Yone Noguchi (1875–1947)
Autor de Noguchi's Imaginary Landscapes: An Exhibition Organized By Walker Art Center
Sobre El Autor
Yone Noguchi served as Professor of English at Keio University in Tokyo
Obras de Yone Noguchi
Japanese hokkus 4 copias
The Ukiyoye primitives 3 copias
The story of Yoné Noguchi 3 copias
Harunobu 2 copias
Korin 2 copias
Obras relacionadas
Etiquetado
Conocimiento común
- Nombre canónico
- Noguchi, Yone
- Nombre legal
- 野口 米次郎
- Otros nombres
- Noguchi, Yonejirō
- Fecha de nacimiento
- 1875-12-08
- Fecha de fallecimiento
- 1947-07-13
- Género
- male
- Nacionalidad
- Japan
- Lugar de nacimiento
- Tsushima, Japan
- Lugares de residencia
- Nakano, Tokyo, Japan
- Ocupaciones
- poet
fiction writer
essay writer
literary critic - Relaciones
- Noguchi, Isamu (son)
Miembros
Reseñas
También Puede Gustarte
Autores relacionados
Estadísticas
- Obras
- 33
- También por
- 1
- Miembros
- 131
- Popularidad
- #154,467
- Valoración
- 3.6
- Reseñas
- 2
- ISBNs
- 32
- Idiomas
- 3
Mint Editions' "A Note About the Author" following the last page of the book, tells us that Yoné Noguchi (1875-1947) was born in Tsushima, and attended Keio University in Tokyo, where he studied Thomas Carlyle and Herbert Spencer, practiced zen and wrote haiku (i.e., hokku). Noguchi moved to San Francisco in 1983 and worked at a newspaper which served other Japanese exiles, and published his own poetry in two collections. He then moved to New York and, with the editorial assistance of journalist Leonie Gilmour, published his first novel 'The American Diary of a Japanese Girl' in 1901. He left New York for England and published a third book of poetry and became acquainted with writers William Butler Yeats and Thomas Hardy. Returning to New York in 1903, he married Gilmour. In 1904, with breakout of the Russo-Japanese War, Noguchi returned to Japan and served as a literary critic for the Japan Times. He ended his marriage with Gilmour with whom he had a son, Isamu Noguchi (1904-1988) the renowned sculptor. During the decades leading up to Japan's war with the West, Noguchi became a nationalist supporter of Imperial Japan. In 1945, his Tokyo home was destroyed in the firebombing of that city. Noguchi died in July 1947.
Chapter I, 'The Spirit of Japanese Poetry', may best be summed up in the expression 'less is more'. Noguchi exhibits in this chapter poets Basho and Buson, masters of the 17-syllable haiku poem. "When our Japanese poetry is best, it is, [Noguchi says], a searchlight or flash of thought or passion cast on a moment of life and nature, which by virtue of its intensity, leads us to the conception of the whole; it is swift, discontinuous, an isolated piece." [p. 16] This is contrary to the wordiness of English and American poets although Noguchi does hold in high regard the French symbolist poet Stephane Mallarme. Noguchi, in his opening chapter, also touches on other forms of Japanese imagination: the painting of Hokushi (Hokusai) ; the tea-masters "who were the true poets [ . . . ] of the true action" [p. 22] ; the true conception of Taoism or even by way of "Zennism" [p. 21]
Chapter II discusses in greater detail the Haiku and draws comparisons between Basho and Walt Whitman, as well as Tennyson, Wordsworth, Robert Browning, and especially William Blake. Chapter III explores the Noh drama, or "play of silence" in the Noh house (similar to the tea house) "where the the actors go straight into the hear of prayer in crating the most intense atmosphere of grayness, the most suggestive colour in all Japanese art, which is the twilight soared out of time and place [ . . . . ] [p. 38] Chapter IV delves into the 13th century street preacher, Nichiren (1222-1282) whose fervent tongue made me think of John the Baptist, and the 'Kojiki' or 'Records of Ancient Matters', the earliest compilation of Japanese literature, "when [Noguchi says] our Japanese mind was the Japanese mind pure and true, not the Japanese mind of latter age, sometimes doubtless, refined and polished, but always wounded and tormented by the despotic counsel of Chinese literature and Buddhism [ . . . ] [p. 49] Chapter V surveys the (then) contemporary poets of Japan who were coming under the influence of Verlaine, Hugo, Schiller, Keats, Shelley, and others in the Western canon of modernity.
Chapter VI, 'Some Uta Specimens from the Hyakunin Ishiu Anthology [ . . . ]' is too short for this reader. It led me to the University of Virginia website devoted to the Ogura Hyakunin Isshu, or 100 poems by 100 poets.
In turn, I opened my copy of Kenneth Rexroth's 'One Hundred Poems From The Japanese (New Directions, 1964) and found therein at least half of what is at the UVA website.
If Kenneth Rexroth is considered the father of the 'beat' generation of poets in San Francisco, then Yoné Noguchi must be its grandfather.… (más)