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Raşomon
Paperback. 13,00 / 19,50 cm. In Turkish. 88 p. Tarik Dursun K. Her hikâyenin bir sonu var midir? Olmak zorunda midir? Ruhsal sikintilari ve intihari ile de taninan Akutagawa Ryunosuke, basyapiti Rasomon'da da "hayati" çogunlukla yarim birakiyor. Zihinlere sizan duru hikâyeleri, sürekli damlayan, sonu gelmeyen, sasirtici kurgusuyla aliskin oldugumuz kurgu yapisini yikiyor. Bu öyküler ay isigi altinda Japon kurgusunun vazgeçilmezi "Shinigami" ile karsilasmis gibi sizi ürpertecek, biraktigi yasanmislik ve yarim kalmislik hissini bir türlü üzerinizden atamayacaksiniz. Bir kâse çorba içerken Rasomon ansizin zihninizde çakacak.
- GenresJapanese LiteratureJapan
88 pages, Paperback
Published January 1, 2021
5 people are currently reading
88 people want to read
About the author
Ryūnosuke Akutagawa
1,344 books2,140 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 - 11 of 11 reviews
April 28, 2021
"Yalnız karanlık vardı; karanlık, bir de bilinmeyenle hiç bilinemeyen"
May 24, 2024
çok parlak değil ama ilginç yanları vardı
August 3, 2025
sıkıcıı
Want to read
March 17, 2024Aynı olay pek çok farklı güvenilmez karakter tarafından anlatılmış. Bu yüzden Benim Adım Kırmızı adlı kitaba benzer. Orhan Pamuk Kyoto'ya gittiğinde bu kitaptan izler arar fakat modernleşen şehirlerin hatıraları yok etmesi gibi bu izler silinmiştir.
October 26, 2023
#kitapyorumu #raşomon #rashomon
Kısa ama karmaşık bir kitap ile karşınızdayız. bu derce kısa bir kitap nasıl bu kadar kopleks oluyor şaşırtıcı. Tam olarak "ne okudum ben?" diye kalacağınız bir kitap. Garip ve karanlık. Yazar ürkütücü bir ortamı çok canlı şekilde tasvir ediyor. İlginç ve zor bir hayat sürmüş bir yazardan beklenecek bir düzyazı örneği. Okuyucu yazarın kırılgan ve parçalanmış zihnine ortak oluyor. Çaresizlik ve paranoya yazıda ön planda. Akutagawa'nın kendi hikayesini anlatan ve seçimleri içeren kitabın son bölümü en dokunaklı olanı. Bu hikayeler, yazarın dengesini ve huzurunu nasıl kaybettiğini gösteriyor. Etkileyici ve düşündürücü tavsiye ederim. Aynı zamanda 1950 yılında çekilmiş bir filmi de var kitabın.
#ryunosukeakutagawa #cevizyorumluyor #folkitap #1k1f #kitapsevgisi #kitaptavsiyesi #kitapayracı #bookstagram #lavender #okudumbitti #kitaplar #kitap #kitapkurdu #bookstagramturkey
Kısa ama karmaşık bir kitap ile karşınızdayız. bu derce kısa bir kitap nasıl bu kadar kopleks oluyor şaşırtıcı. Tam olarak "ne okudum ben?" diye kalacağınız bir kitap. Garip ve karanlık. Yazar ürkütücü bir ortamı çok canlı şekilde tasvir ediyor. İlginç ve zor bir hayat sürmüş bir yazardan beklenecek bir düzyazı örneği. Okuyucu yazarın kırılgan ve parçalanmış zihnine ortak oluyor. Çaresizlik ve paranoya yazıda ön planda. Akutagawa'nın kendi hikayesini anlatan ve seçimleri içeren kitabın son bölümü en dokunaklı olanı. Bu hikayeler, yazarın dengesini ve huzurunu nasıl kaybettiğini gösteriyor. Etkileyici ve düşündürücü tavsiye ederim. Aynı zamanda 1950 yılında çekilmiş bir filmi de var kitabın.
#ryunosukeakutagawa #cevizyorumluyor #folkitap #1k1f #kitapsevgisi #kitaptavsiyesi #kitapayracı #bookstagram #lavender #okudumbitti #kitaplar #kitap #kitapkurdu #bookstagramturkey
October 27, 2022
(Zamanında yorum yapmamışım vakit geçtikten sonra düzenleyesim geldi) Güzel öyküler. Puan kırdığım yeri tam hatırlamamakla öykü seçkilerinin az bir şekilde kitaba yansıması olabilir. Akutagawa zaten uzun bir yazarlık kariyeri olmayan bir adam, japon geleneğiyle erken yaşta varolmamaya karar verdiği için. Ama verimli çalışmalar, girmek için güzel bir kitap daha fazla öyküsünü içeren kitaplara yönlendirdiğini söyleyebilirim
May 21, 2023
içindeki öyküleri çok beğendim. Özellikle de Raşomon ve Cehennem Tablosu en beğendiklerim oldu. Ama ben İthaki Japon Klasiklerinden okuduğum için hem çeviriyi hem de redaksiyonu beğenmedim. Çok fazla yazım yanlışı vardı. Çeviriden dolayı bazı cümleleri tekrar okumak zorunda kaldım. Bu yüzden 4 puan verdim.
December 13, 2021
Edebi degeri sorgulanabilir. Hikayelerinde yarattigi ortami farkli buldum ve benzer doneme ait okudugum Kvaidan' a benzettim. Yine de keyifliydi.
December 28, 2021
2.5 STARS
July 18, 2022
Tarık Dursun K.'nın çevirisi o kadar zengin, dopdolu ki anlatılan öykülerin çok eski Japon hikayeleri olması bile önemli olmadı benim için.
April 8, 2023
ayip olmasin diye 1 yildiz vermedim, cok hos degildi
Displaying 1 - 11 of 11 reviews