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Irmela Hijiya-Kirschnereit brings her method of analysis to this English translation of her book on the "sbisbosetsu", one of the most important yet misunderstood genres in Japanese literature. This study of the Japanese version of the I-novel provides a means of researching and interpreting the tradition of the genre, linking it to forms of autobiographical fiction as well as to cultural assumptions of the classical period of Japanese history. Hijiya-Kirschnereit provides a model for systematic inquiry into literary traditions that should stimulate American and English Japanologists, providing a bridge between German Japanologists and the rest of the field.

Irmela Hijiya-Kirschnereit is Professor of Japanese Literature at Freie Universität Berlin.

Preface
Abbreviations Used in the Notes and Bibliography
Preliminary Remarks on Procedures
Introduction
I. Context and Origins
1. Historical and Cultural Context
2. Shizenshugi—Japanese Naturalism
3. Tayama Katai—A Japanese Naturalist
The Question of “Influence”
West–East Elective Affinities
“Misunderstandings”
Innovation as Renovation
4. “Futon”
Autobiographical Elements
The Influence of Hauptmann
The Genealogy of the Work
“Reinforcements” in Contemporary Literature
5. The “Theoretical” Reception of “Futon”—Reviews and Essays
6. The “Practical” Reception of “Futon”—Imitations and Parodies
II. Shishōsetsu Research
7. General Observations on the State of Research
8. The “Classics” of Shishōsetsu Research
Kobayashi Hideo: “Watakushishōsetsuron”
Itō Sei: Shōsetsu no hōhō
Nakamura Mitsuo: Fūzoku shōsetsuron
Hirano Ken: Geijutsu to jisseikatsu
9. A Survey of Shishōsetsu Research
History of Shishōsetsu and of Shishōsetsu Theory
Shishōsetsu Authors and Works
Special Aspects of Shishōsetsu
Recent Trends in Shishōsetsu Research, 1979–1988
III. Genre Theory
10. History of the Term
Predecessors of Shishōsetsu
Theoretical Premises
The Origins of the Term Watakushishōsetsu
11. The Literary Debate Surrounding Shishōsetsu
The Context of the Discussion
The Dispute over Shishōsetsu
12. Conventional Definitions of Shishōsetsu
13. Genre Theory in Japan
14. Shishōsetsu—An Attempt to Define the Genre
Preliminary Thoughts
Outline of a Structural Model
IV. Transformations in Shishōsetsu
15. Literary Evolution—An Outline
16. Shishōsetsu—Examples and Analysis
Iwano Hōmei: “Tandeki” (1909)
Chikamatsu Shūkō: “Giwaku” (1913)
Shiga Naoya: “Wakai” (1917)
Kasai Zenzō: “Ko o tsurete” (1918)
Kikuchi Kan: “Tomo to tomo to no aida” (1918)
Hayashi Fumiko: Hōrōki (1928–1930)
Dazai Osamu: Ningen shikkaku (1948)
Miura Tetsuo: “Shinobugawa” (1960)
V. Shishōsetsu within the System of Literary Communication
17. Introductory Remarks
18. Shishōsetsu’s Communicative Function
The Author of Shishōsetsu
The Hero in Shishōsetsu
The Shishōsetsu Reader
19. Aspects of Traditionalism
Diaries and Miscellany Literature
“Lyricism”
Nature Mysticism
20. The Cultural Code
The Makoto Principle
Empiricism
The Myth of Immediacy
Irrationalism and Fatalism
21. Shishōsetsu—A Critical Assessment
Bibliography
Appendix to the Bibliography
Index of Persons and Works
Subject Index
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