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Pakao i druge priče
Rjunosuke Akutagava (1892–1927) je jedan od najznačajnijih japanskih pisaca. Mučen sumnjama u sopstvene umetnicke sposobnosti i strahom da bi i on mogao postati duševni bolesnik poput njegove majke, prekratio je sopstveni život uzimanjem prekomerne doze sedativa.
Akutagava, koristeći intertekstualni postupak, gradi duboko promišljene psihološke portrete svojih junaka. Čitalac isprva stice utisak da čita neku priču iz starina, da bi na kraju ostao duboko zamišljen, shvativši modernost u pristupu koja oslikava svu dubinu tamne strane čovekove duše.
Pripovetku Pakao napisao je upravo u tom duhu. U žiži je važno pitanje, na koje je nemoguće dati konacan odgovor: da li su za stvaranje savršenog umetničkog dela, neophodni preduslovi - umetnikova opsesija svojim radom i postavljanje umetnosti ispred ljudskosti i života, kako sopstvenog, tako i života svojih najblizih.
Akutagava, koristeći intertekstualni postupak, gradi duboko promišljene psihološke portrete svojih junaka. Čitalac isprva stice utisak da čita neku priču iz starina, da bi na kraju ostao duboko zamišljen, shvativši modernost u pristupu koja oslikava svu dubinu tamne strane čovekove duše.
Pripovetku Pakao napisao je upravo u tom duhu. U žiži je važno pitanje, na koje je nemoguće dati konacan odgovor: da li su za stvaranje savršenog umetničkog dela, neophodni preduslovi - umetnikova opsesija svojim radom i postavljanje umetnosti ispred ljudskosti i života, kako sopstvenog, tako i života svojih najblizih.
195 pages, Paperback
Published June 1, 2011
2 people are currently reading
35 people want to read
About the author
Ryūnosuke Akutagawa
1,325 books2,129 followersAkutagawa Ryūnosuke (芥川 龍之介) was one of the first prewar Japanese writers to achieve a wide foreign readership, partly because of his technical virtuosity, partly because his work seemed to represent imaginative fiction as opposed to the mundane accounts of the I-novelists of the time, partly because of his brilliant joining of traditional material to a modern sensibility, and partly because of film director Kurosawa Akira's masterful adaptation of two of his short stories for the screen.
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
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Displaying 1 - 7 of 7 reviews
July 15, 2022
Gde si bio sve ovo vreme?! 🧡
October 2, 2016
Još jedno predivno izdanje izdavačke kuće Tanesi (Meni jedna od omiljenih što se tiče Srbije). Ovu knjigu po meni treba da poseduje svako ko voli Japansku književnost i Japansku kulturu uopšte. Rjunosuke Akutagava je jedan od najznačajnijih pisaca pripovetki u Japanskoj književnosti, bio je stvarno jedna specifična ličnost, i nažalost umro je veoma mlad (izvršio je samoubistvo). U ovoj knjizi se nalazi kolekcija više njegovih pripovetki i to one najvažnije iz perioda kada je bio najpolodonosniji. Akutagavin stil je stvarno prelep, ima dosta uticaja starih Japanskih i Kineskih priči ali opet se i oseća duh modernizma. Akutagava se najviše bavi samim čovekom, njegovim mestom na ovom svetu, untrašnju borbu između materijalnog i nematerijalnog, može se steći utisak da Akutagava je najviše bio razočaran ljudskom pohlepom i željom za slavom i prosto je izgubio veru u ljudski rod. Priče koje su mi se najviše dopale su "Pakao", "Duvan i Djavo", "Beli", "Tosisun", "Paukova Nit". Stvarno jedan od najzanimljivijih ličnosti u istoriji Japanske književnosti.
November 2, 2022
Bolest
January 31, 2015
Very interesting, certainly holds your attention. Some of the stories offered comedic relief, some were frightening and others just plain sad. Nevertheless, they all offered a unique insight into Akutagawa`s complex personality and his tortured soul, especially if you`ve read about his life.
May 3, 2013
Absolutely loved it!
November 5, 2023
Zbirka priča, koje se čak i stilom oslanjaju na japansku tradiciju. Dobre priče, baš sam uživao dok sam čitao. Šteta što nisam ranije znao za ovog pisca
Displaying 1 - 7 of 7 reviews