Sažetak | Speaking about Japanese modern literature, Tanizaki Jun'ichirō's name is one of the first names that undoubtedly has to be mentioned. One of the most popular Japanese prose writers in the West, Tanizaki Jun'ichirō is well-known for masterfully portraying psychological situations in his novels and plays. A brilliant virtuoso of stylization and aestheticism, he is one of the most important figures in the history of Japanese literature. His significance in Japanese modern literature could be compared to the significance of the author Kim Dong-in in Korean modern literature. Kim Dong-in's opus is one of the most interesting phenomena in Korean literature of the first half of the 20th century. He is famous for innovating Korean fiction's language and for playing an important role in the development of Korean modern literature. Both writers were active on the literary scene of East-Asia in the first half of the 20th century, though Tanizaki started writing earlier since he was born 14 years earlier than Kim Dong-in. Though not major works of either author, both Tanizaki Jun’ichirō and Kim Dong-in at one point in their literary careers had written short stories in which the plot centers around a main character who is an artistic persona driven by a bordering-on-madness desire to create a masterpiece: Tanizaki Jun’ichirō’s The Tattooer (Shisei) in 1910, and Kim Dong-in’s Tale of a Mad Painter (Kwanghwasa) in 1935. After reading these two short stories anyone would notice some similarities in their plot, motifs, and structure. While Tanizaki Jun’ichirō’s The Tattooer and Kim Dong-in’s Tale of a Mad Painter are individual artistic works with their own uniqueness, it seems like there is a connection between them. This assumption is also briefly mentioned in the works Empire of texts in motion: Chinese, Korean, and Taiwanese transculturations of Japanese literature (2009) by K.L. Thornber and Kim Tongin Yeongu (1985) by C. Kim. However, since this assumption is not elaborated in detail, the purpose of this research is to try to reveal the connection between the short stories by comparison of the common literary influences on both authors through analysis of the stories’ structures, motifs, and plot development. The hypothesis of the author of this thesis was that these two stories have a connection, they were written under the influence of the same literary works, and The Tattooer by Tanizaki Jun'ichirō had an influence on Kim Dong-in's Tale of a Mad Painter. A comparison of common literary influences on both authors was made through an analysis of the literature dealing with the oeuvres of the authors. For the analysis of Tanizaki Jun'ichiro's oeuvre the following works were used: Remembering Tanizaki Jun’ichiro and Matsuko: Diary Entries, Interview Notes, and Letters, 1954-1989. (2017) by A.H. Chambers, Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019) by M.H. Gil, Tanizaki Jun’ichirō no seikimatsu (2002) by K. Inoue, The alien within: representations of the exotic in twentieth-century Japanese literature (2009) by L. Morton, and Modern Japanese writers and the nature of literature (1976) by M. Ueda. For the analysis of Kim Dong-in's oeuvre the following works were used: Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019) by M.H. Gil, commentary in the Japanese translation of Kim Dong-in’s anthology (2011) by S. Hatano, Naturalistic sensibility and modern Korean literature: Kim Tongin (2008) by H. Kim, Poetika rasskazov Kim Dong Ina (2012) by I.L. Park, and Twentieth-Century Korean Literature (2005) by N. Yi, C. U, K. Yi and M. Kim. A comparison of the two short stories was made through the analysis of structural units with similar motifs and plot development. Results of the comparison of common literary influences showed that, as assumed in the hypothesis, the two short stories were written under the same literary influences. Tanizaki Jun’ichirō and Kim Dong-in, both among the most prominent representatives of their national literatures, were greatly inspired by Western fiction and non-fiction literature in the early stage of their literary careers, therefore they borrowed some motifs for their works. The theme of the relationship between art and violence and the motif of the artist obsessed with the desire to create an artistic masterpiece in The Tattooer and Tale of a Mad Painter are most likely inspired by Oscar Wilde's novel The Picture of Dorian Gray and Edgar Allan Poe's short story The Oval Portrait. The motifs of sexual perversions in these short stories mirror the deep impression left on the both authors by the scientific work of Richard Freiherr von Krafft-Ebing titled Psychopathia Sexualis. Results of the comparative analysis of structural units with similar motifs and plot development also showed that not only were the writers inspired by the same works, but the story Tale of a Mad Painter itself intertextually reworked Tanizaki’s The Tattooer, whether Kim Dong-in did it intentionally or unconsciously. Both The Tattooer and Tale of a Mad Painter can be divided into smaller structural units that have similar motifs and plot development: 1) setting the historical period where the main character lives, 2) introducing the main character and his passion for art, 3) birth of the artistic desire, 4) looking for the victim, 5) encountering the victim, 6) realization of the main character’s artistic desire. Each of these parts has a similar development of the story – characters commit similar acts and their artistic desire develops into obsession in the same way. Nevertheless, Kim Dong-in adjusted motifs of Edo and its culture to Korean realities, setting his story in Seoul during the period of King Sejong the Great's reign. He also changed the main character's physical appearance and personality, leaving only the crucial common characteristic – obsession hidden in the artist's mind. The length of Tale of a Mad Painter is greater than The Tattooer's length due to more detailed insights into the protagonist's thoughts and more detailed descriptions of every scene. Kim Dong-in also made the narration in his story more complex by introducing the “story within a story” literary device instead of plain third-person narration. Tale of a Mad Painter has a darker and more violent ending than the ending of The Tattooer, probably reflecting tragic events in Korea and in Kim Dong-in’s life. Of course, despite the fact that Kim Dong-in's Tale of a Mad Painter is reminiscent of Tanizaki Jun'ichirō's The Tattooer, it was created as a self-contained unique literary work and therefore should be appreciated as one. |
Sažetak (hrvatski) | Govoreći o japanskoj modernoj književnosti, ime Tanizakija Jun'ichira jedno je od prvih imena koje se nesumnjivo mora spomenuti. Jedan od najpopularnijih japanskih pisaca proze na Zapadu, Tanizaki Jun'ichirō poznat je po majstorskom portretiranju psiholoških situacija u svojim romanima i dramama. Sjajan virtuoz stilizacije i estetizma, on je jedna od najvažnijih ličnosti u povijesti japanske književnosti. Njegov značaj u japanskoj modernoj književnosti mogao bi se usporediti sa značajem autora Kima Dong-ina u korejskoj modernoj književnosti. Opus Kima Dong-ina jedan je od najzanimljivijih fenomena u korejskoj književnosti prve polovice 20. stoljeća. Poznat po inovacijama korejskog književnog jezika, igrao je važnu ulogu u razvoju korejske moderne književnosti. Oba su pisca bila aktivna na književnoj sceni istočne Azije u prvoj polovici 20. stoljeća, ali kako je Tanizaki rođen 14 godina ranije od Kima Dong-in-a, počeo je i ranije pisati. Iako to nisu najpoznatija djela spomenutih autora, vrijedno je spomenuti da su i Tanizaki Jun'ichirō i Kim Dong-in u jednom trenutku svoje književne karijere napisali novele čiji je siže izgrađen oko glavnog lika koji je umjetnik opsjednut suludom željom naslikati svoje remek-djelo: Tanizaki Jun'ichirō je 1910. napisao novelu Tetoviranje (Shisei), a Kim Dong-in napisao je novelu Lud slikar (Kwanghwasa) 1935. godine. U navedenim novelama mogu se pronaći mnoge sličnosti poput izbora sižea, motiva i strukture. Iako su Tetoviranje Tanizakija Jun'ichira i Lud slikar Kima Dong-ina zasebna umjetnička djela sa svojom jedinstvenošću, između njih postoji neka povezanost, što se također nakratko spominje u radovima Empire of texts in motion: Chinese, Korean, and Taiwanese transculturations of Japanese literature (2009.) K.L. Thornber i Kim Tongin Yeongu (1985.) C. Kim, ali budući da ta pretpostavka nije detaljno razrađena, cilj ovog istraživanja bio je pokušati otkriti tu povezanost putem analize zajedničkih utjecaja na oba autora te putem usporedbe strukture i motiva. Pretpostavka autorice ovog rada bila je da su Tanizaki Jun'ichirō i Kim Dong-in bili nadahnuti istim knjiž evnim djelima pišući svoje novele, osim toga je Kim Dong-in između ostalog, bio nadahnut i Tanizakijevom novelom. Usporedba zajedničkih književnih utjecaja na oba autora napravila se putem analize stručne literature koja obrađuje opus navedenih autora: za analizu opusa Tanizakija Jun'ichira koristili su se radovi Remembering Tanizaki Jun’ichiro and Matsuko: Diary Entries, Interview Notes, and Letters, 1954-1989. (2017.) A.H. Chambersa, Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019.) M.H. Gil, Tanizaki Jun’ichirō no seikimatsu (2002.) K. Inouea, The alien within: representations of the exotic in twentieth-century Japanese literature (2009.) L. Mortona, te Modern Japanese writers and the nature of literature (1976.) M. Uede; za analizu opusa Kima Dong-ina koristili su se radovi Tanizaki Jun'ichirō to Kim Dong-in bungaku ni okeru bi no keisei toshite no mozō (2019.) M.H. Gil, pogovor u japanskom prijevodu zbirke novela Kima Dong-ina S. Hatano (2011.), Naturalistic sensibility and modern Korean literature: Kim Tongin (2008.) H. Kim, Poetika rasskazov Kim Dong Ina (2012.) I.L. Park, te Twentieth-Century Korean Literature (2005.) N. Yija, C. Ua, K. Yija i M. Kima. Putem analize strukturnih jedinica sa sličnima motivima i razvojem sižeja napravila se usporedba dviju novela. Rezultati usporedbe zajedničkih književnih utjecaja pokazali su da, kao što je i bilo predviđeno u pretpostavci, razlog sličnosti u novelama Tetoviranje i Lud slikar leži u tome da su Tanizaki Jun'ichirō i Kim Dong-in doista bili inspirirani istim književnim djelima kad su pisali svoje novele Tetoviranje i Lud slikar. Tema odnosa između umjetnosti i nasilja te motiv opsjednutog željom da stvori remek-djelo umjetnika u Tetoviranju i Ludom slikaru najvjerojatnije inspirirani su romanom Slika Doriana Greya Oscara Wildea i kratkom pričom Ovalni portret Edgara Allana Poea. Motivi seksualnog karaktera u tim novelama odraz su dubokog dojma koji je na autore ostavio znanstveni rad Richarda Freiherra von Kraffta-Ebinga Psychopathia sexualis. Rezultati usporedne analize strukturnih jedinica sa sličnim motivima i razvojem sižeja pokazali su kako ne samo da su književnici bili inspirirani istim djelima, već da je i sama novela Lud slikar intertekstualno preradila Tetoviranje, bilo da je Kim Dong-in napravio to namjerno ili nesvjesno. I Tetoviranje i Lud slikar mogu se podijeliti u manje strukturne jedinice koje imaju slične motive i razvoj sižeja: 1) smještanje glavnog lika u određeno povijesno razdoblje, 2) predstavljanje glavnog lika i njegove strasti prema umjetnosti, 3) rađanje umjetničke čežnje, 4) traženje žrtve, 5) susret sa žrtvom, 6) ostvarenje umjetničke čežnje glavnog lika. Svaka od tih jedinica ima sličan razvoj priče - likovi čine slična djela i njihova umjetnička čežnja na isti način prerasta u opsesiju. Međutim, Kim Dong-in je motive Eda i njegove kulture prilagodio korejskoj stvarnosti, premještajući svoju priču u Seul razdoblja vladavine kralja Sejonga Velikog. Također je promijenio vanjštinu i osobnost glavnog lika, ostavivši samo ključnu zajedničku osobinu - opsjednutost skrivenu u umovima umjetnika. Novela Lud slikar duža je od Tetoviranja zbog detaljnije razrađenih misli protagonista i detaljnijeg opisa svake scene. Kim Dong-in je također pripovijedanje u svojoj noveli učinio složenijim uvodeći književno narativno sredstvo "priča u priči" umjesto običnog pripovijedanja u trećem licu. Lud slikar ima mračniji i nasilniji završetak za razliku od Tetoviranja, vjerojatno odražavajući tragične događaje u Koreji tog razdoblja, a i u životu Kim Dong-ina. Naravno, unatoč činjenici da je novela Lud slikar Kima Dong-ina reminiscentna na Tetoviranje Tanizakija Jun'ichira, ona je nastala kao zasebno i jedinstveno književno djelo te zato mora biti cijenjena kao takvo. |