0099s Princess\u00E2\u0080\u009D .......................................................................... 16 7.2 Live Action Adaptations: Movie and Play .................................................................................. 20 7.2.1 Asaki yumemishi ....................................................................................................................... 20 7.2.2 Top Girls .................................................................................................................................. 29 7.3 Manga Adaptations ....................................................................................................................... 35 7.3.1 Miya Chie\u00E2\u0080\u0099s GoFukakusa-in Nij\u00C5\u008D ............................................................................................ 36 7.3.2 Igarashi Yumiko\u00E2\u0080\u0099s Towazugatari ............................................................................................ 42 7.3.3 Umino Tsunami\u00E2\u0080\u0099s K\u00C5\u008Dky\u00C5\u00AB ......................................................................................................... 46 v 7.3.4 Miou Serina\u00E2\u0080\u0099s Towazugatari ................................................................................................... 52 7.4 Non-Novel Adaptations: From Written to Visual ...................................................................... 56 Chapter Three: Setouchi Harumi and Sugimoto Sonoko .................................................................. 59 8.1 Setouchi Harumi and Towazugatari ............................................................................................ 59 8.1.1 Setouchi Harumi/Jakuch\u00C5\u008D ........................................................................................................ 60 8.1.2 Publication History of Ch\u00C5\u00ABsei enj\u00C5\u008D .......................................................................................... 62 8.1.3 Setouchi\u00E2\u0080\u0099s Other Works with Links to Towazugatari ............................................................. 63 8.1.4 Ch\u00C5\u00ABsei enj\u00C5\u008D: A Romantic Retelling ......................................................................................... 68 8.1.5 Ch\u00C5\u00ABsei enj\u00C5\u008D: An Emphasis on The Romantic .......................................................................... 70 8.2 Sugimoto Sonoko\u00E2\u0080\u0099s Shin Towazugatari ....................................................................................... 74 8.2.1 Sugimoto Sonoko ..................................................................................................................... 75 8.2.2 Shin Towazugatari: A Historical Adaptation ........................................................................... 77 8.3 The First Wave of Novel Adaptations: Retellings and Replacements ..................................... 80 Chapter Four: Kewaizaka and Koi goromo Towazugatari .................................................................. 82 9.1 Kewaizaka ....................................................................................................................................... 82 9.1.1 Mori Masako ............................................................................................................................ 83 9.1.2 Kewaizaka: A Mystery Novel Centred on Towazugatari ........................................................ 84 9.1.3 The Conception of Kewaizaka ................................................................................................. 85 9.1.1 Kewaizaka: A Novel Haunted by Lady Nij\u00C5\u008D ........................................................................... 88 9.2 Koi goromo Towazugatari: A Sequel to Towazugatari ................................................................ 91 9.2.1 Okuyama Ky\u00C5\u008Dko ...................................................................................................................... 92 9.2.2 Koi goromo Towazugatari: A Novel about Nij\u00C5\u008D\u00E2\u0080\u0099s Daughter .................................................. 94 9.2.3 Koi goromo Towazugatari: A Hybrid Work ............................................................................ 95 vi 9.2.4 Koi goromo Towazugatari: A Discussion of Motherhood ...................................................... 98 9.3 The Second Wave of Novel Adaptations ................................................................................... 101 Conclusion: Novelization, Replacements, Retellings, and Extrapolations of Towazugatari ......... 106 Appendix ............................................................................................................................................... 115 Appendix A: Towazugatari Adaptations from 1956 to 2009 ............................................................. 115 vii Acknowledgements The completion of this thesis has been made possible thanks to the help of a large number of remarkable people, and I would like to extend my deepest gratitude to all of them here. First, I am particularly indebted to Professor Christina Laffin who has not only been an amazing primary supervisor, advising and supporting me throughout my master\u00E2\u0080\u0099s degree, but who is also a source of never ending inspiration due to her knowledge, energy, and kindness. Thanks to Professor Laffin, I have found myself meeting many distinguished professors from Japan and other countries, collecting data on the island of Okinoshima off the coast of the Shimane prefecture, and reading my own translations of poems related to the triple disaster of March 2011 during an event that featured Yoshinaga Sayuri and Ry\u00C5\u00ABichi Sakamoto. All of these wonderful experiences were once in a lifetime opportunities for which I will be forever grateful. I would like to also thank Professor Joshua Mostow for his role as my secondary advisor on this project. Professor Mostow provided invaluable advice and helped to synthesize my work, and I am particularly thankful to him for his masterful teaching of bungo and for incorporating classical Japanese into his graduate seminars. I was also strongly influenced by Professor Mostow\u00E2\u0080\u0099s work on adaptation of The Ise Stories, which I found truly inspirational. I am very thankful for Professor Laffin and Professor Mostow\u00E2\u0080\u0099s presence on my thesis committee and for their help throughout my master\u00E2\u0080\u0099s degree program. I credit Professor Stefania Burk for not only introducing me to the wonders of Lady Nij\u00C5\u008D\u00E2\u0080\u0099s Towazugatari in her Japanese Women\u00E2\u0080\u0099s Self-Writings class but also for inspiring me to pursue a degree in Asian Studies when I was an undergraduate. Professor Burk\u00E2\u0080\u0099s impact on my work extends even deeper, as her Adapatation of Japanese Classics course has had a great influence on my research interests. I could not have imagined presenting this thesis in front of a committee that did not include Professor Burk, and I am especially thankful to her for accepting a seat on my thesis committee. viii I would like to thank Professor Sharalyn Orbaugh for agreeing to chair my master\u00E2\u0080\u0099s exam committee and also for her great advice, particularly in manga research and study. I am truly thankful to both Professor Orbaugh and Professor Ben Whaley for allowing me to be a teaching assistant in their wonderful \u00E2\u0080\u009CManga and Anime\u00E2\u0080\u009D classes, where I learned a great deal about research methods and how to analyze these particular mediums. I also found working for them to be rewarding and enjoyable. Professor Christina Yi\u00E2\u0080\u0099s advice on books and dates of publication was particulalry enlightening and useful for this project, especially when trying to understand the difference between the first date of serialization and the first date of publication. Professor Bruce Rusk took the time to explain and discuss thorny issues of research ethics and helped me save a lot of time, for which I am really thankful. The Asian Studies Department\u00E2\u0080\u0099s staff was always very helpful and also provided well-needed technical support more often than I can count. I would like to extend my gratitude to Jasmina Miodragovic, Shirley Wong, Pamela Francis, Lyndsay Bocchinfuso, Oliver Mann, and William Strausser. I would like to also thank the staff of the Asian Library, particularly Naoko Kato, Shirin Eshghi, and Phoebe Chow. I would like to thank Professors Nick Hall and Misuzu Kazama for allowing me to TA in their Japanese classes this year and for letting me teach as well. I have learned so many valuable skills thanks to their trust and support, and I am really grateful for this opportunity. I would also like to thank Hall-sensei and Kazama-sensei\u00E2\u0080\u0099s students, in Japanese 100-002 and Japanese 100-023 respectively, for their kindness and hard work. I am profoundly grateful to Mori Masako for her kind-heartedness, lovely emails, and for suggesting we meet in Yokohama. When we did meet, she showed me around Keio University's Hiyoshi ix campus and kindly answered many of my questions. I cherish the memory of discussing classical literature and ghosts while enjoying delicious cakes. I am also deeply grateful to Okuyama Ky\u00C5\u008Dko for agreeing to correspond with me and also for inviting me to Nagoya. Not only did Ms. Okuyama welcome me at the Nagoya Shinkansen station but she also helped me navigate the city and invited me to visit the Tokugawa museum. I had a wonderful time in Nagoya thanks to Ms. Okuyama\u00E2\u0080\u0099s kindess and am appreciative of the time she chose to spend with me. I would like to also thank Umino Tsunami for taking the time to read and answer my questions on her personal blog, and Miou Serina for doing the same through e-mails. Comments from both of them helped me better understand their adaptation processes and their intended audiences. I am appreciative of the Shoyu Club and the Sato Foundation for their generous support that allowed me to attend a particulalry beneficial year of Japanese language study at the Yokohama Inter-University Center for Japanese Studies (IUC). I would also like to extend my gratitude to all the teachers at the IUC for their wonderful instruction. Also at the center, I would like to thank director Bruce Batten and the three wonderful women working tiredlessly at the IUC office: Yoshida Chieko, Ikeda Shinobu, and Tanaka Junko. I would like to thank Kushida Kiyomi-sensei for her kindness, enthusiasm, amazing teaching skills, and wonderful patience throughout the year. I am deeply appreciative of all the time she took, even outside of teaching hours, to help me understand the complicated nuances of the Japanese language. Kushida-sensei also suggested and setup one-on-one meetings to help with my study of kuzushiji, for which I am especially grateful. Also at the IUC, I would like to thank Otake Hiroko-sensei not only for her kanbun classes but also for her help during our kojin purojekuto sessions, where she encouraged and helped me to write x emails to authors and publishing companies. Without her help, I would have never had the courage to contact any of these people, and I am certain that this thesis would have greatly suffered for it. Through our discussion, Otake-sensei also helped me grasp the meaning of different academic articles and adaptations. I also benefited greatly from the kuzushiji classes of Kobayashi-sensei as well as the bungo classes of Kanayama-sensei. Many thanks for their patience and enthusiasm. Similarly, I really enjoyed learning with Ishizu Junko-sensei, whose classes I always looked forward to. I appreciate her lending me a manga about adaptation of Japanese stories where all the characters were replaced by cute mushrooms called nameko. Studying alongside smart and tenacious students at the IUC helped me immensely and gave me the courage to present my own research and believe in it, and for that, I am forever grateful. I am particularly indebted to Serena Yang and Alex Yan for their friendship and support throughout the year. I would like to thank the Institute of Asian Research (IAR) at UBC for granting me the IAR 2017 Graduate Fellowship for Fieldwork in/related to Asia that funded my trip to Nagoya, as well as Yoko Nagao for helping me navigate the many difficult paths of filling out the travel claim forms. I would also like to extend my most sincere thanks to the Tatsuzawa family for their kindess and support every time I have been studying in Japan. I would like to thank the many UBC Asian Studies graduate students, past and present, for their support and kindness, especially Haley Blum, Tae Yeon Eom, Yoon-Kyung Kim, Elle Marsh, Otilia Milutin, Sara Tea-Wellington, Alexey Lushchenko, Kazu Imai, Saeko Suzuki, Cyrus Qiu, Kurtis Hanlon, Minoru Takano, Eunseon Kim, Eugene Vakhnenko, Iwasaki Sh\u00C5\u008Dta, Mioling Xue, Katarina Klafka, Alice Zhou, Atsumi Nakao, Lilian Higashikata, Akiko Hirao, Sloane Geddes, Emmett Chan, xi Julie Vig, May Wu, Guy Shababo, Yao Jiaqi, Casey Collins, Zoudan Ma, Ying Guo, Yee Ze, and Wei Yinzong. I would like to express my deepest thanks to Kim Mc Nelly whose friendship and support has extended over continents and whose help as a \u00E2\u0080\u009Cwriting buddy\u00E2\u0080\u009D was particularly beneficial to my work. Thank you for your support and knitting camaraderie. I would like to thank my friend Maia McCurley for her friendship, Skype calls, snail mails, and emails, which I always look forward to reading. Despite living in different countries, it always feels very natural when we meet again, and for this I am very grateful. Su Jin Christina Kim has been a dear friend to me since my first year as an undergraduate at UBC, and she and her family are some of the most generous people I have had the chance to meet. In no particular order, I would like to also thank Yumeko Kameda, Sonam Lhaki, Nargis Sakhibova, Carmen Yip, Esther Song, Jen Nikdog, Laura Vasic, and Hadano Miharu for their continued friendship and kindness. My brother, Brice Chanez, and his family, Marion Piquet and Th\u00C3\u00A8liau Chanez, have been a great source of inspiration and are bringing me lots of joy through their messages, pictures, and Skype sessions. I am very proud of their professional achievements and their success as parents (and child), and I admire them greatly. I owe a lot to both of my parents, Marie-Jo\u00C3\u00ABlle Parayre Chanez and Pascal Chanez, whom I credit for my love of reading both books and comics and my interest in Japanese culture. I am very grateful for their never-ending support and their encouragement in pursuing my studies. I am thankful for their help in studying abroad and for broadening my horizons. I love you both enormously and feel very lucky to be your daughter. xii Finally, Jordan Boschman has not only helped edit this thesis but has also supported me emotionally long before the beginning of this project and onward. He is the one who saw me at my best and my worst, as the deadlines approached, and his constant support has allowed me to keep my sanity. I love you dearly. To all, thank you for your support and for believing in my work. It means a lot, and I am deeply appreciative. Any mistakes, misspellings, or errors contained in this work are my own. xiii Dedication To my family and friends, thank you for your support. 1 Chapter One: Introduction 6.1 \u00C2\u00A0 The Modern Discovery of Towazugatari In 1938, Professor Yamagishi Tokuhei \u00E5\u00B1\u00B1\u00E5\u00B2\u00B8\u00E5\u00BE\u00B3\u00E5\u00B9\u00B3(1894-1987) discovered a bundle of five books1 entitled Towazugatari (An Unrequested Tale\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A)2 while perusing the geography section of the Imperial Household Library in Tokyo.3 Upon further inspection, he determined that the books were not a treatise on geography but the diary of a Kamakura-era (1185\u00E2\u0080\u00931333) woman, Lady Nij\u00C5\u008D \u00E4\u00BA\u008C\u00E6\u009D\u00A1 (1258\u00E2\u0080\u0093after 1306).4 The work, a copied version from the seventeenth or eighteenth century,5 encompasses thirty-six years6 of the life of its author: from her entry to court at age fourteen to her travels as a wandering nun after her expulsion from court. Due to this recent discovery, most of the reception scholarship on Towazugatari is modern, starting with Yamagishi\u00E2\u0080\u0099s own article in 1940 in which he describes his wondrous discovery. In his \u00E2\u0080\u009CTowazugatari oboegaki\u00E2\u0080\u009D \u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A\u00E8\u00A6\u00BA\u00E6\u009B\u00B8 (A Memorandum on Towazugatari), published in the September 1940 edition of the Kokugo to kokubungaku journal, he explains how he identified the author of the diary by consulting Masukagami \u00E5\u00A2\u0097\u00E9\u008F\u00A1 (The Clear Mirror, after 1338),7 a chronicle of events of the years 1180 to 1333.8 Yamagishi cites a passage of the \u00E2\u0080\u009CKusamakura\u00E2\u0080\u009D \u00E8\u008D\u0089\u00E6\u009E\u0095 book of the Masukagami 9 and concludes that Nij\u00C5\u008D must have been the daughter of the middle counsellor (ch\u00C5\u00ABnagon \u00E4\u00B8\u00AD\u00E7\u00B4\u008D\u00E8\u00A8\u0080) Koga Masatada \u00E4\u00B9\u0085\u00E6\u0088\u0091\u00E9\u009B\u0085\u00E5\u00BF\u00A0 (1228\u00E2\u0080\u00931272), a young woman referred to as Sanj\u00C5\u008D \u00E4\u00B8\u0089\u00E6\u009D\u00A1.10 He also determines that she wrote her diary after being expelled from court11 1 Matsumoto Yasuhi, Ch\u00C5\u00ABsei ky\u00C5\u00ABtei josei no nikki, Towazugatari no sekai (Tokyo: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha, 1986), i. 2 Edith Sarra, \u00E2\u0080\u009CTowazugatari: Unruly Tales from a Dutiful Daughter,\u00E2\u0080\u009D in The Father-Daughter Plot: Japanese Literary Women and the Law of the Father, eds. Rebecca L. Copeland and Esperanza Ramirez-Christansen (Honolulu: University of Hawai\u00E2\u0080\u0098i Press, 2001), 89. 3 Karen Brazell, trans., The Confessions of Lady Nij\u00C5\u008D (Stanford: Stanford University Press, 1973), vii\u00E2\u0080\u0093viii. 4 \u00E5\u00BE\u008C\u00E6\u00B7\u00B1\u00E8\u008D\u0089\u00E4\u00BA\u008C\u00E9\u0099\u00A2\u00E6\u009D\u00A1 GoFukakusain no Nij\u00C5\u008D, referenced hereafter as Lady Nij\u00C5\u008D. 5 Ma\u00C5\u0082gorzata Citko, \u00E2\u0080\u009CThree Faces of Lady Nij\u00C5\u008D, the Authoress of Towazugatari,\u00E2\u0080\u009D Silva Iaponicarum, 21/22 (2009): 12. 6 Ibid. 7 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production in Kamakura Japan: A Socio-Literary Analysis of Izayoi nikki and Towazugatari,\u00E2\u0080\u009D PhD diss. (Columbia University, 2005), 103. 8 Ma\u00C5\u0082gorzata Citko, \u00E2\u0080\u009CThree Faces,\u00E2\u0080\u009D 11. 9 Yamagishi Tokuhei, \u00E2\u0080\u009CTowazugatari oboegaki,\u00E2\u0080\u009D Kokugo to kokubungaku 17, no. 9 (1940): 1. 10 Yamagishi Tokuhei, \u00E2\u0080\u009CTowazugatari oboegaki,\u00E2\u0080\u009D 2. 2 and, by comparing her work and its similarity with the content of Masukagami,12 discerns that a more conclusive determination of the relationship between the two texts would allow scholars to correct sections of the Masukagami.13 Yamagishi stresses the importance of the diary as a valuable historical asset that needs to be studied, yet his discussion of the text seems to avoid mentioning some important elements, such as Nij\u00C5\u008D\u00E2\u0080\u0099s depiction of the emperor and their peculiar relationship. This choice might have been motivated by the nationalistic fervour of the 1940s and the fact that Nij\u00C5\u008D\u00E2\u0080\u0099s portrayal of the emperor could have been considered \u00E2\u0080\u009Cunpatriotic,\u00E2\u0080\u009D14 even though the events of the diary took place long ago. Ma\u00C5\u0082gorzata Citko argues that Nij\u00C5\u008D\u00E2\u0080\u0099s depiction of the human nature and weaknesses of the emperor may have been seen as scandalous when it was written, and this could have been one of the reasons for its long disappearance from the public sphere.15 Further studies of the content of the Masukagami have shown that \u00E2\u0080\u009Ceighteen episodes\u00E2\u0080\u009D from Towazugatari were used in Masukagami,16 but the relationship between the author of Masukagami, Nij\u00C5\u008D Yoshimoto (1320\u00E2\u0080\u00931388), and Lady Nij\u00C5\u008D has yet to be established.17 Due to the lack of textual references to Nij\u00C5\u008D\u00E2\u0080\u0099s existence, the issue of fictionality that is often raised because of her inclusion of historical inaccuracies,18 and the fact that she painted several events of her life through the lens of tales (monogatari \u00E7\u0089\u00A9\u00E8\u00AA\u009E),19 one wonders if the Nij\u00C5\u008D depicted in Towazugatari might just be a fictional character.20 Nonetheless, as underlined by Hitomi Tonomura, the presence of an actual 11 Ibid., 3. 12 Ibid., 11. 13 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production,\u00E2\u0080\u009D 103. 14 Ibid., 104. 15 Ma\u00C5\u0082gorzata Citko, \u00E2\u0080\u009CThree Faces,\u00E2\u0080\u009D 23. 16 Hitomi Tonomura, \u00E2\u0080\u009CCoercive Sex in the Medieval Japanese Court: Lady Nij\u00C5\u008D's Memoir,\u00E2\u0080\u009D Monumenta Nipponica 61, no. 3 (2006): 295. 17 Ma\u00C5\u0082gorzata Citko, \u00E2\u0080\u009CThree Faces,\u00E2\u0080\u009D 11. 18 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production,\u00E2\u0080\u009D 105\u00E2\u0080\u0093106. 19 Edith Sarra, \u00E2\u0080\u009CTowazugatari: Unruly Tales,\u00E2\u0080\u009D 89. 20 Hitomi Tonomura, \u00E2\u0080\u009CCoercive Sex,\u00E2\u0080\u009D 295. 3 record of her life in the Masukagami highlights the possibility of her existence as a \u00E2\u0080\u009Chistorically plausible \u00E2\u0080\u0098Lady Nij\u00C5\u008D.\u00E2\u0080\u0099\u00E2\u0080\u009D21 Further debates exist regarding Nij\u00C5\u008D\u00E2\u0080\u0099s possible production of paintings, as emphasized by Joshua Mostow in one of the chapters of his Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation.22 Indeed, he mentions that scholars such as Aihara Mitsuko have identified the author of Towazugatari as the artist responsible for the drawings of a particular scroll of paintings illustrating Ise monogatari \u00E4\u00BC\u008A\u00E5\u008B\u00A2\u00E7\u0089\u00A9\u00E8\u00AA\u009E (Tales of Ise, 905), going as far as to identify one particular illustration as depicting Nij\u00C5\u008D herself and one of her lovers.23 Furthermore, in his 1966 article, \u00E2\u0080\u009CToyo no akari no e-z\u00C5\u008Dshi to Towazugatari,\u00E2\u0080\u009D Nakamura Yoshio argues that Nij\u00C5\u008D might be the creator of a painting titled Toyo no akari ez\u00C5\u008Dshi(Picture Scroll of the Festival of Abounding Lights, \u00E8\u00B1\u008A\u00E6\u0098\u008E\u00E7\u00B5\u00B5\u00E8\u008D\u0089\u00E5\u00AD\u0090, 14th century) because of the similarities between the text accompanying the work and Towazugatari.24 However, such claims are difficult to fully verify, and, in the case of the Ise painting, Mostow argues that the issue of dating might suggest the impossibility of the work being Nij\u00C5\u008D\u00E2\u0080\u0099s, as she would have been travelling away from the court and could not have participated in an imperially sponsored work at that time.25 Therefore, it is almost impossible to prove that the author of Towazugatari left other texts or images that would allow any type of connection to be made to her and her work. It is also important to note that Nij\u00C5\u008D\u00E2\u0080\u0099s full name is not completely known, similar to other women writers such as Sei Sh\u00C5\u008Dnagon \u00E6\u00B8\u0085\u00E5\u00B0\u0091\u00E7\u00B4\u008D\u00E8\u00A8\u0080 (ca. 964\u00E2\u0080\u0093after 1027) or Murasaki Shikibu \u00E7\u00B4\u00AB\u00E5\u00BC\u008F\u00E9\u0083\u00A8 (ca. 973\u00E2\u0080\u0093ca. 1014).26 Indeed, she most certainly used the name Nij\u00C5\u008D at court and was called Akako \u00E3\u0081\u0082\u00E3\u0081\u008B\u00E3\u0081\u0093 or Agako \u00E3\u0081\u0082\u00E3\u0081\u008C\u00E3\u0081\u0093 as a child 21 Ibid. 22 Joshua Mostow, Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation (Leiden: Brill, 2014), 124\u00E2\u0080\u009326. 23 Ibid., 126. 24 Nakamura Yoshio, \u00E2\u0080\u009CToyo no Akari no Ez\u00C5\u008Dshi to Towazugatari,\u00E2\u0080\u009D Bijutsu Kenky\u00C5\u00AB 247 (1966): 53 25 Joshua Mostow, Courtly Visions, 126. 26 Matsumoto Yasuhi, Ch\u00C5\u00ABsei ky\u00C5\u00ABtei josei no nikki, 3. 4 and by the emperor, but the name she was given at birth still remains unknown.27 The appellation Nij\u00C5\u008D means \u00E2\u0080\u009CSecond Avenue\u00E2\u0080\u009D and denotes the relatively high position of the author of Towazugatari at court.28 Moreover, the content of the Masukagami might corroborate the idea that the copy of Nij\u00C5\u008D\u00E2\u0080\u0099s diary that was found by Yamagishi is incomplete or censored. Also, at least two scenes that include Lady Sanj\u00C5\u008D in the Masukagami are not described in the diary,29 and the abrupt four-year gap between Books Three and Four have led scholars to wonder if a missing volume was supposed to cover this period of the author\u00E2\u0080\u0099s life.30 Yet Christina Laffin points out that Nij\u00C5\u008D could simply have chosen not to include the episodes and highlights the fact that other gaps in time occur in other parts of the diary.31 In addition, the gap between Books Three and Four might have been intentional, as it is a noted occurrence in other types of works from the Heian (794\u00E2\u0080\u00931185) and Kamakura period, such as in fiction and memoirs.32 For example, Karen Brazell compares it to the death of Prince Genji, which occurs outside of the main narrative in The Tale of Genji (Genji monogatari, 1008).33 Thus, the Masukagami and its relationship to the diary allow us to draw several conclusions about Lady Nij\u00C5\u008D and the limited circulation of her work. Furthermore, if both texts had enjoyed the same level of circulation, readers would have immediately understood similarities between the two texts, and, thus, this proves that they did not enjoy the same level of circulation.34 In addition, it should be noted that there are two entries in the Sanetaka k\u00C5\u008Dki \u00E5\u00AF\u00A6\u00E9\u009A\u0086\u00E5\u0085\u00AC\u00E8\u00A8\u0098 (1497), the diary of Sanj\u00C5\u008Dnishi Sanetaka \u00E4\u00B8\u0089\u00E6\u009D\u00A1\u00E8\u00A5\u00BF\u00E5\u00AE\u009F\u00E9\u009A\u0086 (1455\u00E2\u0080\u00931537), which make reference to Towazugatari and state that a copy was commissioned 27 Ibid., 2\u00E2\u0080\u00933. 28 Karen Brazell, Confessions, viii. 29 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production\u00E2\u0080\u009D 118\u00E2\u0080\u0093119. 30 Edith Sarra, \u00E2\u0080\u009CTowazugatari: Unruly Tales,\u00E2\u0080\u009D 94. 31 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production,\u00E2\u0080\u009D 118\u00E2\u0080\u0093119. 32 Edith Sarra, \u00E2\u0080\u009CTowazugatari: Unruly Tales,\u00E2\u0080\u009D 94. 33 Karen Brazell, Confessions, xviii. 34 Ma\u00C5\u0082gorzata Citko, \u00E2\u0080\u009CThree Faces,\u00E2\u0080\u009D 11. 34 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production,\u00E2\u0080\u009D 123. 5 by Emperor GoTsuchimikado (1195\u00E2\u0088\u00921231, r. 1198\u00E2\u0088\u00921210).35 Hence, we can conclude that the work was read and circulated amongst aristocrats, but the original manuscripts and many of its copies were lost.36 Overall, very few premodern writings make mention of Nij\u00C5\u008D and Towazugatari, and the copy discovered by Yamagishi might be her only extant work that has reached us today. 6.2 \u00C2\u00A0Two Waves of Academic Reception In 1950, Yamagishi Tokuhei published the first complete transcription of the text he uncovered as part of a twenty-three-volume series entitled Zushory\u00C5\u008D shoz\u00C5\u008D Katsura no Miya-bon s\u00C5\u008Dsho \u00E5\u009C\u0096\u00E6\u009B\u00B8\u00E5\u00AF\u00AE\u00E6\u0089\u0080\u00E8\u0097\u008F\u00E6\u00A1\u0082\u00E5\u00AE\u00AE\u00E6\u009C\u00AC\u00E5\u008F\u00A2, edited alongside Hashimoto Fumiyo.37 As part of the \u00E2\u0080\u009CTales\u00E2\u0080\u009D (monogatari \u00E7\u0089\u00A9\u00E8\u00AA\u009E) section of the series, Towazugatari is compiled in Volume 15, alongside a short story called Mukura san \u00E3\u0082\u0080\u00E3\u0081\u008F\u00E3\u0082\u0089\u00E4\u00B8\u0089. Together with a short introduction and pictures of the text found by Yamagishi, this version of Towazugatari is presented to the reader without annotations. Subsequent publications of the text such as Tomikura Tokujir\u00C5\u008D\u00E2\u0080\u0099s 1966 Towazugatari tend to include not only the original transcription of the text with annotations but also a modernized translation, or gendai goyaku \u00E7\u008F\u00BE\u00E4\u00BB\u00A3\u00E8\u00AA\u009E\u00E8\u00A8\u00B3, allowing readers without knowledge of classical Japanese grammar to access the work.38 In addition, versions of the text in modernized Japanese, such as the one published in 1973 by Setouchi Harumi \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E (1922\u00E2\u0080\u0093),39 emerged alongside academic articles and books, allowing a larger audience to access and understand Towazugatari. Laffin argues that after Yamagishi\u00E2\u0080\u0099s publication of the text in 1950, numerous scholarly works about the text quickly emerged in two distinct waves: the first ranging from immediately following its 35 Hitomi Tonomura, \u00E2\u0080\u009CCoercive Sex,\u00E2\u0080\u009D 374. 36 Ibid., 37 Yamagishi Tokuhei and Hashimoto Fumiyo, Zushory\u00C5\u008D shoz\u00C5\u008D Katsura no Miya-bon s\u00C5\u008Dsho, vol. 15, Monogatari ichi (Tokyo: Hibonkaku, 1950). 38 Tomikura Tokujir\u00C5\u008D, trans., Towazugatari (Tokyo: Chikuma Shob\u00C5\u008D, 1966). 39 Setouchi Harumi, trans., Gendaigoyaku Towazugatari (Tokyo: Shinch\u00C5\u008Dsha, 1973). 6 publication up to the 1960s, and the second beginning in the 1980s.40 Both waves were concerned with different aspects of the text. The first focused on its literary history while the second, occurring during a resurgence of interest around women\u00E2\u0080\u0099s writings, situated Towazugatari within women\u00E2\u0080\u0099s literature and placed a greater emphasis on the issue of fictionality.41 In addition to academic books and articles, Lady Nij\u00C5\u008D\u00E2\u0080\u0099s text was also translated into foreign languages, including English translations such as Karen Brazell\u00E2\u0080\u0099s 1973 The Confessions of Lady Nij\u00C5\u008D42 and Wilfrid Whitehouse and Eizo Yanagisawa\u00E2\u0080\u0099s 1974 Lady Nij\u00C5\u008D\u00E2\u0080\u0099s Own Story: Towazu-Gatari: The Candid Diary of a Thirteenth-Century Japanese Imperial Concubine.43 Other versions include translations into German,44 Bulgarian,45 and French.46 Furthermore, reception and scholarship of the text abroad followed Karen Brazell\u00E2\u0080\u0099s 1971 article \u00E2\u0080\u009CTowazugatari: Autobiography of a Japanese Court Lady,\u00E2\u0080\u009D and several English articles written on the subject used her translation.47 6.3 \u00C2\u00A0Novelizations and Other Modern Adaptations Beyond the academic reception and translations that followed the uncovering of the text, Towazugatari has enjoyed several examples of modern adaptations through different mediums, such as the manga, film, and play versions that I will explore briefly in Chapter Two. Towazugatari has also inspired four novels spanning from 1973 to 2009, written by four women writers, that will be analyzed in Chapters Three and Four of this thesis. I will be looking at all the adaptations of the text chronologically, starting with the first instance of adaptation, a short four-page story by author Kitabatake Yao\u00E5\u008C\u0097\u00E7\u0095\u00A0 \u00E5\u0085\u00AB\u00E7\u00A9\u0082 (1903\u00E2\u0080\u00931982) published in the October edition of the literary magazine 40 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production,\u00E2\u0080\u009D 104. 41 Ibid., 105. 42 Karen Brazell, Confessions. 43 Wilfrid Whitehouse and Eizo Yanagisawa, trans. Lady Nij\u00C5\u008D\u00E2\u0080\u0099s Own Story: Towazu-Gatari: The Candid Diary of a Thirteenth-Century Japanese Imperial Concubine (Tokyo: Charles E. Tuttle Company, 1974). 44 Rainer Krempien trans., Towazugatari. \u00C3\u009Cbersetzung und Bearbeitung eines neu aufgefundenen literarischen Werkes der Kamakura-Zeit (Freiburg i. Br.: Schwarz, 1973). 45 Kristeva Tzvetana, trans., \u00D0\u009D\u00D0\u00B5\u00D1\u0087\u00D0\u00B0\u00D0\u00BA\u00D0\u00B0\u00D0\u00BD\u00D0\u00B0 \u00D0\u00BF\u00D0\u00BE\u00D0\u00B2\u00D0\u00B5\u00D1\u0081\u00D1\u0082 (Plovdiv, Bulgaria: Plovdiv Khristo G. Danov, 1981). 46 Alain Rocher, trans., Splendeurs et mis\u00C3\u00A8res d\u00E2\u0080\u0099une favourite (Arles: Editions Philippe Picquier, 2004). 47 Karen Brazell, \u00E2\u0080\u009CTowazugatari: Autobiography of a Kamakura Court Lady,\u00E2\u0080\u009D Harvard Journal of Asiatic Studies 31 (1971): 220\u00E2\u0080\u0093233. 7 Bungei\u00E6\u0096\u0087\u00E8\u0097\u009D in 1956.48 Kitabatake\u00E2\u0080\u0099s story was published during the first wave of academic reception of the text, eighteen years after the discovery of Towazugatari but only six years after Yamagishi\u00E2\u0080\u0099s publication of the first full transcription. The next adaptation, Setouchi Harumi\u00E2\u0080\u0099s novel Ch\u00C5\u00ABsei enj\u00C5\u008D \u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E7\u0082\u008E\u00E4\u00B8\u008A (Medieval Scandal),49 began serialization in 1971, occurred alongside the second wave of scholarship of the text, and was published fifteen years after Kitabatake\u00E2\u0080\u0099s story. Adaptations followed steadily from the 70s to the 90s, with one or two works every decade, before accelerating slightly during the 2000s with the publication of five works between 2000 and 2009. It appears that the first wave of academic reception of Towazugatari may have enabled the emergence of the earliest adaptations. Later, the second wave of academic reception slowly stimulated the second wave of adaptation, which then slowed down significantly in the 1990s before perking up again in the 2000s. In this thesis, I examine the four novel adaptations of Towazugatari chronologically, starting with Setouchi Harumi\u00E2\u0080\u0099s Ch\u00C5\u00ABsei enj\u00C5\u008D which started serialization in 1971. The author, who changed her name to Setouchi Jakuch\u00C5\u008D when she became a Buddhist nun in 1973, has written extensively about her interest in Nij\u00C5\u008D\u00E2\u0080\u0099s story, published a modern language version of the story in 1973, and used Nij\u00C5\u008D as an inspiration for several other works. Through a close reading of the novel, other texts written by Setouchi, and academic articles written about her novel, I address some of the reasons behind Setouchi\u00E2\u0080\u0099s decision to produce several works directly influenced by Nij\u00C5\u008D and Towazugatari. Setouchi\u00E2\u0080\u0099s case is also interesting because her own life seems to mirror Nij\u00C5\u008D\u00E2\u0080\u0099s, as both are women writers who wrote about their love lives and later became nuns. The next novel I examine is Sugimoto Sonoko\u00E2\u0080\u0099s \u00E6\u009D\u0089\u00E6\u009C\u00AC \u00E8\u008B\u0091\u00E5\u00AD\u0090 (1925\u00E2\u0080\u00932017) Shin Towazugatari \u00E6\u0096\u00B0\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A (The New Unexpected Tale),50 first serialized in 1989. The book deals with the historical and political background of the story that is less emphasized or 48 Kitabatake Yao, \u00E2\u0080\u009CDainagon no Suke no Hime,\u00E2\u0080\u009D Bungei, October 1956, 89\u00E2\u0080\u009392. 49 Setouchi Harumi, Ch\u00C5\u00ABsei enj\u00C5\u008D (Japan: Asahi Shinbunsha 1973). 50 Sugimoto Sonoko, Shin Towazugatari (Japan: K\u00C5\u008Ddansha, 1990). 8 absent in Towazugatari. Sugimoto also chose to create a shift in narrator by having the story told through the eyes of one of Nij\u00C5\u008D\u00E2\u0080\u0099s lovers, Saionji Sanekane \u00E8\u00A5\u00BF\u00E5\u009C\u0092\u00E5\u00AF\u00BA \u00E5\u00AE\u009F\u00E5\u0085\u00BC (1249\u00E2\u0080\u00931322). Due to the author\u00E2\u0080\u0099s recent passing, I was not able to collect much material concerning the influence of Towazugatari on Sugimoto\u00E2\u0080\u0099s work nor her reasons for crafting such an adaptation. I therefore primarily rely on the text itself and the afterword, along with secondary sources, to analyze this adaptation. The third novel, Mori Masako\u00E2\u0080\u0099s \u00E6\u00A3\u00AE\u00E7\u009C\u009F\u00E6\u00B2\u0099\u00E5\u00AD\u0090 (1944\u00E2\u0080\u0093) Kewaizaka \u00E5\u008C\u0096\u00E7\u00B2\u00A7\u00E5\u009D\u0082 (Kewai Slope)51 published in 2001, is the only novel which is set in modern times, and has, at first glance, a more tenuous link to the original Towazugatari. During my time in Japan, I was able to meet with Mori and discuss her writing techniques, along with her intentions in writing such a work. Not unlike Setouchi, Mori\u00E2\u0080\u0099s own personal story is strongly imbued in this work, and her interest in mystery and horror stories is also apparent in her text. Finally, I discuss Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s \u00E5\u00A5\u00A5\u00E5\u00B1\u00B1\u00E6\u0099\u00AF\u00E5\u00B8\u0083\u00E5\u00AD\u0090 (1966\u00E2\u0080\u0093) Koi goromo Towazugatari \u00E6\u0081\u008B\u00E8\u00A1\u00A3 \u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A (The Robes of Love Towazugatari),52 published in paperback in 2009 and recently republished in a smaller paperback, or shinsho, format. This novel imagines the life of Nij\u00C5\u008D\u00E2\u0080\u0099s daughter, Tsuyuko \u00E9\u009C\u00B2\u00E5\u00AD\u0090, her encounter with her mother\u00E2\u0080\u0099s writing\u00E2\u0080\u0094to which she bestows the name \u00E2\u0080\u009CTowazugatari\u00E2\u0080\u009D at the very end of the novel\u00E2\u0080\u0094and her relationship with a young girl she adopts. I was able to meet Okuyama in Japan, and I use findings from that contact, as well as a close reading, to analyze her work. 6.4 \u00C2\u00A0Premodern Women\u00E2\u0080\u0099s Literature and Adaptations Due to the late discovery of the work and the lack of non-modern instances of reception, looking at Towazugatari\u00E2\u0080\u0099s modern adaptations is a unique opportunity to study reception of a premodern text in isolation. Furthermore, it is an important part of Japanese medieval literary history due to its depiction of 51 Mori Masako, Kewaizaka (Tokyo: Kadokawa Sh\u00C5\u008Dten, 2001). 52 Okuyama Ky\u00C5\u008Dko, Koi goromo Towazugatari (Japan: Ch\u00C5\u00AB\u00C5\u008Dk\u00C5\u008Dron-Shinsha, 2017). 9 thirty-six years of a woman\u00E2\u0080\u0099s life at court and on the road. Laffin underlines the importance of medieval Japanese women\u00E2\u0080\u0099s writings and the fact that such works have been largely ignored and seen as less prestigious than texts produced by women of the Heian era.53 Through Nij\u00C5\u008D\u00E2\u0080\u0099s story, the reader is given a glimpse not only into the culture and traditions of the Kamakura period but also into the lives of many different women, from the female attendants she works with at court to the y\u00C5\u00ABjo (female entertainers) she encounters during her travels. Women\u00E2\u0080\u0099s voices have tended to be minimized throughout literary history, resulting in a male-dominated canon. Hence, accounts such as Nij\u00C5\u008D\u00E2\u0080\u0099s offer valuable contributions to our understanding of women\u00E2\u0080\u0099s lives and experiences. Towazugatari is a transgressive work due to its format, half personal diary and half travel diary, and does not completely belong in the category of \u00E2\u0080\u009Cwomen\u00E2\u0080\u0099s diary literature\u00E2\u0080\u009D (jory\u00C5\u00AB nikki bungaku), a category created in the 1920s that separates certain women\u00E2\u0080\u0099s works into a new, modern genre.54 Thus, Towazugatari resists classification, and its unique characteristics highlight how crucial studies of such a work might be. Adaptations of premodern Japanese texts allow for their authors\u00E2\u0080\u0099 voices to reach wider and more varied audiences beyond scholars and specialists. Thus, since the text might be less known than other works by women from the Heian period, the golden age of Japanese premodern literature, changes made by authors in their adaptations might not be readily apparent to readers. Focusing both on parts of the work that were changed or ignored and on parts of the adaptations that follow the classical Japanese text will allow scholars to better grasp the intent of the novelists. These choices foreground the authors\u00E2\u0080\u0099 purposes in their process of adaptation. The authors of these modern adaptations decided for themselves which parts of Nij\u00C5\u008D\u00E2\u0080\u0099s life were important to preserve and what aspects of her life might be repurposed to suit their creative needs. 53 Christina Laffin, Rewritting Medieval Japanese Women: Politics, Personality, and Literary Production in the Life of Nun Abutsu (Honolulu: University of Hawai\u00CA\u00BBi Press, 2013), 4. 54 Ibid. 10 6.5 \u00C2\u00A0Methodology My approach will be to analyze four novels by four authors with divergent approaches to adapting Towazugatari through close readings and analysis of secondary sources, along with personal conversations with two of the authors. For some authors studied in this thesis, Towazugatari appears to have been a thread that wound through their lives and their literary careers. My thesis will consider why this premodern text was chosen as the object of adaptation by these authors, as opposed to more popular premodern texts, such as The Tale of Genji, and what the authors were able to communicate through their reworkings of the text. Due to its late and mysterious rediscovery and its content, Towazugatari has enjoyed a reputation of being a secretive and even scandalous work that contains a human depiction of the emperor and explores the life of a woman who, despite a lack of backing and an expulsion from court, was able to find her own way of life. How did the peculiar rediscovery of the text and its polarizing content contribute to the four authors\u00E2\u0080\u0099 interests in reworking it into a different type of narrative? Furthermore, what did those changes allow the authors to communicate? What type of audience did they aim to reach with their work, and how did either transforming the original text into a romance novel or writing a sequel to Towazugatari serve the intent of each author? In order to answer these questions, I will conduct a literary analysis of each of the texts through close reading. I will also use the information that I have gathered through my fieldwork in Japan in 2017 to better understand Mori Masako and Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s authorial motivations. Since these works were published over a long period of time, from 1971 to 2009, I will analyze the novels in pairs, separating them chronologically into two categories based on the authors\u00E2\u0080\u0099 aims. The first two instances of novelization occurred just after, and greatly benefited from, the first wave of academic reception of the text and aimed to rework the original story in order to better suit their respective authors\u00E2\u0080\u0099 literary interests. Their retellings of the story are intended to be Nij\u00C5\u008D\u00E2\u0080\u0099s story. The last two novels take a different 11 approach to the concept of adaptation by building onto the original telling of Nij\u00C5\u008D\u00E2\u0080\u0099s story and crafting worlds in which Towazugatari exists as an original text and influences the characters of the two books. Thus, the first wave of novelization was concerned with the retelling of Nij\u00C5\u008D\u00E2\u0080\u0099s story by focusing on specific aspects of her life: her time at court and her lovers or her path as a Buddhist nun. The second wave\u00E2\u0080\u0099s approach to the text, however, either resituates Nij\u00C5\u008D\u00E2\u0080\u0099s story in the modern period or imagines a sequel to her tale. Towazugatari\u00E2\u0080\u0099s adaptations have now spanned more than thirty years, from the first novel adaption in 1975 to the latest manga rendering in 2008 and the most recent republication of Okuyama\u00E2\u0080\u0099s novel in 2017. Besides one instance, all of Towazugatari\u00E2\u0080\u0099s adaptations produced so far were written by women. Towazugatari is a woman\u00E2\u0080\u0099s story, told in the first-person by Nij\u00C5\u008D, a woman\u00E2\u0080\u0099s whose real name and life outside of her work has been unknown to us during the modern period. Despite the challenges she faced, including expulsion from court, the author of Towazugatari offers an inspiring tale that can be interpreted as successfully continuing her family\u00E2\u0080\u0099s literary tradition,55 albeit, as argued by Brazell, with an audience six-and-a-half centuries later.56 Through their modern adaptations of the work, authors continue this legacy, carrying on the story of Nij\u00C5\u008D and, perhaps indirectly, underlining the prestige of her family\u00E2\u0080\u0099s literary tradition. These adaptations also link Nij\u00C5\u008D to a broader lineage of Japanese women writers who have recorded their lives while making such records and literary knowledge accessible to an audience beyond educated elites. 55 In Book Five of Towazugatari, Nij\u00C5\u008D recalls her father Masatada\u00E2\u0080\u0099s lasts words entrusting her with continuing their family\u00E2\u0080\u0099s literary tradition. She also sees him in a dream where he re-emphasizes their family\u00E2\u0080\u0099s poetic achievements. Brazell puts a particularly strong emphasis on this exchange and argues that Nij\u00C5\u008D wrote her work \u00E2\u0080\u009Cin order to restore her family\u00E2\u0080\u0099s waning literary prestige.\u00E2\u0080\u009D Karen Brazell, Confessions, vii. 56 Ibid. 12 6.6 \u00C2\u00A0Adaptation and Replacement In this thesis, I will be drawing from Linda Hutcheon\u00E2\u0080\u0099s notion of adaptation as outlined in A Theory of Adaptation (2006).57 Hutcheon highlights the importance of adaptations throughout history, an argument that can easily be illustrated by the popularity of adaptations of The Tale of Genji, a work that continues to be transformed into new formats despite having been written in the Heian period.58 Hutcheon\u00E2\u0080\u0099s work is in part a response to the frequent criticism that an adaptation is inferior to the original work on which it is based.59 She argues that there are many motives behind adaptation, but faithfulness is very rarely one of them. Yet critics often use similarity between the two works to determine the worth of the adaptation.60 According to Hutcheon, the word adaptation itself emphasizes the intertextual nature of the work being produced, and adaptations do not happen vertically but horizontally, as multiple original works can be used as inspiration for the creation of a new work.61 In Towazugatari, Lady Nij\u00C5\u008D uses elements from other works such as The Tale of Genji and Ise monogatari. For example, in the beginning of Towazugatari, Retired Emperor GoFukakusa consummates his relationship with a young Nij\u00C5\u008D, who writes of being shocked by his actions. The scene seems to mirror Genji\u00E2\u0080\u0099s relationship with Murasaki, a young woman he discovers in the countryside and decides to bring back to his palace. In a similar way to GoFukakusa, Genji forces himself on Murasaki, in a scene that seems to have strongly influenced Nij\u00C5\u008D\u00E2\u0080\u0099s representation of her own experience. Edith Sarra also draws a parallel between both Murasaki\u00E2\u0080\u0099s and Nij\u00C5\u008D\u00E2\u0080\u0099s positions as erotic surrogates for previous lovers of Genji and GoFukakusa: Fujitsubo, Murasaki\u00E2\u0080\u0099s aunt, and Sukedai, 57 Linda Hutcheon, A Theory of Adaptation, 2nd ed. (New York: Routledge, 2012). 58 Haruo Shirane, \u00E2\u0080\u009CThe Tale of Genji and the Dynamics of Cultural Production: Canonisation and Popularisation,\u00E2\u0080\u009D in Envisioning The Tale of Genji: Media, Gender, and Cultural Production, ed. Haruo Shirane (New York: Columbia University Press, 2008), 1. 59 Linda Hutcheon, A Theory of Adaptation, xiv. 60 Ibid., xv. 61 Ibid. 13 Nij\u00C5\u008D\u00E2\u0080\u0099s mother as well as \u00E2\u0080\u009Csleeping companion\u00E2\u0080\u009D62 to and lover of the emperor.63 Thus, the inclusion of this scene in an adaptation of Towazugatari would, therefore, draw inspiration from both Nij\u00C5\u008D\u00E2\u0080\u0099s work and The Tale of Genji. Hutcheon also discusses what does or does not constitute an adaptation, and her analysis is useful to consider in examining Mori Masako\u00E2\u0080\u0099s Kewaizaka, a novel that is set in the modern period yet is not a modernized version of Nij\u00C5\u008D\u00E2\u0080\u0099s story but rather a mystery where her text itself plays an important role. By contextualizing adaptation as part of a larger framework of creativity, and by refusing to look at adaptations as inferior pieces of work, Hutcheon argues that there is value in retelling a story.64 Furthermore, through transformations such as simplification or changes in medium, new elements can be brought into an existing work.65 What are authors able to bring to their retellings of Towazugatari, and what limitations seem to be imposed by their transformation of the story? Since all of the adaptations discussed here are modern, what does this temporal shift allow authors to do? Hutcheon argues that the predominance of adaptations nowadays comes from the innate pleasure of familiarity and \u00E2\u0080\u009Crepetition with variations.\u00E2\u0080\u009D66 She also calls adaptations \u00E2\u0080\u009Cinherently palimpsestuous67 works haunted at all time by their adapted texts.\u00E2\u0080\u009D68 However, in the case of Towazugatari\u00E2\u0080\u0099s adaptations, the works\u00E2\u0080\u0099 intended audiences might not even have been aware of the existence of Nij\u00C5\u008D\u00E2\u0080\u0099s text and its content. Thus, the original text might have a unique appeal for authors who are able to rework an existing story. At the same time, they are being tasked with introducing this same story to an audience who, due to their lack of knowledge regarding the existence of the original text, will be able to experience the adaptation as a replacement of Nij\u00C5\u008D\u00E2\u0080\u0099s work, a concept I discuss below. 62 A soibushi\u00E6\u00B7\u00BB\u00E8\u0087\u00A5 was charged with sexually initiating the imperial prince. For more discussion of the term and Sukedai, see Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production,\u00E2\u0080\u009D140. 63 Edith Sarra, \u00E2\u0080\u009CTowazugatari: Unruly Tales,\u00E2\u0080\u009D 101. 64 Linda Hutcheon, A Theory of Adaptation, 4. 65 Ibid., 3. 66 Ibid., 4. 67 Hutcheon uses this term, a portmanteau coined by Scottish poet and scholar Michael Alexander of the word \u00E2\u0080\u009Cpalimpsest,\u00E2\u0080\u009D a parchment which has been written over many times, and \u00E2\u0080\u009Cincestuous\u00E2\u0080\u009D to define both the echoing and self-feeding natures of adaptation. 68 Ibid., 6. 14 Thus, depending on the reader\u00E2\u0080\u0099s knowledge, some would recognize elements, tropes, and references to other texts, while others may not, allowing for different types of reading experiences. As mentioned above, elements of The Tale of Genji are present in Towazugatari and might be identified by the readers of the novels as part of the process of adaptation. The act of adaptation also requires \u00E2\u0080\u009C(re-)interpretation and (re-)creation\u00E2\u0080\u009D of the original text for different reasons, such as adapting the text for easier consumption by a modern audience who might not react the same way to a text written a very long time ago.69 In the case of Towazugatari, all adaptations can be seen as contributing to popular culture because of the format of the novels, where they were serialized, as well as the transposition from classical Japanese to a language much more accessible to the masses. In addition to Hutcheon\u00E2\u0080\u0099s work, I will also be drawing from Michael Emmerich\u00E2\u0080\u0099s The Tale of Genji: Translation, Canonization, and World Literature.70 In this work, Emmerich introduces the notion of replacement, arguing that the original Tale of Genji written by Murasaki Shikibu is not the work that has received a large amount of reception.71 Instead, he references the many adaptations, such as translations of the text into a more accessible language, as replacements and argues that these versions of the work are the ones being consumed and, consequently, are new canonical versions of the text.72 Emmerich explores how different versions of Murasaki Shikibu\u00E2\u0080\u0099s text have constantly replaced each other throughout the ages and have reached new popularity with audiences due to the translation of the texts into a wide variety of media.73 Unlike The Tale of Genji, Towazugatari cannot be seen as an instance of a \u00E2\u0080\u009Cculture text,\u00E2\u0080\u009D a concept introduced by Paul Davis who argues that works such as Charles Dickens\u00E2\u0080\u0099s A Christmas Carol (1843) are so intrinsically burrowed into our collective memory through various adaptations and 69 Ibid., 8. 70 Michael Emmerich, The Tale of Genji: Translation, Canonization, and World Literature (New York: Columbia University Press, 2013). 71 Ibid., 11. 72 Ibid., 73 Ibid., 365. 15 references that many people are still able to conjure images from it or even summarize the story without having any experience with the text itself.74 Moreover, Towazugatari\u00E2\u0080\u0099s history of reception is shorter than The Tale of Genji\u00E2\u0080\u0099s due to its recent discovery and, perhaps, due to the intent of its author, and, therefore, Emmerich\u00E2\u0080\u0099s argument of replacement is even more relevant when looking at Towazugatari\u00E2\u0080\u0099s scope of adaptations. Indeed, for some audiences, Lady Nij\u00C5\u008D\u00E2\u0080\u0099s Towazugatari might only have been embodied by a novelization or a movie adaptation of her text. In the next chapter of this thesis, I will be briefly analyzing all the non-novel adaptations of Towazugatari in order to better situate the four novelizations of the text amongst a larger framework of adaptations to address larger questions such as: What might have compelled authors to choose Towazugatari as a topic of adaptation? What aspects of the text were allowed to remain in those new works? And what messages were those authors able to convey through those works? In this thesis, I argue that, due to Towazugatari\u00E2\u0080\u0099s very recent discovery, short reception history, and hybrid content, novel adaptations of the text have been able to easily act as replacements of the original for non-academic audiences. 74 Paul Davis, \u00E2\u0080\u009CRetelling A Christmas Carol: Text and Culture-Text,\u00E2\u0080\u009D The American Scholar Vol. 59, no. 1 (1990): 110. 16 Chapter Two: A Survey of Non-Novel Adaptations of Towazugatari In this chapter, I conduct a survey of all the non-novel adaptations of Towazugatari in order to preface my analysis of the four novelizations of the text. In each subsection of this chapter, I provide a short summary of the work and a discussion of its most important characteristics in order to understand the works\u00E2\u0080\u0099 intended purposes and audiences. Since the authors adopted different approaches to the creation of their works, I was unable to focus on one particular scene from the original and compare how it was depicted in the different mediums chosen for adaptation, as not all works included every scene from Towazugatari. However, in my discussion of the manga version of Nij\u00C5\u008D\u00E2\u0080\u0099s story, I use the Tale of Genji-inspired concert scene that appears in Book Three of the original text, as well as the scene at the beginning of the text where GoFukakusa forces himself on Nij\u00C5\u008D, as a way to compare the authors\u00E2\u0080\u0099 intents and choices. In this chapter, I have divided all adaptations chronologically and by medium: short text, live action, and manga. The Tale of Genji has enjoyed a huge scope of reception in the modern period, especially since the 1950s, thanks to a \u00E2\u0080\u009CGenji Boom\u00E2\u0080\u009D resulting in a wide range of media being influenced by it.1 In comparison, Towazugatari\u00E2\u0080\u0099s reception has been much more modest, yet the variety in scope and the pace of the production of such works since the 1970s have still been significant for a text only discovered in 1938. In this chapter, I explore some of the reasons why that might be. 7.1 \u00C2\u00A0\u00E2\u0080\u009CThe Major Counsellor Attendant\u00E2\u0080\u0099s Princess\u00E2\u0080\u009D Despite its late discovery and its frank depiction of a Japanese emperor, Lady Nij\u00C5\u008D\u00E2\u0080\u0099s work inspired a short story in a literary reader, four novels, a movie, four manga adaptations (two one-shots2 and two multi-volumes series), and a British play featuring Nij\u00C5\u008D as a character. In 1956, the author 1 Tateishi Kazuhiro, \u00E2\u0080\u009CThe Tale of Genji in Postwar Film: Emperor, Aestheticism and the Erotic,\u00E2\u0080\u009D in Envisioning The Tale of Genji: Media, Gender, and Cultural Production, ed. Haruo Shirane (New York: Columbia University Press, 2008), 303. 2 One-shot: stand alone volume, story in one volume. 17 Kitabatake Yao\u00E5\u008C\u0097\u00E7\u0095\u00A0 \u00E5\u0085\u00AB\u00E7\u00A9\u0082 (1903\u00E2\u0080\u00931982)3 published a short summarization of Towazugatari entitled \u00E2\u0080\u009CThe Major Counsellor Attendant\u00E2\u0080\u0099s Princess\u00E2\u0080\u009D Dainagon no suke no hime \u00E5\u00A4\u00A7\u00E7\u00B4\u008D\u00E8\u00A8\u0080\u00E3\u0081\u00AE\u00E3\u0081\u0099\u00E3\u0081\u0091\u00E3\u0081\u00AE\u00E5\u00A7\u00AB. The text was published in the October edition of the literary magazine Bungei\u00E6\u0096\u0087\u00E8\u0097\u009D, which was subtitled \u00E2\u0080\u009CReader on Beautiful Japanese Women\u00E2\u0080\u009D (Nihon bij\u00C5\u008D tokuhon\u00E6\u0097\u00A5\u00E6\u009C\u00AC \u00E7\u00BE\u008E\u00E5\u00A5\u00B3\u00E8\u00AA\u00AD\u00E6\u009C\u00AC). The only introduction to the text is contained in the one-line commentary of the story provided in the table of contents: \u00E2\u0080\u009CRejecting Emperor GoFukakusa\u00E2\u0080\u0099s deep affection, this sweet court woman was ruined.\u00E2\u0080\u009D4 Interestingly, Nij\u00C5\u008D is not directly named in the story\u00E2\u0080\u0099s title nor in the commentary, and is instead referred to in relation to her father or by the unspecified word \u00E2\u0080\u009Ccourt woman\u00E2\u0080\u009D (\u00C5\u008Dch\u00C5\u008D josei \u00E7\u008E\u008B\u00E6\u009C\u009D\u00E5\u00A5\u00B3\u00E6\u0080\u00A7). Kitabatake\u00E2\u0080\u0099s story is a very short, four-page summary of Nij\u00C5\u008D\u00E2\u0080\u0099s life that does not include any references to the original text, does not refer to Nij\u00C5\u008D as such, and does not name any of her lovers besides GoFukakusa.5 It opens on GoFukakusa\u00E2\u0080\u0099s nineteenth-birthday celebration where he encounters a little girl whom he jokingly calls \u00E2\u0080\u009CPrincess Kaguya\u00E2\u0080\u009D after the heroine of the story story Taketori monogatari \u00E7\u00AB\u00B9\u00E5\u008F\u0096\u00E3\u0082\u0082\u00E3\u0081\u00AE\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A (The Tale of the Bamboo Cutter, 9th century). He also realizes who she is, asking \u00E2\u0080\u009COh, is she the memento6 of the The Major Counsellor\u00E2\u0080\u0099s Attendant?\u00E2\u0080\u009D7 This allows for Kitabatake to explain the emperor\u00E2\u0080\u0099s relationship to Sukedai and how he called her young daughter \u00E2\u0080\u009CAko\u00E2\u0080\u009D or \u00E2\u0080\u009CAgako\u00E2\u0080\u009D as she grew up.8 From this point in the story onward, Kitabatake uses the appellation \u00E2\u0080\u009CPrincess\u00E2\u0080\u009D (hime\u00E5\u00A7\u00AB) or \u00E2\u0080\u009CThe Attendant\u00E2\u0080\u0099s Princess\u00E2\u0080\u009D (suke no hime \u00E3\u0081\u0099\u00E3\u0081\u0091\u00E3\u0081\u00AE\u00E5\u00A7\u00AB) to refer to Nij\u00C5\u008D. 3 Kitabatake Yao (Sometimes written as Kitabatake Yaho) was born in Aomori under the name Kitabatake Miyo \u00E5\u008C\u0097\u00E7\u0095\u00A0\u00E7\u00BE\u008E\u00E4\u00BB\u00A3. In 1922, she attended Jissen Vocational School in Tokyo and studied in the department of literature but had to leave after her first year due to a health issue, returning to Aomori. From 1946 to 1947, she serialized her story Jir\u00C5\u008D B\u00C5\u00ABchin nikki \u00E3\u0082\u00B8\u00E3\u0083\u00AD\u00E3\u0083\u00BC\u00E3\u0083\u00BB\u00E3\u0083\u0096\u00E3\u0083\u00BC\u00E3\u0083\u0081\u00E3\u0083\u00B3\u00E6\u0097\u00A5\u00E8\u00A8\u0098 (The Journal of Jir\u00C5\u008D B\u00C5\u00ABchin) in the children\u00E2\u0080\u0099s magazine Ginga \u00E9\u008A\u0080\u00E6\u00B2\u00B3. In 1972, she received the Sankei Children\u00E2\u0080\u0099s Book Award (Sankei Jid\u00C5\u008Dsh\u00C5\u00ABppan Bunkash\u00C5\u008D\u00E7\u0094\u00A3\u00E7\u00B5\u008C\u00E5\u0085\u0090\u00E7\u00AB\u00A5\u00E5\u0087\u00BA\u00E7\u0089\u0088\u00E6\u0096\u0087\u00E5\u008C\u0096\u00E8\u00B3\u009E) for her book Oni o kau Goro \u00E9\u00AC\u00BC\u00E3\u0082\u0092\u00E9\u00A3\u00BC\u00E3\u0081\u0086\u00E3\u0082\u00B4\u00E3\u0083\u00AD (Goro, the Keeper of Ogres). Kitabatake is not only well known for her works in children\u00E2\u0080\u0099s literature and her poetry but also for her relationship with author Ky\u00C5\u00ABya Fukada \u00E6\u00B7\u00B1\u00E7\u0094\u00B0 \u00E4\u00B9\u0085\u00E5\u00BC\u00A5 (1903\u00E2\u0080\u00931971), who plagiarized some of her work. 4 Bungei, October 1956, np. \u00E2\u0080\u009C\u00E5\u00BE\u008C\u00E6\u00B7\u00B1\u00E8\u008D\u0089\u00E5\u00B8\u009D\u00E3\u0081\u00AE\u00E6\u00B7\u00B1\u00E3\u0081\u0084\u00E6\u0084\u009B\u00E6\u0083\u0085\u00E3\u0082\u0092\u00E5\u008D\u00B4\u00E3\u0081\u0091\u00E3\u0081\u00A6\u00E3\u0080\u0081\u00E8\u0090\u00BD\u00E3\u0081\u00A1\u00E3\u0081\u00B6\u00E3\u0082\u008C\u00E3\u0081\u00A6\u00E8\u00A1\u008C\u00E3\u0081\u008F\u00E5\u008F\u00AF\u00E6\u0086\u0090\u00E3\u0081\u00AA\u00E7\u008E\u008B\u00E6\u009C\u009D\u00E5\u00A5\u00B3\u00E6\u0080\u00A7.\u00E2\u0080\u009D 5 Kitabatake Yao, \u00E2\u0080\u009CDainagon no Suke no Hime,\u00E2\u0080\u009D 89. 6 GoFukakusa uses the word wasuregatami \u00E5\u00BF\u0098\u00E3\u0082\u008C\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0081\u00BF which may be translated as \u00E2\u0080\u009Cmemento,\u00E2\u0080\u009D \u00E2\u0080\u009Ckeepsake,\u00E2\u0080\u009D or \u00E2\u0080\u009Corphan.\u00E2\u0080\u009D 7 Ibid., 89. 8 Ibid., 90. 18 The young girl grows quickly, becoming an adult when she turns fourteen, and receives a letter and clothing from GoFukakusa who is now the retired emperor.9 Here, Kitabake transforms a poem exchange present in Towazugatari where Sanekane is the implied sender but transposes GoFukakusa in his place.10 Lovers of the Princess are introduced later, when it is noted that one of her children, a girl, was not conceived by GoFukakusa.11 Then, Kitabake presents her second lover by calling him \u00E2\u0080\u009C[a] well-known priest\u00E2\u0080\u009D instead of \u00E2\u0080\u009CAriake no Tsuki,\u00E2\u0080\u009D12 the nickname used by Nij\u00C5\u008D in Towazugatari.13 At age thirty-two, the Princess becomes a nun and goes on pilgrimages throughout the country \u00E2\u0080\u009Cto her heart\u00E2\u0080\u0099s content\u00E2\u0080\u009D (kokoro yuku ni shitagatte \u00E5\u00BF\u0083\u00E3\u0082\u0086\u00E3\u0081\u008F\u00E3\u0081\u00AB\u00E5\u00BE\u0093\u00E3\u0081\u00A3\u00E3\u0081\u00A6),14 even traveling as far as China. She then learns of GoFukakusa\u00E2\u0080\u0099s passing and follows his funeral procession barefoot.15 The story ends there, but the last page also contains a story from Kokon Chomonj\u00C5\u00AB \u00E5\u008F\u00A4\u00E4\u00BB\u008A\u00E8\u0091\u0097\u00E8\u0081\u009E\u00E9\u009B\u0086 (A Collection of Notable Tales Old and New, 1254), a collection of anecdotes (setsuwa \u00E8\u00AA\u00AC\u00E8\u00A9\u00B1) compiled by Tachibana Narisue\u00E6\u00A9\u0098\u00E6\u0088\u0090\u00E5\u00AD\u00A3.16 The text, entitled \u00E2\u0080\u009CSannen kakatta koi no hanashi\u00E2\u0080\u009D \u00E4\u00B8\u0089\u00E5\u00B9\u00B4\u00E3\u0081\u008B\u00E3\u0081\u008B\u00E3\u0081\u00A4\u00E3\u0081\u009F\u00E6\u0081\u008B\u00E3\u0081\u00AE\u00E8\u00A9\u00B1 (A Three-Year-Long Discussion of Love), tells the story of a monk who falls in love with a nun. Kitabatake Yao\u00E2\u0080\u0099s text is the first example of an adaptation of Towazugatari, published only six years after Yamagishi\u00E2\u0080\u0099s publication of the entire text, yet it does not acknowledge its relationship to Nij\u00C5\u008D\u00E2\u0080\u0099s work. Intended for an adult audience, the story notes that the Princess wrote about her life, but nothing fully explains what happened to her writing nor that it became the source for this particular adaptation. Kitabatake mentions important events of Nij\u00C5\u008D\u00E2\u0080\u0099s life, such as her first night with GoFukakusa, 9 Ibid. 10 See the original exchange in Tsugita Kasumi trans, Towazugatari vol.1, (K\u00C5\u008Ddansha gakujutsu bunko: 1987), 28\u00E2\u0080\u009330. 11 Ibid., 90. 12 Nij\u00C5\u008D uses nicknames for two of her lovers in Towazugatari: Yuki no Akebono (Snow Dawn) and Ariake no Tsuki (Dawn Moon). These nicknames seem to have been bestowed respectively to Saionji Sanekane and the Imperial High Priest (Dai Ajari\u00E5\u00A4\u00A7\u00E9\u0098\u00BF\u00E9\u0097\u008D\u00E6\u00A2\u00A8) of the Ninna Temple (Ninna-ji \u00E4\u00BB\u0081\u00E5\u0092\u008C\u00E5\u00AF\u00BA) Sh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D \u00E6\u0080\u00A7\u00E5\u008A\u00A9\u00E6\u00B3\u0095\u00E8\u00A6\u00AA\u00E7\u008E\u008B (1247\u00E2\u0080\u00931282). 13 Ibid., 91. 14 Ibid. 15 Ibid., 92. 16 Yoshiko K. Dykstra, \u00E2\u0080\u009CNotable Tales Old and New: Tachibana Narisue\u00E2\u0080\u0099s Kokon Chomonj\u00C5\u00AB,\u00E2\u0080\u009D Monumenta Nipponica 47, no. 4 (1992): 469. 19 her father\u00E2\u0080\u0099s passing, and her meeting with her lover Imperial High Priest (Dai Ajari\u00E5\u00A4\u00A7\u00E9\u0098\u00BF\u00E9\u0097\u008D\u00E6\u00A2\u00A8) of the Ninna Temple (Ninna-ji \u00E4\u00BB\u0081\u00E5\u0092\u008C\u00E5\u00AF\u00BA) Sh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D \u00E6\u0080\u00A7\u00E5\u008A\u00A9\u00E6\u00B3\u0095\u00E8\u00A6\u00AA\u00E7\u008E\u008B (1247\u00E2\u0080\u00931282), but she also includes new elements such as the introductory scene where GoFukakusa nicknames the young Nij\u00C5\u008D, \u00E2\u0080\u009CPrincess Kaguya\u00E2\u0080\u009D and reminisces about Sukedai. These references would have been much more understandable for the magazine\u00E2\u0080\u0099s readers and suggest that Kitabatake was aware of the lack of general knowledge about Towazugatari in her non-academic audience, and her allusion to these more well-known texts might have been used to introduce a certain familiarity to her work. Kitabatake\u00E2\u0080\u0099s story is quite short compared to the other texts included in the magazine17 and omits many events in Nij\u00C5\u008D\u00E2\u0080\u0099s life while simultaneously altering some aspects of the original text, for example changing the sender of a poem and expanding Nij\u00C5\u008D\u00E2\u0080\u0099s pilgrimages all the way to China. The short time span between the publication of this story and Yamagishi\u00E2\u0080\u0099s release of the original text might be responsible for some of these differences, as there were no modern language versions of the text yet available, suggesting that Kitabatake had to use the original text and academic articles in order to produce her adaptation. Of course, these changes could also have been part of Kitabatake\u00E2\u0080\u0099s own creative efforts to make the story interesting to her readers. The simplification of Nij\u00C5\u008D\u00E2\u0080\u0099s life and the brevity of the story might be due to the fact that Towazugatari was probably not as well known as the other \u00E2\u0080\u009CBeautiful Women\u00E2\u0080\u009D included in the magazine. Unfortunately, the issue does not contain any comments by Kitabatake that would explain her choice of subject nor how she became acquainted with Nij\u00C5\u008D. By choosing this topic instead of another more well-known woman, the author is able to create a unique and creative story that might have intrigued readers who did not know about this woman\u00E2\u0080\u0099s life at all. But by divorcing the story from its 17 All the other stories in this section of the magazine are longer than Kitabatake\u00E2\u0080\u0099s. For example, a story on Murasaki Shikibu span twelves pages, the story centred on the female poet Ono no Komachi \u00E5\u00B0\u008F\u00E9\u0087\u008E\u00E5\u00B0\u008F\u00E7\u0094\u00BA(825\u00E2\u0080\u0093900) comprises eleven pages. In addition, several of these stories are subtitled with the names of the literary main woman discussed, presumably to attract the reader\u00E2\u0080\u0099s attention. 20 original title and its author\u00E2\u0080\u0099s name, Kitabatake shifts the focus onto GoFukakusa, as illustrated by the introductory scene and the fact that neither her works nor her court name are mentioned in the text. The inclusion of \u00E2\u0080\u009CThe Major Counsellor Attendant\u00E2\u0080\u0099s Princess\u00E2\u0080\u009D in the reader marks Nij\u00C5\u008D\u00E2\u0080\u0099s first appearance in a non-academic publication. The story was not republished in any other format and is, therefore, quite difficult to access without owning a copy of the original Bungei magazine.18 Besides being the first instance of adaptation, the story is also remarkable for being the only adaptation released before the 1970s. Due to its lack of direct links to Towazugatari, besides its content, I argue that it can definitively be seen as an example of replacement of Nij\u00C5\u008D\u00E2\u0080\u0099s story since it would have been the first non-academic example of the publication of this narrative. 7.2 \u00C2\u00A0Live Action Adaptations: Movie and Play To date, there are only two live action adaptations of Towazugatari: a movie and a play. But because the play Top Girls has been staged many different times, the character Nij\u00C5\u008D has been embodied multiple times. In this part of my analysis, I argue that both the director of the movie discussed below and the creator of the play use Nij\u00C5\u008D\u00E2\u0080\u0099s story in different ways in order to best support their adaptations\u00E2\u0080\u0099 points of view. 7.2.1 \u00C2\u00A0Asaki yumemishi In 1974, Jiss\u00C5\u008Dji Akio \u00E5\u00AE\u009F\u00E7\u009B\u00B8\u00E5\u00AF\u00BA\u00E6\u0098\u00AD\u00E9\u009B\u0084 (1937\u00E2\u0080\u00932006)19 directed the only movie adaptation of Towazugatari, titled Asaki yumemishi \u00E3\u0081\u0082\u00E3\u0081\u0095\u00E3\u0081\u008D\u00E5\u00A4\u00A2\u00E3\u0081\u00BF\u00E3\u0081\u0097.20 The poet \u00C5\u008Coka Makoto \u00E5\u00A4\u00A7\u00E5\u00B2\u00A1\u00E4\u00BF\u00A1 (1931\u00E2\u0080\u00932017) is 18 I was able to find a copy of the magazine online after reading about the existence of the story in Fukuda Hideichi, \u00E2\u0080\u009CTowazugatari, Izumi Shikibu nikki to Setouchi Harumi: koten to gendai bungaku no mondai no ichi rei,\u00E2\u0080\u009D Kashiigata: Fukuoka Joshi Daigaku Kokubungaku Bungakukai 26 (1981): 12\u00E2\u0080\u009320. 19 Jiss\u00C5\u008Dji Akio was a Japanese director who worked first on television in the 1960s before becoming a movie director. His first full-length film, Muj\u00C5\u008D \u00E7\u0084\u00A1\u00E5\u00B8\u00B8 (This Transient Life) released in 1970, deals with incest and Buddhism. He also directed horror movies, some inspired by the work of novelist Edogawa Ranpo (1894\u00E2\u0080\u00931965), and is well known for his contribution to the Ultraman \u00E3\u0082\u00A6\u00E3\u0083\u00AB\u00E3\u0083\u0088\u00E3\u0083\u00A9\u00E3\u0083\u009E\u00E3\u0083\u00B3 television series and 1979 feature film. 20 Asaki yumemishi, directed by Akio Jiss\u00C5\u008Dji (1974; Japan: Jeneon Ent\u00C4\u0081teinmento \u00E3\u0082\u00B8\u00E3\u0082\u00A7\u00E3\u0083\u008D\u00E3\u0082\u00AA\u00E3\u0083\u00B3 \u00E3\u0082\u00A8\u00E3\u0083\u00B3\u00E3\u0082\u00BF\u00E3\u0083\u0086\u00E3\u0082\u00A4\u00E3\u0083\u00B3\u00E3\u0083\u00A1\u00E3\u0083\u00B3\u00E3\u0083\u0088, 2002), DVD. 21 credited as the screenwriter.21 The film\u00E2\u0080\u0099s title makes direct reference to The Tale of Genji, where the expression \u00E2\u0080\u009Casaki yumemishi\u00E2\u0080\u009D appears after the passing of Prince Genji\u00E2\u0080\u0099s lover Murasaki in the chapter \u00E2\u0080\u009CThe Law\u00E2\u0080\u009D (Minori).22 The phrase can be translated as \u00E2\u0080\u009Cliving in a dream\u00E2\u0080\u009D and occurs at the end of the chapter, when Genji ponders his relationship with Murasaki and tries to go on without her: \u00E2\u0080\u009C[B]ut the days and months somehow passed anyway, and he felt as though he was dreaming them all.\u00E2\u0080\u009D23 Mention of The Tale of Genji occurs once in the movie, but it seems to refer to a chapter unrelated to the film\u00E2\u0080\u0099s title. The emperor, waking up after five days of sickness, tells Shij\u00C5\u008D24 that since she has read The Tale of Genji she must understand how passion can corrupt anyone\u00E2\u0080\u0099s heart, leading to possession by a spirit (mononoke). This likely alludes to Genji\u00E2\u0080\u0099s wife, Aoi no Ue, who dies after suffering from an incident of spirit possession following the birth of her child in the chapter \u00E2\u0080\u009CHeart-to-Heart\u00E2\u0080\u009D (Aoi).25 In the film, this comment to Shij\u00C5\u008D occurs after the emperor mentions that his own brother, the Imperial High Priest, called \u00E2\u0080\u009CAjari-sama\u00E2\u0080\u009D in the film,26 has visited him in his dreams and confessed his love for Shij\u00C5\u008D. The link to both dreams and The Tale of Genji is, therefore, strongly established without having to mention the famous sentence referenced in the title of the movie. Also, after becoming a nun, Shij\u00C5\u008D realizes that the world she had lived in up to that point had been a dream-like illusion (yume maboroshi no y\u00C5\u008D \u00E5\u00A4\u00A2\u00E5\u00B9\u00BB\u00E3\u0081\u00AE\u00E3\u0082\u0088\u00E3\u0081\u0086). Thus, the title of the film is probably a reference to the first part of the movie, in which Shij\u00C5\u008D is depicted as leading a sinful life, and the guilt she feels about her actions. The 21 \u00C5\u008Coka Makoto is a poet and literary critic best known for his poetry column in the Asahi Shinbun, \u00E2\u0080\u009COriori no uta\u00E2\u0080\u009D \u00E6\u008A\u0098\u00E3\u0080\u0085\u00E3\u0081\u00AE\u00E3\u0081\u0086\u00E3\u0081\u009F (Occasional Poetry), appearing from 1979 to 2007. After graduating from the University of Tokyo, he worked for the newspaper Yomiuri Shinbun and taught at Meiji University and the University of Tokyo. \u00C5\u008Coka has published extensively on poetry, including his own linked verse poems. He has received numerous prizes for his work. 22 Patrick W. Caddeau, Appraising Genji Literary Criticism and Cultural Anxiety in the Age of the Last Samurai (Albany, NY: State University of New York Press, 2006), 13. 23 Royall Tyler, trans., The Tale of Genji (New York: Viking, 2001), 763. 24 The movie does not use the name Nij\u00C5\u008D, literally \u00E2\u0080\u009CSecond Avenue,\u00E2\u0080\u009D and instead uses Shij\u00C5\u008D \u00E5\u009B\u009B\u00E6\u009D\u00A1, literally \u00E2\u0080\u009CFourth Avenue.\u00E2\u0080\u009D Both are appellations used to refer to high-ranking female court attendants, but perhaps the lower-ranking name of Shij\u00C5\u008D was given to Nij\u00C5\u008D to emphasize the pressure she faced with her lack of personal and political backing. 25 Ibid., 163\u00E2\u0080\u0093190. 26 I will use \u00E2\u0080\u009CAjari\u00E2\u0080\u009D when referring to this character throughout the discussion of the movie for clarity. I have followed the name used by the authors of the different adaptations discussed in this thesis, and, therefore, this character may be referred to as \u00E2\u0080\u009CAjari,\u00E2\u0080\u009D \u00E2\u0080\u009CSh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D,\u00E2\u0080\u009D or \u00E2\u0080\u009Cthe Imperial High Priest.\u00E2\u0080\u009D 22 film also ends with a close-up shot of the Japanese kanji for dream, \u00E2\u0080\u009C\u00E5\u00A4\u00A2,\u00E2\u0080\u009D handwritten on a pink piece of paper, highlighting the centrality of this concept to the entire film. The front of the DVD cover shows a painting of Shij\u00C5\u008D, her eyes closed, wearing a colourful gown. Ajari is standing behind her, and both of their faces are also printed on the front of her gown. The Buddhist symbol of the lotus is placed in the background below the moon. Thus, the importance of Buddhism and the central nature of Shij\u00C5\u008D\u00E2\u0080\u0099s relationship with Ajari are apparent on the DVD cover of the movie. The link to Towazugatari appears only in the second paragraph of the text on the back of the DVD cover and does not appear on the front of the box. Based on these design choices, it seems that in marketing Jiss\u00C5\u008Dji\u00E2\u0080\u0099s production, there was an effort to distance the film from Towazugatari and instead to stress connections to The Tale of Genji, a work audiences would associate with classical literature and previously successful jidaigeki films (period films). Before analyzing aspects of Jiss\u00C5\u008Dji\u00E2\u0080\u0099s filmography and his use of Buddhism in the film, I shall provide a brief summary of Asaki yumemishi. 7.2.1.1 \u00C2\u00A0Asaki yumemishi: The Story of Shij\u00C5\u008D The film focuses on the life of Shij\u00C5\u008D, portrayed by actress Janet Hatta (1953\u00E2\u0080\u0093) in her movie debut.27 Asaki yumemishi ignores the first part of Towazugatari but elects to introduce a chanting Shij\u00C5\u008D during the opening credits. Shij\u00C5\u008D remains unseen in the opening scenes of the movie until she is shown giving birth to her second child, who is believed to be the retired emperor\u00E2\u0080\u0099s daughter. However, the narrator explains Shij\u00C5\u008D\u00E2\u0080\u0099s predicament, stating that her child was conceived by her lover, a man her female attendants have nicknamed \u00E2\u0080\u009CMisty Dawn,\u00E2\u0080\u009D or Kiri no Akatsuki \u00E9\u009C\u00A7\u00E3\u0081\u00AE\u00E6\u009A\u0081, and who we learn later is 27 Janet Hatta was born in Detroit, Michigan under the name Hatta Yuka \u00E5\u0085\u00AB\u00E7\u0094\u00B0\u00E6\u009C\u0089\u00E5\u008A\u00A0. Her father is American and her mother Japanese. She moved to Japan at the age of three and lived in Kyoto. After graduating from high school, she worked as a flight attendant for a short period before being recruited as a model for commercial and print ads for the brand Shiseid\u00C5\u008D. In Japan she was promoted under the name Janetto Hatta \u00E3\u0082\u00B8\u00E3\u0083\u00A3\u00E3\u0083\u008D\u00E3\u0083\u0083\u00E3\u0083\u0088\u00E5\u0085\u00AB\u00E7\u0094\u00B0. She also worked for Nihon TV as one of the \u00E2\u0080\u009Ccover girls\u00E2\u0080\u009D of a \u00E2\u0080\u009Cwide-show,\u00E2\u0080\u009D a genre of Japanese TV program that covers a wide range of topics such as news, arts discussion, etc., called 11PM. Her first and second filmed performances occurred in 1974, in a music video, and in Jiss\u00C5\u008Dji Akio\u00E2\u0080\u0099s Asaki yumemishi, as discussed in this chapter. She has appeared in several other movies and TV drama produced mainly in the 1970s and 1980s. Notably, she played alongside actor Shin'ichi Chiba (\u00E5\u008D\u0083\u00E8\u0091\u0089 \u00E7\u009C\u009F\u00E4\u00B8\u0080 ) in the 1977 detective film Doberman Cop (Doberuman deka\u00E3\u0083\u0089\u00E3\u0083\u00BC\u00E3\u0083\u0099\u00E3\u0083\u00AB\u00E3\u0083\u009E\u00E3\u0083\u00B3\u00E5\u0088\u0091\u00E4\u00BA\u008B) and several Edo period dramas on television. In 1981, she married baseball player Tabuchi K\u00C5\u008Dichi \u00E7\u0094\u00B0\u00E6\u00B7\u00B5 \u00E5\u00B9\u00B8\u00E4\u00B8\u0080. For more information, please consult Nichigai Asoshi\u00C4\u0093tsu, Gein\u00C5\u008D tarento jinmei jiten (Tokyo: Nichigai Asoshi\u00C4\u0093tsu, 1990). 23 Sanekane. Shij\u00C5\u008D is depicted as feeling guilty for deceiving the emperor. The baby girl that she bears is sent away to live with the Saionji family, and the emperor is told that the child has died. A few weeks later, her firstborn suddenly dies because of an illness, and Shij\u00C5\u008D thinks that it must be due to her sins. The audience is introduced to Shij\u00C5\u008D in these scenes, and the notion of sin and her guilt are elements of her character that are almost inseparable from her portrayal. Indeed, not only is she guilty of lying to the emperor about her child, she is also shown in great pain because of such actions, and her guilt is accentuated by the affection that the emperor shows towards her. Jiss\u00C5\u008Dji takes other liberties in his adaptation, such as introducing the leader of a group of dancing monks: a man with red eyes who reminds Shij\u00C5\u008D of Ajari. The parallel between these two men continues throughout the film and seems to highlight their differences in attitude and religious beliefs. For example, one of Shij\u00C5\u008D\u00E2\u0080\u0099s female attendants explains that the dancing monks believe that anyone can go to heaven just by chanting the Buddha\u00E2\u0080\u0099s name. This statement is repeated to Shij\u00C5\u008D by a poor woman who survives by sleeping with men; this same woman later helps Shij\u00C5\u008D in her tonsured life. The woman tells Shij\u00C5\u008D about the leader of the dancing monks and reiterates the belief that everyone, even women such as herself, will be allowed to reach heaven if they chant the Buddha\u00E2\u0080\u0099s name. The inclusion of the dancing monk, who is only credited as \u00E2\u0080\u009Cthe monk\u00E2\u0080\u009D (s\u00C5\u008D \u00E5\u0083\u00A7) seems to be a direct reference to Ippen \u00E4\u00B8\u0080\u00E9\u0081\u008D (1239\u00E2\u0080\u009389), founder of the Jish\u00C5\u00AB \u00E6\u0099\u0082\u00E5\u00AE\u0097 sect of Pure Land Buddhism. 28 The film follows the Towazugatari episode in which the retired emperor is able to spend the night with the Ise Priestess, who has recently returned from her duties, with the help of Shij\u00C5\u008D. He falls sick for five days, but, thanks to Ajari\u00E2\u0080\u0099s intense praying, he is able to recover. He confesses to Shij\u00C5\u008D that he saw his brother Imperial High Priest Ajari in his dream, and expresses to her that the priest has fallen in love with her. He encourages Nij\u00C5\u008D to spend the night with his brother. Later Ajari bursts into her 28 Kasahara Kazuo, History of Japanese Religion, trans. Paul McCarthy and Gaynor Sekimori (Tokyo: Kosei Publishing Co., 2013), 213. 24 chambers at night and laments his situation and the sin he is about to commit. Shij\u00C5\u008D bears him a child who is taken away by the retired emperor, further increasing her guilt. Strong epidemics are spreading throughout the country, and Ajari succumbs to illness. Heartbroken, Shij\u00C5\u008D cries in pain, and the next scene shows her and her female attendant Mei, wearing nun outfits, travelling to a temple. Shij\u00C5\u008D has stomach pains and collapses, and they are rescued by a poor woman who tells her she miscarried another of Ajari\u00E2\u0080\u0099s child. Shij\u00C5\u008D comes to the conclusion that her life until then has been meaningless and recalls that her father Masatada had advised her to become a nun if she ever felt this way. Shij\u00C5\u008D and Mei encounter the dancing priests once again while walking up a mountain, and when they meet a man with whom Mei starts a relationship, Shij\u00C5\u008D leaves her behind. At the end of the movie, Shij\u00C5\u008D is shown delivering a scroll painting to the Saionji family who has adopted the daughter she gave birth to in the beginning of the film. 7.2.1.2 \u00C2\u00A0Framing Characters in Asaki yumemishi: Shadow and Light Jiss\u00C5\u008Dji employs careful framing of his characters throughout the course of the movie, using light and darkness to conceal their features or emphasize their shadows. For example, in a scene where the retired emperor is shown chanting with another man, the director chose to seat them in front of a very bright background that renders their hats see-through and transforms them into indistinct black shapes. This is contrasted with a discussion between Shij\u00C5\u008D and Sanekane which takes place simultaneously, as they converse about the fate of their child, in an adjacent, darker room which obscures their features while highlighting the colour of their garments. The sound of the emperor\u00E2\u0080\u0099s chanting also carries over into Shij\u00C5\u008D and Sanekane\u00E2\u0080\u0099s conversation, heightening the feelings of secrecy and shame felt by the two lovers. The framing of the characters serves to contrast the sacred and profane nature of the two respective sets of characters. The first two are chanting in a bright room whereas the others are discussing their shameful actions in the dark. 25 In addition, when Ajari forces himself on Shij\u00C5\u008D, the viewer sees a part of the scene through the reflected image that appears on his clear prayer beads. The scene begins with a shot of her room when, suddenly, Ajari, wearing red robes, enters and startles her. The audience is then shown his trembling hands which are holding the prayer beads, and, soon, the beads fall on the floor, scattering. The beads are used in different ways within the scene. First, they are heard while Ajari paces through the room or falls on his knees on top of them. As a symbol, they can also be seen as a representation of his sin and his straying from the path of his religion, since he is not supposed to break his vows to fulfill his desire for Shij\u00C5\u008D. Finally, when he undresses and begins touching her, the scene shifts to a close up of the beads, reflecting his actions. Once again, the beads seem to symbolize his lost faith and sinfulness. The beads are then seen rolling across the floor while images of lit torches are shown and Shij\u00C5\u008D calls his name. The scene ends with a shot of the lamp in her room, an open flame again symbolizing their sin and passion, followed by a sequence of the dancing priests praying on a beach next to bonfires. Here, the parallel of the two religious men is once more established as their respective handlings of their faith are putting them in opposition. Ajari has succumbed to his sin by sleeping with Shij\u00C5\u008D while the faith of the dancing priest with red eyes remains strong and constant. Fire is a common image in the first part of the film and symbolizes sin in Shij\u00C5\u008D\u00E2\u0080\u0099s life, and water is a recurring image after her tonsure. Indeed, we first catch a glimpse of Shij\u00C5\u008D and her female attendant Mei on a boat, rowing towards a temple, and afterwards they are shown walking on the seaside and getting caught in the rain. Furthermore, it is during this cleansing rain that Shij\u00C5\u008D leaves Mei behind and begins to travel alone, shedding the last vestiges of her old life and moving forward on her path to redemption. She later learns of the retired emperor\u00E2\u0080\u0099s death and attends his funeral, in a scene from which the opening credits are drawn, with several shots showing flashbacks of Shij\u00C5\u008D\u00E2\u0080\u0099s life. In the final scene of the film, she meets with a man who has adopted one of the children she had to abandon and learns that 26 her child has grown to be a talented person, renowned for her singing. Shij\u00C5\u008D gives the man a scroll painting to be presented to her daughter. The man looks at the painting and seems to recognize Ajari, but the figure is depicted wearing rags, a possible representation of the dancing monk. Because of the two men\u00E2\u0080\u0099s resemblance, we can conclude that Shij\u00C5\u008D might have chosen to adopt the dancing monk\u00E2\u0080\u0099s religious belief and will, therefore, be able to attain redemption and enlightenment. 7.2.1.3 \u00C2\u00A0Shij\u00C5\u008D\u00E2\u0080\u0099s Journey in Asaki yumemishi: Buddhism and Salvation The significance of the director\u00E2\u0080\u0099s depiction of Buddhism is clear when looking at Jiss\u00C5\u008Dji\u00E2\u0080\u0099s filmography. Alexander Jacoby argues that alongside Asaki yumemishi, two other movies, Mandara \u00E6\u009B\u00BC\u00E9\u0099\u0080\u00E7\u00BE\u0085 (Mandala, 1972) and Uta \u00E5\u0093\u00A5 (Poem, 1972), deal with the same theme of \u00E2\u0080\u009Csexual transgression and Buddhist theology.\u00E2\u0080\u009D29 Similarly, the Asahi Shinbun film reviewer Sugawara Nobuo highlights the importance of Buddhism in Jiss\u00C5\u008Dji\u00E2\u0080\u0099s work, arguing that Buddhist philosophy strongly imbues the director\u00E2\u0080\u0099s work and \u00E2\u0080\u009Cthe Buddhist view that \u00E2\u0080\u0098matter is void\u00E2\u0080\u0099 is given expression through the director\u00E2\u0080\u0099s photography.\u00E2\u0080\u009D30 In addition, Sugawara emphasizes that Asaki yumemishi \u00E2\u0080\u009Cdepicts the degeneration and nihilism of the noblemen of the Middle Ages,\u00E2\u0080\u009D a concept that is exemplified by the character of Ajari.31 However, Jacoby also stresses Jiss\u00C5\u008Dji\u00E2\u0080\u0099s critical view of Buddhism, stating that he regarded it as an inadequate way to respond to human suffering.32 This might be characterized by Shij\u00C5\u008D herself, as the narrator explains that women carry sins and are, therefore, unable to attain enlightenment, but she is able to find solace after taking the tonsure and travelling. She also encounters another type of Buddhism that allows women, regardless of rank, to reach heaven if they chant the Buddha\u00E2\u0080\u0099s name. Hence, it seems that Jiss\u00C5\u008Dji\u00E2\u0080\u0099s focus on Shij\u00C5\u008D\u00E2\u0080\u0099s relationship with Ajari, the inclusion of the similar-looking wandering priest, and the slow pace of the film underline the director\u00E2\u0080\u0099s editorial decision 29 Alexander Jacoby, A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day (Berkeley, CA: Stone Bridge, 2008), 98. 30 Nobuo Sugawara, \u00E2\u0080\u009COshima Nagisa and Jiss\u00C5\u008Dji Akio,\u00E2\u0080\u009D Japan Quarterly 29, no. 2 (April 1982): 215. 31 Ibid. 32 Alexander Jacoby, A Critical Handbook, 98. 27 to create a contemplative film that aims to convey a message about Buddhism: redemption is possible and all can reach enlightenment, even those who sinned or are of a low rank. The strong focus of Asaki yumemishi on Buddhism makes Nij\u00C5\u008D\u00E2\u0080\u0099s story one of redemption, exemplified by the ending where she reaches out to her daughter. This is an interesting approach to Towazugatari, as many of the following adaptations chose to end the story almost immediately after Nij\u00C5\u008D\u00E2\u0080\u0099s tonsure, focusing instead on her romantic relationships and struggles at court. In addition, the form in which Nij\u00C5\u008D\u00E2\u0080\u0099s legacy is preserved changes from her writing abilities to her painting talent. It is a skill that is more visually captivating and translates better to film, but it ignores one of the most important aspects of her work: the continuation of her family\u00E2\u0080\u0099s literary tradition. Still, we cannot look at Jiss\u00C5\u008Dji\u00E2\u0080\u0099s work without mentioning the rest of his films and, in particular, the three other films that constitute the \u00E2\u0080\u009CBuddhist trilogy\u00E2\u0080\u009D that he made for ATG:33 Muj\u00C5\u008D \u00E7\u0084\u00A1\u00E5\u00B8\u00B8 (This Transient Life, 1970), Mandara, and Uta. Released between 1970 and 1972, these three movies deal with themes of sexual transgression and Buddhism, themes also present in Asaki yumemishi.34 However, they are not set in the Kamakura period, do not focus on a woman character such as Shij\u00C5\u008D, and were not adaptations but original stories. Asaki yumemishi is the last movie Jiss\u00C5\u008Dji made for ATG and can, consequently, be seen as the crystallization of the concepts he started in Muj\u00C5\u008D regarding transgression and redemption. Through the character of Shij\u00C5\u008D, Jiss\u00C5\u008Dji displays a message of hope for those who, just like her, have committed acts that they regret. Interestingly, despite cutting out some of the beginning sections of Towazugatari, Jiss\u00C5\u008Dji follows Nij\u00C5\u008D\u00E2\u0080\u0099s narrative arc quite closely, starting with her time at court and ending with her Buddhist travels. Thanks to the recent discovery of Towazugatari the director was able to use Nij\u00C5\u008D\u00E2\u0080\u0099s story as a conduit to channel his own message about Buddhism and redemption, as most audiences had either not yet heard her story or did not grasp what it was about. This repurposing 33 ATG: Art Theater Guild (1961\u00E2\u0080\u00931980), a production studio known for its artistic freedom and low budget. See Alexander Jacoby, A Critical Handbook, 383. 34 Ibid., 98. 28 is exemplified by the inclusion of the dancing monk, a character inspired by Ippen who does not exist in Towazugatari and who, despite never speaking directly to Shij\u00C5\u008D, is able to influence her redemptive arc and convey the main message of the movie to the audience. In addition to the influence of Buddhism in Jiss\u00C5\u008Dji\u00E2\u0080\u0099s work, Asaki yumemishi exhibits some elements that seem influenced by the genre of pinku eiga, or pink film, that were popular in the Japanese cinema industry between the 1960s and 1980s.35 Characterized by their low-budget and exploitative sexual content, pinku eiga often included scenes in which female characters were brutalized and humiliated.36 These elements are present in other films by Jiss\u00C5\u008Dji such as Mandara, which depicts a \u00E2\u0080\u009Csexually predatory Buddhist sect,\u00E2\u0080\u009D and Muj\u00C5\u008D, which showcases incestuous relationships.37 In Asaki yumemishi, the sex scenes can be compared to softcore pornography and exhibit elements of brutalization, such as when Shij\u00C5\u008D is shown resisting the advances of Ajari. In addition, the camera focuses on Shij\u00C5\u008D being touched and disrobed by Ajari in an explotative manner. This seems particularly apparent during the sex scene involving Shij\u00C5\u008D where her breasts are fully visible, contrasting heavily with the other scenes where she is completely covered, and she is heavily sexualized. Later in the story, Shij\u00C5\u008D is given the role of the voyeur when she witnesses Mei\u00E2\u0080\u0099s sexual intercourse with a man. Instead of being the passive object of the viewer\u00E2\u0080\u0099s gaze, she becomes the viewer and instead chooses to leave the scene, and Mei, behind. This scene takes place after Shij\u00C5\u008D\u00E2\u0080\u0099s ordination, when she has decided to follow a path of redemption. Thus, most of the elements embodying the style and content of pinku eiga are used in the first part of the film as a means of contrasting Shij\u00C5\u008D\u00E2\u0080\u0099s life at court with her later life outside its confines. These elements are also used to both attract and titillate viewers, and the choice of a biracial model, Janet Hatta, to play the main character adds a layer of exoticism and eroticism to the story. 35 Ryan Taylor, \u00E2\u0080\u009CDemon(ized) Women: Female Punishment in the \u00E2\u0080\u0098Pink Film\u00E2\u0080\u0099and J-Horror,\u00E2\u0080\u009D Asian Cinema 23, no.2 (Jan. 2012): 202. 36 Ibid. 37 Alexander Jacoby, A Critical Handbook, 98. 29 As stated by Marshall McLuhan, \u00E2\u0080\u009Cthe medium is the message,\u00E2\u0080\u009D38 referencing the effects that the format in which information is delivered to its audience has on any communication, and, therefore, we must also consider what Jiss\u00C5\u008Dji was able to do when translating Towazugatari from text to film. Films and other visual media are able to show their audience instead of telling them,39 a method used by Jiss\u00C5\u008Dji extensively in Asaki yumemishi, especially in scenes where there is no dialogue and the soundtrack or narration allows the audience to understand Shij\u00C5\u008D\u00E2\u0080\u0099s situation or emotional state. Additionally, Jiss\u00C5\u008Dji\u00E2\u0080\u0099s film is not only the first visual depiction of Towazugatari but also the first adaptation that involves live actors. Shij\u00C5\u008D is depicted as a very beautiful woman who is weighed down by her guilt, as portrayed immediately in the first scene where she speaks and explains that her child is not the product of the emperor but her lover. Jiss\u00C5\u008Dji\u00E2\u0080\u0099s choices in depicting Shij\u00C5\u008D are unique\u00E2\u0080\u0094no other adaptation places so much emphasis on Buddhism, the constant visual representations of Nij\u00C5\u008D\u00E2\u0080\u0099s guilt, or her redemption. The slow pace of the movie, its strong religious message, and its daring mise-en-sc\u00C3\u00A8ne techniques, however, might attract only certain audiences, such as those already familiar with Jiss\u00C5\u008Dji\u00E2\u0080\u0099s work. 7.2.2 \u00C2\u00A0Top Girls 7.2.2.1 \u00C2\u00A0Caryl Churchill\u00E2\u0080\u0099s Nijo The next adaptation of Towazugatari did not occur until 1982, with the first performance of Caryl Churchill\u00E2\u0080\u0099s (1938\u00E2\u0080\u0093)40 play Top Girls, which is set and was created in England.41 The play, contrary to other adaptations of Towazugatari, does not take place in Japan and does not focus entirely on Nij\u00C5\u008D\u00E2\u0080\u0099s story. She only appears in the first act of the play, during a dinner party celebrating the promotion of the main character, Marlene, to the position of managing director in an employment 38 Eric McLuhan and Frank Zingrone, eds., Essential McLuhan (Toronto: House of Anansi Press, 1995), 151. 39 Linda Hutcheon, A Theaory of Adaptation, 38. 40 The British playwright Caryl Churchill is well known for her exploration of feminist themes, her risk taking, and her plays that defy classification. Other works by Churchill include Cloud Nine (1979), a play about colonialism and sexual oppression, Serious Money (1987), a satire about the British stock market written in rhymes, and, more recently, Seven Jewish Children: A Play for Gaza (2009), which was released online and which Churchill allowed anyone to perform under the condition that donations would be collected for Palestinian charities. For more information about Caryl Churchill, see Mary Luckhurst, Caryl Churchill (New York: Routledge, 2015). 41 Caryl Churchill, Top Girls (London: Methuen Drama Editions, 1991). 30 agency. Other historical figures and fictional characters such as Isabella Bird (1831\u00E2\u0080\u00931904),42 Pope Joan,43 and Patient Griselda44 are also invited and discuss their pasts, their lovers, and their regrets. The rest of the play deals with Marlene\u00E2\u0080\u0099s success in her professional career to the detriment of her own personal life. During the dinner party of the first act, Nijo45 is the second guest to arrive and immediately starts recalling her life story, starting with her first night spent with the emperor.46 The conversation between the characters can be challenging to follow. All of the guests are eager to recall their stories and often interrupt each other, asking questions of other characters while yet another is speaking, or continuing to speak without responding to questions. For example, consider the following exchange that occurs at the beginning of the scene when Nijo recalls the night the emperor forced himself on her: NIJO. Then the emperor passed his sake cup to my father and said, \u00E2\u0080\u009CLet the wild goose come to me this spring.\u00E2\u0080\u009D MARLENE. Let the what? NIJO. It\u00E2\u0080\u0099s a literary allusion to a tenth-century epic,/ His Majesty was very cultured. ISABELLA. This is the emperor of Japan?/ I once met the emperor of Morocco. NIJO. In fact he was the ex-emperor. MARLENE. But he wasn\u00E2\u0080\u0099t old?/ Did you, Isabella?47 Here, the tales of both Lady Nijo and Isabella Bird begin to intertwine, with Isabella using Nijo\u00E2\u0080\u0099s story 42 Isabella Bird Bishop was a British woman and daughter of a clergyman who travelled extensively between the ages of forty and seventy. Her destinations included Australia, the Sandwich Islands, Tibet, China, Japan, and Morocco. She wrote extensively about her travels in such works as The English Woman in America (1856), Unbeaten Tracks in Japan (1880), and Journeys in Persia and Kurdistan Including a Summer in the Upper Karun Region and a Visit to the Nestorian Rayahs (1891). For more information regarding Isabella Bird and her travels to Japan, see Joohyun Jade Park, \u00E2\u0080\u009CMissing Link Found, 1880: The Rhetoric of Colonial Progress in Isabella Bird\u00E2\u0080\u0099s Unbeaten Tracks in Japan,\u00E2\u0080\u009D Victorian Literature and Culture 43, no. 2 (2015): 371\u00E2\u0080\u0093388. 43 Born in Germany during the ninth century, the woman known as Pope Joan is believed to have been living as a man since she was twelve and might have served as Pope from 855 to 856. She apparently was discovered when she gave birth to a child during a public procession. She was then stoned to death and her story declared a myth. For an in-depth discussion of Pope Joan and her legacy, see Craig M. Rustici, The Afterlife of Pope Joan: Deploying the Popess Legend in Early Modern England (Ann Arbor: University of Michigan Press, 2006). 44 A fictional character from The Canterbury Tales (1387). 45 When discussing Churchill\u00E2\u0080\u0099s character, I follow the play\u00E2\u0080\u0099s spelling of \u00E2\u0080\u009CNijo\u00E2\u0080\u009D without a macron or indication of the long vowel (Nij\u00C5\u008D). 46 Caryl Churchill, Top Girls, 2\u00E2\u0080\u00933. 47 Ibid., 2. 31 as a way of recalling her own life experience. Note that the usage of \u00E2\u0080\u009C/\u00E2\u0080\u009D denotes that both actresses would be speaking their lines at the same time, highlighting the confusing aspects of the conversation for the audience listening and the difficulties of enacting this scene. As host of the party, Marlene does not interject her own experiences in this scene, but she encourages both women though her questions and allows this multi-layered conversation to continue. Later on, when Lady Nijo begins discussing her children, Isabella, the only guest without children, interjects that she never had children and starts talking about horses.48 Alicia Tycer argues that the contrast between the two women\u00E2\u0080\u0099s focuses, children and horses, could be used as a way to downplay Nijo\u00E2\u0080\u0099s losses or establish a strong contrast between the two women\u00E2\u0080\u0099s stories.49 It also underlines the women\u00E2\u0080\u0099s lack of solidarity during certain parts of the conversation, as opposed to other instances where they all react uniformly, such as during Pope Joan\u00E2\u0080\u0099s tale which makes them all laugh or sit silently in horror while she explains how she was stoned to death.50 Despite the fact that all the women invited to Marlene\u00E2\u0080\u0099s dinner party have achieved individual success, they remain unable to coalesce as a community to celebrate Marlene\u00E2\u0080\u0099s career success.51 7.2.2.2 \u00C2\u00A0Characterization of Top Girls\u00E2\u0080\u0099s Nijo During the dinner, Nijo is able to explain her entire life story: her experience with the emperor, her lovers and children, as well as her subsequent travels as a Buddhist nun. She sums up her existence by saying: \u00E2\u0080\u009CThe first half of my life was all sin and the second all repentance.\u00E2\u0080\u009D52 In answering the questions of her fellow guests, she concedes that she enjoyed herself during her life but was very unhappy, adding that \u00E2\u0080\u009Cit hurts to remember.\u00E2\u0080\u009D53 As the dinner continues and more guests arrive, the conversation becomes even more layered while the women find topics of conversations that resonate 48 Ibid., 18. 49 Alicia Tycer, Caryl Churchill\u00E2\u0080\u0099s Top Girls (New York: Bloomsbury, 2008), 48. 50 Caryl Churchill, Top Girls, 17. 51 Alicia Tycer, Caryl Churchill\u00E2\u0080\u0099s Top Girls, 46. 52 Caryl Churchill, Top Girls, 5. 53 Ibid. 32 with several of them, such as the memories of their fathers, their relationships with men, or their child-bearing experiences and their children. Nijo is interested in Patient Grisleda\u00E2\u0080\u0099s story54 and cries when she learns that Griselda\u00E2\u0080\u0099s children were returned to her, unlike the loss experienced by Nijo.55 She is also shown as being able to stand up to injustice when she describes leading other female attendants in taking revenge by attacking the emperor themselves for a beating one of them received with a rice stick.56 The dinner ends in a chaotic scene where Pope Joan, after declaiming fragments of De rerum natura57 in Latin, becomes sick in one of the corners of the stage while Nijo is both laughing and crying, Isabella Bird keeps reminiscing, and Marlene silently drinks Isabella\u00E2\u0080\u0099s brandy.58 Churchill\u00E2\u0080\u0099s depiction of Nij\u00C5\u008D manages to highlight many important elements of Towazugatari, such as her relationship with the emperor, her attachment to her children, and her travels as a nun. Nijo seems saddened by her life\u00E2\u0080\u0099s journey, especially her inability to reunite with her children and the fact that she was not authorized to enter the palace to view the emperor after his death.59 Alicia Tycer argues that the original Nij\u00C5\u008D is \u00E2\u0080\u009Chyperaware of her clothes,\u00E2\u0080\u009D in her writing, \u00E2\u0080\u009Cwhich are symbolic of social status in the Japanese court.\u00E2\u0080\u009D60 When she recalls the emperor\u00E2\u0080\u0099s funeral, Churchill\u00E2\u0080\u0099s Nijo wonders, \u00E2\u0080\u009CIf I\u00E2\u0080\u0099d still been at court, would I have been allowed to wear full mourning?\u00E2\u0080\u009D61 She uses clothes as a way to describe how the emperor forced himself on her, by explaining how \u00E2\u0080\u009Cher thin gowns were badly ripped,\u00E2\u0080\u009D and also notes the emperor\u00E2\u0080\u0099s richly embroidered clothing when he left her bedchambers.62 She declares that her two favorite things were \u00E2\u0080\u009Cbeing the Emperor\u00E2\u0080\u0099s favorite/ and wearing thin silk.\u00E2\u0080\u009D63 Churchill acknowledges that she used Karen Brazell\u00E2\u0080\u0099s 1973 translation, The Confession of Lady Nij\u00C5\u008D, as her 54 To test her, her husband pretends to have their children sacrificed. Years later, and finally convinced of the blind obedience of his wife, he reunites them with their mother, Griselda. 55 Caryl Churchill, Top Girls, 25. 56 Ibid., 26. 57 Poem by roman poet Lucretius (ca. 99 BC\u00E2\u0080\u009355 BC). 58 Ibid., 29. 59 Ibid., 26. 60 Alicia Tycer, Caryl Churchill\u00E2\u0080\u0099s Top Girls, 31. 61 Caryl Churchill, Top Girls, 26. 62 Ibid., 3. 63 Ibid., 4. 33 source material for the creation of the character of Nijo.64 In addition, Tycer argues that instead of choosing well-known historical figures, Churchill deliberately selected women who might not have been as prominent at the time.65 Hence, instead of being overshadowed by their fame, these women\u00E2\u0080\u0099s experiences are able to take centre stage. 7.2.2.3 \u00C2\u00A0Nij\u00C5\u008D as a Theatrical Character: Stereotypes and Issues of Representation In Churchill\u00E2\u0080\u0099s play, all the actresses involved in the first act, besides the one playing Marlene, appear in different roles in the subsequent acts of Top Girls. For instance, during the first representation of the play in 1982, actress Lindsay Duncan played both Nijo and Win, a co-worker of Marlene who is having an affair.66 In another play, Cloud Nine (1979), Churchill made clear cross-casting decisions in order to highlight the effects of colonialism by casting a white man in a black character\u00E2\u0080\u0099s role.67 However, this is not the case for Top Girls, and during the first production of the play, Nijo was played by a white actress wearing a kimono. In the 1991 filmed version of the play, actress Sarah Lam played the roles of Nijo and Win, enacting the former in a \u00E2\u0080\u009Cfull face of geisha make-up.\u00E2\u0080\u009D68 However, geisha appeared in Japan centuries after the Kamakura period, and Nijo\u00E2\u0080\u0099s role at court was not primarily one of an entertainer. Thus, the geisha make-up is entirely anachronistic and does not fit with her life experiences.69 The problem of Nijo\u00E2\u0080\u0099s depiction in the play is twofold: Firstly, her ethnicity is part of her character, and, therefore, casting her as a white woman seems to detract from the character\u00E2\u0080\u0099s identity. Secondly, dressing her in a kimono and using a make-up style of another era contradicts the play itself, 64 Alicia Tycer, Caryl Churchill\u00E2\u0080\u0099s Top Girls, 38. 65 Ibid. 66 Ibid., 34. 67 Ibid., 90. 68 Ibid. 69 According to Amy Stanley, geisha were a heterogeneous group of entertainers during the Tokugawa period (1600\u00E2\u0080\u00931868) and the first geisha were male entertainers in the Yoshiwara district of Edo. See Amy Stanley, \u00E2\u0080\u009CEnlightenment Geisha: The Sex Trade, Education, and Feminine Ideals in Early Meiji Japan,\u00E2\u0080\u009D The Journal of Asian Studies 72, no. 3 (2013): 539\u00E2\u0080\u0093562. 34 which explicitly states that she is from the thirteenth century.70 None of the other characters are defined by their clothing or their ethnicities in such a way, and Nijo is the only explicitly Japanese woman at the table.71 Due to these inaccuracies and a reliance on stereotyping, along with some of the casting and directing choices as analyzed above, it is possible for Nij\u00C5\u008D\u00E2\u0080\u0099s portrayal on stage to reach the level of caricature. Top Girls underlines Nij\u00C5\u008D\u00E2\u0080\u0099s achievement as a woman, including her ability to rebel against unjust actions and her freedom when she traveled as a nun. But the play also highlights how unhappy her life was and how much her life was controlled by the men around her, exemplified by her inability to raise her own four children. Churchill\u00E2\u0080\u0099s play is not a retelling of Towazugatari, but instead it borrows the character of Nij\u00C5\u008D, enabling her to retell her own story in a modern, dreamlike setting. However, Churchill\u00E2\u0080\u0099s adaptation is also the only one that was originally written in English, and thus it is indebted to Brazell\u00E2\u0080\u0099s translation, emphasizing the obvious importance of the role of translation for wider reception. But this also means that Churchill\u00E2\u0080\u0099s Nijo is completely dependant on Brazell\u00E2\u0080\u0099s interpretations and, therefore, issues such as her first name or the fact that she might be a fictional person are completely ignored. For British audiences and scholars for whom Chruchill\u00E2\u0080\u0099s work was their first interaction with Nij\u00C5\u008D, Top Girl presents its version of her story, in a way, as a replacement of Towazugatari. Hutcheon argues that transcultural adaptations \u00E2\u0080\u009Coften mean changes in racial and gender politics.\u00E2\u0080\u009D72 In Top Girls, gender politics are at the centre of the play, and they remain a major topic of discussion at Marlene\u00E2\u0080\u0099s dinner party. Nijo\u00E2\u0080\u0099s life story and regrets are used as a way to introduce themes that are explored later on in the play. Indeed, Marlene\u00E2\u0080\u0099s career might be successful, but, similarly to Nijo, 70 \u00E2\u0080\u009CLady Nijo from Japan, Emperor\u00E2\u0080\u0099s concubine and Buddhist nun, thirteenth century.\u00E2\u0080\u009D Caryl Churchill, Top Girls, 20. 71 Of course, this is not the case when the production of the play employs Japanese actors such as when stage production of Top Girls happens in Japan. 72 Linda Hutcheon, A Theory of Adaptation, 147. 35 she had to give up raising her daughter herself. Churchill\u00E2\u0080\u0099s imagining of this opening dinner scene, with admirable women from different time periods coming together, was read \u00E2\u0080\u009Cas a feminist act because feminists during the 1970s often engaged in the reclaiming of female historical figures who were overlooked by mainstream scholars.\u00E2\u0080\u009D73 But this argument gets complicated by scholars who have discussed how most of the women present at the dinner party \u00E2\u0080\u009Chave all either assumed male roles or embody archetypical feminine qualities\u00E2\u0080\u009D and thus questioned whether those characters actually \u00E2\u0080\u009Cchallenge patriarchal values or perpetuate them.\u00E2\u0080\u009D74 In addition, both Top Girls and Jiss\u00C5\u008Dji\u00E2\u0080\u0099s Asaki yumemishi are the only live-action adaptations of Towazugatari and are, therefore, able to convey different information to the audience through sound and movement. As a stage production, Top Girls is also accessible through both its performed and written forms and can thus be enjoyed in either of its two different formats. 7.3 \u00C2\u00A0Manga Adaptations Besides novel adaptations of Towazugatari, manga is the most common genre used by writers to retell Nij\u00C5\u008D\u00E2\u0080\u0099s story. Spanning from 1985 to 2008, four manga adaptations of the story were published. The first two works are both part of larger series on historical women and were tasked with compressing all of Nij\u00C5\u008D\u00E2\u0080\u0099s life into a stand-alone volume, whereas later adaptations are composed of several volumes and were serialized in magazines before being compiled into manga volumes. In this section, I argue that the first two published adaptations were concerned with educating their readers about Nij\u00C5\u008D\u00E2\u0080\u0099s story and did not attempt to change the content of the text much whereas the two multi-volumes series were able to mold the story differently to suit their audiences\u00E2\u0080\u0099 expectations. 73 Alicia Tycer, Caryl Churchill\u00E2\u0080\u0099s Top Girls, 37. 74 Ibid., 61. 36 7.3.1 \u00C2\u00A0Miya Chie\u00E2\u0080\u0099s GoFukakusa-in Nij\u00C5\u008D The first instance of manga adaptation of Towazugatari can be traced back to the work of Miya Chie \u00E5\u00AE\u00AE\u00E5\u008D\u0083\u00E6\u0081\u00B5 who authored a one-shot volume, published in 1985, entitled GoFukakusa-in Nij\u00C5\u008D \u00E5\u00BE\u008C\u00E6\u00B7\u00B1\u00E8\u008D\u0089\u00E9\u0099\u00A2\u00E4\u00BA\u008C\u00E6\u009D\u00A1.75 Miya\u00E2\u0080\u0099s work is part of the larger thirty-volume series \u00E2\u0080\u009CRoman komikkusu jinbutsu Nihon no joseishi\u00E2\u0080\u009D \u00E3\u0083\u00AD\u00E3\u0083\u009E\u00E3\u0083\u00B3\u00E3\u0083\u00BB\u00E3\u0082\u00B3\u00E3\u0083\u009F\u00E3\u0083\u0083\u00E3\u0082\u00AF\u00E3\u0082\u00B9\u00E4\u00BA\u00BA\u00E7\u0089\u00A9\u00E6\u0097\u00A5\u00E6\u009C\u00AC\u00E3\u0081\u00AE\u00E5\u00A5\u00B3\u00E6\u0080\u00A7\u00E5\u008F\u00B2\u00E5\u00A5\u00B3\u00E6\u0080\u00A7\u00E5\u008F\u00B2 (Novel Comics: Figures in Japanese Women\u00E2\u0080\u0099s History ) published by Sekai Bunkasha. The series explores the lives of various women, starting with Queen Himiko \u00E5\u008D\u0091\u00E5\u00BC\u00A5\u00E5\u0091\u00BC (175 CE\u00E2\u0080\u0093around 248 CE) in Volume One76 and continuing through such historical figures as Izumi Shikibu \u00E5\u0092\u008C\u00E6\u00B3\u0089\u00E5\u00BC\u008F\u00E9\u0083\u00A8, (ca 966\u00E2\u0080\u0093?, Volume 10), Oichi no kata \u00E3\u0081\u008A\u00E5\u00B8\u0082\u00E3\u0081\u00AE\u00E6\u0096\u00B9 (1547\u00E2\u0080\u00931583, Volume 20),77 and finishing with a volume on the life of Narasaki Ry\u00C5\u008D \u00E6\u00A5\u00A2\u00E5\u00B4\u008E \u00E9\u00BE\u008D (1841\u00E2\u0080\u00931906, Volume 30), the wife of Sakamoto Ry\u00C5\u008Dma \u00E5\u009D\u0082\u00E6\u009C\u00AC \u00E9\u00BE\u008D\u00E9\u00A6\u00AC (1836\u00E2\u0080\u00931967). Instead of naming her manga after Nij\u00C5\u008D\u00E2\u0080\u0099s work, which might not have been well known at the time, Miya chose to focus on Nij\u00C5\u008D herself by naming the work after her. The work starts with a two-page spread of text explaining the life of Nij\u00C5\u008D and is followed by an illustrated family tree that also includes her lovers and their relationships to each other.78 The last pages after the story include a map of the imperial palace and a chronology of the story, starting with emperor GoFukakusa\u00E2\u0080\u0099s birth.79 Additionally, the story itself contains several annotations that explain in further detail some of the vocabulary used or who the characters are through a system of asterisks.80 We can therefore conclude that the volume aims to educate its audience by introducing them to the story of a writer with whom they might not be particularly familiar. 75 Miya Chie, GoFukakusa-in Nij\u00C5\u008D (Tokyo: Sekai Bunkasha, 1985). 76 Ruler of the Yamatai, a chiefdom in early Japanese history. For more information about Himiko please refer to Edward J. Kidder, Himiko and Japan's Elusive Chiefdom of Yamatai: Archaeology, History, and Mythology (Honolulu: University of Hawai'i Press, 2007), xi\u00E2\u0080\u0093xiii. 77 Sister of Oda Nobunaga and famous samurai woman. For more information, please refer to Stephen Turnbull, Samurai Women 1184\u00E2\u0080\u00931877 (Oxford: Osprey Publishing, 2012), 23\u00E2\u0080\u009325. 78 Ibid., 6\u00E2\u0080\u009310. 79 Ibid., 194\u00E2\u0080\u0093195. 80 For example, Koga Masatada\u00E2\u0080\u0099s first introduction on page 17 is accompanied by such a note. 37 The first scene of the manga depicts Nij\u00C5\u008D playing the biwa for the emperor; she even appears on the cover embracing this instrument, highlighting her musical talent. The inclusion of the instrument is notable as Tonomura notes that for Nij\u00C5\u008D it \u00E2\u0080\u009Csignifies defeat and humiliation\u00E2\u0080\u009D81 as illustrated in the latter part of the volume, when she cuts the strings of her instrument after being humiliated at a concert.82 The main character\u00E2\u0080\u0099s first name in this manga is Ako \u00E9\u0098\u00BF\u00E5\u00AD\u0090. There are no notes explaining Miya\u00E2\u0080\u0099s choice for this kanji, but, in the first instance of the name appearing on the page, the name Nij\u00C5\u008D appears in a text box with the name Ako presented in brackets beside it.83 Throughout the manga, many characters, including the emperor, Nij\u00C5\u008D\u00E2\u0080\u0099s father Masatada, and even some of the other female attendants, refer to the main character as Ako. The story focuses on Nij\u00C5\u008D and her three lovers: the emperor, Saionji Sanekane, and, later into the story, the Imperial High Priest Sh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D. Some other important scenes of the original text are included, such as the concert based on The Tale of Genji, but her relationships with the three men take centre stage. The story ends shortly after her tonsure. 7.3.1.1 \u00C2\u00A0Miya\u00E2\u0080\u0099s Depiction of Nij\u00C5\u008D and Her Relationships The style of drawing of this manga is reminiscent of the 1970s style of manga targeting young women. Indeed, the characters are drawn with sharp noses and chins and sparkly eyes that are surrounded by long lashes.84 Chie\u00E2\u0080\u0099s work contains many sexually explicit scenes, generally involving Nij\u00C5\u008D and one of her lovers, in panels that are busy with flowery details or long locks of hair that spill over the page\u00E2\u0080\u0099s gutter.85 Nij\u00C5\u008D\u00E2\u0080\u0099s relationship with Sh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D and her guilt over having to abandon her children are particularly apparent in the later pages of the manga. Throughout the story, her relationship with the head priest is traumatic for the young woman, and she is reticently coerced into 81 Hitomi Tonomura, \u00E2\u0080\u009CCoercive Sex,\u00E2\u0080\u009D 323 82 Miya Chie, GoFukakusa-in Nij\u00C5\u008D, 175. 83 Ibid., 10. 84 I am thankful to Professor Sharalyn Orbaugh for pointing out some of these aspects to me and taking the time to discuss visual representations in the book, but any mistakes in the description of the manga artist\u00E2\u0080\u0099s style are my own. 85 The space between the panels. For further discussion of gutters and their effects in comics please see Scott McCloud, Understanding Comics: The Invisible Art (New York: Harper Collins Publishers, 1994), 60\u00E2\u0080\u009393. 38 participating in this relationship, as exemplified by the scene where Sh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D catches her sleeves and forcefully brings her into a room and kisses her.86 Nij\u00C5\u008D resists his advances by referring to the Imperial High Priest\u00E2\u0080\u0099s position, qualifying his actions as dreadful (osoroshii), and stating that the Buddha would not allow such actions.87 The scene mentions hell and depicts flames while Nij\u00C5\u008D reflects on what is happening, clutching herself.88 Furthermore, during the second sexual encounter between these two characters, instead of depicting the two having sex, a large snake is shown coiling around Nij\u00C5\u008D\u00E2\u0080\u0099s naked body.89 In addition, speech bubbles in the scene read \u00E2\u0080\u009Cno\u00E2\u0080\u00A6!\u00E2\u0080\u009D (iya\u00E2\u0080\u00A6! \u00E3\u0081\u0084\u00E3\u0082\u0084\u00E2\u0080\u00A6!) and \u00E2\u0080\u009CSomeone\u00E2\u0080\u00A6\u00E2\u0080\u009D (dareka\u00E2\u0080\u00A6\u00E3\u0081\u00A0\u00E3\u0082\u008C\u00E3\u0081\u008B\u00E2\u0080\u00A6) highlighting Nij\u00C5\u008D\u00E2\u0080\u0099s will to be rescued from the situation.90 Finally, Nij\u00C5\u008D asks Sh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D to \u00E2\u0080\u009Cforget her if he truly loves her\u00E2\u0080\u009D91 and seems concerned about his willingness to go to hell because of his love for her.92 Immediately after this scene, the Imperial High Priest is depicted as unable to pray due to his fixation on Nij\u00C5\u008D and sends a letter to her stating that, because of their interaction, he has failed in his faith and his resentment will follow her.93 In Miya\u00E2\u0080\u0099s depiction of this relationship, she strongly emphasizes the difficult position of the Imperial High Priest and underlines his willingness to risk descending into hell. The snake imagery seems to emphasize the immoral nature of their interaction, which is invoked later in a scene where Nij\u00C5\u008D recalls this relationship with Sh\u00C5\u008Djo H\u00C5\u008Dshinn\u00C5\u008D and Miya includes the large snake once more, placing text around it\u00E2\u0080\u0099s body, describing Nij\u00C5\u008D\u00E2\u0080\u0099s thoughts regarding the priest\u00E2\u0080\u0099s resentment.94 The snake can be interpreted as a phallic image but could also be read as a representation of sin in the Biblical sense and might highlight a certain western influence of Miya\u00E2\u0080\u0099s work. Nij\u00C5\u008D and the Imperial High Priest do not 86 Miya Chie, GoFukakusa-in Nij\u00C5\u008D, 136. 87 Ibid., 138. 88 Ibid., 140. 89 Ibid., 154. 90 Ibid. 91 \u00E3\u0082\u008F\u00E3\u0081\u009F\u00E3\u0081\u0097\u00E3\u0082\u0092\u00E3\u0081\u00BB\u00E3\u0082\u0093\u00E3\u0081\u00A8\u00E3\u0081\u0086\u00E3\u0081\u00AB\u00E6\u0084\u009B\u00E3\u0081\u0097\u00E3\u0081\u00A6\u00E3\u0081\u0084\u00E3\u0082\u008B\u00E3\u0081\u00AE\u00E3\u0081\u00AA\u00E3\u0082\u0089\u00E3\u0081\u00A9\u00E3\u0081\u0086\u00E3\u0081\u008B\u00E3\u0082\u008F\u00E3\u0081\u009F\u00E3\u0081\u0097\u00E3\u0082\u0092\u00E5\u00BF\u0098\u00E3\u0082\u008C\u00E3\u0081\u00A6\u00E2\u0080\u00A6! Ibid., 155. 92 Ibid. 93 Ibid., 157. 94 Ibid., 178. 39 meet again for the rest of the story, but she receives a letter after he passes away following his illness and gives birth to the child she has been carrying since their last encounter.95 Immediately afterwards, she cuts her hair and becomes a nun, leaving her lovers behind.96 7.3.1.2 \u00C2\u00A0The Genji-Inspired Concert Scene As mentioned above, Miya includes a retelling of the Genji-inspired concert scene where, due to his loss at an archery competition against his younger brother the retired emperor Kameyama (1249\u00E2\u0080\u00931305, r. 1259\u00E2\u0080\u00931274), GoFukakusa organizes a concert based on The Tale of Genji chapter \u00E2\u0080\u009CSpring Shoots II\u00E2\u0080\u009D (Wakana ge).97 In Miya\u00E2\u0080\u0099s manga, the scene opens with Nij\u00C5\u008D discussing the upcoming concert and being certain that she will be assigned the role of the Third Princess (Onna Sannomiya \u00E5\u00A5\u00B3\u00E4\u00B8\u0089\u00E3\u0081\u00AE\u00E5\u00AE\u00AE),98 but she is instead assigned to play the minor role of Lady Akashi (Akashi no Ue \u00E6\u0098\u008E\u00E7\u009F\u00B3\u00E3\u0081\u00AE\u00E4\u00B8\u008A).99 Miya portrays Nij\u00C5\u008D as shocked by this revelation, as the reader is able to access her thoughts when she realizes that she was assigned the role with the lowest social status (mibun \u00E8\u00BA\u00AB\u00E5\u0088\u0086).100 She also includes the reaction of her two female attendants who are depicted in astonished poses, one with her hand over her mouth.101 To make matters worse she is seated at the concert in front of the lady playing the Third Princess,102 instead of being placed behind her as the social status of their respective roles would dictate. Lord Takachika is very distraught at the situation, shaking and interrupting the preparation by stepping onto the concert stage and demanding a change of seating assignments.103 The scene is depicted quite 95 Ibid., 185\u00E2\u0080\u0093186. 96 Ibid., 189. 97 Royall Tyler, trans., The Tale of Genji, 48. 98 The daughter of Emperor Suzaku, a step-brother of Genji. She was given to Genji as a wife when he was already quite old. 99 One of Genji\u00E2\u0080\u0099s wives who bore him a daughter, later adopted by Murasaki, his principal wife. She is of lower standing than the other wives of Genji. 100 Miya Chie, GoFukakusa-in Nij\u00C5\u008D, 166. 101 Ibid. 102 The daughter of Lord Takachika (1203\u00E2\u0080\u00931279?), Nij\u00C5\u008D\u00E2\u0080\u0099s maternal grandfather. He requested for his daughter, a new comer at court to get this role. 103 Ibid., 170. 40 violently as he seizes Nij\u00C5\u008D\u00E2\u0080\u0099s sleeve and the back of her head, forcefully trying to make her move.104 In addition, Miya includes him stating that Nij\u00C5\u008D\u00E2\u0080\u0099s deceased father was of a lower rank while men in the background are shown whispering to each other with the onomatopoeia zawa \u00E3\u0082\u00B6\u00E3\u0083\u00AF, denoting gloominess and unease.105 Nij\u00C5\u008D stands up quickly, pushing Lord Takachika and giving him an angry glare as depicted by the two bright stars placed upon her eyes.106 In the next scene, Miya shows Nij\u00C5\u008D cutting her biwa\u00E2\u0080\u0099s strings, paralleling her trapped position by inserting a large image of a spider with a prey in its web.107 In the original Towazugatari, the scene is also used as a way to underline Nij\u00C5\u008D\u00E2\u0080\u0099s position at court, but Miya, by including this scene in the later part of her story, is able to effectively crystallize the feelings of unfairness and entrapment felt by Nij\u00C5\u008D. In addition, it happens in the manga just before she learns about Ajari\u00E2\u0080\u0099s passing, and all of these events seem to be at the origin of her decision to leave court. By restructuring events, displaying strong instances of violence towards Nij\u00C5\u008D, and including strong imagery of entrapment and danger, Miya is able to quickly convey to the reader the situation at court for her main character. 7.3.1.3 \u00C2\u00A0GoFukakusa-in Nij\u00C5\u008D: An Educational and Entertaining Manga While Miya\u00E2\u0080\u0099s GoFukakusa-in Nij\u00C5\u008D may not closely follow all of the events depicted in Towazugatari, it offers compelling elements to attract a mature, primarily female audience and aims to educate and entertain at the same time. As the first instance of adaptation in a manga format, the fact that it is part of a historical collection and the inclusion of extra information regarding the original Towazugatari both showcase the educational aspects of the work. By focusing primarily on her relationships with her lovers, while also including Nij\u00C5\u008D\u00E2\u0080\u0099s guilt over leaving her children and her feeling 104 Ibid., 171. 105 Ibid., 172. 106 Ibid. 107 Ibid., 174. 41 responsible for the Imperial High Priest\u00E2\u0080\u0099s fall from grace, Miya is able to present a complex depiction of her main character. Because of its publication within a larger series concerned with highlighting Japanese women\u00E2\u0080\u0099s history, this adaptation can be seen as part of a broader scholarly concern in the 1980s about women\u00E2\u0080\u0099s history and autobiography.108 Miya\u00E2\u0080\u0099s work can also be seen as one of the first popular culture depictions of Nij\u00C5\u008D\u00E2\u0080\u0099s tale and as part of the first wave of adaptations of the text, amongst the second wave of scholarly reception of the work. Miya\u00E2\u0080\u0099s intention with this work was not, it seems, to analyze Nij\u00C5\u008D\u00E2\u0080\u0099s story, however its publication allowed for the text to reach a larger audience as a way to promote women\u00E2\u0080\u0099s history and writing in Japan. Due to its format and visual cues that can be easily understood by audiences who are familiar with the manga genre, GoFukakusa-in Nij\u00C5\u008D is much more accessible and might even reach a larger audience than the original text. Interestingly, the first manga adaptation of The Tale of Genji occurred in 1979, and spanned almost fourteen years of serialization, ending in 1993.109 Despite the very late discovery of Towazugatari and the extensive popularity of Genji, the first manga adaptation of each is separated by only six years. This might be because of the increasing popularity of sh\u00C5\u008Djo manga110 in the 1980s and the multiplication of monthly magazines.111 In these works, sex scenes that would have been taboo until then appeared more openly, an element that appears in all manga adaptations of Towazugatari.112 According to Yuika Kitamura, manga adaptations of Genji were made possible by the publication of modern language translations of the original text.113 In GoFukakusa-in Nij\u00C5\u008D, Miya does not provide information about which version of the text she used as inspiration, but she might have read 108 Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production,\u00E2\u0080\u009D 104. 109 Yuika Kitamura, \u00E2\u0080\u009CSexuality, Gender, and The Tale of Genji in Modern Japanese Translations and Manga,\u00E2\u0080\u009D in Envisioning The Tale of Genji: Media, Gender, and Cultural Production, ed. Haruo Shirane (New York: Columbia University Press, 2008), 334. 110 Manga intended for an audience of girls and young women. 111 Ibid., 334. 112 Ibid., 335. 113 Ibid., 332. 42 Setouchi\u00E2\u0080\u0099s 1973 version. Thus, Miya\u00E2\u0080\u0099s version can be seen as part of the first wave of manga adaptations of Towazugatari, as part of both a larger concern for promoting premodern women\u00E2\u0080\u0099s work but also a larger expansion of manga targeting young women. 7.3.2 \u00C2\u00A0Igarashi Yumiko\u00E2\u0080\u0099s Towazugatari The next adaptation did not occur until 2000, when Igarashi Yumiko \u00E3\u0081\u0084\u00E3\u0081\u008C\u00E3\u0082\u0089\u00E3\u0081\u0097\u00E3\u0082\u0086\u00E3\u0081\u00BF\u00E3\u0081\u0093 (1950\u00E2\u0080\u0093)114 produced another manga adaptation simply titled Towazugatari \u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A.115 Like Miya Chie\u00E2\u0080\u0099s work, this volume is part of a larger thirty-two-volume series entitled Manga Nihon no koten \u00E3\u0083\u009E\u00E3\u0083\u00B3\u00E3\u0082\u00AC\u00E6\u0097\u00A5\u00E6\u009C\u00AC\u00E3\u0081\u00AE\u00E5\u008F\u00A4\u00E5\u0085\u00B8 (Japanese Classics in Manga) published by Ch\u00C5\u00AB\u00C5\u008D Koron Shinsha. The series starts with a volume on the Kojiki \u00E5\u008F\u00A4\u00E4\u00BA\u008B\u00E8\u00A8\u0098 (Record of Ancient Matters, 720), has two volumes on The Tale of Genji, and finishes with a volume on ghost stories (kaidan). The paper band (obi) around the Towazugatari volume claims: \u00E2\u0080\u009CIf you read classical literature as manga, it suddenly becomes fun.\"116 Once again, the purpose of this one-shot manga seems to be both education and entertainment. The work opens with a small text box explaining what the original work is about, and explanatory notes at the bottom of some of the pages provide further information or backstory. For example, the first panel has a note explaining who Nij\u00C5\u008D\u00E2\u0080\u0099s parents were. The format of the volume mirrors a book, with a table of contents at the beginning listing five different chapters which seem to mirror the five Books of the original, supplemental material at the end, and an afterword by the author. The final pages reference all the texts the author used to create her work as well as a genealogy, making the text appear highly scholarly.117 Further, the author addresses the audience directly in her afterword, 114 Born in Hokkaido, Igarashi started her career as a manga artist while in her final year of high school and published her first work in 1968. In 1977, she received the first prize of the K\u00C5\u008Ddansha Manga Award (K\u00C5\u008Ddansha Manga Sh\u00C5\u008D \u00E8\u00AC\u009B\u00E8\u00AB\u0087\u00E7\u00A4\u00BE\u00E6\u00BC\u00AB\u00E7\u0094\u00BB\u00E8\u00B3\u009E) for her art in the manga Candy, Candy (Kyandi, kyandi \u00E3\u0082\u00AD\u00E3\u0083\u00A3\u00E3\u0083\u00B3\u00E3\u0083\u0087\u00E3\u0082\u00A3\u00E3\u0083\u00BB\u00E3\u0082\u00AD\u00E3\u0083\u00A3\u00E3\u0083\u00B3\u00E3\u0083\u0087\u00E3\u0082\u00A3). In 2010, a museum dedicated to her work opened in Okayama Prefecture. The official page of the museum provides further information about Igarashi: Yumiko Igurashi Museum, http://www.aska-planning-design.co.jp/museum/museumtop.html (accessed March 2018). 115 Igarashi Yumiko, Towazugatari (Tokyo: Ch\u00C5\u00AB\u00C5\u008D Koron Shinsha, 2000). 116 \u00E3\u0083\u009E\u00E3\u0083\u00B3\u00E3\u0082\u00AC\u00E3\u0081\u00A7\u00E5\u008F\u00A4\u00E5\u0085\u00B8\u00E3\u0082\u0092\u00E8\u00AA\u00AD\u00E3\u0082\u0093\u00E3\u0081\u00A0\u00E3\u0082\u0089\u00E3\u0080\u008C\u00E5\u008F\u00A4\u00E5\u0085\u00B8\u00E3\u0080\u008D\u00E3\u0081\u008C\u00E4\u00BF\u0084\u00E7\u0084\u00B6\u00E3\u0080\u0081\u00E6\u00A5\u00BD\u00E3\u0081\u0097\u00E3\u0081\u008F\u00E3\u0081\u00AA\u00E3\u0081\u00A3\u00E3\u0081\u009F\u00E3\u0080\u0082 117 Ibid., 270\u00E2\u0080\u0093272. 43 explaining her working process and how she was able to create this work a believable portrayal of Nij\u00C5\u008D.118 Finally, she states that Nij\u00C5\u008D\u00E2\u0080\u0099s love lasted for half a century and encourages her readers to challenge themselves by also achieving a \u00E2\u0080\u009Chalf-century love\u00E2\u0080\u009D (hanseiki no koi \u00E5\u008D\u008A\u00E4\u00B8\u0096\u00E7\u00B4\u0080\u00E3\u0081\u00AE\u00E6\u0081\u008B).119 The story starts by summarizing the life of Nij\u00C5\u008D, here called Akako \u00E8\u00B5\u00A4\u00E5\u00AD\u0090, up to the night before her entry to court when the emperor forces himself on her after having reached an agreement with her father.120 The story is told directly from Nij\u00C5\u008D\u00E2\u0080\u0099s point of view through the use of boxes of text that spell out her inner monologue. This allows the reader to gain direct insight into the main character\u00E2\u0080\u0099s thoughts, and the effect seems to follow the first person format of the original Towazugatari. Once at court, Nij\u00C5\u008D sees the priest Ajari and is mesmerized by his chanting voice but frightened by the way he looks at her.121 Unlike Chie\u00E2\u0080\u0099s depiction which sports a full mane of hair,122 Igarashi\u00E2\u0080\u0099s Ajari is completely bald. Igarashi\u00E2\u0080\u0099s choices in this depiction of the priest makes him a truly frightening character at first, especially as he is often made to grab Nij\u00C5\u008D suddenly from behind or look intensely at her, but he becomes a rather pitiful character towards the end, repeatedly depicted crying and embracing Nij\u00C5\u008D. Sanekane appears after the birth of Nij\u00C5\u008D\u00E2\u0080\u0099s daughter, and their relationship seems to blossom when Nij\u00C5\u008D is saddened and rendered jealous by the emperor\u00E2\u0080\u0099s amorous ways. The style of art feels very much like a sh\u00C5\u008Djo manga with the inclusion of exaggerated reactions for some of the characters at times, such as the scene where the emperor\u00E2\u0080\u0099s eyes disappear when he is hit by Nij\u00C5\u008D,123 and background designs in the panels of the page, such as flower petals. 118 Ibid., 271 119 Ibid. 120 Ibid., 10\u00E2\u0080\u009323. 121 Ibid., 28. 122 Miya Chie, GoFukakusa-in Nij\u00C5\u008D, 113. 123 Igarashi Yumiko, Towazugatari, 17 44 7.3.2.1 \u00C2\u00A0Igarashi\u00E2\u0080\u0099s Concert Scene Igarashi\u00E2\u0080\u0099s didactic approach in her adaptation of Towazugatari can be seen in her depiction of the Tale of Genji-inspired concert scene. Through the use of text boxes, the author is able to introduce the event by having Nij\u00C5\u008D herself explain the reason such a concert is happening: GoFukakusa\u00E2\u0080\u0099s loss at an archery competition against his younger brother, the retired emperor Kameyama.124 Behind the explanatory text are stylized female attendants in the panel\u00E2\u0080\u0099s background, their robes and hair flowing throughout the panel, representing the ladies from Genji.125 After enumerating each woman\u00E2\u0080\u0099s role and the instruments they are to play, Igarashi includes a panel that shows Nij\u00C5\u008D\u00E2\u0080\u0099s discomfort about playing the biwa as a low-ranking lady, once again giving the reader access to the protagonist\u00E2\u0080\u0099s thoughts and showing her distressed state by presenting a close-up of her face with furled eyebrows and her sleeve over her mouth.126 The next three panels do not contain any text and are meant to represent time passing while the women are playing their instruments.127 In the following few panels, Nij\u00C5\u008D is humiliated and asked to change where she sits by her grandfather Lord Takachika because she is in front of her aunt who is to play the role of a higher ranking lady, the Third Princess.128 Igarashi is able to convey the situation rapidly by including all this information though a character\u00E2\u0080\u0099s speech bubbles and pictures Nij\u00C5\u008D\u00E2\u0080\u0099s discomfort and shame by silencing her inner monologue and only including one of her thoughts, when she first recognizes Lord Takachika.129 On the following panel, Nij\u00C5\u008D is shown standing up, the upper part of the panel full of black lines emanating from her back, symbolizing her anger.130 Igarashi decides not to depict Nij\u00C5\u008D 124 Ibid., 148. 125 Ibid. 126 Ibid., 149. 127 Ibid., 150. 128 Ibid., 150\u00E2\u0080\u0093151. 129 \u00E2\u0080\u009CGrandfather?\u00E2\u0080\u009D (\u00E2\u0080\u009C\u00E3\u0081\u008A\u00E3\u0081\u0098\u00E3\u0081\u0084\u00E6\u00A7\u0098?\u00E2\u0080\u009D Ojiisama?) Ibid., 149. 130 Ibid., 151. 45 cutting the strings of her biwa, but she sends GoFukakusa a poem along with the strings.131 On the next page, the author provides a modern transcription of the poem as an endnote to allow her readership to fully understand the conversation between GoFukakusa and Kameyama regarding Nij\u00C5\u008D\u00E2\u0080\u0099s poem. By allowing her reader direct insight into Nij\u00C5\u008D\u00E2\u0080\u0099s thoughts and by providing additional explanations and visual cues, Igarashi is able to present a scene inspired by Towazugatari yet easily grasped by an audience who might not be knowledgeable about classical literature. Igarashi\u00E2\u0080\u0099s work is particularly successful at depicting Nij\u00C5\u008D\u00E2\u0080\u0099s facial expressions to highlight her emotions, such as in the last scene of the manga where she runs after the emperor\u00E2\u0080\u0099s funeral cortege, losing her shoes and her prayer beads. The scene culminates in a one-page panel where a barefooted Nij\u00C5\u008D, in her nun\u00E2\u0080\u0099s clothing, cries in vain after the emperor while younger versions of herself are depicted in the background.132 Here, the text is secondary and occupies very little space on the page. The spread focuses on Nij\u00C5\u008D\u00E2\u0080\u0099s emotions, which are emphasized by her facial expressions, with tears flowing and eyebrows furling. In addition, Igarashi inserts very small panels depicting little details of Nij\u00C5\u008D\u00E2\u0080\u0099s body: the tears flowing on her chin, her foot hitting a stone, pain symbolized by a tiny star rising from her toe, and her hand falling to the ground, breaking her rosary.133 This rapid succession of small panels gives a sense of dynamism to the whole scene and contrasts heavily with the one-panel page that follows, where Nij\u00C5\u008D is fully represented from head to toe. Interestingly, the last few pages of the manga depict Nij\u00C5\u008D writing134 and reaffirm her love and devotion to the emperor, showing how they managed to remain bonded for life because of their strong attachment to each other.135 By providing background information and including key scenes from the classical Towazugatari tale, such as the Genji-inspired concert or the scene of GoFukakusa\u00E2\u0080\u0099s funeral, Igarashi is able to provide 131 Ibid., 153. 132 Ibid., 266. 133 Ibid., 265. 134 She calls her work nonsensical or meaningless (itazuragoto). 135 Ibid., 268\u00E2\u0080\u0093269. 46 a highly detailed story that is accessible to a wide variety of audiences. There are a few sexually explicit scenes, for example Nij\u00C5\u008D is depicted topless when the priest disrobes her,136 but Igarashi tends to leave much to the imagination of her readers. She is able to convey the difficulties of Nij\u00C5\u008D\u00E2\u0080\u0099s situation by showing men abusing their power over her, such as the emperor forcing himself on her in the first few pages of the story or Ajari suddenly seizing her from behind, in scenes that provide a shock through their violence towards the protagonist. The manga offers a useful introduction to Nij\u00C5\u008D\u00E2\u0080\u0099s story for new readers because of the numerous explanations presented by Igarashi and her attention to detail within dynamic scenes. Published fifteen years after Miya\u00E2\u0080\u0099s work, Igarashi had a very similar purpose with her Towazugatari: educating audiences about Nij\u00C5\u008D\u00E2\u0080\u0099s story. However, if Miya\u00E2\u0080\u0099s work can be seen as part of a larger movement whose purpose was to promote women\u00E2\u0080\u0099s writings, Igarashi\u00E2\u0080\u0099s is part of a series with a broader goal of promoting works that span a larger timeframe and that do not focus only on historical women. However, both texts are quite similar in how they summarize Towazugatari in a single volume and focus on Nij\u00C5\u008D\u00E2\u0080\u0099s time at court, ending quickly after her tonsure. But, because of Igarashi\u00E2\u0080\u0099s popularity as a manga artist, her work likely reached a larger audience than Miya\u00E2\u0080\u0099s, and she is also more transparent about her research methods and the works she uses as primary and secondary sources for the completion of her manga. 7.3.3 \u00C2\u00A0Umino Tsunami\u00E2\u0080\u0099s K\u00C5\u008Dky\u00C5\u00AB The next manga adaptation of Towazugatari titled K\u00C5\u008Dky\u00C5\u00AB \u00E5\u00BE\u008C\u00E5\u00AE\u00AE(Inner Palace)137 and written by Umino Tsunami\u00E6\u00B5\u00B7\u00E9\u0087\u008E\u00E3\u0081\u00A4\u00E3\u0081\u00AA\u00E3\u0081\u00BF (1970\u00E2\u0080\u0093),138 was serialized from May 2006 to November 2007 in the josei manga139 magazine Kiss and republished into five tank\u00C5\u008Dbon volumes140 in 2007. Unlike the stand-alone 136 Ibid., 143. 137 Umino Tsunami, K\u00C5\u008Dky\u00C5\u00AB, 5 vols. (Tokyo: Kodensha Comics Kiss, 2007). 138 Umino Tsunami is from Hy\u00C5\u008Dgo Prefecture and debuted her first manga, A Wish to the Moon (Otsukisamani onegai \u00E3\u0081\u008A\u00E6\u009C\u0088\u00E6\u00A7\u0098\u00E3\u0081\u00AB\u00E3\u0081\u008A\u00E9\u00A1\u0098\u00E3\u0081\u0084), in 1989. Her series, translated into English as The Full-Time Wife Escapist (Nigeru wa haji daga yaku ni tatsu\u00E9\u0080\u0083\u00E3\u0081\u0092\u00E3\u0082\u008B\u00E3\u0081\u00AF\u00E6\u0081\u00A5\u00E3\u0081\u00A0\u00E3\u0081\u008C\u00E5\u00BD\u00B9\u00E3\u0081\u00AB\u00E7\u00AB\u008B\u00E3\u0081\u00A4) and serialized in Kiss since 2012, was made into a television series in 2016. Her works tend to be published in Kiss, and she writes mainly romance stories. In the afterword of Volume One of Inner Palace she states that it is her fist work set in such a time period. 139 Manga for adult women. 47 volumes of Miya Chie and Igarashi Yumiko, Umino\u00E2\u0080\u0099s work is more expansive and, thus, able to focus on Nij\u00C5\u008D\u00E2\u0080\u0099s story with greater detail while providing more background information about the text. For example, after the chapter\u00E2\u0080\u0099s title page showcasing Nij\u00C5\u008D and a poem, presented in both premodern Japanese and with a modern translation, Umino gives information about the time period in which the story is set. In the first panel, she states the year, 1271, and situates her story by noting that Marco Polo was seventeen and living in Venice with his father while, in Japan, the Mongolian invasions took place.141 She then quickly states the Japanese political climate of the time and even includes a genealogical chart to explain the imperial succession system.142 Nij\u00C5\u008D herself is introduced in detail on the next few pages with a small panel regarding her upbringing, her mother\u00E2\u0080\u0099s relationship to the emperor, and a chart to explain the different hierarchical positions of female attendants in the court.143 In addition, the name, age, and position of each important person she meets is also provided for clarity, and the first two-page spread of each volume includes an image that depicts the various characters of the story, their ages, and their relationship to Nij\u00C5\u008D herself. In Volume One, Nij\u00C5\u008D is fourteen; she is twenty-four at the beginning of Volume Five and turns forty at the very end. Umino\u00E2\u0080\u0099s reference material is listed at the end of some of the volumes, highlighting her research methods. The author was also able to select elements that were not present in Towazugatari, such as poems from the imperial anthologies (chokusenwakash\u00C5\u00AB), to include in her work.144 Umino includes an afterword at the end of every volume in which she discusses her creative process145 and some of her editorial decisions, such as the use of Agako \u00E5\u0090\u00BE\u00E5\u00AD\u0090 as her choice for Nij\u00C5\u008D\u00E2\u0080\u0099s first name due to 140 Independent volume. When referring to a manga volume, this term creates a distinction between chapters of a story serialized in a magazine and the same chapters collected into an independent volume. Tank\u00C5\u008Dbon can be understood as similar to the production of trade paperbacks for English-language audiences. 141 Umino Tsunami, K\u00C5\u008Dky\u00C5\u00AB, vol. 1, 10. 142 Ibid. 143 Ibid., vol. 1, 12\u00E2\u0080\u009313. 144 Ibid., vol. 5, 191. 145 She had to extrapolate things from the content of the original text because it did not explicitly denote who said certain things. 48 the implication of the meaning \u00E2\u0080\u009Cmy child\u00E2\u0080\u009D (agako \u00E6\u0088\u0091\u00E3\u0081\u008C\u00E5\u00AD\u0090).146 This meaning is also illustrated directly in the manga, where the emperor, upon meeting a young Nij\u00C5\u008D, tells her, \u00E2\u0080\u009CFrom now on, you will be my child (wagako),\u00E2\u0080\u009D and he compares her directly with Genji\u00E2\u0080\u0099s young wife Murasaki.147 7.3.3.1 \u00C2\u00A0Length and Details The story follows the original text closely, beginning with a fourteen-year-old Nij\u00C5\u008D before her entry to court. The entire first chapter deals with the emperor\u00E2\u0080\u0099s attitude towards the young woman, her naivety, and the way he forces himself upon her.148 The second chapter of the work is a flashback that introduces the reader to Nij\u00C5\u008D\u00E2\u0080\u0099s mother Sukedai and her relationship to the emperor.The multi-volume format of the work enables Umino to offer more backstory and fully explore the emperor\u00E2\u0080\u0099s childhood and his love of Sukedai. This is the first non-novel adaptation that includes a detailed chapter dedicated to Sukedai and the reasons for GoFukakusa\u00E2\u0080\u0099s strong attachment to Nij\u00C5\u008D. Because of the number of chapters in the story, Umino does not introduce Ajari until Volume Three, and Nij\u00C5\u008D\u00E2\u0080\u0099s relationship with Sanekane is only briefly discussed in Volume One, allowing the author to fully expand the character of GoFukakusa. Nij\u00C5\u008D\u00E2\u0080\u0099s relationship with Sanekane and GoFukakusa\u00E2\u0080\u0099s attachment to Nij\u00C5\u008D since she was a child are recurring themes throughout the manga, with Umino often using flashbacks to show the emperor\u00E2\u0080\u0099s interaction with young Nij\u00C5\u008D. Umino recounts events of Nij\u00C5\u008D\u00E2\u0080\u0099s life in detail, such as the Tale of Genji-inspired concert scene that was also depicted in Miya Chie\u00E2\u0080\u0099s and Igarashi Yumiko\u00E2\u0080\u0099s mangas, to which the author dedicates an entire chapter. She shows some of GoFukakusa and Kameyama\u00E2\u0080\u0099s archery competition and provides, once again, much information about the hierarchical positions of the ladies taking part in the concert with the help of charts.149 Before the concert starts, Nij\u00C5\u008D is asked to change places with her aunt and, 146 Ibid.,vol. 4, 189. 147 Ibid., vol. 1, 69. 148 Ibid., vol. 1, 10\u00E2\u0080\u009344. 149 Ibid., vol. 4, 20\u00E2\u0080\u009321. 49 unlike Igarashi, Umino chooses to present the reader with an insight into Nij\u00C5\u008D\u00E2\u0080\u0099s thoughts directly, highlighting her lack of support at court.150 Again, unlike Igarashi\u00E2\u0080\u0099s depiction of the same scene, Umino places the emphasis on Nij\u00C5\u008D\u00E2\u0080\u0099s distress and humiliation rather than showing her resolve when she stands up. This is depicted by the use of the onomatopoeic terms gaku \u00E3\u0082\u00AC\u00E3\u0082\u00AF, which shows her trembling, and biku \u00E3\u0083\u0093\u00E3\u0082\u00AF\u00E3\u0083\u0083,151 to show her sudden surprise and recoil when Lord Takachika screams at her.152 Umino also depicts the scene where Nij\u00C5\u008D cuts the strings of her biwa and sends them with a poem to the emperor.153 Umino includes copious information regarding the events that led to the concert, such as background information about The Tale of Genji and information related to Nij\u00C5\u008D herself and why she is placed in such a predicament. In the last volume, she focuses on Nij\u00C5\u008D\u00E2\u0080\u0099s life after her tonsure, a part of Towazugatari that is shortened in both Miya\u00E2\u0080\u0099s and Igarashi\u00E2\u0080\u0099s works to leave more space for her romantic adventures at court. Umino does not depict the act of tonsure itself and surprises the reader with Nij\u00C5\u008D\u00E2\u0080\u0099s new appearance a few panels after she declares her intentions to become a nun.154 Finally, Umino\u00E2\u0080\u0099s final chapter focuses on Princess Y\u00C5\u00ABgimon-in \u00E9\u0081\u008A\u00E7\u00BE\u00A9\u00E9\u0096\u0080\u00E9\u0099\u00A2 (1270\u00E2\u0080\u00931307), a daughter of GoFukakusa and consort to emperor GoUda (1267\u00E2\u0080\u00931324, r. 1274\u00E2\u0080\u00931287) who meets Nij\u00C5\u008D while praying at Iwashimizu Hachiman shrine.155 Umino not only illustrates the scene from Towazugatari of the two women meeting but also depicts an earlier scene where Y\u00C5\u00ABgimon-in meets the emperor for the first time. She thus incorporates information about events happening at the court even after Nij\u00C5\u008D\u00E2\u0080\u0099s departure and illustrates historical events that were not directly witnessed by Nij\u00C5\u008D in Towazugatari. The inclusion of Y\u00C5\u00ABgimon-in\u00E2\u0080\u0099s perspective also presents a certain circularity in women\u00E2\u0080\u0099s roles at court as Y\u00C5\u00ABgimon-in\u00E2\u0080\u0099s naivety during her first meeting with 150 Ibid., vol. 4, 27. 151 From bikkuri, to be startled. 152 Ibid., vol. 4, 26\u00E2\u0080\u009327. 153 Ibid., vol. 4, 29. 154 Ibid., vol. 5, 106. 155 Ibid., vol. 5, 181. 50 GoUda can be paralleled with that of Nij\u00C5\u008D with GoFukakusa. At the end of the story, Nij\u00C5\u008D recalls her past and is shown writing \u00E2\u0080\u0094presumably Towazagatari\u00E2\u0080\u0094 while remembering her past experiences and lovers. 7.3.3.2 \u00C2\u00A0Authorial Intent Umino is quite active online and open to conversations with her fans, and I was able to ask her about her work and her choice of adaptation material on her own personal blog in April 2017.156 The author states that, firstly, she simply found Towazugatari to be particularly interesting and deep.157 For her audience, since there are quite a few people who are not very familiar with classical Japanese literature, she tried as much as possible to craft a work that was easy to understand by including extra information and pieces of trivia. This happens throughout each volume with explanations of ranks and relationships in the panels with the help of charts and drawings, but Umino also includes additional contextualizing material at the end of each volume to explain the historical or cultural significance to be found in the first page illustration of each chapter, starting with Volume Two where she explains such concepts as mizura \u00E8\u00A7\u0092\u00E9\u00AB\u00AA158 and kemari \u00E8\u00B9\u00B4\u00E9\u009E\u00A0.159 Umino adds that, upon completing the work, she felt like she had experienced the life of someone else and wishes that her readers would, in the same way, be able to experience the history and customs of the past through the life of one woman.160 Due to the length of her work and her extensive research, Umino\u00E2\u0080\u0099s text succeeds in portraying Nij\u00C5\u008D\u00E2\u0080\u0099s life in greater detail than previous manga adaptations, and her attention to historical events allows her to depict a story that continues despite the main protagonist\u00E2\u0080\u0099s removal from its main setting. Indeed, Umino is careful in placing her story within a historical timeline, providing the reader with specific 156 Umino Tsunami, \u00E2\u0080\u009CUmino Tsunami Darekuto,\u00E2\u0080\u009D Umino Tsunami*Information, http://uminotsunami.seesaa.net/article/391079264.html (accessed March 2018). 157 Ibid. 158 Mizura is a special hairstyle with two buns on the side of the head, worn by aristocratic boys. This hairstyle denotes the fact that the wearer is still a child. 159 Kemari or kickball, was a classical court pastime played by aristocratic men. 160 Ibid. 51 events that occur at the very beginning of her story in order to situate it for the reader, and she also provides information regarding the emperor\u00E2\u0080\u0099s succession at the end of the story. By carefully grounding her story in history, Umino presents a narrative that is close to its source material yet part of a larger story that does not revolve solely around Nij\u00C5\u008D. Indeed, even though the reader is given direct insight into her thoughts, the flashback story about GoFukakusa and Sukedai allows the reader to more fully understand the emperor\u00E2\u0080\u0099s motivations as well. Similarly, the inclusion of a chapter titled \u00E2\u0080\u009CIntermission,\u00E2\u0080\u009D which centres on Sanekane, allows the reader to also see the source of his strong attachment to Nij\u00C5\u008D.161 At times Ajari\u00E2\u0080\u0099s thoughts are included for the audience to understand his internal struggles regarding his relationship to Nij\u00C5\u008D and his religion. Finally, although Nij\u00C5\u008D\u00E2\u0080\u0099s romantic relationships are central to the story, Umino takes time to explore other aspects of her main character\u00E2\u0080\u0099s life in order for the reader to understand her position at court, her struggles, and, ultimately, her decision to become a nun. Due to the author\u00E2\u0080\u0099s research and the work\u00E2\u0080\u0099s long serialization, Umino\u00E2\u0080\u0099s story seems to be the most extensive manga adaptation of Towazugatari. It is important to note that this text is the first extended serialization of an adaptation of Nij\u00C5\u008D\u00E2\u0080\u0099s story, and while it is not part of a larger series centred on historical figures, it strongly grounds Nij\u00C5\u008D and her work amongst Japanese history and allows her audience to experience the life of a Kamakura-era woman. Starting with Umino\u00E2\u0080\u0099s text, and likely due to the increasing popularity of serialization, the more recent manga adaptations of Towazugatari are longer and do not fit within a larger existing collection of other historical works, allowing their merits to stand on their own. The following example of a manga adaptation of the text is also a serialized story, but it is quite different from Umino\u00E2\u0080\u0099s due to both its audience and style. 161 Umino Tsunami, K\u00C5\u008Dky\u00C5\u00AB, vol. 3, 126\u00E2\u0080\u0093133. 52 7.3.4 \u00C2\u00A0Miou Serina\u00E2\u0080\u0099s Towazugatari From 2007 to 2008 Miou Serina\u00E7\u00BE\u008E\u00E6\u00A1\u009C\u00E3\u0081\u009B\u00E3\u0082\u008A\u00E3\u0081\u00AA162 serialized Towazugatari\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A in the sh\u00C5\u008Djo manga magazine Sho-Comi.163 Her work was then published in three tank\u00C5\u008Dbon volumes in 2008.164 The story centres on fourteen-year-old Akako \u00E3\u0081\u0082\u00E3\u0081\u008B\u00E3\u0081\u0093, whose life until then and motivations are quickly explained to the reader on the first page: her mother Sukedai died when she was two years old, she entered into the inner palace at age four, and her primary interest is to find love.165 Immediately after introducing Nij\u00C5\u008D to the reader, Miou has her come across Sanekane on the next page.166 Despite the length of this manga, Miou does not spend much time situating Nij\u00C5\u008D\u00E2\u0080\u0099s story and, instead, introduces one of Nij\u00C5\u008D\u00E2\u0080\u0099s love interests on the second page. The main character\u00E2\u0080\u0099s reaction to meeting Sanekane follows many conventions of the sh\u00C5\u008Djo genre: a heartbeat illustrated by the dokin \u00E3\u0083\u0089\u00E3\u0082\u00AD\u00E3\u0083\u00B3 onomatopoeia and a face flushed in embarrassment. Miou\u00E2\u0080\u0099s Nij\u00C5\u008D has a more pronounced, youthful look that is made to appeal to the younger readership of this manga. The male characters introduced in this volume, Sanekane and GoFukakusa, also appear younger than in any other manga representation so far, due to their large eyes and triangular faces. Despite this, the story depicts many scenes of a sexual nature, and several of these encounters are represented as violent and non-consensual. By introducing Sanekane so early in the text, Miou creates an amorous connection between Nij\u00C5\u008D and Sanekane right from the beginning. Indeed, she is depicted thinking of him often, receiving his letters, and even having dreams about him.167 This relationship is also used as a foil for Nij\u00C5\u008D and her 162 Miou Serina was born in Osaka in 1979. Her first work, Reaching My Voice (todoite my voice\u00E5\u00B1\u008A\u00E3\u0081\u0084\u00E3\u0081\u00A6 My Voice), was published in 2004 in a special issue of the magazine Sh\u00C5\u008Djo Komikku (\u00E5\u00B0\u0091\u00E5\u00A5\u00B3\u00E3\u0082\u00B3\u00E3\u0083\u009F\u00E3\u0083\u0083\u00E3\u0082\u00AF), the former name of Sho-Comi. Besides Towazugatari, Miou has also written a four-volume adaptation of The Tale of Genji (2007). She publishes in other sh\u00C5\u008Djo magazines and also in an online erotic sh\u00C5\u008Djo magazine called Mobafura (\u00E3\u0083\u00A2\u00E3\u0083\u0090\u00E3\u0083\u0095\u00E3\u0083\u00A9). More information about Miou\u00E2\u0080\u0099s works can be found on her personal blog: Miou Serina, Miou Serina no Burogu, https://ameblo.jp/serina-miou/ (accessed March 26 2018). 163 Author\u00E2\u0080\u0099s biography included in the first volume of Miou Serina, Towazugatari (Japan: Shogakukan, 2008). The Japanese magazine title is published in romanized form as \u00E2\u0080\u009CSho-Comi.\u00E2\u0080\u009D 164 Miou Serina, Towazugatari, 3 vols. (Japan: Sh\u00C5\u008Dgakukan, 2008). 165 Ibid., vol. 1, n.p. 166 Ibid., vol. 1, n.p. 167 Ibid., vol. 1, n.p. 53 interaction with GoFukakusa. Her naivety and misunderstanding of his intentions are made clear early on when he seizes her hands, looking towards her father Masatada for approval, while she is depicted as flustered and confused. Later on, she dreams of Sanekane and wakes up to the emperor hugging her and mistakenly confesses her love to him.168 After rejecting his advances, she muses on the fact that she already has Sanekane and starts writing a letter to him. GoFukakusa enters her chambers again and becomes angry and jealous when he reads the letter. He then forces himself on her while she protests physically and verbally. This scene is echoed later on, when Nij\u00C5\u008D serves as a go-between for GoFukakusa and the Ise Priestess and stands before the door of their bedchambers; the same type of protestation and screams can be heard coming from inside the room.169 Overall, GoFukakusa is depicted as a rather forceful and violent man who often physically imposes his will upon his lover, and even if Nij\u00C5\u008D\u00E2\u0080\u0099s feelings towards him change and she starts loving him, his actions are still often depicted as violent. Even in a scene painted as humorous his aggressiveness takes centre stage, as exemplified when he suddenly tries to kiss her and she has to rebuke him with a pillow.170 Later on, he possessively calls Nij\u00C5\u008D his woman and allows Lord Konoe to sleep with her as a way of taking revenge on her for sleeping with Ajari. By portraying the emperor as particularly forceful and in competition with Sanekane for Nij\u00C5\u008D\u00E2\u0080\u0099s affection, Miou is able to create an effective triangular relationship, adding tension to her story that is heightened later on with the introduction of Ajari in Volume Two. Miou\u00E2\u0080\u0099s portrayal of Ajari is quite different from all the depictions seen in adaptations of Towazugatari so far. Indeed, he is not overly threatening towards Nij\u00C5\u008D even though he tries to kiss her on their first meeting. He is instead depicted as playful, as illustrated by a scene where he feeds Nij\u00C5\u008D a 168 Ibid., vol. 1, n.p. 169 Ibid., vol. 1, n.p. 170 Ibid., vol. 2, n.p. 54 dango \u00E5\u009B\u00A3\u00E5\u00AD\u0090171 by putting it in front of her mouth as she turns her head to look at him after he calls her name. Later, when she refuses his advances, he is able to reassure her by stating that he is ready to assume any type of punishment for his actions, and she turns and kisses him herself.172 After their relationship has been established, he assumes a protective stance towards her as exemplified when he reassures and consoles Nij\u00C5\u008D after her night with Lord Konoe. Miou\u00E2\u0080\u0099s depiction of Ajari as caring and loving serves as a balancing force, contrasting her depiction of GoFukakusa as controlling and cruel. This is particularly apparent in Volume Three where GoFukakusa is the one who personally takes Nij\u00C5\u008D and Ajari\u00E2\u0080\u0099s child away from her in order to avoid a scandal. Ajari, on the other hand, consoles Nij\u00C5\u008D and cries with her about the family they could have had.173 Later, when Nij\u00C5\u008D has to leave court, she encounters GoFukakusa accompanied by two women. When she states that she wishes she could have served him until the end, he points at the women and tells her that they are her replacement.174 In the end, Nij\u00C5\u008D is shown wondering which of her lovers she loved the most, and, realizing it is the emperor, she sneaks into the palace and spends one last night with him. The next morning, she leaves him and, after recalling her past lovers, realizes that she has had enough. Miou depicts Nij\u00C5\u008D cutting her hair herself when becoming a nun, a scene that was not shown in any previous manga adaptation. In the last pages, she is writing Towazugatari, which she calls a diary or nikki \u00E6\u0097\u00A5\u00E8\u00A8\u0098, and she reflects on her life, wondering what type of woman the reader of Towazugatari would think she was. Here, Miou\u00E2\u0080\u0099s focus on Nij\u00C5\u008D\u00E2\u0080\u0099s love story is made quite clear as she completely omits most of Books Four and Five of the original Towazugatari, and the reader does not get to see much of Nij\u00C5\u008D\u00E2\u0080\u0099s life after her tonsure. 171 A type of round sweet dumpling made with rice flour. 172 Ibid., vol. 2, n.p. 173 Ibid., vol. 3, n.p. 174 Ibid., vol. 3, n.p. 55 7.3.4.1 \u00C2\u00A0Miou\u00E2\u0080\u0099s Towazugatari: A Contemporary Retelling When discussing manga adaptation of classics, Nicholas A. Thesein argues that \u00E2\u0080\u009Cclassics in manga and likewise in Japanese culture are precisely non-classical.\u00E2\u0080\u009D175 He describes how a manga adaptation of the classical story of Orpheus and Eurydice uses many elements found in sh\u00C5\u008Djo manga, such as the setting being a \u00E2\u0080\u009Ccloistered academy\u00E2\u0080\u009D and the inclusion of a love triangle.176 Similar elements can be found in Miou\u00E2\u0080\u0099s story, including the cloistered nature of the court and the different lovers connected to Nij\u00C5\u008D. The author\u00E2\u0080\u0099s depictions of her three main male characters seem to also be based on love story archetypes overlapped onto Nij\u00C5\u008D\u00E2\u0080\u0099s lovers: Sanekane is the \u00E2\u0080\u009Cfirst love,\u00E2\u0080\u009D GoFukakusa is the \u00E2\u0080\u009Caggressive and jealous\u00E2\u0080\u009D type, while Ajari is the \u00E2\u0080\u009Cmore sensitive\u00E2\u0080\u009D type. These archetypes give the text a very contemporary atmosphere, heightened by the use of modern terms and expressions. Miou\u00E2\u0080\u0099s language is very contemporary as well and much more casual than any other manga adaptations of Towazugatari. Although Nij\u00C5\u008D still calls the retired emperor My Lord (gosho sama \u00E5\u00BE\u00A1\u00E6\u0089\u0080\u00E3\u0081\u0095\u00E3\u0081\u00BE), she uses the very casual and feminine atashi \u00E3\u0081\u0082\u00E3\u0081\u009F\u00E3\u0081\u0097 to refer to herself, and characters use casual language with each other throughout the entire story.177 For example, gossiping female attendants employ the very casual and contemporary majide \u00E3\u0083\u009E\u00E3\u0082\u00B8\u00E3\u0081\u00A7178 to denote surprise. Moreover, Miou uses present-day words in an anachronistic way, creating a schism between the location and appearance of the characters and their ways of speaking. For example, when GoFukakusa tries to sleep with Nij\u00C5\u008D she calls him a roricon \u00E3\u0083\u00AD\u00E3\u0083\u00AA\u00E3\u0082\u00B3\u00E3\u0083\u00B3, a man with a Lolita complex or attraction to very young women.179 Furthermore, Volumes Two and Three contain two extra, unrelated love stories set in the contemporary period, highlighting once again the casual tone of Miou\u00E2\u0080\u0099s story. 175 Nicholas A. Thesein, \u00E2\u0080\u009CDeclassicizing the Classical in Japanese Comics: Osamu Tezuka\u00E2\u0080\u0099s Apollo\u00E2\u0080\u0099s Song,\u00E2\u0080\u009D in Classics and Comics, eds. George Kovacs and C.W. Marshall (New York: Oxford University Press, 2011), 59. 176 Ibid., 63. 177 For example, the emperor calls Nij\u00C5\u008D over with a very familiar: \u00E2\u0080\u009CCome over, will you?\u00E2\u0080\u009D (kokoni kuru ka \u00E3\u0081\u0093\u00E3\u0081\u0093\u00E3\u0081\u00AB\u00E3\u0081\u008F\u00E3\u0082\u008B\u00E3\u0081\u008B). 178 \u00E2\u0080\u009CNo way!?\u00E2\u0080\u009D 179 Miou Serina, Towazugatari, vol. 1, n.p. 56 In May 2017, I sent an email to Serina Miou asking her about this particular work and why she chose such a text. According to her, Miou\u00E2\u0080\u0099s editors requested that she draw a manga based on a piece of classic Japanese literature the main theme of which was love.180 She started looking on the internet for such a work and came across Towazugatari. She mentions tackling the same type of genre previously when she worked on her four-volume adaptation of The Tale of Genji (2007). That work was published in a magazine aimed at young, mid-teenage girls, and so she aimed her Towazugatari adaptation at this type of audience as well. The text and expression of the characters were composed in a contemporary way, and she aimed to produce a work that would also be enjoyable for those who do not like classical literature.181 Unlike all of the other manga adaptations of the text, Miou\u00E2\u0080\u0099s work seems to use the settings and characters of Towazugatari as a way to portray a historical love story between one woman and her three lovers. By using archetypes for her male characters, the author is able to present a familiar love story to a 21st century audience, set in an uncommon setting. Interestingly, Miou\u00E2\u0080\u0099s 2007 adaptation of The Tale of Genji in four volumes is advertised in each volume of Towazugatari with the tagline \u00E2\u0080\u009CThe classical literature series easiest to read in all of Japan.\u00E2\u0080\u009D182 7.4 \u00C2\u00A0Non-Novel Adaptations: From Written to Visual By looking at several adaptations of Towazugatari in this chapter, I have been able to suggest some of the reasons why the authors created works that reimagine Nij\u00C5\u008D\u00E2\u0080\u0099s story. The first instance of adaptation introduced Nij\u00C5\u008D\u00E2\u0080\u0099s life story but divorced it from the work, essentially replacing the text immediately, as it introduced the story of an unknown woman to a non-academic audience. Jiss\u00C5\u008Dji and Churchill use Nij\u00C5\u008D in two different ways but similarly focused on parts of her life that better helped to convey their message. The former uses Shij\u00C5\u008D\u00E2\u0080\u0099s story as a way to convey the decadence of the Kamakura aristocratic class and the importance of redemption. The latter, however, invites Nij\u00C5\u008D to interact with 180 Miou Serina, email message to the author, May 2017. 181 Ibid. 182 \u00E2\u0080\u009C\u00E6\u0097\u00A5\u00E6\u009C\u00AC\u00E4\u00B8\u0080\u00E8\u00AA\u00AD\u00E3\u0081\u00BF\u00E3\u0082\u0084\u00E3\u0081\u0099\u00E3\u0081\u0084\u00E5\u008F\u00A4\u00E5\u0085\u00B8\u00E3\u0082\u00B7\u00E3\u0083\u00AA\u00E3\u0083\u00BC\u00E3\u0082\u00BA\u00E2\u0080\u009D 57 other historical and fictional figures in order to highlight the struggle of women\u00E2\u0080\u0099s experiences and the difficulties and troubles associated with womanhood. The two first instances of manga adaptations were part of larger historical series and, despite been published fifteen years apart, take a similar approach to education and entertainment. However, due to the popularity of serialization, the two most recent manga adaptations were able to either include many of Towazugatari\u00E2\u0080\u0099s scenes, even those occurring after her tonsure, or focus fully on her love relationships by using romantic archetypes and contemporary language to appeal to a younger audience. Overall, the audiences of these adaptations would probably not have been exposed to the story before encountering these works. Hence, I argue that they act as a replacement for Nij\u00C5\u008D\u00E2\u0080\u0099s story, especially since they are self-contained and do not require a knowledge of the original in order to be understood. Several creators, such as Umino Tsunami or Jiss\u00C5\u008Dji Akio, were able to provide extensive background information about the time period that would, once again, negate the need for the audiences to search for the original text. Works that utterly dissociate Nij\u00C5\u008D from her text, such as Kitabatake\u00E2\u0080\u0099s story and Caryl Churchill\u00E2\u0080\u0099s Top Girls, create new incarnations of Nij\u00C5\u008D that completely replace the woman presented in Towazugatari. In this way, they are able to convey different messages to their audiences using Nij\u00C5\u008D\u00E2\u0080\u0099s story as a conduit. The order in which these non-novel adaptations have appeared is interesting as well. First, a short written story was published in a literary magazine, and then two live-action adaptations of the text came out one after the other. Finally, manga adaptations were released, first in 1985 and then later in the 2000s. This slow change of medium, from written form, to live action, then to the visual arts, highlights the perceived hierarchy of artistic expression which tends to favor written mediums while neglecting the 58 performative and visual arts.183 The number of manga adaptations also likely benefited from the 1950s\u00E2\u0080\u0099 Genji boom mentioned earlier and the publication of the first Genji manga in 1979. In the next chapter of this thesis, I will look first at Setouchi Harumi\u00E2\u0080\u0099s novel Ch\u00C5\u00ABsei enj\u00C5\u008D and explore how the author\u00E2\u0080\u0099s attachment to Towazugatari has allowed her to produce many works inspired by the text. By revisiting Towazugatari in three distinct forms, Setouchi was able to focus on different aspects of the text while inserting her own life experience into Nij\u00C5\u008D\u00E2\u0080\u0099s story. Setouchi\u00E2\u0080\u0099s relationship with classical literature spans many other works, most notably The Tale of Genji and the diary of Izumi Shikibu (ca. 966\u00E2\u0080\u0093?), and her reworking of many of these stories allowed her to give a stronger voice to female characters such as in her Nyonin Genji monogatari \u00E5\u00A5\u00B3\u00E4\u00BA\u00BA\u00E6\u00BA\u0090\u00E6\u00B0\u008F\u00E7\u0089\u00A9\u00E8\u00AA\u009E (The Ladies\u00E2\u0080\u0099 Tale of Genji, 1989). In addition, Setouchi\u00E2\u0080\u0099s life seems to closely resemble Nij\u00C5\u008D\u00E2\u0080\u0099s: both women are writers, had affairs, and became Buddhist nuns. In the following chapter, I will quickly summarize Setouchi\u00E2\u0080\u0099s life and Ch\u00C5\u00ABsei enj\u00C5\u008D before examining important scenes, such as the ending, which strongly differ from the original work. In the second part of the chapter, I will be looking at Sugimoto Sonoko\u00E2\u0080\u0099s novelization, Shin Towazugatari, a historical novel with a shift in the main character, from Nij\u00C5\u008D to one of her lovers. Like Setouchi\u00E2\u0080\u0099s Ch\u00C5\u00ABsei enj\u00C5\u008D, Sugimoto\u00E2\u0080\u0099s adaptation is concerned with retelling Nij\u00C5\u008D\u00E2\u0080\u0099s story while including many historical and political events that were not mentioned in the original. 183 Linda Hutcheon, A Theory of Adaptation, 4. 59 Chapter Three: Setouchi Harumi and Sugimoto Sonoko 8.1 \u00C2\u00A0Setouchi Harumi and Towazugatari When she serialized Ch\u00C5\u00ABsei enj\u00C5\u008D\u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E7\u0082\u008E\u00E4\u00B8\u008A (Medieval Scandal1) in 1971, Setouchi Harumi\u00E2\u0080\u0099s work was one of the first modern adaptations of Towazugatari, produced a year before Jiss\u00C5\u008Dji\u00E2\u0080\u0099s movie version and twenty-years after the discovery of the text by Yamagishi. Setouchi\u00E2\u0080\u0099s interest in the text has fueled several of her works of fiction and non-fiction, from the 1970s to the 1990s. By producing a modern language translation of the text in 1973, she helped open up the work to a wider range of audiences who might not have read the text in its original form or found accessible the scholarly annotations of the classical text and its translations into modern Japanese. Setouchi\u00E2\u0080\u0099s approach was to educate the public, as can be seen in works such as Watashi no sukina koten no onnatachi \u00E7\u00A7\u0081\u00E3\u0081\u00AE\u00E5\u00A5\u00BD\u00E3\u0081\u008D\u00E3\u0081\u00AA\u00E5\u008F\u00A4\u00E5\u0085\u00B8\u00E3\u0081\u00AE\u00E5\u00A5\u00B3\u00E3\u0081\u009F\u00E3\u0081\u00A1 (My Favorite Women from Classical Texts, 1982) which explains canonical texts to the readers and introduces them to some of her favorite characters.2 She has also offered public lectures on Towazugatari, as in November 1973 when she presented a talk at Waseda University entitled \u00E2\u0080\u009CTowazugatari o megutte: ch\u00C5\u00ABsei no jidai to bungaku\u00E2\u0080\u009D \u00E3\u0080\u008E\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A\u00E3\u0080\u008F\u00E3\u0082\u0092\u00E3\u0082\u0081\u00E3\u0081\u0090\u00E3\u0081\u00A3\u00E3\u0081\u00A6\u00E2\u0080\u0094\u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E3\u0081\u00AE\u00E6\u0099\u0082\u00E4\u00BB\u00A3\u00E3\u0081\u00A8\u00E6\u0096\u0087\u00E5\u00AD\u00A6\u00E2\u0080\u0094 (In Regard to Towazugatari: The Medieval Period and its Literature).3 Through her production of numerous texts that either reference Towazugatari or are a rewriting of the original text, Setouchi may be considered the most ambitious writer to adapt Towazugatari into multiple forms. Her dual positioning as an educator yet also someone who empathizes with and sees herself as a double for Nij\u00C5\u008D results in a variety of texts that replace 1 I am thankful to Professor Christina Laffin for suggesting such a translation for Setouchi\u00E2\u0080\u0099s work. Other proposed translations can be found in Sachiko Schierbeck\u00E2\u0080\u0099s Japanese Women Novelists in the 20th Century: 140 Biographies 1900\u00E2\u0080\u00931993 as \u00E2\u0080\u009CBlazings in the Noble Ages\u00E2\u0080\u009D and in Masayo Kaneko\u00E2\u0080\u0099s \u00E2\u0080\u009CSetouchi Jakuch\u00C5\u008D: Female Subjectivity in the Exploration of \u00E2\u0080\u0098Self,' Sexuality, and Spirituality\u00E2\u0080\u009D as \u00E2\u0080\u009CThe Medieval Era in Flames.\u00E2\u0080\u009D 2 Setouchi Harumi, Watashi no sukina koten no onnatachi (Tokyo: Shinch\u00C5\u008Dsha, 1973). 3 Machida Sakae, \u00E2\u0080\u009CSetouchi Bungaku to Towazugatari: Tsuke, Sugimoto Sonoko Shin Towazugatari,\u00E2\u0080\u009D Atomi Gakuen Joshi Daigaku Kiy\u00C5\u008D 24 (1991): 57. 60 Towazugatari, providing interpretations and rereadings that suggest strong parallels between the protagonist and Setouchi herself. In this chapter, I will carry out a close reading of Ch\u00C5\u00ABsei enj\u00C5\u008D by focusing on important scenes modeled on Towazugatari that appear aimed at providing both background information and entertainment to the reader, including the two opening chapters that focus on Nij\u00C5\u008D\u00E2\u0080\u0099s mother, Sukedai. I will then analyze the novel\u00E2\u0080\u0099s ending, which diverges from Towazugatari by introducing a scene in which Nij\u00C5\u008D murders another character. Finally, I will also briefly look at Setouchi\u00E2\u0080\u0099s other works that involve or mention Nij\u00C5\u008D or her text, in order to understand how Towazugatari wends its way through Setouchi\u00E2\u0080\u0099s oeuvre and why the author embarked on these multiple adaptations. Did Setouchi\u00E2\u0080\u0099s adaptation process change through the roughly twenty years during which she used Towazugatari as a source of adaptation? How might her adaptation process be related to transformations impacting her own life, such as her tonsure? I will begin by providing a brief biography of Setouchi. 8.1.1 \u00C2\u00A0Setouchi Harumi/Jakuch\u00C5\u008D Born Setouchi Harumi in 1922, she is now known as Setouchi Jakuch\u00C5\u008D, after being ordained as a Buddhist nun in November 1973. Commonly referred to as \u00E2\u0080\u009CJakuch\u00C5\u008D-san\u00E2\u0080\u009D she is a familiar face to Japanese today, often appearing on television programs and in interviews. Born in Tokushima, she became infatuated with the works of the poet Kitahara Hakush\u00C5\u00AB (1885\u00E2\u0080\u00931942) and the novelist Shimazaki T\u00C5\u008Dson (1872\u00E2\u0080\u00931943) during her elementary school years and decided to become a writer herself. In high school, she encountered a modern transcription of The Tale of Genji and wrote poetry that she submitted to her school\u00E2\u0080\u0099s literary journal. In 1940, Setouchi entered Tokyo Women\u00E2\u0080\u0099s University where she spent four years studying Japanese literature. Her graduation thesis was about the writings of Okamoto Kanoko \u00E5\u00B2\u00A1\u00E6\u009C\u00AC\u00E3\u0081\u008B\u00E3\u0081\u00AE\u00E5\u00AD\u0090 (1889\u00E2\u0080\u00931939), whose work and life she would later explore in her 1965 book, Kanoko ry\u00C5\u008Dran \u00E3\u0081\u008B\u00E3\u0081\u00AE\u00E5\u00AD\u0090\u00E6\u0092\u00A9\u00E4\u00B9\u00B1 (Kanoko in a State of Frenzy). After marrying in 1943, she followed her 61 husband to his new assignment in Beijing, where she gave birth to their daughter the following year. After the war and Japan\u00E2\u0080\u0099s defeat, the family returned to Japan, where Setouchi started an affair with one of her husband\u00E2\u0080\u0099s students and eloped, leaving her husband and daughter behind. Her love affair was short-lived because her lover refused to follow her, and she started to pursue a career as a writer, writing fairy tales and stories for young girls. Her 1956 short story Joshidaisei Chui Airin \u00E5\u00A5\u00B3\u00E5\u00AD\u0090\u00E5\u00A4\u00A7\u00E7\u0094\u009F\u00E3\u0083\u00BB\u00E6\u009B\u00B2\u00E6\u0084\u009B\u00E7\u008E\u00B2 (College Girl Qu Ailing) won the Shinch\u00C5\u008D Coterie Magazine Award (Shinch\u00C5\u008D D\u00C5\u008Djin Zasshish\u00C5\u008D \u00E6\u0096\u00B0\u00E6\u00BD\u00AE\u00E5\u0090\u008C\u00E4\u00BA\u00BA\u00E9\u009B\u0091\u00E8\u00AA\u008C\u00E8\u00B3\u009E).4 In 1959, she released Kashin \u00E8\u008A\u00B1\u00E8\u008A\u00AF (Stamen), a novel that caused controversy amongst the Japanese literary circle, or bundan, due to Setouchi\u00E2\u0080\u0099s frank depiction of female sexuality and common use of the word \u00E2\u0080\u009Cshikyu\u00E2\u0080\u009D \u00E5\u00AD\u0090\u00E5\u00AE\u00AE (uterus).5 Based on her own relationship, her next work Natsu no owari \u00E5\u00A4\u008F\u00E3\u0081\u00AE\u00E7\u00B5\u0082\u00E3\u0082\u008F\u00E3\u0082\u008A (The End of Summer) earned her the Women\u00E2\u0080\u0099s Literature Prize (Jory\u00C5\u00AB Bungaku sh\u00C5\u008D\u00E5\u00A5\u00B3\u00E6\u00B5\u0081\u00E6\u0096\u0087\u00E5\u00AD\u00A6\u00E8\u00B3\u009E) in 1963 and redeemed her as an important Japanese writer.6 After moving to Kyoto in 1966, Setouchi rekindled her interest in classical literature, and it is during this period of her life that she published most of her works with connections to Towazugatari. In 1973, she took the tonsure and became a Buddhist nun, changing her name to Setouchi Jakuch\u00C5\u008D. At this point, she began to include Buddhism as a theme in her writing.7 In 1996 she completed a ten-volume modern translation of The Tale of Genji, and she has been giving talks in Japan and abroad about this work as well.8 Besides writing, Setouchi also gives lectures on 4 Masayo Kaneko, \u00E2\u0080\u009CSetouchi Jakuch\u00C5\u008D: Female Subjectivity in the Exploration of \u00E2\u0080\u0098Self,\u00E2\u0080\u0099 Sexuality, and Spirituality,\u00E2\u0080\u009D in The Outsider Within: Ten Essays on Modern Japanese Women Writers, eds. Tomoko Kuribayashi and Mizuho Terasawa (Lanham, Md.: University Press of America, 2002), 70. 5 Ibid., 70. 6 Sachiko Schierbeck, Japanese Women Novelists in the 20th Century: 140 Biographies 1900\u00E2\u0080\u00931993 (Denmark: Museum Truscunalum Press, 1994), 150. 7 Masayo Kaneko, \u00E2\u0080\u009CSetouchi Jakuch\u00C5\u008D,\u00E2\u0080\u009D 63. 8 Ibid., 84. 62 Buddhism, offers retreats and sutra-copying sessions, and is a very important public figure in magazines, television, and radio shows.9 8.1.2 \u00C2\u00A0Publication History of Ch\u00C5\u00ABsei enj\u00C5\u008D In this chapter, I will explore several adaptations of Towazugatari written by Setouchi Harumi, focusing primarily on her 1973 book, Ch\u00C5\u00ABsei enj\u00C5\u008D. Before being published in book format, the work was first serialized in the weekly magazine Sh\u00C5\u00ABkan Asahi \u00E9\u0080\u00B1\u00E5\u0088\u008A\u00E6\u009C\u009D10 from 1971 to 1972. The text was accompanied by brushwork for the title and illustrations by the artist Miyata Masayuki \u00E5\u00AE\u00AE\u00E7\u0094\u00B0\u00E9\u009B\u0085\u00E4\u00B9\u008B (1926\u00E2\u0080\u00931997),11 who was also responsible for the cover illustration of the 1973 book edition. The book was then republished in 1977 and 1989 in a more compact format by Shinch\u00C5\u008Dsha \u00E6\u0096\u00B0\u00E6\u00BD\u00AE\u00E7\u00A4\u00BE with a cover illustration by Kat\u00C5\u008D Tomiko \u00E5\u008A\u00A0\u00E8\u0097\u00A4\u00E7\u0099\u00BB\u00E7\u00BE\u008E\u00E5\u00AD\u0090 (1936\u00E2\u0080\u0093). Unlike Miyata\u00E2\u0080\u0099s illustration, the pocket version of the story does not have a woman represented on the cover but a red cloud-like shape with a darker red shape in the centre, surrounded by plants and shown as being under clouds. The drawing seems to represent a womb, stressing the sexual nature of the text and its content. Despite being rather abstract, the cover conveys the idea of flames and burning that is present in the title, as the title utilizes the word enj\u00C5\u008D\u00E7\u0082\u008E\u00E4\u00B8\u008A, which means to go up in flames. Allusions to fire and burning can be seen all throughout the work, from the red cover, to the fire that erupts in the imperial palace in the first chapter, to the allusions to hell throughout the text. Furthermore, the notion of burning can be associated with the passion of love, a theme that is central to the work. 9 Ibid., 85. 10 Established in 1922, the Sh\u00C5\u00ABkan Asahi is a weekly magazine published by Asahi Shinbun Sh\u00C5\u00ABppan \u00E6\u009C\u009D\u00E6\u0097\u00A5\u00E6\u0096\u00B0\u00E8\u0081\u009E\u00E5\u0087\u00BA\u00E7\u0089\u0088 Asahi Shibun. For more information and to see covers of the magazine through the ages, please visit: \u00E2\u0080\u009CSh\u00C5\u00ABkan Asahi,\u00E2\u0080\u009D Asahi Shinbun Shuppan https://publications.asahi.com/ecs/24.shtml (accessed March 2018). 11 Born in Tokyo, Miyata Masayuki is well-known for his visual artwork and book cover illustrations. Miyata started his career working with woodblock printing, but, from 1965, he focused on a technique called kiri-e which consists of cutting paper to create images. Besides working on Ch\u00C5\u00ABsei enj\u00C5\u008D, as part as his collaboration with weekly magazines Miyata provided illustrations for author Tanizaki Jun'ichir\u00C5\u008D\u00E2\u0080\u0099s \u00E8\u00B0\u00B7\u00E5\u00B4\u008E \u00E6\u00BD\u00A4\u00E4\u00B8\u0080\u00E9\u0083\u008E (1886\u00E2\u0080\u00931965) books and created a kirie-e version of The Tale of Genji. For more information and to see examples of works by Miyata Masayuki, please consult his website: The World of Masayuki Miyata, http://www.masayuki-miyata-kirie.jp (accessed March 2018). 63 Ch\u00C5\u00ABsei enj\u00C5\u008D was anthologized by K\u00C5\u008Ddansha in 1974 in the twelfth volume of Setouchi Harumi ch\u00C5\u008Dhen sensh\u00C5\u00AB \u00E7\u0080\u00AC\u00E6\u0088\u00B6\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E\u00E9\u0095\u00B7\u00E7\u00B7\u00A8\u00E9\u0081\u00B8\u00E9\u009B\u0086 (Long Selections from Setouchi Harumi), together with another story called Rinbu \u00E8\u00BC\u00AA\u00E8\u0088\u009E (Round Dance).12 The text was also included in an anthology of the author\u00E2\u0080\u0099s \u00E2\u0080\u009Ccomplete works\u00E2\u0080\u009D published by Shinch\u00C5\u008Dsha as the Setouchi Jakuch\u00C5\u008D zensh\u00C5\u00AB \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E5\u00AF\u0082\u00E8\u0081\u00B4\u00E5\u0085\u00A8\u00E9\u009B\u0086 (The Complete Setouchi Jakuch\u00C5\u008D) in 2001. In total, Ch\u00C5\u00ABsei enj\u00C5\u008D has been published five times in three different mediums: as a serialized journal, a book, and in an anthology. This suggests that the story was quite popular since it was republished multiple times over the course of thirty years. 8.1.3 \u00C2\u00A0Setouchi\u00E2\u0080\u0099s Other Works with Links to Towazugatari Before publishing Ch\u00C5\u00ABsei enj\u00C5\u008D, Setouchi worked on two books that share strong ties to Towazugatari. From 1967 to 1968 she serialized Gion ny\u00C5\u008Dgo \u00E7\u00A5\u0087\u00E5\u009C\u0092\u00E5\u00A5\u00B3\u00E5\u00BE\u00A1 in the daily newspaper Tokyo shinbun \u00E6\u009D\u00B1\u00E4\u00BA\u00AC\u00E6\u0096\u00B0\u00E8\u0081\u009E and other regional versions of the newspaper.13 The story was then published as a tank\u00C5\u008Dbon in 1969.14 The text opens with a chapter discussing Towazugatari in which Setouchi explains the plot to her readers and provides translated quotations of the text to support her explanations. Thus, this work can be seen as Setouchi\u00E2\u0080\u0099s first explication of Towazugatari and her first published attempt at translating Towazugatari. In her article \u00E2\u0080\u009CSetouchi Harumi (Jakuch\u00C5\u008D) Gion ny\u00C5\u008Dgo ni okeru Towazugatari juy\u00C5\u008D ni tsuite,\u00E2\u0080\u009D Sugita Yoshie points out all the different academic works on Towazugatari that were published in 1966, relatively close to Setouchi\u00E2\u0080\u0099s release of Gion ny\u00C5\u008Dgo, highlighting the period as an important time for the academic reception of Nij\u00C5\u008D\u00E2\u0080\u0099s work.15 Similarly, Fukuda Hideichi mentions the numerous scholarly works, annotations, and articles published on the topic of Towazugatari from 1966 onward and suggests 12 Setouchi Harumi, Setouchi Harumi ch\u00C5\u008Dhen sensh\u00C5\u00AB (Tokyo: K\u00C5\u008Ddansha, 1974). 13 Machida Sakae, \u00E2\u0080\u009CSetouchi Bungaku,\u00E2\u0080\u009D 56. 14 Setouchi Harumi, Gion ny\u00C5\u008Dgo (Tokyo: K\u00C5\u008Ddansha, 1968). 15 Sugita Yoshie, \u00E2\u0080\u009CSetouchi Harumi (Jakuch\u00C5\u008D) Gion ny\u00C5\u008Dgo ni okeru Towazugatari juy\u00C5\u008D ni tsuite,\u00E2\u0080\u009D Shirayuri J\u00C5\u008Dshi Daigaku Gengo, Bungaku Kenky\u00C5\u00AB Sent\u00C4\u0081 Gengo, bungaku kenky\u00C5\u00AB ronsh\u00C5\u00AB 4, (2004), 27. 64 that Setouchi\u00E2\u0080\u0099s interests in those works resulted in her publication of Gion ny\u00C5\u008Dgo.16 When discussing this novel and Towazugatari together, Machida Sakae draws a parallel between the notion of a woman abandoning her own child in Nij\u00C5\u008D\u00E2\u0080\u0099s account and the motif of the abandoned child in Setouchi\u00E2\u0080\u0099s Gion ny\u00C5\u008Dgo.17 Additionally, Sugita underlines the parallel between characters from the two works by pointing to The Tale of Genji characters Genji and Fujistubo and their archetypes that appear in both Towazugatari and Gion ny\u00C5\u008Dgo, and also to the fact that both Nij\u00C5\u008D and Gion ny\u00C5\u008Dgo\u00E2\u0080\u0099s character Michiko \u00E9\u0081\u0093\u00E5\u00AD\u0090 are represented as being talented at playing the biwa.18 In addition, both Nij\u00C5\u008D and Michiko share the appellation \u00E2\u0080\u009CWagako\u00E2\u0080\u009D \u00E5\u0090\u00BE\u00E5\u00AD\u0090 and suffer from the loss of a guardian figure (higosha \u00E5\u00BA\u0087\u00E8\u00AD\u00B7\u00E8\u0080\u0085).19 In total, Sugita argues that Setouchi uses Nij\u00C5\u008D as an inspiration for three different characters in Gion ny\u00C5\u008Dgo.20 Based on this, the first chapter of the story can be seen as Setouchi\u00E2\u0080\u0099s first published discussion and partial translation of Towazugatari and shows her strong interest in the text. Additionally, it is the first instance of her borrowing ideas and concepts from Towazugatari and can therefore be seen as her first steps towards adapting Nij\u00C5\u008D\u00E2\u0080\u0099s story. In 1973, Setouchi was responsible for the modern Japanese translation of Towazugatari in the Nihon no koten \u00E6\u0097\u00A5\u00E6\u009C\u00AC\u00E3\u0081\u00AE\u00E5\u008F\u00A4\u00E5\u0085\u00B8 collection edited by Kawade Shob\u00C5\u008D Shinsha\u00E6\u00B2\u00B3\u00E5\u0087\u00BA\u00E6\u009B\u00B8\u00E6\u0088\u00BF\u00E6\u0096\u00B0\u00E7\u00A4\u00BE. Her translation appeared in the eighth volume, \u00E2\u0080\u009C\u00C5\u008Cch\u00C5\u008D nikki zuihitsush\u00C5\u00AB\u00E2\u0080\u009D \u00E7\u008E\u008B\u00E6\u009C\u009D\u00E6\u0097\u00A5\u00E8\u00A8\u0098\u00E9\u009A\u008F\u00E7\u00AD\u0086\u00E9\u009B\u0086 II (Collected Court Diaries and Essays), as part of a two-volume series containing diaries and miscellaneous writings. It was published alongside modern translations of \u00C5\u008Ckagami \u00E5\u00A4\u00A7\u00E9\u008F\u00A1 (The Great Mirror, 1119), H\u00C5\u008Dj\u00C5\u008Dki \u00E6\u0096\u00B9\u00E4\u00B8\u0088\u00E8\u00A8\u0098 (An Account of My Hut, 1212), and Tsurezuregusa \u00E5\u00BE\u0092\u00E7\u0084\u00B6\u00E8\u008D\u0089 (Essays in Idleness, 1332). Setouchi\u00E2\u0080\u0099s 16 Fukuda Hideichi, \u00E2\u0080\u009CTowazugatari, Izumi Shikibu nikki to Setouchi Harumi: koten to gendai bungaku no mondai no ichi rei,\u00E2\u0080\u009D15. 17 Machida Sakae, \u00E2\u0080\u009CSetouchi Bungaku,\u00E2\u0080\u009D 66. 18 Sugita Yoshie, \u00E2\u0080\u009CSetouchi Harumi (Jakuch\u00C5\u008D) Gion ny\u00C5\u008Dgo ni okeru Towazugatari juy\u00C5\u008D ni tsuite,\u00E2\u0080\u009D 30. 19 Ibid., 31. 20 Ibid., 34. 65 modern translation was then published in a stand-alone volume in 1988.21 However, the translation is incomplete as the last two Books, interestingly the ones that focus on Nij\u00C5\u008D\u00E2\u0080\u0099s travels, are abridged. In the afterword written by scholar Yashima Masaharu \u00E5\u0085\u00AB\u00E5\u00B6\u008C\u00E6\u00AD\u00A3\u00E6\u00B2\u00BB (1938\u00E2\u0080\u0093), Setouchi\u00E2\u0080\u0099s choices are not contested but she is praised for \u00E2\u0080\u009Cboldly cutting\u00E2\u0080\u009D (omoi kitte katto \u00E6\u0080\u009D\u00E3\u0081\u0084\u00E5\u0088\u0087\u00E3\u0081\u00A3\u00E3\u0081\u00A6\u00E3\u0082\u00AB\u00E3\u0083\u0083\u00E3\u0083\u0088).22 Furthermore, Yashima argues that, despite the abridged nature of the two last Books, the translation is still able to follow the original quite closely and that when Setouchi studied those two Books for the first time she assumed that, during their meeting at the temple, GoFukakusa and Nij\u00C5\u008D slept together, qualifying the relationship as \u00E2\u0080\u009CLaclos-like\u00E2\u0080\u009D23 and complicit.24 Yashima also explains how scholarship about Towazugatari and ways of qualifying the text have changed, along with the arguments about Nij\u00C5\u008D\u00E2\u0080\u0099s motives for writing such a work.25 He also mentions Setouchi\u00E2\u0080\u0099s Ch\u00C5\u00ABsei enj\u00C5\u008D, highlighting both the book as well as Setouchi\u00E2\u0080\u0099s interpretation of GoFukakusa and Nij\u00C5\u008D\u00E2\u0080\u0099s relationship as a result of all of those changes in scholarship.26 In 1982, Setouchi published a book entitled Watashi no sukina koten no onnatachi in which she introduces ten different authors and characters. She includes four historical figures, starting with Princess Nukata Nukata no \u00C5\u008Ckimi \u00E9\u00A1\u008D\u00E7\u0094\u00B0\u00E7\u008E\u008B from the Man\u00E2\u0080\u0099y\u00C5\u008Dsh\u00C5\u00AB \u00E4\u00B8\u0087\u00E8\u0091\u0089\u00E9\u009B\u0086 (Collection of a Thousand Leaves, ca. 759); Lady Nij\u00C5\u008D; Izumi Shikibu, Michitsuna\u00E2\u0080\u0099s Mother Michitsuna no Haha \u00E9\u0081\u0093\u00E7\u00B6\u00B1\u00E3\u0081\u00AE\u00E6\u00AF\u008D, the author of Kager\u00C5\u008D nikki \u00E8\u009C\u00BB\u00E8\u009B\u0089\u00E6\u0097\u00A5\u00E8\u00A8\u0098 (The Kager\u00C5\u008D Diary, ca. 974); as well as five characters from The Tale of Genji and one from Tsutsumi Ch\u00C5\u00ABnagon monogatari \u00E5\u00A0\u00A4\u00E4\u00B8\u00AD\u00E7\u00B4\u008D\u00E8\u00A8\u0080\u00E7\u0089\u00A9\u00E8\u00AA\u009E (The Riverside Middle Counsellor\u00E2\u0080\u0099s Stories, late Heian period). In the book, Setouchi begins each chapter with a dedication to one of her favorite ladies by introducing the text in which the woman appears and offering impressions about their 21 Setouchi Harumi, Gendaigoyaku Towazugatari (Japan: Shinch\u00C5\u008Dsha, 1988). 22 Ibid., 268. 23 Yashima uses the expression\u00E3\u0083\u00A9\u00E3\u0082\u00AF\u00E3\u0083\u00AD\u00E9\u00A2\u00A8, presumably based on French writer Pierre Choderlos de Laclos (1741\u00E2\u0080\u00931803), famous for his epistolary novel Les Liaisons Dangereuses (1782) that includes several morally ambiguous relationships. 24 Setouchi Harumi, Gendaigoyaku Towazugatari, 269. 25 Ibid. 26 Ibid. 66 text. In Lady Nij\u00C5\u008D\u00E2\u0080\u0099s section, Setouchi addresses the reader directly, asking them if they have ever heard of an old tale entitled Towazugatari and stating that it would not be curious if they never have, since, for a long time, the world did not know this work even existed.27 She explains that she herself read the text for the first time \u00E2\u0080\u009Cfourteen, fifteen years ago\u00E2\u0080\u009D from the publication of Watashi no sukina koten no onnatachi, marking her first encounter with Nij\u00C5\u008D\u00E2\u0080\u0099s text around 1966.28 Setouchi summarizes the story for the reader, underlining aspects of the writing she finds particularly remarkable, such as the naturalistic voice of Nij\u00C5\u008D and the confessional aspect of the text. She also makes connections to other works, such as The Tale of Genji and Kager\u00C5\u008D nikki, in order to explain certain aspects of the text, like its title, and hails the work as particularly unique.29 She points out how reading the scene where Nij\u00C5\u008D is forced to abandon her daughter to be raised by Sanekane\u00E2\u0080\u0099s wife, whose own child had passed away at birth, was particularly astonishing and adds that she became completely fascinated by Nij\u00C5\u008D, going as far as stating that she became obsessed with her.30 She also explains quite clearly that before becoming a nun herself, she found the last Books of Towazugatari, those that deal with Nij\u00C5\u008D\u00E2\u0080\u0099s travels, to be quite boring (heiban \u00E5\u00B9\u00B3\u00E6\u009D\u00BF) when compared to the other three previous Books.31 After receiving her own ordination and going on pilgrimages like Nij\u00C5\u008D as a \u00E2\u0080\u009Cfemale Saigy\u00C5\u008D,\u00E2\u0080\u009D32 Setouchi changed her mind and found those Books much more compelling, even highlighting Nij\u00C5\u008D\u00E2\u0080\u0099s reunion with the emperor as particularly dramatic.33 She concludes the chapter by stating her attachment to the text and to Nij\u00C5\u008D herself.34 This chapter is quite important for understanding Setouchi\u00E2\u0080\u0099s change in perception 27 Setouchi Harumi, Watashi no sukina koten, 26. 28 Ibid. 29 Ibid., 28. 30 Ibid., 32. 31 Ibid., 38. 32 Saigy\u00C5\u008D (1118\u00E2\u0080\u00931190) is a Japanese poet, renowned for his travels. The expression \u00E2\u0080\u0098female Saigy\u00C5\u008D\u00E2\u0080\u0099 is often associated with Nij\u00C5\u008D due to her travels and her own mentions of the poet in her work. For a more thorough discussion of the term, see Christina Laffin, \u00E2\u0080\u009CWomen, Travel, and Cultural Production in Kamakura Japan: A Socio-Literary Analysis of Izayoi nikki and Towazugatari.\u00E2\u0080\u009D 33 Ibid. 34 Ibid., 40. 67 of Towazugatari before and after her tonsure, but it also signifies what parts of the story she finds particularly compelling and wishes to share with her readers and what parts she leaves out. Finally, Nij\u00C5\u008D is mentioned in Setouchi\u00E2\u0080\u0099s 1992 novel Hana ni toe \u00E8\u008A\u00B1\u00E3\u0081\u00AB\u00E5\u0095\u008F\u00E3\u0081\u0088 (Ask the Flowers), a novel where the main character, Hishida Mio, decides at the end of the story to become a Buddhist nun and receive ordination.35 The characters of the story discuss the life of the monk Ippen and his relationship with Ch\u00C5\u008Dichi (\u00E2\u0080\u00931283), Ippen\u00E2\u0080\u0099s follower and ex-consort.36 Carnal relationships between religious figures after their ordinations is a central theme of the work. At one point, Mio and her lover, Ry\u00C5\u008Dsuke, discuss The Tale of Genji, arguing that Prince Genji did not have any relationships with women after they took their vows and became nuns.37 When asked to provide a counter example to this situation, Mio cites Nij\u00C5\u008D\u00E2\u0080\u0099s relationship with GoFukakusa after they became a Buddhist nun and monk, respectively.38 Besides mentioning Nij\u00C5\u008D by name, Hana ni toe also borrows from Towazugatari: Mio\u00E2\u0080\u0099s mother Kiwa started a relationship with Ry\u00C5\u008Dsuke while Mio was ten years old, and, after Kiwa\u00E2\u0080\u0099s death, Ry\u00C5\u008Dsuke started a relationship with Mio, just like GoFukakusa, Sukedai, and Nij\u00C5\u008D\u00E2\u0080\u0099s relationship.39 Hana ni toe\u00E2\u0080\u0099s mention of Nij\u00C5\u008D is important because it also embodies Setouchi\u00E2\u0080\u0099s change in perception of Nij\u00C5\u008D\u00E2\u0080\u0099s story after becoming a nun herself. Since the serialization of Gion ny\u00C5\u008Dgo in 1967, Setouchi has used Towazugatari both as a source of inspiration for many of her novels and as a way to educate her readers about classical works that she finds particularly interesting. Setouchi\u00E2\u0080\u0099s adaptations and borrowing can be divided into two main categories: first, her creative works that borrow from Towazugatari in order to enhance her characters\u00E2\u0080\u0099 backgrounds and experiences, and secondly, her educational works that use Nij\u00C5\u008D\u00E2\u0080\u0099s story as a subject of 35 Takeda Katsuhiko, \u00E2\u0080\u009CThe Inherent Significance of \u00E2\u0080\u0098Hana ni Toe,\u00E2\u0080\u0099 a Novel by Setouchi Jakuch\u00C5\u008D,\u00E2\u0080\u009D trans. John Munroe, Japanese Literature Today 18 (1993): 64. 36 Masayo Kaneko, \u00E2\u0080\u009CSexuality And Spirituality: Subjectivity and Resistance in The Works of Setouchi Jakuch\u00C5\u008D\u00E2\u0080\u009D (PhD diss., University of Pennsylvania, 2006), 43. 37 Ibid., 337. 38 Ibid. 39 Takeda Katsuhiko, \u00E2\u0080\u009CThe Inherent Significance,\u00E2\u0080\u009D 64. 68 study and attempt to spread knowledge about the story coloured by Setouchi\u00E2\u0080\u0099s own interpretations and opinions regarding the text. Ch\u00C5\u00ABsei enj\u00C5\u008D falls into the first category, however it also contains examples of Setouchi\u00E2\u0080\u0099s own interpretation of Towazugatari and her speculation on parts of Nij\u00C5\u008D\u00E2\u0080\u0099s life she does not dwell upon in Towazugatari, such as Sukedai\u00E2\u0080\u0099s story and relationship to GoFukakusa. More surprisingly, Setouchi also completely manufactures a scene in the final part of the book where Nij\u00C5\u008D commits a murder. Ch\u00C5\u00ABsei enj\u00C5\u008D was also published before Setouchi\u00E2\u0080\u0099s ordination and, therefore, evidences her opinion about the last two Books of the text as dull and less interesting than the beginning of Nij\u00C5\u008D\u00E2\u0080\u0099s story. I will now discuss Ch\u00C5\u00ABsei enj\u00C5\u008D in more detail. 8.1.4 \u00C2\u00A0Ch\u00C5\u00ABsei enj\u00C5\u008D: A Romantic Retelling Composed of fourteen chapters, Ch\u00C5\u00ABsei enj\u00C5\u008D starts in the autumn of the K\u00C5\u008Dgen era (1256\u00E2\u0080\u00931257) during the reign of Emperor GoFukakusa and follows Nij\u00C5\u008D\u00E2\u0080\u0099s mother, Chikako \u00E8\u00BF\u0091\u00E5\u00AD\u0090, who is also called Sukedai by the emperor as a sign of endearment.40 Sukedai is the emperor\u00E2\u0080\u0099s sleeping companion, and she is also the one who teaches him about sexual relationships. After Chikako marries Masatada and becomes pregnant, she and the emperor meet again, and he makes her promise to give him the child if it is a daughter.41 GoFukakusa adds that the child won\u00E2\u0080\u0099t be anybody\u00E2\u0080\u0099s but his own, suggesting then that he would call her \u00E2\u0080\u009Cmy child\u00E2\u0080\u009D (wako \u00E3\u0082\u008F\u00E3\u0081\u0093).42 When Chikako gives birth, the child is named Ako \u00E9\u0098\u00BF\u00E5\u00AD\u0090 under the mother\u00E2\u0080\u0099s strict orders.43 Later on, Chikako explains that since the emperor told her he wanted to call her daughter \u00E2\u0080\u009Cmy child\u00E2\u0080\u009D or Ako \u00E5\u0090\u00BE\u00E5\u00AD\u0090, she chose a name that would allow for him to do so and settled on Ako \u00E9\u0098\u00BF\u00E5\u00AD\u0090.44 Hence, the child is named following the emperor\u00E2\u0080\u0099s wishes but in a concealed manner that does not fully reveal their agreement. Masatada himself ponders that, when the emperor calls his 40 Setouchi Harumi, Ch\u00C5\u00ABsei enj\u00C5\u008D, (Tokyo: Shinch\u00C5\u008Dsha, 1977), 5\u00E2\u0080\u009310. 41 Ibid., 55. 42 Ibid. 43 Ibid., 58\u00E2\u0080\u009359. 44 Ibid., 66. 69 daughter Ako, he must be using a different type of kanji instead, referring to the fact that he probably calls her \u00E2\u0080\u009Cmy child,\u00E2\u0080\u009D or Ako \u00E5\u0090\u00BE\u00E5\u00AD\u0090.45 Sukedai dies while Ako is only two, and she is raised in GoFukakusa\u00E2\u0080\u0099s court, growing up to fourteen years old between chapters two and three.46 Two female attendants who are discussing Ako\u00E2\u0080\u0099s lineage wonder if the emperor is her biological father, since he was in such a close relationship with her mother, Chikako.47 Ako starts a relationship with Sanekane with whom she exchanges letters and poems and receive gifts.48 The emperor also reveals to her his relationship with her mother, spends the night with her, and brings her to his court where she takes the name of Nij\u00C5\u008D.49 The next chapters deal with her life at court, her meeting with Ajari, her children, and her tonsure. The penultimate chapter of the book contains the most baffling addition by Setouchi. On her way back to the capital, Nij\u00C5\u008D encounters a strange character that Setouchi calls \u00E2\u0080\u009Ca dwarf\u00E2\u0080\u009D wajin \u00E5\u0080\u00AD\u00E4\u00BA\u00BA and describes in less than flattering terms: his face is compared to the shell of a Heike crab,50 and his laugher, expressed with the repetitive onomatopoeia hehehe \u00E3\u0081\u00B8\u00E3\u0081\u00B8\u00E3\u0081\u00B8, is shown as sinister and threatening towards Nij\u00C5\u008D. After meeting GoFukakusa by chance and spending the night with him, Nij\u00C5\u008D is reunited with the dwarf character who threatens her, stating that he witnessed her meeting with the emperor. Nij\u00C5\u008D believes that he is an incarnation of Ajari\u00E2\u0080\u0099s curse.51 She then murders him by strangling him with her kimono sash in a shocking turn of events.52 The emperor becomes sick, and Nij\u00C5\u008D is able to visit him thanks to Sanekane\u00E2\u0080\u0099s help. His last word to her is the name of her mother, Sukedai, that he laboriously 45 Ibid., 75. 46 Ibid., 69. 47 Ibid., 71, 48 Ibid., 85. 49 Ibid., 110. 50 The Heike crab, (Heike gani\u00E5\u00B9\u00B3\u00E5\u00AE\u00B6\u00E8\u009F\u00B9), is a type of crab found in Japan whose shell has a special pattern that looks like the face of a samurai. The crabs are also mentioned in the Tale of the Heike (Heike monogatari \u00E5\u00B9\u00B3\u00E5\u00AE\u00B6\u00E7\u0089\u00A9\u00E8\u00AA\u009E, 1371) during the Dan-no-Ura battle, as their shell patterns seem to resemble the faces of dead samurai warriors who were slain during the battle. For more information about the Heike Crabs, consult Stephen Turnbull, The Samurai: A Military History (London: Bloomsbury Publishing, 2016). 51 Ibid., 518. 52 Ibid. 70 pronounces while smiling.53 Nij\u00C5\u008D follows the funeral procession, running barefoot and distraught.54 She keeps on walking through the night, seemingly hearing the sound of the biwa that, she recalls, was taught to her by the emperor.55 Setouchi does not provide a list of works she used in writing Ch\u00C5\u00ABsei enj\u00C5\u008D, nor does she reference a particular edition of Towazugatari that she relied upon as a source. This might be due to Setouchi\u00E2\u0080\u0099s own knowledge of Nij\u00C5\u008D\u00E2\u0080\u0099s story or the fact that Ch\u00C5\u00ABsei enj\u00C5\u008D was first serialized in a weekly publication that might not have had any space to include Setouchi\u00E2\u0080\u0099s references. Interestingly, Setouchi does not mention her base text in her 1973 modern translation of the text nor does she mention which version she first read in her discussion of the text in Watashi no sukina koten no onnatachi. As mentioned above, her first encounter with the text must have occurred around 1966 which coincides with the release of Tsugita Kasumi\u00E2\u0080\u0099s\u00E6\u00AC\u00A1\u00E7\u0094\u00B0\u00E9\u00A6\u0099\u00E6\u00BE\u0084 (1913-1997) annotated text published by Asahi Shinbunsha56 and Tomikura Tokujir\u00C5\u008D\u00E2\u0080\u0099s translation, published by Chikuma Shob\u00C5\u008D.57 Due to Setouchi\u00E2\u0080\u0099s strong interest in Towazugatari, she most likely used a combination of many different texts, articles and her own interpretation in order to craft Ch\u00C5\u00ABsei enj\u00C5\u008D. 8.1.5 \u00C2\u00A0Ch\u00C5\u00ABsei enj\u00C5\u008D: An Emphasis on The Romantic Setouchi\u00E2\u0080\u0099s novel breaks away from both the first-person narrative and the confessional aspect of Nij\u00C5\u008D\u00E2\u0080\u0099s original story by providing a third-person narrative that follows the character of Ako from her birth, to her transition to female attendant at court, and to her tonsure and travels throughout Japan. Ch\u00C5\u00ABsei enj\u00C5\u008D contains many elements that were not present in the original Towazugatari and focuses strongly on the romantic and sexual elements of Nij\u00C5\u008D\u00E2\u0080\u0099s life by being much more explicit than the original text. With the beginning of the story, where Setouchi stresses the relationship between Sukedai 53 Ibid., 537. 54 Ibid. 55 Ibid. 56 Tsugita Kasumi, trans, Towazugatari (Tokyo: Asahi Shinbunsha, 1966). 57 Tomikura Tokujir\u00C5\u008D, trans Towazugatari (Tokyo: Chikuma Shob\u00C5\u008D, 1966). 71 and the emperor, and the encounter and murder of the dwarf, Ch\u00C5\u00ABsei enj\u00C5\u008D\u00E2\u0080\u0099s story is framed by occurrences at the beginning and end that justify some of Nij\u00C5\u008D\u00E2\u0080\u0099s circumstances. For example, including GoFukakusa and Sukedai\u00E2\u0080\u0099s promise for Nij\u00C5\u008D to be given to the emperor, reinforces the strength of Nij\u00C5\u008D and GoFukakusa\u00E2\u0080\u0099s bond. Similarly, the presence of the dwarf and Nij\u00C5\u008D\u00E2\u0080\u0099s reaction to him are used as a way to highlight the boundary-breaking nature of Nij\u00C5\u008D and Ajari\u00E2\u0080\u0099s relationship and her fear of punishment for such actions. In addition, the text seems to be written in a way that suggests a strong emphasis on the romantic aspects of Nij\u00C5\u008D\u00E2\u0080\u0099s life. Setouchi is able to convey this with her use of dialogue throughout the novel while in her modern translation of Towazugatari she is limited to translating the original. For example, the exchanges between Sukedai and the emperor often include both of them repeating each other\u00E2\u0080\u0099s names, heightening both their attachment to each other and the fact that their relationship cannot continue since GoFukakusa is meant to marry one of his older aunts, Higashi-Nij\u00C5\u008D \u00E6\u009D\u00B1\u00E4\u00BA\u008C\u00E6\u009D\u00A1\u00E9\u0099\u00A2. This is also mirrored by GoFukakusa\u00E2\u0080\u0099s repetition of Sukedai\u00E2\u0080\u0099s name several times after her death, such as when he first sleeps with Nij\u00C5\u008D and when he dies.58 Furthermore, due to the novelized nature of the work, Setouchi is able to convey the internal feelings of many characters, unlike the original text that focused primarily on Nij\u00C5\u008D\u00E2\u0080\u0099s experience since her work was told from her point of view. For example, Setouchi is able to expand the interiority of Nij\u00C5\u008D\u00E2\u0080\u0099s father Masatada by including some of his thoughts, such as when he ponders which kanji the emperor must be using when he calls \u00E2\u0080\u009CAko.\u00E2\u0080\u009D59 Setouchi produced one translated version of Towazugatari and a novelization of the story, or, in order words, two almost-complete adaptations of the text that follow Nij\u00C5\u008D\u00E2\u0080\u0099s story in very similar ways. Despite being written quite closely to the year when Setouchi became a nun herself, the novel does not dwell much on the last part of Nij\u00C5\u008D\u00E2\u0080\u0099s story and her travels. In most of her adaptations of Towazugatari, 58 Ibid., 537. 59 Ibid., 75. 72 Setouchi is much more interested in Nij\u00C5\u008D\u00E2\u0080\u0099s life at court than her life on the road, an observation that is supported by Setouchi\u00E2\u0080\u0099s qualifying the last two Books as \u00E2\u0080\u009Cboring.\u00E2\u0080\u009D This is particularly apparent in her modern translation, where she made the choice to abridge the last two Books of the story, and in Ch\u00C5\u00ABsei enj\u00C5\u008D, where Nij\u00C5\u008D\u00E2\u0080\u0099s life is completely changed by the inclusion of the character of the dwarf. Fukuda Hideichi also highlights the omission of two motifs in the later parts of the text: Nij\u00C5\u008D\u00E2\u0080\u0099s ascetic practices and her father\u00E2\u0080\u0099s request to continue their family\u00E2\u0080\u0099s tradition.60 Fukuda either suggests that Setouchi chose to cut out those parts from her text or infers that she might not have noticed the presence of those motifs in the text.61 Due to Setouchi\u00E2\u0080\u0099s initial lack of interest in the latter part of the story, she also might not have wanted to focus on these elements as much as the rest of the story and thus chose to not include them into her own retelling. The character of the dwarf and Nij\u00C5\u008D\u00E2\u0080\u0099s reaction to him are quite puzzling. Was he included to add more excitement to a chapter that was too dull for Setouchi? Does the addition of such a character emphasize even more the transgressive nature of Nij\u00C5\u008D\u00E2\u0080\u0099s relationship with Ajari? The murder occurs after Nij\u00C5\u008D and GoFukakusa, now both religious figures, spend one more night together. Does including the dwarf\u00E2\u0080\u0099s murder minimize the sacrilegious nature of the two lovers\u00E2\u0080\u0099 act? Nij\u00C5\u008D\u00E2\u0080\u0099s religious vows seem to be defiled by her murderous actions, a strange inclusion that is very rarely discussed in academic articles that deal with Setouchi and Medieval Scandal.62 Setouchi herself does not seem to mention the event in her later discussions of the text. In addition, the nature of Nij\u00C5\u008D\u00E2\u0080\u0099s carnal relationship with the emperor, even after their respective tonsures, would only be fully examined by Setouchi in Hana ni toe, long after her publication of Ch\u00C5\u00ABsei enj\u00C5\u008D. Throughout the years, Setouchi\u00E2\u0080\u0099s interests in Nij\u00C5\u008D\u00E2\u0080\u0099s story shifted, as exemplified by her change in 60 Fukuda Hideichi, \u00E2\u0080\u009CTowazugatari, Izumi Shikibu nikki,\u00E2\u0080\u009D 18. 61 Ibid. 62 Only Hitomi Tonomura mentions the scene in one of the footnotes to her article \u00E2\u0080\u009CCoercive Sex in the Medieval Japanese Court: Lady Nij\u00C5\u008D's Memoir,\u00E2\u0080\u009D 301, footnote 56. 73 focus from Nij\u00C5\u008D\u00E2\u0080\u0099s life at court and her relationships in the 1970s to an interest in her nunhood in the 1990s after her own tonsure. Overall, Ch\u00C5\u00ABsei enj\u00C5\u008D represents Setouchi\u00E2\u0080\u0099s views and interpretations of Towazugatari before her own ordination. Interestingly, she chose to publish her own adaptation of the text, since it was not a very well-known nor accessible work, and, by extension, her own replacement of the text before producing a modern translation. Thus, her readers who did not read Towazugatari were first introduced to Setouchi\u00E2\u0080\u0099s character of Nij\u00C5\u008D before being able to hear Nij\u00C5\u008D\u00E2\u0080\u0099s voice, once again mitigated or distanced by Setouchi in the modern language translation. Therefore, readers who only encountered Setouchi\u00E2\u0080\u0099s work would be influenced by the author\u00E2\u0080\u0099s interpretation of Towazugatari. Furthermore, by publishing many texts and adaptations explaining Towazugatari, and through her ordination, Setouchi seems to have succeeded in replacing the original text many times and in herself becoming an incarnation of Nij\u00C5\u008D who is able to explain the text but also extrapolates on it and selects what parts are worthy of interest and which should be cut out. Indeed, Nij\u00C5\u008D\u00E2\u0080\u0099s and Setouchi\u00E2\u0080\u0099s life events, such as their writings, lovers, and ordination seem to be similar in many ways. Nij\u00C5\u008D\u00E2\u0080\u0099s life at court is marked by decadence, political schemes, and sexual encounters whereas her life as a nun is strongly focused on redemption. In a similar way, Setouchi\u00E2\u0080\u0099s life before ordination can be described as scandalous due to her affairs and open use of words such as \u00E2\u0080\u009Cwomb\u00E2\u0080\u009D which contrast quite strongly with her life as a Buddhist nun. Setouchi did not renounce her previous work or life nor did she stop using sexual narratives in her stories, but she started including strong Buddhist themes into some of her work.63 Barbara Ruch argues that it is because of Nij\u00C5\u008D that Setouchi became a nun, stating that \u00E2\u0080\u009Cupon reading Nijo's story [she] was so moved that she, too, became a Buddhist nun in order to pursue single- 63 Masayo Kaneko, \u00E2\u0080\u009CSetouchi Jakuch\u00C5\u008D,\u00E2\u0080\u009D 81. 74 mindedly her artistic and personal freedom.\u00E2\u0080\u009D64 This argument is also supported by Kokubo Minoru who argues that Setouchi\u00E2\u0080\u0099s desire for tonsure became stronger while she was writing Ch\u00C5\u00ABsei enj\u00C5\u008D.65 Moreover, Masayao Kaneko argues that nunhood granted Setouchi a new status as an \u00E2\u0080\u009Casexual being \u00E2\u0080\u00A6 that frees her from socially imposed gender restrictions.\u00E2\u0080\u009D66 Similarly, Nij\u00C5\u008D\u00E2\u0080\u0099s new status as a nun allowed for a newfound mobility through her travels and interaction with people of lower ranks she might not have encountered before her ordination. When discussing Towazugatari and its adaptations, Setouchi is often mentioned, for example in the afterword of Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s Koi goromo Towazugatari, in Umino Tsunami\u00E2\u0080\u0099s afterword of her series K\u00C5\u008Dky\u00C5\u00AB, and the several academic articles on Ch\u00C5\u00ABsei enj\u00C5\u008D mentioned in this chapter. Thus, Setouchi has succeeded in attaching her name to Nij\u00C5\u008D\u00E2\u0080\u0099s work by producing several adaptations, academic works, and going through ordination herself. 8.2 \u00C2\u00A0Sugimoto Sonoko\u00E2\u0080\u0099s Shin Towazugatari Sugimoto Sonoko\u00E2\u0080\u0099s Shin Towazugatari \u00E6\u0096\u00B0\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A is a rewriting of Nij\u00C5\u008D\u00E2\u0080\u0099s story from the point of view of one of her lovers, Saionji Sanekane, and Sugimoto\u00E2\u0080\u0099s approach is much more historically oriented and didactic than Setouchi\u00E2\u0080\u0099s work. Indeed, by following Sanekane, the reader is directly introduced to many historical occurrences and political issues, such as the Mongolian invasions and the complexities of imperial succession. Sugimoto\u00E2\u0080\u0099s choice of Sanekane as the character whose point of view the reader follows, is quite understandable, considering her educational focus. He served for more than forty years as \u00E2\u0080\u009Cliaison with the east\u00E2\u0080\u009D Kant\u00C5\u008D m\u00C5\u008Dshitsugi \u00E9\u0096\u00A2\u00E6\u009D\u00B1\u00E7\u0094\u00B3\u00E6\u00AC\u00A1, a role that required him to transmit messages between the emperor, the retired emperor, and the bakufu government, amongst many other duties.67 In addition, Sanekane was strongly involved in the negotiations that dealt with imperial 64 Barbara Ruch, \u00E2\u0080\u009CA Book of One\u00E2\u0080\u0099s Own: The Gossamer Years; The Pillow Book; and The Confessions of Lady Nij\u00C5\u008D,\u00E2\u0080\u009D in Masterworks of Asian Literature in Comparative Perspective: A Guide for Teaching, ed. Barbara Stoler Miller (New York: Routledge, 2015), 415. 65 Kokubo Minoru, \u00E2\u0080\u009CHy\u00C5\u008Dden, Setouchi Harumi,\u00E2\u0080\u009D in Setouchi Harumi no Sekai, ed. Kokubo Minoru (Tokyo: S\u00C5\u008Drinsha, 1980), 49. 66 Masayo Kaneko, \u00E2\u0080\u009CSetouchi Jakuch\u00C5\u008D,\u00E2\u0080\u009D 82. 67 Hitomi Tonomura, \u00E2\u0080\u009CCoercive Sex in the Medieval Japanese Court,\u00E2\u0080\u009D 291. 75 succession.68 In order to explain some of these difficult concepts to her readers, Sugimoto provides genealogical charts in her chapters explaining the composition of Sanekane\u00E2\u0080\u0099s family and a list of the emperors since Emperor Takakura \u00E9\u00AB\u0098\u00E5\u0080\u0089\u00E5\u00A4\u00A9\u00E7\u009A\u0087 (1161\u00E2\u0080\u00931181, r. 1168\u00E2\u0080\u00931180).69 She also includes detailed explanations of terms and expressions, such as the emperor\u00E2\u0080\u0099s nickname for Nij\u00C5\u008D\u00E2\u0080\u0099s mother, Sukedai, which is explained to be based on her title, Dainagon no Suke no Tsubone \u00E5\u00A4\u00A7\u00E7\u00B4\u008D\u00E8\u00A8\u0080\u00E3\u0081\u00AE\u00E5\u0085\u00B8\u00E5\u00BE\u0085\u00E5\u00B1\u0080.70 Similar to Medieval Scandal, Sugimoto Sonoko\u00E2\u0080\u0099s Shin Towazugatari was serialized before being published in a book format. It appeared from January to November 1989 in different daily regional newspapers, such as the T\u00C5\u008Dky\u00C5\u008D Shinbun, Ch\u00C5\u00ABnichi Shinbun, Nishi Nippon Shinbun, and Hokkaid\u00C5\u008D Shinbun. 71 Shin Towazugatari was then published as a hardcover in 1990 by K\u00C5\u008Ddansha and later in 1993 in a smaller pocket paperback format. Both editions use the same cover art by artist Sata Yoshir\u00C5\u008D \u00E4\u00BD\u0090\u00E5\u00A4\u009A\u00E8\u008A\u00B3\u00E9\u0083\u008E (1922\u00EF\u00BC\u008D1997),72 representing a man wearing a courtier outfit, presumably Sanekane. The promotional slip around the 1993 edition of the book highlights the unusual nature of the original Towazugatari and advertises the fact that Shin Towazugatari is a novelization, or sh\u00C5\u008Dsetsuka \u00E5\u00B0\u008F\u00E8\u00AA\u00AC\u00E5\u008C\u0096. The larger text presents the story as \u00E2\u0080\u009CThe lifetime of love and sadness of GoFukakusa\u00E2\u0080\u0099s court lady, Nij\u00C5\u008D.\u00E2\u0080\u009D Sanekane is presented as someone who was caused to suffer greatly by both GoFukakusa and Nij\u00C5\u008D, but the fact that the story is presented through his point of view is not particularly advertised on the cover of the book nor in its advertisements. 8.2.1 \u00C2\u00A0Sugimoto Sonoko 68 Ibid., 192. 69 Ibid., 51. 70 Sugimoto Sonoko, Shin Towazugatari, 13. 71 Machida Sakae, \u00E2\u0080\u009CSetouchi Bungaku,\u00E2\u0080\u009D 58. 72 Sata Yoshir\u00C5\u008D studied historical paintings, or rekishi ga \u00E6\u00AD\u00B4\u00E5\u008F\u00B2\u00E7\u0094\u00BB, under the guidance of the famous painter Yasuda Yukihiko \u00E5\u00AE\u0089\u00E7\u0094\u00B0 \u00E9\u009D\u00AB\u00E5\u00BD\u00A6 (1884 \u00E2\u0080\u00931978). He produced illustrative works for newspapers, magazines and serialized novels. One can learn more about his works at \u00E2\u0080\u009CSata Yoshir\u00C5\u008D,\u00E2\u0080\u009D Tokyo National Research Institute for Cultural Properties.http://www.tobunken.go.jp/materials/bukko/10591.html (accessed March 2018). 76 Born in Tokyo in 1925, Sugimoto Sonoko was a stage and radio actor during her preschool years. Her enthusiasm for literature appeared while she attended primary school, and she showed interest in the writings of Natsume S\u00C5\u008Dseki \u00E5\u00A4\u008F\u00E7\u009B\u00AE\u00E6\u00BC\u00B1\u00E7\u009F\u00B3 (1867\u00E2\u0080\u00931916) and Mori \u00C5\u008Cgai \u00E6\u00A3\u00AE \u00E9\u00B4\u008E\u00E5\u00A4\u0096 (1862\u00E2\u0080\u00931922) and, later on, noh plays.73 After attending Bungakugakuin College where she studied Literature, Sugimoto published \u00E2\u0080\u009CNew Notes on a Prototype of a Noh Play\u00E2\u0080\u009D Sarugaku shinki \u00E7\u0094\u00B3\u00E6\u00A5\u00BD\u00E6\u0096\u00B0\u00E8\u00A8\u0098, a short story that won the Sunday Mainichi \u00E3\u0082\u00B5\u00E3\u0083\u00B3\u00E3\u0083\u0087\u00E3\u0083\u00BC\u00E6\u00AF\u008E\u00E6\u0097\u00A5 prize in 1951.74 She met the famous historical novelist Yoshikawa Eiji\u00E5\u0090\u0089\u00E5\u00B7\u009D \u00E8\u008B\u00B1\u00E6\u00B2\u00BB (1892\u00E2\u0080\u00931962) and became his only disciple, studying under his guidance for ten years.75 Sugimoto was a very prolific writer, well known for her historical fiction that explored a wide variety of subjects, such as: samurai loyalty in Kosh\u00C5\u00AB no kishi \u00E5\u00AD\u00A4\u00E6\u0084\u0081\u00E3\u0081\u00AE\u00E5\u00B2\u00B8 (A Lonely Troubled Face at the River Bank, 1962); the life of a kabuki actor in Katamuku taki \u00E5\u0082\u00BE\u00E3\u0081\u008F\u00E6\u00BB\u009D (The Leaning Waterfall, 1969); and the actresses Sada Yakko (1871\u00E2\u0080\u00931946) in several stories, starting with Madamu Sada Yakko\u00E3\u0083\u009E\u00E3\u0083\u0080\u00E3\u0083\u00A0\u00E8\u00B2\u009E\u00E5\u00A5\u00B4 (Madam Sada Yakko), her 1975 novel which was later turned into a television adaptation for the NHK.76 Her last novel, Oku no Hosomichi jinbutsu kik\u00C5\u008D \u00E3\u0081\u008A\u00E3\u0081\u008F\u00E3\u0081\u00AE\u00E3\u0081\u00BB\u00E3\u0081\u009D\u00E9\u0081\u0093\u00E4\u00BA\u00BA\u00E7\u0089\u00A9\u00E7\u00B4\u0080\u00E8\u00A1\u008C (The Narrow Road to the Interior, Characters, and Traveller\u00E2\u0080\u0099s Journal), was published in 2005 and deals with Matsuo Basho\u00E2\u0080\u0099s (1644\u00E2\u0080\u00931694) travels. Besides Shin Towazugatari, Sugimoto published other works based on women\u00E2\u0080\u0099s literature, such as her 1986 adaptation of the Pillow Book of Sei Sh\u00C5\u008Dnagon (Makura no s\u00C5\u008Dshi \u00E6\u009E\u0095\u00E8\u008D\u0089\u00E5\u00AD\u0090, ca. 1005) entitled Sugimoto Sonoko no Makura no s\u00C5\u008Dshi \u00E6\u009D\u0089\u00E6\u009C\u00AC\u00E8\u008B\u0091\u00E5\u00AD\u0090\u00E3\u0081\u00AE\u00E6\u009E\u0095\u00E8\u008D\u0089\u00E5\u00AD\u0090 (Sugimoto Sonoko\u00E2\u0080\u0099s Pillow Book) and her 1996 version of Kager\u00C5\u008D nikki, Shikaban Kager\u00C5\u008D nikki \u00E7\u00A7\u0081\u00E5\u00AE\u00B6\u00E7\u0089\u0088\u00E3\u0081\u008B\u00E3\u0081\u0092\u00E3\u0082\u008D\u00E3\u0081\u00B5\u00E6\u0097\u00A5\u00E8\u00A8\u0098 (Self-published Kager\u00C5\u008D nikki). 73 Sachiko Schierbeck, Japanese Women Novelists, 267. 74 Ibid. 75 Ibid. 76 Ibid. 77 8.2.2 \u00C2\u00A0Shin Towazugatari: A Historical Adaptation Composed of thirty-two chapters, the story opens with Sanekane glimpsing a beautiful woman, Nij\u00C5\u008D, who is masterfully playing the biwa during the celebrations of the fiftieth birthday of Emperor GoSaga \u00E5\u00BE\u008C\u00E5\u00B5\u00AF\u00E5\u00B3\u00A8 (1220\u00E2\u0080\u00931272, r. 1242\u00E2\u0080\u00931246).77 After the performance, Sanekane speaks directly to GoFukakusa to enquire about Nij\u00C5\u008D, learning that he is responsible for teaching her how to play the biwa, and he also learns about her life story and her mother, Sukedai.78 Due to her young age, Sanekane does not wish to pursue her immediately and decides to wait for her to become older.79 This allows for Sugimoto to put Nij\u00C5\u008D aside and focus on Sanekane\u00E2\u0080\u0099s work and political concerns, such as the J\u00C5\u008Dky\u00C5\u00AB War (1221) and his encounter with a tradesman named Mukuri \u00E3\u0083\u00A0\u00E3\u0082\u00AF\u00E3\u0083\u00AA in Chapter Two. Other political concerns such as the Mongolian invasions and the emperor\u00E2\u0080\u0099s succession are also explored and explained in detail through the use of charts.80 In order to still include Nij\u00C5\u008D in chapters where she does not appear, Sugimoto allows for Sanekane to interact with other characters that are close to her in order for them to mention Nij\u00C5\u008D and her life events. For example, after GoSaga\u00E2\u0080\u0099s death, Sugimoto introduces and explains the notion of imperial family headship, or chiten no kimi \u00E6\u00B2\u00BB\u00E5\u00A4\u00A9\u00E3\u0081\u00AE\u00E5\u0090\u009B, in the seventh chapter.81 Sanekane encounters Nij\u00C5\u008D\u00E2\u0080\u0099s father, Masatada, who mentions that his daughter is pregnant and confronts Sanekane directly, accusing him of being responsible.82 Because the reader does not hear from Nij\u00C5\u008D herself, Sugimoto is able to showcase Sanekane\u00E2\u0080\u0099s reaction directly, but at the same time, the change of focus away from Nij\u00C5\u008D puts her in a much more passive and objectified position. We see the story as it happens to her, and she becomes less of a participant in her own story and more of a motif. This is mirrored later on when we 77 Sugimoto Sonoko, Shin Towazugatari 7. 78 Ibid., 13. 79 Ibid., 17. 80 Ibid., 51. 81 Ibid., 100. 82 Ibid., 109. 78 learn about her tonsure through Sanekane\u00E2\u0080\u0099s shock in chapter twenty-eight, and the reader is only able to understand her motivations through his questioning of Nij\u00C5\u008D. Furthermore, since he does not go on pilgrimages with her, the reader does not get to witness Nij\u00C5\u008D\u00E2\u0080\u0099s travels after her tonsure but instead has to hear about them when they are reported to Sanekane. At the end of the story, Sugimoto includes an afterword that highlights her motivations and the purpose of her adaptation. First, she recognizes that her work and the original text are considerably different before explaining the discovery of Nij\u00C5\u008D\u00E2\u0080\u0099s work.83 She also argues that despite the fact that the events of Towazugatari took place during important political and historical events, Nij\u00C5\u008D was restrained to her living space and left negotiations to be conducted by the men around her.84 This is also supported by Karen Brazell who comments that if Nij\u00C5\u008D did not mention the Mongolian invasions, it was not out of ignorance of those events but due to the fact that it was not proper for women to delve into such political topics.85 However, Sugimoto stresses the unique nature of Nij\u00C5\u008D\u00E2\u0080\u0099s perspective, due to her many relationships with high-ranking men who were all involved in several important political events.86 Since Sugimoto is well known for her historical novels, it is not surprising that she chose to take a historical approach to her adaptation. According to Sachiko Schierbeck, Sugimoto tried to adopt a neutral point of view in her works, as most history books have had male authors, \u00E2\u0080\u009Cand so it [was] necessary for a writer to think like a man.\u00E2\u0080\u009D87 This attitude would then justify her use of Sanekane as the point of view character of her story instead of Nij\u00C5\u008D. Throughout the story, the reader has access to Sanekane\u00E2\u0080\u0099s thoughts about the situations he finds himself in through the use of brackets. For example, when he first glimpses Nij\u00C5\u008D, the omniscient third-person narrator informs the reader that, instead of 83 Ibid., 489. 84 Ibid. 85 Karen Brazell, The Confessions of Lady Nij\u00C5\u008D, xii\u00E2\u0080\u0093xiii. 86 Sugimoto Sonoko, Shin Towazugatari, 489. 87 Sachiko Schierbeck, Japanese Women Novelists, 269. 79 noticing the young woman at first, he first noticed her biwa.88 The reader is then allowed a glimpse into Sanekane\u00E2\u0080\u0099s thoughts that confirm this statement, as he comments on her way of striking the strings.89 Despite including many scenes and events that are not in the original text, Sugimoto makes sure to insert important events that occurred in Towazugatari into her story. For example, her chapter \u00E2\u0080\u009CAkashi no Ue\u00E2\u0080\u009D \u00E6\u0098\u008E\u00E7\u009F\u00B3\u00E3\u0081\u00AE\u00E4\u00B8\u008A is an adaptation of the Genji concert recreation, and the reader is also able to hear about Nij\u00C5\u008D\u00E2\u0080\u0099s life events, such as her pregnancies and her ordination, through conversations with Sanekane. Sugimoto includes poems in her work that are directly borrowed from the original text. For example, in Book One of Towazugatari, Nij\u00C5\u008D receives robes from Sanekane accompanied by a poem. She replies, and later, once her father sees her wearing the robes, she pretends they are a gift from a lady.90 In Shin Towazugatari, the reader follows the same scene from Sanekane\u00E2\u0080\u0099s point of view as he writes the poem, gets his gift sent to Nij\u00C5\u008D, receives her answer, and replies again himself.91 In the same way, he witnesses Nij\u00C5\u008D\u00E2\u0080\u0099s lie in person, contrary to the original text where he is not present at the time.92 In this fashion, Sugimoto borrows heavily from Nij\u00C5\u008D\u00E2\u0080\u0099s story by reproducing poems from the original but is also able to change the story\u00E2\u0080\u0099s point of view by including Sanekane and reporting his reactions to her readers. Similar to Setouchi\u00E2\u0080\u0099s Ch\u00C5\u00ABsei enj\u00C5\u008D, Sugimoto does not include a list of her references at the end of her work, and it is therefore impossible to determine which edition or combination of texts she used as a base to craft her story. Since Shin Towazugatari first appeared in serialized form, this medium might not have allowed for her to include a list of references. However, when the text was released as a single book, or tank\u00C5\u008Dbon, Sugimoto added an afterword discussing her authorial intent. Still, she does not 88 Sugimoto Sonoko, Shin Towazugatari, 7. 89 Ibid. 90 Tsugita Kasumi, Towazugatari, 28\u00E2\u0080\u009330. 91 Sugimoto Sonoko, Shin Towazugatari, 64\u00E2\u0080\u009366. 92 Ibid., 66. 80 reference her sources, electing instead to provide her own interpretation of the text and her discussion of the adaptation process. 8.3 \u00C2\u00A0The First Wave of Novel Adaptations: Retellings and Replacements Setouchi and Sugimoto\u00E2\u0080\u0099s novelizations of Towazugatari are the first two complete book versions of Lady Nij\u00C5\u008D\u00E2\u0080\u0099s work, and they represent the first wave of novel adaptations of the text. Both authors benefited from the academic reception of the work and were able to channel their own personal interests, such as romance for Setouchi and political events for Sugimoto, through Nij\u00C5\u008D\u00E2\u0080\u0099s story. Both Setouchi and Sugimoto do not seem to focus on Nij\u00C5\u008D\u00E2\u0080\u0099s life after her tonsure nor on the reasons that pushed her to become a nun. Furthermore, they do not seem to be interested in exploring Nij\u00C5\u008D\u00E2\u0080\u0099s life after the end of her account, nor do they try to modify the setting or time period of the story. Instead, they are concerned with emphasizing elements of the text that are more appealing to their own audiences and most resemble their other works since, at the time, Setouchi was known for her daring romantic stories while Sugimoto had already written several historical novels. Both authors\u00E2\u0080\u0099 works do not include reference lists for the material they consulted and therefore do not give their readers a way to go beyond their work and look for the text(s) that may have inspired the authors and served as foundations for the novels. Setouchi\u00E2\u0080\u0099s attachment to Towazugatari spans many years and many formats. Through her works, she was able to convey her own opinion of the text and propose a truncated version of Nij\u00C5\u008D\u00E2\u0080\u0099s life in both her novelization and modern language translation. In other words, Setouchi was able to replace the original text by making it more accessible but also more exciting by emphasizing love and relationships, focusing more strongly on Nij\u00C5\u008D\u00E2\u0080\u0099s life at court, and including a peculiar scene where Nij\u00C5\u008D commits a murder. Nij\u00C5\u008D\u00E2\u0080\u0099s life events, such as her writing, lovers, and ordination, are also strongly paralleled by Setouchi\u00E2\u0080\u0099s own life. 81 When discussing the process of replacement, Michael Emmerich highlights the complexity of such a process, which allows for the \u00E2\u0080\u009Cidea of a canonical work\u00E2\u0080\u0099s original text [to be] maintained by the introduction of new images of it.\u00E2\u0080\u009D93 By constantly producing new renditions of Towazugatari, Setouchi reinscribed her interpretation and reworking of the text, thus bringing her adaptation to new audience who were often encountering Towazugatari for the first time. She also managed to strongly establish herself as an expert on the subject of medieval literature and Buddhism, emphasizing her interpretation of the text as substantial and well supported. Sugimoto\u00E2\u0080\u0099s adaptation of Towazugatari can be seen as a part of her larger interest in Japanese history and fits well amongst her other adaptations of Japanese classical texts. Her change of narrator allows for her work to be both a rewriting of Nij\u00C5\u008D\u00E2\u0080\u0099s life from a new perspective and a didactic piece allowing her readers to learn more about political events that were not addressed by Nij\u00C5\u008D in Towazugatari. Sugimoto is open about the differences she introduces in her text, but, by changing her main character, she turns Nij\u00C5\u008D into a passive object whose own life story does not seem to belong to her anymore, as it is witnessed or reported to Sanekane. In the next chapter, I will be looking at the two most recent novelizations of the text whose authors created works that are both set in worlds where Towazugatari exists as a physical object and where Nij\u00C5\u008D lived as a real person. Both authors\u00E2\u0080\u0099 positions seem to be radically different from Setouchi and Sugimoto, as they try to build a story based on an existing work instead of trying to remodel it according to their own personal preferences. 93 Michael Emmerich, The Tale of Genji: Translation, Canonization, and World Literature, 22. 82 Chapter Four: Kewaizaka and Koi goromo Towazugatari 9.1 \u00C2\u00A0Kewaizaka Following the serialization of Sugimoto\u00E2\u0080\u0099s Shin Towazugatari in 1989, no new novel adaptations of Towazugatari were published until the 2001 release of Mori Masako\u00E2\u0080\u0099s novel Kewaizaka \u00E5\u008C\u0096\u00E7\u00B2\u00A7\u00E5\u009D\u0082. Unlike all the previous adaptations of Nij\u00C5\u008D\u00E2\u0080\u0099s story, Mori\u00E2\u0080\u0099s book does not simply follow the narrative structure of Towazugatari but is set in a contemporary world where Nij\u00C5\u008D\u00E2\u0080\u0099s work exists and was discovered by Yamagishi Tokuhei. Due to this change in setting, can Kewaizaka still be considered a full-fledged adaptation of Towazugatari? When discussing the meaning of adaptation, Linda Hutcheon defines her understanding as a dual concept of \u00E2\u0080\u009Cprocess and product closer to the common usage of the word and broad enough to allow [her] to treat not just films and stage productions, but also musical arrangements and song covers, visual art revisitations of prior works and comic book versions of history, poems put to music and remakes of films, and videogames and interactive art\u00E2\u0080\u009D as adaptations.1 In addition, she does not consider sequels or brief allusions to be adaptations.2 In my discussion below of Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s novel Koigoromo Towazugatari, I argue that a sequel can and should be considered an adaptation due to the intertextual nature of such a work and the fact that it takes place in the same universe as the work it follows. Kewaizaka lacks the notion of repetition that Hutcheon highlights as being an essential aspect of adaptation and would, therefore, better qualify as a mystery novel written with motifs drawn from Towazugatari as opposed to a direct adaptation of the text.3 However, Kewaisaka\u00E2\u0080\u0099s story might be set in the present but feels strongly inspired by Nij\u00C5\u008D\u00E2\u0080\u0099s position at court and her sexual encounters, and the main character seems to have been inspired by both Nij\u00C5\u008D and Mori herself. Furthermore, by including a 1 Linda Hutcheon, A Theory of Adaptation, 9. 2 Ibid. 3 I am thankful to Professor Ootake Hiroko for providing this input about categorizing Kewaizaka during our individual classes in spring 2017, at the Inter-University Center for Japanese Studies in Yokohama. 83 reading group\u00E2\u0080\u0099s discussions of Towazugatari and an account of the text throughout the book, Mori is able to incorporate Nij\u00C5\u008D\u00E2\u0080\u0099s text as a major plot point of her story. Thus, I argue that Kewaizaka should definitely be included in the discussion of the modern reception of Towazugatari. Before analyzing the book in more detail, I will be providing a brief biographical account of Mori\u00E2\u0080\u0099s life before quickly summarizing Kewaizaka. 9.1.1 \u00C2\u00A0Mori Masako Born in 1944 in Yokohama under the name Fukae Masako\u00E6\u00B7\u00B1\u00E6\u00B1\u009F\u00E9\u009B\u0085\u00E5\u00AD\u0090, Mori was raised in Hokodate, Hokkaido where she remained until high school. She then attended Nara Women\u00E2\u0080\u0099s University and worked as a journalist for newspapers and weekly publications. In 1979, she received the New Contemporary Novelist Prize (Sh\u00C5\u008Dsetsu Gendai Shinjinsh\u00C5\u008D \u00E5\u00B0\u008F\u00E8\u00AA\u00AC\u00E7\u008F\u00BE\u00E4\u00BB\u00A3\u00E6\u0096\u00B0\u00E4\u00BA\u00BA\u00E8\u00B3\u009E) for her first published work, the short story \u00E2\u0080\u009CBar\u00C4\u0081do in bur\u00C5\u00AB\u00E2\u0080\u009D \u00E3\u0083\u0090\u00E3\u0083\u00A9\u00E3\u0083\u00BC\u00E3\u0083\u0089\u00E3\u0083\u00BB\u00E3\u0082\u00A4\u00E3\u0083\u00B3\u00E3\u0083\u00BB\u00E3\u0083\u0096\u00E3\u0083\u00AB\u00E3\u0083\u00BC (Ballad in Blue). Mori\u00E2\u0080\u0099s works thereafter often contained elements of horror and mystery. Several of her short stories have been adapted into TV series, starting in 1987 with the Kansai TV production of Neko to onaji iro no yami \u00E7\u008C\u00AB\u00E3\u0081\u00A8\u00E5\u0090\u008C\u00E3\u0081\u0098\u00E8\u0089\u00B2\u00E3\u0081\u00AE\u00E9\u0097\u0087 (A Cat-Coloured Darkness). This story has also been recently anthologized in the second volume of a series compiling stories of cats, Neko no bungakukan II: kono sekai no ky\u00C5\u008Dkai wo koeru neko \u00E7\u008C\u00AB\u00E3\u0081\u00AE\u00E6\u0096\u0087\u00E5\u00AD\u00A6\u00E9\u00A4\u00A8 II: \u00E3\u0081\u0093\u00E3\u0081\u00AE\u00E4\u00B8\u0096\u00E7\u0095\u008C\u00E3\u0081\u00AE\u00E5\u00A2\u0083\u00E7\u0095\u008C\u00E3\u0082\u0092\u00E8\u00B6\u008A\u00E3\u0081\u0088\u00E3\u0082\u008B\u00E7\u008C\u00AB (Cats Literary Hall II: Cats Who Cross over The Boundaries of This World, 2017). In 1993, Mori released the first volume of a collection of short horror stories set in a school, entitled Tenk\u00C5\u008Dsei \u00E8\u00BB\u00A2\u00E6\u00A0\u00A1\u00E7\u0094\u009F (Transfer Student) and released in publisher Kadokawa\u00E2\u0080\u0099s horror collection. Beside her interest in mystery and horror fiction, Mori is prolific in producing historical fiction and has published several multi-volume series in this particular genre, such as her ten-volume Nihonbashi monogatari shiriizu \u00E6\u0097\u00A5\u00E6\u009C\u00AC\u00E6\u00A9\u008B\u00E7\u0089\u00A9\u00E8\u00AA\u009E\u00E3\u0082\u00B7\u00E3\u0083\u00AA\u00E3\u0083\u00BC\u00E3\u0082\u00BA (Tales of the Nihonbashi Series) published from 2007 to 2013. In addition to her most recent anthologized story, Mori published two volumes in 2017 in 84 her current, three-volume series Shigurehashi ajisai tei shiriizu \u00E6\u0099\u0082\u00E9\u009B\u00A8\u00E6\u00A9\u008B \u00E3\u0081\u0082\u00E3\u0081\u0098\u00E3\u0081\u0095\u00E3\u0081\u0084\u00E4\u00BA\u00AD\u00E3\u0082\u00B7\u00E3\u0083\u00AA\u00E3\u0083\u00BC\u00E3\u0082\u00BA (The Hydrangea Pavilion of Shigure Bridge Series), a historical story set during the Edo period (1603\u00E2\u0080\u00931867). Mori currently resides in Yokohama.4 9.1.2 \u00C2\u00A0Kewaizaka: A Mystery Novel Centred on Towazugatari Set in the city of Kamakura, Kewaisaka follows the story of twenty-nine-year-old bank employee Sugano Miwako. During a work assignment, she visits the house of Shinomiya Eiko who runs a women-only reading group that is studying Towazugatari and invites Miwako to join. Miwako\u00E2\u0080\u0099s life in Kamakura is rather dull. She lives alone, and her only family is her aunt who is bedridden in a hospital. Miwako\u00E2\u0080\u0099s aunt has heard of the prestigious Shinomiya family who are quite famous in Kamakura for being a family of professional storytellers or kataribe \u00E8\u00AA\u009E\u00E3\u0082\u008A\u00E9\u0083\u00A8.5 Miwako starts attending the reading group sessions and decides to investigate the Shinomiya family though one of her aunt\u00E2\u0080\u0099s acquaintances, Mr. Kamoshita Nobihiko.6 She is more and more distraught by a sequences of disturbing events, such as an ominous dream where she associates the name Shinomiya to its homonym \u00E2\u0080\u009Cpalace of death\u00E2\u0080\u009D (shinomiya \u00E6\u00AD\u00BB\u00E3\u0081\u00AE\u00E5\u00AE\u00AE), her aunt warning her against going to the Shinomiya\u00E2\u0080\u0099s house, and her own puzzling experience after the reading group where she falls asleep shortly after having accepted a glass of alcohol helping Eiko perform a tea ceremony for a male guest.7 In parallel to Miwako\u00E2\u0080\u0099s story, the reader is introduced to Shimaoka Koichi, whose wife, Sae, has disappeared under mysterious circumstances after being involved with the same reading group. The reader learns later that she has been murdered, and only one of her bones has been found in the forest.8 Looking to question somebody from the reading group, Shimaoka meets with Miwako, and the two start 4 More information about Mori can be found on her personal website: Mori Masako, Mori Masako Worudo, https://morimasako-world.jimdo.com (accessed March 2018). 5 Mori Masako, Kewaizaka, 37. 6 Ibid., 62. 7 Ibid., 70. 8 Ibid., 97. 85 exchanging information. When Miwako uncovers that Eiko is running a private gentlemen\u00E2\u0080\u0099s club and using the women from her reading group, she remembers what really happened after she drank alcohol at the tea ceremony.9 Afterwards, the confused Miwako receives a large sum of money.10 With the help of Shimaoka and Mr. Kamoshita, Miwako is able to learn more about both Towazugatari and the Shinomiya family. Mr Kamoshita explains that Towazugatari remained undiscovered for a long time, probably because of its problematic content, and suggests that the Shinomiya family have been the guardians of the text. Mentioning their role as storytellers, he suggests that there exists an oral version of Towazugatari that includes a book missing from the original text that was passed down through the generations of the Shinomiya family.11 In the end, the three main protagonists are able to uncover the Shinomiya family secrets, including the strange disappearance of their matriarch who has been dead for eights years and was kept as a mummy (miira \u00E6\u009C\u00A8\u00E4\u00B9\u0083\u00E4\u00BC\u008A), their relationship to Towazugatari, the presence of a white-haired young man who Miwako mistakes for a ghost, and the missing content of the last Book of Towazugatari. After the climax of the novel, where they find themselves at a strange religious ceremony centred on Nij\u00C5\u008D\u00E2\u0080\u0099s story, the three main characters are able to escape a deadly fire that claims the lives of the remaining Shinomiya family members. 9.1.3 \u00C2\u00A0The Conception of Kewaizaka Unlike the previous two novelizations discussed in this thesis, Towazugatari was not the original inspiration for Mori\u00E2\u0080\u0099s Kewaizaka. During my correspondence with the author,12 she explained that she enjoyed the works of writers Edgar Allan Poe (1809\u00E2\u0080\u00931849) and Edogawa Ranpo \u00E6\u00B1\u009F\u00E6\u0088\u00B8\u00E5\u00B7\u009D\u00E4\u00B9\u00B1\u00E6\u00AD\u00A9 (1894\u00E2\u0080\u00931965) and wanted to write a horror book with bizarre illusions, a gothic novel set in Kamakura. While visiting Kamakura, she started imagining how a deep-seated grudge (onnen \u00E6\u0080\u00A8\u00E5\u00BF\u00B5) could have been 9 Ibid., 108\u00E2\u0080\u0093111. 10 Ibid., 115. 11 Ibid., 129. 12 Mori Masako, email message to the author, April 2017. 86 concealed in this once capital city and hearing stories about strange inhabitants of the city or unexpected objects being left in the care of the local bank\u00E2\u0080\u0099s safe-deposit box.13 During our conversation, Mori also mentioned her strong interest in chirei, or ghosts that are attached to a particular location, and that Kamakura seemed like a fitting local to set her novel in because of its rich history. Thus, the city of Kamakura was the starting point for the creation of Kewaizaka and its elements of horror and suspense. In my communication with Mori she discussed Towazugatari in terms of the historical period in which Nij\u00C5\u008D was born (the mid-Kamakura period), and emphasized that it was the beginning of the age of the warriors.14 She added that the aristocracy was starting to sink into the darkness of history and was decadent and degenerating. From this historical setting, she wanted to create a depraved and scandalous \u00E2\u0080\u009Ccourt I-novel\u00E2\u0080\u009D15 (ky\u00C5\u00ABtei shish\u00C5\u008Dsetsu \u00E5\u00AE\u00AE\u00E5\u00BB\u00B7\u00E7\u00A7\u0081\u00E5\u00B0\u008F\u00E8\u00AA\u00AC).16 In her email to me, Mori contrasted the period in which Nij\u00C5\u008D lived with the era when The Tale of Genji was composed and noted that Nij\u00C5\u008D\u00E2\u0080\u0099s strong form of self-expression seemed like something that would appeal to modern readers. She compares the frankness of Nij\u00C5\u008D\u00E2\u0080\u0099s work, which was written by a woman from her own bedchamber, with Pauline R\u00C3\u00A9age\u00E2\u0080\u0099s17 novel Histoire D\u00E2\u0080\u0099O (1954), a scandalous book that was banned because of its content, judged pornographic by the French authorities.18 The possibly of Towazugatari also being a banned book because of its scandalous content is explored in Kewaizaka by the character Shimaoka and serves as an important plot point, justifying the role of the Shinomiya family as guardians and protectors of the text.19 13 Mori Masako, email message to the author, April 2017. 14 Ibid. 15 I-novel, also known as shish\u00C5\u008Dsetsu or watakushi sh\u00C5\u008Dsetsu is a type of Japanese literary genre that became particularly popular during the Taish\u00C5\u008D era (1912\u00E2\u0080\u00931926). Written with a first- or third-person narrator, the I-novel is characterized by a strong connection to the author\u00E2\u0080\u0099s own life or experience. For more on the I-novel see, Edward Fowler, The Rhetoric of Confession: Shish\u00C5\u008Dsetsu in Early Twentieth-Century Japanese Fiction (Berkeley: University of California Press, 1988). 16 \u00E5\u00BE\u008C\u00E6\u00B7\u00B1\u00E8\u008D\u0089\u00E9\u0099\u00A2\u00E4\u00BA\u008C\u00E6\u009D\u00A1\u00E3\u0081\u008C\u00E7\u0094\u009F\u00E3\u0081\u008D\u00E3\u0081\u009F\u00E3\u0081\u00AE\u00E3\u0081\u00AF\u00E3\u0080\u0081\u00E9\u008E\u008C\u00E5\u0080\u0089\u00E6\u0099\u0082\u00E4\u00BB\u00A3\u00E3\u0081\u00AE\u00E3\u0081\u00BE\u00E3\u0081\u00A3\u00E3\u0081\u009F\u00E3\u0081\u00A0\u00E4\u00B8\u00AD\u00E3\u0080\u0082\u00E3\u0081\u0099\u00E3\u0081\u00A7\u00E3\u0081\u00AB\u00E6\u00AD\u00A6\u00E5\u00A3\u00AB\u00E3\u0081\u00AE\u00E6\u0099\u0082\u00E4\u00BB\u00A3\u00E3\u0081\u00A7\u00E3\u0081\u0082\u00E3\u0082\u008A\u00E3\u0080\u0081\u00E4\u00BA\u00AC\u00E3\u0081\u00AE\u00E9\u009B\u00B2\u00E4\u00B8\u008A\u00E4\u00BA\u00BA\u00EF\u00BC\u0088\u00E8\u00B2\u00B4\u00E6\u0097\u008F\u00EF\u00BC\u0089\u00E3\u0081\u00AF\u00E6\u00AD\u00B4\u00E5\u008F\u00B2\u00E3\u0081\u00AE\u00E9\u0097\u0087\u00E3\u0081\u00AB\u00E6\u00B2\u0088\u00E3\u0082\u0093\u00E3\u0081\u00A7\u00E9\u00A0\u00BD\u00E5\u00BB\u0083\u00E3\u0081\u0097\u00E3\u0081\u00A6\u00E3\u0081\u0084\u00E3\u0081\u00BE\u00E3\u0081\u0097\u00E3\u0081\u009F\u00E3\u0080\u0082\u00E3\u0081\u009D\u00E3\u0081\u00AE\u00E3\u0081\u008A\u00E3\u0081\u008B\u00E3\u0081\u0092\u00E3\u0081\u00A7\u00E3\u0080\u0081\u00E3\u0081\u0093\u00E3\u0081\u00AE\u00E3\u0082\u0088\u00E3\u0081\u0086\u00E3\u0081\u00AA\u00E3\u0083\u0087\u00E3\u0082\u00AB\u00E3\u0082\u00BF\u00E3\u0083\u00B3\u00E3\u0081\u00A7\u00E3\u0082\u00B9\u00E3\u0082\u00AD\u00E3\u0083\u00A3\u00E3\u0083\u00B3\u00E3\u0083\u0080\u00E3\u0083\u00A9\u00E3\u0082\u00B9\u00E3\u0081\u00AA\u00E3\u0080\u008C\u00E5\u00AE\u00AE\u00E5\u00BB\u00B7\u00E7\u00A7\u0081\u00E5\u00B0\u008F\u00E8\u00AA\u00AC\u00E3\u0080\u008D\u00E3\u0081\u008C\u00E7\u0094\u009F\u00E3\u0081\u00BE\u00E3\u0082\u008C\u00E3\u0081\u009F\u00E3\u0081\u00AE\u00E3\u0081\u00A7\u00E3\u0081\u0097\u00E3\u0082\u0087\u00E3\u0081\u0086\u00E3\u0080\u0082 From Mori Masako, email message to the author, April 2017. 17 Pauline R\u00C3\u00A9age is the pseudonym of Dominique Aury (b. Anne Desclos). Her identity was not revealed until forty years after the publication of Histoire D\u00E2\u0080\u0099O, a novel that tells the story of a young woman named O who becomes a sexual slave for her lover Ren\u00C3\u00A9, and willingly takes part in many degrading acts. In her article, \u00E2\u0080\u009CThe End of Pornography: The Story of Story of O,\u00E2\u0080\u009DMLN 130, no 4 (2015): 980\u00E2\u0080\u0093997, Amy Wyngaard calls the novel \u00E2\u0080\u009Cthe first modern work of sadomasochistic literature written by a woman\u00E2\u0080\u009D (980). 18 Amy Wyngaard, \u00E2\u0080\u009CThe End of Pornography: The Story of Story of O,\u00E2\u0080\u009D 981. 19 Mori Masako, Kewaizaka, 129. 87 Thus, Mori explains that her story came from her desire to do two things: write a gothic story set in Kamakura and include the story of Towazugatari.20 At the end of the volume, Mori provides a list of references (sank\u00C5\u008Dbunken \u00E5\u008F\u0082\u00E8\u0080\u0083\u00E6\u0096\u0087\u00E7\u008C\u00AE) that she used to research Towazugatari. Her main text was the Shinch\u00C5\u008Dsha annotated edition, edited by Fukuda Hideichi\u00E7\u00A6\u008F\u00E7\u0094\u00B0 \u00E7\u00A7\u0080\u00E4\u00B8\u0080 (1932-2006) as part of the Shinch\u00C5\u008D Nihon Koten Sh\u00C5\u00ABsei collection which is dedicated to anthologizing classical Japanese texts. In this edition, the text of Towazugatari is presented in classical Japanese with furigana,21 with modern Japanese translations of expressions considered difficult indicated interlineally next to the respective transcription of the classical text. The headnote area at the top of the page offers further explicatory notes on the text. This edition also includes a larger explanation of the text (kaishaku) by Fukuda as well as a timeline of Nij\u00C5\u008D\u00E2\u0080\u0099s life and related events, maps of Nij\u00C5\u008D\u00E2\u0080\u0099s travels, and charts of the relationships between the different characters that appear in the text. The approach of this series is thus to make classical works accessible to non-academic readers by offering tools to engage with the classical Japanese text. On the official website of the Shinch\u00C5\u008Dsha edition,22 a new edition of this Towazugatari transcription and annotation is advertised as \u00E2\u0080\u009Ceasy to read\u00E2\u0080\u009D and understand and states that the reader \u00E2\u0080\u009Cwon\u00E2\u0080\u0099t need a classical dictionary,\u00E2\u0080\u009D23 highlighting the purpose of the collection: allowing readers to read classical literature on their own. In addition, Mori also used Yamagishi Tokuhei\u00E2\u0080\u0099s research book series (Yamagishi Tokuhei chosakush\u00C5\u00AB \u00E5\u00B1\u00B1\u00E5\u00B2\u00B8\u00E5\u00BE\u00B7\u00E5\u00B9\u00B3\u00E8\u0091\u0097\u00E4\u00BD\u009C\u00E9\u009B\u0086) on tales (monogatari \u00E7\u0089\u00A9\u00E8\u00AA\u009E) essays (zuihitsu \u00E9\u009A\u008F\u00E7\u00AD\u0086),24 an academic book on Towazugatari entitled Towazugatari no shomondai \u00E3\u0080\u008C\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A\u00E3\u0080\u008D \u00E3\u0081\u00AE \u00E8\u00AB\u00B8\u00E5\u0095\u008F\u00E9\u00A1\u008C (Various 20 Mori Masako, personal communication to the author, May 2017. 21 Furigana \u00E6\u008C\u00AF\u00E3\u0082\u008A\u00E4\u00BB\u00AE\u00E5\u0090\u008D: pronunciation of a kanji presented next to or over the word or expression it defines. 22 \u00E2\u0080\u009CShinch\u00C5\u008D nihon koten sh\u00C5\u00ABsei Towazugatari,\u00E2\u0080\u009D Shinch\u00C5\u008Dsha, accessed April 16, 2018. http://www.shinchosha.co.jp/book/620851/ 23\u00E2\u0080\u009C\u00E8\u00AA\u00AD\u00E3\u0081\u00BF\u00E3\u0082\u0084\u00E3\u0081\u0099\u00E3\u0081\u0084\u00EF\u00BC\u0081\u00E3\u0082\u008F\u00E3\u0081\u008B\u00E3\u0082\u008B!\u00E2\u0080\u009D and \u00E2\u0080\u009C\u00E5\u008F\u00A4\u00E8\u00AA\u009E\u00E8\u00BE\u009E\u00E5\u0085\u00B8\u00E3\u0081\u00AF\u00E4\u00B8\u008D\u00E8\u00A6\u0081\u00E3\u0081\u00A7\u00E3\u0081\u0099.\u00E2\u0080\u009D 24 Yamagishi Tokuhei. Yamagishi Tokuhei chosakush\u00C5\u00AB: Vol 3.Monogatari zuihitsu bungaku kenky\u00C5\u00AB, (Tokyo: Y\u00C5\u00ABseid\u00C5\u008D 1972). 88 Problems of Towazugatari, 1996),25 a book on paganism (jaky\u00C5\u008D \u00E9\u0082\u00AA\u00E6\u0095\u0099) and the Tachikawa School (Tachikawa-ry\u00C5\u00AB \u00E7\u00AB\u008B\u00E5\u00B7\u009D\u00E6\u00B5\u0081) of esotericism,26 and, finally, a book on Japanese magic (jujutsu \u00E5\u0091\u00AA\u00E8\u00A1\u0093).27 Mori only cites five books, but her choice of base text highlights her interest in engaging with Towazugatari in classical Japanese, perhaps due to her strong interest in classical literature, but also as a way to place herself in the same position as the characters of Kewaizaka, like the members of the classical reading group she depicts. 9.1.1 \u00C2\u00A0Kewaizaka: A Novel Haunted by Lady Nij\u00C5\u008D Towazugatari and Nij\u00C5\u008D are essential themes for the story, and Mori utilizes many different techniques in order to include information about Nij\u00C5\u008D\u00E2\u0080\u0099s text, the discovery of Towazugatari, and the content of the work itself in Kewaizaka. At the end of most chapters, the author includes excerpt from the Shinomiya\u00E2\u0080\u0099s reading group sessions that act as a summary of Towazugatari, starting with Nij\u00C5\u008D\u00E2\u0080\u0099s first night with GoFukakusa at the end of Keiwaizaka\u00E2\u0080\u0099s first chapter, \u00E2\u0080\u009CNaisu uenzudei\u00E2\u0080\u009D \u00E3\u0083\u008A\u00E3\u0082\u00A4\u00E3\u0082\u00B9\u00E3\u0083\u00BB\u00E3\u0082\u00A6\u00E3\u0082\u00A7\u00E3\u0083\u00B3\u00E3\u0082\u00BA\u00E3\u0083\u0087\u00E3\u0082\u00A4 (Nice Wednesday).28 Furthermore, through Miwako\u00E2\u0080\u0099s attendance at the reading group itself, the reader is able to follow discussions of the text. For example, during her first session, the group is reading the last two Books of the story and discuses Nij\u00C5\u008D\u00E2\u0080\u0099s nunhood. One member asks a question regarding the \u00E2\u0080\u009Cdisorderly nature of Nij\u00C5\u008D\u00E2\u0080\u0099s sexual life,\u00E2\u0080\u009D and Eiko explains that the morals of the Kamakura era were rather different from modern times.29 Here, Mori is able to explain directly to the reader how to interpret some of the content of Towazugatari by answering a question that could have arisen from someone unfamiliar with the time period or the sexual politics of the Kamakura era. This is further emphasized when Miwako asks her aunt a question regarding the choice of the reading group\u00E2\u0080\u0099s text: \u00E2\u0080\u009CWhy Towazugatari and not The Tale 25 Shimazu Tadao, Kamij\u00C5\u008D Sh\u00C5\u008Dji, Hirota Tetsumichi, Towazugatari no shomondai, (Osaka: Izumi Shoin, 1996). 26 Manabe Shunsh\u00C5\u008D, Jaky\u00C5\u008D tachikawary\u00C5\u00AB, (Tokyo: Chikuma Shob\u00C5\u008D, 2002). 27 Toyoshima Yasukuni, Zusetsu Nihon jujutsu zensho, (Tokyo: Hara Shob\u00C5\u008D, 1998). 28 Ibid., 58\u00E2\u0080\u009359. 29 Ibid., 55. 89 of Genji?\u00E2\u0080\u009D30 This question is particularly relevant to this thesis as one of the major questions I want to explore here is the author\u00E2\u0080\u0099s choice in selecting Towazugatari and not another, much more well-known classical piece. Other characters are used to explain Towazugatari to Miwako and, by extension, the reader, starting with the aunt who explains the discovery of the text by Yamagishi Tokuhei during one of Miwako\u00E2\u0080\u0099s visits.31 Moreover, the character of Shimaoka is also used as a way to educate Miwako and the reader, and he is even described as using the Shinch\u00C5\u008Dsha edition of the text, which is the version that was also used by Mori as reference material.32 The creation of the Shinomiya family and the possibility of an oral version of Towazugatari are plot points invented by Mori, but she builds on the inherent mysterious aspects of the original text, its modern discovery, and the possibility of missing content in order to create her novel. Additionally, Miwako seems to be an amalgamation of both Nij\u00C5\u008D\u00E2\u0080\u0099s life story and Mori\u00E2\u0080\u0099s own experience. Mori worked in a bank in Kamakura, and her description of Miwako\u00E2\u0080\u0099s work is strongly imbued with her own experience as a bank clerk. Moreover, Miwako\u00E2\u0080\u0099s entrance to the reading group seems to parallel Nij\u00C5\u008D\u00E2\u0080\u0099s entry to court, especially in the scene where Miwako discovers the existence of the secret club and recalls what really happened when she was asked to assist with the tea ceremony.33 Similarly to Nij\u00C5\u008D\u00E2\u0080\u0099s first night with GoFukakusa where he forces himself on her, it is revealed that this assault is Miwako\u00E2\u0080\u0099s first sexual experience.34 At the end of the novel, Miwako also finds herself in a trance where she seems to be in communication with one of Nij\u00C5\u008D\u00E2\u0080\u0099s lovers, Ajari, who replies to her and calls her Nij\u00C5\u008D.35 Thus, the two women become one character as Nij\u00C5\u008D\u00E2\u0080\u0099s spirit seems to literally take over 30 Ibid., 37. 31 Ibid., 39. 32 Ibid., 332. 33 Ibid., 109\u00E2\u0080\u0093110. 34 Ibid., 112. 35 Ibid., 310\u00E2\u0080\u0093311. 90 Miwako\u00E2\u0080\u0099s body as the young woman starts to remember memories that are not her own.36 Similarly to Nij\u00C5\u008D, Miwako is tricked, abused, and used as a sexual object by an important aristocratic family, but she is able to fight back and emerges victorious at the end of the novel. Kewaizaka is not a direct adaptation of Towazugatari. But the novel is strongly infused with the text, and Miwako can be seen as a stand-in for Nij\u00C5\u008D in certain scenes. Mori\u00E2\u0080\u0099s interests in ghosts, mysteries, and classical literature are quite apparent in this work and, combined together, allow for a compelling story that is also quite educational. Indeed, readers who might not have heard of Towazugatari before reading this work would not only learn about the context of discovery of the text but also about its content and some interpretations of its meaning. When compared to other novels written by Mori during the same period, this work seems to carry similar themes of mystery, horror, and the supernatural, all themes for which Mori has a predilection. Moreover, the advertising obi around the book also highlights the sexual nature of the work, calling it a \u00E2\u0080\u009CJapanese version\u00E2\u0080\u009D of the film Eyes Wide Shut (1999), echoing the intertextual nature of this work. Thus, by creating an exciting work with many mysteries and haunting storylines, Mori is able to provide a much more accessible version of Towazugatari to her readership. By introducing the Shinomiya family as a secret group whose purpose is to keep Nij\u00C5\u008D\u00E2\u0080\u0099s story intact, Mori extrapolates on the real mysterious circumstances surrounding the late discovery of the text in order to create an entertaining storyline. Hence, she is also able to replace the original story while reshaping its transmission history and situating her narrative in a modern Japanese city. Mori\u00E2\u0080\u0099s main characters are also much more relatable to contemporary audiences, due to them existing in a similar world as the intended Japanese readership inhabits. Miwako\u00E2\u0080\u0099s ennui at the beginning of the text, her lack of romantic partner, and her professional situation would resonate with many contemporary readers, while Nij\u00C5\u008D\u00E2\u0080\u0099s situation at court or on the road of Japan doing pilgrimages would not. 36 Ibid. 91 Similarly to Setouchi and Sugimoto using their genre of choice when creating their own version of Towazugatari, Mori\u00E2\u0080\u0099s text is strongly influenced by her own style and preferred genre. The difficulty in clearly qualifying Kewaizaka as a direct adaptation of Nij\u00C5\u008D\u00E2\u0080\u0099s work is also due in part to its genre, which hints at the presence of supernatural entities and contrasts strongly with the confessional nature of Towazugatari.37 Despite this addition, Mori\u00E2\u0080\u0099s text shares similarities with the other works discussed in this thesis, and the author seems to have taken a similar approach to her work as the author of the next novel discussed here, Okuyama Ky\u00C5\u008Dko. 9.2 \u00C2\u00A0Koi goromo Towazugatari: A Sequel to Towazugatari First published in 2009 and then re-released in 2017 in a smaller format, Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s Koi goromo Towazugatari is a story centred on one of Nij\u00C5\u008D\u00E2\u0080\u0099s children and set after the events of Towazugatari. Can we, therefore, refer to this novel as a sequel to Towazugatari? Finding a proper definition for this term has proven difficult because of the sparse theorization of this concept.38 William Hinrichs argues that \u00E2\u0080\u009Cliterary scholars ignore sequels because we do not understand them\u00E2\u0080\u009D and states that \u00E2\u0080\u009Csequels are as ubiquitous in popular culture as they are absent in the Academy.\u00E2\u0080\u009D39 When discussing \u00E2\u0080\u009Ceffects or aftereffects,\u00E2\u0080\u009D Tzvetan Todorov states: \u00E2\u0080\u009Cmany books are sequels to others and tell the consequences of events in the imaginary universe represented in the first text; nevertheless, the content of the second book is generally not considered inherent in the first.\u00E2\u0080\u009D40 Thus, a sequel takes place after the events of the original story and \u00E2\u0080\u009Cmust, on the surface at least, tell a different story.\u00E2\u0080\u009D41 Due to Towazugatari\u00E2\u0080\u0099s difficult characterization, intertextuality, and having some of its content considered fictional, Koi goromo Towazugatari, which is entirely fictional, can be seen as being part of the same 37 Note that Towazugatari does include elements of supernatural but they are not as essential to the story as in Mori\u00E2\u0080\u0099s work. I am greateful to Professor Mostow, Professor Burk and Professor Laffin for pointing this to me. 38 William H. Hinrichs, The Invention of the Sequel: Expanding Prose Fiction in Early Modern Spain (Rochester, NY: Tamesis, 2011), viii. 39 Ibid., vii. 40 Tzvetan Todorov, \u00E2\u0080\u009CReading as Construction,\u00E2\u0080\u009D in The Reader in the Text: Essays on Audience and Interpretation, eds. Susan Rubin Suleiman and Inge Crosman (Princeton: Princeton University Press, 1980), 74. 41 Terry Castle, Masquerade and Civilization: The Carnivalesque in Eighteenth-Century English Culture and Fiction (Stanford, California: Stanford University Press, 1986), 134. 92 universe or \u00E2\u0080\u009Cworld\u00E2\u0080\u009D (sekai) as Towazugatari. Furthermore, Hutcheon argues that \u00E2\u0080\u009Ctransposition can also mean a shift in ontology from the real to the fictional, from a historical account or biography to a fictionalized narrative or drama.\u00E2\u0080\u009D42 Thus, the time gap, change of author, and change in genre from semi-fictional to fully fictional do not hinder the definition of a sequel established in this chapter, and I will, therefore, consider this work to be a sequel of Towazugatari. Linda Hutcheon does not consider sequels to be adaptations,43 but unlike Mori Masako\u00E2\u0080\u0099s Kewaizaka, Okuyama fully utilizes Towazugatari as part of her work. Indeed, the text is given to Nij\u00C5\u008D\u00E2\u0080\u0099s daughter, who reads and comments on her mother\u00E2\u0080\u0099s life while also following her own narrative arc. In addition, the author also borrows a storyline from another woman\u00E2\u0080\u0099s diary, Michitsuna\u00E2\u0080\u0099s Mother\u00E2\u0080\u0099s Kager\u00C5\u008D nikki. Thus, despite being a sequel, Okuyama\u00E2\u0080\u0099s Koi goromo Towazugatari can be seen as a sequel to and an adaptation of Towazugatari that borrows from other texts and will be treated as such in this thesis. Before exploring the plot of the story and its connection to Nij\u00C5\u008D\u00E2\u0080\u0099s story, I shall provide a short biography of its author. 9.2.1 \u00C2\u00A0Okuyama Ky\u00C5\u008Dko Okuyama Ky\u00C5\u008Dko was born in the Aichi Prefecture in 1966. She attended Nagoya University where she studied literature and worked as a high school instructor after graduation. After two years, she decided to re-enroll in Nagoya University in order to study classical literature at the graduate level. Her research subject was women\u00E2\u0080\u0099s diary literature44 or, more precisely, \u00E2\u0080\u009Cwomen and writing\u00E2\u0080\u009D (onna to kaku koto \u00E5\u00A5\u00B3\u00E3\u0081\u00A8\u00E6\u009B\u00B8\u00E3\u0081\u008F\u00E3\u0081\u0093\u00E3\u0081\u00A8). For her master\u00E2\u0080\u0099s thesis and doctoral dissertation, she studied Kager\u00C5\u008D nikki and also presented and did research on other women\u00E2\u0080\u0099s diaries. At the time, she also became very interested in the study of Towazugatari. 42 Linda Hutcheon, A Theory of Adaptation, 8. 43 Ibid., 9. 44 When discussing the term women\u00E2\u0080\u0099s diary literature (jyoryu nikki\u00E5\u00A5\u00B3\u00E6\u00B5\u0081\u00E6\u0097\u00A5\u00E8\u00A8\u0098), Okuyama explained to me that the expression \u00E2\u0080\u009Cjy\u00C5\u008Dry\u00C5\u00AB\u00E2\u0080\u009D is not as frequently used anymore in the literary field but that is was often used at the time of her studies. 93 Okuyama explained the difficulties at the time for a female scholar to present her work on women\u00E2\u0080\u0099s writings and for such work to be seen as objective.45 She stated that, when studying women\u00E2\u0080\u0099s literature, a male scholar\u00E2\u0080\u0099s argument would be seen as neutral while a female scholar\u00E2\u0080\u0099s work would be questioned because of her gender, as others would question their objectivity.46 Also, she emphasized the difficulty of finding a fulfilling job as an instructor of Japanese literature, a role not particularly well-respected in Japan and often consisting largely of Japanese language instruction.47 After working as an instructor at her university while looking for a job for five years, she became severely depressed and ultimately was forced to resign and end her research. Until this point, Okuyama had prioritized her research and teaching career, and now she found herself in a difficult position. However, upon her partner\u00E2\u0080\u0099s suggestion, she started writing novels, taking inspiration from classical literature and historical events.48 In 2007, Okuyama\u00E2\u0080\u0099s debut work, Heike gani ibun \u00E5\u00B9\u00B3\u00E5\u00AE\u00B6\u00E8\u009F\u00B9\u00E7\u0095\u00B0\u00E8\u0081\u009E (The Strange Tale of the Heike Crab), won the eighty-seventh \u00C5\u008Cru Yomimono Rookie of The Year Award (\u00C5\u008Cru Yomimono Shinjinsh\u00C5\u008D \u00E3\u0082\u00AA\u00E3\u0083\u00BC\u00E3\u0083\u00AB\u00E8\u00AE\u0080\u00E7\u0089\u00A9\u00E6\u0096\u00B0\u00E4\u00BA\u00BA\u00E8\u00B3\u009E) and was later included in her first book publication, Genpei rokkasen \u00E6\u00BA\u0090\u00E5\u00B9\u00B3\u00E5\u0085\u00AD\u00E8\u008A\u00B1\u00E6\u0092\u00B0 (The Genpei\u00E2\u0080\u0099s Six Flowers) in 2009. Since then, Okuyama has been steadily publishing works including historical novels for adults but also books for younger readers such as her H\u00C4\u00ABr\u00C5\u008Dzu! \u00E3\u0083\u0092\u00E3\u0083\u00BC\u00E3\u0083\u00AD\u00E3\u0083\u00BC\u00E3\u0082\u00BA\u00EF\u00BC\u0081 (Heroes!) spin-off series, which started after the success of her book centred on Saig\u00C5\u008D Takamori \u00E8\u00A5\u00BF\u00E9\u0083\u00B7 \u00E9\u009A\u0086\u00E7\u009B\u009B (1828\u00E2\u0080\u00931877), Saig\u00C5\u008D Takamori shinnen o tsuranuita ishin no h\u00C4\u00ABr\u00C5\u008D \u00E8\u00A5\u00BF\u00E9\u0083\u00B7\u00E9\u009A\u0086\u00E7\u009B\u009B \u00E4\u00BF\u00A1\u00E5\u00BF\u00B5\u00E3\u0082\u0092\u00E3\u0081\u00A4\u00E3\u0082\u0089\u00E3\u0081\u00AC\u00E3\u0081\u0084\u00E3\u0081\u009F\u00E7\u00B6\u00AD\u00E6\u0096\u00B0\u00E3\u0081\u00AE\u00E3\u0083\u0092\u00E3\u0083\u00BC\u00E3\u0083\u00AD\u00E3\u0083\u00BC (Saigo Takamori: Hero of the Revolution who held firm to his belief). Okuyama\u00E2\u0080\u0099s aim to share Japanese folk tales (mukashi banashi) is motivated by her belief that Japanese children are very aware of Disney\u00E2\u0080\u0099s stories but are often less knowledgeable about their own country\u00E2\u0080\u0099s many traditional tales and works. She 45 Okuyama Ky\u00C5\u008Dko, email message to the author, May 2017. 46 Ibid. 47 Ibid. 48 Ibid. 94 explains how, when at school, they might read such classical texts as the Kojiki or The Pillow Book of Sei Sh\u00C5\u008Dnagon, but, when they become adults, they often do not seek out those stories themselves due to their busy lifestyles and occupations.49 Okuyama Ky\u00C5\u008Dko is a pen name, based on a line of the famous Iroha poem (iroha uta \u00E3\u0081\u0084\u00E3\u0082\u008D\u00E3\u0081\u00AF\u00E6\u00AD\u008C) containing all Japanese syllables. She lives in Nagoyama with her husbands and her two cats.50 9.2.2 \u00C2\u00A0Koi goromo Towazugatari: A Novel about Nij\u00C5\u008D\u00E2\u0080\u0099s Daughter Centred on Tsuyuko \u00E9\u009C\u00B2\u00E5\u00AD\u0090, Nij\u00C5\u008D\u00E2\u0080\u0099s daughter with her lover Sanekane, Koi goromo Towazugatari is a continuation to Nij\u00C5\u008D\u00E2\u0080\u0099s story. Raised by adoptive parents, she only learns the identity of her father when she turns fifteen and is introduced to Sanekane.51 At the beginning of the story, Tsuyuko is thirty-seven, has a son, and is unaware of the identity of her birth mother. She recalls some of her life troubles, including her marriage problems and how her husband left with their son when she was twenty-nine.52 She also remembers when her husband became ill and passed away. One of her husband\u00E2\u0080\u0099s lovers, the daughter of a lady named Goj\u00C5\u008D, gave birth to a little girl while Tsuyuko strongly wished for a child of her own.53 In the first scene of the novel, she receives a bundle of books (s\u00C5\u008Dshi \u00E8\u008D\u0089\u00E5\u00AD\u0090) from Sanekane, which we learn later, was written by Nij\u00C5\u008D. Sanekane, who is now sixty years old, finally offers to tell Tsuyuko about her birth mother.54 He explains who she was: the daughter of Koga Masatada, GoFukakusain Nij\u00C5\u008D.55 Tsuyuko starts reading her mother\u00E2\u0080\u0099s writings, amongst which she finds a first-person account of 49 Okuyama Ky\u00C5\u008Dko, personal communication to the author, June 2017. 50 For more information about Okuyama and her most recent work, please see her personal website: Okuyama, Ky\u00C5\u008Dko, Kefuno Okuyama \u00EF\u00BD\u009EOkuyama Ky\u00C5\u008Dko desu, http://okehuko.blog.fc2.com (accessed March 2018). 51 Okuyama Ky\u00C5\u008Dko, Koi goromo Towazugatari,10. 52 Ibid.,14. 53 Ibid. 54 Ibid., 32. 55 Ibid., 34. 95 Nij\u00C5\u008D\u00E2\u0080\u0099s life that follows quite closely the content of the original Towazugatari, starting with Nij\u00C5\u008D\u00E2\u0080\u0099s first night with the emperor, his recollection of Sukedai, and the anecdote of Sanekane\u00E2\u0080\u0099s letter.56 Throughout the rest of the novel, Okuyama weaves Nij\u00C5\u008D\u00E2\u0080\u0099s story with Tsuyuko\u00E2\u0080\u0099s comments and thoughts about her own life, recalling what happened to her when she was her mother\u00E2\u0080\u0099s age. Tsuyuko learns more about her mother\u00E2\u0080\u0099s life, clarifying some of the story\u00E2\u0080\u0099s content by asking questions to Sanekane.57 Tsuyuko is told that the daughter of Lady Goj\u00C5\u008D has passed away. Upon finishing the second Book of her mother\u00E2\u0080\u0099s writings, Tsuyuko is visited by Sanekane, and they discuss Nij\u00C5\u008D\u00E2\u0080\u0099s poetic talents.58 She then continues to read Nij\u00C5\u008D\u00E2\u0080\u0099s work but is informed that an old nun is asking to meet with her.59 The nun is not Nij\u00C5\u008D but the sister of the recently deceased daughter of Lady Goj\u00C5\u008D, who begs Tsuyuko to adopt her niece.60 Tsuyuko finishes her readings, returns the text to Sanekane, and agrees to raise the young child. At the very end of the story, she picks up her ink brush and names her mother\u00E2\u0080\u0099s work, which she has just copied: Towazugatari.61 9.2.3 \u00C2\u00A0 Koi goromo Towazugatari: A Hybrid Work Koi goromo Towazugatari is composed of both a new story and a retelling of Towazugatari. The work is a hybrid novel that parallels both Nij\u00C5\u008D\u00E2\u0080\u0099s and her daughter\u00E2\u0080\u0099s life stories, allowing the latter to comment on her mother\u00E2\u0080\u0099s experience while reflecting on her own life. Ultimately, those reflections allow her to find meaning in her life by both adopting a little girl and naming her mother\u00E2\u0080\u0099s work. Similarly to Mori\u00E2\u0080\u0099s novel, Okuyama is able to explain Nij\u00C5\u008D\u00E2\u0080\u0099s text to the reader by having characters discuss the work and by providing a rewriting of Towazugatari. The text, which is presented in modernized Japanese but includes formal expressions and archaic words to reflect the time period, cannot be classified as a modern translation of the original text since Okuyama takes some liberties with 56 Ibid., 36. 57 Ibid., 96. 58 Ibid., 166. 59 Ibid., 248. 60 Ibid., 250. 61 Ibid., 290. 96 the content. For example, at the end of the first section of Nij\u00C5\u008D\u00E2\u0080\u0099s work, where she explains her first night with GoFukakusa, she ends the section with him saying \u00E2\u0080\u009CSukedai\u00E2\u0080\u009D lingeringly, reinforcing his strong attachment to Nij\u00C5\u008D\u00E2\u0080\u0099s mother.62 In Towazugatari, this does not happen. In addition, Tsuyuko is also made responsible for some modifications of her mother\u00E2\u0080\u0099s work besides naming it herself. Before returning the booklets to Sanekane, Tsuyuko copies them all and is depicted copying a modification to the Saigy\u00C5\u008D poem found between Books Four and Five63 and removing the title of this part of the work, which was previously named \u00E2\u0080\u009CDiary of The Travels of a Nun\u00E2\u0080\u009D (ama no tabi no nikki \u00E5\u00B0\u00BC\u00E3\u0081\u00AE\u00E6\u0097\u0085\u00E3\u0081\u00AE\u00E6\u0097\u00A5\u00E8\u00A8\u0098).64 Thus, the author is also able to imagine a plausible reason for the hybrid nature of Towazugatari by suggesting it was crafted so by Tsuyuko. Interestingly, both Towazugatari and Okuyama\u00E2\u0080\u0099s novel are works that marry different genres together and are therefore difficult to classify. Okuyama is able to explain much of Towazugatari\u00E2\u0080\u0099s backstory through characters\u00E2\u0080\u0099 interactions, such as Sanekane\u00E2\u0080\u0099s discussion of the Koga family when he reveals to Tsuyuko who her birth mother is.65 Besides in-text information, the book also includes a chart at the beginning that explains the emperor\u00E2\u0080\u0099s succession line and the genealogy of the Koga and Saionji families. In addition, the 2017 version of the text comes with an afterword commentary, written by the scholar of medieval literature Tanaka Takako \u00E7\u0094\u00B0\u00E4\u00B8\u00AD\u00E8\u00B2\u00B4\u00E5\u00AD\u0090 at Konan University, which explains Towazugatari\u00E2\u0080\u0099s discovery and content in detail. Notably, the commentary also mentions both Setouchi Harumi\u00E2\u0080\u0099s Ch\u00C5\u00ABsei enj\u00C5\u008D and Sugimoto Sonoko\u00E2\u0080\u0099s Shin Towazugatari.66 Besides its strong connection to Towazugatari, Okuyama\u00E2\u0080\u0099s knowledge of Japanese classical literature is apparent throughout the entire novel, as she makes many connections to other works or has 62 Ibid., 42. 63 In the novel, Nij\u00C5\u008D had copied Saigy\u00C5\u008D\u00E2\u0080\u0099s famous poem about dying under the cherry blossoms but changed one word and crossed out the last line. She then provided one alternative end line for the poem at the end of the Book Five. Tsuyuko wrote the entire poem as it was intended to be by her mother in her copy of the text. 64 Ibid., 287. 65 Ibid., 33. 66 Tanaka Takako, \u00E2\u0080\u009CCommentary,\u00E2\u0080\u009D in Koigoromo Towazugtari, Okuyama Ky\u00C5\u008Dko (Japan: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha, 2017), 296\u00E2\u0080\u009397. 97 her characters discuss them. At the very beginning, Tsuyuko realizes that her being thirty-seven years old is particularly unfortunate, as it is supposed to be an unlucky year (yaku doshi \u00E5\u008E\u0084\u00E5\u00B9\u00B4) for women.67 She states that even in The Tale of Genji, two women, Fujistubo and Murasaki, died or became very sick at the age of thirty-seven.68 The creation of Tsuyuko as a point of view character (shiten jinbutsu \u00E8\u00A6\u0096\u00E7\u0082\u00B9\u00E4\u00BA\u00BA\u00E7\u0089\u00A9) was based on one of Okuyama\u00E2\u0080\u0099s hypotheses: \u00E2\u0080\u009CAren\u00E2\u0080\u0099t all [Japanese] women\u00E2\u0080\u0099s diaries written, in fact, with the author\u00E2\u0080\u0099s daughters as the intended audience?\u00E2\u0080\u009D69 Okuyama\u00E2\u0080\u0099s knowledge of Kager\u00C5\u008D nikki also played an important role in the creation of this work, as she aimed to join together one of the early instances of a woman\u00E2\u0080\u0099s diary, Kager\u00C5\u008D nikki, with one of its latest examples, Towazugatari. The position of Tsuyuko as a woman who is not serving at court nor interacting with the world outside of her house is very similar to the position of Michitsuna\u00E2\u0080\u0099s Mother, the author of Kager\u00C5\u008D nikki.70 In addition, Tsuyuko adopting the daughter of her husband\u00E2\u0080\u0099s lover parallels Michitsuna\u00E2\u0080\u0099s Mother\u00E2\u0080\u0099s similar actions in Kager\u00C5\u008D nikki.71 Thus, due to its content and intertextual connection to other classical texts, Koi goromo Towazugatari is a hybrid adaptation that resembles its source material due to its difficult to qualify nature. Furthermore, Okuyama\u00E2\u0080\u0099s expansive knowledge of classical literature enables her to craft a believable novel that is able to educate the reader about Towazugatari while also providing interesting plot development through the character Tsuyuko\u00E2\u0080\u0099s life. Like Mori\u00E2\u0080\u0099s Kewaizaka, Okuyama\u00E2\u0080\u0099s Koi goromo Towazugatari includes a comprehensive two-page list of her references which encompasses many works, including seven different annotated versions or transciptions of Towazugatari, starting with the 1972 five-volume facsimile version edited by Ijichi Tetsuo \u00E4\u00BC\u008A\u00E5\u009C\u00B0\u00E7\u009F\u00A5\u00E9\u0089\u0084\u00E7\u0094\u00B7 (1909\u00E2\u0080\u00931998).72 Thus, Okuyama did not only engage with the text in its classical 67 Okuyama Ky\u00C5\u008Dko, Koi goromo Towazugatari, 8. 68 Ibid. 69 Personal correspondence with Okuyama Ky\u00C5\u008Dko. 70 Tanaka Takako, \u00E2\u0080\u009CCommentary,\u00E2\u0080\u009D 298. 71 Ibid. 72 Ijichi Tetsuo ed., Towazugatari, (Tokyo, Kasama Shoin: 1972). 98 grammar form but she also engaged with a close reproduction of the text discovered by Yamagishi Tokuhei, written in kuzushiji \u00E5\u00B4\u00A9\u00E3\u0081\u0097\u00E5\u00AD\u0097 (classical cursive style). She also includes the versions of the other classical texts she used such as The Tale of Genji, The Kager\u00C5\u008D Diary, or The Pillow Book of Sei Sh\u00C5\u008Dnagon. The length of Okuyama\u00E2\u0080\u0099s list highlights her extensive research as well as her background in Japanese literature studies and her extensive knowledge of the many texts presented in her reference list. Indeed, unlike Mori, her reference materials consist mostly of primary sources. This extensive research allowed Okuyama to provide direct intertextual links between her work and other classical texts in a way that mirrors Nij\u00C5\u008D\u00E2\u0080\u0099s own work, where texts such as The Tale of Genji or Ise Stories are directely alluded to. 9.2.4 \u00C2\u00A0Koi goromo Towazugatari: A Discussion of Motherhood Motherhood and mother-daughter relations are essential themes of Okuyama\u00E2\u0080\u0099s novel. Not only do these appear through Nij\u00C5\u008D\u00E2\u0080\u0099s writings and Tsuyuko\u00E2\u0080\u0099s interpretation of her birth mother\u00E2\u0080\u0099s text, but they are also expressed through Tsuyuko\u00E2\u0080\u0099s relation to her adoptive mother and, finally, through her own action as the adoptive mother of a young girl. Okuyama uses different expressions to refer to Tsuyuko\u00E2\u0080\u0099s adoptive parents who raised her and her birth parents. The author uses the kanji compound words for foster mother (y\u00C5\u008Dba \u00E9\u00A4\u008A\u00E6\u00AF\u008D) and foster father (y\u00C5\u008Dfu \u00E9\u00A4\u008A\u00E7\u0088\u00B6) to describe Tsuyuko\u00E2\u0080\u0099s parents, but she gives these words the readings for the words \u00E2\u0080\u009Cmom\u00E2\u0080\u009D and \u00E2\u0080\u009Cdad\u00E2\u0080\u009D (haha and toto), highlighting the close relationship of these characters. In contrast, Sanekane and Nij\u00C5\u008D are referred to as Tsuyuko\u00E2\u0080\u0099s \u00E2\u0080\u009Creal\u00E2\u0080\u009D father and mother (jippu \u00E5\u00AE\u009F\u00E7\u0088\u00B6 and jitsubo \u00E5\u00AE\u009F\u00E6\u00AF\u008D), respectively, by the omniscient narrator. Sanekane and the narrator also call Nij\u00C5\u008D Tsuyuko\u00E2\u0080\u0099s \u00E2\u0080\u009Cbirth mother\u00E2\u0080\u009D (umi no haha \u00E7\u0094\u00A3\u00E3\u0081\u00BF\u00E3\u0081\u00AE\u00E6\u00AF\u008D).73 As for Tsuyuko herself, she uses the much more formal k\u00C4\u0081sama \u00E6\u00AF\u008D\u00E6\u00A7\u0098 and later the more casual haha \u00E6\u00AF\u008D when talking about Nij\u00C5\u008D. 73 Okuyama Ky\u00C5\u008Dko, Koi goromo Towazugatari, 32. 99 Finally, Tsuyuko\u00E2\u0080\u0099s adoptive daughter is not only referenced as an adoptive daughter (y\u00C5\u008Djo\u00E9\u00A4\u008A\u00E5\u00A5\u00B3) but also, more simply, as a daughter (musume\u00E5\u00A8\u0098).74 Through her use of language, Okuyama is able to underline relationships between characters to the reader, particularly the strong bond between Tsuyuko and her adoptive mother, who, despite becoming a nun, is still a comforting presence in her life. At the end of the novel, Tsuyuko seems to have made peace with her birth mother\u00E2\u0080\u0099s abandonment of her but is also able to become a foster mother herself to her late husband\u00E2\u0080\u0099s daughter. The former is made clear by a scene where she is confused after calling for her mother in her head and does not know herself to whom she has addressed this call: her adoptive mother or Nij\u00C5\u008D herself.75 In addition, Okuyama creates parallels in Nij\u00C5\u008D\u00E2\u0080\u0099s and Tsuyuko\u00E2\u0080\u0099s lives with regards to their upbringing, as both women are raised by at least one adoptive parent. Tsuyuko is unaware of it until she meets Sanekane, but Nij\u00C5\u008D knows about Sukedai\u00E2\u0080\u0099s passing and explains being taken care of by an older aunt and nun who is not directly related to her by blood.76 Moreover, the importance of writing and teaching one\u00E2\u0080\u0099s daughter how to write are strong elements of the novel. Tsuyuko receives a letter from the old nun who visited her to ask her to adopt the young daughter of her husband, in which she reiterates her pleas for the child\u00E2\u0080\u0099s benefit.77 With the letter, Tsuyuko finds a copy of the \u00E2\u0080\u009CNaniwazu song\"78 written by a small child. Remembering using the same poem for writing practice, she recalls her adoptive mother\u00E2\u0080\u0099s help and kindness and how she taught her how to write.79 Tsuyuko is particularly moved by these memories and believes the nun\u00E2\u0080\u0099s act of including the young girl\u00E2\u0080\u0099s writing practice with her letter to be a \u00E2\u0080\u009Cstratagem\u00E2\u0080\u009D (sakuryaku) to get Tsuyuko to adopt 74 Ibid., 288. 75 Ibid., 253. 76 Ibid., 38. 77 Ibid., 280. 78 Naniwazu no uta (\u00E9\u009B\u00A3\u00E6\u00B3\u00A2\u00E6\u00B4\u00A5): poem by \u00E2\u0080\u009C\u00C5\u008Csazaki sovereign\u00E2\u0080\u009D (Nintoku, r. 313\u00E2\u0080\u0093399), present in Ki no Tsurayuki\u00E2\u0080\u0099s (872\u00E2\u0080\u0093945) Kana preface of the poetry anthology Kokinwakash\u00C5\u00AB (ca. 905). This poem and another are highlighted as being particularly good models for a beginner writer. Torquil Duthie, Man\u00E2\u0080\u0099y\u00C5\u008Dsh\u00C5\u00AB and the Imperial Imagination in Early Japan (Boston: Brill, 2014), 119. 79 Okuyama Ky\u00C5\u008Dko, Koi goromo Towazugatari, 280. 100 the girl.80 In the next chapter, she meets with Sanekane and informs him of her choice to welcome the young girl and raise her, proving that the nun\u00E2\u0080\u0099s letter had a very strong effect on her choice. In addition to this scene, the importance of writing to familial relations is emphasized by the fact that Tsuyuko\u00E2\u0080\u0099s relationship to Nij\u00C5\u008D is almost entirely mediated through text. She learns about her mother through discussions with Sanekane, but she is able to hear Nij\u00C5\u008D\u00E2\u0080\u0099s own life story from her mother\u00E2\u0080\u0099s own point of view. Of course, this experience is not particularly comfortable for Tsuyuko who has to read about her mother\u00E2\u0080\u0099s lovers in detail. For example, she calls her a \u00E2\u0080\u009Cdaring, strange personage\u00E2\u0080\u009D (daitan, fushigina kata) who continued her relationship with Sanekane while being favored by the emperor.81 Throughout her life, Nij\u00C5\u008D gives birth to four children. One of Tsuyuko\u00E2\u0080\u0099s early concerns is to understand under what circumstances she was born. When she first learns about Nij\u00C5\u008D\u00E2\u0080\u0099s first born and the death of Masatada, she is able to calculate that it happened two years before her own birth and wonders why her mother, who just gave birth to the emperor\u00E2\u0080\u0099s son, would give birth again two years later.82 When Tsuyuko finally reads the recollection of her birth, she discovers her mother\u00E2\u0080\u0099s feelings of guilt upon having to give her up.83 Particularly, Tsuyuko notes the Buddhist expressions used by her mother, such as her use of the word \u00E2\u0080\u009Cretribution\u00E2\u0080\u009D (mukui \u00E5\u00A0\u00B1\u00E3\u0081\u0084), which she finds particularly sad because her mother was only \u00E2\u0080\u009Ca seventeen-year-old girl\u00E2\u0080\u009D (j\u00C5\u00ABnana sai no mada sh\u00C5\u008Djo) at the time.84 Thus, Tsuyuko is able to strongly empathize with her mother by reading her writings and understanding that the text was intended for her. The format of the book is also able to showcase the relationship between Tsuyuko and Nij\u00C5\u008D. Inserted between sections of Towazugatari, Okuyama includes Tsuyuko\u00E2\u0080\u0099s thoughts and creates parallels between the two women. For example, after reading a section where Nij\u00C5\u008D loses her father Masatada, 80 Ibid., 281. 81 Ibid., 62. 82 Ibid., 51. 83 Ibid., 79 84 Ibid. 101 Tsuyuko reflects on her own life and thinks about when she was the same age. She realizes that when she was fifteen, she attended her coming-of-age ceremony and also met her biological father, Sanekane.85 Here, the parallel is particularly painful for Tsuyuko who reflects on her own loss but also on her own anxiety when she was not told the identity of her birth mother.86 At the same, she is aware that when she gained a father, Nij\u00C5\u008D was losing hers, highlighting the harshness of her birth mother\u00E2\u0080\u0099s life. Okuyama\u00E2\u0080\u0099s construction of analogies between the two characters also exposes the different lifestyles of the two women, as well as their different social mobilities and experiences outside of their homes. Indeed, as mentioned before, Tsuyuko is a character who, like the author of Kager\u00C5\u008D niiki is depicted inside her home throughout most of the story. But while Michitsuna\u00E2\u0080\u0099s Mother describes frequently going on pilgrimages, Tsuyuko remains home throughout Koi goromo Towazugatari and represents a particular type of immobile woman: alone, without any child to raise, and without many prospects in life. While we were discussing the two women, Okuyama compared their respective positions to those of a modern career woman and a stay-at-home mother.87 This comparison is also relevant here because of Nij\u00C5\u008D\u00E2\u0080\u0099s inability to raise her own children, due to her \u00E2\u0080\u009Ccareer\u00E2\u0080\u009D at court. In a similar way, Tsuyuko\u00E2\u0080\u0099s son was taken away from her when her husband moved away, taking him along and leaving her behind.88 9.3 \u00C2\u00A0The Second Wave of Novel Adaptations Both Mori\u00E2\u0080\u0099s and Okuyama\u00E2\u0080\u0099s novels utilize Towazugatari in very distinct ways in works that cannot simply be defined as straightforward adaptations. Mori bases her work in a modern setting where Nij\u00C5\u008D\u00E2\u0080\u0099s text exists and was studied upon its rediscovery in 1938, but she also juxtaposes these real life facts with an alternative timeline where the content of the diary was kept and passed on orally through 85 Ibid., 49. 86 Ibid. 87 Okuyama Ky\u00C5\u008Dko, personal communication with the author, June 2017. 88 Okuyama Ky\u00C5\u008Dko, Koi goromo Towazugatari, 14. 102 many generations. Hence, she is able to not only create a compelling story with relatable characters but also to educate the reader about Towazugatari through her narrative techniques. At first glance, Mori\u00E2\u0080\u0099s work does not seem to be an adaptation but a novel that is strongly centred on Towazugatari. However, upon reading the text, one can see that Mori\u00E2\u0080\u0099s novel is much more intertwined with Nij\u00C5\u008D\u00E2\u0080\u0099s story than it appears to be, as the story arc of the main character of the story, Miwako, is reminiscent of that in Towazugatari. Furthermore, discussion of the content of the original text by many different characters and the inclusion of the reading group\u00E2\u0080\u0099s notes about it allows for the reader to engage with the text, Nij\u00C5\u008D\u00E2\u0080\u0099s background information, and the circumstances of the discovery of her text. Thus, Mori is able to both entertain the reader by crafting an engaging mystery novel while also educating the reader through her inclusion of information about Towazugatari. Okuyama, in a different way, is able to produce a novel that blends qualities of both sequels and adaptations in a text that is a retelling of Towazugatari but is also a new story set after the events of the original. By entrusting the text to Nij\u00C5\u008D\u00E2\u0080\u0099s daughter, the author is able to both rework Nij\u00C5\u008D\u00E2\u0080\u0099s story into a modernized and more concise form while allowing Tsuyuko to comment on her mother\u00E2\u0080\u0099s life as a way to advance her own, as she makes peace with her situation. Okuyama\u00E2\u0080\u0099s work is, in a way, the perfect replacement for Towazugatari, as it reshapes the original while also making it more accessible to a non-academic audience. But Koi goromo Towazugatari is also the crystallization of Okuyama\u00E2\u0080\u0099s talents as both an author and a researcher, as she includes many references to other classical texts and even borrows a storyline from Kager\u00C5\u008D nikki. The theme of writing resonates strongly in the work and leaving a legacy to the daughter she could not raise is used as one of the reasons for Nij\u00C5\u008D\u00E2\u0080\u0099s writing of the text. Furthermore, what ultimately pushes Tsuyuko to adopt a little girl is seeing the child\u00E2\u0080\u0099s writing practice and remembering her own, which she seems to view as bonding time with her foster mother. Thus the importance of teaching one\u00E2\u0080\u0099s daughter how to write is an essential motif of the text. In addition, 103 Okuyama succeeds at spreading knowledge about Japanese literature through her work, as she is able to teach her audience about the content of Towazugatari while, at the same time, creating her own narrative. Thus, both Mori\u00E2\u0080\u0099s Kewaizaka and Okuyama\u00E2\u0080\u0099s Koi goromo Towazugatari are narratives that explore the consequences of Nij\u00C5\u008D\u00E2\u0080\u0099s work being found and read in two different time periods. Both stories are concerned with protecting the text and its content and allowing only a small group of people to have access to it. Unlike Setouchi\u00E2\u0080\u0099s and Sugimoto\u00E2\u0080\u0099s adaptation, the two main protagonists are women who are not Nij\u00C5\u008D and who are not as young as she was at the beginning of her work. This allows Okuyama to discuss themes of motherhood in detail while Mori is able to create a character who, even though she was used and abused, is able to stand up for herself and ends up stronger than she started. Similarly, Okuyama\u00E2\u0080\u0099s Tsuyuko is able to grow throughout the novel thanks to learning about and accepting her mother\u00E2\u0080\u0099s experiences. Unlike Setouchi and Sugimoto, Mori and Okuyama both include a list of reference of the texts they used in order to craft their stories. Okuyama\u00E2\u0080\u0099s list is particularly impressive in its scope and detail, highlighting the many different versions of Towazugatari that she used as primary texts and her research of other classical texts, which she incorporated when alluding to other works like The Tale of Genji in a method that seems to mirror Nij\u00C5\u008D\u00E2\u0080\u0099s own approach to allusion. Both Mori\u00E2\u0080\u0099s and Okuyama\u00E2\u0080\u0099s processes of adaptation highlight their interests in directly interacting with Nij\u00C5\u008D\u00E2\u0080\u0099s text in its classical Japanese form. This is seen in their use of a base text in classical Japanese on which to build their novels. Mori and Okuyama can be characterized as having a more scholarly approach to adapting Towazugatari through a process inspired by the second wave of scholarship of the text. Due to its particular reception history, Towazugatari is not as well known as other classical texts, such as The Tale of Genji, whose images are easily conjured in the minds of people, even those who 104 have not read the text itself. This lack of knowledge about the actual content of Towazugatari as a text may open it up to being easily replaced by adaptations. Mori\u00E2\u0080\u0099s novel acts as a replacement because it provides a retelling of Nij\u00C5\u008D\u00E2\u0080\u0099s story even though it is not directly from her point of view and does not solely focus on her life. Despite the strong emphasis on Nij\u00C5\u008D\u00E2\u0080\u0099s story and its mysteries, the protagonist of the novel is not Nij\u00C5\u008D but rather Miwako, who serves as Nij\u00C5\u008D\u00E2\u0080\u0099s surrogate in parts of the text. Miwako is depicted alongside two partners who investigate mysteries linked to Nij\u00C5\u008D\u00E2\u0080\u0099s text, and, thus, the reader is encouraged to associate the text with Towazugatari and Lady Nij\u00C5\u008D yet focus on the story of the novel\u00E2\u0080\u0099s other characters. Hutcheon\u00E2\u0080\u0099s argument that audiences find pleasure in the repetition contained in adaptation89 requires the reader to see and understand the patterns of repetition. In contrast, Mori\u00E2\u0080\u0099s work is enjoyable for her audience particularly because the outcome of the story is nebulous. The readers of Kewaizaka do not need to be knowledgeable about Towazugatari\u00E2\u0080\u0094 the text is explained to them, but it does not offer answers to the plot\u00E2\u0080\u0099s mysteries, such as the disappearance of Sae. It is the lack of perceived repetition that allows the text to function as a mystery novel and provide another type of reading pleasure and satisfaction, that of an unfolding, suspenseful narrative. On the one hand, readers who have not encountered Nij\u00C5\u008D\u00E2\u0080\u0099s text before would not recognize patterns of repetition through the text and would fully enjoy the discovery of a classical text through reading a modern suspense story. On the other hand, readers who are familiar with Towazugatari will enjoy the repetition of her story appearing through other characters discussing Nij\u00C5\u008D\u00E2\u0080\u0099s text, but, through Mori\u00E2\u0080\u0099s own addition to the lore surrounding the original, they are also able to experience the story in a new, unfamiliar way. Hence, Mori\u00E2\u0080\u0099s adaptation of Nij\u00C5\u008D\u00E2\u0080\u0099s story allows for the creation of a contemporary novel that relies on the unusual aspects of Towazugatari\u00E2\u0080\u0099s contents and discovery in order to create a sense of mystery or a form of entertainment for her readers. 89 Linda Hutcheon, A Theory of Adaptation, 4. 105 Okuyama\u00E2\u0080\u0099s work is inherently intertextual but does not rely on the readers\u00E2\u0080\u0099 knowledge of the original to deliver enjoyment. Audiences who are familiar with other classical texts, such as Kager\u00C5\u008D nikki or the poet Saigy\u00C5\u008D\u00E2\u0080\u0099s work, would enjoy the intertextual nature of Okuyama\u00E2\u0080\u0099s work. By introducing the strong theme of motherhood and abandonment, Koi goromo Towazugatari is a novel that easily resonates with modern audiences. Due to its specialized language, it is less accessible than the other three novelizations of Towazugatari and the inclusion of the commentary at the end and the very long list of reference material used by Okuyama90 underline the extensive research of the author and suggest that she is targeting a resdership interested in classical works. Like Mori, Okuyama is able to convey a sense of discovery in her work, as Tsuyuko and the reader follow Nij\u00C5\u008D\u00E2\u0080\u0099s life together and try to understand the reasons for her abandonment of Tsuyuko. This uncertainty feels less unpredictable for an audience who already knows the circumstances of the births of Nij\u00C5\u008D\u00E2\u0080\u0099s children, having read Towazugatari. Thus, I argue that both Mori and Okuyama use Towazugatari to create a sense of mystery for their respective audiences and by extension, their works become effective replacements of Nij\u00C5\u008D\u00E2\u0080\u0099s work. 90 Okuyama Ky\u00C5\u008Dko, Koi goromo Towazugatari, 292-293. 106 Conclusion: Novelization, Replacements, Retellings, and Extrapolations of Towazugatari In this thesis, I have argued that Towazugatari\u00E2\u0080\u0099s peculiar discovery, hybrid content, and short reception history have allowed for its modern adaptations, especially the four novel adaptations discussed in Chapters Three and Four, to act as replacements of the original text for readers. Since Lady Nij\u00C5\u008D\u00E2\u0080\u0099s work is not as well known as other classical literary works, nor is it seen as canonical such as works like The Tale of Genji, the context of its discovery and dissemination allowed authors to reimagine the work following their genre of choice or focus on certain aspects of the text and not others. In the second chapter of this project, I discussed non-novel adaptations of Towazugatari in order to situate the four novelizations amidst a larger framework of adaptations. The first textual adaptation, Kitabatake Yao\u00E2\u0080\u0099s \u00E2\u0080\u009CDainagon no Suke no Hime,\u00E2\u0080\u009D completely divorced its content from Nij\u00C5\u008D and her work. The film Asaki yumemishi focused largely on the Buddhist aspects of Nij\u00C5\u008D\u00E2\u0080\u0099s life and turned her work into a redemption narrative. The British play Top Girls created a one-scene-only depiction of Nij\u00C5\u008D and used her story as a way to connect her to other historical women, producing a message about the universal female experience and the difficulties of being a modern career woman. Manga adaptations of the text occurred in two forms: contained single-volume didactic stories and multi-volume adaptations that were able to expand on certain aspects of the text, such as Nij\u00C5\u008D\u00E2\u0080\u0099s background or her relationships with her lovers. Chapter Three of this thesis analyzed Setouchi Harumi\u00E2\u0080\u0099s Ch\u00C5\u00ABsei enj\u00C5\u008D and Sugimoto Sonoko\u00E2\u0080\u0099s Shin Towazugatari, two works emerging during the first wave of academic reception which were focused on retelling Nij\u00C5\u008D\u00E2\u0080\u0099s story. Setouchi and Sugimoto adapted Towazugatari into new literary genres: a romance in the case of Setouchi and a historical narrative in the case of Sugimoto. Both authors 107 reinvented some aspects of the original memoir and shifted the perspective into that of a third-person narrator. Chapter Four focused on the two most recent novelizations: Mori Masako\u00E2\u0080\u0099s Kewaizaka and Okuyama Ky\u00C5\u008Dko\u00E2\u0080\u0099s Koi goromo Towazugatari. Both works, I argue, are part of the second wave of adaptation of the original and are less concerned with retelling the story of Nij\u00C5\u008D; instead, they use the existence of the text as inspiration to build narratives that go beyond a simple retelling from a new point of view and imagine how the original text could influence their characters. Because of the fact that Towazugatari is not widely known as a classical text, they are also able to craft mysteries, with elements of a murder mystery for Mori\u00E2\u0080\u0099s and a family drama in Okuyama\u00E2\u0080\u0099s, around the content and discovery of Nij\u00C5\u008D\u00E2\u0080\u0099s story alongside new plotlines that happen in their novelizations. All four of these novelizations act as replacements for the original work by providing the reader with a self-contained reworking of Nij\u00C5\u008D\u00E2\u0080\u0099s story. Once one has read any of these versions, would one need to seek out the original text? There are many other instances of reception related to Towazugatari that would benefit from further investigation. Firstly, a comparison of the multiple modern translations of the text would uncover how the perceptions of the text might have changed along with new translations. For comparison, there is extensive scholarship on the modern translations of The Tale of Genji, the intent of such works, and the audiences they reach. Another avenue for productive research may be found in the numerous online reviews of most of the works discussed in this thesis, which sometimes include the reader\u00E2\u0080\u0099s impressions of the text on which the adaptation was based. Online reviewers often confess to not having read Towazugatari or wanting to read the text after having discovered how it relates to the novel or other work that they have just finished. One of the more interesting discussions arose on an unauthorized manga translation website showcasing Miou Serina\u00E2\u0080\u0099s Towazugatari. The readers commented widely on the actions of Nij\u00C5\u008D, often confessing a lack of understanding and attempting to assess her choices, such 108 as her multiple sexual relationships, based on today\u00E2\u0080\u0099s moral values. Further adaptations continue to be released, offering new opportunities to consider how Nij\u00C5\u008D\u00E2\u0080\u0099s tale is retold or replaced. A deeper examination of gender and the process of adaptation would be particularly interesting since, as mentioned before, there is only one instance of Towazugatari being adapted by a man. Further exploration of this issue and connecting it to a discussion of fan fiction production would also be enriching. In her introduction to her English translation, The Confessions of Lady Nij\u00C5\u008D, Karen Brazell argues that Nij\u00C5\u008D\u00E2\u0080\u0099s work was written in order to \u00E2\u0080\u009Crestore her family\u00E2\u0080\u0099s waning literary prestige.\u00E2\u0080\u009D1 Nij\u00C5\u008D\u00E2\u0080\u0099s goal was achieved, Brazell suggests, albeit six-and-a-half centuries later, with the redicovery of the the text by Yamagishi.2 The four novels studied in this thesis and the other adaptations, across various media as discussed in Chapter Two, have also helped continue Lady Nij\u00C5\u008D\u00E2\u0080\u0099s legacy by contributing to the perpetuation of her life story. Towazugatari highlights the writings of a remarkable Kamakura-era woman whose work is now read and studied around the world. Even this thesis might contribute, admittedly in a very small and insignificant way, to the spreading of Nij\u00C5\u008D\u00E2\u0080\u0099s story and legacy. 1 Karen Brazell, trans., The Confessions of Lady Nij\u00C5\u008D, vii. 2 Ibid. 109 Bibliography Brazell, Karen. \u00E2\u0080\u009CTowazugatari: Autobiography of a Kamakura Court Lady.\u00E2\u0080\u009D Harvard Journal of Asiatic Studies 31 (1971): 220\u00E2\u0080\u009333. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094, trans. The Confessions of Lady Nij\u00C5\u008D. Stanford: Stanford University Press, 1973. Caddeau, Patrick W. Appraising Genji Literary Criticism and Cultural Anxiety in the Age of the Last Samurai. Albany, NY: State University of New York Press, 2006. Castle, Terry. Masquerade and Civilization: The Carnivalesque in Eighteenth-Century English Culture and Fiction. Stanford, California: Stanford University Press, 1986. Churchill, Caryl. Top Girls. London: Methuen Drama Editions, 1991. Citko, Ma\u00C5\u0082gorzata. \u00E2\u0080\u009CThree Faces of Lady Nij\u00C5\u008D, the Authoress of Towazugatari.\u00E2\u0080\u009D Silva Iaponicarum 21/22 (2009): 11\u00E2\u0080\u009360. Davis, Paul. \u00E2\u0080\u009CRetelling A Christmas Carol: Text and Culture-Text,\u00E2\u0080\u009D The American Scholar 59, no. 1 (1990): 109\u00E2\u0080\u009315. Duthie, Torquil. Man\u00E2\u0080\u0099y\u00C5\u008Dsh\u00C5\u00AB and the Imperial Imagination in Early Japan. Boston: Brill, 2014. Dykstra, Yoshiko K. \u00E2\u0080\u009CNotable Tales Old and New: Tachibana Narisue's Kokon Chomonj\u00C5\u00AB,\u00E2\u0080\u009D Monumenta Nipponica 47, no. 4 (1992): 469\u00E2\u0080\u009393. Emmerich, Michael. The Tale of Genji: Translation, Canonization, and World Literature. New York: Columbia University Press, 2013. Fowler, Edward. The Rhetoric of Confession: Shish\u00C5\u008Dsetsu in Early Twentieth-Century Japanese Fiction. Berkeley: University of California Press, 1988. Fukuda, Hideichi. \u00E2\u0080\u009CTowazugatari, Izumi Shikibu nikki to Setouchi Harumi: koten to gendai bungaku no mondai no ichi rei.\u00E2\u0080\u009D Kashiigata Fukuoka Joshi Daigaku Kokubungaku bungakukai 26 (1981): 12\u00E2\u0080\u009320. Hinrichs, William H. The Invention of the Sequel: Expanding Prose Fiction in Early Modern Spain. Rochester, NY: Tamesis, 2011. Hutcheon, Linda. A Theory of Adaptation. 2nd ed. New York: Routledge, 2012. Igarashi, Yumiko. Towazugatari. Tokyo: Ch\u00C5\u00AB\u00C5\u008D Koron Shinsha, 2000. Jacoby, Alexander. A Critical Handbook of Japanese Film Directors: From the Silent Era to the Present Day. Berkeley, CA: Stone Bridge, 2008. 110 Jiss\u00C5\u008Dji, Akio, dir. Asaki yumemishi. 1974; Japan: Jeneon Ent\u00C4\u0081teinmento, 2003. DVD. Kasahara, Kazuo. History of Japanese Religion. Translated byPaul McCarthy and Gaynor Sekimori. Tokyo: Kosei Publishing Co., 2013. Kidder, Edward J. Himiko and Japan's Elusive Chiefdom of Yamatai Archaeology, History, and Mythology. Honolulu: University of Hawai'i Press, 2007. Kitabatake, Yao. \u00E2\u0080\u009CDainagon no Suke no Hime.\u00E2\u0080\u009D Bungei, October 1956: 89\u00E2\u0080\u009392. Kitamura, Yuika. \u00E2\u0080\u009CSexuality, Gender, and The Tale of Genji in Modern Japanese Translation and manga.\u00E2\u0080\u009D In Envisioning The Tale of Genji: Media, Gender, and Cultural Production, edited by Haruo Shirane, 329\u00E2\u0080\u0093357. New York: Columbia University Press, 2008. Kokubo Minoru, \u00E2\u0080\u009CHy\u00C5\u008Dden, Setouchi Harumi.\u00E2\u0080\u009D In Setouchi Harumi no sekai, edited by Kokubo Minoru, 5\u00E2\u0080\u009370. Tokyo: S\u00C5\u008Drinsha, 1980. Krempien, Rainer, trans. Towazugatari. \u00C3\u009Cbersetzung und Bearbeitung eines neu aufgefundenen literarischen Werkes der Kamakura-Zeit. Freiburg i. Br.: Schwarz, 1973. Laffin, Christina. \u00E2\u0080\u009CWomen, Travel, and Cultural Production in Kamakura Japan: A Socio- Literary Analysis of Izayoi nikki and Towazugatari.\u00E2\u0080\u009D PhD dissertation, Columbia University, 2005. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. Rewriting Medieval Women: Politics, Personality, and Literary Production in the Life of Nun Abutsu. Honolulu: University of Hawaii Press, 2013. Luckhurst, Mary. Caryl Churchill. New York: Routledge, 2015. Machida, Sakae. \u00E2\u0080\u009CSetouchi Bungaku to Towazugatari: Tsuke Sugimoto Sonoko Shin Towazugatari (sh\u00C5\u008Dzen).\u00E2\u0080\u009D Atomi Gakuen Joshi Daigaku 24 (1991): 53\u00E2\u0080\u009366. Manabe, Shunsh\u00C5\u008D. Jaky\u00C5\u008D tachikawary\u00C5\u00AB. Tokyo: Chikuma Shob\u00C5\u008D, 2002. Masayo, Kaneko. \u00E2\u0080\u009CSexuality and Spirituality: Subjectivity and Resistance in the Works of Setouchi Jakuch\u00C5\u008D.\u00E2\u0080\u009D In The Outsider Within: Ten Essays on Modern Japanese Women Writers, edited by Tomoko Kuribayashi and Mizuho Terasawa, 63\u00E2\u0080\u009388. Lanham, Md.: University Press of America, 2002. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. \u00E2\u0080\u009CSexuality and Spirituality: Subjectivity and Resistance in The Works of Setouchi Jakuch\u00C5\u008D.\u00E2\u0080\u009D PhD dissertation, University of Pennsylvania, 2006. Matsumoto, Yasuhi. Ch\u00C5\u00ABsei ky\u00C5\u00ABtei josei no nikki, Towazugatari no sekai. Tokyo: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha, 1986. 111 McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper Collins Publishers, 1994. McLuhan, Eric and Zingrone Frank, eds. Essential McLuhan. Toronto: House of Anansi Press, 1995. Miya, Chie. GoFukakusa-in Nij\u00C5\u008D. Tokyo: Sekai Bunkasha, 1985. Miyata, Masayuki. The World of Masayuki Miyata. http://www.masayuki-miyata-kirie.jp (accessed March 2018). Miou, Serina. Towazugatari. 3 vols. Japan: Shogakukan, 2008. Mostow, Joshua. Courtly Visions: The Ise Stories and the Politics of Cultural Appropriation. Leiden: Brill, 2014. Mori, Masako. Kewaizaka. Japan: Kadokawa Shoten, 2001. Nichigai, Asoshi\u00C4\u0093tsu. Gein\u00C5\u008D tarento jinmei jiten. Tokyo: Nichigai Asoshi\u00C4\u0093tsu, 1990. Okuyama, Ky\u00C5\u008Dko. Koi goromo Towazugatari. Japan: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha, 2009. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. Koi goromo Towazugatari. Japan: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha, 2017. Park, Joohyun Jade. \u00E2\u0080\u009CMissing Link Found, 1880: The Rhetoric of Colonial Progress in Isabella Bird\u00E2\u0080\u0099s Unbeaten Tracks in Japan.\u00E2\u0080\u009D Victorian Literature and Culture 43, no. 2 (2015): 371\u00E2\u0080\u0093388. Rocher, Alain, trans. Splendeurs et mis\u00C3\u00A8res d\u00E2\u0080\u0099une favorite. Arles: Editions Philippe Picquier, 2004. Royall, Tyler, trans. The Tale of Genji. New York: Viking, 2001. Ruch, Barbara. \u00E2\u0080\u009CA Book of One\u00E2\u0080\u0099s Own: The Gossamer Years; The Pillow Book; and The Confessions of Lady Nij\u00C5\u008D.\u00E2\u0080\u009D In Masterworks of Asian Literature in Comparative Perspective: A Guide for Teaching, edited by Barbara Stoler Miller, 404\u00E2\u0080\u009319. New York: Routledge, 2015. Rustici, Craig M. The Afterlife of Pope Joan: Deploying the Popess Legend in Early Modern England. Ann Arbor: University of Michigan Press, 2006. Sarra, Edith. \u00E2\u0080\u009CTowazugatari: Unruly Tales from a Dutiful Daughter.\u00E2\u0080\u009D In The Father-Daughter Plot: Japanese Literary Women and the Law of the Father, edited by Rebecca L. Copeland and Esperanza Ramirez-Christansen, 89\u00E2\u0080\u0093114. Honolulu: University of Hawaii Press, 2001. \u00E2\u0080\u009CSata Yoshir\u00C5\u008D.\u00E2\u0080\u009D Tokyo National Research Institute for Cultural Properties. http://www.tobunken.go.jp/materials/bukko/10591.html (accessed March 2018). Schierbeck, Sachiko. Japanese Women Novelists in the 20th Century: 140 Biographies 1900\u00E2\u0080\u00931993. Denmark: Museum Truscunalum Press, 1994. 112 Setouchi, Harumi, Gion ny\u00C5\u008Dgo. Tokyo: K\u00C5\u008Ddansha, 1968. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094, trans. Gendaigoyaku Towazugatari. Tokyo: Shinch\u00C5\u008Dsha, 1973. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. Ch\u00C5\u00ABsei enj\u00C5\u008D. Japan: Asahi Shinbunsha, 1973. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. Ch\u00C5\u00ABsei enj\u00C5\u008D. Tokyo: Shinch\u00C5\u008Dsha, 1977. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. Watashi no sukina koten no onnatachi. Tokyo: Shinch\u00C5\u008Dsha, 1973. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. \u00E2\u0080\u009CGion ny\u00C5\u008Dgo\u00E2\u0080\u009D in Setouchi Harumi ch\u00C5\u008Dhen sensh\u00C5\u00AB, 5\u00E2\u0080\u0093409. Tokyo: K\u00C5\u008Ddansha, 1974. Shimazu, Tadao, Kamij\u00C5\u008D, Sh\u00C5\u008Dji, and Hirota, Tetsumichi. Towazugatari no shomondai. Osaka: Izumi Shoin, 1996. Shirane, Haruo. \u00E2\u0080\u009CThe Tale of Genji and the Dynamics of Cultural Production: Canonization and Popularization.\u00E2\u0080\u009D In Envisioning The Tale of Genji: Media, Gender, and Cultural Production, edited by Haruo Shirane, 1\u00E2\u0080\u009346. New York: Columbia University Press, 2001. \u00E2\u0080\u009CSh\u00C5\u00ABkan Asahi.\u00E2\u0080\u009D Asahi Shinbun Shuppan. https://publications.asahi.com/ecs/24.shtml (accessed March 2018). Stanley, Amy. \u00E2\u0080\u009CEnlightenment Geisha: The Sex Trade, Education, and Feminine Ideals in Early Meiji Japan.\u00E2\u0080\u009D The Journal of Asian Studies 72, no. 3 (2013): 539\u00E2\u0080\u009362. Sugimoto, Sonoko. Shin Towazugatari. Japan: K\u00C5\u008Ddansha, 1990. Sugawara, Nobuo. \u00E2\u0080\u009C\u00C5\u008Cshima Nagisa and Jiss\u00C5\u008Dji Akio.\u00E2\u0080\u009D Japan Quarterly 29, no. 2 (April 1982): 212\u00E2\u0080\u0093 16. Sugita Yoshie, \u00E2\u0080\u009CSetouchi Harumi (Jakuch\u00C5\u008D) Gion ny\u00C5\u008Dgo ni okeru Towazugatari juy\u00C5\u008D ni tsuite,\u00E2\u0080\u009D Shirayuri J\u00C5\u008Dshi Daigaku Gengo, Bungaku Kenky\u00C5\u00AB Sent\u00C4\u0081 Gengo, bungaku kenky\u00C5\u00AB ronsh\u00C5\u00AB 4, (2004): 27\u00E2\u0080\u009336. Tanaka, Takako. \u00E2\u0080\u009CCommentary.\u00E2\u0080\u009D in Koigoromo Towazugatari, Okuyama Ky\u00C5\u008Dko, 295\u00E2\u0080\u0093 300. Japan: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha, 2017. Takeda, Katsuhiko. \u00E2\u0080\u009CThe Inherent Significance of \u00E2\u0080\u0098Hana ni Toe,\u00E2\u0080\u0099 a Novel by Setouchi Jakuch\u00C5\u008D,\u00E2\u0080\u009D translated by John Munroe. Japanese Literature Today 18 (1993): 63\u00E2\u0080\u009369. Tateishi, Kazuhiro. \u00E2\u0080\u009CThe Tale of Genji in Postwar Film: Emperor, Aestheticism and the Erotic.\u00E2\u0080\u009D In Envisioning The Tale of Genji: Media, Gender, and Cultural Production, edited by. Haruo Shirane, 303\u00E2\u0080\u009328. New York: Columbia University Press, 2008. 113 Taylor, Ryan. \u00E2\u0080\u009CDemon(ized) women: Female punishment in the \u00E2\u0080\u0098pink film\u00E2\u0080\u0099and J-Horror,\u00E2\u0080\u009D Asian Cinema 23, no.2 (2012): 199- 216. Thesein, Nicholas A. \u00E2\u0080\u009CDeclassicizing the Classical in Japanese Comics: Osamu Tezuka\u00E2\u0080\u0099s Apollo\u00E2\u0080\u0099s Song.\u00E2\u0080\u009D In Classics and Comics, edited by George Kovacs and C. W. Marshall, 59\u00E2\u0080\u009371. New York: Oxford University Press, 2011. Todorov, Tzvetan. \u00E2\u0080\u009CReading as Construction.\u00E2\u0080\u009D In The Reader in The Text: Essays on Audience and Interpretation, edited by Susan Rubin Suleiman and Inge Crosman, 67\u00E2\u0080\u009382. Princeton: Princeton University Press, 1980. Tomikura, Tokujir\u00C5\u008D, trans. Towazugatari. Tokyo: Chikuma Shob\u00C5\u008D, 1966. Tonomura, Hitomi. \u00E2\u0080\u009CCoercive Sex in the Medieval Japanese Court: Lady Nij\u00C5\u008D's Memoir.\u00E2\u0080\u009D Monumenta Nipponica 61, no. 3 (2006): 283\u00E2\u0080\u0093338. Toyoshima, Yasukuni. Zusetsu Nihon jujutsu zensho. Tokyo: Hara Shob\u00C5\u008D, 1998. Turnbull, Stephen. Samurai Women 1184\u00E2\u0080\u00931877. Oxford: Osprey Publishing, 2012. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. The Samurai: A Military History. London: Bloomsbury Publishing, 2016. Tsugita, Kasumi, trans. Towazugatari.Vols 1-2. K\u00C5\u008Ddansha gakujutsu bunko: 1987. Tycer, Alicia. Caryl Churchill\u00E2\u0080\u0099s Top Girls. New York: Bloomsbury, 2008. Tzvetana, Kristeva, trans. \u00D0\u009D\u00D0\u00B5\u00D1\u0087\u00D0\u00B0\u00D0\u00BA\u00D0\u00B0\u00D0\u00BD\u00D0\u00B0 \u00D0\u00BF\u00D0\u00BE\u00D0\u00B2\u00D0\u00B5\u00D1\u0081\u00D1\u0082. Plovdiv, Bulgaria: Plovdiv Khristo G. Danov, 1981. Umino, Tsunami. K\u00C5\u008Dky\u00C5\u00AB. 5 vols. Tokyo: Kodensha Comics Kiss, 2007. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. \u00E2\u0080\u009CUmino Tsunami Darekuto.\u00E2\u0080\u009D Umino Tsunami*Information. http://uminotsunami.seesaa.net/article/391079264.html (accessed March 2018). Whitehouse, Wilfrid and Eizo Yanagisawa, trans. Lady Nij\u00C5\u008D\u00E2\u0080\u0099s Own Story: Towazu-Gatari: The Candid Diary of a Thirteenth-Century Japanese Imperial Concubine. Tokyo: Charles E. Tuttle Company, 1974. Wyngaard, Amy. \u00E2\u0080\u009CThe End of Pornography: The Story of Story of O.\u00E2\u0080\u009D MLN 130, no. 4 (2015): 980\u00E2\u0080\u009397. Yamagishi, Tokuhei. \u00E2\u0080\u009CTowazugatari oboegaki.\u00E2\u0080\u009D Kokugo to kokubungaku 17, no. 9 (1940): 1\u00E2\u0080\u009316. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094and Hashimoto Fumiyo. Zushory\u00C5\u008D shoz\u00C5\u008D Katsura no Miya-bon s\u00C5\u008Dsho, Vol. 15: Monogatari 1. Tokyo: Hibonkaku, 1950. \u00E2\u0080\u0094\u00E2\u0080\u0094\u00E2\u0080\u0094. Yamagishi Tokuhei chosakush\u00C5\u00AB: Vol 3.Monogatari zuihitsu bungaku kenky\u00C5\u00AB. Tokyo: Y\u00C5\u00ABseid\u00C5\u008D 1972. 114 Yumiko Igurashi Museum. http://www.aska-planning-design.co.jp/museum/museumtop.html (accessed March 2018) 115 Appendix Appendix A: Towazugatari Adaptations from 1956 to 2009 The following is a list of Towazugatari adaptations discussed in this thesis, works originally published or released from 1956 to 2009, including reprints and rereleases of these works through April 2018. Although the thesis aims to be comprehensive within this time span, some works may have been overlooked. Author: Kitabatake Yao \u00E5\u008C\u0097\u00E7\u0095\u00A0 \u00E5\u0085\u00AB\u00E7\u00A9\u0082 Title: Dainagon no Suke no Hime \u00E5\u00A4\u00A7\u00E7\u00B4\u008D\u00E8\u00A8\u0080\u00E3\u0081\u00AE\u00E3\u0081\u0099\u00E3\u0081\u0091\u00E3\u0081\u00AE\u00E5\u00A7\u00AB Translation of title: \u00E2\u0080\u009CThe Major Counsellor Attendant\u00E2\u0080\u0099s Princess\u00E2\u0080\u009D Magazine: Bungei \u00E6\u0096\u0087\u00E8\u0097\u009D Publisher: Kawade Shob\u00C5\u008D Shinsha \u00E6\u00B2\u00B3\u00E5\u0087\u00BA\u00E6\u009B\u00B8\u00E6\u0088\u00BF\u00E6\u0096\u00B0\u00E7\u00A4\u00BE Date of publication: October 1956 Length/page run: 4 pages (89-92) Description: Short story summarizing Nij\u00C5\u008D\u00E2\u0080\u0099s life story, beginning with young Nij\u00C5\u008D and Retired Emperor GoFukakusa. First non-academic adaptation of Towazugatari. Not republished following Bungei release. Author: Setouchi Harumi \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E Title: Ch\u00C5\u00ABsei enj\u00C5\u008D \u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E7\u0082\u008E\u00E4\u00B8\u008A Translation of title: Medieval Scandal Publisher: Sh\u00C5\u00ABkan Asahi \u00E9\u0080\u00B1\u00E5\u0088\u008A\u00E6\u009C\u009D Date of publication: November 1971 to November 1972 116 Description: Told from a third-person narrator\u00E2\u0080\u0099s point of view, the story begins before Nij\u00C5\u008D\u00E2\u0080\u0099s birth, focusing on the relationship between Nij\u00C5\u008D\u00E2\u0080\u0099s mother, Sukedai, and young Emperor GoFukakusa. Follows Nij\u00C5\u008D\u00E2\u0080\u0099s life at court and, briefly, her post-ordination travels. Includes a scene in which Nij\u00C5\u008D murders a dwarf with her obi (kimono sash). Author: Setouchi Harumi \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E Title: Ch\u00C5\u00ABsei enj\u00C5\u008D \u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E7\u0082\u008E\u00E4\u00B8\u008A Translation of title: Medieval Scandal Publisher: Asahi Shinbunsha \u00E6\u009C\u009D\u00E2\u00BD\u0087\u00E6\u0097\u00A5\u00E6\u0096\u00B0\u00E8\u0081\u009E\u00E7\u00A4\u00BE Date of publication: 1973 Length/page run: 571 pages Description: First republication of the serialized Ch\u00C5\u00ABsei enj\u00C5\u008D in tank\u00C5\u008Dbon (stand-alone book) form. Author: Setouchi Harumi \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E Title: Ch\u00C5\u00ABsei enj\u00C5\u008D \u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E7\u0082\u008E\u00E4\u00B8\u008A Translation of title: Medieval Scandal Series: Setouchi Harumi ch\u00C5\u008Dhen sensh\u00C5\u00AB \u00E7\u0080\u00AC\u00E6\u0088\u00B6\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E\u00E9\u0095\u00B7\u00E7\u00B7\u00A8\u00E9\u0081\u00B8\u00E9\u009B\u0086 (Long Selections from Setouchi Harumi) Volume number: 12 Publisher: K\u00C5\u008Ddansha\u00E8\u00AC\u009B\u00E8\u00AB\u0087\u00E7\u00A4\u00BE Date of publication: 1974 Description: Republication of the serialized Ch\u00C5\u00ABsei enj\u00C5\u008D in a compendium of collected works. 117 Author: Setouchi Harumi \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E Title: Ch\u00C5\u00ABsei enj\u00C5\u008D \u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E7\u0082\u008E\u00E4\u00B8\u008A Translation of title: Medieval Scandal. Publisher: Shinch\u00C5\u008D Bunko \u00E6\u0096\u00B0\u00E6\u00BD\u00AE\u00E2\u00BD\u0082\u00E6\u0096\u0087\u00E5\u00BA\u00AB Date of publication: 1977; republished in 1989 Length/page run: 546 pages Description: Republication of the serialized Ch\u00C5\u00ABsei enj\u00C5\u008D in tank\u00C5\u008Dbon (stand-alone book) form. Author: Setouchi Harumi \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E6\u0099\u00B4\u00E7\u00BE\u008E Title: Ch\u00C5\u00ABsei enj\u00C5\u008D \u00E4\u00B8\u00AD\u00E4\u00B8\u0096\u00E7\u0082\u008E\u00E4\u00B8\u008A in Setouchi Jakuch\u00C5\u008D zensh\u00C5\u00AB \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E5\u00AF\u0082\u00E8\u0081\u00B4\u00E5\u0085\u00A8\u00E9\u009B\u0086 Translation of title: Medieval Scandal Series: Setouchi zensh\u00C5\u00AB \u00E7\u0080\u00AC\u00E6\u0088\u00B8\u00E5\u0086\u0085\u00E5\u00AF\u0082\u00E8\u0081\u00B4\u00E5\u0085\u00A8\u00E9\u009B\u0086 (The Complete Setouchi Jakuch\u00C5\u008D) Volume number: 8 Publisher: Shinch\u00C5\u008Dsha\u00E6\u0096\u00B0\u00E6\u00BD\u00AE\u00E7\u00A4\u00BE Date of publication: 2001 Description: Republication of the serialized Ch\u00C5\u00ABsei enj\u00C5\u008D in a compendium of collected works. Director: Jiss\u00C5\u008Dji Akio \u00E5\u00AE\u009F\u00E7\u009B\u00B8\u00E5\u00AF\u00BA\u00E6\u0098\u00AD\u00E9\u009B\u0084 Title: Asaki yumemishi \u00E3\u0081\u0082\u00E3\u0081\u0095\u00E3\u0081\u008D\u00E5\u00A4\u00A2\u00E3\u0081\u00BF\u00E3\u0081\u0097 Translation of title: Life in a Dream; Transitory Dream; distributed as The Life of a Court Lady Original release: 1974, Art Theater Guild (ATG), Kodai \u00E3\u0082\u00B3\u00E3\u0083\u0080\u00E3\u0082\u00A4 118 Subsequent distribution: DVD distributed by Jeneon Ent\u00C4\u0081teinmento \u00E3\u0082\u00B8\u00E3\u0082\u00A7\u00E3\u0083\u008D\u00E3\u0082\u00AA\u00E3\u0083\u00B3 \u00E3\u0082\u00A8\u00E3\u0083\u00B3\u00E3\u0082\u00BF\u00E3\u0083\u0086\u00E3\u0082\u00A4\u00E3\u0083\u00B3\u00E3\u0083\u00A1\u00E3\u0083\u00B3\u00E3\u0083\u0088 (Geneon Entertainment) in 2002; DVD distribution by Kingu Rek\u00C5\u008Ddo \u00E3\u0082\u00AD\u00E3\u0083\u00B3\u00E3\u0082\u00B0\u00E3\u0083\u00AC\u00E3\u0082\u00B3\u00E3\u0083\u00BC\u00E3\u0083\u0089 (King Records) in 2015 Length: 119 minutes Description: Follows the life of a young woman, Shij\u00C5\u008D (played by Janet Hatta), her relationship with various lovers, and her redemption after becoming a nun. Strong focus on Buddhism, including the sporadic appearance of a dancing monk in the mode of Ippen Sh\u00C5\u008Dnin. Author: Miya Chie\u00E5\u00AE\u00AE\u00E5\u008D\u0083\u00E6\u0081\u00B5 Title: GoFukakusa-in Nij\u00C5\u008D \u00E5\u00BE\u008C\u00E6\u00B7\u00B1\u00E8\u008D\u0089\u00E4\u00BA\u008C\u00E6\u009D\u00A1\u00E9\u0099\u00A2 Series: Roman komikkusu jinbutsu Nihon no joseishi \u00E3\u0083\u00AD\u00E3\u0083\u009E\u00E3\u0083\u00B3\u00E3\u0083\u00BB\u00E3\u0082\u00B3\u00E3\u0083\u009F\u00E3\u0083\u0083\u00E3\u0082\u00AF\u00E3\u0082\u00B9\u00E4\u00BA\u00BA\u00E7\u0089\u00A9\u00E6\u0097\u00A5\u00E6\u009C\u00AC\u00E3\u0081\u00AE\u00E5\u00A5\u00B3\u00E6\u0080\u00A7\u00E5\u008F\u00B2 (Novel Comics: Figures in Japanese Women\u00E2\u0080\u0099s History) Publisher: Sekai Bunkasha \u00E4\u00B8\u0096\u00E7\u0095\u008C\u00E6\u0096\u0087\u00E5\u008C\u0096\u00E7\u00A4\u00BE Date of publication: 1985 Length/page run: 195 pages Description: First manga adaptation. Follows Nij\u00C5\u008D\u00E2\u0080\u0099s life at court and ends shortly after her tonsure. Author: Sugimoto Sonoko \u00E6\u009D\u0089\u00E6\u009C\u00AC\u00E8\u008B\u0091\u00E5\u00AD\u0090 Title: Shin Towazugatari \u00E6\u0096\u00B0\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A Publisher: Ch\u00C5\u00ABnichi Shinbunsha \u00E4\u00B8\u00AD\u00E6\u0097\u00A5\u00E6\u0096\u00B0\u00E8\u0081\u009E\u00E7\u00A4\u00BE Simultaneous publications: Serialized simultaneously in different newspapers, such as the T\u00C5\u008Dky\u00C5\u008D Shinbun, Ch\u00C5\u00ABnichi Shinbun, Nishi Nippon Shinbun, and Hokkaid\u00C5\u008D Shinbun. 119 Date of publication: January to November 1989 Description: Told from a third-person narrator\u00E2\u0080\u0099s perspective, this book follows one of Nij\u00C5\u008D\u00E2\u0080\u0099s lovers, Sanekane, as he navigates political events and his own personal life, including his relationship with Nij\u00C5\u008D. This novel also includes an afterword written by Sugimoto where she discusses the original text and her adaptation process. Author: Sugimoto Sonoko \u00E6\u009D\u0089\u00E6\u009C\u00AC\u00E8\u008B\u0091\u00E5\u00AD\u0090 Title: Shin Towazugatari \u00E6\u0096\u00B0\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A Publisher: K\u00C5\u008Ddansha \u00E8\u00AC\u009B\u00E8\u00AB\u0087\u00E7\u00A4\u00BE Date of publication: 1991 Length/page run: 488 pages Description: Republication of the serialized Shin Towazugatari in tank\u00C5\u008Dbon (stand-alone book) form. Author: Caryl Churchill. Title: Top Girl Publisher: Methuen London First production: August 1982 at the Royal Court Theater, directed by Max Stafford-Clark.1 First publication: 1992 Description: Only adaptation written outside Japan; depicts \u00E2\u0080\u009CNijo\u00E2\u0080\u009D in England, taking part in an imaginary dinner in honor of the protagonist Marlene. Nijo appears only in the first act, where she discusses her life and interacts with other female historical figures in a conversation on women\u00E2\u0080\u0099s 1 Caryl Churchill, Top Girls, vi. 120 condition. Remainder focuses on Marlene, her family, and other women working at her agency, with attention to the successes, failure, and sacrifices of career women. Author: Igarashi Yumiko \u00E3\u0081\u0084\u00E3\u0081\u008C\u00E3\u0082\u0089\u00E3\u0081\u0097\u00E3\u0082\u0086\u00E3\u0081\u00BF\u00E3\u0081\u0093 Title: Towazugatari \u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A Series: Manga Nihon no koten \u00E3\u0083\u009E\u00E3\u0083\u00B3\u00E3\u0082\u00AC\u00E6\u0097\u00A5\u00E6\u009C\u00AC\u00E3\u0081\u00AE\u00E5\u008F\u00A4\u00E5\u0085\u00B8 (Japanese Classics in Manga) Publisher: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha \u00E4\u00B8\u00AD\u00E5\u00A4\u00AE\u00E5\u0085\u00AC\u00E8\u00AB\u0096\u00E6\u0096\u00B0\u00E7\u00A4\u00BE Date of publication: 2000 Length/page run: 271 pages. Description: One-volume adaptation divided into five chapters. Follows Nij\u00C5\u008D\u00E2\u0080\u0099s life from court to tonsure, ending immediately after GoFukakusa\u00E2\u0080\u0099s funeral. Author: Mori Masako \u00E6\u00A3\u00AE\u00E7\u009C\u009F\u00E6\u00B2\u0099\u00E5\u00AD\u0090 Title: Kewaizaka \u00E5\u008C\u0096\u00E7\u00B2\u00A7\u00E5\u009D\u0082 Translation of title: Kewai Slope Publisher: Kadokawa Shoten \u00E8\u00A7\u0092\u00E5\u00B7\u009D\u00E6\u009B\u00B8\u00E5\u00BA\u0097 Date of publication: 2001 Length/page run: 330 pages Description: Novel in the style of a modern mystery story centering on a mysterious Towazugatari reading group and suggesting that Nij\u00C5\u008D\u00E2\u0080\u0099s work was preserved through oral tradition. The protagonist, a bank teller named Miwako, becomes immersed in the reading group and attempts to solve various mysteries, with the help of two men, including the disappearance of a female member of the same reading group. The only novelization set in present times. 121 Author: Umino Tsunami \u00E6\u00B5\u00B7\u00E9\u0087\u008E\u00E3\u0081\u00A4\u00E3\u0081\u00AA\u00E3\u0081\u00BF Title: K\u00C5\u008Dky\u00C5\u00AB \u00E5\u00BE\u008C\u00E5\u00AE\u00AE Translation of title: Inner Palace Publisher: K\u00C5\u008Ddansha \u00E8\u00AC\u009B\u00E8\u00AB\u0087\u00E7\u00A4\u00BE Magazine title: Kisu \u00E3\u0082\u00AD\u00E3\u0082\u00B9 (Kiss) Date of publication: May 2006 to November 2007 Description: First and longest multi-volume manga adaptation; includes many scenes in manga form for the first time, sometimes inventing new ones following different characters such as Sanekane. Author: Umino Tsunami \u00E6\u00B5\u00B7\u00E9\u0087\u008E\u00E3\u0081\u00A4\u00E3\u0081\u00AA\u00E3\u0081\u00BF Title: K\u00C5\u008Dky\u00C5\u00AB \u00E5\u00BE\u008C\u00E5\u00AE\u00AE Translation of title: Inner Palace Publisher: K\u00C5\u008Ddansha\u00E8\u00AC\u009B\u00E8\u00AB\u0087\u00E7\u00A4\u00BE Date of publication: 2007 Length: 5 Volumes Description: Republication of the serialized K\u00C5\u008Dky\u00C5\u00AB in tank\u00C5\u008Dbon (stand-alone book) form. Author: Miou Serina \u00E7\u00BE\u008E\u00E6\u00A1\u009C\u00E3\u0081\u009B\u00E3\u0082\u008A\u00E3\u0081\u00AA Title: Towazugatari \u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A Publisher: Sh\u00C5\u008Dgakukan \u00E5\u00B0\u008F\u00E5\u00AD\u00A6\u00E9\u00A4\u00A8 Magazine title: \u00E2\u0080\u009CSho-Comi\u00E2\u0080\u009D (Sh\u00C5\u008Dkomi \u00E5\u00B0\u0091\u00E3\u0082\u00B3\u00E3\u0083\u009F) 122 Date of publication: November 2007 to June 2008 Description: Manga adaptation focusing on Nij\u00C5\u008D\u00E2\u0080\u0099s amorous life and interactions with lovers. Incorporates many sh\u00C5\u008Djo manga archetypes, with slang/contemporary expressions and characters depicted in a youthful fashion. Miou serialized a three-volume adaptation of The Tale of Genji in the same magazine. Author: Miou Serina \u00E7\u00BE\u008E\u00E6\u00A1\u009C\u00E3\u0081\u009B\u00E3\u0082\u008A\u00E3\u0081\u00AA Title: Towazugatari \u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A Publisher: Sh\u00C5\u008Dgakukan \u00E5\u00B0\u008F\u00E5\u00AD\u00A6\u00E9\u00A4\u00A8 Date of publication: 2008 Length: 3 Volumes Description: Republication of the serialized Towazugatari. Author: Okuyama Ky\u00C5\u008Dko \u00E5\u00A5\u00A5\u00E5\u00B1\u00B1\u00E4\u00BA\u00AC\u00E5\u00AD\u0090 Title: Koi goromo Towazugatari \u00E6\u0081\u008B\u00E8\u00A1\u00A3\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A Translation of title: The Robes of Love: Towazugatari Publisher: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha \u00E4\u00B8\u00AD\u00E5\u00A4\u00AE\u00E5\u0085\u00AC\u00E8\u00AB\u0096\u00E6\u0096\u00B0\u00E7\u00A4\u00BE Date of publication: 2009 Length/page run: 260 pages Description: Novel focusing on one of Nij\u00C5\u008D\u00E2\u0080\u0099s children, Tsuyuko, who is given Nij\u00C5\u008D\u00E2\u0080\u0099s writings by her father, Sanekane. Through Nij\u00C5\u008D\u00E2\u0080\u0099s writing, Tsuyuko understands Nij\u00C5\u008D\u00E2\u0080\u0099s life and reasons for abandonment of her children, leading Tsuyuko to adopt a young girl herself. At the end of the story, she names her mother\u00E2\u0080\u0099s work Towazugatari. 123 Author: Okuyama Ky\u00C5\u008Dko \u00E5\u00A5\u00A5\u00E5\u00B1\u00B1\u00E4\u00BA\u00AC\u00E5\u00AD\u0090 Title: Koi goromo Towazugatari \u00E6\u0081\u008B\u00E8\u00A1\u00A3\u00E3\u0081\u00A8\u00E3\u0081\u00AF\u00E3\u0081\u009A\u00E3\u0081\u008C\u00E3\u0081\u009F\u00E3\u0082\u008A Translation of title: The Robes of Love: Towazugatari Publisher: Ch\u00C5\u00AB\u00C5\u008D K\u00C5\u008Dron Shinsha \u00E4\u00B8\u00AD\u00E5\u00A4\u00AE\u00E5\u0085\u00AC\u00E8\u00AB\u0096\u00E6\u0096\u00B0\u00E7\u00A4\u00BE Date of publication: 2017 Length/page run: 300 pages Description: Republication of Koi goromo Towazugatari in a smaller pocketbook format, with an afterword written by professor Tanaka Takako \u00E7\u0094\u00B0\u00E4\u00B8\u00AD\u00E8\u00B2\u00B4\u00E5\u00AD\u0090 of K\u00C5\u008Dnan University (K\u00C5\u008Dnan Daigaku). "@en . "Thesis/Dissertation"@en . "2018-05"@en . "10.14288/1.0365971"@en . "eng"@en . "Asian Studies"@en . "Vancouver : University of British Columbia Library"@en . "University of British Columbia"@en . "Attribution-NonCommercial-NoDerivatives 4.0 International"@* . "http://creativecommons.org/licenses/by-nc-nd/4.0/"@* . "Graduate"@en . "Rewriting Lady Nij\u00C5\u008D\u00E2\u0080\u0099s story : transformation, retelling, and replacement in modern adaptations of Towazugatari"@en . "Text"@en . "http://hdl.handle.net/2429/65582"@en .