Akutagawa Ryūnosuke

1ª sesión del curso "Rashômon y su contexto. Análisis del cine de Kurosawa", celebrado on-line y patrocinado por la Fundación japón en España. Para preservar los derechos de autor, he recortado el audio de dos fragmentos: el 1º es la escena final del parque del protagonista de IKIRU (VIVIR, A. Kurosawa, 1952) en la que cante la triste canción...; y la 2ª es el principio de LA FORTALEZA ESCONDIDA (Kakushi-toride no san-akunin, A. Kurosawa, 1958) que comparo con STAR WARS (G. Lucas, 1977).

Los libros y el tránsito terreno de Osamu Dazai encapsulan una paradoja válida para todos los tiempos pero de especial interés para el actual: el predicamento de la huida y la necesidad de permanencia,  el desgarro al que ve ven sometidas aquellas personas cuyo interior grita por la huida mientras que su piel clama por el retorno. El presente ensayo se vale de la figura y de Dazai para explorar la vocación suicida, la sed literaria, el sentimiento de extravío y la urgencia de reconocerse en el espejo de otros.

The following paper aims at describing and analysing the development of the relation between narrating voice and surrounding natural landscape in Akutagawa Ryūnosuke's literary output. Akutagawa himself declared in his Suicide Note "Aru kyūyū he Okuru Shuki" ("Letter to an Old Friend", 1927), when writing about his relationship with nature:  "More than anyone else, I have observed it, loved it and understood it". This profound change in the relation with Landscape took place due to an "Inversion of Semiotic Constellation", which, according to the analysis of Karatani Kōjin in his "Kindai Nihon Bungaku no Kigen" ("The origins of Modern Japanese Literature", 1980), occurred during the Meiji Period. The landscape thus acts as a means of transmission of concepts and as an epistemological feature that encourages a further reading of Akutagawa's Short Stories, and an analysis of the geographical and natural space depicted in them.

Luz Aurora Pimentel, Professor emeritus of the National Autonomous University of Mexico and prominent scholar in the fields of Narratology and Comparative Literature, studied and enriched Gérard Genette’s concepts of Narratology. Using Pimentel’s theory I analyze the way the narrator presents characters, their relationships with each other and facts in the story, as well as how is it that through his version of the story, the narrator tries to persuade the reader about the moral qualities of the protagonist Yoshihide.

An exchange metamorphosis takes place between Yoshihide and Monkey Yoshihide. Monkey Yoshihide gradually receives human features (a name, respect among fellow humans) and begins playing the role of father (helping, taking care of and defending his daughter). Yoshihide undergoes a process of dehumanization (he is described as unable to cope with society) in which he appears as unpleasant, vulgar and even demonic; Yoshihide thus turns gradually into a beast.

Творчество Акутагавы, несмотря на реалистичность описания, все же вписывается в рамки модернизма, ведь во главе угла стоит неприкрытая человеческая личность. Сам же Акутагава и не думал как-либо классифицировать свое творчество, напротив он даже отказывался читать рецензии и критические статьи на собственные произведения. Он писал ради искусства и жил ради искусства, недаром ведь он написал однажды: «Человеческая жизнь не стоит и одной строки Бодлера». Этот губительный принцип сопровождал писателя достаточно долго, но вскоре он трансформировался в осознание самим писателем более важного, а именно существование литературы для читателя.

Durante los últimos años de su producción literaria Ryunosuke Akutagawa abandona la fantasía para adentrarse en el purgatorio de la confesión. Muy pronto las confidencias sobre su crisis privadas, cristalizadas en su indiferencia y posterior renuncia a la humanidad, degeneran en el encumbramiento del suicidio como un ideal estético. El ensayo intenta responder la pregunta de en qué momento Ruynosuke Akutagawa se convierte de un esteta que planea suicidarse en un esteta del suicidio?

Resumo: Explora-se neste artigo a apropriação de episódios retirados da coletânea clássica japonesa Konjaku Monogatarishû por Akutagawa Ryûnosuke, para a construção do conto Rashômon, publicado em 1915. Além de conservar os principais temas, os personagens e a ambientação da história original, Akutagawa também é capaz de utilizar técnicas para fazer alusão à tradição oral dessas curtas narrativas conhecidas como setsuwa, que normalmente eram transmitidas por gerações por meio de contadores de história. Examina-se como Akutagawa, em sua adaptação da história clássica, consegue fornecer maior riqueza de detalhes e explorar as razões que teriam levado os personagens a adotar as atitudes observadas na narrativa. Discute-se, ainda, dilemas de caráter existencial e ético enfrentados pelos personagens, bem como a questão da subjetividade da verdade, que é um tema abordado por Akutagawa também em outros contos.
Palavras-chave: Akutagawa Ryûnosuke, período Heian, Konjaku Monogatarishû, literatura moderna japonesa, tradição oral, dilema ético, subjetividade da verdade.

Abstract: This article explores the use of stories from the classical Japanese anthology Konjaku Monogatarishû by Akutagawa Ryûnosuke, for the creation of the tale Rashômon, published in 1915. Akutagawa was able to maintain the central motifs, characters and the overall atmosphere of the original story, while using techniques to make allusions to the oral tradition of these short anecdotes known as setsuwa, which were usually passed down through generations by storytellers. This paper examines how Akutagawa, in this tale borrowed from the classical anthology, was able to supply the reader with a greater array of details and to analyze the reasons 1 Article received and accepted in 2019. 2 Ministério da Economia, Brasília, Brasil; Doutor em Desenvolvimento Internacional pela Universidade de Nagoya; wald_russo@yahoo.com; waldemiro.junior@planejamento.gov.br (ORCID iD http:// orcid.org/0000-0002-0655-7999).

The article explores the manifestly allegorical nature of Kurosawa's controversial 1950 film Rashomon, and how it was directly responding to the dishonesty of individuals called before recent war crimes trials (1946-48). After noting the overt symbolism of the film's opening setting, which manifestly alludes to the plight of Japan, the trials which dominated the nation's media in the late 1940s are also discussed (it notes 29 employees of the film company had been purged). As is stated at the film's onset, the community was distressed because it was evident that lies were being told and the truth concealed: similarly, in post-war Japan no one knew who to believe about war atrocities. Testimony is compromised, Rashomon shows, because the guilty seek to hide their misdeeds. A direct comparison is made with Clouzot's film from the Nazi-Occupation Period, Le Corbeau of 1943, which told a story of village life to likewise highlight dishonesty and betrayal in time of war. As with Rashomon, there was a local backlash against the film due to the plain, if uncomfortable contemporary message it delivered. Kurosawa's use of a medieval setting/story to moralise, again, about post-war Japan in his later samurai films, 'Seven Samurai' and 'Yojimbo', is considered; although, as is pointed out, his allegorical purpose was completely lacking in the popular Western versions of these films, 'The Magnificent Seven' and 'A Fistful of Dollars'. (Another cowboy film, 'High Noon', is praised in passing and likened to Kurosawa's approach.) Rashomon's seeming influence on Ingmar Bergman's 'The Seventh Seal', another allegorical tale of ethics and personal conduct against a medieval war setting, is also highlighted. 5pp

Десятилетие на рубеже XIX−XX вв. (1895-1905) для большого числа отечественных театралов это, прежде всего, − четыре пьесы Чехова: «Чайка», «Дядя Ваня», «Три сестры» и «Вишнёвый сад». Драматургическое порубежье XX−XXI вв. − время, когда вниманию зрителей представлено сразу несколько разного рода «переделок» чеховских пьес: «Голубое сало» Вл.Сорокина (1999; тексты «клона Чехов-3»), «Чайка» Б.Акунина (2000), «Русское варенье» Л.Улицкой (2003). Из зарубежных авторов к этому списку можно было бы прибавить пьесу словацкого драматурга В.Климачека «Чехов-боксёр: Сенсационный проект царского телевидения» (Čechov-Boxer, 1999; русский перевод опубликован в 2008 году) и постановку польского режиссёра Кр.Люпы (2007). Большая часть из них в той или иной мере явились едва ли ни первыми в истории сиквелами чеховских пьес. Если оставить за скобками шумные промоутерские кампании, которые сопровождали постановки этих произведений, ни одно из них публика не приняла. «отрицательный результат − тоже результат» и даёт хорошую пищу для глубокого анализа изучаемого явления в новом, непривычном ракурсе.
Наиболее перспективен для детального рассмотрения − случай с «Чайкой» Б.Акунина, текст которого самый «конструктивно» сложный и одновременно предельно ориентированный (даже провокативным названием) на первоисточник.

The narrative of the senile elderly tends to be interpreted through the stigmatized lens of the senile, which is often unassociated with the real intentions of the elderly. This is similar to the stigmatized views that people have of the autistic, in which an autistic person's intentions are often misinterpreted because of the other participant's subjectivity (Oches, 2008). In this paper, the polysemic nature of the inter subjectivity in the narratives of the elderly characters in two Japanese novels (" Gyakko " by Dazai and " Ronen " by Akutagawa) is examined from three perspectives: 1) the intersubjectivity and arraignment in stance-taking (Du Bois, 2007); 2) the concept of framing and reframing (Tannen, 2006); and 3) the poetic truth of sincerity (Abrams, 1953). Consequently, the identities and experience of the elderly from their golden age are recast in the stereotypes toward the elderly characters when the other characters evaluate the utterances of the elderly. Even though the elderly character has limited utterances, every time the author adds a further context, there are further subjectivities added to the narration. These second framings create a visual shift as each new character has a new position and a different subjective recollection, which makes the readers doubt the quality of the information (Grice, 1975) from the elderly person's utterances. The tense management also affects the credibility of the elderly person's recollections. These subjectivities are enabled by the author's control of the narrative rather than by what the characters say. KEYWORDS: Alignment Inter subjectivity poetic truth of sincerity Prosodic polysemism subjectivity the maxim of quality.

Toda literatura presente es reescritura de un clásico. Toda emoción humana es un eco de grito primordial. Los hombres y las civilizaciones se elevan sobre las piedras de su melancolía. ¿Cómo se explica la nostalgia por el Edén que nadie conoció?, ¿cómo explicamos las repercusiones que el mito ha obrado en la configuración de nuestros relatos comunes y aflicciones privadas? Es cierto que, sin la idea particular de un paraíso perdido, el individuo de Occidente no sería el que hoy conocemos. Sin embargo, la nostalgia por la gloria inasible del pasado seguiría existiendo. La idea de que todo pasado fue mejor se cimenta en el trauma fundacional no ya de nuestra cultura sino de nuestra especie. Y es que al ser humano lo atormenta el mismo don que ha permitido su evolución: el deseo irrefrenable de anular el presente.

This essay examines Akutagawa Ryūnosuke's 1927 suicide note, "Aru kyūyū e okuru shuki" (A note to a certain old friend), against the host of other works he left behind. These texts and their many intertexts have been largely overshadowed by the fame of this note and its infamous phrase: "a vague sense of anxiety." Rather than probing these works to explain Akutagawa's motive for suicide in retrospect, this essay considers how they also worked prospectively for the author. Their tangled publication and distribution histories suggest a complex relationship between bodies of literature and bodies of artists, between the corpus and the corpse.

Ma présentation du film Rashōmon (1950) par le cinéaste japonais Akira Kurosawa au Ciné-Illusion, le ciné club des résidents en psychiatrie à l'Université de Montréal le 21 novembre 2018.

Rashōmon : Un cadavre, deux témoins, trois comptes, quatre versions …