Natsume Soseki

Natsume Soseki

(nä`tso͞o`mĕ sō`sĕ`kē), 1867–1916, Japanese writer. Soseki ranks along with Mori Ogai as one of two giants of early modern Japanese letters. Although Soseki began his career as a scholar of English literature, he later resigned from his position at Tokyo Imperial Univ. to devote his time to writing. His first published work, Wagahai wa neko de aru [I am a cat], a satirical portrait of human vanity, was followed by increasingly pessimistic, brooding novels such as Kokoro [heart] and his unfinished masterpiece, Meian [light and darkness]. Soseki's works often dwell upon the alienation of modern humanity, the search for morality, and the difficulty of human communication.

Soseki, Natsume:

see Natsume SosekiNatsume Soseki
, 1867–1916, Japanese writer. Soseki ranks along with Mori Ogai as one of two giants of early modern Japanese letters. Although Soseki began his career as a scholar of English literature, he later resigned from his position at Tokyo Imperial Univ.
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Natsume Soseki


(pseudonym of Natsume Kinnosuke). Born Jan. 5, 1867, in Tokyo; died there Dec. 9, 1916. Japanese writer.

Natsume Soseki wrote poetry in the haiku genre. His first novel, I Am a Cat (1905–06; Russian translation, 1960), was a satire on the Japanese intelligentsia. In his novella Master Darling (1906; Russian translation, 1960), Natsume Soseki depicted an inexperienced young teacher in conflict with the stifling provincial milieu.

Natsume Soseki developed his own aesthetic theory of beauty, contrasting it with the utilitarian ideals of modern life, for example, in his novella The Three-cornered World (1906). The tragedy of the Japanese intellectual, endowed with a sensitive conscience and crushed by the external superiority of Western European culture and at the same time not yet free of the old feudal shackles, became the main theme of Natsume Soseki’s psychological novels. These include the trilogy Sanshiro (1908), And Then (1909), and The Gate (1910)—all of which appeared in Russian translation in 1973—Heart (1914; Russian translation, 1935), and his unfinished Light and Darkness (1916).


Istoriia sovremennoi iaponskoi literatury. Moscow, 1961.
Konrad, N. Iaponskaia literatura. Moscow, 1974.
Grivnin, V. Natsume Soseki: Biobibliograficheskii ukazatel’. Moscow, 1959.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
An interest in Japanese literature, especially the haiku of Basho and the novels of Natsume Soseki, has always been the forte of the older generation born in the 1950s; the young generation born in the 1990s or later are more attracted by Japanese anime, manga, bullet trains, the aesthetics of the kawaii (cute) and food.
For readers unfamiliar with Akutagawa -- who is probably less well known to readers than such near-contemporaries as Natsume Soseki and Junichiro Tanizaki, both of whom figure in the novel -- Peace's book provides a vivid, if challenging, introduction.
(183.) Hoang Nguyen, Kokoro (1914) by Natsume Soseki: The Question of Japanese Modernity, WordPress (Mar.
Sly, and sometimes self-referential, she mentions The Golden Demon, Japan's first serial novel, which was in fact based upon an American dime-store novel; Wuthering Heights, the basis of her own novel, A True Novel; and Natsume Soseki's unfinished serial, Light and Darkness, which she attempted to complete.
Although his allusions to European literature and philosophy are well known, his appropriations of Natsume Soseki's [TEXT NOT REPRODUCIBLE IN ASCII] Ten Nights of Dreams in Yecao show his participation in a regional literary network (Thornber 2009, 357).
For example, the authors on whom Jacobowitz's textual analysis relies, Masaoka Shiki and Natsume Soseki, frequently exchanged letters (collected in Soseki zenshu, vol.
Scholar, translator, and novelist Natsume Soseki, something of an avatar of Mizumura herself, is the focus of her account of the Japanese literary response to the initial "shock of the West." Soseki transmuted the opportunities and dangers of Western influence into Meiji Japan's most distinguished literary and scholarly career.
Tours sponsored by the SMRC had their effect on figures like Natsume Soseki (1867-1916), who depicted the Chinese pejoratively and whose writings highlighted Japanese modernity.
The fourth panel was dedicated to "private & public spaces in the 19th century Romanian society," and was chaired by Luiza Marinescu who presented a paper about metamorphoses of the feminine space in the 19th century early modern Romanian literature while she compared two writers, Mihai Eminescu and Natsume Soseki. Mihaela Hristea offered a historical perspective upon women's status in the nineteenth century Romanian society, Ludmila Braniste pinpointed aspects of femininity in the 19th century Romanian culture while Ramona Mihaila brought into discussion the Romanian women's literary salons seen as spaces of their own.
Aminova Nodira, 26, translated "Kokoro," by Meiji-era novelist Natsume Soseki (1867-1916), into Uzbek over a roughly two-year period.