Problem naturalizma v japonski književnosti

Gantar, Lija (avtor), Shigemori Bučar, Chikako (mentor), Smolej, Tone (mentor)

Evropski naturalizem je na Japonsko prišel proti koncu 19. stoletja. Branje del je najprej sprožilo poskuse posnemanja, ki jih lahko označimo za produktivno recepcijo. Posebej izrazita je bila recepcija Zolaja – zolaizem. V japonski književnosti zolaizem in produktivna recepcija drugih naturalističnih avtorjev ne spadata v shizenshugi, dobesedno »naturalizem«, kvečjemu gre za zenki shizenshugi, »zgodnji naturalizem«. Beseda shizen, s katero se prevaja angl. beseda nature, ima namreč tudi tradicionalni pomen – »takšno, kot je«. Neločevanje med pomenoma je povzročilo raznoliko, predvsem pa od evropske književnosti drugačno razumevanje naturalizma. Avtorji shizenshugija, ki so občudovali evropske naturaliste, so stremeli k popisovanju stvari takšnih, kot so v resnici, le-to pa vsak dojema drugače in na osnovi lastnih izkušenj. Roman shizenshugija se hitro začne razvijati v shishōsetsu, »jaz-roman«. Medtem ko zolaist Kosugi Tengai v »Novoletni obleki« (1900) uporablja elemente Zolajeve Nane in jih prilagaja japonskemu okolju, »Družina« (1910) Shimazakija Tōsona sicer vsebuje nekaj naturalističnih tem in delno upošteva determinanti dednosti in okolja, a je osnovana na avtorjevem življenju. »Posteljnina« (1907) Tayame Kataija velja za začetek shishōsetsuja – čeprav vsebuje nekaj naturalističnih tem in veliko navezav na evropske naturaliste, gre bolj za avtorjevo izpoved. Shizenshugi tako ni več produktivna recepcija evropskega naturalizma, temveč je že njeno nadaljevanje.

• Jezik: Slovenski jezik
• Ključne besede: japonska književnost, naturalizem, shizenshugi, zolaizem, shishōsetsu
• Vrsta gradiva: Magistrsko delo/naloga
• Organizacija: FF - Filozofska fakulteta
• Leto izida: 2020
• PID: 20.500.12556/RUL-121711
• Datum objave v RUL: 24.10.2020

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: The Problem of Naturalism in Japanese Literature

Izvleček

European naturalism reaches Japan at the end of the 19th century. Reading the works at first resulted in attempts to imitate them, which could be labeled as productive reception. Especially distinctive was the reception of Zola’s works – zolaism. In Japanese literature, productive reception of European naturalists is not regarded as shizenshugi, “naturalism”; at most, it is labeled as zenki shizenshugi, “early naturalism”. Shizen, the word used as the translation of the word nature, actually bears a traditional meaning as well, that being “as it is”. Not distinguishing between the two meanings led to many different interpretations of what naturalism actually was. Shizenshugi authors, admirers of European naturalists themselves, sought to describe things as they really are, the Reality, which turned out to be a subjective concept based on one’s own experience. Consequently, the shizenshugi novel quickly began to transform into shishōsetsu, “I-novel”. The zolaist Kosugi Tengai in “New Year’s Dress” (1900) applies the elements of Zola’s Nana and adapts them to a Japanese environment. On the other hand, Shimazaki Toson’s The Family (1910) partly incorporates the naturalistic themes and pays regard to the determinism of heredity, but is based on the author’s life. The Quilts (1907) by Tayama Katai is considered the first shishōsetsu and although it encompasses some naturalistic themes and references to European naturalism, appears as the author’s confession. Therefore, shizenshugi cannot be considered as productive reception of the European naturalism and can even be regarded as the continuation of it.

• Ključne besede: Japanese literature, naturalism, shizenshugi, zolaism, shishōsetsu