Nogami Yaeko


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Nogami Yaeko

 

Born May 8, 1885, in Oita Prefecture, Kyushu. Japanese writer. Member of the Japan Art Academy.

In 1906, Nogami graduated from the Meiji Women’s School. In her youth she was influenced by Natsume Soseki. Her first work, the novella Fate, was published in 1907. Her novels about youth are well known— Machiko (1928–30), A Gloomy Procession (1935), Young Son (1935), and Labyrinth (1948–56; Russian translation, vols. 1–2, 1963). Labyrinth, a novel on a grand scale, examines the lives of young people during the rise of the fascist dictatorship in Japan.

Nogami is the author of the historical novel Hideyoshi and Rikyu (1962–63), about a 16th-century dictator and his master of the tea ceremony. Nogami’s drama The Rotting House (1927) deals with the decline of an ancient family.

WORKS

In Russian translation:
“Shkhuna ‘Kaidzin-Maru’.” Inostrannaia literatura, 1961, no. 4.

REFERENCES

lstoriia sovremennoi iaponskoi literatury. Moscow, 1961.
Grigor’eva, T., and V. Logunova. Iaponskaia literatura. Moscow, 1964.
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References in periodicals archive ?
Nogami Yaeko (1885-1985) was one of modern Japan's most revered woman novelists.
Loosely based on the real life experiences of a group of fishermen from her hometown who were wrecked at sea and subsequently rescued, The Neptune was the work which brought Nogami Yaeko to literary prominence in Japan.
For my basic understanding of the intertextual connection between Jane Austen and Nogami Yaeko I am indebted to the American critic, Eleanor Hogan, (13) who has recently published a series of articles bringing the influence of Jane Austen on Nogami Yaeko, something long recognised by Japanese literary critics, to the attention of English language readers.
29) These general observations are certainly confirmed by Eleanor Hogan's discussion of the manner in which Nogami Yaeko responded to the work of Jane Austen in her own text production.
Jane Austen was certainly not the only literary influence acting on Nogami Yaeko, who also took inspiration from various local Japanese sources.
For Jane Austen surely taught Nogami Yaeko that clever riposte had the potential to disable the male even more effectively than narratorial aggression.
To say that Jane Austen inspired Nogami Yaeko is to say that Yaeko was intimately familiar with her material and took inspiration from that source.
But there is no cowering before discursive interpretations of the social role of women in the attitudes of either Nogami Yaeko or Elizabeth Bennet.
Similarly, an intimate understanding of Jane Austen's text equipped Nogami Yaeko to dismantle, metaphorically at least, the literary and social barriers placed in her way and to stroll freely down the avenues of the capital of Japan at a time when an independent woman on the streets still implied insolence towards, and the subversion of official demands.
The relationship between Nogami Yaeko and Jane Austen is representative of the bonding power exerted on women readers by the text.
Hogan, 'When Art Does Not Represent Life: Nogami Yaeko and the Marriage Question,' Women's Studies Vol.
4) Nogami Yaeko, Kaijin-maru, Tokyo: Iwanami Shoten, 1973.