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Haiku Od Revoluce Meidţi (1868) Do Současnosti

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Haiku Od Revoluce Meidţi (1868) Do Současnosti UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakutla Katedra bohemistiky – Katedra asijských studií Proměny ţánrů tanka a haiku od revoluce Meidţi (1868) do současnosti Transformations of the Tanka and Haiku Poetic Forms from the Meiji Restoration (1868) to the Present Day Disertační práce Autorka: Mgr. Sylva Martinásková Vedoucí práce: Prof. Zdenka Švarcová, Dr. Olomouc 2014 Prohlašuji, ţe jsem tuto disertační práci vypracovala samostatně pod vedením své školitelky a uvedla veškeré pouţité prameny a literaturu. V Olomouci …………………… Podpis ……………………………. Velice děkuji své školitelce prof. Zdence Švarcové, Dr., za odborné vedení, cenné rady a podněty, jakoţto i za trpělivost a čas, který mi věnovala. Ediční poznámka V práci je pouţita česká transkripce japonských pojmů a jmen s výjimkou bibliografických údajů anglicky psaných zdrojů, v nichţ je z důvodu snadnějšího dohledání ponechána anglická transkripce. Japonské výrazy (s výjimkou vlastních jmen) jsou v textu zvýrazněny kurzívou (např. tanka). Běţně známé japonské výrazy a geografická označení ponechávám bez kurzívy (např. sakura, Jasukuni). U těch japonských výrazů, které jiţ v českém jazykovém prostředí zdomácněly, je v textu ponechána tato zauţívaná česká podoba slova (např. Tokio). Kurzíva je dále pouţita pro fonetický přepis japonské verze básní. Japonské znaky jsou uvedeny u pojmů, názvů literárních děl a japonských vlastních jmen (s výjimkou názvů historických období a geografických označení). Japonská vlastní jména osob jsou uváděna v tradičním japonském pořadí, tzn. po příjmení/rodovém jméně následuje jméno osobní. Ţenská příjmení, která v originální podobě nenesou přechýlení, v textu zůstávají v nepřechýleném tvaru (např. Josano namísto podoby „Josan(o)ová“, Beichman namísto „Beichmanová“). U vlastních jmen obsahujících partikuli „no“ je skloňováno pouze druhé (tedy osobní) jméno (např. „s Ki no Curajukim“). Pro konkrétní časové úseky následující po restauraci císařské moci (Meidţi, Taišó, Šówa, Heisei) pouţívám označení „období“ a „éra“ jako synonyma (např. „období Meidţi“, „éra Meidţi“). Výraz haiku pouţívám v češtině v ţenském rodě. Jelikoţ u některých citovaných básní hraje důleţitou roli také jejich grafická podoba, uvádím původní verzi básní rovněţ v japonském písmu. Lomítko (/) ve fonetickém přepisu básní značí hranici mezi jednotlivými verši. V hranatých závorkách [] je uveden počet mór jednotlivých veršů básně. Není-li uvedeno jinak, autorkou překladů citací, parafrází a básní zde uvedených je autorka této práce. Anotace Tato disertační práce se zabývá proměnami tradičních japonských básnických ţánrů tanka a haiku od počátku éry Meidţi zhruba do přelomu ér Šówa a Heisei. Pozornost je věnována především proměnám v oblasti formy, tematického zaměření a jazyka poezie. Uvedeni jsou rovněţ básníci, kteří nejvýrazněji ovlivnili moderní podobu tradičních básnických forem. Autorka se za uţití metody nového historismu zaměřuje na souvislost mezi proměnami těchto ţánrů a historickým a společenským děním v Japonsku během uvedeného období a na jeho dopad na změny v pojetí těchto tradičních básnických forem. Autorka: Mgr. Sylva Martinásková Vedoucí práce: Prof. Zdenka Švarcová, Dr. Obor: Teorie literatury Počet znaků (včetně mezer): cca 376 000 Rozsah: 209 stran Počet pouţitých zdrojů: 115 Počet příloh: 0 Klíčová slova: tanka, haiku, rozsah, sezónní slovo kigo, koncové slovo kiredži, básnický jazyk, tematika, Masaoka Šiki, Takahama Kjoši, Kawahigaši Hekigotó, Ogiwara Seisensui, Josano Akiko, Tawara Mači, válečná poezie Obsah Úvod .............................................................................................................................................. 8 1 Ţánry tanka a haiku v kontextu japonské literatury ............................................................ 15 1.1 Počátky japonského písemnictví ................................................................................. 15 1.2 Heianská dvorská poezie ............................................................................................. 16 1.3 Řazená báseň renga..................................................................................................... 21 1.4 Lehkováţná řazená báseň haikai no renga a vznik haiku ........................................... 23 1.5 Situace japonské poezie v 18. a 19. století .................................................................. 24 2 Formální náleţitosti poezie tanka a haiku ........................................................................... 27 2.1 Rozsah a forma poezie tanka a haiku .......................................................................... 27 2.2 Tematika tradiční poezie tanka a haiku a přístup básníků k ní ................................... 33 2.3 Jazyk poezie tanka a haiku .......................................................................................... 38 2.4 Estetické principy ........................................................................................................ 40 3 Haiku a tanka v období Meidţi (1868–1912) a Taišó (1912–1926) ................................... 45 3.1 Historické pozadí – otevírání země západnímu světu ................................................. 45 3.2 Tradiční formy poezie v konfrontaci se západní literaturou ....................................... 50 3.2.1 Haiku na přelomu 19. a 20. století ...................................................................... 54 3.2.2 Tanka na přelomu 19. a 20. století ...................................................................... 61 3.3 Proměny formy ........................................................................................................... 63 3.3.1 Proměny formy haiku .......................................................................................... 63 3.3.2 Proměny formy tanka .......................................................................................... 72 3.4 Proměny v oblasti tematiky ......................................................................................... 75 3.4.1 Proměny v oblasti tematiky haiku ....................................................................... 75 3.4.2 Proměny v oblasti tematiky poezie tanka ........................................................... 84 3.5 Proměny jazyka poezie ............................................................................................... 96 3.5.1 Proměny jazyka poezie haiku .............................................................................. 96 3.5.2 Proměny jazyka poezie tanka ............................................................................ 100 3.6 Shrnutí ....................................................................................................................... 102 4 Tanka a haiku první části éry Šówa (1926–1945) ............................................................. 106 4.1 Levicová tvorba přelomu 20. a 30. let ....................................................................... 106 4. 2 Válečná poezie 1931–1945 ....................................................................................... 109 4.2.1 Poezie ve sluţbách válečné ideologie ............................................................... 113 4.2.2 Kjódai haiku džiken ........................................................................................... 121 6 4.2.3 Poezie z fronty i štábu ....................................................................................... 122 4.2.4 Válečná poezie ţen ............................................................................................ 126 4.3 Předsmrtná poezie pilotů kamikaze ........................................................................... 129 4.4 Shrnutí ....................................................................................................................... 146 5 Haiku a tanka od konce druhé světové války .................................................................... 148 5.1 Nové pojetí tradiční poezie ....................................................................................... 152 5.1.1 Tematika poválečné poezie ............................................................................... 154 5.2 Poezie z městského prostředí .................................................................................... 160 5.3 Poezie inspirovaná zahraničními cestami ................................................................. 163 5.4 Nástup básnířek ......................................................................................................... 170 5.5 Tvorba amatérských básníků ..................................................................................... 178 5.6 Shrnutí ....................................................................................................................... 185 Závěr ......................................................................................................................................... 187 Summary ................................................................................................................................... 195 Bibliografie ............................................................................................................................... 198 7 Úvod Tato disertační práce je věnována proměnám, kterými prošly tradiční ţánry japonské poezie tanka1 a haiku2 od období Meidţi (1868–1912) a Taišó (1912–1926) přibliţně do přelomu období Šówa (1926–1989) a Heisei (od 1989). 3 Za nejzásadnější z celého sledovaného období povaţuji éru Meidţi, neboť reformy v oblasti tanky a haiku
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