Нацумэ Сосэки — библиография

Sanşiro, benim en sevdiğim kitaplardan biri. —Haruki Murakami Modern Japon romanının en ?nemli temsilcilerinden Natsume Sōseki’nin ince mizah ve sonsuz masumiyetle ?r?l? bu romanı, 23 yaşındaki Sanşiro’nun yaşadığı k???k yerden ayrılıp ?niversite i?in Tokyo’ya gitmesiyle başlıyor. Şehrin kalabalığı, yeni insanlar, akademik ?evreler ve hepsinden ?nemlisi kadınlar arasında Sanşiro, yaşamını zenginleştirmenin yollarını arıyor. Sanşiro, ilk aşk, gelenekler, modernleşme ve yaşlılığın alaycılığına karşı gen?liğin idealizmini anlatırken, arka planda da d?nemin sosyal ve k?lt?rel yapısına getirdiği eleştirileri okuruna sunuyor. Ondan fazla roman ve ?yk? kitabı olan ve hemen hemen hepsi başka dillere ?evrilen Natsume Sōseki, Japonya’nın modernleşme yolunda b?y?k adımlar attığı Meiji d?neminin en ?nemli yazarlarından biridir.

Gen? bir ?niversite ?ğrencisi, tatil yerinde tanıştığı ve “hocam” diye s?z ettiği adamla g?nden g?ne g??lenen bir dostluk kurar. Yıllardır taşıdığı sırrın ağırlığıyla kendini dış d?nyaya ve hayata kapatan hoca, yavaş yavaş gen? dostuna i?ini d?kmeye başlar. Natsume Soseki, bu iki karakterin ilişkisini ve gencin hocasını anlama ?abasını anlatırken yirminci y?zyılın başlarında Japonya’da ger?ekleşen k?lt?rel değişimin sonucunda doğan kuşaklar arası farklılıklara da ışık tutuyor. Dostluklar, aile ilişkileri ve insanı ebedi yalnızlığından kurtarabilecek her şeyi irdelerken insanoğlunun karmaşık ruhsal durumuna unutulmayacak bir incelikle yaklaşıyor. Natsume Soseki, modern Japon romancılığının sembol ismi. – Haruki Murakami

Японская поэзия – грациозная, немногословная, столь непохожая на творчество западных поэтов – явление уникальное. И многие специалисты полагают, что именно эпоха Серебряного века (конец XIX – первая половина XX века) представляет собой период наивысшего расцвета японского стиха. В настоящую антологию, подготовленную известным востоковедом и переводчиком японской поэзии Александром Долиным, вошли произведения крупнейших поэтов Серебряного века (среди которых встречаются такие прославленные имена, как Рюноскэ Акутагава и Нацумэ Сосэки).
Книгу дополняют вводные статьи и примечания, воссоздающие панораму многочисленных поэтических школ и направлений Серебряного века.

Роман 1914 года Нацумэ Сосэки «Кокоро» заслуженно считается одним из лучших в современной японской литературе. По объемам продаж этот роман стал самой продаваемой книгой Японии. Роман о японской интеллигенции, о трагедии в сердце человека, о кризисе окружающего мира и катастрофе внутреннего. Эпиграфом к роману стала фраза китайского философа: «Сердце — властитель человеческого существа». Кокоро – мужской роман. Женские персонажи хоть и появляются, без них бы история о любви была невозможна, но центральные персонажи — безымянные мужчины, живущие на стыке эпох Мэйдзи и Тайсё. Роман из 110 глав, публиковавшийся в газете «Асахисимбун», построен таким образом, что каждая глава заканчивается кульминацией, заставляющей читателя ждать следующей. Центральная тема романа, обозначенная в самом заглавии, — внутренний мир человека, его «кокоро» в эпоху драматичных событий, которые переживала Япония на рубеже веков и формаций.

"Soy un gato, aunque todav?a no tengo nombre". As? comienza la primera y m?s hilarante novela de Natsume Soseki, una aut?ntica obra maestra de la literatura japonesa, que narra las aventuras de un desde?oso felino que cohabita, de modo accidental, con un grupo de grotescos personajes, miembros todos ellos de la bienpensante clase media tokiota: el disp?ptico profesor Kushami y su familia, te?ricos due?os de la casa donde vive el gato; el mejor amigo del profesor, el charlat?n e irritante Meitei; o el joven estudioso Kangetsu, que d?a s?, d?a no, intenta arregl?rselas para conquistar a la hija de los vecinos. Escrita justo antes de su aclamada novela Botchan, Soy un gato es una s?tira descarnada de la burgues?a Meiji. Dotada de un ingenio a prueba de bombas y de un humor sard?nico, recorre las peripecias de un voluble fil?sofo gatuno que no se cansa de hacer los comentarios m?s incisivos sobre la disparatada tropa de seres humanos con la que le ha tocado convivir.

Literally meaning “heart”, the Japanese word “kokoro” can be more distinctly translated as “the heart of things” or “feeling.” Natsume Soseki’s 1914 novel, which was originally published in serial format in a Japanese newspaper, “Kokoro” deals with the transition from the Japanese Meiji society to the modern era. Divided into three parts “Sensei and I,” “My Parents and I,” and “Sensei and His Testament,” the novel explores the themes of loneliness and isolation. In the first part we find the narrator attending university where he befriends an older man, known only as “Sensei,” who lives a largely reclusive life. In the second part of the novel the narrator graduates from college and returns home to await the death of his father. The third part of the novel recounts a letter that the narrator receives from the “Sensei,” which describes the circumstances that caused his loss of faith in humanity and the guilt he feels over the death of a childhood friend which drives him to the reclusive life that he has led. A deeply thematic novel “Kokoro” provides an excellent introduction to one of Japan’s most beloved authors, Natsume Soseki. This edition follows the translation of Edwin McClelland.

For the first time, English readers have access to Soseki’s Spring Miscellany . Originally published as Eijitu Shohin in serial form in the Asahi newspaper in 1909, before appearing in book form, Spring Miscellany is an pastiche of twenty-five sketches, referred to as shohin (little items), heir to the great zuihitsu tradition of discursive prose. These personal vignettes are clearly autobiographical and reveal Soseki’s kaleidoscopic view of his private world and his interest in authentic, unadorned self-expression.The stories range from from episodes from his youth to his adult musings. Of special interest are the accounts of Soseki’s stay in England between 1900 and 1902, where he attended University College, studied privately with W. J. Craig, editor of the Arden Shakespeare, and immersed himself in studying eighteenth-century literature. It was not a happy time for Soseki–he described his stay as “like a poor dog that had wandered into the company of wolves”–but, as with all great writers, he managed to turn adversity into raw material for his art and to give us insight today into the life of an expatriate Japanese scholar at the turn of the century.In his Introduction to the work, Sammy Tsunematsu, founder and curator of the Soseki Museum in London, provides a fresh perspective on Soseki as a man and a writer, as well as an insightful commentary on the work itself.

Originally published as Garusudo no Uchi in daily serialization in the Asahi newspaper in 1915, before appearing in book form, this is the first time Inside My Glass Doors has been published in English. It is a moving literary reminiscence, a collection of thirty-nine autobiographical essays penned a year before the author's death. Written in the genre of shohin (little items), the personal vignettes provide a kaleidoscopic view of Natsume Soseki's private world and shed light on his concerns as a novelist.Readers are at once ushered into Soseki's book-lined study, in his residence in Kikui-cho, as he muses on his present situation and reflects on the past. The story is filled with flashbacks to Soseki's youth-his classmates, his family, and his old neighborhood-as well as episodes from the more recent past, all related in considerable detail. There are his characteristic ruminations about his physical well-being, and from the quiet spaces inside the glass doors of his study, he also calmly observes the clamorous state of the world outside.The essays in this book, crafted with extraordinary subtlety and psychological depth, reflect the work of a great author at the height of his powers.

Written in eight days, in December 1905, and published in the January 1906 issue of the magazine Teikoku Bungaku (Imperial Literature), Shumi no iden (The Heredity of Taste) is Soseki Natsume's only anti-war work. Chronicling the mourning process of a narrator haunted by his friend's death, the story reveals Soseki's attitude to the atrocity of war, specifically to the Russo-Japanese War of 1904-5, and to the personal tragedies and loss of individuality of young men like his hero Ko-san, and the sacrifices made by both the living and the dead.Although the first part of the story powerfully describes the narrator's visions of the war dead, including the recurring vision of Ko-san who cannot climb out of a ditch and return from the war, it is the second half, in which a beautiful and mysterious woman appears before the narrator at Ko-san's grave, with the promise of transcendence, that grips our attention.The story centers on finding out the identity of this woman and her relationship with Ko-san, with it's implication that what should have been a love story has been shattered by the reality of war-a reminder of the magnitude of Japan's sacrifice for it's so-called victory.

"A Japanese writer of genius."— Japan Quarterly Soseki Natsume is considered to be one of Japan's most beloved and respected authors. And Then is ranked as one of his most insightful and stirring novels.Daisuke, the protagonist, is a man in his twenties who is struggling with his personal purpose and identity as well as the changing social landscape of Meiji-era Japan. As Japan enters the Twentieth Century, ancient customs give way to western ideals, and Daisuke works to resolve his feelings of disconnection and abandonment during this time of change. Thanks to his father's wealth, Daisuke has the luxury of having time to develop his philosophies and ruminate on their meaning while remaining intellectually aloof from traditional Japanese culture and the demands of growing industrialization. Then Daisuke's life takes an unexpected turn when he is reunited with his college friend and his sickly wife. At first, Daisuke's stoicism allows him to act according to his intellect, but his intellectual fortress begins to show its vulnerabilities as his emotions start to hold greater sway over his inner life. Daisuke must now weigh his choices in a culture that has always operated on the razor's edge of societal obligation and personal freedom.

Published here for the first time in English, My Individualism and The Philosophical Foundations of Literature are essays which explore issues close to famed Japanese novelist Soseki Natsume's heart: the philosophical and cultural significance of isolation, belonging and identity associated with rapid technological, industrial and cultural change. Set against the background of the Meiji era, in which Soseki believed modern man was dislocated from Japan's past as well as its future, he defines the role of art and the artist in light of the loneliness and individualism of the modern world.True to his self-conscious style, each essay includes individual biographical anecdotes, inviting their allegorical reading as stories about the fate of Japan. In My Individualism, Soseki gives a rare account of his stay in London from the perspective of twelve years after his return, allowing us to see the profound shift in his thinking about literature that occurred during this time. In The Philosophical Foundations of Literature, we find one of Soseki's principal attempts to provide a cross-cultural framework for the interpretation of literature. Together, the essays reveal Soseki's attempts to create a theory of literature that is characteristically Japanese.

First published as Nihyaku Toka in 1906, The 210th Day is published here for the first time in English. Focusing on two strongly contrasting characters, Kei and Roku, as they attempt to climb the rumbling Mount Aso as it threatens to erupt, it is a celebration of personal experience and subjective reaction to an event in the author's life. During their progress up the mountain—where they encounter a storm on the 210th day (the lunar calendar day traditionally associated with typhoons)—and during a stopover at an inn along the way, Roku, the main protagonist, banters with Kei about his background, behavior and his reaction to the things they see. Kei surprises his easy–going friend by advocating a radical social agenda.Written almost entirely in the form of an extended dialogue, carried over several episodes, the book reveals Soseki's gift for the striking image and his vivid imagination, as well as his talent for combining Eastern and Western genres—the Western auto–biography and the Japanese traditional literary diary—into a work with a unified theme and atmosphere. In his Introduction to the book, Dr Marvin Marcus, Associate Professor of Japanese Language and Literature at Washington University, provides insight into Soseki's life and work.

Наслушавшись в доме своего хозяина умных разговоров о новых течениях современной мысли, в первую очередь о модном индивидуализме и о "сверхчеловеке", кот возомнил себя существом необыкновенным, подлинным "сыном двадцатого века". Комизм ситуации, как в "Путешествиях Гулливера" Свифта, состоит в том, что карлик меряет великана меркой своего малого мира с полным чувством собственного превосходства. Хозяин кажется коту "придурковатым", выходки, чудачества хозяина - верх нелепости. Карлик не владеет ключом к душе великана. Но это верно только в том случае, если существо из малого "кошачьего" мирка встречается с подлинно большим человеком. "Не…