{"id":4707,"date":"2024-03-01T08:20:00","date_gmt":"2024-03-01T06:20:00","guid":{"rendered":"https:\/\/blogbjc.bjc.ro\/?p=4707"},"modified":"2024-03-07T18:22:42","modified_gmt":"2024-03-07T16:22:42","slug":"ryunosuke-akutagawa-1-martie-1892-24-iulie-1927","status":"publish","type":"post","link":"https:\/\/blogbjc.bjc.ro\/?p=4707","title":{"rendered":"Ry\u016bnosuke AKUTAGAWA (1 martie 1892 \u2013 24 iulie 1927)"},"content":{"rendered":"\n<p class=\"has-text-align-right\">Motto:<em> P\u00e2n\u0103 la istovirea total\u0103 scrie-voi \u00eenainte. Dac\u0103 nu scriu acum ceea ce am de spus, apoi nu \u0219tiu de voi mai apuca s-o fac vreodat\u0103. <\/em>(Ry\u016bnosuke Akutagawa, <em>Cufundat \u00een litere<\/em>)<\/p>\n\n\n\n<p>Ry\u016bnosuke Akutagawa (1 martie 1892 \u2013 24 iulie 1927), prozator japonez de prestigiu, este considerat unul dintre \u00eentemeietorii literaturii japoneze moderne. A fost studentul \u0219i discipolul lui S\u014dseki Natsume (1867-1916)<a id=\"_ftnref1\" href=\"#_ftn1\">[1]<\/a>, scriitor japonez apreciat ca un precursor al romanului modern \u00een literatura mondial\u0103<a id=\"_ftnref2\" href=\"#_ftn2\">[2]<\/a>. Funeraliile lui Natsume <em>sensei<\/em> sunt amintite \u00een scrierea ap\u0103rut\u0103 postum <em>Ro\u021bi zim\u021bate<\/em>, prezent\u0103 \u00een volumul <em>Paravanul-Iad \u0219i alte povestiri<\/em><a href=\"#ftn3\" data-type=\"internal\" data-id=\"#ftn3\">[3]<\/a>.<\/p>\n\n\n\n<p>\u00cen volumul men\u021bionat reg\u0103sim \u0219i povestirea <em>Nasul<\/em>, la a c\u0103rei publicare, \u00een februarie 1916, Natsume S\u014dseki \u0219i-a exprimat entuziasmul \u00eentr-o scrisoare care anun\u021ba aprecierea de care se vor bucura scrierile lui Akutagawa: \u201eConsider c\u0103 povestirea dumitale este foarte interesant\u0103. Este conving\u0103toare \u0219i serioas\u0103, nu superficial\u0103. Cred c\u0103 meritul ei deosebit const\u0103 \u00een faptul c\u0103 absurditatea nu este for\u021bat\u0103, ci perfect natural\u0103 \u0219i l\u0103sat\u0103 s\u0103 apar\u0103 de la sine. \u2026 Stilul este concis \u0219i controlat. L-am admirat. \u00cencearc\u0103 \u0219i scrie \u00eenc\u0103 vreo dou\u0103zeci sau treizeci de povestiri la fel. Ai putea s\u0103-\u021bi cucere\u0219ti propriul t\u0103u loc \u00een lumea literelor.\u201d<a id=\"_ftnref4\" href=\"#_ftn4\">[4]<\/a><\/p>\n\n\n\n<p>Cu un an \u00eenainte fusese publicat\u0103 povestirea <em>Rash\u014dmon<\/em>, care a devenit foarte cunoscut\u0103 \u0219i a c\u0103rei ecranizare \u00een 1950 \u00een regia lui Akira Kurosawa a fost una de succes. De fapt, dou\u0103 povestiri au stat la baza filmului nominalizat la Oscar, <em>Rash\u014dmon<\/em> contribuind la crearea atmosferei, iar <em>\u00centr-un bunget de p\u0103dure<\/em> (<em>\u00centr-un l\u0103st\u0103ri\u0219<\/em>) configur\u00e2nd personajele \u015fi intriga<a id=\"_ftnref5\" href=\"#_ftn5\">[5]<\/a>.<\/p>\n\n\n\n<p>Pornind de la aceste povestiri \u0219i privind \u00een ansamblu scrierile lui Akutagawa, tr\u0103s\u0103tura unificatoare \u0219i distinctiv\u0103 ce se poate identifica, preocuparea central\u0103 \u00een crea\u021bia sa este \u201einvestigarea nemiloas\u0103 a ac\u021biunilor min\u021bii omene\u0219ti\u201d<a href=\"#_ftn6\" id=\"_ftnref6\">[6]<\/a>, o consecin\u021b\u0103 fireasc\u0103 a sensibilit\u0103\u021bii sale \u0219i a spiritului s\u0103u analitic. Astfel, dimensiunea japonez\u0103 a crea\u021biei se tope\u0219te \u00een cea universal\u0103.<\/p>\n\n\n\n<p>Akutagawa, chiar dac\u0103 disp\u0103rut prematur (s-a sinucis la v\u00e2rsta de 35 de ani), \u0219i-a cucerit f\u0103r\u0103 t\u0103gad\u0103 propriul loc \u00een lumea literelor. \u00cen Japonia, \u00een 1935, a fost \u00eenfiin\u021bat prestigiosul premiu literar care \u00eei poart\u0103 numele, acordat bianual crea\u021biilor unor scriitori promi\u021b\u0103tori (\u00een perioada 1935-1944 \u0219i din nou din 1949).<\/p>\n\n\n\n<p>\u00cen afar\u0103 de scrierile lui Ry\u016bnosuke Akutagawa, pot fi descoperite la raftul cu literatur\u0103 japonez\u0103 \u0219i proze distinse cu premiul care \u00eei poart\u0103 numele: <em>Albastru nem\u0103rginit<\/em>, <em>aproape transparent<\/em>, de Ry\u016b Murakami (1976), <em>Jurnalul unei nop\u021bi nedes\u0103v\u00e2r\u0219ite <\/em>(povestirea <em>C\u00e2nd calci pe \u0219arpe<\/em>), de Hiromi Kawakami (1996), <em>Femeia minimarket<\/em>, de Sayaka Murata (2016), <em>Femeia cu fust\u0103 violet<\/em>, de Natsuko Imamura (2019).<\/p>\n\n\n\n<p>De asemenea, temele literaturii japoneze \u0219i formele stilistice pe care le \u00eembrac\u0103 se dezv\u0103luie cititorilor \u0219i prin opere ale unor scriitori sau scriitoare care au primit prestigiosul premiu de-a lungul vremii: Yasushi Inoue (1949), K\u014db\u014d Abe (1951), Sh\u016bsaku End\u014d (1955), Kenzabur\u014d \u014ce (1958), Teru Miyamoto (1977), Y\u014dko Ogawa (1990), Y\u014dko Tawada (1992), Mieko Kawakami (2007).<\/p>\n\n\n\n<p>Ultimul premiu, acordat \u00een ianuarie 2024 scriitoarei Rie Qudan pentru un roman SF, a st\u00e2rnit controverse din cauza declara\u021biei c\u00e2\u0219tig\u0103toarei privind integrarea inteligen\u021bei artificiale \u00een crea\u021bia sa. \u00cen ce m\u0103sur\u0103 este util\u0103 \u0219i justificat\u0103 \u00een economia c\u0103r\u021bii pentru un anumit nivel de autenticitate, doar traducerea ei, pe care o a\u0219tept\u0103m cu ner\u0103bdare, ne va ajuta s\u0103 descoperim.<\/p>\n\n\n\n<p>Resursele men\u021bionate sunt disponibile pentru \u00eemprumut la sediul central, Sec\u021bia \u00eemprumut pentru adul\u021bi, Sala de literatur\u0103 universal\u0103, etajul II est.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"200\" height=\"327\" data-id=\"4711\" src=\"https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Rashomon.jpg\" alt=\"\" class=\"wp-image-4711\" srcset=\"https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Rashomon.jpg 200w, https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Rashomon-183x300.jpg 183w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"282\" height=\"425\" data-id=\"4709\" src=\"https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Akutagawa-carte.jpg\" alt=\"\" class=\"wp-image-4709\" srcset=\"https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Akutagawa-carte.jpg 282w, https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Akutagawa-carte-199x300.jpg 199w\" sizes=\"auto, (max-width: 282px) 100vw, 282px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"240\" height=\"369\" data-id=\"4710\" src=\"https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Paravanul-Iad.jpg\" alt=\"\" class=\"wp-image-4710\" srcset=\"https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Paravanul-Iad.jpg 240w, https:\/\/blogbjc.bjc.ro\/wp-content\/uploads\/2024\/02\/Paravanul-Iad-195x300.jpg 195w\" sizes=\"auto, (max-width: 240px) 100vw, 240px\" \/><\/figure>\n<\/figure>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Autor japonez de romane, eseuri, haikuuri, dar \u0219i de poezie compus\u0103 \u00een limba chinez\u0103. Romane: <em>Botchan<\/em>; <em>Zbuciumul inimii (Kokoro)<\/em>; <em>C\u0103l\u0103toria<\/em>; <em>\u0218ov\u0103ial\u0103<\/em>; <em>Eu, motanul<\/em>.<\/p>\n\n\n\n<p><a href=\"#_ftnref2\" id=\"_ftn2\">[2]<\/a> Octavian Simu, <em>Dic\u021bionar de literatur\u0103 japonez\u0103<\/em>, Editura Albatros, Bucure\u0219ti, 1994.<\/p>\n\n\n\n<p><a href=\"#_ftnref3\" id=\"_ftn3\">[3]<\/a> Ry\u016bnosuke Akutagawa, <em>Paravanul-Iad \u0219i alte povestiri<\/em>, trad. Raluca Nicolae, Bucure\u0219ti, Humanitas Fiction, 2019.<\/p>\n\n\n\n<p><a href=\"#_ftnref4\" id=\"_ftn4\">[4]<\/a> Hisaaki Yamanouchi, <em>Privire asupra literaturii japoneze moderne<\/em>, trad. Valentin Negoi\u021b\u0103, Bucure\u0219ti, Editura Univers, 1989, p. 90.<\/p>\n\n\n\n<p><a href=\"#_ftnref5\" id=\"_ftn5\">[5]<\/a> Ambele proze pot fi reg\u0103site at\u00e2t \u00een volumul Ry\u016bnosuke Akutagawa, <em>Rash\u014dmon<\/em>, trad. Ion Caraion, Chi\u0219in\u0103u, Editura Cartier, 2004, c\u00e2t \u0219i \u00een format audiobook.<\/p>\n\n\n\n<p><a id=\"_ftn6\" href=\"#_ftnref6\">[6]<\/a> Hisaaki Yamanouchi, <em>Privire asupra literaturii japoneze moderne<\/em>, trad. Valentin Negoi\u021b\u0103, Bucure\u0219ti, Editura Univers, 1989, p. 95.<\/p>\n\n\n\n<p>Sursa foto: Autor necunoscut (domeniul public), Wikimedia Commons<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Motto: P\u00e2n\u0103 la istovirea total\u0103 scrie-voi \u00eenainte. Dac\u0103 nu scriu acum ceea ce am de spus, apoi nu \u0219tiu de voi mai apuca s-o fac vreodat\u0103. (Ry\u016bnosuke Akutagawa, Cufundat \u00een &hellip; <\/p>\n<div class=\"link-more\"><a href=\"https:\/\/blogbjc.bjc.ro\/?p=4707\" class=\"more-link\">Read More<span class=\"screen-reader-text\"> &#8222;Ry\u016bnosuke AKUTAGAWA (1 martie 1892 \u2013 24 iulie 1927)&#8221;<\/span><\/a><\/div>\n","protected":false},"author":2,"featured_media":4708,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[202],"tags":[203,121],"class_list":["post-4707","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-zigzag-prin-literatura-universala","tag-japonez","tag-literatura"],"_links":{"self":[{"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=\/wp\/v2\/posts\/4707","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4707"}],"version-history":[{"count":6,"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=\/wp\/v2\/posts\/4707\/revisions"}],"predecessor-version":[{"id":4790,"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=\/wp\/v2\/posts\/4707\/revisions\/4790"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=\/wp\/v2\/media\/4708"}],"wp:attachment":[{"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4707"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4707"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogbjc.bjc.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4707"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}