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Kawabata Yasunari : interweaving the "old song of the East" and avant-garde techniques /Tsutsumi, Setsuko. January 1997 (has links)
Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [176]-179).
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Beleza e Ambiguidade : os discursos dos Prêmios Nobel da Literatura Japonesa e seus autoresNatili, Donatella 06 1900 (has links)
Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-11T11:30:35Z
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2012_DonatellaNatili.pdf: 8778076 bytes, checksum: 9b1ed24c6acf8af0bc35a507420102e6 (MD5) / O Prêmio Nobel, conferido pela primeira vez ao Japão em 1968, com a escolha de
Kawabata Yasunari, representou para a literatura japonesa um marco entre um
passado de marginalidade cultural, de um Japão considerado “periférico” e
“exótico” em relação à Europa e Américas, e um presente de inserção e integração
em nível internacional. Considerando que o Nobel existia há 67 anos, tratava-se
de um prêmio tardio para uma literatura de extraordinária riqueza como a
japonesa, mas, ao mesmo tempo, era o reconhecimento de o Japão pertencer ao
mundo da cultura, e por esta razão, assumiu um significado simbólico muito além
do real prestígio do Prêmio. Quando, em 1994, o Prêmio Nobel é conferido
também a Ōe Kenzaburō, delineia-se uma situação na qual os dois únicos autores
premiados, também testemunhas dos dois únicos momentos em que a literatura (e
a cultura) japonesa destaca-se em uma premiação internacional, tornam-se pontos
de referência pelo fato de representar realidades e visões culturais diferentes, às vezes antitéticas, irrenunciáveis para a formação da identidade da literatura
japonesa (uma formação provocada pelo contato com o “Outro”). Uma
comparação entre os dois autores foi inevitável, como o mesmo Ōe tem demonstrado, quando escolheu fazer um discurso em que polemizava com
Kawabata... É um caso único da história do Nobel que contrapõe duas Weltanshauung muito diferentes: a Beleza versus Ambiguidade, a Evasão na
tradição contra a Ruptura dos paradigmas culturais. Estes são os temas sobre os
quais este trabalho propõe-se a refletir. ______________________________________________________________________________ ABSTRACT / The Nobel Prize, first awarded in 1968 to Japan, with the choice of Kawabata
Yasunari, represented, for Japanese literature, a landmark between a background of cultural marginality – a Japan considered a “peripheral” and “exotic” in relation to Europe and the Americas – and a present of insertion and integration at an international level. Whereas as the Nobel existed for sixty-seven years, it was a prize for a later literature of extraordinary richness as the Japanese, but at the
same time, it was the recognition for Japan to belong to the world of culture, and
for this reason assumed a symbolic significance far beyond the real prestige of the award. When, in 1994, the Nobel Prize was also awarded to Ōe Kenzaburō, it outlined a situation in which the only two winning authors – also witnesses of the
only two times in the literature (and culture) Japanese stands out in an international award – become reference points for the fact of representing different cultural realities and visions, sometimes antithetical, indispensable to the formation of the identity of the Japanese literature (a formation caused by contact with the “Other”). A comparison between the two authors was inevitable, as the
same Ōe has shown, when he chose to make a speech in which he polemicized
with Kawabata... It is a unique case in the history of Nobel which contrasts two very different Weltanshauung: Beauty versus Ambiguity, Evasion in the tradition
against Rupture of cultural paradigms. These are the themes on which this thesis
proposes to reflect.
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Conflictual self in the modern world: a study of selected works by Joseph Conrad and Yasunari Kawabata.January 2007 (has links)
Lau, Chi Sum Garfield. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 136-137). / Abstracts in English and Chinese. / Introduction: Conflictual Self in the Modern Era: Conrad and Kawabata --- p.6 / Chapter Chapter One: --- Immorality and Conflictual Self in Conrad's The Return --- p.20 / Chapter Chapter Two: --- The Past and Split Self in Kawabata's Thousand Cranes --- p.50 / Chapter Chapter Three: --- Conflictual Self and Split Self in Conrad's The Secret Agent and Kawabata's The Sound of the Mountain --- p.81 / Conclusion: Conflictual Self in Occidental and Oriental Contexts --- p.117 / Bibliography --- p.136
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Differences without distinction : ideology and the performative contexts of fictional self-representation in modern Japanese literature /Wren, James Allan. January 1997 (has links)
Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [308]-338).
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Les enjeux de la réécriture. : Potentialités et limites de la relecture parodique du canon moderne dans la littérature japonaise contemporaine. / Riscritture : potenzialità e limiti della rilettura del canone moderno nella letteratura giapponese contemporanea. Il caso delle parodie di Kawabata Yasunari.Mazza, Caterina 20 January 2015 (has links)
Les perspectives de recherche de cette étude s'organisent autour d'un axe thématique qui ouvre la dimension littéraire japonaise contemporaine au débat critique international : l'un des enjeux de notre analyse est de comprendre, par la comparaison d'un nombre limité d'œuvres exemplaires, la spécificité de l'expérience de la réécriture parodique du canon au Japon. Par ailleurs, tout en définissant de façon ponctuelle et rigoureuse le champ d'investigation, cette analyse permet de réfléchir au problème complexe de l'utilisation, devenue paradigmatique, des formes intertextuelles dans la littérature "postmoderne". S'agit-il d'une façon pour préserver ou déconstruire ? Est-il possible de considérer la relecture parodique comme une forme de traduction du canon? Dans cette perspective, on se propose de conduire une analyse directe et comparative des œuvres d'auteurs divers mais qui se sont tous intéressés à des textes-source communs : en particulier on prend en considération le cas exemplaire des parodies des textes de Kawabata Yasunari (1899 – 1972) réalisées par Ogino Anna (1956), Inoue Hisashi (1934-2010) et Shimizu Yoshinori (1947) (respectivement dans "Watashi no aidokusho", 1991 ; "Bun to Fun", 1970 et "Kirikirijin", 1981 ; "Ese monogatari", 1991). Face aux œuvres immortelles du grand maître de la modernité, tous trois ont réalisé des parodies qu'on peut lire comme des traductions dans un langage nouveau d' hypotextes célèbres ("Yukiguni", "Izu no odoriko") ; ou, en même temps, comme des parodies de la traduction, qui révèlent les fragments d'un jeu cassé, moyens utiles à la réflexion metatextuelle. / The overall aim of my research is to investigate whether and, if so, how the use of intertextual tropes like parody and pastiche have been a determining factor in the “translation” of the modern canon in contemporary Japanese literature. In order to investigate these aspects, I have explored as a case study three works completely different in terms of style and themes, but that share a common hypotext: in fact, I analyse in this research the parodies of Yukiguni, the worldwide renowned masterpiece of Kawabata Yasunari, realized by Ogino Anna, Shimizu Yoshinori and Inoue Hisashi (respectively in Watashi no aidokusho 『私の愛毒書』, 1991; Ese monogatari 『江勢物語』, 1991; Kirikirijin, 『吉里吉里人』, 1981).Through a comparative examination of the chosen texts, but also considering the critical discourse on the “canonization” of the works of Kawabata and the non-negligible role of their translations for the western audience, I try to demonstrate the strategic importance of intertextual practices in contemporary Japanese literary scene: the exploration of the use of parody and pastiche in postmodern Japanese context highlight the challenging perspective of a literature that reflect on itself by reflecting itself. / Le prospettive di ricerca di questo studio si concentrano attorno ad un asse tematico che apre la dimensione letteraria giapponese contemporanea al dibattito critico internazionale : nucleo essenziale del nostro percoso è infatti la proposta di un'analisi, realizzata attraverso la messa in relazione di un corpus di testi esemplari, dell'esperienza della riscrittura parodica del canone letterario moderno nel Giappone contemporaneo.In particulare, il caso di studio analizzato è quello delle riscritture realizzate da tre autori contemporanei (Ogino Anna, Shimizu Yoshinori, Inoue Hisashi) che hanno in commune ipotesti estremamente celebri : Yukiguni ("Il paese delle nevi") e Izu no odoriko ("La ballerina del paese delle nevi"), di Katawabe Yasunari, primo Nobel giapponese per la letteratura.
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Writing cinema film and literature in prewar Japan /Gerow, Aaron Andrew. January 1992 (has links)
Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 112-117).
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Writing cinema film and literature in prewar Japan /Gerow, Aaron Andrew. January 1992 (has links)
Thesis (M.A.)--University of Iowa, 1992. / Typescript (photocopy). Includes bibliographical references (leaves 112-117).
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Les enjeux de la réécriture. : Potentialités et limites de la relecture parodique du canon moderne dans la littérature japonaise contemporaine. / Riscritture : potenzialità e limiti della rilettura del canone moderno nella letteratura giapponese contemporanea. Il caso delle parodie di Kawabata Yasunari.Mazza, Caterina 20 January 2015 (has links)
Les perspectives de recherche de cette étude s'organisent autour d'un axe thématique qui ouvre la dimension littéraire japonaise contemporaine au débat critique international : l'un des enjeux de notre analyse est de comprendre, par la comparaison d'un nombre limité d'œuvres exemplaires, la spécificité de l'expérience de la réécriture parodique du canon au Japon. Par ailleurs, tout en définissant de façon ponctuelle et rigoureuse le champ d'investigation, cette analyse permet de réfléchir au problème complexe de l'utilisation, devenue paradigmatique, des formes intertextuelles dans la littérature "postmoderne". S'agit-il d'une façon pour préserver ou déconstruire ? Est-il possible de considérer la relecture parodique comme une forme de traduction du canon? Dans cette perspective, on se propose de conduire une analyse directe et comparative des œuvres d'auteurs divers mais qui se sont tous intéressés à des textes-source communs : en particulier on prend en considération le cas exemplaire des parodies des textes de Kawabata Yasunari (1899 – 1972) réalisées par Ogino Anna (1956), Inoue Hisashi (1934-2010) et Shimizu Yoshinori (1947) (respectivement dans "Watashi no aidokusho", 1991 ; "Bun to Fun", 1970 et "Kirikirijin", 1981 ; "Ese monogatari", 1991). Face aux œuvres immortelles du grand maître de la modernité, tous trois ont réalisé des parodies qu'on peut lire comme des traductions dans un langage nouveau d' hypotextes célèbres ("Yukiguni", "Izu no odoriko") ; ou, en même temps, comme des parodies de la traduction, qui révèlent les fragments d'un jeu cassé, moyens utiles à la réflexion metatextuelle. / The overall aim of my research is to investigate whether and, if so, how the use of intertextual tropes like parody and pastiche have been a determining factor in the “translation” of the modern canon in contemporary Japanese literature. In order to investigate these aspects, I have explored as a case study three works completely different in terms of style and themes, but that share a common hypotext: in fact, I analyse in this research the parodies of Yukiguni, the worldwide renowned masterpiece of Kawabata Yasunari, realized by Ogino Anna, Shimizu Yoshinori and Inoue Hisashi (respectively in Watashi no aidokusho 『私の愛毒書』, 1991; Ese monogatari 『江勢物語』, 1991; Kirikirijin, 『吉里吉里人』, 1981).Through a comparative examination of the chosen texts, but also considering the critical discourse on the “canonization” of the works of Kawabata and the non-negligible role of their translations for the western audience, I try to demonstrate the strategic importance of intertextual practices in contemporary Japanese literary scene: the exploration of the use of parody and pastiche in postmodern Japanese context highlight the challenging perspective of a literature that reflect on itself by reflecting itself. / Le prospettive di ricerca di questo studio si concentrano attorno ad un asse tematico che apre la dimensione letteraria giapponese contemporanea al dibattito critico internazionale : nucleo essenziale del nostro percoso è infatti la proposta di un'analisi, realizzata attraverso la messa in relazione di un corpus di testi esemplari, dell'esperienza della riscrittura parodica del canone letterario moderno nel Giappone contemporaneo.In particulare, il caso di studio analizzato è quello delle riscritture realizzate da tre autori contemporanei (Ogino Anna, Shimizu Yoshinori, Inoue Hisashi) che hanno in commune ipotesti estremamente celebri : Yukiguni ("Il paese delle nevi") e Izu no odoriko ("La ballerina del paese delle nevi"), di Katawabe Yasunari, primo Nobel giapponese per la letteratura.
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