By Scott J. Miller
With the Meiji recovery in 1868, Japan opened its doorways to the West and underwent impressive alterations because it sought to turn into a latest kingdom. Accompanying the political adjustments that Western alternate ushered in have been common social and cultural adjustments. Newspapers, novels, poems, and performs from the Western global have been quickly tailored and translated into jap. the combo of the wealthy storytelling culture of Japan with the realism and modernism of the West produced a number of the maximum literature of the trendy age.
Historical Dictionary of contemporary eastern Literature and Theater offers a large viewpoint at the improvement and heritage of literature―narrative, poetry, and drama―in smooth Japan. This e-book deals a chronology, advent, bibliography, and over four hundred cross-referenced dictionary entries on authors, literary and old advancements, tendencies, genres, and ideas that performed a principal position within the evolution of contemporary jap literature.
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Extra info for Historical Dictionary of Modern Japanese Literature and Theater (Historical Dictionaries of Literature and the Arts)
When the Chinese writing system came to Japan in the fifth through seventh centuries, Japanese soon used the sounds of Chinese characters to transcribe whole collections of poetry from the preliterate age, such as those found in the eighthcentury Man’yôshû (Ten Thousand Leaves). During the Heian period (794–1186), Chinese was used as the language of the court and for composing formal literature in Chinese, but the adaptation and stylization of Chinese characters (kanji) to represent the syllabic phonemes of Japanese led to a new alphabet, called kana, that was employed to write poetry, diaries, narratives, and songs in Japanese.
Their amateur productions of Shakespeare were soon copied on the Japanese stage. And over time Japanese traveled to the West, bringing back language skills and firsthand knowledge of current Western artistic and literary tastes. Often the influence of the West on Japanese literature is seen as a one-way flow, but the West developed an equally passionate interest in Japan as well. As Japanese craftsmen and performers made their way to the grand expositions of late 19th-century Paris, London, and INTRODUCTION • xxxix Chicago, they fueled a movement called japonisme, which brought elements of Japanese culture to art, music, literature, fashion, and dance.
Literary works soon followed, and these literary films were particularly popular during the 1930s since, as adaptations of established, well-known works, they could avoid censorship because they need not claim the attitudes of the original author. Early bungei eiga include Kawabata Yasunari’s Izu no odoriko (1926; tr. The Izu Dancer, 1964), which appeared as a silent film in 1933, and Tanizaki Jun’ichirô’s Shunkinshô (1932; tr. A Portrait of Shunkin, 1963) that appeared as a “talkie” in 1935. During the 1950s, as Japanese cinema matured and began to capture world notice, many of the most renowned films, such as Kurosawa Akira’s (1910–98) Rashômon, Mizoguchi Kenji’s (1898–1956) Sanshô dayû (Sansho the Bailiff), and Ichikawa Kon’s (1915–2008) Nobi (Fires on the Plains), were adaptations of stories by modern Japanese writers.
Historical Dictionary of Modern Japanese Literature and Theater (Historical Dictionaries of Literature and the Arts) by Scott J. Miller