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Papers by Mitsuyoshi Numano

TRENDS IN THE SCIENCES, Feb 1, 2018

Acta Slavica Iaponica, 1995

Japanese Slavic and East European studies, 2014

Two quotations from the Soviet Cosmonauts Let me begin my talk with two famous quotations from th... more Two quotations from the Soviet Cosmonauts Let me begin my talk with two famous quotations from the Soviet Cosmonauts Yuri Gagarin and Valentina Tereshkova. On April 12, 1961, the first man in space, Gagarin, wrote in his journal: «Лучи просвечивали через земную атмосферу, горизонт стал яркооранжевым, постепенно переходящим во все цвета радуги: к голубому, синему, фиолетовому, черному. Неописуемая цветовая гамма! Как на полотнах художника Николая Рериха.» (Rays were blazing through the Earth's atmosphere, the horizon became bright orange, gradually passing into all the colors of the rainbow: from light blue to dark blue, to violet and then to black. What an indescribable gamut of colors! Just like the paintings of the artist Nicholas Roerich). Who on earth is this artist Roerich, whom the cosmonaut, apparently not well versed in arts, refers to? He is a rather mysterious genius whose multifaceted talent ranged from fine arts, the stage design for Le sacre du printemps (The rite of spring) performed by Diaghilev's Ballets Russes, to IN COMMEMORATION OF IX ICCEES WORLD CONGRESS The Seagull Goes to the Cosmos, and Haruki Goes to Sakhalin: A Special Talk delivered at the 5 th East Asian Conference on Slavic Eurasian Studies

れにくさ : 現代文芸論研究室論集, Mar 30, 2009

Slavistika : 東京大学大学院人文社会系研究科スラヴ語スラヴ文学研究室年報, Mar 31, 1999

The Polish Review, Jul 1, 2023

れにくさ : 現代文芸論研究室論集, Mar 31, 2016

れにくさ : 現代文芸論研究室論集, Mar 28, 2020

れにくさ : 現代文芸論研究室論集, Mar 30, 2012

Though it is perhaps hard to imagine in the American academia, in Japan I am both a professor of ... more Though it is perhaps hard to imagine in the American academia, in Japan I am both a professor of literature and a contemporary literary critic. As such, the question I am most frequently asked is, "Among serious contemporary Japanese writers (junbungaku no sakka), who is the most widely read?" My answer always varies. Trends in Japan change fast enough to make your head spin. As an undergraduate at the University of Tokyo in the 1970s, I used to answer, without hesitation, that it was definitely a tie between Abe Kōbō and Ōe Kenzaburō. Admittedly, this answer reflected my own tastes and was not wholly objective. Today I would have to say that the two most widely read authors in Japan are Murakami Haruki and Fyodor Dostoevsky. Murakami Haruki of course requires no introduction. His new novel 1Q84, published in May of this year, has already become a bestseller, selling over two million copies to date-a record in terms of speed. According to a recent newspaper article, his novel Norwegian Wood still continues to sell in huge numbers, recently topping ten million copies. It might seem strange, then, that I paired Murakami with Dostoevsky. Yet it is an established fact that Dostoevsky's impact (largely through translation) on modern Japan has been huge, and that he deserves to be studied alongside the great Japanese writers. In what 特集世界文学へ／世界文学から＜比較・翻訳・日本と世界＞ follows, I will attempt to answer the question of what it means that Dostoevsky is presently as popular as the international bestseller Murakami Haruki, as well as the broader questions of how the "great Russian writers" cast their influence on contemporary Japanese literature and what this means for contemporary Japanese writers. In 2007, a new highly-acclaimed translation of Dostoevsky's classic novel The Brothers Karamozov was published in five volumes. The translation has already become a bestseller, with sales topping one million. Of course, this is not the first translation of the novel. The Japanese rank among the world's most voracious readers of Dostoevsky, and there have already been over ten different multi-volume sets of "complete works of Dostoevsky" in Japanese to date. The Brothers Karamazov alone has been translated at least eleven times since the Meiji period. Given this historical familiarity with the book, why has it all of the sudden become a bestseller? One reason is perhaps that Kameyama's new translation is written in a fresh, contemporary idiom that is relatively easy to read. Kameyama's translation was originally published by Kōbunsha as one book in the series New Translations of the Classics, whose stated intent was to retranslate the modern classics into new and readable Japanese. The project was a huge hit, and authors ranging from William Shakespeare to Franz Kafka and Proust have acquired a whole new Japanese readership. The literary and historical significance of this New Translations of the Classics series-particularly from the perspective of translation studies-will surely be much discussed in coming years. I should also mention that a parallel phenomenon has occurred in the English-speaking world, namely, Richard Pevear and Larissa Volokhonsky's series of new translations of the Russian classics, which includes their 1990 publication of The Brothers Karamazov. Like the New Translations of the Classics project in Japan, this project too emphasizes its differences from earlier translations and has been welcomed by English readers. It is beyond my abilities to give a detailed analysis of the qualitative differences between the various English translations, but I will say a word about Pevear and Volokhonsky's stated methodology, which appears to be the exact opposite of that employed by the Japanese translator Kameyama. What Pevear and Volohonsky attempt to do is to move the English closer to the original Russian. Their implicit reasoning: a reader-friendly version of the text already exists (as Constance Garnet's famous translation), so why redo it? In the English-speaking world, the trend seems to have moved in the direction of fidelity to the original. Readers today demand translations that are as faithful to the original as possible, and no longer prefer reader-friendly approximations in the case of classical works. This change is reflected in the three translations of The Tale of Genji, which was first translated by Arthur

The Soviet and Post-soviet Review, Aug 24, 2002

Slavistika : 東京大学大学院人文社会系研究科スラヴ語スラヴ文学研究室年報, Mar 10, 1997

... W miarç zagďçbienia sic w tekst okazuje sic, ze podmiotem lirycznym jest czîowiek (lub nawet ... more ... W miarç zagďçbienia sic w tekst okazuje sic, ze podmiotem lirycznym jest czîowiek (lub nawet przybysz z kosmosu?), który nie umie ocenic" wartoáci prawdziwej sztuki i nawet alakuje malarza jako "buntownika", który nie chce ulegaé ... Zie sobie radzi z wielkimi liczbami. ...

De Gruyter eBooks, Dec 31, 2013