Since its publication in Japan ten years ago, the Origins of Modern Japanese Literature has become a landmark book, playing a pivotal role in defining discussions of modernity in that country. Against a history of relative inattention on the part of Western translators to modern Asian critical theory, this first English publication is sure to have a profound effect on current c...
Since its publication in Japan ten years ago, the Origins of Modern Japanese Literature has become a landmark book, playing a pivotal role in defining discussions of modernity in that country. Against a history of relative inattention on the part of Western translators to modern Asian critical theory, this first English publication is sure to have a profound effect on current cultural criticism in the West. It is both the boldest critique of modern Japanese literary history to appear in the post-war era and a major theoretical intervention, which calls into question the idea of modernity that informs Western consciousness.
In a sweeping reinterpretation of nineteenth-and twentieth-century Japanese literature, Karatani Kojin forces a reconsideration of the very assumptions underlying our concepts of modernity. In his analysis, such familiar terms as origin, modern, literature, and the state reveal themselves to be ideological constructs. Karatani weaves many separate strands into an argument that exposes what has been hidden in both Japanese and Western accounts of the development of modern culture. Among these strands are: the "discovery" of landscape in painting and literature and its relation to the inwardness of individual consciousness; the similar "discovery" in Japanese drama of the naked face as another kind of landscape produced by interiority; the challenge to the dominance of Chinese characters in writing; the emergence of confessional literature as an outgrowth of the repression of sexuality and the body; the conversion of the samurai class to Christianity; the mythologizing of tuberculosis, cancer, and illness in general as a producer of meaning; and the "discovery" of "the child" as an independent category of human being.
A work that will be important beyond the confines of literary studies, Karatani's analysis challenges basic Western presumptions of theoretical centrality and originality and disturbs the binary opposition of the "West" to its so-called "other." Origins of Modern Japanese Literature should be read by all those with an interest in the development of cultural concepts and in the interrelating factors that have determined modernity.
Origins of Modern Japanese Literature的创作者
· · · · · ·
Karatani Kojin is Professor of Humanities at Hosei University in Tokyo, Japan. Brett de Bary is Professor of Japanese Literature at Cornell University.
目录
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Foreword: In the Mirror of Alternate Modernities / Fredric Jameson
Introduction
1. The Discovery of Landscape (translated by Brett de Bary)
2. The Discovery of Interiority (translated by Brett de Bary)
3. Confession as a System (translated by Brett de Bary)
4. Sickness as Meaning (translated by Yukari Kawahara and Robert Steen)
· · · · · ·
(更多)
Foreword: In the Mirror of Alternate Modernities / Fredric Jameson
Introduction
1. The Discovery of Landscape (translated by Brett de Bary)
2. The Discovery of Interiority (translated by Brett de Bary)
3. Confession as a System (translated by Brett de Bary)
4. Sickness as Meaning (translated by Yukari Kawahara and Robert Steen)
5. The Discovery of the Child (translated by Ayako Kano and Eiko Elliott)
6. On the Power to Construction (translated by Ayako Kano and Joseph Murphy)
Materials Added to the English Edition (translated by Brett de Bary)
7. The Extinction of Genres (1991)
Karatani Kōjin's Afterword to the Japanese Paperback Edition of Origins of Modern Japanese Literature (1988)
Karatani Kōjin's Afterword to the English Edition (1991)
Notes
Glossary
Index
· · · · · · (收起)
![[日本] 柄谷行人](https://img9.doubanio.com/img/author/medium/public/1502928789.34.jpg)
柄谷行人 作者
神秘作用子结构
生活·读书·新知三联书店2019版
花見在日本
中央编译出版社2013版
RM Ngwini
生活·读书·新知三联书店2003版
4 有用 豆友103300724 2016-03-02 03:52:10
并非是一本日本文学史，在这本书中，柄谷行人试图探究日本现代文学的源头，换句话说，他试图重新审视批判我们现在习以为常的一些话语，这些因复杂的现代性而形成的常识，即是“源头”，也是问题所在。对于现代性的批判如今读来已不稀奇，但柄谷行人能够从西方哲学出发，将批判理论与日本本身的文学和历史结合（并非硬套理论），站在文学的立场上，从历史和哲学的角度出发反思日本的现代性这点上，十分出色。这就是一个头脑清楚把书... 并非是一本日本文学史，在这本书中，柄谷行人试图探究日本现代文学的源头，换句话说，他试图重新审视批判我们现在习以为常的一些话语，这些因复杂的现代性而形成的常识，即是“源头”，也是问题所在。对于现代性的批判如今读来已不稀奇，但柄谷行人能够从西方哲学出发，将批判理论与日本本身的文学和历史结合（并非硬套理论），站在文学的立场上，从历史和哲学的角度出发反思日本的现代性这点上，十分出色。这就是一个头脑清楚把书读通的学者写出来的书啊！另外，也让我对疾病、现代医学批判这方面引起了兴趣。 (展开)
2 有用 胡桃夹子 2020-04-06 06:21:38
精华在1、2和6章，分别是本书两个主要面向：内面性批判和历史性溯源。“転倒”实在是非常迷人的概念，柄谷行人对结构主义语言学的批判化用提供了一个不同于德里达的视角：如果语音中心主义是西方形而上学的传统，而东亚书面文化和诗学语境下的能指/所指关系本身暗含了一个inversion（“転倒”既可以是normative也可以是performative），那么把德里达对自由能指的论述颠倒过来，我们能否得到被其... 精华在1、2和6章，分别是本书两个主要面向：内面性批判和历史性溯源。“転倒”实在是非常迷人的概念，柄谷行人对结构主义语言学的批判化用提供了一个不同于德里达的视角：如果语音中心主义是西方形而上学的传统，而东亚书面文化和诗学语境下的能指/所指关系本身暗含了一个inversion（“転倒”既可以是normative也可以是performative），那么把德里达对自由能指的论述颠倒过来，我们能否得到被其批判的形而上学之外的东西？第六章前半对synchrony和diachrony的讨论和鸥外-逍遥二者辩证也有启发。 (展开)
1 有用 Moly！ 2020-07-04 11:42:01
英文版后记有意思
0 有用 喜鹊叫喳喳 2008-05-11 06:52:02
Seminal text.
0 有用 飒鹿紫 2022-02-28 21:10:23
对读