Tanizaki Jun'ichirō

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Tanizaki Jun'ichirō, 1913
The birthplace of Tanizaki Jun'ichirō

Tanizaki Jun'ichirō ( Japanese 谷 崎 潤 一郎 ; * July 24, 1886 in Nihonbashi , Tokyo city (today: Chūō , Tokyo ); † July 30, 1965 ) was a Japanese writer.

Life

His parents both came from old merchant families. Although the father managed the fortunes built up by his grandfather and the family was therefore often plagued by financial difficulties, Tanizaki had a carefree childhood. Tanizaki, meanwhile, already attracted attention at school with her brilliant stylistic achievements. He took private tuition in English and Classical Chinese and passed the entrance exam to the Imperial University of Tokyo in 1908 . In addition to studying English and Japanese literature, Tanizaki also began to write during this time. In 1910 he founded the magazine Shinshishō ( 新 思潮 , New Current) with fellow students , in which he also published his first story Shisei (tattoo). Without a degree, he decided to pursue a career as a writer and immediately had great success with his first stories.

In 1915 he married Chiyo Ishikawa, but he soon got tired of this marriage and lived with his sister-in-law for a while. This coexistence later formed the subject of his novel Naomi or an insatiable love . Tanizaki traveled to China twice in 1918 and 1926. After the earthquake disaster in 1923 , he settled in western Japan with his wife and daughter. Constant changes of residence and the tense financial situation led to the divorce in 1930. The following year Tanizaki married the publishing editor Tomiko Furukawa; but this marriage, too, was divorced two years later. His first wife and her three sisters also formed the template for his later masterpiece The Makioka Sisters (1944–1948).

Tanizaki was an extremely productive writer throughout his life: he published 119 works, and in 1921 the first complete edition of his works appeared in five volumes. He was in talks for the Nobel Prize for Literature and received a number of literary awards. He was a member of the Imperial and Japanese Academy of Arts and holder of the cultural order . His great novels, which create the contrast between tradition and modernity in ever new problems, have been translated into many languages.

End of July 1965 died Tanizaki from acute heart and kidney failure at his home in Yugawara in the Kanagawa Prefecture . The Tanizaki Jun'ichirō Prize , endowed with 1 million yen, has been awarded in his honor since 1965 .

Prizes and awards

Classification in literary history

Tanizaki's work spans the Meiji , Taishō, and Shōwa epochs. After Japan had received an almost confusing number of literary movements from Europe at a tremendous speed at the beginning of modernity, the literary world began to consolidate itself in Japanese naturalism at the time of the Russo-Japanese War in 1905 . The medium par excellence of naturalism was the autobiographically colored Shishōsetsu ( 私 小説 , first- person novel). In the search for the true essence of man, naturalism, like its European predecessor, elevated the faithful representation of reality to the primacy of representation. In Japan, the dictate of mimesis led to a form of representation of reality that was tantamount to an autobiographical self- exposure of the author.

Not least because Japanese literature has developed in wave-like phases since the Meiji period out of enthusiasm for the foreign West and a return to one's own traditions and roots, but also out of the burgeoning social problems of the time, it also existed at the same time as naturalism a countermovement made up of various currents. This also includes the aestheticism to which Tanizaki's work can be assigned. Tanizaki, who as a child often attended the kabuki theater and was excellently trained in Japanese, classical Chinese and European literature, favored the enjoyment of the creative act and the invented story, contrary to naturalism. Tanizaki not only read the popular and fantastic short stories by Ueda Akinaris , Takizawa Bakins and Kōda Rohan with fascination , he also deals with Plato , Schopenhauer , Shakespeare and Carlyle . The influence of the Western symbolists Poe , Baudelaire and Wilde can also be clearly seen in his stories . While the 20s of his work were still shaped by a fascination for the West, the 30s were shaped by the search for the genuinely Japanese tradition. Tanizaki too, like almost all of his writing contemporaries, got entangled in the propaganda of militarism in the 1940s.

His first story, Tattoo, is about Seikichi, who tattoos a spider on the back of a young woman. Already in this story Tanizaki unfolds a theme that is leitmotiv for his work: the subtle power play of ruling and being ruled, the mutual entanglement of desire up to bondage. Tanizaki masterfully exploits the versatility and homophony of the Japanese language to condense allusions and generate complex associations. This linguistic sophistication makes it a demanding task for every translator. The combination of idealized beauty and physical cruelty have entered Tanizaki also the attribute of the diabolical .

Works

year Japanese title German title
1910 刺青
Shisei 		tattoo
1918 金 と 銀
Kin to Gin 		gold and silver
1924 痴人 の 愛
Chijin no Ai 		Naomi, or an insatiable love
1927 饒舌 録
Jōzetsu roku 		Chronicle of Talkativeness (essay)
1928-
1930 		卍
Manji
1929 蓼 喰 ふ 蟲
Tade kuu mushi 		Island of the Dolls
1930 懶惰 の 説
Randa no setsu 		Reflections on Indolence (essay)
1931 恋愛 及 び 色情
Ren'ai oyobi shikijō 		Love and sensuality (essay)
1931 吉野 葛
Yoshino kuzu
1932 蘆 刈 り
Ashikari
1932 倚 松 庵 随筆
Ishōan zuihitsu 		Notes from the Ishōan House (collection of essays)
1932 青春 物語
Seishun monogatari 		Report from my youth (essay)
1932 私 の 見 た 大阪 及 び 大阪 人
Watashi no mita Ōsaka oyobi Ōsakajin 		Osaka and the people of Osaka as I saw them (essay)
1933 春 琴 抄
Shunkinshō 		Shunkinshō - biography of the spring harp
1933 芸 談
Geidan 		Praise to Mastery (essay)
1933 陰 翳 礼 讃
In'ei Raisan 		Praise to the shadow . Design of a Japanese Aesthetic (Essay)
1934 文章 読 本
Bunshō tokuhon 		Style Reader (Essay)
1934 東京 を お も う
Tōkyō o omou 		Reflecting on Tōkyō (essay)
1935 摂 陽 随筆
Setsuyō zuihitsu 		Notes from Setsuyō (Setsuyō = Ōsaka; collection of essays)
1935 武 州 公 秘 話
Bushūkō Hiwa 		The secret story of the Prince of Musashi
1936 猫 と 庄 造 と 二人 の お ん な
Neko to Shōzō to Futari no Onna 		A cat, a man and two women
1943-
1948 		細 雪
Sasameyuki 		The Makioka sisters
1949 少将 滋 幹 の 母
Shōshō Shigemoto no haha
1956 鍵
Kagi 		The key
1957 幼 少 時代
Yōshō Jidai
1961 瘋癲 老人 日記
Fūten Rōjin Nikki 		Diary of an old fool
The following important information is missing from this article or section:
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Translations

Novels
  • Gold and silver. Translated by Uwe Hohmann and Christian Uhl, Leipzig 2003.
  • Naomi, or an insatiable love. Translated by Oscar Benl , Reinbek near Hamburg 1970.
  • Island of the Dolls from the American by Curt Meyer-Clason, Esslingen 1957.
  • The secret story of the Prince of Musashi. Translated by Josef Bohaczek, Frankfurt / Main, Leipzig 1994.
  • A cat, a man and two women. Translated by Josef Bohaczek, Reinbek bei Hamburg 1996.
  • The Makioka sisters. Translated by Sachiko Yatsushiro, collaboration: Ulla Hengst, Reinbek near Hamburg 1964.
  • The key . Translated by Sachiko Yatsushiro and Gerhard Knauss , Rowohlt, Reinbek near Hamburg 1961. New translation by Katja Cassing and Jürgen Stalph, cass Verlag, Löhne 2017, ISBN 978-3-944751-13-9 .
  • Diary of an old fool. Translated by Oscar Benl, Reinbek near Hamburg 1966
stories
  • A little kingdom . Translated by Jürgen Berndt. In: Dreams of Ten Nights. Japanese narratives of the 20th century. Eduard Klopfenstein, Theseus Verlag, Munich 1992. ISBN 3-85936-057-4
  • Shunkinshō - biography of the spring harp. Translated by Walter Donat, in: Walter Donat (Ed.), The five-storey pagoda. Japanese storytellers of the 20th century, Düsseldorf, Cologne 1960.
  • Tattoo. Translated by Heinz Brasch, in: Margarete Donath (Hrsg.), Japan told, Frankfurt / Main 1969. (also as The Sacrifice in the book Mond auf dem Wasser . Berlin 1978)
  • The thief , in: Dragons and dead faces , ed. v. J. van de Wetering. Rowohlt 1993. ISBN 3-499-43036-3 (also as I in the volume Japanese crime stories . Stuttgart 1985)
Essays

Filmography

  • 1920 Amachua kurabu (Amateur Club), screenplay: Tanizaki Jun'ichirō, director: Kurihara Kisaburō
  • 1920 Katsushika Sunago based on the story by Kyōka Izumi , screenplay: Tanizaki Jun'ichirō, director: Kurihara Kisaburō
  • 1921 Hinamatsuri no yoru (The evening at the Hina Matsuri festival), screenplay: Tanizaki Jun'ichirō, director: Kurihara Kisaburō
  • 1921 Jasei no in (The love of a snake), screenplay: Tanizaki Jun'ichirō, director: Kurihara Kisaburō

Quotes

  • "The young tattoo artist's soul had dissolved into the ink; now it seeped into the girl's skin." (from the story: The tattoo; in Das große Japan-Lesebuch , Munich 1990, p. 19)
  • "If I can only be beautiful, I will endure whatever, whatever, she replied, forcing herself to smile regardless of the pain in her body." (from the story: The tattoo; in: Das große Japan-Lesebuch , Munich 1990, p. 21)

See also

Web links

Commons : Tanizaki Junichiro  - collection of images, videos and audio files
Wikiquote: Tanizaki Jun'ichirō  - Quotes

Individual evidence

  1. ↑ Irmela Hijiya-Kirschnereit: The Japanese Literature of Modernism, Munich edition text + kritik, 2000, p. 59
  2. ↑ Not to be confused with the narrative perspective of the first-person narration .
  3. ↑ Not to be confused with the aesthetics of Europe as a sub-discipline of philosophy.
  4. ↑ IMDB
  5. ↑ IMDB
  6. ↑ IMDB
  7. ↑ IMDB
Japanese name: As is common in Japan, the family name comes before the first name in this article . Thus Tanizaki is the family name, Jun'ichirō the first name.
personal data
SURNAME Tanizaki, Jun'ichirō
ALTERNATIVE NAMES 谷 崎 潤 一郎 (Japanese); Tanizaki, Junichirō
BRIEF DESCRIPTION Japanese writer
DATE OF BIRTH July 24, 1886
PLACE OF BIRTH Nihombashi-ku (Tokyo) , City of Tokyo , today: Chūō , Tokyo
DATE OF DEATH July 30, 1965