{"id":2770,"date":"2020-07-03T06:36:41","date_gmt":"2020-07-03T04:36:41","guid":{"rendered":"https:\/\/fima.ub.edu\/edl\/una-introduccio-que-introdueix-de-debo-en-la-literatura-japonesa\/"},"modified":"2026-03-04T14:15:50","modified_gmt":"2026-03-04T13:15:50","slug":"una-introduccio-que-introdueix-de-debo-en-la-literatura-japonesa","status":"publish","type":"post","link":"https:\/\/fima.ub.edu\/edl\/una-introduccio-que-introdueix-de-debo-en-la-literatura-japonesa\/","title":{"rendered":"Una introducci\u00f3 que introdueix de deb\u00f2 en la literatura japonesa"},"content":{"rendered":"

\"\"<\/a>Rubio, Carlos. Claves y textos de la literatura japonesa: una introducci\u00f3n.<\/i> 3.\u00aa ed., rev. y ampl. Madrid: C\u00e1tedra, 2019. 735 p. ISBN 978-84-376-3995-6. 25 \u20ac.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

L\u2019autor Carlos Rubio (professor, traductor i expert en literatura japonesa) escriu aquesta frase<\/span><\/span><\/span>: \u00abHoy d\u00eda no solo [es] la lengua espa\u00f1ola una de las m\u00e1s pobres del Occidente europeo en obras sobre Jap\u00f3n, sino que la japonolog\u00eda \u2013como la sinolog\u00eda\u2013 sig[ue] siendo una ex\u00f3tica rareza en nuestro pa\u00eds<\/span><\/span><\/span>\u00bb (p. 16).<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

<\/p>\n

\u00c9s for\u00e7a estrany que l\u2019autor digui aix\u00f2, ja que Espanya i Jap\u00f3 tenen ja una relaci\u00f3 diplom\u00e0tica de m\u00e9s de 150 anys i avui en dia la generaci\u00f3 jove est\u00e0 al corrent de moltes novetats que venen del Jap\u00f3. Evidentment, aqu\u00ed no podem fer la llista de totes les causes d\u2019aquesta mancan\u00e7a d\u2019obres tradu\u00efdes, per\u00f2 d\u2019alguna manera s\u00ed que podem percebre que, per al p\u00fablic general, el que els atrau del Jap\u00f3 potser no \u00e9s ni mai no ha estat la literatura. Per aix\u00f2 \u00e9s d\u2019agrair l\u2019esfor\u00e7 del professor Rubio per introduir la literatura japonesa a tots els parlants de llengua castellana i fer-ho amb la cura m\u00e9s gran possible. Tot i que el llibre es presenta com una \u00abIntroducci\u00f3\u00bb, de fet consta de m\u00e9s de set-centes p\u00e0gines. \u00bf\u00c9s, doncs, massa llarg per a una introducci\u00f3? No, si entenem \u00abintroducci\u00f3\u00bb en el sentit d\u2019un llibre que vol transmetre un panorama general per\u00f2 acad\u00e8micament solvent a un lector sense coneixements previs del tema, per\u00f2 que vol adquirir una bona base inicial amb detall i profunditat; i sense caure en t\u00f2pics ni anacronismes.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

La primera part del llibre tracta de, entre d\u2019altres temes, geografia, hist\u00f2ria, ling\u00fc\u00edstica i est\u00e8tica. La segona part ofereix una magn\u00edfica selecci\u00f3 de fragments de les obres dels autors m\u00e9s significatius de la literatura japonesa. L\u2019autor procura que la selecci\u00f3 tamb\u00e9 inclogui diferents estils literaris; per exemple, mite, hist\u00f2ria, conte, teatre i assaig. En les \u00faltimes p\u00e0gines, el lector pot trobar un util\u00edssim glossari de termes japonesos i un \u00edndex de noms propis que ajuda a consultar el contingut i obtenir m\u00e9s r\u00e0pidament la informaci\u00f3 desitjada.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

De tot el llibre, m\u2019agradaria destacar dues seccions. D\u2019una banda, el cap\u00edtol 6 de la primera part (\u00abLa clave literaria: expresionismo y ambig\u00fcedad\u00bb). El professor Rubio explica l\u2019ambig\u00fcitat de la literatura i la llengua japonesa. Diu (p. 199): \u00ab<\/span><\/span><\/span>M\u00e1s que recurso expresivo, la ambig\u00fcedad, que a veces posee un valor negativo en nuestra tradici\u00f3n literaria, es en la literatura japonesa una valiosa categor\u00eda ling\u00fc\u00edstica cuyo c\u00f3digo de interpretaci\u00f3n es todo un mundo ordenado por leyes frecuentemente dictadas por el contexto social. Es importante ver en tal categor\u00eda no una raz\u00f3n de frustraci\u00f3n por la falta de focos de orientaci\u00f3n, sino una fuente de posibilidades de lectura de una obra\u00bb.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Aquesta descripci\u00f3 probablement podria aplicar-se no nom\u00e9s a la literatura japonesa, sin\u00f3 a la literatura d\u2019\u00c0sia Oriental en general. En aquest cas, l\u2019ambig\u00fcitat pot explicar-se pel fet que, en la llengua japonesa, els subjectes sovint s\u00f3n omesos en una frase, i el sistema d\u2019escriptura kanji<\/i> (ideogrames xinesos) que fan servir poden tenir uns quants significats diferents; no tenen un \u00fanic significat tancat. En conseq\u00fc\u00e8ncia, qui diu una frase sempre t\u00e9 el dret d\u2019explicar, fins i tot de modificar el significat per evitar possibles conflictes. Aquesta omissi\u00f3 ens recorda un altre element molt caracter\u00edstic de la cultura japonesa: els silencis. Com diu una dita antiga, <\/span><\/span><\/span>\u6c88\u9ed9\u306f\u91d1<\/span><\/span><\/span> (chin moku ha kin<\/i>), \u00e9s a dir, \u00abel silenci \u00e9s or\u00bb. Aquesta actitud japonesa contrasta fortament amb l\u2019actitud de la cultura espanyola i catalana, en les quals el silenci no \u00e9s preci\u00f3s com l\u2019or. Al contrari, el silenci sembla que \u00e9s, m\u00e9s aviat, alguna cosa vergonyosa, fins i tot inc\u00f2mode: sempre s\u2019ha d\u2019omplir, trencar-lo, impedir que es produeixi.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

La segona secci\u00f3 remarcable s\u00f3n els cap\u00edtols dedicats a la poesia. Hi trobem, per exemple, els reculls po\u00e8tics Kokin Wakashu <\/i>(<\/span><\/span><\/span><\/span>\u548c\u6b4c <\/span><\/span><\/span><\/span>waka: <\/span><\/span><\/span><\/span><\/i>\u00abpoema japon\u00e8s\u00bb) i els c\u00e8lebres haiku <\/i>(<\/span><\/span><\/span><\/span>\u4ff3\u53e5<\/span><\/span><\/span><\/span>) de Matsuo Basho, un dels poetes m\u00e9s prestigiosos del per\u00edode Edo del Jap\u00f3. Tant waka<\/i> com haiku <\/i>fan servir el m\u00f3n de la naturalesa per expressar els sentiments t\u00e8nues. Com a exemple d\u2019aquest g\u00e8nere, citar\u00e9 aqu\u00ed un haiku<\/i> de Basho (p. 531; el text japon\u00e8s l\u2019he incorporat jo):<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span>
\n\u53e4\u6c60\u3084<\/span><\/span>              Furuike ya                El viejo estanque.<\/span><\/span><\/span><\/span><\/span>
\n\u86d9\u98db\u3073\u3053\u3080<\/span><\/span>    Kawazu tobikomu   Al saltar una rana,<\/span><\/span><\/span><\/span><\/span>
\n\u6c34\u306e\u97f3<\/span><\/span>              Mizu no oto              Ruido de agua.<\/span><\/span><\/span><\/span><\/span><\/p>\n

Els haikus<\/i> de Basho s\u00f3n com un bol de te, senzill i ordinari, per\u00f2 si els tastes amb tranquil\u00b7litat, pots percebre la seva est\u00e8tica i bellesa. Al mateix temps, recorden als lectors que sempre es pot trobar el goig de les coses m\u00ednimes i simples. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Malgrat tot, cal advertir que en aquesta \u00abIntroducci\u00f3\u00bb no hi ha cap text original en escriptura japonesa (sigui hiragana<\/i>, katakana<\/i> o kanji<\/i>): hi ha transliteracions (romanji<\/i>, en alfabet llat\u00ed), amb la qual cosa els lectors no poden assaborir les implicacions est\u00e8tiques i les met\u00e0fores visuals que hi ha en els car\u00e0cters i que aporten molt de significat per a la comprensi\u00f3 dels textos. Ara b\u00e9, si el llibre ha d\u2019arribar a un p\u00fablic ampli, \u00e9s comprensible que l\u2019autor empri transliteracions; els car\u00e0cters i ideogrames japonesos podrien resultar inaccessibles per al p\u00fablic general, \u00e9s a dir, per a lectors inicials no acad\u00e8mics. Malauradament, l\u2019estudi del japon\u00e8s continua sent for\u00e7a minoritari a l\u2019Estat espanyol. Esperem que aquesta \u00abIntroducci\u00f3\u00bb animi a revertir aquesta realitat local.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Com a conclusi\u00f3, he de dir que, sense cap mena de dubte, aquest \u00e9s un llibre molt recomanable per a qualsevol lector que tingui cert inter\u00e8s en la literatura japonesa, encara que sense coneixement previ de la llengua. Tamb\u00e9 ser\u00e0 molt \u00fatil i profit\u00f3s per als qui volen aprofundir en la llengua, la hist\u00f2ria i la cultura del pa<\/span><\/span><\/span>\u00eds del sol naixent. <\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n

Xiaomeng Wang<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a>
\nDe la 6a promoci\u00f3 de l\u2019Escola de Llibreria<\/a><\/span><\/span><\/span><\/span><\/span><\/span><\/span>
\nBibliote<\/span><\/span><\/span>c\u00e0ria digital<\/span><\/span><\/span><\/span><\/span><\/span><\/span>
\nMembre del Grup de Ling\u00fcistes per la Diversitat<\/a> (GLiDi), Universitat de Barcelona<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Rubio, Carlos. Claves y textos de la literatura japonesa: una introducci\u00f3n. 3.\u00aa ed., rev. y…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"inline_featured_image":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1400],"tags":[1133],"class_list":["post-2770","post","type-post","status-publish","format-standard","hentry","category-ressenyes","tag-llibres"],"acf":[],"taxonomy_info":{"category":[{"value":1400,"label":"Ressenyes"}],"post_tag":[{"value":1133,"label":"llibres"}]},"featured_image_src_large":false,"author_info":{"display_name":"jordi","author_link":"https:\/\/fima.ub.edu\/edl\/author\/jordi\/"},"comment_info":0,"category_info":[{"term_id":1400,"name":"Ressenyes","slug":"ressenyes","term_group":0,"term_taxonomy_id":1400,"taxonomy":"category","description":"","parent":0,"count":1343,"filter":"raw","cat_ID":1400,"category_count":1343,"category_description":"","cat_name":"Ressenyes","category_nicename":"ressenyes","category_parent":0}],"tag_info":[{"term_id":1133,"name":"llibres","slug":"llibres","term_group":0,"term_taxonomy_id":1133,"taxonomy":"post_tag","description":"","parent":0,"count":1214,"filter":"raw"}],"_links":{"self":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2770","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/comments?post=2770"}],"version-history":[{"count":1,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2770\/revisions"}],"predecessor-version":[{"id":4286,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2770\/revisions\/4286"}],"wp:attachment":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/media?parent=2770"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/categories?post=2770"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/tags?post=2770"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}