By Junichiro Tanizaki
The clash among conventional and glossy eastern tradition is on the center of this novel. Kaname is a arrogant, glossy guy residing in a latest marriage. He gamely permits his spouse to turn into the sweetheart of one other guy, an act that doesn't treatment the profound disappointment on the center in their courting. So Kaname steadily retreats into the safety of conventional rituals, attitudes and tastes, ultimately making like to Ohisa, his father-in-law's out of date mistress, as he abandons the trendy global totally. The novel's different characters, together with Kaname's spouse, his lover, his partner's father, or even the towns during which they reside, all signify the trendy and historic methods of existence in Japan. Tanizaki's attribute irony, eroticism, and mental undertones make a few favor Nettles a superb and compelling learn.
Junichiro Tanizaki (1886-1965) is likely one of the significant figures of 20th-century jap literature. Born within the center of downtown Tokyo, he studied literature and led a bohemian life at Tokyo Imperial college. His younger stories are mirrored in his writings, as are the impacts of such Western contemporaries as Poe, Baudelaire and Wilde. Following the nice Kanto Earthquake of 1923, Tanizaki left Tokyo for the Kyoto-Osaka quarter, the place he wrote his most interesting works. As a tender, cosmopolitan rake he deserted the superficial Westernization of his scholar days and immersed himself in jap culture and historical past. The emotional and highbrow predicament sparked by way of this transition grew to become a great author into one in all Japan's maximum and most-loved novelists. Junichiro Tanizaki acquired the Imperial Prize in Literature in 1949.
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Extra resources for Some Prefer Nettles
From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed. Chieko I. : Greenwood, 1994), pp. 132–143. 2. In the early to mid-Meiji, the terms “keishu¯ ” and “joryu¯ ” (woman’s style) were used interchangeably to define the works of women. But keishu¯ was used with more frequency when referring to women writers collectively. By the end of the Meiji period, joryu¯ replaced keishu¯ in this regard as well, except when critics referred retrospectively to the women writers of the earlier age.
University of Chicago, 1991), p. 93. Sakaki, “Sliding Door,” p. 4. As cited and translated in Tomi Suzuki, Narrating the Self: Fictions of Japanese Modernity (Stanford: Stanford University Press, 1996), p. 24. Akiyama Shun, “Ima joryu¯ bungaku to wa nani ka: Sengo shi to no kanren de,” Kokubungaku kaishaku to ky¯zai o no kenkyu¯ 15 (December 1980): 124–127, as quoted and translated in Joan Ericson, “The Origins of the Concept of Women’s Literature,” in The Woman’s Hand: Gender and Theory in Japanese Women’s Writing, ed.
They were articulate, intellectually curious, and proudly conscious of their need to assert control over their own destiny—both physical and intellectual. Writing, whether or not they took up the brush in a conscious effort to protest, offered these women access to the ever-shifting spheres beyond the ken of family, home, and appropriate social roles. introduction: meiji women writers 25 notes 1. From the inaugural issue of Bluestocking (September 1911). The translation is from Rebecca Copeland, “Hiratsuka Raicho¯,” in Japanese Women Writers: A Bio-critical Sourcebook, ed.
Some Prefer Nettles by Junichiro Tanizaki