Sinichiro Nakamura ( Japanese: 中 村 真 一郎 Nakamura Sinichiro: March 5, 1918 - December 25, 1997 ) is a Japanese writer , literary critic, researcher of French and classical Japanese literature. Prominent representative of the first post-war generation of writers . In his works, distinguished by their bold form and deep psychologism, he went on to synthesize the classical Japanese tradition with European literary modernism ( Proust et al.).
| Sinichiro Nakamura | |
|---|---|
| 中 村 真 一郎 | |
| Date of Birth | |
| Place of Birth | |
| Date of death | |
| Citizenship (citizenship) | |
| Occupation | prose writer , poet , playwright , publicist , literary critic , literary critic |
| Years of creativity | 1942 - 1997 |
| Direction | senhoha |
| Language of Works | |
| Awards | Tanizaki Prize Yomiuri Prize Mainity Award |
| Awards | [d] ( 1985 ) |
Content
Biography
The early years of life. "Poetic matinee." "In the Shadow of Death"
Born in Tokyo . In early childhood, lost his mother. He was brought up in pref. Shizuoka 's maternal grandfather. He entered high school in Tokyo. During his studies, he met the future writer Takehiko Fukunaga , his literary minded, with whom he carried his friendship through his whole life. After the death of his father, he remained an orphan. Received help from charities. In high school, he became close to Suichi Kato (later a prominent literary critic). He graduated from the Faculty of Philology of the University of Tokyo (Department of French Literature, graduation work devoted to Nerval ). In the university years, began to communicate closely with the writer Tatsuo Hori . At this crucial time for his literary formation, Proust discovered his work and The Tale of Genji , two cornerstones of his own aesthetics.
He began to try his essay early enough: in his university years he experimented with the genre of drama in poetry. In 1942, together with Fukunaga and Kato, he created the literary group “ Poetic Morning ” (マ チ ネ ・ ポ エ テ ィ ク), experimenting with stable forms of rhymed poetry ( sonnet , etc.) and its recitation [2] . Despite the fact that the experiments of the “Poetic matinee” in the post-war years, when they were first published, were skeptically received by poets of that time as an apology for art escapism, Nakamura continued them until the last years of his life. During the war years, he began translating into Japanese the works of Nerval, for the sake of popularizing the work of which he continued to be a member of the obviously politically engaged "Society of Literature of Patriots of Japan".
He began to write prose during the war. After the publication in the first post-war years of the pentalogy of the biography of the last intellectual, who opened with the novel of the stream of consciousness “Under the Shadow of Death” (死 の 影 の 下 に, 1946), he became one of the leading figures in modern Japanese literature. In 1946, again, together with Fukunaga and Kato, he published the book Meditations on Literature (文学 的 考察), where the authors demonstrated their impressive depth of knowledge of modern European literature. Nakamura also stood at the origins of the Apuregeru Library series (from the French “après-guerre”, post-war), where the works of new authors were published. The very word "apure (geru)" was firmly established in the everyday life of that time.
Turn. Kansi research. Late prose
In the works of his early period, Nakamura addressed the themes of the fate of the intelligentsia, the contradictions between their pre-war ideals and the disappointing post-war realities (“Carousel”, 回 転 木馬, 1957). The turning point came in 1957, when the sudden death of his wife led to the rapid development of mental illness and hospitalization of the writer. After a course of treatment involving the use of electroshock , Nakamura experienced a partial loss of memory. Returning to normal life, he unexpectedly for many turned to the Kansi poetry of the Edo era, began to think about the possible ways of its synthesis with his own aesthetic program, which had previously been largely oriented towards French modernism. The results of this stylistic and thematic turn are expressed in the best works of Nakamura of the 1960s: “The clouds are floating” (雲 の ゆ き 来, 1966), “The distant past” (遠隔 感 応, 1969), “Loneliness” (孤独, 1966). In the same decade, the fruitful work of a Nakamura literary critic began. He had previously published works of a research nature (in particular, books about Akutagawa ), however, it was during this period of the 1960s and the first half of the 1970s that he was fully realized in this area. During these years, the works were written “The World of the Tale of Genji” (源氏物語 の 世界, 1968), “Literature of the Imperial Court” (王朝 文学 論, 1963), “ Kenreimonin no Ukenyodaybu ” (建 礼 門 院 右 京 大夫, 1972), “Views on Sex” and love in Japanese classical literature ”(日本 古典 に み る 性 と 愛, 1975) and others. In addition to literary studies, Nakamura, returning to his early fascination with theater and poetry, began to actively work as a screenwriter radio play , where he proved himself to be an innovator who came out far beyond just voicing text in the direction of creating sound landscapes. Nakamura’s experiments in this field had a significant impact on subsequent generations of Japanese avant-garde playwrights ( Kobo Abe and others), as well as to some extent on European authors working in this genre.
In 1971, a largely final study was published for Nakamura on Kansi's edo poetry, “ Paradise Sanyo and His Time” (頼 山陽 と そ の 時代, 3 vols.), Which contributed to a significant revision of the views formed in this area of Japanese philology . Subsequently, this line of creativity was continued in the capital works Life of Kakizaki Hake (蠣 崎 波 響 の 生涯, 1989, Yomiuri Prize ) and Kimura Kenkado Salon (木村 蒹 葭 堂 の サ ロ ン, 2000, posthumously published), as well as more accessible to the general readership are the works “Garden of Poets” (詩人 の 庭, 1976) and “Edo Poetry of Kansi” (江 戸 漢詩, 1985).
As a writer, in his mature years, Nakamura focused on writing the tetralogy Four Seasons (四季, 1975-1984, the Tanizaki Prize and the Great Japanese Literary Prize ). He also worked fruitfully in small form, referring to a variety of subjects, one way or another revealing the impulses of the human soul. After completing the tetralogy, he again turned to Japanese classics, developing in numerous works the idea of the origin of all Japanese literature from the literature of the imperial court. In the early 1990s, complete collections of literary works (1992-1993, Synthesya , 13 vols.), Journalism ( Tikuma shobo , 7 vols.), And literary works ( Synthesia , 6 vols.) Were published. )
Tetralogy Quartet (四重奏) and other works of the most recent years are emphasized erotic . Until the end of his life he continued to write actively, remaining one of the leading figures in modern literary life in Japan.
Editions in Russian
- The road to the castle // The road to the castle: Stories / Transl. G. Chkhartishvili . - M .: Izvestia, 1987. - S. 339—251.
- Revived fear // Japanese short story 1960-1970 / Transl. L. Ermakova. - M .: Progress, 1972. - S. 186—205.
- The story "The distant past." Mentioned in the preface by N. T. Fedorenko to the above-mentioned collection “The Road to the Castle” (p. 7). Bibliographic data are unknown.
Notes
- ↑ 1 2 Babelio
- ↑ Dolin A.A. Morning of poetry // History of the new Japanese poetry. T. 3: The verge of modernism. - SPb. : Hyperion, 2007 .-- pp. 142-151.