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Non farò sogni effimeri
No full textQuesto volume raccoglie una selezione di episodi dal manga Asaki Yume Mishi ("Non farò sogni effimeri") di Yamato Waki, autrice di Dorobö tenshi, Mon Cherie Coco, Un ragazza alla moda. Non farò sogni effimeri, versione a fumetti del capolavoro letterario Genji Monogatari ("Storia di Genji, il principe splendente"), composto dalla dama di corte Murasaki Shikibu intorno all'anno Mille, è un fumetto molto particolare, concepito come monumentale omaggio di una delle più note manga-ka (fumettiste) nipponiche alla cultura giapponese classica e al mondo delle dame di corte. La selezione di episodi dal manga originale è corredata di tavole lessicali ed esempi per leggere e interpretare il testo senza dover ricorrere a dizionari monolingua, e di un'appendice contenente schemi riassuntivi di regole grammaticali e usi linguistici il cui apprendimento è fondamentale per il lettore che voglia portare la propria conoscenza del giapponese oltre il livello base includendo importanti elementi della grammatica avanzata. . Il Cd-Audio allegato al volume contiene la lettura dell'intero glossario e degli esempi contenuti nelle tavole grammaticali in appendice. (dalla quarta di copertina)This volume brings together a selection of episodes from the manga Asaki Yume Mishi ( " I won't have fleeting dreams " ) by Yamato Waki , author of Dorobo tenshi , Mon Cherie Coco, Haraisanga toru. Asaki yume mishi is actually the comic book version of the literary masterpiece Genji Monogatari ( " Tale of Genji , the shining prince "), composed by the court lady Murasaki Shikibu around the very beginning of the 11th century, and is a very special manga, conceived as a monumental tribute of the famous Japanese comic book author to the ancient culture of her homecountry and the world of the ladies of the court. The selection of episodes from the original manga is accompanied by lexical tables and examples to read and interpret the text without having to use monolingual dictionaries, and an appendix containing summary diagrams of the rules of grammar and language usage whose learning is essential for readers who want to bring their knowledge of Japanese above a basic level, implementing important elements of advanced grammar . The CD -Audio that accompanies this book contains a reading aloud of the entire glossary and grammar of the examples in the tables in the appendix. ( from the back cover
Gli scrittori Meiji e la Cina
No full textLa letteratura cinese ha esercitato notevoli suggestioni sulla produzione della generazione di scrittori giapponesi attivi nel periodo Meiji (1868-1912). L'ingresso nell'epoca moderna favorisce nei letterati giapponesi una conoscenza diretta della realtà della Cina contemporanea; allo stesso tempo, lo studio della cultura cinese è incentivato dal contatto con le teorie letterarie e scientifiche occidentali, che trasmettono agli autori giapponesi moderni un approccio filologico ai classici: nasce così la moderna sinologia giapponese, a tutt'oggi una delle scuole più puntuali e rigorose. L'influenza, sul piano letterario e linguistico, della cultura cinese sulle opere degli intellettuali giapponesi attivi a fine Ottocento è evidente in scritti autobiografici sugli anni della formazione, registrazioni di dibattiti letterari, stralci di romanzi e racconti originali qui presentati in traduzione per testimoniare la poliedricità dei narratori giapponesi moderni e la loro ammirazione per la letteratura cinese: un amore antico quanto la scoperta della scrittura stessa. (dalla quarta di copertina)Chinese literature has exerted a considerable influence on the production of the generation of Japanese writers active in the Meiji period (1868-1912) . The modern era prompted Japanese writers to better cultivate a direct knowledge of the reality of contemporary China, while the same time, the study of Chinese culture was stimulated by contact with Western scientific and literary theories, which conveyed to modern Japanese authors the sense of a philological approach the classics that helped shame the modern Japanese sinology, to this day one of the most accurate and rigorous schools in the field. The influence on the literary and linguistic , of the Chinese culture on the works of Japanese intellectuals active in the late nineteenth century is evident in autobiographical writings on their formation years recordings of literary debates, excerpts of novels and short stories presented here for the first time in italian translation to testify versatility of modern Japanese novelists and their admiration foe Chinese culture: a love as old as the discovery of writing itself. ( from the back cover
Recepcja kanonu Szekspirowskiego w Japonii w XIX i XX wieku: przejście od adaptacji (hon’an) do przekładu (hon’yaku) jako forma reinterpretacji międzykulturowej
Get PDFAdaptation (hon’an) and translation (hon’yaku) of Shakespeare’s plays in Japan in the age of Modernization (the Meiji and Taishō periods, 1868–1912 and 1912–26, respectively) both constitute complex objects of study. A careful analysis of this apparently ambiguous cultural entity offers a glimpse into the wide-ranging interests that the Meiji literati displayed in inheriting and interpreting Shakespeare’s cultural heritage. In their recent review of Shakespeare’s reception and performance in Asia, Kennedy and Young (2010) distinguish the kinds of reception that Shakespearean canon received in Asian countries by means of three main strategies whose cultural significance varies greatly depending on the social and cultural context. These are: nationalist appropriation (specifically referring to China), colonial instigation (India), and intercultural revision. The authors seem to imply that, of these three, intercultural revision – the most innovative, referring to productions that adapt the text to foreign modes of performance – is not associated with any specific geographical space. Using this theoretical framework, aim to demonstrate how the kind of performances originating from this intercultural adaptation, and often giving the most impressive results in terms of visual inventions as well, defy time as well as location, and, in the case of Japan, may be traced back to the time when Shakespeare’s canon was first introduced, i.e. the Meiji Era (1868–1912). This would help to understand the conceptual and cultural basis for the constant efforts of Japanese directors involved in recent production of Shakespeare’s plays in the theatre and as well as films, or other more pop-culture oriented media; efforts, in fact, increasingly appreciated worldwide. In the works of Shakespeare’s first Japanese translators and critics, there is a shift from adaptation of western dramas (including Shakespeare), which was the most popular mode of staging Shakespeare’s works from the 1880s, to verbatim translations of his plays, which had virtually substituted any other means of adaptation by the first two decades of the 20th century. This shift clearly reflects the increasing awareness of Japanese intellectuals of the need to acknowledge the greatness of Shakespeare as a playwright as well as the importance of creating a new concept of modern Japanese drama upon the premise of giving relevance to the text and the author in more general terms. Adapting or translating Shakespeare’s plays in Japanese in the 19th and 20th century is an occasion for Meiji intellectuals to rethink completely the theatrical genre, redefining its borders and the overall value. In this respect a closer examination of critical essays by the renowned translators of Shakespeare, such as Tsubouchi Shōyō (1859–1935) and Mori Ōgai (1862–1922) is a key strategy in order to assess Shakespeare’s pivotal role in the development of Japanese drama. We shall present, therefore, excerpts from diverse essays in order to tackle the fundamental question of the overall significance of Shakespeare’s reception in the cultural context of Modern Japan
"Rekishi Shosetsu o lettura di genere? La condizione femminile in due racconti storici di Mori Ogai"
No full textThis paper examines the indirect influence that female writers of the turn of the XIXth Century and their writings exerted over some choices of content in the historical fiction of modern Japanese author Mori Ôgai (actual name Mori Rintaro,1862-1922). The main concern and focus of the dissertation is female characters’ depiction in the short stories Gyogenki and Yasui Fujin (1915-16), partially translated throughout the dissetation.
Interactions between Ôgai and his circle of male literati and some important woman writers of the Meiji era are also discussed.
The dissertation aims at assessing and discussing contemporary critics' views on Mori Ôgai’s historical fiction as a means of social analysis. In order to shape this new perspective on the significance of Ôgai's historical narratives, a thorough reconsidering of the impact of Ôgai's
literary output on his public of mostly male literati is outlined; his investigation of role of women in premodern Chinese and Japanese society, as well the influence of his early training in Chinese and Japanese classics on the literature of his mature years, are also briefly discussed elements of investigation that further incentivate Ôgai's definite shift from fiction to history-in-fiction.
These represent a modern man's understanding of the cultural past of his country; Ôgai's heroines are therefore to be considered a compelling cultural model and the answer to a social demand, the relatively few elements of departure from historical truth being, in the characterization of Ôgai's women, an occasional reliance on symbolism directed as a warning to a relentlessly evolving society. Ôgai's portrayals, though sometimes different from their real counterpart, appear then clearly to be much more the likenesses of a factual truth than historical characters fictionalized.
The two concrete examples I chose to focus on to complete the dissertation are Ôgai's short stories Yasui Fujin (‘The Wife of
Yasui’), and Gyogenki (‘Yu Xuanji’), whose setting is ancient Japan and China respectively
"History as It is or History Ignored? The Search for a New Historical Fiction in Meiji Japan"
No full textThis paper focuses on a brief analysis of the overall significance that modern Japanese historical fiction, inheriting a long and florid tradition, came to represent for the literary establishment.
The modern historical novel developed fully between the XVIIIth and XIXth Centuries, taking the form of rekishi shōsetsu (historical novel) which stimulated, decades later, the subgenre of Jidai shōsetsu (popular historical romances).
Comparison with the early efforts in the genre highlights how the modern eye reaffirmed the need to shift the focus from recording faithfully historical matters (ko-ji) ‘as these have been passed over’ to interpreting history by means of fictionalization; the former being a habit which traces back to the origins of Japanese literature and the its first literary documents.
The newly found awareness of Meiji Writers marks the difference in that, in contemporary historical novels, the dichotomy between ‘actual’ truth and historical fictionalization is complete: the developing debate around the value of the novel (shōsetsu) as a literary genre of distinction, along with the specific conditions that arouse within the framework of Japan’s cultural achievements, carve out a portrait of Japanese writers of historical romances as eager to preserve the country’s cultural dimension while correcting superficial trends of that time’s literary fashions
“A Meiji Writer's outlook on Chinese Literature: the case of Mori Ogai”
No full textThis paper analyzes the impact of Chinese culture on Japanese modern writer Mori Ōgai (actual name Mori Rintarō, 1862-1922), regarded by some as one of the prominent writers of the Meiji period (1868- 1912); the dissertation focuses on presenting and commenting a set of
diverse texts which reveal Ōgai’s interest in Chinese culture.
Traditionally, Ōgai’s literature is associated with Western thought and ideals, though most critics do recognize the kanbun (classical chinese) training he received as a young man of letter as a matter of some relevance for the development of his style of prose; reconsidering the impact of Ōgai’s early training in the Chinese classics, however, is by no means the only source accounting for the subtle, yet overall considerable influence of Chinese literary themes in his mature years as a writer of fiction. It is in his late works, then, that one has
to search for his growing reputation as a sinophile.
Is it possible to open a new perspective over Ōgaii’s interest in Chinese culture presenting several examples of the Chinese sources he read and employed in shaping his own literary tastes. Ōgai also contributed to gradually change the way in which Meiji literati would judge the value of literary works, and influenced favourably the process of rediscovery of forgotten Chinese and Japanese works of the past with his own critical thought, thoroughly working towards broadening his knowledge of Chinese and Japanese literature, along with the
study of Western fonts.
In this respect, translation excerpts provided in the appendix should be of help in clarifying how Ōgai’s outlook on Chinese
literature changed over time, to the point that he developed a more mature approach to the study of Chinese culture, and Chinese language itself. The material commented includes forums such as Hyoshinryo Iroku (‘Scattered Recordings on Notable Works’, recorded ca. 1895 onwards), transcribed and printed on literary magazines, and two concrete examples revealing how his knowledge of the Chinese language and culture enabled Ōgai to derive literary themes and techniques from Chinese fiction. These are the short stories Yasui Fujin (‘The Wife of Yasui’ 1914), and Gyogenki (‘Yu Xuanji’, 1915)
“Donne alla finestra e romanzi cinesi: immaginario maschile e volontà d’emancipazione femminile in Gan”
No full textL'articolo è incentrato sul romanzo "Gan" ("L'oca selvatica", 1911-15), dello scrittore giapponese moderno Mori Ogai (pseudon. di Mori Rintaro, 1862-1922). In esso si tenta di stabilire una relazione tra l'opera dello scrittore giapponese e le sue frequentazioni letterarie cinesi, mediante un'analisi dei riferimenti cinesi che compaiono nel romanzo
Sapienza Ricerca (III edizione)
No full textLuca Milasi Under 40
SSD: L-OR/22 - Lingue e letterature del Giappone e della Corea
email: [email protected]
Dipartimento Istituto italiano di studi orientali - ISO
Titolo ricerca inglese: Meiji Writers and Chinese Literature: the Influence of Chinese Fiction on the Works of Mori Ogai (1862-1922), Natsume Soseki (1867-1916) and Koda Rohan (1867-1947)
Titolo ricerca italiano: Gli scrittori Meiji e la letteratura cinese: suggestioni letterarie
nella produzione di Mori Ogai (1862-1922), Natsume Soseki (1867-1916), Koda Rohan (1867-1947).
Abstract: Chinese culture, which had shaped the forma mentis of the Japanese literati for centuries, extended its influence
on the literary estabilishment up to the Modern Era: preeminent Japanese writers of the Meiji Era,
such as Mori Ogai (1862-1922) and Natsume Soseki (1867-1916) were among the last few Japanese writers
to receive an early training in the Chinese Classics which, along with the literary conceptions imported
from the West, exerted considerable impact on the literature of their mature years. The introduction of Western
thought in Japan caused the intellectuals to challenge the way they had judged the value of literary works;
it is my aim to bring concrete examples of how this process in turn worked towards positively influencing
the process of rediscovery of forgotten Chinese and Japanese works by modern scholars.
Through a comparative analysis of the Meiji literati’s involvement with rediscovering the Japanese and Chinese
past and their usage of Western methods, my research focuses on clarifying how the modern eye introduced
the Japanese to a more mature approach to the study of Chinese culture and language and helped them
appreciate better their own cultural heritage. The views on Chinese literature shared by scholars who contributed
to the forums of the Mid-Meiji period, such as Mori Kainan (1863-1911) and Koda Rohan (1867-1947),
another well-known novelist of the period and acclaimed scholar of Chinese, also contributed to inspire concrete
examples of a literary conception that encompasses sources from both the Western and the Asian tradition,
mirroring an almost unique feature of the Meiji literati’s broad range of knowledge (sekigaku).
Pubblicazioni più significative relative alla ricerca
Nome rivista o titolo libro o atti conferenza: GLI SCRITTORI MEIJI E LA CINA
Titolo: Gli scrittori Meiji e la Cina
Autore/i: MILASI L.
Anno: 2011
Pagine da-a: 1-348
Isbn: 9788862921121
Nome rivista o titolo libro o atti conferenza: PHOENIX IN DOMO FOSCARI - THE ONLINE JOURNAL
OF ORIENTAL STUDIES
Titolo: A Meiji Writer's outlook on Chinese Literature: the case of Mori Ogai
Autore/i: MILASI L.
Anno: 2010
Numero volume: Issue n°2
Pagine da-a: 253-291
Isbn: 978-88-6381-046-2
Nome rivista o titolo libro o atti conferenza: RIVISTA DEGLI STUDI ORIENTALI (Dipartimento di Studi
orientali, Università Sapienza)
Titolo: Rekishi Shosetsu o lettura di genere? La condizione femminile in due racconti storici
di Mori Ogai
Autore/i: MILASI L.
Anno: 2009
Numero volume: Vol. LXXXI, 1-2 (2008)
Pagine da-a: 205-256
Issn: 0392-4866
(fonte: catalogo "Sapienza Ricerca 2011 - Repertorio delle ricerche di eccellenza", Centro Stampa di Ateneo, Università degli studi di Roma "La Sapienza", 2011
“L'identità nazionale e la letteratura giapponese della decadenza nel secondo dopoguerra”
No full textCrossing the borders of the phenomenal world: Buddhist doctrine as a literary device in Kōda Rohan’s early works
No full text要旨
本稿では、幸田露伴の作品と仏教との関わりを考察する。特に、『法華
経』、『般若心経』など、東アジアの大乗仏教の主な経典から、小説家
露伴はどのようなモチーフを取り入れ、それらの経典からインスピレー
ションを受けて彼の初期小説にどのような女性像が描かれたのかを検討
する。更に、露伴の他の著作、エッセイなども考慮に入れつつ、『風流
佛』という小説の譬喩的解釈を示す。『風流佛』の主人公珠運の美の
探究と、その探求を妨げるかのような珠運の初恋というプロットの展
開が、著者の思想の変遷においてどのような意義を持つかを検討し、
坪内逍遥などが小説の革新を唱えていた過渡的な時期の文壇に露伴は
どのような貢献を与えようとしていたかを明らかにする試みである。This paper attempts to present the literary personality of the novelist and exegete Kōda Rohan (pseudonym of Kōda Shigeyuki, 1867–1947) in the cultural
context of modernity. Behind the façade of old-style literatus, Kōda Rohan strives to seize the opportunity to reform the concept of fiction in his own way. His goal is that of proposing an alternative model of fiction that is distinctively unique in comparison to a sheer imitation of Western culture, particularly in its romantic stances. The main device he employs to pursue his goal at an early stage is a coherent and thoughtful reliance to the view of the doctrinal foundations of East-Asian philosophies as a literary theme. Rohan’s case is exemplary in that his wide reliance on (and almost constant allusions to) pivotal Buddhist concepts as literary technique offer an allegory for the new significance that its author attributes to the creative process behind writing fiction at a time of reform and change. Moreover, in his early work, Rohan’s preoccupation over presenting a view of Romanticism more coherent with his own’s cultural asset was also at stake.
By means of a thorough rethinking of the broader significance of key philosophical concepts in Rohan’s early fiction, I shall present concrete examples to back
up the view that the heavy reliance on Buddhist doctrine informing Rohan’s first attempts at literary creation conceals an eminently modern interpretation of the
main stances of Japanese pre-modern culture, which testifies to the author’s relevance as a modern thinker
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