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De Katai a Dazai: Apontamentos Para Uma Morfologia Do Romance Do Eu

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NEIDE HISSAE NAGAE DE KATAI A DAZAI: APONTAMENTOS PARA UMA MORFOLOGIA DO ROMANCE DO EU Tese apresentada como exigência parcial para obtenção do Grau de Doutor em Teoria Literária e Literatura Comparada à Comissão Julgadora da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, sob orientação do Prof. Dr. Homero Freitas de Andrade. FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS UNIVERSIDADE DE SÃO PAULO São Paulo - 2006 De Katai a Dazai; Apontamentos para uma Morfologia do Romance do Eu II Agradecimento AGRADECIMENTOS A realização deste trabalho só foi possível com o apoio e o incentivo, a compreensão e a colaboração e, acima de tudo, o carinho de pessoas preciosas que acompanharam a minha trajetória, e é com o mais profundo reconhecimento que agradeço a todos, em especial: Ao Prof. Dr. Homero Freitas de Andrade, meu orientador, que em todos os momentos soube me conduzir com sabedoria, dedicação e paciência; Aos Professores e funcionários do Departamento de Letras Modernas da Faculdade de Ciências e Letras da Universidade Estadual Paulista “Júlio de Mesquita Filho”, Campus de Assis; Aos Professores e funcionários do Departamento de Teoria Literária e Literatura Comparada da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo; Aos Professores e funcionários do Centro de Estudos Japoneses da Universidade de São Paulo; Às amigas e colegas da Área de Japonês da UNESP, Cecília Kimie, Eliza Atsuko e Mônica Setuyo; À Milana Satie, que auxiliou na elaboração de parte do Apêndice, à Graziela e Ana Luiza pela leitura do trabalho. Aos meus familiares; Aos meus pais Ricardo (in memorian) e Olga; E ao meu marido Kunio e às minhas filhas Charlene, Susana e Jéssica a quem dedico estas páginas. De Katai a Dazai: Apontamentos para uma Morfologia do Romance do Eu III Página de Avaliação De Katai a Dazai: Apontamentos para uma Morfologia do Romance do Eu IV Sumário SUMÁRIO APRESENTAÇÃO ........................................................................... 01 CAPÍTULO I O SURGIMENTO DO ROMANCE DO EU NA LITERATURA JAPONESA......................................... 04 CAPÍTULO II TIPOLOGIA DO ROMANCE DO EU............................................. 34 Narrador e protagonistas............................................. 36 Narrador e foco narrativo............................................ 62 Vida Pessoal, representação literária, verossimilhança 71 CAPÍTULO III PÔR-DO-SOL DE DAZAI OSAMU — PARA ALÉM DOS HORIZONTES DO ROMANCE DO EU... 88 CONCLUSÃO.................................................................................. 130 BIBLIOGRAFIA............................................................................... 139 APÊNDICE A prosa japonesa e as influências estrangeiras ANEXOS Imagem 1 Imagem 2 Imagem 3 De Katai a Dazai: Apontamentos para uma Morfologia do Romance do Eu V Resumo RESUMO O presente trabalho constitui um estudo sobre um conjunto de obras pertencentes ao gênero japonês de cunho autobiográfico denominado Romance do Eu, com o intuito de traçar características comuns a essas obras que sirvam como apontamentos para uma morfologia desse gênero surgido no início do século XX. Num primeiro momento, situamos o Romance do Eu no contexto histórico- literário do Japão e apresentamos as discussões de estudiosos japoneses na fase inicial de desenvolvimento dessa forma literária, além da visão de dois estudiosos estrangeiros sobre o gênero. Nesse percurso, traçamos ligações entre as obras estudadas com a repressão ideológica e o exercício da liberdade de expressão na postura acuada e resignada dos protagonistas, encontradas num conjunto de obras analisadas num segundo momento, que vão desde 1906, com a obra Futon (Acolchoado), de Tayama Katai, até o final da Segunda Guerra Mundial. Tais obras revelaram uma sensível e rica diversidade quando analisadas pelos elementos da narrativa que estruturam o texto, mas não foi possível encontrar textualmente aspectos que identificassem o protagonista da obra com seu autor. Na realidade, elas se mostraram uma forma velada de contestação ao sistema autoritário do Japão ao centrarem seu conteúdo em fatos da vida pessoal do autor e parodiarem os romances europeus introduzidos na época. Esse dialogismo do Romance do Eu desenvolve-se também no nível textual da obra de Dazai Osamu, intitulada Pôr-do-Sol, escrita em 1947, logo após a rendição do Japão e ainda sob a ocupação das tropas norte- americanas, incumbidas de iniciar a democratização do país. O estudo desenvolvido nesse terceiro momento mostra que o autor utiliza, ainda, outras formas literárias que privilegiaram a ficção na literatura japonesa, elabora personagens que são desdobramentos de si mesmo e que dialogam entre si e faz uso de diferentes formas narrativas, que se mesclam à intertextualidade de obras japonesas e ocidentais, criando, assim, uma obra que dispensa o rótulo de Romance do Eu e assegura a sobrevivência dessa forma narrativa na prosa moderna do Japão. De Katai a Dazai: Apontamentos para uma Morfologia do Romance do Eu VI Resumo ABSTRACT From Katai to Dazai: Notes for Morphology of the Novel of the Self consists of a study on a set of literary works belonging to the autobiographical character Japanese genre denominated Novel of the Self, aiming at outlining common characteristics to these works that serve as notes for a morphology of this genre started in the beginning of the XX century. In a first instance the Novel of the Self is placed in the Japanese historical- literary context and the discussions of Japanese scholars in the initial development phase of this literary form are presented, as well as the vision of two foreign scholars about the genre. In this trajectory are outlined connections of the works studied with the ideological repression and the exercise of the freedom of expression in the cornered and acquiescent posture of protagonists, being these connections found in a set of works analyzed in a second instance, comprehending 1906 with the work of Futon (Quilt) by Tayama Katai, up to the end of the Second World War. Such works have revealed an insightful and rich diversity when analyzed by the elements of the narrative which structure the text, but aspects that could identify the work’s protagonist with its author have not been possible to find textually. As a matter of fact, they have revealed a veiled way of contest to the Japan’s authoritative way as they have focused their content on facts of the author’s personal life and parodied the European novels introduced at that time. This dialogism in the Novel of the Self is also developed on the textual level of the work of Dazai Osamu entitled Sunset, written in 1947, right after the surrender of Japan while under the occupation of the American troops charged with the task of beginning the country’s democratization. The study developed in this third instance reveals that the author uses, in addition, other literary forms that benefit the fiction in the Japanese literature, makes up characters that are developments of himself and that also talk among themselves, and makes use of different forms of narratives that merge to the intertextuality of Japanese and Western works, creating, as a result, a work that excuses the label of Novel of the Self and, assures the endurance of this narrative form in the Japans modern prose. De Katai a Dazai: Apontamentos para uma Morfologia do Romance do Eu 1 Apresentação APRESENTAÇÃO Neste trabalho desenvolve-se um estudo sobre a narrativa de ficção de inspiração autobiográfica conhecida no âmbito da Literatura Japonesa como Watakushi Shōsetsu, ou Shishōsetsu, e que doravante chamaremos de Romance do Eu. Visando encontrar características comuns ao conjunto de obras assim designadas e que sirvam de apontamentos para uma morfologia desse gênero, delimitamos nossa pesquisa às obras que surgiram entre o início do século XX, consideradas inaugurais, e os primeiros anos do pós-Segunda Guerra Mundial, começando pela obra Futon (Edredon, 1906), de Katai Tayama, e terminando em Shayō (Pôr-do-Sol, 1947), de Osamu Dazai. Watakushi Shōsetsu, que também permite a leitura de Shishōsetsu em função da leitura opcional dos ideogramas que o compõem, é uma expressão que surgiu por volta de 1920. Watakushi significa “eu” e designa a primeira pessoa do singular com uma denotação de modéstia. O termo Shōsetsu significa, literalmente, “história pequena”, e foi utilizado pela primeira vez em 1885, pelo estudioso Tsubouchi Shōyō, como tradução da palavra inglesa novel. Desde então, passou a ser utilizado também como correspondente do francês roman e do alemão Roman e, em sentido amplo, para designar várias obras narrativas. Até então, existiam outros termos, como monogatari (narrativa), sōshi (escritos), hon (livro) e bun (texto), para designar a forma em prosa. O termo “prosa” em si, que em japonês é sanbun, foi utilizado um pouco antes, em 1871, por Nishi Amane, mas apesar de já aparecer em textos chineses não era muito utilizado e só consolidou-se muito depois de shōsetsu. Os japoneses subdividem os shōsetsu em longos (chōhen ou taiga shōsetsu), médios (chūhen) e curtos (tanpen), que poderíamos considerar grosso modo como romance, novela e conto, considerando apenas o critério da extensão e não as características internas e estruturais que são consenso nos estudos literários do Ocidente. Em geral, todos, independentemente de sua extensão, são simplesmente chamadas de shōsetsu e, embora reconheçamos que não seja um termo tão adequado, demos preferência para “romance” como seu correspondente
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    BAB I PENDAHULUAN 1.1 Latar Belakang. Gaya bahasa adalah salah satu cara mengungkapkan pikiran dan perasaan melalui bahasa yang memperlihatkan jiwa dan kepribadian pemakai bahasa tersebut. Gaya bahasa menurut Tarigan (1995:178) adalah bahasa indah yang digunakan untuk meningkatkan efek dengan jalan memperkenalkan serta membandingkan suatu benda atau hal tertentu dengan benda atau hal lain yang lebih umum. Salah satu dari jenis gaya bahasa adalah metafora. Metafora dalam bahasa Jepang disebut dengan inyu (隠喩). Metafora adalah gaya bahasa kiasan yang berdasarkan pada perbandingan tanpa menggunakan kata bagaikan, umpama, bak, seperti dan lainnya. Metafora merupakan gaya bahasa yang paling sering ditemukan dalam karya sastra dan paling sering digunakan oleh penyair dalam menyusun syair dan bait pada karya mereka. Salah satu karya sastra yang dapat menjadi objek kajian bidang linguistik adalah puisi. Puisi adalah ragam sastra yang bahasanya terikat oleh irama, matra, rima, serta penyusunan larik dan bait; gubahan dalam bahasa yang bentuknya dipilih dan ditata secara cermat sehingga mempertajam kesadaran orang akan pengalaman dan membangkitkan tanggapan khusus lewat penataan bunyi, irama, dan makna khusus;sajak (KBBI, 2007:903). Tidak jauh berbeda, Pradopo (1995:27) mengungkapkan bahwa puisi adalah representasi dari emosional penyair yang dirancang menjadi sastra penuh makna dan kesan. Pengertian puisi menurut Pradopo tersebut menggambarkan bahwasannya puisi tercipta dari sisi emosional penyair untuk mengungkap dan menyampaikan pesan kepada penikmatnya. Dengan demikian dapat diartikan bahwa puisi adalah wujud lain dari karya sastra yang berasal dari pengaruh emosional seorang penyair yang tertuang secara indah dengan stuktur fisik dan struktur batinnya. Puisi dibentuk dengan menggunakan diksi yang berbeda dengan kalimat biasa, sehingga dapat membentuk bait yang memiliki makna mendalam.