Bibliografie tematiche / Kobayashi Hideo

Letteratura scientifica selezionata sul tema "Kobayashi Hideo"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 1 febbraio 2023

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Articoli di riviste sul tema "Kobayashi Hideo"

1

Nakatani, Mori. "The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions". Multicultural Shakespeare: Translation, Appropriation and Performance 21, n. 36 (30 giugno 2020): 69–83. http://dx.doi.org/10.18778/2083-8530.21.05.

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Abstract (sommario):
Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.
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Nakatani, Mori. "The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions". Multicultural Shakespeare: Translation, Appropriation and Performance 21, n. 36 (30 giugno 2020): 69–83. http://dx.doi.org/10.18778/2083-8530.21.05.

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Abstract (sommario):
Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.
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3

김항. "Manshu and Chosenin the Criticism of Hideo Kobayashi". 사이間SAI ll, n. 19 (novembre 2015): 155–86. http://dx.doi.org/10.30760/inakos.2015..19.006.

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4

TSUZUKI, Tsutomu. "Thought of Kobayashi Hideo about the Japanese War". Annuals of Japanese Political Science Association 62, n. 1 (2011): 1_167–1_186. http://dx.doi.org/10.7218/nenpouseijigaku.62.1_167.

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오경환. "A Study on Mujoto iu koto by Hideo Kobayashi". Journal of the society of Japanese Language and Literature, Japanology ll, n. 76 (febbraio 2017): 319–42. http://dx.doi.org/10.21792/trijpn.2017..76.015.

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6

Oshima, Hitoshi. "Kobayashi Hideo, Apologist of the "Savage Mind"". Comparative Literature Studies 41, n. 4 (2004): 509–19. http://dx.doi.org/10.1353/cls.2005.0005.

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7

Cohn, J., e Paul Anderer. "Literature of the Lost Home: Kobayashi Hideo--Literary Criticism, 1924-1939". Monumenta Nipponica 51, n. 4 (1996): 473. http://dx.doi.org/10.2307/2385424.

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오경환. "The Passion to the Thingss - The Thought on Language of Kobayashi Hideo -". Journal of the society of Japanese Language and Literature, Japanology ll, n. 62 (agosto 2013): 257–76. http://dx.doi.org/10.21792/trijpn.2013..62.013.

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9

Starrs, Roy, e Ninomiya Masayuki. "La Pensee de Kobayashi Hideo: Un Intellectuel Japonais au Tournant de l'Histoire." Monumenta Nipponica 50, n. 4 (1995): 553. http://dx.doi.org/10.2307/2385595.

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Ninomiya, Masayuki. "Le « sacré » complexe face à la littérature française : le cas de Kobayashi Hideo et de Mori Arimasa". Cahiers de l'Association internationale des études francaises 53, n. 1 (2001): 23–36. http://dx.doi.org/10.3406/caief.2001.1406.

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Tesi sul tema "Kobayashi Hideo"

1

Ninomiya, Hiroyuki. "La pensée de Kobayashi Hideo 1942-1948". Paris, INALCO, 1988. http://www.theses.fr/1988INAL0005.

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L'originalité de Kobayashi Hideo (1902-1983) à la fois comme écrivain et comme penseur s'affirma dans les années 1942-1948. La première partie est consacrée à l'étude des activités que mena l'écrivain au sein de l'équipe de la revue Bungakukai, notamment lors de la table ronde "Kindai no chokoku comment dépasser la modernité?" ( en juillet 1942 ). Dans ses prises de position face aux problèmes concernant la rencontre des civilisations apparaissent ses idées personnelles sur l'histoire, le rapport du mental et du corps, ou l'importance de la langue maternelle pour la pensée. La deuxième partie porte sur Mujo to iu koto ce qu'on appelle l'impermanence (1942-1946). L'analyse de l'œuvre met en lumière la signification profonde des "rencontres", qui se produisirent grâce à l'acte de se souvenir, entre certaines œuvres classiques et cette conscience critique moderne. La troisième partie traite "Watashi no jinseikan ma manière de voir la vie (1948) et dégage la dimension universelle de la "sagesse" qui s'appuie sur l'expérience vécue du beau. L'éthique et l'esthétique s'y trouvent foncièrement unies. L'"analogie" se révèle à travers ces trois parties comme fil conducteur de la démarche du penser chez Kobayashi Hideo
The originality of Kobayashi Hideo (1902-1983) both as a writer and a thinker became apparent between the years 1942 and 1948. The first section is concerned with the activities in which Kobayashi Hideo took part as a founding member of the literary magazine Bungakukai, and especially his participation in the round table entitled "Kindai no chokoku going beyond modernity" in July of 1942. His personal ideas on history, the relation between the mental and the physical, and the importance of one's native language in thought appear in the positions he takes regarding the problems inherent in the meeting of civilisations. The second section is development based on the work Mujo to iu koto the sense of evanescence (1942-1946). This analysis highlights the deeper meaning of "convergences", which occurred through the act of remembrance, between certain classics and Kobayashi Hideo 's modern critical consciousness. The third section deals with Watashi no jinseikan my view of life (1948) and exposes the universal dimension of "wisdom" which is based on the living experience of the beautiful. Here, ethics and aesthetics are inextricably united. Throughout the three sections, analogy appears as the constant in the treatment of thought by Kobayashi Hideo
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Dorsey, James. "An intersection of aesthetics and ideology : Kobayashi Hideo, 1922-1942 /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11111.

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Sato, Yasuko. "Neither past nor present the pursuit of classical antiquity in early modern and modern Japan /". online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3060262.

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4

Wada, James. "Kobayashi Hideo: The Long Journey Toward Homeland, 1902-1945". Thesis, 2006. http://hdl.handle.net/1959.13/24860.

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Abstract (sommario):
The famous Japanese critic, Kobayashi Hideo (1902–1983), passed through five broad stages up to 1945. In the first stage (1929–32), he sought to reinstate the claims of “the man,” the feeling, thinking human being, in writing, in place of the various literary dogmas adopted from the West: “Behind literature, see the man.” In the second stage, (1933–37), he attempted to define the “modern individual” in a Japanese society of change, anxiety and chaos, adopting the term the “socialized I” to explain his sense of a self integrated into society. In this period he sought a model in the West and found Dostoevsky. The impetus behind this stage can be summed up in the saying, “Behind the man, see society.” In Stage 3 (1938–39), Kobayashi concluded that the “silence” of Japanese people expressed a “wisdom” that accepted the “inevitable” or their “fate” in history. This stage can be summarized in the dictum “Behind society, see history.” Kobayashi’s key direction in stage four (1940–41) is “Behind history, see nature,” the latter term meaning nature (fused with humankind). In the fifth stage, from 1942 into the postwar period, Kobayashi adopted a Dostoevskian “harmony and serenity” in espousing a transcendence of the human realm, when the human organism in its greatest struggles sees the need for beauty in art. This stage can be summed up in the saying “Behind nature, see (that which inspires) beautiful literature.” The thesis charts these five stages with biographical material, some of it gleaned from interviews, and with analyses of Kobayashi’s works, as well as works by Dostoevsky, the alter-ego of Kobayashi from 1933–43. Kobayashi emerges as a figure who lived a complex series of intellectual and personal changes, in strong reaction to the revolutionary political and cultural transformations in prewar Japan.
PhD Doctorate
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5

Wada, James. "Kobayashi Hideo: The Long Journey Toward Homeland, 1902-1945". 2006. http://hdl.handle.net/1959.13/24860.

Testo completo
Abstract (sommario):
The famous Japanese critic, Kobayashi Hideo (1902–1983), passed through five broad stages up to 1945. In the first stage (1929–32), he sought to reinstate the claims of “the man,” the feeling, thinking human being, in writing, in place of the various literary dogmas adopted from the West: “Behind literature, see the man.” In the second stage, (1933–37), he attempted to define the “modern individual” in a Japanese society of change, anxiety and chaos, adopting the term the “socialized I” to explain his sense of a self integrated into society. In this period he sought a model in the West and found Dostoevsky. The impetus behind this stage can be summed up in the saying, “Behind the man, see society.” In Stage 3 (1938–39), Kobayashi concluded that the “silence” of Japanese people expressed a “wisdom” that accepted the “inevitable” or their “fate” in history. This stage can be summarized in the dictum “Behind society, see history.” Kobayashi’s key direction in stage four (1940–41) is “Behind history, see nature,” the latter term meaning nature (fused with humankind). In the fifth stage, from 1942 into the postwar period, Kobayashi adopted a Dostoevskian “harmony and serenity” in espousing a transcendence of the human realm, when the human organism in its greatest struggles sees the need for beauty in art. This stage can be summed up in the saying “Behind nature, see (that which inspires) beautiful literature.” The thesis charts these five stages with biographical material, some of it gleaned from interviews, and with analyses of Kobayashi’s works, as well as works by Dostoevsky, the alter-ego of Kobayashi from 1933–43. Kobayashi emerges as a figure who lived a complex series of intellectual and personal changes, in strong reaction to the revolutionary political and cultural transformations in prewar Japan.
PhD Doctorate
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Morikawa, Saki. "Seeing And Believing: A Critical Study of Kobayashi Hideo's Watakushi no Jinseikan". 2015. https://scholarworks.umass.edu/masters_theses_2/161.

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What do we mean by “seeing”? Although we may see the same object in front of us, we each consciously or unconsciously select what we wish to see, eliminating information we find unnecessary. An artist or poet can see in even a tiny flower, which others barely notice, a wealth of colors or countless words. How then do our own eyes and those of others differ? This thesis aims to explore how the act of seeing shapes one’s life and influences it through a consideration of the works of Kobayashi Hideo 小林秀雄 (1902-1983), a literary critic in modern Japan. In 1949 Kobayashi published a long essay entitled “Watakushi no jinseikan” 私の人生観(My View of Life), originally given as a speech in 1948 when he was forty-six years old. In this work Kobayashi analyzes the word kan 観 (vision) with reference to more than forty historical figures from both the West and the East. The thesis selects for discussion two of these in particular, namely Miyamoto Musashi 宮本武蔵(1584-1645), a Japanese warrior of the early Edo era, and Henri Bergson (1859-1941), a major French philosopher of the twentieth century upon whom Kobayashi places special significance. While the primary focus is on interpreting this speech of Kobayashi’s, the thesis also discusses his earlier and later works in order to show the various transitions his philosophy went through over the course of his long career. The strong belief to which Kobayashi held on throughout his life as a literary critic is that the only way to see the essence of any object is to reject all rational and analytical interpretation and instead to unite one’s self with the objects: this was the ultimate approach that Kobayashi adopted in order to understand the word kan. This thesis finally addresses the question of whether this vision enabled Kobayashi to achieve his potential as a critic and as an individual.
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Satō, Yasuko. "Neither past nor present : the pursuit of classical antiquity in early modern and modern Japan /". 2002. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3060262.

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Libri sul tema "Kobayashi Hideo"

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Kobayashi Hideo. Kyōto-shi: Shingakusha, 2006.

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Hideo, Kobayashi. Kobayashi Hideo zensakuhin =: Oeuvres complètes de Kobayashi Hideo. Tōkyō: Shinchōsha, 2002.

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Kobayashi Hideo ron. Tōkyō: Shichigatsudō, 1987.

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Kobayashi Hideo zenshū. Tōkyō: Shinchōsha, 2001.

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Fujita, Yutaka. Kobayashi Hideo ron. Ōsaka: Seseragi Shuppan, 2003.

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6

Kobayashi Hideo no tetsugaku. Tōkyō-to Chūō-ku: Asahi Shinbun Shuppan, 2014.

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7

Kanayama, Makoto. Kobayashi Hideo to Sarutoru. Kumamoto-shi: Sanshō Bunko, 1998.

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8

Kobayashi Hideo to Witogenshutain. Yokohama-shi: Shunpūsha, 2007.

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9

Shichihei, Yamamoto. Kobayashi Hideo no ryūgi. Tōkyō: Shinchōsha, 1986.

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10

Hoshika, Terumitsu. Shintei Kobayashi Hideo nooto. Fukuoka-shi: Azusa Shoin, 2001.

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Capitoli di libri sul tema "Kobayashi Hideo"

1

Washio, R. "Kobayashi, Hideo (1903–1978)". In Encyclopedia of Language & Linguistics, 228–29. Elsevier, 2006. http://dx.doi.org/10.1016/b0-08-044854-2/02674-2.

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"CHAPTER XI. Kobayashi Hideo". In Tradition and Modernization in Japanese Culture, 419–62. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869015-017.

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Tansman, Alan. ". Modernist Beginnings: Akutagawa Ryūnosuke and Kobayashi Hideo". In The Aesthetics of Japanese Fascism, 34–48. University of California Press, 2009. http://dx.doi.org/10.1525/california/9780520245051.003.0002.

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KITANO, KEISUKE. "KOBAYASHI HIDEO AND THE QUESTION OF MEDIA". In Media Theory in Japan, 328–46. Duke University Press, 2017. http://dx.doi.org/10.2307/j.ctv125jhw8.18.

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"1. Modernist Beginnings: Akutagawa Ryūmnosuke And Kobayashi Hideo". In The Aesthetics of Japanese Fascism, 34–48. University of California Press, 2019. http://dx.doi.org/10.1525/9780520943490-004.

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"13. KOBAYASHI HIDEO AND THE QUESTION OF MEDIA". In Media Theory in Japan, 328–46. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373292-016.

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"Criticism in Poetry: Kobayashi Hideo as a Poet Manqué". In Discourses of Seduction, 207–30. BRILL, 2005. http://dx.doi.org/10.1163/9781684174065_010.

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"Home and History: Kobayashi Hideo and Other Visionaries of the Past". In Discourses of Seduction, 231–58. BRILL, 2005. http://dx.doi.org/10.1163/9781684174065_011.

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Tachibana, Hidehiro. "Quelques aspects de la modernité au Japon – Horiguchi Daïgaku et Kobayashi Hideo". In La modernité française dans l'Asie littéraire (Chine, Corée, Japon), 259. Presses Universitaires de France, 2004. http://dx.doi.org/10.3917/puf.kata.2004.01.0259.

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Forest, Philippe. "Watakushi shôsetsu et autofiction : quelques notes en marge d’un texte fameux de Kobayashi Hideo". In Lisières de l’autofiction, 17–32. Presses universitaires de Lyon, 2016. http://dx.doi.org/10.4000/books.pul.31418.

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