Junichiro Tanizaki was born in a businessman's family in Tokyo, and entered the China Literature Department of Imperial University in Tokyo from 65438 to 0908. He contacted the idealism and pessimism philosophy of Greece, India and Germany, and formed a nihilistic outlook on life. In the third grade, he dropped out of school because of arrears in tuition fees, and thus began his creative career, which was influenced by Baudelaire, Poe and Wilde in literature. After dropping out of school, he initiated and founded New Trend of Thought magazine with playwright Osanai Kaoru and poet Shimazaki Tōson, and published short stories of aestheticism. According to the information released by official website, Junichiro Tanizaki nominated Nobel Prize in Literature seven times in the past, at 1958 and 1960- 1965 respectively.
Idiot's Love —— Junichiro Tanizaki's Novels
Introduction: It tells the story between Kawamujun and Naomi, a young girl. There are middle-aged and elderly people in Chuanmu County. At first, Chuanmu County still had some temptations to Naomi, a pure girl, but after a long time, because Naomi kept in touch with young people, she gradually lost interest in Chuanmu County and cheated. Finally, she was discovered once by Chuanmu County, which drove Naomi away.
Brief introduction of the author
Junichiro Tanizaki (1886- 1965) is a master of Japanese aestheticism. The early works are called "demonists" because they seek to appreciate the pain from sadism and abuse and show the beauty of women in the cruelty of the body. The middle and late works return to Japanese classical and oriental traditions, and describe the sexual psychology and sexual life of middle-class men and women in a subtle and secret way under the background of alienation from many social relations. Junichiro Tanizaki's novel world is full of absurdity and strangeness, seeking beauty in ugliness, affirming goodness in praise of evil and thinking about the meaning of existence in death. His prose world is full of rich Japanese style, gloomy mystery, functional pleasure and national customs.
Early stage: tattoos (debut 19 10), unicorns, demons, heretical sorrows, and infatuated love (1924) in black and white.
Mid-term: Yan (1928), Gelu, Blind Tan (193 1), Chao (1933), Wu Mihua (65433).
The fine snow at the end of the term 1948, the mother of the general's son 1949, the key 1956, the diary of the crazy old man 1962.
what can I say? Tanizaki is a genius! His growth cycle from immaturity to maturity is very short, and the first cry is amazing, and there is almost no so-called staggering growth stage. Only by comparing with himself can he find the continuous transformation of his skills. When he made his debut, Junichiro Tanizaki's works had his unique personal color, indulging in the beauty of different colors of the senses and pursuing the evil taste of the devil. After reading most of Junichiro Tanizaki's novels, we can find Junichiro Tanizaki's early weakness: he has no ability to conceive novels. At this time, Junichiro Tanizaki may not be rich in life experience, or he may not be full of wings, and he still has no ability to explore realistic themes. The first two short stories "Tattoo" and "Kirin" are full of strong historical flavor. Tattoos are stories from the Edo period, and there is a picture of da ji in it. As for Kirin, it is set in the Spring and Autumn Period and the Warring States Period, and Nanzi is the hostess. To put it simply, this is Junichiro Tanizaki's fan work, which looks a little immature, but full of personal interest, not paying much attention to skills, and blindly indulging in the sadness of classical scrolls. How can I put it? Inspired by My Personal Enjoyment, Junichiro Tanizaki embarked on the road of writing from his own interest and favorite classical culture, The Ancient History of China.
Different from most writers, Junichiro Tanizaki had a clear purpose from the beginning, completely indulged in what he liked, and his novels completely obeyed his own desires. His novels have no hesitation in direction from the beginning, and he is a person who completely listens to his own heart. Perhaps for this reason, his concentration is particularly strong and he has made great progress in a very short time. (For comparison, it's Yukio Mishima. After Yukio Mishima wrote many short stories, his heart stabilized and he entered Mishima's perfect inner world. Junichiro Tanizaki's works exude dazzling brilliance from the beginning, which can only be attributed to his concentration and cohesion. This truth was first taught to me by Zweig. Yes, I am talking about the text. ) Tanizaki is a master of Chinese and Western cultures. In his early short stories, he showed the historical knowledge of most China people in an all-round way-you will have a deeper understanding of this after reading his prose, and you will find that you may never have heard of many literati and classics he is familiar with.
As a genius master, Junichiro Tanizaki is destined not to be confined to the small circle created by his colleagues. As a sensitive, insightful and expressive novelist, his creation is restricted by his peers because of too many restrictions from his peers and too many barriers from reality. Before long, Junichiro Tanizaki began his breakthrough journey. Well, under the impact of the Meiji Restoration, Junichiro Tanizaki lived in an era when a country developed rapidly and foreign ideas flooded into Japan. Although the beauty of classicism is a funny thing that fits his soul, the whole society is locked in the frenzy of western worship, and Junichiro Tanizaki is inevitably infected. After stepping out of the fan circle, the writer's first step is usually to describe himself. First-person novels and autobiographical novels are common routines, and Junichiro Tanizaki can't avoid them. Since you write "yourself", you usually use "household words". Observing Junichiro Tanizaki's novels in this period, we can see that he was greatly influenced by the West. The most direct thing is that the names of foreigners appear in the works, such as Baudelaire, and there are frequent scenes similar to modern university life, such as community life, fashionable learning a painting, or biological genius that young people think they are thinking. Junichiro Tanizaki's novels even have a western flavor in narrative techniques once he dabbles in realistic themes.
Then he wrote two books with the strongest sense of substitution in his life: Love for Idiots and Black and White. I doubt that there will be much time difference between the two books, and the idiot is in the front. Because there are too many similarities between the two books. Both men and women are infatuated with western-style women, and their infatuation with the civilized west is of course accompanied by inferiority. The biggest similarity is the novel style. It can be said that these two novels are the least classic and the most autobiographical novels of Junichiro Tanizaki. "Idiot's Love" is a story about the development of LOLI girls. The details are quite exquisite, so the sense of substitution is terrible, and Junichiro Tanizaki-style paranoia of the protagonist has begun to appear. As for black and white, the protagonist is a writer who suffers a loss in creation, and this identity arrangement is even easier to replace than infatuation. The hapless writer was deceived by the inferior brothel woman, wishful thinking, no money, no books, no desire to vent. Junichiro Tanizaki laughed at himself in black and white, and obviously crossed this hurdle-the mid-term works suddenly became absurd. After Junichiro Tanizaki got rid of his self-pity for youth, he immediately wrote Chen in a third-person female tone, which is one of the most tangled works in his life. This work is still of interest to the west.
From Junichiro Tanizaki's handling of his novel style, we can see that he handled it neatly and never exaggerated without reason. Although he is knowledgeable, he never loses his schoolbag or quotes famous words to show off his skills. Therefore, his works range from classical to modern, but their styles are by no means mixed. Since the mid-term, Junichiro Tanizaki's novels rarely cite classics to express classical beauty, and the embodiment of modern beauty does not directly list western celebrities. For example, he writes about the beauty of characters, and his lines are classical and round, which conforms to the rationality of modern sculpture. He writes about women's graceful limbs, revealing a slightly alienated observer's posture, and with classical calmness, describing the beauty of those limbs arouses men's excitement, which is a modern analysis of Freud's style. In a word, classicism and modernity, breeze and westerly wind, in his works, do not conflict at all, but blend together without trace, and the colors are amazing. Yan and Key, written in 1928 and 1956 respectively, are strikingly similar in style. They both start with women's confessions and are two treasures in Junichiro Tanizaki's works. When I first read the two books together, I thought they were written at the same time, because they were so similar that they were all in love with each other and the plot was endless. The chaotic relationship between men and women and the mutual control of torture are too strong, which can be said to be the two most tangled books of Junichiro Tanizaki.