The Setting Sun (New Directions Book)

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The Setting Sun (New Directions Book)

The Setting Sun (New Directions Book)

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Japon edebiyatının en kırılgan, ömrünü intihar çabalarına adamış ve en nihayetinde bu mutlu sona 39 yaşında ulaşmış Osuma Dazai’nin Batan Güneş’i kitabın sonundaki intihar mektubu ile kendi sonunu önceden belirlemesi ile son sözleri gibi yorumlansa da (ki doğrudur) Batan Güneş bunların ve bu anlamın çok ötesinde bir kitap. Büyük bir hayranlık ile bitirdim kitabı ve şu an tek istediğim keşke gündelik rutinler zorlamasa da bütün yazdıklarını bir hafta içinde bitirsem hissi. Tengo miedo porque veo claramente que mi propia vida acabará pudriéndose mientras yo permanezco impasible, inmersa en esta rutina diaria como una hoja de musácea que se pudre en el árbol sin caer al suelo. Esto es lo que no puedo soportar y es por eso que necesito huir de mi vida actual, aunque esto suponga desviarme del código femenino de buenas maneras”. The title highlights the novel and Dazai’s intimate ominous writing style that he would master in his later work, No Longer Human. Written in first person, the story benefits greatly from the perspective to change between characters through various devices — like Kazuko’s diary entries, letters and a will — to present incredibly intimate feelings and thoughts that develop the narrative themes: existentialism, the growing modernization of the individual and the adoption of western values into japanese society. a b c Hadfield, James (18 January 2014). "The Setting Sun". Japan Times . Retrieved 8 September 2022. Bu dünya için fazlasıyla iyi” anneyi asaletinden hiçbir şey yitirmeden ölüm döşeğinde buluruz. İmparatorluğun batan güneşinden sonra, sıra annenin batışına gelmiştir. Bu bölümde anne ile kızı arasında geçen diyalog, geçen giden günlere son bir bakış gibidir ve okurken beni de imparatorun kaderini düşündürerek gereksiz hüzünlere gark etmiştir.

La propia estructura formal de la novela denota esa modernidad al dotar de género femenino al personaje principal de la novela, la hija, que es la narradora en primera persona. Pero también presenta muchas características propias de la literatura nipona, ritmo cadencioso, tono lineal, sin estridencias, un lenguaje sencillo y, sobre todo, esa minuciosidad en las descripciones de las cosas sencillas de la vida rutinaria (plantas, comidas, vestimentas, costumbres) que hacen de contrapunto a las ideas y acciones de los personajes. Me parece muy logrado que también en lo formal se pueda observar ese contraste. El Declive transcurre en una Japón de posguerra, un país en ruinas no solo físicamente sino en todos los aspectos más íntimamente ligados con el individuo y sus valores. El sistema tal como se había conocido se tambaleaba y la aristocracia tal como se la conocía ya andaba dando sus últimos coletazos. La protagonista de la novela es Kazuo, la hija de veintinueve años y divorciada de una familia aristocrática que lo ha perdido todo y se enfrenta a la pobreza más absoluta. Kazuo y su madre se ven forzadas a vender la casa familiar y a trasladarse al campo a una casa más humilde en espera de que su hermano vuelva de la guerra. Reading The Setting Sun was a grounding experience to see a more realistic and dramatic representation of japanese society as Dazai deviates from the stereotypical cultural aspects associated with Japan that we have here in the west, and presents an humane discussion on social classes and the decadence of the modern human life. This intimacy in his writing makes the reader feel under the character’s skin in an relatable and immersive industrial modern drama — set, ironically, in interior Japan — that sometimes made me wonder if he was writing about real people. Hayır, bu kötü bir resim. Geçen gün çıkan resimlerinde genç ve mutlu görünüyordu. Bugünlerde çok mutlu olmalı. The inclusion of Naoji’s assessment of aristocrats as “high-class beggars” distances the family from the idea of aristocratic pride and disavows the assumed moral superiority often associated with the upper class. Instead, they are just like everyone else or, perhaps, even worse.What is it with Japanese literature, I always feel a sense of awe whenever I plunge myself into artistic universe of the country of rising sun and Osamu Dazai does no harm to the reputation of it. I find that plot development and action have often been of secondary interest to emotional issues and most of the modern Japanese authors stressed upon consciousness of narrators and perhaps that why it has resonated so well with me. Though I’ve started to read Japanese literature last year only (so couldn’t really claim myself to be master of it :P) however I find most of the modern Japanese authors- whether it is Kwabata, Abe, Mishima or Dazai for that matter- have been able to portray problems or rather ironies of human existence and so effortlessly put forth the condition of human consciousness on the canvas of art that it’s only second (to me) to modern Russian literature. You may well find traits of nihilism, existentialism well evident in the works of probably all great modern Japanese authors. I guess perhaps world war, fate of Japan in it played major role in the way modern Japanese literature has come out; for people there might have felt disaffection, utter loss of purpose and the difficulty in coping up with defeat in the World War II might have also played major role in it. Besides, Japanese society has been strongly influenced by western culture, wherein it left its aristocratic roots to rapidly developed into industrialized society; the sense of alienation in urban life, crisis of purpose must have also played a great role the way the modern literature of the country has panned out.

Esta novela de Dazai desde la primera página me envolvió (el simbolismo de la serpiente es de una belleza desoladora) y entiendo perfectamente el porqué Osamu Dazai está considerado uno de los grandes de la literatura universal. Toda la novela transpira un profundo pesimismo y una melancolía que casi se puede tocar. El personaje de Kazuo es además un personaje lleno de claroscuros porque por una parte te puede parecer superficial y egoísta pero a medida que la novela avanza entiendes sus razones, se tiene que ajustar a una nueva forma de vida que la va haciendo más fuerte y mucho menos pendiente de si misma. Kazuo es un personaje que refleja perfectamente a Japón en si mismo, un personaje/pais en plena transición entre el pasado y el incierto presente. At this moment, as I stood on the verge of tears, the words "realism" and "romanticism" welled up within me. I have no sense of realism. And that this very fact might be what permits me to go on living sends cold chills through my whole body." Miller, J. Scott (2021). Historical Dictionary of Modern Japanese Literature and Theater. Rowman and Littlefield. p.29. ISBN 9781538124413. Early in the first chapter, Kazuko says that her mother is the only member of the family who has the gracious manners of a natural aristocrat, though she continually departs from conventional etiquette. When she thinks of her mother urinating in the garden, she connects this with the stories she has read of ladies at the French court who “thought nothing of relieving themselves in the palace gardens or in a corner of the corridors.” Despite her diminished circumstances, Kazuko reveals herself as a well-educated, highly cultured, and thoughtful woman. She reads widely, and her conversation is full of references to European culture.

Cuando subimos al tren, creí que me iba a morir. Al llegar aquí me animé un poco, pero cuando anocheció noté que el pecho me ardía de añoranza y me sentí desfallecer. Es como si Dios me hubiera matado y no me hubiera devuelto la vida hasta después de haberme convertido en una persona diferente”. Analyzing the members of the center family, Dazai captures the struggle between tradition and modernization portrayed by the differences between the mother, representing the old generation, and her children, that try to keep up with modern times. The death of the mother symbolizes the end of the traditionalist era for Japan, and the death of Naoji symbolizes the depression of the Japanese society. These events capture the essence of postwar Japan - a period of transition that affects both the past and the future. Kazuko's child symbolizes the beginning of a new era for Japan, as Kazuko is confident that her child can be different and that her child will be her salvation.

Osamu Dazai published this book in 1947 Japan and it was translated to English in 1956. By the early postwar years Dazai had gained fame as a writer, the novel propelling him to even greater popularity. From an aristocratic family with ten siblings his father died from tuberculosis in 1923 when he was fourteen. He was excused from wartime service after he contracted TB himself. This is a story of the end of the nobility in Japan after WWII. It uses elements drawn from his own life, and a diary of the writer Shizuko Ota who bore him a child in 1947. Told in spare modernist prose it is a classic of mid-20th century Japanese novels and his best known work. He ended his life in a tragic 1948 suicide at the age of thirty eight. The Setting Sun ( 斜陽, Shayō) is a Japanese novel by Osamu Dazai first published in 1947. [1] [2] [3] The story centers on an aristocratic family in decline and crisis during the early years after World War II. I must go on living. And, though it may be childish of me, I can't go on in simple compliance. From now on I must struggle with the world. I thought that Mother might well be the last of those who can end their lives beautifully and sadly, struggling with no one, neither hating nor betraying anyone. In the world to come there will be no room for such people. The dying are beautiful, but to live, to survive- those things somehow seem hideous and contaminated with blood." Bu kitabımızda batan son güneştir, bu kitabı okumayacaksanız bile bu mektubu bulup okumanızı öneririm. Dazai’nin eli kulağında sonunun bu mektuba bir kat daha değer kattığı aşikar ancak o son olmasa dahi etkisinin güçlü olduğu da bir gerçek. Yaşamını baba kanının reddi, soylu ruhuna küfür ile geçirmiş, kendini “ halk dostu” olmaya adamış bu kalemin varoluşsal krizinin belgesini “ ben bir soyluyum” olarak noktalamasındaki trajediyi çemberin ne içi ne de dışında kalabilen muallaktaki Türkiye’li okur derinden hissedecektir diye düşünüyorum ve huzurlarınızdan mektuptan bir parça ile ayrılıyorum. This winningly naive thought by the main character, upon reading a book on economics in the wake of WWII, her first foray into such "adult" matters, is emblematic of the stance taken throughout this narrative. It says - Forget all the larger complicated political/economic/etc. analyses and concerns of collective life in times of massive upheaval and destruction and focus on one's own responses to events, however untutored and illogical. Defeatism? Possibly. But also heroic and perpetually necessary. Through his own egocentricism and resolute determination to remain authentic, Dazai wrote a book that gets to the heart of a universal individualism, while at the same time advocating for transient beauties and dissolution and suicide.So I can't even imagine what it must have been like for not just the Japanese but for everyone to go from a pre-nukes world to witnessing the near annihilation of Hiroshima and Nagasaki. Gelelim kitabımıza; İngiltere’nin sömürgelerinden kaynaklı üzerinde güneş batmayan ülke ünvanı varsa Japonya’nında imparatorun şahsıyla simgelenen güneşin sahibi olma hak ve hürriyeti var. Bu anlamda Batan Güneş Dazai’nin kaderiyle beraber, 2. Dünya savaşı sonrası yankeelere kayıtsız şartsız teslim olan ( artık güneşin sahibi değiliz) ve “manavlık yapan “ majestelerin dönemine de hem de tüm ömrünü o ünvanla savaşarak geçirmiş bir yazarın ağıtının hikayesidir. Words, words of every kind went flitting through my head. “Know thy particular fearsomeness, thy knavery, cunning and witchcraft!” What I said, however, as I wiped the perspiration from my face with a handkerchief was merely, “You’ve put me in a cold sweat!” I smiled. Wolfe, Alan Stephen (1990). Suicidal Narrative in Modern Japan: The Case of Dazai Osamu. Princeton University Press. p.368. ISBN 0-691-06774-0. she does not think Uehara will last much longer. The coarse simplicity once condemned and now sees in herself is essential to her survival—and that of her child. Western Culture

When the room became faintly light, I stared at the face of the man sleeping beside me. It was the face of a man soon to die. It was an exhausted face. The face of a victim. A precious victim."Anne soylu bir şekilde ölmek üzere, Naoji “soysuz “bir şekilde sonuna yelken açarken hikayeyi dinlediğimiz kızımız “ biz artık bu biçimde yaşayamayız” diyerek kaleme sarılır ve 7 yıl önce bir kez gördüğü bir adama, sevgili ya da metresi olma isteğini ileten 3 tane mektup yazar. Anlatının elini güçlendiren bölümlerden biri de bu mektuplardır. Bu mektuplarda biz çöküşe teslim olmaktan öte etik bir karşı duruşun yolunu arayan bir karakter görürüz. Dekadans dönemlerinde, ondan ekonomik olarak nemalanmayacak ya da konjonktüre yamanmayacaksak ( türk edebiyatının 12 Eylül çöküşü sonrası ürünleri genel olarak pişmanlık, nostalji, kabuğuna kapanma figürleri ve ağlak bir iç hesaplaşma ile konjonktürün içinden konuşmuştur, tutkusuz ve çıkışsızdır) delirme, intihar, aşk ve devrimcilik eldeki az sayıdaki seçeneklerden biridir. Ömrünü annesi ve annesinin değerlerine bağlılık ile geçiren anlatıcı annenin yaklaşan sonu ile başka bir yaşama bağlanmanın derdindedir. Aşk mektupları cevapsız kalınca, Naoji’nin kitaplığından Rosa, Lenin, Kautsky okur, devrimci olacaktır. Anlatıcı nasıl yırtacağından öte neresinden hayata tutunacağının derdindedir. Devrimci olamasa da Annenin ölümü ile harekete geçer, cevapsız mektuplara inat aşkının peşine düşer, bulur ama tahayyül ile gerçeklik uyuşmaz ama yine de hayalindeki adamla bir kez sevişir ve sabahında Naoji ardında mektup bırakarak intihar eder. Twenty-nine-year-old Kazuko, her brother Naoji, and their widowed mother are members of an impoverished aristocratic family living in post-war Tokyo. Kazuko had been married, but divorced and returned to the family household after claiming that she had had an extramarital affair with a painter she admired. The child she had been expecting was stillborn. Naoji, who served with the military in the South Pacific, is declared missing. Kazuko recalls a time when she burned snake eggs, thinking that they were viper eggs. It is revealed that at the time of Kazuko's father's death, there were many snakes present in and around the house, which therefore have become ominous in her and her mother's eyes. One day six years ago a faint pale rainbow formed in my breast. It was not love or passion, but the colors of the rainbow have deepened and intensified as time has gone by. Never once have I lost it from sight. The rainbow that spans the sky when it clears after a shower soon fades away, but the rainbow in a person's heart does not seem to disappear that way. Please ask him. I wonder what he really thinks of me. I wonder if he has thought of me as of a rainbow in the sky after a shower. And has it already faded away? If it has, I must erase my own rainbow. But unless I first erase my life, the rainbow in my breast will not fade away." Kazuko, a divorced, childless woman of twenty-nine, lives with her mother in a small cottage in the mountains of Izu, on the Pacific coast of Japan. Although their family was once aristocratic, they are now poor and are forced to sell their possessions to survive. After the death of Kazuko’s father, she and her mother were forced to move to Izu. Kazuko feels ashamed that such a gentle and beautiful person as her mother cannot continue to exist in a world where she must fight for survival. Soon after her mother’s death, she goes to Tokyo and finds Mr. Uehara. Though he is much changed and seems close to death, she finds that she still loves him. The two of them share a bed, talking nihilistically about the emptiness of life. On the following morning, Naoji commits suicide.



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